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BRAG :: 551 :: 26:02:14 :: 5

rock music news welcome to the frontline: what’s goin’ on around town...with Chris Martin, Hannah Warren and Andy Huang

follow us:

like us:

@TheBrag

THE BRAG

five things WITH

NATHAN ROCHE

Growing Up My parents didn’t listen 1. to music! They listened to the

bands or whatever I’m surrounded by – people, places, bars, women...

mosquitoes and 4TO FM if anything.

In Townsville (where I grew up) I used to frequent Pet Sounds when I was an early teenager and that’s where I got the majority of my record collection. I ended up working there when I was 15 or something. They had the craziest records come through there! You wouldn’t believe the things I’ve got. The readers of this publication would gasp in astonishment if they knew.

Your Band I’m a solo musician at the 3. moment just because it’s easier and

Inspirations I remember hearing Robert 2.

Wyatt’s Rock Bottom for the first time when I was 14 after buying it from Big Star in Adelaide on holiday.

It was the only time I’ve bought something and listened to it four times in a row. Post-punk, garage, jazz, dance music, whatever! There’s something good in everything; something you can exploit and rip off. These days I’m inspired by local

less effort. I don’t have to organise practices or email/call anyone.

Just make a record and give it to musicians to learn or at least get an idea. Currently me and my old friend Joseph are doing another solo record called Magnetic Memories – it’s going to be like Transformer if it was made on Magnetic Island rather than New York. Greg from Adults and Tristan from King Tears Mortuary are currently my live band slaves but people appear or disappear constantly, usually without my knowing.

The Music You Make I’m not sure the first solo 4. record Watch It Wharf is filled with Lou Reed rip offs and Alex Chilton flip-outs. I guess that’s a starting point. I seem to talk a lot onstage, particularly if I’ve had a bit to drink,

which is usually the case. It’s always a sloppy affair. A comedy routine, even. I like to get music stuff out of the way as quickly as possible so I can go on holiday. It’s what Kevin Ayers would have wanted.

Music, Right Here, Right Now 5.

Sydney music and Australia in general has been running on a musical high for the past five or six years, in my opinion. I buy whatever Nic Warnock at Repressed Records tells me to buy. There are too many good bands to list. Venues are mostly non-existent these days – well for fools like us anyway! Me and Angie just want to play at Frankie’s because we saw Rose Tattoo there and it’s like a whole other world. Usually the best shows are the illegal ones.

Who: Angie, Nathan Roche, Dead Farmers, East River, Sheriff Where: Frankie’s Pizza When: Sunday March 2

THE IMPOSSIBLE GIRL

EDITOR: Chris Martin chris@thebrag.com 02 9212 4322 ARTS + ONLINE EDITOR: Hannah Warren hannah@thebrag.com 02 9212 4322 STAFF WRITERS: Alasdair Duncan, Jody Macgregor, Krissi Weiss, Augustus Welby NEWS: Chris Honnery, Andy Huang ART DIRECTOR: Sarah Bryant GRAPHIC DESIGN: Alan Parry PHOTOGRAPHERS: James Ambrose, Liam Cameron, Maria de Vera, Ashley Mar ADVERTISING: Bianca Lockley - 0412 581 669 / (02) 9212 4322 bianca@thebrag.com ADVERTISING: Les White - 0405 581 125 / (02) 9212 4322 les@thebrag.com PUBLISHER: Rob Furst MANAGING DIRECTOR, 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 COORDINATORS: Thea Carley, Julienne Gilet, Andy Huang, Callum Wylie gigguide@thebrag.com (rock); clubguide@thebrag. com (dance, hip hop & parties)

Kim Boekbinder, AKA The Impossible Girl, will touch down in March to play one-off intimate shows in Sydney, Melbourne and Perth. The last time Boekbinder was here in Australia, it was for a string of ‘house party’ shows following the successful crowd-funding campaign for her latest outta-this-world album, The Sky Is Calling. This time around, she’s bringing along friend/filmmaker/animator Jim Batts.

Batts, who has directed music videos for artists including Amanda Fucking Palmer, Jess McAvoy and Barons Of Tang, will be showing video projections inspired by Boekbinder’s space pop. The Impossible Girl lands at The Newsagency on Wednesday March 5.

Royal Chant

LET HIM ENTERTAIN YOU

So we’re still in love with him after all. Robbie Williams has announced he will be swinging our way this September for a new run of arena shows. Williams landed in Sydney to announce the tour, which follows the release of his Swing Both Ways album. It’s his second jazzy record after 2001’s Swing When You’re Winning.

During his last full tour of Australia in 2006, Williams sold out nine stadium concerts and entertained almost half a million people. He’ll play Allphones Arena on Saturday September 27. Tickets on sale 10am Tuesday March 4 through Ticketek.

ROYAL CHANT

Port Macquarie’s Royal Chant have been pedalling their garage rock around the country for over three years now, and they’re back with a new video clip and tour for single ‘Shake, Shake’. Their debut Raise Your Glass & Collapse album and recent EP Small Town Bruises have turned all the right heads in all the right places. See them at Brighton Up Bar on Thursday March 6 and the Captain Cook Hotel on Saturday April 12.

PROPAGANDHI

AWESOME INTERNS: Callum Wylie, Julienne Gilet, Thea Carley, Andy Huang, Paige Ahearn

If (relatively) peaceful protest is your thing, what better way to do it than with punk rock?

Do it with Propagandhi; that’s your answer.

The Canadian four-piece, fronted by Jesus H. Chris, is on its way back to Australia for the first time since releasing Failed States in 2012. See them at Manning Bar on Friday June 6 and Newcastle’s Cambridge Hotel on Saturday June 7.

REGULAR CONTRIBUTORS: Nat Amat, Keiron Costello, Marissa Demetriou, Rachel Eddie, Christie Eliezer, Chris Honnery, Cameron James, Tegan Jones, Lachlan Kanoniuk, Pamela Lee, Alicia Malone, Adam Norris, Daniel Prior, Kate Robertson, Amy Theodore, Raf Seneviratne, Leonardo Silvestrini, David Wild, Stephanie Yip, David James Young

JOHN NEWMAN

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

Soulful pop star John Newman has announced his debut Australian headlining performances, kicking off with a slot at the Logies. The ‘Not Giving In’ and ‘Love Me Again’ hitmaker landed a UK number one album with Tribute, released in October last year. At 23, he’s a star on the rise. See Newman at The Hi-Fi on Thursday May 1.

General public tickets go on sale Monday March 3. Newman also plays the Logies in Melbourne on Sunday April 27, coming to an obscure pay TV channel near you.

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: Thursday 12pm (no extensions) Artwork/ad bookings: Friday 5pm (no extensions).

Ad cancellations: Tuesday 4pm Published by Furst Media P/L ACN 1112480045.

All content copyrighted to Cartrage P/L/ Furst Media P/L 2003-2013

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

6 :: BRAG :: 551 :: 26:02:14

BEARDY BUSINESS

After three full-length albums about beards, the world’s premier beard-related rock act The Beards are back with a brand new album, The Beard Album (in the tradition of The Beatles’ White Album and Metallica’s Black Album) and a comprehensive Australian and New Zealand tour. The Beards will perform at Studio 6 on Thursday May 8; Tattersalls Hotel on Friday May 9; Collector Tavern on Saturday May 10; Mona Vale Hotel on Thursday June 5; Captains, Batemans Bay on Sunday June 8; Carrington, Katoomba on Wednesday June 11; Bar On The Hill, Newcastle on Wednesday July 23; Entrance Leagues on Thursday July 24; Fitzroy Hotel, Windsor on Friday July 25; and the Factory Theatre on Saturday July 26.

TAKING NO CHANCES

Chance Waters is releasing a new single, inspired by disputes with a transit officer – because of course he is – and he’s stepping out on tour to launch it. Waters’ A Transit Officer Beat Up My Brother So I Wrote A Funny Song About Him tour (we’re looking forward to the t-shirts) marks the release of said song, ‘The Ticket Inspector’. It’s a return to Waters’ familiar style, combining pop and hip hop with a dash of cynicism. Supporting him on tour is BRAG fave Brendan Maclean.

See them at Oxford Art Factory on Saturday April 12. Just make sure you buy a bus ticket on your way there. thebrag.com

Xxxx photo by xxx

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

The Beards

BRAG :: 551 :: 26:02:14 :: 7

rock music news

free stuff

welcome to the frontline: what’s goin’ on around town...with Chris Martin, Hannah Warren and Andy Huang

five things WITH

THE SOUL REBELS

MACHINE TRANSLATIONS Growing Up I grew up in 1.

Canberra where you have to make your own fun. To the eternal credit of Narrabundah Secondary College I was taught how to program synthesisers, splice tape and multi-track record before I learned how to drive. Me and my buddies were always making recordings at home, kinda half-songs, half-sonicmayhem things. I had a lot of tape recorders for a while there.

Inspirations I am inspired by 2. dream music at the moment. You should have heard how good Sigur Ros’ new album sounded in my bizarre dream version! Especially given I’ve never heard the actual album. I love how total the dream version of sonic reality is. I’m also listening to a lot of North Arm (a guy from Newcastle who blows my

head to: thebrag.com/freeshit

mind), Emma Heeney’s new unreleased gem of an album, and Sweet Lime (from Wollongong), which is kinda like Mazzy Star until the super distorted guitars kick in.

I’m also inspired by my friend Andrew Kidman who makes incredible soul-warming surf movies and plays in a great band called The Brown Birds From Windy Hill. Check out his Spirit Of Akasha movie that just came out.

It’s a tribute to Morning Of The Earth… totally epic images and music.

3.

Your Band I’m so lucky to have the people that I have playing in the band – they’re all great players but also ideas people who, when poked, do the most amazing, inspired, improvisational things. Everyone sings as well and can play many instruments – it’s always a buzz getting up and playing with this band.

The Music You Make The music I make 4. always starts off as an experiment, then becomes a song. Or is that the other way round? I’ve got a new album out called The Bright Door and a new single called ‘Needles’.

Music, Right Here, Right Now 5.

My main gripe is that people are way too musically educated and calculating – everyone should be forced to go live in a regional backwater for a couple of years, find some locals and start a few strange jamming bands.

No internet and no irony for two years… ha! Fuck trying to keep up with London and New York, try keeping up with Dubbo.

If you’ve been watching closely over the last few weeks and months, you’ll know the 2014 Bluesfest lineup has swollen to near-obscene levels. We can’t all make the escape to Byron Bay this year, but fear not – Bluesfest Touring is bringing an almighty chunk of the lineup to Sydney, with shows booked at the Sydney Opera House, The Basement and elsewhere. The latter hosts The Soul Rebels on Wednesday April 16.

Formed by percussionists Derrick Moss and Lumar LeBlanc, the Rebels are now an eight-piece outfit that mixes traditional brass band styles with modern funk, R&B and hip hop. They’ve collaborated with the likes of Arcade Fire, Green Day and even Metallica, and shared stages with The Roots, James Brown and many more. Long story short, they’re a tour de force in horny music. We’ve got two double passes on offer to the gig – for your chance to win, head to thebrag. com/freeshit and tell us about the last show you saw at The Basement.

The Soul Rebels

What: The Bright Door out now through Spunk With: Ernest Ellis Where: Brighton Up Bar When: Friday February 28

ELLA, ELLA, EH EH

Former Killing Heidi rocker and new Spicks And Specks team captain Ella Hooper has revealed details of her new single and a national tour. ‘Low High’ is set to appear on Hooper’s debut solo album – yep, after all these years since ‘Weir’! – which has been produced

by Jan Skubizewski and given the catchy title In Tongues. Hooper was 16 years old when she made her name with the Heidis, and her solo career is bound to make its mark. See her at The Vanguard on Saturday March 29, with support from Jack Colwell & The Owls and Gena Rose Bruce.

FOOD COURT

Glebe-based four-piece Food Court are back with ‘She’s Away’, the second single from their debut EP Smile At Your Shoes. Here at the BRAG, we recently awarded Smile At Your Shoes our Indie Album Of The Week for its perfect encapsulation of the summer vibe. Well, hold onto summer a little while longer, with ‘She’s Away’ the song our reviewer said “truly capture[s] the carefree tone of this hot and beloved season”. Food Court will launch the single at FBi Social on Thursday March 20 with support from The Trotskies and Will & The Indians. They’ll also play Captain Cook Hotel on Saturday March 8 with Magic Bones and Katnip.

Food Court

BERTIE PAGE’S PUSSY PARTY

The Fratellis

FRESH FRATELLIS

Scottish indie rockers The Fratellis are coming back to Sydney for an April date at the Metro. Remember ‘Chelsea Dagger’? Everybody now: Bah-dedup-bah-de-dup-bah-de-dah-de-dahde-dup! In all seriousness, the trio’s third album We Need Medicine came out last year after a short-lived hiatus, and it’s actually quite good. The three Fratelli ‘brothers’, Jon, Barry and Mince promise upbeat party times driven by guitar, bass and drums – do you need anything more? See them at the Metro Theatre on Sunday April 6.

You’ve gotta be kitten me right meow! Miss Bertie Page is in town to present Pussy Love – a cat-themed bash the night before Mardi Gras drowns the streets in glitter. Fronted by Miss Page, Bertie Page Clinic are Brissie’s glam punk purveyors, and they’re a good breed, having already taken to stages around the world – France, Spain, Germany, Afghanistan and now Sydney. BPC are set to indulge audiences with songs from their spankin’ new Too Loud Too Naked album at Spectrum this Friday February 28. Smokin Mirrors will be tearing it up in support, with some of Brissie’s best burlesque cavalry in tow.

KILLSWITCH ENGAGE

Metalcore pioneers Killswitch Engage, reunited with original frontman Jesse Leach, will tour Australia this April. Disarm The Descent, released early last year, is the sixth album for the band and the first with Leach on vocals since Alive Or Just Breathing (2002). Their Australian shows feature support from Kill Devil Hill, a supergroup including members of Black Sabbath, Dio, Pantera, Down and Ratt. See them at UNSW Roundhouse on Saturday April 12. Tickets on sale 9am Friday March 7 through Ticketek.

SPYGLASS GYPSIES Orphaned Land

ORPHANED LAND

Hard-rocking Israeli band Orphaned Land will make their first appearance in Sydney next month. The group preaches from an altar of heavy metal, fusing an enormous guitar sound with components of traditional Middle Eastern music. The good word reaches across all barriers – Orphaned Land have a huge following in the Arab world, and regularly play enormous outdoor shows in Turkey. They’ve also supported Metallica and Dio. It just goes to show that no faith is more powerful than a metalhead’s dedication to raaaawk. Catch Orphaned Land at the Factory Theatre on Thursday March 20.

8 :: BRAG :: 551 :: 26:02:14

Fancy a taste of bohemian Paris in modern Sydney? Gypsy jazz outfit Spyglass Gypsies have you covered. The five-piece, made up of Richard Ashby and Cameron Jones on Manouche guitars, Loretta Palmeiro on clarinet and soprano sax, Andrew Scott on accordion and Shannon Haritos on double bass, is set to launch its debut self-titled album at the end of the month. Get on down to the Camelot Lounge’s Django Bar on Friday February 28 for a slice of the action.

CAITLIN PARK HOLDS HER GAZE

Sydney favourite Caitlin Park sizes up well in a staring contest. ‘Hold Your Gaze’ is both the name of her newest single and a handy word of advice, and Park’s stepping out on tour to launch it. It’s the first cut from her new LP, The Sleeper, due out Friday May 2. See Park, with support from The Phoncurves, at Brighton Up Bar on Friday March 21. thebrag.com

NATIONAL FOLK FESTIVAL 17-21 APRIL, 2014 | EXHIBITION PARK, CANBERRA Brilliant line-up of over 200 acts featuring styles as diverse as: ACOUSTIC BLUES ROOTS TRAD BLUEGRASS WORLD CELTIC GYPSY COUNTRY

WWW.FOLKFESTIVAL.ORG.AU facebook.com/folkfestival

g n i r u t a fe

FIVE DAYS IN A

twitter.com/natfolkfest

perfect world

JORDIE LANE

LINDI ORTEGA

ARCHIE ROACH

OLD MAN LUEDECKE

KATE FAGAN

LUKE PLUMB & PETER DAFFY

TRACEY BUNN

CASTLECOMER

plus many more!

CHECK THE WEBSITE FOR THE FULL LIST BRAG :: 551 :: 26:02:14 :: 9

Industrial Strength Music Industry News with Christie Eliezer

THINGS WE HEAR * Green Day’s Billie Joe Armstrong walked onstage at 11pm last Thursday at the Captain Cook Hotel in Surry Hills and chuckled, “I guess a few of you saw the tweet.�

At 10:17pm, he’d tweeted that they were to play a surprise warm-up gig in the 200-capacity room. Kicking off with ‘99 Revolutions’ and ‘Know Your Enemy’, the deliciously sweaty gig ended an hour later with two songs from American Idiot, ‘St. Jimmy’ and the title track. * As Rolling Stones mania heats up, two tickets for their Perth Arena show are advertised online for more than $12,000 each, a 2000% mark-up. In the meantime, the band’s set for Australia could be wider

than on previous visits. Ron Wood says in three days they’ve rehearsed 60 songs. * Pharrell Williams’ ‘Happy’ topped the charts in 175 countries and has been downloaded 2.3 million times, according to Sony Music. Currently number one in Australia, it also tops the airplay chart and has gone four times platinum. * Soundwave promoter AJ Maddah admitted to the Sydney Morning Herald he’s expecting “a modest profit� this year after drawing 150,000 nationally. Last year it sold 250,000 but that was to be expected after Metallica headlined. He denied he needed to have got 170,000 to break even. * The BRIT Awards in London attracted a record-

THREE STRIKES, WEBBLOCKING, FOR AUSTRALIA? Australia is in line to adopt stringent rules to stop online piracy of music, films, TV shows, games and technology. AttorneyGeneral George Brandis told the Australian Digital Alliance forum in Canberra he wants to adopt both the ‘three strikes’ rule (ISPs warn infringing customers three times before pulling their account) and web-blocking (rights holders can request ISPs block access to infringing sites). Brandis told the ADA, “This is a complex reform proposal, and how it is paid for is one of the principal unresolved issues.

Another option that some stakeholders have raised with me is to provide the federal court with explicit powers to provide for third party injunctions against ISPs, which will ultimately require ISPs to take down websites hosting infringing content.�

breaking four million tweets.

They were screened in Australia on pay TV. David Bowie proved himself to be the coolest man on the planet by not showing up to pick up his Best British Male gong. He got model Kate Moss to do it, dressed in Bowie’s original Ziggy Stardust costume. Noel Gallagher, who presented the award, told the crowd, “You didn’t think he would actually be here? He is too cool for this shit!â€? * RĂźFĂźS are moving to Berlin in late 2014 to start work on their next album. * Wollongong’s new Three Chimneys cafĂŠ, where customers can watch bread being baked or coffee beans roasted, is putting on live acts at night.

Aussies illegally download more music than any others per capita, movie studios say film piracy costs $1.3 billion each year, and Australians downloaded Game Of Thrones more than anyone else last year. But ‘three strikes’ is expensive, and web-blocking can be circumvented. Brandis wants copyright owners and ISPs to nut out a voluntary agreement but talks between the two have stalled. At a crunch, Brandis will rule against ISPs. “I firmly believe the fundamental principles of copyright law, the protection of rights of creators and owners, did not change with the advent of the internet and they will not change with the invention of new technologies.�

MUSICIANS LOWEST PAID OF AUSTRALIAN CREATIVES Australian musicians have the lowest weekly salaries, according to the Commonwealth

Government’s Creative Industries Innovation Centre study. Only six per cent earned $2,000 or more per week from their music in 2011. Most made between $719 and $972 a week from their music. 52% have jobs outside music to survive. The study set out to measure the economic value of the music and performing arts sector, and spoke to 34,000 artists, musicians, writers, performers, music and theatre producers, ensembles and operators. 12% of creative industry businesses are classified under music and performing arts, with 5,887 registered in NSW, 4,156 in VIC, 2,348 in QLD, 1,099 in WA, 783 in SA, 224 in TAS and 73 in NT. More details: creativeinnovation.net.au.

DMA’S SIGN TO I OH YOU Sydney’s DMA’s have signed to I Oh You, with their self-titled EP out on Friday March 28. The EP, and the demos which got label manager Johann Ponniah juiced up, were recorded in guitarist Johnny Took’s bedroom in Newtown. The band, with Tommy O and Matt Mason, has yet to play a single live show.

SASKWATCH JOIN REMOTE CONTROL Melbourne nine-piece Saskwatch joined Remote Control Records’ roster. Their second album Nose Dive is out in April. New single ‘Born To Break Your Heart’ follows ‘Hands’ from last year, which got triple j and community airplay.

AC/DC CELEBRATE 40 YEARS WITH 40 SHOWS AC/DC will play 40 shows around the world to mark their 40th anniversary, which will coincide with a new album. Their first gig was in Sydney on December 31, 1973. Singer Brian Johnson ’fessed up to Florida’s Radio 98.7 The Gater: “We’ve been denying anything because we weren’t sure. One of our boys was pretty ill, so we didn’t like to say anything. We’re pretty private about things like this; he’s a very proud man. But I think we’ll be going in the studio in May in Vancouver – which means we should be getting ready. It’s been 40 years of the band’s existence, so I think we’re going to try to go 40 gigs to thank the fans for their undying loyalty. We’re happy to go out even though we’re getting a bit long in the tooth – I’m really looking forward to it.�

VENUES #1: EASY TIGER LAUNCHING Build Your Music Empire Today E HIFI 1300 THO M.AU THEHIFI.C

Info here:

Just Announced This Week

John Newman Thu 1 May

Eagles of Death metal, Rocket From The Crypt & Mutemath

Coming Soon

Six60 (NZ) Fri 28 Feb

Wed 26 Feb: AA

Robert Glasper Exp & Roy Ayers & Lonnie Liston Smith

Sat 8 Mar

Chris Sheppard of Brighton Up and Big Tree Artists has launched a new venue called Easy Tiger in the basement of The Unicorn in Paddington. Music will run on Thursdays, Fridays and Saturdays. Thursdays are presented with Sailor Jerry as ‘Meow’, with a Hotel Street-type vibe. There will be more details in coming weeks.

VENUES #2: MORE BUY-OUTS IN SYDNEY Weeks after buying Woollahra’s Centennial Hotel, Halcyon Hotel Group has bought the Buena Vista Hotel in Mosman for $13 million.

Justin Hemmes bought the Paddington Arms while the Lansdowne Hotel changed hands for $6 million. In Melbourne, the Espy in St Kilda is for sale (for $5 million according to published reports), as is Yah Yah’s in Fitzroy.

VENUES #3: CHANGE AT MOSMAN CLUB With too much on his plate running the Eastern Lounge at Roseville, Dave Keogh has handed over the reins of the Mosman Club to his friend Keith Armitage. The latter relaunched the venue as The Sunset Lounge last Friday.

Bobby Keys & The Suffering Bastards

Melb Ska Orchestra

Dark Tranquillity (SWE)

Mon 24 Mar

Fri 28 Mar

Sat 29 Mar

Kylesa (USA)

Monster Magnet (USA)

Toxic Holocaust & Skeletonwitch

Skid Row & Ugly Kid Joe

Fri 4 Apr

Sat 26 Apr

Sun 27 Apr

Thu 3 Apr

Darkside Wed 02 Apr

The deadline for applications by artists wishing to play at Folk by the Sea is Sunday March 30. Presented by the non-profit Illawarra Folk Club, it is held in September at Kiama’s Showground Pavilion and Hindmarsh Park. It will showcase 15 to 20 acts a day. See folkbythesea.com.au.

Rebel Souljahz (USA) Sat 27 Sep

Children of Bodom

Jonny Craig (USA)

Band of Skulls (USA)

Sat 10 May: All Ages

Fri 20 Jun

Fri 9 May

WANNA PLAY FOLK

BY THE SEA?

The Crimson ProjeKCt Fri 27 Jun

MOBILE TICKETING BOOM The use of electronic tickets on smart phones is expected to become an increasingly common phenomenon, with over 34 billion tickets forecast to be sent globally to mobile devices over the next five years. This is according to an ABI report called Mobile Ticketing: Market Acceptance & Review of Competitive Platforms. One of the big drivers of mobile ticketing is the ability to bundle tickets with other value added services such as merch and albums.

CHUGG MUSIC LAUNCHES IN THE USA Michael Chugg’s Chugg Music looks after Sheppard, The Griswolds, Deep Sea Arcade, Hey Geronimo, Major Leagues, Lime Cordiale and NZ’s Avalanche City.

Chugg Music will launch its label in North America on Tuesday February 25, distributed

by Super D/Alliance and MGM. The first release is Sydney’s Lime Cordiale’s EP – the band moves to LA this month. They play SXSW at Chugg’s 50th Anniversary Party / Chugg Music Showcase on Thursday March 13 as well as the Aussie BBQs in LA and Austin.

The Griswolds are also playing at SXSW.

RADIO NETWORK LOSES U.S. CO-OWNER The Australian Radio Network (ARN) is now owned 100% by APN, which bought out its American co-partner Clear Channel’s 50% for $246.5 million. ARN is a successful business, with KIIS and WSFM in Sydney and Mix and Gold FM in Melbourne, and stations in Brisbane and Adelaide.

Lifelines Expecting: Fall Out Boy’s Pete Wentz and girlfriend of three years, Meagan Camper. He has a fiveyear-old son, Bronx, with ex-wife Ashlee Simpson.

Expecting: Christina Aguilera and recently announced film crew fiancĂŠ Matt Rutler, their first together.

Split: Silverchair’s Chris Joannou and TV presenter Laura Csortan parted quietly over summer after four years, the Sun-Herald reported.

Their careers saw them spend too much time apart, the paper quoted a source.

Split: Marcia Hines from her fourth husband.

Married: Bruce Springsteen fans Shane Brundell and Julie Barrass in the mosh pit of a Melbourne show. They held up a sign pleading “Can we get married onstage tonight?� but the Boss didn’t respond.

Injured: Strangers drummer Timmy Hansen lost some teeth when eight thugs attacked him for no reason in Rozelle.

Ill: veteran UK punk band The Exploited’s singer Wattie Buchan suffered a heart attack while onstage in Portugal.

Ill: David Crosby, 72, of Crosby, Stills and Nash, underwent heart surgery in Los Angeles to fix a blocked coronary artery.

Ill: Shannon Noll cancelled his Australian dates due to a severe ear infection.

Recovering: British producer Chris Tsangarides (Black Sabbath, Judas Priest) is back home after a medically induced coma following an emergency lung bypass in January after contracting Legionnaires’ disease.

In Court: Canberra punk musician and journo Christopher David Navin, 27, of Watson, was charged with the multiple stabbing murder last December of Nicholas SoferSchreiber. Sofer-Schreiber, who reported on Canberra’s punk scene happenings for triple j and local street press, was found at his home. Navin was arrested at a rural property in Gosford, and pleaded not guilty in the ACT Magistrates bail court.

In Court: Rihanna received US$10 million from her accountant who, she said, almost sent her broke with bad advice including buying a $7 million house.

Died: Devo guitarist Bob Casale, 61, of a heart attack.

Died: Marty Thau, manager of the New York Dolls and Suicide, and founder of Red Star Records, 75, after complications from renal failure.

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been able to really come to terms with a lot of things I needed to but, no, it’s the same. The [industry] people are all the same and they’re occasionally trying to pull the same stuff.”

NOT FOR SALE • BY KRISSI WEISS

G

rammy Award-winning, Georgian-born soul singer India.Arie has taken a fair bit of time off lately, and although onlookers mightn’t know it, we’re lucky to have her back. The emotional strain of having been churned through the music industry from a young age eventually took its toll on Arie, both physically and mentally.

Her star was always bound to rise early, with a natural gift for her craft honed by her mother, Joyce Simpson – herself a former Motown session singer – and her father Ralph, who’s an ex-NBA basketball player. Lauded as the next soul music superstar from her 20s, Arie has always come across both angelic and mystical while managing to never isolate her audience – she is as at home accompanying a hip hop artist as she is producing truly spine-tingling soul music. But as her career progressed, it was as though the machine around her failed to see she was growing. Arie was no longer in her 20s, not ready to be forced into an industry-friendly

12 :: BRAG :: 551 :: 26:02:14

mould, and more than willing to walk away from it all for the sake of her happiness. Perhaps she still is.

But for now, Arie is back, with her new album Songversation in hand along with a revamped stage show.

“Creatively, things are completely different; it’s all different,” Arie says with a burst of enthusiasm. “I feel different, my show is different. I feel a change onstage. The show isn’t just different because I wanted to create a different show but also because I am different, so I’m bringing such a changed energy to things.

“I’m taking more chances, I feel free to be more courageous and to be free in my creativity. The performance concept is inspired from the album Songversation, so I’m incorporating conversation and text with the music and songs. I don’t know exactly what version I’m bring down [to Australia, where she’ll play Bluesfest], because when I’m doing the festival circuit I can’t have my whole production down there, but it will be an evolved show.

Now, the business stuff – well, I’m reacting differently because I’ve

Arie’s audiences have often held her in high esteem, thinking of her as a kind of spiritual guide, but it’s a concept that is somewhat peculiar to her. “I never really noticed that at first,” she says. “When I did, I found it quite strange. I like to write songs because I like to feel that spirit come through me and to feel that creative experience, but there were so many times that I felt like people were looking at me like I should’ve been happy and I just wasn’t happy.

That much I did notice. People were like, ‘If I was your age, doing what you’re doing, I’d be so happy’; people were trying to get me to move off my sadness by somehow reprimanding me. I didn’t realise until recently, until coming out of my spiritual transformation, that I really feel like I have things that I want to share with people – and not because I’m above anyone spiritually or more together than anyone, but because I’ve been through things and have a story to tell. I don’t see myself as a teacher, though.”

There can be a certain romance to songwriting and performing, and often the storyteller can get elevated to a lofty status – some sort of ‘chosen one’, or an ideal they can never quite live up to.

“I asked for that, though,” Arie admits. “When I was 16, I asked.

I was like, ‘If I can do anything, I wanna write songs. Tell me things.’

I wanted to be like how I thought Stevie Wonder was. I didn’t want to sing like him or perform like him, but I wanted to do the thing that he could do that made me feel how he made me feel. I would pray for songs even when I didn’t know what I was asking for, and I romanticised it too, I guess, but I’ve learned after 20 years of praying that same prayer that on the inside, it’s not romantic.

“There are things that you have to be responsible for in that whole spiritual transposition thing that you’d be happier without. Part of me is tested by others – like, I’m challenged as to whether I guide my life based on my spiritual message, like I need to be allowed to keep doing it. I don’t know that I would’ve asked for this if I had’ve known how hard it would’ve been. But I’m still happy with who I am. Mind you, I just paid off my house, because if this does all fall apart I want a house to live in, you know?”

There must be a real frustration, a burden of sorts, when you’re dealing with this pure desire to tell stories and convey truth and you know you’re surround by people that just want to make money and sell a product. “It’s beyond those words; I need a much stronger word,” says Arie. “Every human being has to change, that’s the truth, and whatever you did to gain your success, you’re never going to be able to just keep doing that.

Asking the person not to change is just not real. When people see you as a thing – not as a person or an artist – but as a thing that will make them money, they treat you like a thing and that’s more than a burden; it’s almost inhumane. It’s almost cruel. It makes you feel like you’re not human and yet all the while they’re saying, ‘Oh, I love you and I love your music, but can you just make that other album again?’”

The question begs, is Arie happy to keep trekking along this musical path for the right reasons?

“You know, it’s actually really cool and the answer is yes,” she says.

“I’m really honouring this time …

I’m honouring the fact that I’m genuinely asking myself if this is what I want to do. It’s all I’ve ever done, and so I would just jump in and do another year in the past [if I could], but now it’s different. Even at the end of last year, when I took a break in December, I stopped and I recounted the year and realised it was a really hard year – but the tour

“WHEN PEOPLE SEE YOU AS A THING – NOT AS A PERSON OR AN ARTIST – BUT AS A THING THAT WILL MAKE THEM MONEY, THEY TREAT YOU LIKE A THING AND THAT’S MORE THAN A BURDEN; IT’S ALMOST INHUMANE. IT’S ALMOST CRUEL.”

made it all worth it and despite the difficulty it was all worth it. I took several weeks to, again, ensure I want to do this and the answer was ‘yes’. And it was ‘yes’ not because of what my mother said or because I was scared I couldn’t pay for my house or because of anyone else.

“I’m still refining things, I’m refining my business and how I allow people to deal with me, but I’m no longer stuck. I’m not being controlled and I’m the highest power in my business for once. But you’d have to ask me again next year about [what’s next], because I’m celebrating the fact that I can now choose.”

With: Joss Stone Where: Enmore Theatre When: Thursday April 24 And: Also appearing alongside John Mayer, Dave Matthews Band, Devendra Banhart, Jake Bugg, Passenger and many more at Byron Bay Bluesfest, Thursday April 17 – Monday April 21 More: Songversation out now through Motown/Universal

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The Holidays Feeling Real By Augustus Welby Real Feel might be the result of deconstructive experimentation, but the record doesn’t actually sound too dissimilar to its predecessor.

Fans of Post Paradise have already gleefully embraced the optimistic pre-album singles ‘Voices Drifting’ and ‘All Time High’. So does this mean their quest to break into new ground failed?

“A big part of why the album took so long [is] you think, ‘I don’t want it to sound like that, I want it to be dark and I want it to be this and this,’” Jones explains. “You end up listening to it and think, ‘It’s fine, but it’s not The Holidays.’ That’s a big part of it: trying for a while to be something else and then realising that’s not actually what you want.”

This recognition supports the notion that bands don’t choose their sound, it chooses them. Indeed, a band called The Holidays seems pre-determined to favour relaxed arrangements and warm tones.

Jones muses on what might explain their defining characteristics.

C

ertain bands are so perfectly suited to their name that you couldn’t imagine them wearing any other title. The Clash, Spiritualized and The Velvet Underground are a few that jump to mind, but summersoaked Sydney pop group The Holidays might take the cake.

Back in 2010, the band released

the AMP-nominated debut record Post Paradise, and now we fi nally get to hear its follow-up, Real Feel. The extended interval between albums suggests the trio’s work ethic is as breezy as its tunes, but vocalist and main songwriter Simon Jones reports the last few years haven’t been entirely relaxing.

“We fi nished touring the last album and we said, ‘Look, we could do another album that sounds like this relatively quickly, or we could spend a bit more time trying to fi nd something new again,’” he says. “That takes time and takes experimenting, so we set about doing lots of experimenting.”

“Our default setting for sound is somehow this breezy, happy sound, which is kind of weird. I don’t know why that happens. I think once you’re an adult, you’ve got your things that you like. You know, I like slow percussion, I like buzzed-out guitar, I like weird synth pads and stuff like that. If I put all the things I like together, it makes our sound.”

It wasn’t just Jones’ musical preferences influencing the songs

on Real Feel. Taking time off from the frazzle of touring let the band become acquainted with everyday living, subsequently allowing Jones et al. to gather some crucial life experience.

“When you’re in a full-time band and what you do is tour and then you make a record and then you tour and then you make a record, you get in this sort of suspended animation. You don’t grow up or anything like that. So, taking a long time on this album, what incidentally happened was I bought a house, I got in a serious relationship – got a bit more mature, really.”

Thankfully, taking on adult responsibilities hasn’t sucked the youthful spark out of The Holidays.

However, Real Feel does possess a contemplative shimmer that distinguishes it from the band’s earlier work. “I wouldn’t say [it] sounds like a different band, but knowing the ideas behind it, I think it’s a more mature album.”

Furthermore, Jones looks into the future with a relaxed confidence that’s surely informed by experience. “I’m not really worried about what people think. We like it and I think after being pretty tough on ourselves, if nobody else likes it then that would be a bit weird.”

What: Real Feel out now through Liberation Where: Oxford Art Factory When: Friday March 14

Chicks On Speed A Brave New World By Jody Macgregor

B

ack in 2003, Chicks On Speed opened their album 99 Cents with the words, “No-one noticed you had disappeared”. A decade later they had the opposite problem – people didn’t realise they were still around.

The art-punk collective persisted, though, growing and then shrinking again around its two founding members, Alex Murray-Leslie of Sydney and Melissa Logan of New York. Kiki Moorse, the sole Munich native in the group that was formed there, left to pursue a solo career as a DJ in 2006. “I think it’s quite a natural process for collaborators to come and go,” says Murray-Leslie.

“Everybody has their own solo work and careers to pursue. Melissa and I keep the group rolling and busy with art, music and fashion projects.”

Last year they returned for one of those multidisciplinary projects, a “sonic sculptural installation” called Scream. It involved apps that allowed the audience to interact with a musical performance via tablets, controlling visuals as well as giving instructions to musicians so that they could join in and, as Logan puts it, “kind of jam with us.” They’re planning to expand this interaction in Utopia, the new album and show of the same name that’s evolved from Scream. Logan explains, “Eventually what we’re going to have [at the show] is that the app can be downloaded by anyone who has a smartphone or iPad and can log in.

Then one has to work out, OK, who is in control? And how one knocks each other out, and another person grabs control of the projection and the audiovisual.”

An important part of what Chicks On Speed do is incorporating instruments of their own design into their show, combining art, music, and even fashion with these handmade objects. They’ve performed wearing megaphone hats that amplify everything they sing; they’ve had guitars made out of high heels, theremins made out of tapestries, and “supersuits” that used pressure sensors layered into their clothes to transmit wireless signals to instruments, like wearable keyboards.

It’s this inventiveness with the intersection between technology and music that’s led to the apps.

“What they originally were were more pieces which we actually wore for performances,” says Logan. “It also came from us looking around and thinking, ‘OK, which instruments do we play? We don’t play guitars!’ And then came the high-heel shoe guitar – this antistance we’d had; ‘We don’t wanna play [ordinary] guitar’ – then we had different synthesizers, then eventually we started sticking microphones in cigar boxes, which led to properly having synthesizers built into cigar boxes. Then it progresses and soon one finds oneself into the gadgets which all of society’s addicted to, including people onstage, and it just seems natural then to bring them onstage.”

connected to this spying, almost, that’s happening right now with all these insane NSA revelations that are coming out … Through the camera the user’s face then appears in the app and a mouth is stuck on, one of our mouths, and it starts talking.”

The title of the Utopia album seems deeply ironic, given that one of the themes they’re exploring is the Orwellian modern surveillance of ordinary citizens, both in the tech surrounding the album and the songs themselves. Murray-Leslie explains that the title track is a cover – they’ve always been into cover versions, whether of The B-52s or Tom Tom Club – this time of “a song

by Tuomas Toivonen originally called ‘Urbanism In The House’, which we renamed ‘Utopia’. It’s about renovating cities instead of generic gentrification – ‘Stop knocking down our neighbourhoods.’ That whole notion of failed utopias, where we keep building these individualistic, architect-driven dreams. It’s cool to

design one’s environment, but we need to think more about sustainable cities that can last a long time for communities to live in and culture to grow.”

As well as surprising covers, Chicks On Speed have often enjoyed surprising collaborations: their new songs feature appearances from Yoko Ono and Julian Assange.

While Assange might already have a co-writing credit on an M.I.A. track and a few festival appearances via Skype under his belt, with Chicks On Speed he appears as a vocalist – though speaking, not singing. “He sounds very personal,” Logan says, “talking about the connection between humans and God in the way that it’s like a crime against humanity to have these in-between people filtering; saying, for example, ‘I know what God says, so you have to listen to me.’ Which is also a really interesting thing for him to talk about because it sounds like an abstract conversation about religion, but it’s not – it’s about the filtration of information and someone taking

the power over information, which is really the basis of what’s happening with WikiLeaks and with Snowden.”

Utopia will bring Chicks On Speed back to Australia – Logan is currently in Hamburg and MurrayLeslie in Barcelona – which both are looking forward to for different reasons. For Logan, who was born in rural New South Wales, it’s about returning home. “Living in Europe has been an amazing experience and we’ve had a great deal of support in Germany and Spain for what we do, but I feel it’s time to come and give back to Australian culture now. I’ve been away for so long.” For Murray-Leslie the reason is simpler: “I’m tired of this drizzle here. I haven’t seen the sun in a while!”

What: Utopia out Friday March 14 through Chicks On Speed Records Where: FBi Social When: Friday March 14 and Saturday March 15

One of the apps uses face tracking, a surveillance technology that identifies human faces and can be used to automatically identify criminals and troublemakers. “We thought it would be interesting to use a technology that’s also

“Living in Europe has been an amazing experience and we’ve had a great deal of support in Germany and Spain for what we do, but I feel it’s time to come and give back to Australian culture now.” thebrag.com

xxx

14 :: BRAG :: 551 :: 26:02:14

BRAG :: 551 :: 26:02:14 :: 15

Everlast Acoustic Returns By Matt Shea

I

t’s a cool afternoon in Los Angeles and Everlast is stuck outside a sandwich shop.

“I’m sitting here in my car,” he says, chuckling. “I thought I was going to have a minute between interviews, but I guess not.”

Such no man’s land is a fi tting place to fi nd Everlast, born Erik Schrody. As a former ’90s rapper and later co-founder of iconic Irish-American hip hop group, House Of Pain, Schrody’s bluecollar New York roots were often confused with his Southern Californian upbringing. And after he set out on a guitar-driven solo career in 1998, it seemed as baffling to the record industry as his Caucasian skin had been for Ice-T’s Rhyme Syndicate execs almost ten years earlier.

“I was born in New York and spent a small amount of time in New York,” says Schrody. “But it depends on how you ask the question – if you ask where I’m from in the sense of where my family is from, then I say New York.

But where was I raised and where did I put my youth time in? It’s Cali.

Not that Schrody’s success blinds him to his past. He happily chats about House Of Pain, and uses his solo output to remain connected with the struggle of his upbringing.

“I pretty much live among your average middle-class people,” he says. “I see real life and when the economy takes turns I see what it does to people directly. Not only just through my income, but through watching my neighbours.

I’m not in an ivory tower surrounded by millionaires. I come from blue collar.”

It’s a flinty attitude that speaks to Everlast’s enduring popularity.

Recently, he’s been getting up close and personal with fans via the release of The Life Acoustic, a stripped-down collection of cuts from various points in his career.

Some of the songs are iconic, others sleepers that only true fans will know. But all are presented via simply Schrody’s voice, an acoustic guitar and minor accompaniment.

“I wanted to pick some songs that the casual fan might not know about and I thought were jams. Songs that I felt really strongly about,” he says.

Many would argue that acoustic is the natural environment for Schrody’s distinctive take on

country-blues anyway, and if that’s the case then live is surely the best place to witness these songs.

“I’m enjoying myself,” he says, laughing. “I try not to even make setlists and just play songs that I want to play and see what happens. I feel the crowd out. If I feel they’re bored, I’ll pick it up. If I feel like they’re ready to have their hearts broken, then I’ll throw that on them. And then I’ll bring them out of it.”

Australia will witness Everlast’s acoustic shows over the coming weeks, as Schrody logs dates up and down the country. It’s 13 years since the last Everlast tour. Does he feel overdue?

“Hell yeah, 13 years is a long time.

I don’t see why I’m not in Australia every year or every other year … in the last ten years you’ve gotta make that adjustment where touring is actually more about getting out there and doing it. And I enjoy it.”

What: The Life Acoustic out now through Martyr Inc. Where: Brass Monkey When: Wednesday February 26 and Thursday February 27 And: Also playing the Factory Theatre on Saturday March 8

Papa vs Pretty Animated Tales By Baz Ruddick

I

nitially the solo project of vocalist and guitarist Thomas Rawle, local band Papa vs Pretty have been quiet achievers for the past six years. A consistent and understated force in the Sydney music scene, with solid touring and a succession of EPs throughout that time, it’s been a gradual yet consistent climb for the group, all leading towards second album White Deer Park – a melancholy exploration to a point of clarity. Recorded in three different studios and produced by the legendary Dave Trumfio (Wilco, Grandaddy, My Morning Jacket), White Deer Park is indicative of what makes Papa vs Pretty such a great band: modest, deep, tight and quietly understated.

While many bands rush to get their sophomore album out to the public in order to capitalise on a successful first, Papa vs Pretty have taken their time to ensure it’s been done right. Speaking on his sixth anniversary of joining the band, and a week out from the album’s release, bassist Gus Gardiner admits he’s “a little anxious”.

“I am not worried about the quality of it. I know I am proud of it personally. I guess we started working on the album maybe even two years ago when we fi nished touring the first one. It’s been a very long process with a lot of writing and a lot of demoing.”

The recording process itself took over a year, with rigorous rehearsals and ruthless song culls. “We

White Deer Park is “about having that moment of realisation ... something you know but you’re not conscious of.”

16 :: BRAG :: 551 :: 26:02:14

tried to up our game a lot,” says Gardiner. “We wrote a lot of songs and we tried to make a few leaps and bounds in our development as a band.” The group dealt with the notorious pressure of a second album by throwing itself headfirst into the job at hand. “We got into an obsessive sort of rehearsal regime.

We were rehearsing with the click track on but with the upbeat only one click every eight bars. We were really obsessive with getting the performances perfect.”

This quest for perfection led the boys to record in three places altogether. The bulk of the tracking was initially done at Sydney’s Studios 301. “We had this massive

great reverb space there. There is a song on the album called ‘Let It Begin’, which has this slow Phil Spector-style beat. You can really hear the snare was ringing out in that room.” Leaving the “super schlick” business environment of 301 behind, the band then took a sojourn to Mangrove Mountain on the Central Coast to record in Scott Horscroft’s studio, Forgotten Valley, before jetting off to LA to work in producer Dave Trumfio’s house. “Tom and I were doing a lot of tracking on our laptops in Dave’s backyard using little synths and keyboards and layering them,” says Gardiner. “Then we were bringing them together and putting them over tracks. It was recorded on two

opposite sides of the world, which I guess is cool!”

In addition to the actual recording, a big part of making White Deer Park was whittling down the 70-odd songs they’d written. “I guess what narrowed it was what thematically, sonically and individually our favourite songs were.

It was quite a traumatic process at times, just to cut off good songs, but just came down to how cohesive we wanted the album to be.”

In process and in subject matter, then, the whole concept behind White Deer Park was an arrival at an instantaneous point of clarity and understanding through a struggle of comprehension. Bizarrely enough,

the album’s title refers to the 1990s cartoon The Animals Of Farthing Wood. “Everyone our age who had TV has this strange, unconscious memory of this show,” Gardiner explains. “When you hear the theme music you are like, ‘What is that?’

You know it but you don’t know what the hell it is. Then you see it and all these nostalgic memories of when you were a kid flood back.” White Deer Park, says Gardiner, is “about having that moment of realisation or of understanding… something you know but you’re not conscious of. It’s about arriving at a place of understanding and clarity.”

It’s a feeling the band experienced while making the record, Gardiner says, and is given airtime on the single ‘My Life Is Yours’. “It’s about going through a profound personal change and regarding your previous self as a different person.

I guess that is something we all went through as a band and as individuals.”

In order to encapsulate that feeling, the band got experimental with many of the sounds on the album.

In addition to overlaying synth tracks and playing through “metal boxes”, they used voice recordings to create a spooky soundscape between tracks.

“We set up this answering machine in the studio and people could ring up and leave messages,” says Gardiner. “We sort of wove those into soundscapes between songs so when people listen back they will have this vivid memory of this voicemail they left. My favourite one is the sample coming into ‘Smother’. It’s really quiet and there is this pissed off girl and she says, ‘I have been with my boyfriend for over two years and we still haven’t played Scrabble!’ It’s rad.”

What: White Deer Park out now through Peace & Riot/EMI Where: Oxford Art Factory When: Thursday February 27 thebrag.com

xxx

“As a youth I’d go back [to New York] … [it] was the mecca of all things hip hop and b-boy … But [these days] if you’ve gotta live somewhere and you’ve gotta pick somewhere that has a little bit

of everything, it’s hard to beat Southern California.”

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Ball Park Music Do It Yourself By Blake Gallagher

T

here’s something to be said for taking the DIY approach. Such was the case when the time came for Brisbane’s Ball Park Music to start work on their third full-length album, Puddinghead. Opting to record and produce the LP entirely on their own, the quintet rented a “cheap, crummy” fibro shack well out of the way in Brisbane’s northern suburbs and, far removed from the professional studios where they recorded their back catalogue, dived headfirst into crafting the follow-up to 2012’s Museum. While relatively new territory for the band – producer Matt Redlich had been pulling the strings on albums one and two – frontman Sam Cromack says the experience afforded a level of creative and experimental freedom that proved liberating.

“I think it had always been on my agenda. I didn’t pick that it would happen on this record, it just kind of came to be,” says Cromack. “We were travelling when we were touring for the second record and a guy in our crew had an audio technology magazine with a DIY special. I remember passing it around and everyone having a read, and having this feeling that maybe that’s what we should do next. It became a reality really quickly, we bought a bit of gear and booked a place and it all just came together.”

Finding that place was one of the first big challenges of the album, with Cromack acknowledging that locating “somewhere temporary that you can make a lot of noise in” was initially a difficult task. Once packed in and ready, however, the group revelled in being the collective captain of its own, less-than-pristine ship.

“I think in many ways it was similar to the process that we already had, but having our own space and having a

lot more time and flexibility just allowed us more opportunity to try things, to make mistakes, to write more and just indulge in the whole experience, which I think was what we were really craving after the first two records.”

To coincide with the album’s release in early April, Ball Park Music will be heading out on an extensive 20-something date jaunt throughout the country, hitting capital cities and regional areas alike, and kicking off at the new Mountain Sounds Festival on the Central Coast. For Cromack and co., who tend to be in a nearconstant state of creative activity, it can’t come soon enough.

“Between finishing the record around Christmas time and heading off on tour in a month, there’s been a reasonably big period of downtime.

I’ve definitely been going stir crazy, I’m itching to be on the road and play shows and just be active. I don’t really handle doing nothing really well – boredom sets in and I feel quite flat if I don’t have little challenges and tasks in front of me; I feel a bit lost. I think we all enjoy just keeping busy, and I think that’s prompted a lot of our activity.”

‘Busy’ is something of an understatement. Puddinghead is the band’s third album in something like 24 months, and follows an ambitious couple of years that included several national headline tours, spots on festivals including Splendour in the Grass, Falls Festival and Groovin The Moo, a run of dates supporting alt-rock legends Weezer and, most recently, maiden voyages to the US, UK and the Netherlands.

“It was a pretty big, exhausting trip; we were gone for the best part of a month and I’d never been to any of those places before in my life, so it was quite full-on to be travelling

“I’m itching to be on the road and play shows and just be active. I don’t really handle doing nothing really well.” there but also really great.” The band’s international debut included appearances as part of the CMJ Music Marathon in New York. “I love travelling with the band, it gives me a good sense of purpose when I’m in a new place,” says Cromack. “It’s nice to go somewhere for a reason and be able to interact with people who live there, so it went really well.”

While Puddinghead includes a generous selection of tracks taken

from as many as three years ago to ones penned closer to recording, Cromack says they share a cohesive thread in their source material. “I think it’s quite an autobiographical sort of record. It pretty much all deals with personal experience, sometimes in a really direct manner and sometimes in a more abstract way.”

Musically, Puddinghead is a little more rambunctious and less demure than prior work. It’s something evidenced by first single ‘She Only Loves Me When I’m There’, a slick, synth-driven slice of infectious pop.

An increased sense of immediacy was a clear aim for the new album, according to Cromack.

“After we finished the first two records we sat down and kind of went, ‘Well, what kind of thing do we want to do here?’ and made a conscious decision to make a really direct and lively record. I think we

started to accept that that was our strength, that’s what people knew us for and enjoyed, and that we ought to play to that strength instead of run away from it. There’s a fair bit of colour across the sort of moods of the songs but we definitely decided to keep it energetic and short and direct. We tried to make every song as if it were a single.”

What: Mountain Sounds Festival With: The Holidays, Emma Louise, Snakadaktal, Softwar, Jinja Safari and more Where: Mt Penang Gardens, Kariong When: Saturday March 15 And: Also appearing with Papa vs Pretty and Holy Holy at the Metro Theatre, Saturday April 5 More: Puddinghead out Friday April 4 through Stop Start/Inertia

Dark Tranquillity Your Shout By Tom Valcanis of colourful and enticing formats.

One such extravagance is their live album, Where Death Is Most Alive, a whopping 180-gram, three-LP set.

True to form, they’ve recently issued a new seven-inch for sale exclusively at their North American shows.

“I’d love to go record shopping on this tour but I can’t really do that,” Stanne says, crestfallen. “Our seven-inch was supposed to arrive today…” He excuses himself for a moment. “Hey! I’m holding it right now,” he gushes, like a father with his newborn. “It’s red and splattered – it feels good to hold it in my hands. I’m kind of sad for people who never even bought CDs. Now they’re just losing out. [Buying records is] a form of pride as well. I like to show off my album collection at home to my friends.”

Metalheads hoarding rare collectibles feels kindred with geekdom-at-large.

Stanne is no stranger to all things nerdy. “Oh, we’re huge Star Trek fans,” he confesses. “Very much so, all of us.” (His favourite series is The Next Generation, by the way.)

I

His rich baritone glides through the air, even when speaking. Dark Tranquillity don’t merely speak, though – they roar. Originally named Septic Broiler, Dark Tranquillity pioneered the mid-’90s Gothenburg sound. Stanne and lifetime friend Niklas Sundin seized 18 :: BRAG :: 551 :: 26:02:14

upon the heat and fire of death metal, tempering it with classic twin-guitar harmonies, acoustic flourishes and clean, classically trained singing.

Alongside fellow Swedes like At The Gates and In Flames, Dark Tranquillity’s melodic death metal stands like a proud pillar of heavy music. Proving so popular, it’s unsurprising the band notches up its quarter century in 2014.

Pondering the milestone, Stanne admits, “I get a little stab of anxiety.

Actually, it doesn’t feel like 25 years at all. It’s something that I’ve been doing for more than half my life. I can’t do anything else.”

Stanne was 14 when he founded the band, solely as a guitarist. He then filled the vocal spot of Anders Fridén – now of In Flames – when Fridén left in 1994. “It immediately became like the most important thing in the world, like there was nothing else,” Stanne recalls. “[The band] grew up together.

We lived on the same street. We discovered metal music together.

We listened to the same albums.

We copied each other’s CDs, vinyl, cassettes. Went to the same shows.

The fact that it’s been 25 years, it’s just been incredible.”

Indeed, Stanne has known a life on the road from an age when most kids are used to riding their bikes

to school. “The fact is, we have to travel,” Stanne says, chewing it over.

“We have met so many awesome people, seen so many great things, travelled the world, and even had opportunities to relax. It’s the best thing in the world. We’re lucky that we can still do this. We feel very thankful to the people who still support us, come out to our shows, and buy our records and all that.”

When Stanne says records, he means records. Vinyl records.

Despite the band blooming just as vinyl’s staple years tailed off, Dark Tranquillity demanded releases on wax. Throughout their career, their albums arrived in an array

“I think metal is something a lot of people are really passionate about, so they get obsessive about it,” Stanne points out. “We do these meet-and-greets every day and the people who come have really interesting questions that sometimes we can’t even answer. We’re like, ‘What? What? No, I don’t remember that!’ They’re really, really passionate about us. I love that.”

What: Construct out now through Century Media/EMI With: Be’lakor, Orpheus Omega Where: The Hi-Fi When: Saturday March 29

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Dark Tranquillity photo by Daniel Falk

t’s been a long time between Aussie beers for Dark Tranquillity, bearers of Gothenburg’s melodic death torch. Nine years, in fact.

“We’re sorry we’ve been absent for so long,” says their flame-maned vocalist Mikael Stanne. “We can’t wait, it’s going to be awesome.

Hopefully we can make it up to you guys.”

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arts frontline

free stuff head to: thebrag.com/freeshit

arts news...what's goin' on around town...with Hannah Warren

five minutes WITH

MEGAN MASSACRE

Megan Massacre

N

ew York based tattoo artist Megan Massacre took five to chat to the BRAG ahead of her appearance at the Sydney Tattoo And Body Art Expo next month.

How did you get into tattooing?

I got into tattooing sort of randomly.

At the time I was eighteen years old, had just graduated from high school and was working a part-time job selling furniture just to get by.

One day a co-worker asked me to give her a ride to a local tattoo parlor … and while I waited in the

lobby for her to finish, the guys who worked at the shop came into the lobby saying she told them I could draw well. They … handed me some paper and a pencil and asked me to draw a few different things. They loved what I drew and asked if I had ever done a tattoo before. Of course I said no, but they then asked if I would like to do one right there on the spot. Despite being very intimidated, I said yes.

That day the artists set everything up and walked me through my very first tattoo. Afterwards they said I did a good job, and asked if I was

interested in an apprenticeship. The rest is history!

What’s your favourite tattoo?

My favorite tattoos at the moment are the tiny spider webs I have tattooed around the cuticles of my nails. It’s by far one of the simplest tattoos I have, but I have always been fond of them. A funny story about those tattoos is, that in the weeks following getting the tattoos, as my nails grew out, they had little marks from the tattoo on them, so weird!

What’s the worst tattoo you’ve ever seen?

I honestly have seen sooo many horrible tattoos it’s sad to say that it’s hard to pick which is the actual worst. I will say that the worst tattoo I’ve come across recently is [rapper] Gucci Mane’s ice cream face tattoo that says “Brrr” on it.

That thing definitely gives me shivers!

What are your current projects?

Outside of tattooing at Wooster St., I also tattoo out of a shop called

Sacred in NYC for the cover-up tattoo TV show called “America’s Worst Tattoos” on TLC. I have also been traveling a bit both nationally and internationally for tattoo conventions, as well as spending my time at home in NYC working some more on artwork outside of tattooing such as painting and clothing designs. I also do some modeling and DJ’ing. So I guess you can say my plate is pretty full!

What can we expect from the Sydney Tattoo Expo?

As a first-timer myself, I am also curious about what to expect! I have heard a lot of good things about the convention, and from the looks of the photos and artist list, I anticipate it will be a fun, entertaining experience and a great opportunity to get a top quality tattoo!

What: Sydney Tattoo Expo Where: Royal Hall Of Industries, Moore Park When: Friday March 7 – Sunday March 9

TATTOO EXPO! TICKETS! WIN!

The Australian Tattoo & Body Art Expo is back in Sydney from Friday March 7 to Sunday March 9 to turn the population into a human canvas for the artists coming from around Australia and the world. If you want to be there to get inked and enjoy the tattoo contests, shopping, body piercing, airbrush displays, skate exhibitions, rockabilly style pin-ups, burlesque and live music, the BRAG can help you out. We have two double passes to give away, and to win, all you need to do is head to thebrag.com/ freeshit and tell us about the worst tattoo you’ve ever seen.

INSTAGRAM GENERATION Julie Bookless

Photojournalist Benjamin Lowy, best known for his conflict photography, is coming to Sydney for Head On 2014 in May and June. Benjamin is a firm believer in the power of Hipstamatic and Instagram to inspire people to take up more serious photography as well as share pictures of food. He will judge the Mobile Phone Competition, along with Olivier Laurent, James Cottam and Moshe Rosenzveig. Benjamin will also run a mobile phone photography workshop and be a keynote speaker. To get more details about the competition and the workshop, go to headon.com.au.

Alison Bennett, Shifting Skin

PERMASABI

PAPER ART AT GALLERY RED

Glebe’s Gallery Red presents its latest exhibition, Disbound, a mixed media exhibition of prints, drawings, sculptural statements and paper engineering. It features works from Barbara Aroney, Barbara Bartlett, Chidzey, Claudia Citton, Kathryn Ryan, Kassandra Bossell, Kay Lyon, Julie Bookless and Terence Uren. The exhibition runs from Friday February 28 to Tuesday March 18. For more details, head to galleryred.com.au.

JEFF DUNHAM AND POSSE RETURN TO OZ

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TATTOOS GET CRAZY

Let’s be honest, tattoos are weird. Drawing on yourself with needles to leave a permanent mark? Okay. But 10×8 Gallery is taking it to a whole other level with Shifting Skin; weird and wonderful works by Alison Bennett featuring 3D augmented reality over photographic prints of human skin marked by tattoos. Bennett’s flattened images of human surface were captured using a re-purposed flatbed scanner held directly against the subject’s body. When viewed through an app on a mobile screen, a 3D topography appears to project out of the print. The exhibition is a feature of the Sydney Gay & Lesbian Mardi Gras Festival visual arts program and runs from Tuesday February 25 to Sunday March 9. For more info, including a video demonstrating the augmented reality, see alisonbennett.com.au.

Jeff Dunham and Peanut

DEGENERATION

A new contemporary Chinese art exhibition has opened at the new ACAF Art Terminal T1 in St Leonards. Degeneration is presented by the Australia China Arts Foundation and sponsored by Auswin TWT property development and the Bridging Hope Charity Foundation. The highlight seems to be an image of a shirtless man sitting on a giant banana eating a banana, so our interest is well and truly piqued. Check acaf.org.au for more details.

52 TUESDAYS WINS BEAR

Australian film 52 Tuesdays has won the Youth Jury's Crystal Bear for Best Film at the 64th Berlin Film Festival. This is its second major international award after the World Cinema Dramatic Directing Award at the Sundance Film Festival. It has also been named one of the ten must-sees of the Berlinale and one of the 8 Oddest Movies at Sundance. The film follows 16-year-old Billie and her mother, undergoing gender transition, over a year of Tuesday afternoons. It was filmed over the course of a year, once a week, only on Tuesdays. The actors, all non-professional, were given the script one week at a time and only given the scenes that they were in. It will be released in Australia on Thursday May 1.

SEVEN PAINTINGS TO SEE BEFORE YOU DIE

Lists are very trendy right now: ten best celebrity beards, 27 ways to wear skinny jeans, top 42 ‘best of’ lists… Now Liverpool Street Gallery is in on the action with Dick Watkins’ forthcoming exhibition, Seven Paintings You Must See Before You Die. The exhibition will be on view from March 1 to March 27 and comprises a series of new paintings around Watkins’ exploration of the language of abstraction. For the details, check liverpoolstgallery.com.au

THE POPE OF TRASH IS BACK

John Waters is heading back Down Under in March with a show full of the same wit that has earned him the moniker “The Pope of Trash”.

He’ll be sharing stories of childhood and early influences through to Hollywood highlights and lowlights, and divulging his fascination with exploitation films, fashion lunacy, Catholicism, sexual deviancy and how to become famous (read: infamous). In his own words, “It’s hard to offend three generations, but it looks like I’ve succeeded.” Catch him at the Sydney Opera House on Sunday March 9. Tickets are available from sydneyoperahouse.com. thebrag.com

xxx photo by xxx

His television specials and series have been the highest rated programming in Comedy Central history, his DVD sales have reached seven million units, his videos have received a half a billion views on You Tube, and his live concerts sell out arenas worldwide. That’s right, Jeff Dunham is returning to Australia.

He will perform at the Qantas Credit Union Arena on Saturday May 17 with the help of his entourage; Walter the grumpy retiree, the beer-swilling, NASCAR-loving and resolutely red neck Bubba J, the furry and manic Peanut, José Jalapeño the spicy pepper, the bumbling skeletal Achmed the Dead Terrorist, his almost as dead long-lost son, AJ; and Peanut’s own ventriloquist dummy: Little Jeff.

Tickets are on sale on Tuesday February 25 from premier.ticketek. com.au.

Sydney artist Perran Costi has created a cascading fountain of milk, built a micro cosmos in a suitcase, and pioneered a new society on Cockatoo Island. He even made it snow in the middle of September. In his latest project permasabi, people enter three giant mirrored cubes one at a time through low doorways into an infinite galaxy, a never-ending rainforest and a vast desert. Permasabi is Perran’s own term from wabisabi – a Japanese world-view and aesthetic centred on the ideas of transience and imperfection, and permaculture – an environmental and design concept focused on sustainable ecosystems. Perran’s work explores the ways these two principles do and do not intersect. The exhibition runs until Friday March 14 at the College of Fine Arts in Sydney. Each Saturday of the exhibition there will be free terrarium making workshops hosted by Perran. For deets, visit perrancosti.com/permasabi.

Privates On Parade

The cast of Privates On Parade

[THEATRE] Public Displays By Harry Windsor

K

ing St’s New Theatre had a good year in 2013, nominated at the Sydney Theatre awards for its production of Jez Butterworth’s Jerusalem. This year, it opens with Peter Nichols’ 1977 play with songs, Privates on Parade, in which the young members of the Song and Dance Unit South East Asia (SADUSEA) posted to Singapore in 1948 must entertain the troops, contend with their own sexuality and generally have adventures in the empire. There are lots of dance numbers, as well as healthy doses of shower-room nudity and towel flicking; like a boarding school adventure written by Oscar Wilde with all the subtext made text. The troupe’s spiritual leader is Captain Terri Dennis, who likes to sing, dance, and wear heels. Into this motley crew comes Private Steven Flowers, barely out of his teens, decent and callow.

Privates is a Mardi Gras sponsored event, but it is aiming for mass appeal. The director of this production, Alice Livingstone, is confident that “anybody who enjoys a musical will like it. It’s a lovely story about young men who are thrown into a very alien environment and how they cope with it. And it’s very funny as well. It’s got little moments of poignancy and [spoiler alert!]

I guess you could say a tragic moment, but it’s essentially a play that’s very uplifting. It’s an entertainment. It’s very much based, in its form,

on all of the old styles of theatre, like vaudeville, music hall, panto and all of those British traditions, so we’re very much using that format as well in the way that we present it”.

The show does so by making the audience part of its setting. When the curtain closes, the performers come out in front to do their routines for the troops – us. When the curtain opens, the show is over and we’re privy to the real lives of the company, as it were, behind the scenes.

Though, it has to be said, one is hardly more flamboyant than the other. It’s a neat concept.

I ask Livingstone what it’s been like staging a musical in the New and she’s frank: “It’s hard, because of course a musical demands not just looking at the scenes and the characters and the story, but you’ve got the choreography, you’ve got all the songs as well, so you’ve got to have dance rehearsals, musical rehearsals, so we’ve had to do a lot in our four weeks”.

Helping her cause is the fact that the show’s musical director, John Short, worked on the original production of Privates, and knows the show backwards.

The cast, too, is generally strong, though it has to be said that this kind of English comedy is particularly unforgiving. As with Loot at the STC a few years ago, any flubbed lines kill

the momentum dead. The speed at which bon mots are exchanged makes any disruption to their rhythm jarring. The show is probably most successful in its quietest moments, and particularly those featuring the two young romantic leads (Diana Perini and David Hooley) whose tenderness, amid the wild caricature swirling around them, is touchingly convincing.

Emboldened by their nomination last year, it will be interesting to see where the New goes in 2014. As Livingstone puts it, “it [the nomination] laced with villainy. It’s action-packed and immediately proves that this fi lm won’t be a lazy rehash of its predecessor. The story unfolds against the beautiful, but savage, Australian landscape, which can be just as unforgiving as our villain. Actors John Jarratt and Ryan Corr, who play Mick Taylor and Paul Hammersmith, agree that the outback is as much as a protagonist as they are.

Jarratt explains, “The outback is very much a character… [It] can kill you without Mick Taylor.”

John Jarratt as Mick Taylor in Wolf Creek 2

But it’s not just the storyline and setting that are more fleshed out in the sequel. Audiences will have more exposure to Mick and discover the deep seated motivation behind his murders.

Despite this, Jarratt doesn’t believe that Mick has evolved, stating, “You just get to see a hell of a lot more of him.” Corr agrees, “You find out a little bit more. You certainly see a bit more of Mick’s world.” As audiences will discover, this world has a body count to rival that of House of a Thousand Corpses.

Wolf Creek 2 [FILM] No Fairytale By Tegan Jones

“W

elcome to Australia, cocksucker.”

Horror movie fans have been waiting with bated breath for the follow up to the disturbing and successful Wolf Creek, and after nine long years it’s fi nally arrived.

Mick Taylor is back, and he’s as thirsty for backpacker blood as ever.

Unlike the slow building crescendo of the first fi lm, Wolf Creek 2 has a dramatic, attention-grabbing opening sequence that’s

What makes Wolf Creek 2 so interesting is that it isn’t a clean-cut horror flick. Writer-director Greg McLean has insisted that he perceives it as an action and suspense film, as well as a comedy. Jarratt agrees that giving Mick more screen time has provided the opportunity to introduce more comedic dialogue to the sequel.

The veteran actor says that there’s “a lot of black comedy. You find yourself laughing at things you shouldn’t be laughing at, and feeling a bit guilty about it.”

The fun certainly seems to have permeated behind the scenes of the movie. Jarratt

was a lovely recognition of the quality of the shows that we do, and the fact that we are very much a force on the independent scene. We often do plays that no one else will do, and we do them on very limited resources – but we always do them well”.

What: Privates On Parade Where: King St New Theatre When: Tuesday February 11 – Saturday March 8

describes how enjoyable it is to play such an evil character, and even jokes about releasing a Mick Taylor Navman; “Turn around, ya fuckin’ idiot. Turn left here, dickhead. You have now found your victim.” Meanwhile, the 25-yearold Corr describes doing his own stunts and “standing around watching the trucks being thrown off a cliff.” He says that he’s grateful for the once in a lifetime experiences he had making the film. He speaks particularly fondly of interacting with the local Indigenous population. “I’d get taken out by the locals to their local shelter and be given a tour around their land and be shown where the female spirit was from and the male spirit. We went roo shooting and made roo curry the next night.”

It’s the injection of dark humour into the horror franchise that makes it so quintessentially Australian. If you removed Mick’s xenophobia and penchant for murder, he could be a charming Australian larrikin.

He enjoys a laugh and loves his country.

He really could be any one of us. Combine this with the fact that some aspects of the franchise are based loosely on real events, and you can see what’s truly terrifying about Wolf Creek 2. This fi lm isn’t outside the realms of possibility. Mick Taylor and his “foreign vermin” perspective exist in the darkest realms of the Australian psyche. He’s even manifested himself in the cases of Ivan Milat and Bradley John Murdoch. As Jarratt warns, “This isn’t fairytale shit.”

What: Wolf Creek 2 When: In cinemas now

The Winter’s Tale [THEATRE] The Wonder Of Shakespeare By Adam Norris

I

The Winter’s Tale photo by Pierre Toussaint

n what turned out to be one of the more entertaining interviews I’ve conducted, Terry Serio unexpectedly broke into an impersonation of Cate Blanchett impersonating Blanche Dubois from A Streetcar Named Desire, and enthused about television motivating audiences to seek challenging new stories and complex characters. One of two characters he portrays in Bell Shakespeare’s The Winter’s Tale is notoriously directed to “Exit, pursued by bear”, so Serio has some insight into unexpected narratives...

Most people have read at least a little Shakespeare (even if under duress in high school), and the plots of his more famous plays are so deeply ingrained into our thinking that their influence is unlikely to ever disappear. The hurdle for many people is the rich, perplexing language used to develop these complicated plots, and actors themselves are not exempt from this.

“Learning the lines, I was given one little piece of advice.” Serio recalls. “It was back in midDecember, and I was told “Learn it, and learn it now. In Shakespeare there’s nothing like being uncomfortable, and the audience will know it.”

So I started learning from that moment, and I’m so glad I did because, you know, Shakespeare is hard. It takes great concentration to put it all

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together. It’s like a puzzle, like a word science experiment, pulling bits together, putting them through a wringer and seeing what comes out the other side. It’s hard, but it’s magical.”

His description seems particularly apt given director John Bell has chosen to draw out the supernatural, magical elements of the play – resurrecting a dead child to act as a kind of audience spirit guide through the story – while bringing the story forward a few hundred years and adding music. The result is a production that sounds genuinely exciting.

“There’s an element of playing with time in this production,” Serio says, “and John Bell has focused that on the journey of the child. He’s kind of mystically controlling the action in a way.

It’s a lovely move because it makes the whole play so much more magical, and given that it’s not one of the Shakespearean plays that is often performed it takes it into a whole new realm.

Setting it in the late sixties, seventies really lends it to great music, and Alan John has created some songs that are really fun, really entertaining. Somewhere between The Byrds and The Doors.”

Tampering with Shakespeare is a risk. While Australian theatre has seen the Bard endlessly updated and rearranged, many audiences still

shy away from extravagant re-imaginings or contemporisations.

“I think the thing is...” Serio ponders his words.

“Audiences these days are highly educated in terms of their need to follow story. I can sit down and watch eight hours of Breaking Bad or True Detective and just eat it up. I’m following the story, I’m intrigued by these characters, and I think that’s what Shakespeare does. He has plots that you really do need to follow closely, and I think modern audiences have been educated to follow complicated stories. I think theatre audiences especially are quite discerning. I know there have been productions at Belvoir recently where they’ve fooled around with the text a little, but I reckon I’d rather fool around with things like the time frame, the setting, elements that can change the look and atmosphere rather than the text. I think that’s exactly what Shakespeare really soars, and it’s our responsibility as actors to make that work for the audiences. We have to understand it so completely that in our delivery you have total faith in that character. You drop clues, do all sorts of subtle things from music to lighting to develop the feeling that this is all genuine. I think that’s part of the joy of it. That audiences have such high expectations of Shakespeare now, and that allows you to look at the production in unexpected, intricate ways. It’s the wonder of

Rory Potter and Helen Thomson in The Winter’s Tale the language, but of course that’s also the wonder of Shakespeare.”

What: The Winter’s Tale When: Saturday March 1 – Saturday March 29 Where: Sydney Opera House, Playhouse More: bellshakespeare.com.au

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Film Reviews Hits and misses on the silver screen around town

■ Film

■ Theatre

ENDLESS LOVE

JUMP FOR JORDAN

In Cinemas February 14

Until March 29 at SBW Stables

Gabriella Wilde and Alex Pettyfer in Endless Love When Hollywood releases a film about two lovelorn teens on Valentine’s Day, it’s clear what they’re hoping for – The Notebook, mark II. From the outset, the conditions for another perfect storm of romantic teen drama look spot-on but the formula is trickier than you’d think.

There’s the stunning yet chaste leading lady, Jade Butterfield (former model Gabriella Wilde, Sue Snell in last year’s Carrie remake). Then there’s the moral but rebellious leading man, David (walking jawline Alex Pettyfer whose abs you may remember from 2012’s Magic Mike).

Scott Spencer’s 1979 book provided the inspiration not only for this film but also for the 1981 film of the same name starring Brooke Shields. Although given a writing credit on this current release, the author claims to have had only brief contact with the original filmmakers and no contact whatsoever with this current incarnation.

While the book addresses the destructive potential of blind, youthful love, this current version has no such depth and contorts the plot into an unrecognisable and unintelligible mess of events. In particular, while the recent death of Jade’s eldest brother helps explain her father’s protective nature, his consequent actions are so radical they’d be better placed in a psychological thriller.

Jump For Jordan is billed as a comedy.

And it is definitely funny – plenty of classic lost-in-translation moments and SBS jokes, and one laugh out loud dream sequence involving a magic carpet and an ornamental vase.

But what makes Jump For Jordan as good as it is, is the portrayal of the full spectrum of emotions: love, joy, passion, rage, loss, betrayal, loneliness, frustration and fear.

This is a very intimate look into the heart of a family that is ripped at the seams daily by the opposing forces of a history in Jordan and a life in Sydney.

Sophie (Alice Ansara), an Australianborn Arabic, ran away when she was 20.

Her traditional Jordinian mother (Doris Younane), and long-suffering sister Loren (Sheridan Harbridge) have never quite forgiven her. When Loren gets engaged, Sophie is pulled back into the folds of the family to keep up pretences to her Aunt Azza (Camilla Ah Kin), visiting from Jordan for the wedding. Forced to lie about her job, her apartment and her girlfriend (Anna Houston) – the pressure mounts on Sophie, and when she finds she can’t keep it up, she lets out more than just her own truth.

Jump For Jordan takes a risk in jumping between multiple timelines and two vastly different countries but, despite the simple staging of a kitchen table half-buried in a mountain of sand, it manages to convey both time and place effectively. The actors also cleverly and effectively create the experience of watching a film half in English and half subtitled, which is no mean feat and provides the opportunity for some of the best laughs.

Overall this is a saccharine, repetitive tale.

While it has many of the required elements for a successful love story, it takes itself far too seriously and ultimately makes it difficult for the audience to swallow.

Above all else, this is a play about relationships; about lovers, husbands and wives, brothers and sisters, mothers and daughters, people and their country. The expectations they have of each other and the secrets they keep. It will strike close to the heart of the children of immigrants, but the appeal is far broader and it will give everyone something to enjoy.

Lee Hutchison

Hannah Warren

Drew Tingwell , Denis Moore and David James in When Dad Married Fury ■ Theatre

WHEN DAD MARRIED FURY February 18 – 22, Riverside Theatre David Williamson’s latest is full of recognisable Williamson types: venal, grasping innercity conservatives, as well as a couple of good lefties who get all the zingers.

Two brothers, Ian and Ben (David James and Drew Tingwell) fly in to Sydney for their father’s 75th, and an impromptu crisis meeting is held at the airport. Their father, Alan (Denis Moore, who also directs) has married an American, Fury (Annie Last), who’s half his age.

Not only has Fury inveigled her way into their father’s affections, but she’s managed to convince him that signing a pre-nup would be somehow

unromantic. Ben and Ian are terrified that their inheritance – they estimate the old man’s worth around one hundred million – is about to take an almighty hit. Complicating things further is the fact that Ben’s wife, Laura, blames her father-in-law for the suicide of her own father, who invested everything he had in one of Alan’s investment schemes, which went belly up when the GFC hit.

Moore’s production is first class; the economical set puts the focus on the actors, and they deserve it.

Moore, as the patriarch, is particularly memorable; flinty and unapologetic. With his sleeveless V- neck jumper and brylcreemed hair, Moore captures the Queenslandacademic-from-the-‘60s look to a tee.

Watching a Williamson play is often like eavesdropping

on a middle-class dinner party, only broader than life.

It’s a testament to the cast that their characters don’t feel like pure caricature, with the possible exception of Fury – an evolution denying member of the Tea Party – but she turns out to have a good heart, and it’s the transparency of this don’tjudge-a-book-by-its-cover arc that makes it feel so hollow, and Fury such a cipher. She constitutes a neat opportunity for some gags about God and Americans, and that’s it.

Still, the audience I was with was rolling in the aisles.

Some of the play’s best lines are terrible sops to its audience, but they certainly land. I’d love to see this play with a house full of LNP members.

Harry Windsor

See www.thebrag.com for more arts reviews

Arts Exposed What's in our diary...

Street Art Masterclass Camperdown Memorial Rest Park, Newtown, Sunday March 2, 2pm – 5pm Scott Marsh's street art Wanna go draw on a wall this weekend? Yeah you do. So why not do it at an Art Month-sanctioned event to avoid the inevitable telling-off from your mum?

This Sunday, artist Scott Marsh will hold a masterclass for those who want to take their street art skills to the next level. Marsh’s work captures elements of pop and impressionism within the street art and graffiti culture. It is both contemporary and casual whilst being undeniably skilful in its consistency, size and realism.

Join this workshop to work with Scott to create a collaborative wall work.

Tickets are free, but you must register at artmonthsydney.com.au.

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SCREEN & MEDIA CAREERS NIGHT Special Industry guests panel • Find out about hot jobs in demand Watch clips and trailers • Free networking drinks & snacks Diploma Screen & Media with VET Fee Help available June - December 2014

Diploma Multiplatform Production with VET Fee Help available July - December 2014

*FREE ENTRY*

Wednesday 26 March 6pm

RVSP at metroscreen.org.au

C E N T R E F O R S C R E E N C R E AT I V I T Y thebrag.com

Jump For Jordan photo by Brett Boardman

Our male lead comes from a broken home with a single father. The leading lady comes from a well-to-do family and, as tradition dictates, has at least one parent who disapproves of the young lovers’ relationship. In this case it’s Jade’s father (Bruce Greenwood) who’s trying to keep the star-crossed pair apart. His reason? In order to be with David, Jade has shirked a summer internship, the first step to following in her doctor father’s footsteps.

Camilla Ah Kin and Alice Ansara in Jump For Jordan

bread&thread Food & Fashion News...with Hannah Warren

Cocktails at Rabbit Hole

DRINKS AND DOGS

I love good cocktails. I also love dogs. For some reason, I’ve never been able to combine the two, until now. Parched March, Sydney’s month-long celebration of bar culture in support of animal charities is relaunching as Bars March! The name has changed but all the favourite events are back; Mr. CBD, the Pets at the Pub series and special cocktails at bars all over Sydney. Kicking off on Tuesday February 25 with a VIP launch event at Café Del Mar, Bars March has more than 80 Sydney bars mixing up special cocktails throughout March and a bevy of celebrities, including the Mambo artists, animal-loving garden guru Jamie Durie and media vet Dr Katrina Warren joining the fun. Head to barsmarch.com for all the deets.

AROUND THE WORLD WITH 80 WHITES

ROCAFELAS OPENS, EVERYTHING ELSE CLOSES

On Friday February 28, the newest addition to the Potts Point bar and eatery scene, Rocafelas will host its official launch party. The lovechild of two guys with a passion for food, music and art, Nate Johnson and Rocco Tozzi have created a space where good food, drinks and atmosphere go hand-in-hand. Rocafelas is bucking the trend of venues closing in the area due to new NSW liquor licensing laws and is aiming to bring the local neighbourhood vibe back into the area. Chef Jess Playford, formerly of Victoria Room, Darlinghurst and Anchor Bar, Bondi is heading up the Rocafelas kitchen with the menu featuring Italian street snacks, pizzas, pastas, burgers and sausage sangas.

As part of the March into Merivale Food & Wine Festival, Around The World With Eighty Whites will take guests on a global expedition of white wine discovery on Wednesday March 5. Merivale Master Sommelier Franck Moreau has selected eighty white and sparkling wines from ten countries for you to enjoy as you wander through The Den and The Terrace, on level two of Ivy. Executive Chef Richard Purdue has designed a canapé selection to compliment the range of wines. All wines will be available to purchase on the night through The Bottle Shop. For tickets, visit merivale.com.au.

PEEK INTO THE PENTHOUSE

Fancy yourself a bit of an artist?

Why not take a life drawing class with a side of burlesque, theatre and striptease? On Monday March 3, Ivy Penthouse is hosting Peek Into The Penthouse, as part of March Into Merivale. Tickets are $70 + bf, which includes the class, canapés, drink on arrival and art material. Head to merivale.com.au for more details and tickets.

SUNSET CINEMA, SUMMER OVER

Sunset Cinema North Sydney is in its last two weeks, and for their closing night on Sunday March 9 Uncle Jed will return to the stage

for an encore performance before the screening of the hilarious comedy Last Vegas. Tickets and full schedule are at sunsetcinema. com.au/northsydney.

EAT YO’SELF (BEAUTIFUL)

Get ready to eat, drink, and be beautiful! If this sounds appealing (I bet it does!), check out Eat Yourself Beautiful, a guide to eating for optimum health and beauty with more than 100 nutritious recipes – many of which are gluten, wheat, dairy, yeast and sugar free. Turns out beauty is not only skin deep, and this book features recipes using everyday ingredients to boost longevity, vitality and, of course, beauty. It’s available now through Allen & Unwin, so go get your healthy eating on.

Beer Lovers of Sydney, rejoice. Bringing together specialist brews from 10 of Australia’s finest breweries for one night only, Sydney’s Jam Gallery and sister venue Spring Street Social have just announced their very first Jam Tap Takeover. A veritable explosion of bubbles, taking place Friday March 21, all the Jam beer taps will be commandeered on the night by your favorite Australian micro breweries. As a fun bonus, entertainment on the night will be courtesy of the delightfully hirsute band The Beards. Entry is a measly $30, and includes a delicious beer of your choice on arrival. Put down your beard trimmers (you too, ladies) and get your tickets from moshtix.com.au. author Isa Moskowitz, and music from Chance Waters, Brendan MacLean, Caitlin Harnett and more. Remember that veganism

is hardcore, so minors must be accompanied by an adult.

For details and tickets, head to factorytheatre.com.au.

VEGAN FESTIVAL IS BADASS

The very first Sydney Vegan Festival is on Saturday March 29 at The Factory Theatre, Marrickville. Featuring wellknown vegan chefs from around the world, a range of speakers, live music, food demonstrations and market stalls, this event will be the highlight of the year for those who don’t eat anything that has ever been introduced to an animal. Highlights include the Vegan Black Metal Chef (apprently veganism and death metal do go together), Brooklyn vegan chef and

MR. MOUSTACHE 69-71 HALL STREET BONDI WEEKDAYS: 5PM – LATE, WEEKENDS: 12PM - LATE It’s called: Mr. Moustache Who’s the cook/bartender?

The menu was created by Mexican chef Pablo Galindo and is executed in the kitchen by Sam Connolly. Pablo has worked extensively in Mexico at a number of local and Spanish restaurants, as well as two Mexican restaurants in Australia – Rojo Rocket and Perth’s La Cholita.

The bar is headed by award-winning bar manager Mike Tomasic, ex-Wild Rover and The Hilton’s Zeta Bar. In 2013 he won two awards: first prize in the Australian extension of the G’Vine Gin Connoisseur Program and first in the national final of the Angostura Global Cocktail Challenge.

Eye-candy: The venue was designed by interior designer Tamsin Johnson. The 50-seat venue’s interior takes influence from Porfirio Diaz, an ex-Mexican president who was obsessed with France. As a whole, the space combines the two distinct architecture

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BEERS AND BEARDS

TASTE DISHES UP MOUTHWATERING MENU The 6th annual Taste of Sydney will plate up a delicious range of foodie fun on Thursday March 13 to Sunday March 16 at the alfresco Centennial Parklands. Whether you want to mix up the perfect cocktail or learn to pair culinary creations with top tipples, there is something for everyone. Delectable experiences at this year’s festival include: cookery school, food and beverage matching masterclass, country kitchen, chef’s skillery, cider bar, the art of cocktail making, Sail & Anchor Beer Hall, wine theatre, Tasmanian Pavilion, and Taste of Sydney VIP Lounge. Taste of Sydney is set to be the culinary event of 2014, dahhling, and the ultimate way to experience the city’s best restaurants and premium produce. Tickets are on sale now from tasteofsydney.com.au.

restaurant/bar profile styles of Mexico City. The bar area reflects Diaz’s enthusiasm for French design, with opulent marble benches, and generous use of glass and mirrored surfaces. The kitchen, however, makes reference to traditional Mexican puestos, utilising bright colours and rustic wooden finishes.

Flavours: The menu takes inspiration from Mexican street food stalls, or puestos. Flavoursome street food classics are given a modern update with a hint of French styling, resulting in a menu that manages to be both traditional and contemporary.

Something to start with: Start with Mr. Moustache’s zingy guacamole paired with their house-made beetroot chips or the ceviche made with fresh caught seasonal fish, olives, tomato and green chilli.

The main course: Mr. Moustache’s signature main is the tortita ahogada – a braised pork sandwich drenched in hot chilli sauce and served with a rubber glove.

Room for dessert?

The famous Mexican dish of fried bananas with cajeta goat’s milk caramel and ice cream is delicious. Our guava crème brulee is a unique

take on the French favourite, with the dessert given a big dose of flavoursome guava.

Care for a drink?

Mr. Moustache serves up the biggest range of mezcal in Australia, with over 60 varieties available from the bar. Otherwise try one of the cocktails, which often feature this traditional Mexican liquor.

Sounds: The venue plays a mix of house and funk – the music evokes a fun vibe that’s in line with the Mr. Moustache philosophy.

Make us drool: Mr. Moustache is an intimate, sophisticated and fun drinking and dining experience.

Part bistro, part cantina, and with a focus on the distinctive Mexican liquor mezcal, Mr. Moustache aims to take diners to the real Mexico, with a hint of surrealism. It’s owned and run by Mexicans, who are passionate about the mystical and convivial atmosphere of authentic Mexico. It also has the biggest range of mezcal in Australia and is the first dedicated mezcal bar in the country.

The bill comes to: $30 per head without drinks. mr-moustache.com.au

BRAG :: 551 :: 26:02:14 :: 23

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

ALBUM OF THE WEEK ANGEL OLSEN

Burn Your Fire For No Witness Jagjaguwar/Inertia

Xxxx Olsen draws from her subjective hurt to depict feelings that encroach upon all of us.

‘I’ is easily the most used word on Burn Your Fire For No Witness, but it’s not a closeted venture. The album has its fair share of woebegone moments – the most striking a breathy Leonard Cohen interpolation called ‘White Fire’ – but it also shows off a perkier side of Olsen’s personality.

Backed by a drummer and bass player, while Olsen herself wields an electric guitar, ‘Forgiven/Forgotten’ is instantly nostalgic and positively catchy. The extra gusto makes her

often wistful voice sound almost imperturbable as she sings, “I don’t know anything / But I love you”.

Similarly, the bar-band tint to ‘Hi-Five’ provides the perfect platform for the year’s most unlikely spiritual exclamation: “Are you lonely too? High fi ve – so am I!”

Warpaint photo by Mia Kirby

“I am the only one now,” sings Angel Olsen to conclude ‘Unfucktheworld’ – the lead track on her second LP. The quiet, tape-recorded tune is an apt prologue for the record’s thematic exploration of, and struggle against, solitude.

There’s no reliable safeguard against loneliness; whenever we sink back into our thoughts or lucidly grasp our being, it’s an eternally isolated experience.

But this certainly isn’t enough reason to stop searching for redemptive unity.

Augustus Welby

THE GASLIGHT ANTHEM

BERTIE PAGE CLINIC

GLEN HANSARD

NEIL FINN

SETH LAKEMAN

The B-Sides SideOneDummy/Shock

Too Loud Too Naked Crazy Cat Lady Records/Beast Records]

Drive All Night Spunk

Dizzy Heights Lester/Inertia

Word Of Mouth Cooking Vinyl

I love Eddie Vedder. I do. Catching him perform solo at the State Theatre recently was just amazing.

And yet, I can’t hide the truth: support act Glen Hansard blew him out of the water. Hansard’s voice contains all of the adjectives appropriate to trade mags – amazing, raw, honest – but rarely have they seemed so insufficient.

On Dizzy Heights, Neil Finn tries his hardest to make anything but a Neil Finn solo album. He’s employed famed producer Dave Fridmann and the album features so many other players that calling it a solo album is laughable. And yet, it is just another collection of 12 Neil Finn songs, and there’s nothing wrong with that.

Folkster Seth Lakeman is now up to album number seven. By now, you are confident you know whether his music is palatable to you or not.

Lakeman is at the forefront of what could be described as the modern folk scene – something of an oxymoron – but he hails from a folk family and his previous band was one with his brothers, named The Lakeman Brothers.

As usual, Lakeman approaches his subject in a modest and humble manner. No vainglorious sermons from the mount as he sings about the common man, the engine drivers and the dockworkers.

Occasionally, however, you just wish he were tempted to give the songs some edge and enter unchartered territory.

Songs like ‘The Wanderer’, ‘The Ranger’, ‘Another Long Night’ and ‘Each Man’ trundle along and are sufficiently heartfelt, in that welcome to sleep way. Quickfire repeat plays these are not. Still, there are several songs, including ‘Labour She Calls Home’, which climb outside the parameters – a case of the resistible force meeting the moveable object.

Over their eight years of playing together and recording four albums in the process, New Jersey’s The Gaslight Anthem have managed to scoop up enough studio outtakes to piece together a B-sides album.

The 11-song LP is dominated by acoustic versions of existing songs taken from their studio albums.

‘Great Expectations’ and ‘The ’59 Sound’ from their 2008 album The ’59 Sound sees frontman Brian Fallon rearrange the vocal phrasings of the originals (which, if you’ve ever seen Gaslight live, will know is one of his favourite pastimes), converting the songs from spirited to introspective.

‘Boxer’ from 2010’s American Slang receives a calypso rewash, while the once-fun ‘The Queen Of Lower Chelsea’ from the same album is transformed into a slower, tenser version, more befitting the subtly sinister lyrics originally penned. A few cover versions are included as well. A live version of Pearl Jam’s ‘State Of Love And Trust’ could easily be mistaken for the original, with Fallon doing a damn fine Eddie Vedder impression.

You would think metal has already branched out into every conceivable subgenre possible. Hair metal, death metal, party metal, Irish metal and so on. Well, here’s a new one for you: burlesque metal.

What does burlesque metal sound like? Basically like a metal band that’s doing a striptease as it plays.

When you listen to Too Loud Too Naked by Bertie Page Clinic, you cannot help but imagine Bertie Page dancing with enormous feather fans while singing about working girls, shoes, nudity, and “a bitch with Swarovskis coming out her ass”. Drummer Tim Price smashes away as he gives you ‘the look’. Leon van Lieshout makes inappropriate gestures with his bass, and guitarist John Meyer delivers face-melting notes while the nipple tassels swirl.

And, much like a burlesque act, the band sounds like it’s performing as much for its own enjoyment as the listener’s. What the album lacks in polish and intensity it makes up with enthusiasm and cheer, and you can’t help but laugh.

With the songwriting talent that Gaslight possess, this LP leaves you feeling a little underwhelmed. The B-Sides is best left to the uber-fans and obsessives only.

If you’re into either metal or burlesque, then this is the album for you. And if you are a burlesque performer, then you may just find your anthem.

Rick Warner

Daniel Prior

This EP – four tracks, including the eponymous Bruce Springsteen cover – has moments of great and delicate beauty (‘Pennies In The Fountain’ being the standout, or, as his American audiences mishear, ‘Panties In The Fountain’).

But the lead track, ‘Drive All Night’, seems rather ironically to go nowhere. Springsteen’s lyrics sound oddly disingenuous coming from Hansard, even with Vedder’s unique backup sighgrowl. It’s comfortable but forgettable, which is also somewhat true of the track ‘Renata’. Not without moments of energy and catchiness, it sounds very much like a Van Morrison song that never found its way into the light. The a capella ‘Step Out Of The Shadows’, however, is a short, lovely number; the kind of song to which you imagine yourself sitting on a mountaintop with your trusty (unlikely) Sherpa guide Glen singing out across the landscape.

A strong, if flawed EP. Adam Norris

INDIE ALBUM OF THE WEEK

ST. VINCENT St. Vincent Loma Vista/Caroline

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Annie Clark (AKA St. Vincent) is very hard not to like. Her voice has a natural honeyed grace and she sings with commanding cool. Even if she sounds austere or aloof, it just makes you yearn to understand what fills her vision. Then there’s that guitar playing. On St. Vincent, Clark dishes out malfunctioning robot riffs (‘Birth In Reverse’, ‘Bring Me Your Loves’) and tearing groove metal breakouts (‘Huey Newton’), elsewhere manipulating the six-string apparatus into a distorted church organ (‘Regret’) or a flaring synth bass (‘Rattlesnake’).

Understandably, these startling abilities could very easily be too much to tame. Indeed, St. Vincent’s three previous solo LPs contain several moments of unquestionable greatness, but there’s an unevenness to them.

However, on St. Vincent Clark sounds completely in charge of her considerable arsenal. The record explores an unpredictable range of moods, expresses touching emotion and upholds disarming sonic excitement without ever sounding like a struggle. Tracks such as the sincere and airy ‘I Prefer Your Love’ and schizophrenic Human Leaguebecomes-Queens of the Stone Age number ‘Huey Newton’ possess such involving importance that taking a moment afterwards to digest what you’ve just experienced feels appropriate.

The album is covered in a sunny psychedelic sheen (courtesy of Fridmann), which seems to compensate for its anxious lyrical content, and the echoey, reverberated vocal treatment and constant unplaceable guitar effects make it all seem very paranoid. This contrast works best on the album’s two highlights. ‘Divebomber’ has Finn singing exclusively in falsetto, while sampled dive bomber sounds and a marching drum beat rise with a string section. Better yet, ‘White Lies And Alibis’ evokes Crowded House’s Together Alone, and combines the same luscious strings with a constant siren in a dazzling arrangement.

Elsewhere, though, there’s a push/ pull with the production. On the one hand, everything sounds fantastic and of a piece. On the other hand, it’s so incredibly dense that it takes quite a number of listens before the songs start to reveal themselves.

But once they do, you’ll be reminded why Finn is held in such lofty esteem.

Leonardo Silvestrini

At this point in Lakeman’s career, it is unlikely a thunderbolt will hit him and encourage a new path, but he does the conventional folkie well.

Bronius Zumeris

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

THE HOLIDAYS - Real Feel ELECTRIC LIGHT ORCHESTRA - Eldorado EMINEM - Encore

BILLIE JOE AND NORAH - Foreverly FRATELLIS - We Need Medicine

But as soon as the next song kicks in, you’re transferred into another equally gripping universe.

Augustus Welby thebrag.com

live reviews What we've been out to see...

for Live and Localsau!

Calling all artistsplay entertainment.com.

Contact: chris@fair

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02 9984 9933 BRUCE SPRINGSTEEN AND THE E STREET BAND

Against The Machine virtuoso.

Speaking of expert guitarists, Steven Van Zandt is back, playing a sort of deputy bandleader role when Springsteen’s working the crowd, What started as a good idea – and Nils Lofgren too, whose talents artists basing live shows around seminal albums, played top to tail thebrag.com are well-known, even if he only gets one meaningful solo tonight. Max – is in danger of being battered Weinberg drums with characteristic into cliché. Yet if anyone has the right to precision, marshalling an incredibly do it, it’s Bruce Springsteen. Darkness disciplined yet expressive outfit.

On The Edge Of Town is the centrepiece of tonight’s gig; an album Springsteen’s Once Darkness concludes, Springsteen played like this only a handful of times rifles through the rest of his catalogue: around the world, and never before in ‘Shackled And Drawn’ comes with neat Australia. choreography, and ‘The Ghost Of Tom Joad’ reveals the real reason Morello’s flown all When the Boss announces it, the crowd this way (hint: it’s not to strum acoustic erupts. Not for the first time, mind, and covers of crowd-pleasing local hits). ‘Born To not for the last. Pause for a moment to Run’ begins with a hiccup, so it’s restarted count the bona fide rock’n’roll stars left on – Springsteen’s ever-ready smile returns this planet, and you’ll soon be scrambling. at this one – and five different Courtney Bono, Jagger, Springsteen… Kanye?

Coxes (one of them male and balding, The rest are a tier below, at least when it another celebrating her 17th birthday) are comes to sheer aura. So when Springsteen invited onstage for ‘Dancing In The Dark’. first dashes around the audience to his The set runs three hours, and Springsteen runway in the middle of the arena, where commands every eyeball for its entirety. he performs a verse or two, everyone in the back half rises to their feet – and Of course, he’s done it all a thousand times stays there for the next hour. It’s as if the before, yet there still are firsts to be had.

Popemobile has just done a lap.

‘Born To Run’, he laughs, is “the fastest we’ve ever done that motherfucker!” as Van There are no fancy light shows, Zandt feigns a heart attack. The familiarity pyrotechnics or streamers, yet of the Boss’ embrace is what counts, Springsteen’s show carries impressive though. Springsteen and his E Street Band scale. Put that down to the E Street Band can repeat their set plays as many times and assorted collaborators, who bring the as they like, and the fans will be there a number of performers onstage to 17. One thousand times again. of them is Tom Morello, who appears with an acoustic guitar for the opening cover of Chris Martin The Easybeats’ ‘Friday On My Mind’ – a marked change of scene for the Rage Allphones Arena Wednesday February 19

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PHOTOGRAPHER :: ASHLEY MAR

Lizotte’s Sydney 629 Pittwater Rd Dee Why

Lizotte’s Central Coast Lot 3 Avoca Dr Kincumber

Lizotte’s Newcastle 31 Morehead St Lambton

W W W. L I ZOT T E S.CO M.AU thebrag.com

BRAG :: 551 :: 26:02:14 :: 25

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green day

PICS :: AM

up all night out all week . . .

the wire

PICS :: AM

20:02:14 :: The Captain Cook Hotel :: 162 Flinders St Paddington 9360 4327

roger vs the man

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20:02:14 :: Oxford Art Factory :: 38-46 Oxford St Darlinghurst 9332 3711

rad-a-rama garage party

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22:02:14 :: The Standard :: 3/383 Bourke St Darlinghurst 9660 7953

22:02:14 :: Valve Bar :: Agincourt Hotel 871 George St Sydney 9281 4566 26 :: BRAG :: 551 :: 26:02:14

technicolour psych-night

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uberfest!

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21:02:14 :: Beach Road Hotel :: 71 Beach Rd Bondi Beach 9130 7247

23:02:14 :: Frankieâ&#x20AC;&#x2122;s Pizza :: 50 Hunter St Sydney thebrag.com

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live reviews

up all night out all week . . .

What we've been out to see...

DOLLY PARTON

VIEW FULL GALLERY AT

Qantas Credit Union Arena Tuesday February 18 The night starts with an overture thebrag.com that sounds suspiciously like the theme from Hello, Dolly! Not particularly subtle, but then, subtlety isn’t exactly welcome in these parts. In its place are sequins, bouffant hair that threatens to block the sun, and enough Appalachian good cheer and straight talkin’ that by the end of the set you’ll be hitching a ride to the nearest tent revival.

PICS :: MDV

clutch

Despite her diminutive height Dolly Parton is a striking figure, not so much inhabiting the stage as engulfing it. Her charisma is nothing short of exceptional, especially considering that Parton is now in the fifth decade of her career. Half a century of honing her craft, receiving more country music honours than any other woman alive and sustaining a voice as strong as any emerging star today.

It’s an outstanding achievement, and over the course of the performance that is what struck me again and again; from the crowd favourites ‘Jolene’ and ‘Islands In The Stream’, to the restrained, breathtaking ‘Little Sparrow’, this 68-year-old can sing. There was more religiosity than I was expecting (and fewer drag queens – only two who received a special shout-out), but it was a grand performance from one of the world’s genuine music titans.

20:02:14 :: Metro Theatre :: 624 George St Sydney 9550 3666

drunk mums

PICS :: KC

Adam Norris

22:02:14 :: Brighton Up Bar :: 1/77 Oxford St Darlinghurst 9361 3379

OKKERVIL RIVER, ERNEST ELLIS Oxford Art Factory Friday February 21 There’s always been a sonic vastness to Ernest Ellis’ music, but the builds which drove their intricate 2011 record, Kings Canyon, have blown out into something a whole lot bigger since then. With a six-piece band, synth, brass, and a full-bodied energy led by the earnest Roland Ellis, their new sound owes so much to Springsteen that the eventual cover – ‘State Trooper’ – is not at all out of place.

burn antares

PICS :: KC

By the time Okkervil River take the stage, the too-small venue is heaving. I’m sardinepacked in the front, crammed between two different archetypes of Okkervil River Fans – which, wonderfully, each reflect the two types of songs the band does best.

22:02:14 :: The Captain Cook Hotel :: 162 Flinders St Paddington 9360 4327 CLAR S :: LIAM CAMERON :: KATRINA OUR LOVELY PHOTOGRAPHER :: A MARIA DE VER

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KE :: BEN LAU :: ASHLEY MAR

::

To my right, a trio of drunk, merry revellers stomp and yell along to the wild, raucous numbers that make up the majority of tonight’s set: the latest single ‘On A Balcony’; the loose and epic ‘The Valley’; the huge, electrifying ‘Black’. The enormous pair of encore closers, ‘Down Down The Deep River’ and ‘Unless It’s Kicks’, has frontman Will Sheff thrashing around the stage with the relentless, jagged urgency his band has never been quite able to reign in – and the crowd, as always, is enamoured.

To my left, there’s the other type of Okkervil River fan, with the thick black fringe and the enormous eyes. She silently mouths all the words to the rare ‘Kansas City’, digs her nails into her wrist during the most desperate yelps of ‘For Real’, and actually cries through the alwaysstunning crowd-silencer ‘A Stone’, from their mythic Black Sheep Boy. (The last time they played this song in Sydney was at Manning Bar in 2008; they followed it up with ‘So Come Back, I Am Waiting’, a onetwo punch in the feels that’s become the stuff of folklore.)

Okkervil’s latest album, The Silver Gymnasium, is their first on ATO Records, after six releases through indie favourite Jagjaguwar. The album is more inwardlooking, as Sheff sings of his landlocked childhood in New Hampshire, and the sound has changed a little, too: Gymnasium is an easier listen than its predecessors, jauntier and approachable and, as many lamented, somewhat sanitised.

But while the production and motifs have changed on record, it’s the same blustery live act it’s always been: the unbridled, chaotic angst of a hyper-literate frontman, whose band tries desperately to hold steady around him.

Steph Harmon

BRAG :: 551 :: 26:02:14 :: 27

g g guide g send your listings to : gigguide@thebrag.com

pick of the week Neko Case

WEDNESDAY FEBRUARY 26 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Judy Bailey Trio Foundry616, Ultimo. 8pm. $16.50.

Lionel Cole Imperial Hotel, Paddington.

8pm. free.

ACOUSTIC/ COUNTRY/BLUES/ FOLK

Anton Zammit Mounties, Mount Pritchard.

7pm. free.

Mark Travers Orient Hotel, The Rocks.

9:30pm. free.

Musos Club Jam Night Bald Faced Stag Hotel, Leichhardt. 8pm. free.

Pulp Kitchen And Folk Club - feat: Live Rotating Folk Bands Soda Factory, Surry Hills.

5pm. free.

Songsonstage - feat: Stuart Jammin + Laura Bishop Leichhardt Bowling Club, 7:30pm. free.

Songsonstage - feat: Peach Montgomery + Sun Comes Out Twice As Bright Sackville Hotel, Rozelle.

7:30pm. free.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Adam Gorecki Hillside Hotel, Castle Hill.

7pm. free.

Andy Mammers Duo Maloney’s Hotel, Sydney. 9pm. free.

Carl Fidler Observer Hotel, The Rocks.

8:30pm. free.

Everlast Brass Monkey, Cronulla. 7pm. $50.

Gwar + Amon Amarth + Satyricon + The Black Dahlia Murder Factory Theatre, Marrickville.

6:30pm. $45.10.

Jess Dunbar Summer Hills Hotel, Summer Hill. 7:30pm. free.

Joe Echo Duo O’Malley’s Hotel, Kings Cross.

10:15pm. free.

Lunchbreak Presented By Alberts - feat: Ngaiire FBi Social, Kings Cross. 1pm. free.

Mescalero - feat: Steve Edmonds Ruby L’otel, Rozelle. 8pm. free.

Richie Sambora + Orianthi Enmore Theatre, Newtown.

8pm. $62.70.

MONDAY MARCH 3 Sydney Opera House

Neko Case + Darren Hanlon 8pm. $54.

The Good Stuff Three Wise Monkeys, Sydney.

10pm. free.

Vibrations At Valve Valve Bar, Agincourt Hotel, Ultimo. 7pm. $15.

THURSDAY FEBRUARY 27 ACOUSTIC, COUNTRY, BLUES & FOLK

Christie Lamb Campbelltown Catholic Club, Campbelltown. 6pm. free.

JR Reyne + Sweet Jelly Rolls Moonshine Cider & Rum Bar, Manly. 9pm. free.

Klay The Mercantile Hotel, Sydenham. 7:45pm. free.

Live Music Thursdays Bar100, The Rocks. 5pm. free.

Musos Club Jam Night Carousel Inn Hotel, Rooty Hill.

8pm. free.

Songsonstage - feat: Peach Montgomery + Sean & Fretsy Forest Lodge Hotel, Forest Lodge. 7:30pm. free.

Songsonstage - feat: Andrew Denniston + Warren Munce Ruby L’otel, Rozelle. 7:30pm. free.

Songwriter Sessions - feat: John Chesher Mars Hill Cafe, Parramatta.

7pm. free.

Transvaal Diamond Syndicate Frankie’s Pizza, Sydney.

10pm. free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Alturas Foundry616, Ultimo. 8:30pm. $27.50.

Cole Soul And Emotion feat: Lionel Cole The White Horse, Surry Hills.

8pm. free.

Jazz Degustation - feat: Bar’El The Spice Cellar, Sydney.

7pm. $55.

Live Latin Summer Sessions - feat: Cumbiamuffin Jam Gallery, Bondi Junction.

7:30pm. $7.

INDIE, ROCK, POP, METAL, PUNK & COVERS 10 O’Clock Rock Frankie’s Pizza, Sydney.

10pm. free.

Absent Hours - feat: String Fiction + The Trobes + Huskarl + TV Programmes

Valve Bar, Agincourt Hotel, Ultimo. 7pm. $10.

Dave White Orient Hotel, The Rocks.

9:30pm. free.

Everlast Brass Monkey, Cronulla. 7pm. $50.

Soda Social Soda Factory, Surry Hills.

5pm. free.

Stu Larsen + Hailey Calvert FBi Social, Kings Cross. 8pm. $12.

The Regulators Three Wise Monkeys, Sydney.

9pm. free.

FRIDAY FEBRUARY 28 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Hammerhead Seymour Centre, Chippendale. 8:30pm. $20.

Spyglass Gypsies Camelot Lounge, Marrickville.

7:30pm. $15.

INDIE, ROCK, POP, METAL, PUNK & COVERS Animalia (O-Week Party) - feat: Jinja Safari + Touch Sensitive + Elizabeth Rose Manning Bar, Camperdown.

8pm. $25.

Bertie Page Clinic Spectrum, Darlinghurst. 8pm. $12.

Blank Realm Live At The Loft The Loft (UTS), Ultimo. 5pm. free.

Californication - Red Hot Chili Peppers Show Bull & Bush Hotel, Baulkham Hills. 10pm. free.

Courtyard Sessions - feat: The Green Mohair Suits Seymour Centre, Chippendale. 6pm. free.

Hooray For Everything Sutherland United Services Club, Sutherland. 7:30pm. free.

Live Music At The Royal The Royal, Leichhardt.

9:30pm. free.

Palmarama - feat: Palms + The Gooch Palms Oxford Art Factory, Darlinghurst. 8pm. $10.

Peppermint Jam Revesby Workers Club, Revesby. 8:30pm. free.

Planet Groove Rooty Hill RSL Club, Rooty Hill. 8pm. free.

Spiders Birthday - feat: Seating Plan + Oily Boys + Ether Rag + Nobody’S Driving Valve Bar, Agincourt Hotel, Ultimo. 9pm. free.

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g g guide gig g send your listings to : gigguide@thebrag.com The Lazys + Stone Release + Air Force Kid Tattersalls Hotel Penrith, Penrith. 8:30pm. free.

Thrash My Gash - feat: Abacination + Sabertung + Hazmat + Cerebral Contortions + Paralysis + Amora Valve Bar, Agincourt Hotel, Ultimo. 8pm. $12.

Toxic Dolls Penrith RSL, Penrith. 9pm. free.

Triple Treat Tour - feat: Eves + Jesse Davidson + Jordan Léser Goodgod Small Club, Sydney.

8pm. $10.

Walk On The Wild Side - A Tribute To Lou Reed + Velvet Underground + Nico + Iggy Pop Brass Monkey, Cronulla. 7pm. $25.20.

ACOUSTIC/ COUNTRY/BLUES/ FOLK

Acoustic Dave General Gordon Hotel, Sydenham. 7pm. free.

Am 2 Pm Padstow RSL Club, Padstow.

7:30pm. free.

Ange Springwood Sports Club, Springwood. 8:30pm. free.

Armchair Travellers Duo North Sydney Leagues Club, Cammeray. 7:30pm. free.

Cath & Him Hornsby RSL, Hornsby.

9:30pm. free.

Craig Thommo Duo Albion Hotel, Parramatta. 9pm. free.

Evie Dean Quakers Inn, Quakers Hill.

8pm. free.

Gary Johns Duo Ramsgate RSL, Sans Souci.

8pm. free.

Ian Moss + The Mcclymonts Rooty Hill RSL Club, Rooty Hill. 8pm. $80.

JJ Duo North Ryde RSL, North Ryde.

8pm. free.

Klay Albion Hotel, Parramatta. 6pm. free.

Live Music Fridays Bar100, The Rocks. 5pm. free.

Panorama Duo East Hills Hotel, East Hills.

7:15pm. free.

Rock Solid Duo Windsor Leagues Club, Windsor South. 9:15pm. free.

Songjam - feat: Stuart Jammin + Guests Rosehill Hotel, 7:30pm. free.

Songsonstage - feat: Andrew Denniston + Guests Earlwood Hotel, Earlwood.

7:30pm. free.

Three Rams Penrith Gaels, Kingswood.

8pm. free.

Transvaal Diamond

Syndicate + All The Wise + Colour Therapy + Jaguar Club Studio Six, Sutherland. 8pm. $12.

SATURDAY MARCH 1 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Johnny G & The E-Types Jam Gallery, Bondi Junction.

7:30pm. $28.90.

Rueben Lewis Quintet Seymour Centre, Chippendale. 8:30pm. $20.

The Anthill Mobb R.G. McGees, Richmond.

9pm. free.

Yuki Kumagai + John Mackie Well Co. Cafe And Wine Bar, Leichhardt. 11am. free.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Back To The 80s Bayview Tavern, Gladesville.

10pm. free.

Big Way Out Three Wise Monkeys, Sydney.

10pm. free.

Cover Me Crazy Campbelltown Catholic Club, Campbelltown. 9:30pm. free.

Eden Mulholland + New Brutalists + Brain Campeau FBi Social, Kings Cross. 8pm. $10.

Endless Summer Beach Party Ramsgate RSL, Sans Souci.

8pm. free.

Everyday People Band Revesby Workers Club, Revesby. 8:30pm. free.

Fisherking + Dylan Wright + Ali Epstone Brass Monkey, Cronulla. 7pm. $18.40.

Iron Lion Macarthur Tavern, Campbelltown. 9pm. free.

Millenium Bug Penrith RSL, Penrith. 9pm. free.

Mystery Guest The Belvedere Hotel, Sydney.

8:45pm. free.

Nova & The Experience + Tiffany Britchford & The Reckless Abandon + Horegeous + Absent Hours Tattersalls Hotel Penrith, Penrith. 8:30pm. free.

Postal Penrith Gaels, Kingswood.

7pm. free.

Saturday Live Band - feat: Jelly Bean Jam Oatley Hotel, Oatley. 8:30pm. free.

The Lonely Boys The Mercantile Hotel, Sydney.

8:30pm. free.

Jordan Léser

thebrag.com

Total Addiction + Pleasure Overload + Malachite Method Lewisham Hotel, Lewisham.

8pm. $15.

Wildcatz Orient Hotel, The Rocks.

9:30pm. free.

Night World Bar, Kings Cross. 7pm. free.

Mambo Mondays Bar100, The Rocks. 5:30pm. free.

Motown Mondays - feat: Soulgroove The White Horse, Surry Hills.

8pm. free.

Reggae Monday Civic Underground, Sydney.

10pm. free.

ACOUSTIC/ COUNTRY/BLUES/ FOLK

Alfresco Brasserie - feat: Stuart Jammin + Chris Brookes Ettalong Bowling Club, Ettalong Beach. 3pm. free.

Am 2 Pm North Sydney Leagues Club, Cammeray. 7:30pm. free.

Armchair Travellers Duo Rosehill Bowling Club, Rosehill. 5:30pm. free.

Cass Eager And The Velvet Rope Old Manly Boatshed, Manly.

9pm. free.

Cath & Him Manly Leagues Club, Brookvale. 9pm. free.

Craig Thommo Cookie’s Lounge Bar, Strathfield North. 8pm. free.

JJ Duo Parramatta RSL, Parramatta.

7:30pm. free.

Lionel Robinson Penrith RSL, Penrith. 2pm. free.

Live Music Saturdays Bar100, The Rocks. 4pm. free.

Panorama Duo Wentworthville Leagues Club, Wentworthville. 8:45pm. free.

Paul Hayward And Friends Town & Country Hotel, St Peters. 4pm. free.

Raoul Graf General Gordon Hotel, Sydenham. 7pm. free.

Renae Stone Adria, Sydney. 4pm. free.

Two Minds Hornsby RSL, Hornsby. 8pm. free.

TUESDAY MARCH 4

Eden Mulholland Marrickville. 4:30pm. free.

Songsonstage - feat: Andrew Denniston + Guests Red Lion Hotel, Rozelle. 4pm. free.

Sunday Blues And Roots The White Horse, Surry Hills.

5pm. free.

The Slowdowns Ruby L’otel, Rozelle. 6pm. free.

Tony Martin Campbelltown Catholic Club, Campbelltown. 2pm. free.

MONDAY MARCH 3 ACOUSTIC, COUNTRY, BLUES & FOLK Songsonstage - feat: Stuart Jammin + Massimo Presti + Chris Brookes + Rick Taylor

Kelly’s On King, 7pm. free.

Songsonstage - feat: Helmut Uhlmann + Guests The Loft (UTS), Ultimo . 6pm. free.

INDIE, ROCK, POP, METAL, PUNK & COVERS

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

Neko Case + Darren Hanlon Sydney Opera House, Sydney.

8pm. $54.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Big Swing Band Tattersalls Hotel Penrith, Penrith. 7:30pm. free.

Latin & Jazz Jam Open Mic

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

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

6pm. free.

ACOUSTIC/ COUNTRY/BLUES/ FOLK

Ray Beadle & The Silver Dollars Jam Gallery, Bondi Junction.

7:30pm. $7.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Los Coronas + Huge Magnet Band Lizotte’s Newcastle, Newcastle.

8pm. $39.

Underground Tuesdays - feat: Declan Kelly + Bronte Horder + The Balcony + Stuart Dwyer 34 Degrees South, Bondi Beach. 8:30pm. free.

SUNDAY MARCH 2 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Origamibirds - feat: Tuo + + More Valve Bar, Agincourt Hotel, Ultimo. 7pm. $10.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Heather Pearce Brass Monkey, Cronulla. 7pm. $40.

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(9:30PM - 12:30AM)

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ACOUSTIC/ COUNTRY/BLUES/ FOLK

Acoustic Sets - feat: 3 Way Split Oatley Hotel, Oatley. 2pm. free.

Chill Out Sundays Scubar, Sydney. 7:30pm. free.

Chris Connelly Campbelltown Catholic Club, Campbelltown. 1pm. free.

Intimate Sessions Paragon Hotel, Sydney. 6pm. free.

Klay Ambarvale Tavern, Ambarvale.

2pm. free.

Liam Gerner The Welcome Hotel, Rozelle.

5pm. free.

Live Music Sundays Bar100, The Rocks. 1pm. free.

Raoul Graf Western Suburbs Leagues Club, Leumeah. 12pm. free.

Ryan Thomas Waverley Bowling Club, Waverley. 3pm. free.

Satellite V Marrickville Bowling Club,

thu

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(9:30PM - 1:30AM)

SATURDAY AFTERNOON

SUNDAY AFTERNOON

(4:30PM - 7:30PM)

Mar

sun

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Mar

(9:30PM - 12:30AM)

mon

(8:30PM - 12:00AM)

tue

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Mar

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(9:30PM - 12:30AM)

BRAG :: 551 :: 26:02:14 :: 29

gig picks up all night out all week...

Eves

WEDNESDAY FEBRUARY 26

Ian Moss + The McClymonts Rooty Hill RSL Club, Rooty Hill. 8pm. $80.

Everlast Brass Monkey, Cronulla. 7pm. $50.

SATURDAY MARCH 1

Gwar + Amon Amarth + Satyricon + The Black Dahlia Murder Factory Theatre, Marrickville. 6:30pm. $45.10.

Eden Mulholland + New Brutalists + Brain Campeau FBi Social, Kings Cross. 8pm. $10.

Richie Sambora + Orianthi Enmore Theatre, Newtown. 8pm. $62.70.

Fisherking + Dylan Wright + Ali Epstone Brass Monkey, Cronulla. 7pm. $18.40.

THURSDAY FEBRUARY 27

Nova & The Experience + Tiffany Britchford & The Reckless Abandon + Horegeous + Absent Hours Tattersalls Hotel Penrith, Penrith. 8:30pm.

Free.

Transvaal Diamond Syndicate Frankie’s Pizza, Sydney. 10pm. Free.

FRIDAY FEBRUARY 28 Animalia (O-Week Party) - feat: Jinja Safari + Touch Sensitive + Elizabeth Rose Manning Bar, Camperdown. 8pm. $25.

TUESDAY MARCH 4 Los Coronas + Huge Magnet Band Lizotte’s Newcastle, Newcastle. 8pm. $39.

Bertie Page Clinic Spectrum, Darlinghurst. 8pm. $12.

Palmarama - feat: Palms + The Gooch Palms Oxford Art Factory, Darlinghurst. 8pm. $10.

Triple Treat Tour - feat: Eves + Jesse Davidson + Jordan Léser Goodgod Small Club, Sydney. 8pm. $10.

Richie Sambora

Jinja Safari

30 :: BRAG :: 551 : 26:02:14

thebrag.com

brag beats

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

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

five things WITH

DJ K-NOTE he reminded people to think outside the box and that good music comes from all different types of people, and that music can be used to unify people and bring them together. I don’t really remember the first time I heard his music, but I do remember always hearing his tunes.

Your Crew My real crew is back 3. in T-Dot [Toronto]. My dad got me to love music, but my cousin Jazzy got me into DJing. We started a DJ crew called MenAtWork.

Now really I work in the industry during the day, so I am always around music associated to what I do.

The Music You Make I will be hopefully 4. releasing some music this year so stay tuned! As for what you can expect from me, as in tunes, it goes as follows: Tyga’s ‘Throw It Up’, Drake’s ‘Worst Behavior’, Calvin Harris’ ‘Thinking About You’ (feat.

Ayah Marar), Hermitude’s ‘HyperParadise’ (Flume remix), Major Lazer’s ‘Watch Out For This (Bumaye)’ (feat. Busy Signal), Michael Jackson’s ‘Rock With You’ (Q-Tip remix), Busta Rhymes’ ‘Twerk It’ remix (feat.

Vybz Kartel) … In case of emergency I will play ‘Happy’

by Pharrell.

Xxx

Music, Right Here, Right Now 5.

There is a massive fusion

Growing Up ‘Rapper’s Delight’, 1.

Fat Boys, Al Green, John Coltrane, Stevie Ray Vaughan and Bob Marley. My dad was a welding inspector who so happened to collect a lot of records, not to mention had a big sound system. Being

I am an open format DJ, I believe that the mixed genres of music that my dad had allowed me to appreciate the different types of music that is out on the airwaves today.

Michael Jackson, as 2. Inspirations

DEEP DISH REFORM AND RELEASE NEW SINGLE ‘QUINCY’

The rumours are true: after an extended period focusing on their respective solo careers, Dubfire and Sharam have once again joined forces to release as Deep Dish, with their new single ‘Quincy’ due out at the end of March. Deep Dish established themselves via mixes for the Global Underground series, a Grammy Award-winning rework of Dido’s ‘Thank You’ and their albums Junk Science and George Is On, an LP that spawned the hit singles ‘Sacramento’ and the Shandi-sampling

that has been happening for the past ten years, but musos have to really try to have individual sounds and not be scared to be outside the box. Too many producers are playing it safe and that will always lack the full potential of really being creative. Also, DJs have to stop making the computer do 80 per cent of the mixing, ’cause that is not DJing, that’s automation.

The best thing about the local scene is that [DJs are] creating their own sound; the scene is believing in itself more and more, and that is creating a good following for the scene.

Redshape

REDSHAPE

German producer Sebastian Kramer, AKA Redshape, will headline Sonido at The Civic Underground on Saturday March 1 with a live set. Renowned for wearing a lurid red mask while he performs, Redshape will be showcasing a mix of techno and house comprising material lifted off his various EPs that have been released on labels like Delsin, Gerd Janson’s Running Back imprint and his own Present label, and his LPs, the most recent of which was 2012’s Square, which cemented his standing as a producer who creates dance music that is conducive to both home listening and club grindin’.

HUNTER GATHERER

Hunter Gatherer will host a showcase of live local electronic music at the Red Rattler in Marrickville on Saturday April 12, featuring performances from Gardland, Gareth Psaltis, Cassius Select, Nander and Ager Jorn.

Gardland is the duo of Alex Murray and Mark Smith who were discovered by Teengirl Fantasy and promptly signed to the RVNG Intl imprint.

They released their debut album Syndrome Syndrome last year, which was self-described by the pair as showcasing a sound that is “elegantly wasted”, and will be available for purchase on the night for a discount rate when bundled with a ticket purchase. The other artists on the bill share a penchant for exploring warped interpretations of live analogue techno in various ways. More info can be found at hunter-gather.it.

Edu Imbernon

What: Boombox Fridays Where: Marquee At The Star When: Friday March 28

‘Flashdance’ that remains their most recent outing. While Deep Dish have been collectively dormant since 2006, over the ensuing years Dubfire has carved out a niche as a proponent of mainroom techno, playing back-to-back with Richie Hawtin and releasing hissing techno bombs that were remixed by the likes of Radio Slave, Minilogue and Booka Shade. The other half of Deep Dish, Sharam, pursued a more commercial path, releasing mixes such as his double-CD compilation, Night & Day and remixing the likes of David Guetta, Timo Maas and, uh, Eddie Murphy. A teaser video for ‘Quincy’ is available online for Deep Dish fans struggling to contain their excitement.

EDU IMBERNON

Valencian producer/DJ/label owner Edu Imbernon will play Chinese Laundry on Saturday March 29. Melding electronica, house and indie in his productions, Imbernon has released on some of the most influential labels in the dance sphere, such as Bedrock and Get Physical. He has also released remixes of the likes of Blond:ish, Hot Since 82, Solomun and David August on his own Elektisch label, while his anthemic refashioning of the xx’s ‘Crystalised’ remains the best selling remix to be released on the Young Turks imprint. As with all Chinese Laundry gigs, the usual advice applies – arrive early to avoid the queue, and entry is cheaper before 10pm.

BRAG :: 551 :: 26:02:14 :: 31

dance music news

free stuff

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

head to: thebrag.com/freeshit

five things WITH

DJ Muro

SHALYN GRAY legs to the music. He said to me that I had good rhythm and asked if I played percussion.

At this stage I didn’t – that week he got me a set of bongos to practise on. That following weekend I was jamming next to the DJs at the club. After playing for a month or so, I decided to get myself a set of turntables, a bunch of vinyl, and I taught myself to mix. From then on I played percussion for myself. So I have him to thank for getting me into dance music.

The Music You Make I play any kind of house music. From 4. electro to tech, if it’s house, I’ll spin it. The tracks I’m loving at the moment are – ‘C O O L’ (Ben Pearce remix), ‘Got A Feeling’ (Bontan remix), ‘Gecko’ (Oliver Heldens), ‘Nobody’ (Jay Lumen) and ‘Jack’ (Breach).

Music, Right Here, Right Now Five things 5.

I think there’s about to be a change in the dance

Growing Up I grew up in the live music scene. I 1. played guitar in a local pub band. I used to

Inspirations One of my all-time favourite DJs/ 2. producers/inspirations is Carl Cox. I saw him

sit at home after school and wait for certain songs to come on triple j so I could record them on cassette tape to learn them. I loved Pearl Jam, Nirvana, The Angels and Metallica, to name a few. I still have a love for live music – that’s why I have incorporated live percussion into my sets.

for the first time at Space in Ibiza last year – it was absolutely incredible.

Your Crew It was actually the manager of a local 3. club in Newcastle that got me into DJing. I was randomly at an afterparty, tapping my

music scene – well, I hope. Every event that I have been to recently has been so commercial, which is fine, but there’s so much great music out there at the moment. I’m hoping that the underground scene is about to boom.

What: Mardi Gras Party 2014 With: Kim Ann Foxman, Yo! Mafia, Tina Arena, Derrick Carter, Courtney Act, Leomeo, Dan Murphy and more Where: Hordern Pavilion When: Saturday March 1

REGROWTH FESTIVAL LUCIANO

Luciano

Cadenza record label main man Luciano will play a Future Music Festival sideshow at the opulent venue The Island – which floats around Sydney Harbour – on Friday February 28. The Chilean has a formidable CV, having released mixes such as Vagabundos 2012 and his earlier (far superior) Sci.Fi.Hi.Fi compilation, along with his Tribute To The Sun and Lucien-N-Luciano albums, remixes of the likes of Loco Dice, Recloose and the theme from acclaimed French film Amelie, while he has spun at just about any world-renowned nightclub you could possibly think of. The party kicks off at 5:30pm and runs til late, with a very limited number of tickets on sale through theislandsydney.com.au.

SPICE CELLAR LOCKOUT REFORMS

PICNIC FT DJ HARVEY

This Sunday March 2, celebrated veteran DJ/ party monster DJ Harvey headlines Picnic at Oxford Art Factory. Harvey’s cult status is built upon, among various achievements, his Ministry of Sound residency, his iconic series of Black Cock edits that were pressed throughout the ’80s and ’90s and his marathon DJ sets at his Sarcastic Disco warehouse gigs. Harvey is also lauded for his studio work as Locussolus, 32 :: BRAG :: 551 :: 26:02:14

If they’re going to spin records, they’re going to do it properly. That’s the theory behind The 45 Sessions party, to be held at a secret location on Sunday March 9.

Headlining proceedings is legendary crate digger DJ Muro, one of Japan’s most prolific hip hop artists who also produces and DJs as well as running his own record store. Muro’s known for dropping cuts from the most obscure corners of the ’80s and ’90s, spanning rare funk, jazz, breaks and samples. DJ Platurn kicked off the 45 Sessions idea in Oakland, California, and this Sydney edition will feature a bunch of local DJs also playing 45s only. We’ve got two double passes to get you on the door – for your chance to win, head to thebrag. com/freeshit and tell us the first record you ever bought. And we mean record, capiche?

Bird of Prey and Birds of Paradise will be performing, along with the Netherlands’ Zen Mechanics and Italy’s Loopus In Fabula, while Spoonbill, Kobra Kai and vaunted veteran DJs Galaktik and Darkchild will be among the horde of acts representing Australia. In addition to the music, the festival will also comprise a mass volunteer tree planting effort to add to the 60,000 trees that have previously been planted at REGEN events. Tickets are available through re-gen.org.au/tickets.

Move D

which has been reworked by the likes of Andrew Weatherall, Lindstrom & Prins Thomas and The Emperor Machine, while Harvey himself has remixed Art Department, Logic System and Australia’s own Canyons in recent years. Andy Webb will kick proceedings off at 6pm before handing over to Harvey, who will be spinning what organisers have forecast to be a “super extended set”. In other words, cancel work on Monday.

AWESOME TAPES FROM AFRICA

After a rollicking set in Goodgod Small Club’s Danceteria last year, Awesome Tapes From Africa (ATFA) returns to the venue for a free encore set in Goodgod’s front bar this Friday at 9pm. ATFA is the ongoing project of Brian Shimkovitz, a world-travelling musicologist who unearths, performs and re-releases music from pop music cassettes in Africa that have piqued his interest. “I started ATFA as a way to make artifacts available from the cassette based music economy I have encountered around Africa,” Shimkovitz wrote in an interesting article that was published in The Wire magazine a few years back. In 2011 ATFA developed into a critically acclaimed vinyl label, re-releasing records by African artists like Bola, Dur-Dur Band and Penny Penny, furthering Shimkovitz’s aim of building an international audience for African music through touring and re-issues. As those who attended the previous AFTA Sydney show will attest, Shimkovitz’s DJ sets on twin tape decks are unique in their exploration of deep, regional sounds that you won’t hear anywhere else. Shimkovitz also shares much of the music he discovers on his excellent blog, which you can visit at awesometapes.com.

MOVE D

Celebrated DJ and producer David Moufang, who goes about his business under the moniker Move D, will headline the Spice Cellar on Saturday March 15. Moufang combines jazz, funk, techno and house influences in his productions that have been released on labels such as Running Back, Warp and Smallville throughout a career stretching over 15 years. He’s collaborated with luminaries such as Pete Namlook, while in recent times Moufang has been garnering accolades for the improvised analogue sets he’s been crafting with Juju & Jordash under the collective banner of Magic Mountain High. Move D also mixed the latest Fabric compilation, Fabric 74, which dropped only last week and focuses on “overlooked gems” from the likes of Roy Davis and Smallpeople & Rau. Move D will be supported by Spice patriarch Murat Kilic and local heartthrob Mike Witcombe among others, and presale tickets are available online for $25.

Move D photo by Yonathan Baraki

Due to the new lockout laws being implemented in the same week as the first scheduled Spice Black for 2014 featuring NU, the event has been moved from Icebergs to the Spice Cellar on Saturday March 1 to protest the new lockout laws and simultaneously launch the extension of DJ Degustation to Saturday nights. In response to the controversial laws that have been imposed in the Sydney CBD, the Spice Cellar will now be open early from 7pm and will stay open until 10am. From 10pm Spice clubbing will be business a usual, but dancers must be in the club before 1:30am or can be expect to be locked out until 5am (thank you Barry O’Farrell). As for the non-alcohol service time from 3am-5am, the Spice team has introduced an extensive juice bar, replete with mocktails galore – think orange, carrot, beetroot, ginger and all the healthy flavours of the fruit and vegetable rainbow – to quench the thirst of dancers. Quite an innovative riposte from the Spice crew, though this should hardly come as a surprise as their status as a longrunning Sydney institution has not come about by accident. Further information is available at thespicecellar.com.au.

REGEN’s four-day Regrowth Festival will return for its ninth year, running from Friday February 28 until Thursday March 3. The Regrowth Festival is an eco-conscious event that is geared towards the regeneration of the Berlang Forest where the event is held, threeand-a-half hours south of Sydney. The musical lineup will span three stages, featuring a range of international, interstate and local bands, live electronic acts and DJs. American outfits

DJ MURO

Deep Impressions Dance And Electronica with Chris Honnery

Massimo Bastasi of Hard Ton

V

aunted Berghain resident DJ Boris will return to Sydney to throw down this Saturday March 1 at Lovecult, a party that celebrates the international queer underground scene and will also feature a live set from Milan’s Hard Ton. Boris is best known for his early morning sets at Berghain, which depending on the mood, traverse house and disco – vestiges from Boris’ early days behind the decks in New York, where he was influenced by Larry Levan – or plenty of booming techno.

“I like a lot of different styles of music and feel at home in either genre,” Boris said recently, adding in a hushed tone, “there is no fail-safe way of how to get a crowd.

You have to have a feel and some intuition about the situation and the people to make it happen.” In addition to his DJ output, Boris has also released on Berghain’s Ostgut Ton record label (head straight for the 2010 label compilation Fünf), and oversees the running of Careless Records as an A&R (music industry speak for the division of a record label responsible for overseeing the “artistic development” of recording artists and talent scouting – a tough gig indeed!). Meanwhile, Italian duo Hard Ton, comprised of Mauro Wawashi, a formidable producer and DJ in his own right, and extremely colourful frontman Massimo Bastasi, collaborated with Nina Kraviz on her track ‘Walking In The Night’, which was released on Kraviz’s self-titled debut album a few years back. The pair has also worked with Billie Ray Martin and Paolo Mojo, while erudite house music tastemaker DJ Sprinkles remixed Hard Ton’s cut ‘Food Of Love’ on the hallowed Mule Music label last year. Lovecult will run from 9pm till 5am this Saturday at the Metro Theatre, with people of all (musical and sexual) persuasions and preferences welcome. First release tickets had sold out at the time of writing, so prospective attendees should grab a second release ticket online for $65.50, stat!

[Movie buffs please imagine Dennis Hopper is reading you this section for maximum impact.] Pop quiz, hotshot.

What’s the first thing that comes into your mind when you hear the phrase ‘romancing the stone’? Yep, I knew it: Kathleen Turner and Michael Douglas swanning about in the 1980s adventure flick. Well it’s time to wash that image from your mind, as Detroit producer Omar-S is gearing up to release a new EP on his own FXHE label next month entitled – you guessed it, maestro – Romancing The Stone. Omar-S has rapidly established himself in the top echelon of the Motor City’s pantheon of producers since he dropped his breakout track ‘Psychotic Photosynthesis’ back in that acid-washed summer of ’07. His subsequent contribution to the Fabric mix canon opened his

LOOKING DEEPER SATURDAY MARCH 1

Lovecult 2000 ft. Boris + Hard Ton Metro Theatre Redshape The Civic Underground

SUNDAY MARCH 2 DJ Harvey Oxford Art Factory

SATURDAY MARCH 8 4our ft. DJ Mareena Warehouse Party

discography to a broader listening public, and his productions have continued to hit the mark ever since. If the audio previews floating around the internet are any indication, Romancing The Stone will offer a collection of melodic Detroit house that is imbued with a slightly more upbeat ambience than one might expect from Omar-S (though side C will sate the sonic appetite of those after some gritty analogue acid house). The forthcoming EP follows the recent release of Omar-S’ FXHE 10 Year Mix Compilation, which is out now.

Most readers of this column are surely familiar with the popular Subsonic Music parties and especially Subsonic’s flagship festival that is held in Barrington Tops every December. However, an oftoverlooked layer of the Subsonic brand is the Subsonic Music record label, which has just released a new EP entitled Want You from local lads Square Room Heroes that includes remixes from two renowned Berlin producers who have headlined Subsonic parties in years past: Guido Schneider and Nico Stojan.

Want You is a dreamy fusion of deep tech house soundscapes that is very much in keeping with the sounds pushed at Subsonic events. Schneider’s rework in particular features bouncy yet subtle bassline grooves that will ensure the track does the business on the dancefloor.

Schneider has a formidable pedigree, having released on labels like Cadenza – ‘Albertino’ anyone? – Poker Flat and HighGrade, while the other remixer Stojan may be familiar to dancers as a resident of the now defunct Berlin party parlour Kater Holzig. The EP can be procured through online record stores such as Juno, or by contacting local Subsonic label representatives, which can easily be done through Facebook.

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

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Ozomatli Work, Rest, Play By Rod Whitfield

Y

ou can trace the origins of Los Angeles-based Latin jazz/hip hop/funk band Ozomatli back almost 20 years. During that time, and over the course of half a dozen or so full-length albums – plus, of course, in the context of their highenergy stage show – Ozomatli have explored a very diverse range of sounds and styles.

According to guitarist, vocalist and multi-instrumentalist Raul Pacheco, that thirst for creating a wide variety of sounds, and being adventurous in drawing influence from musical styles from all over the world, are the major factors that have kept the band active for such a long time – as has the sheer love of making music itself.

“You know, I think we just love to play music,” Pacheco emphasises. “We’re musicians and we love to play music.

It’s always been a vehicle for us, and our group is a group that really allows room for individual taste. So if someone wants to [play] Mexican Bamba music mixed with hip hop beats, it’s like, ‘Sure, let’s try it.’ If someone wants to play a pop-reggae song, let’s try it. If someone wants to do a North African rock song, let’s try it. I think as musicians we need these

opportunities to express ourselves in this group. And I think this is one of the reasons why we’re still together.”

They’re far from done yet. Pacheco says the band remains very hungry to explore new sounds and ideas.

“We still love to play music, and as long as that is still happening, I really don’t see us not pushing ourselves – pushing ourselves to do new things, pushing ourselves to be better.”

No stranger to our shores, Pacheco believes he and the band have visited here around ten times in the last 15 to 20 years. However, it’s been a while since their most recent visit, so Ozomatli decided early 2014 was a good time to return. “We’re very happy to be going back. Australia means a lot to us; we’re going to catch up with some old friends and hopefully make some new ones, and just have a great time. We always have a great time when we go there.”

Pacheco has many memories of his previous trips Down Under, but one in particular stands out above the rest.

“We’ve played so many places, but one of my greatest memories was [when] we played the Falls Festival once. It was happening on… what’s

the island off of Australia that’s part of Australia? Tasmania! It was there, and having never been there and ending up in the countryside there, that was a beautiful thing. It was really cool and unique.”

way that makes them feel like they’re a part of the show … People can get away from everything that’s going on in their lives, and we can have a moment together where we really celebrate.”

What is also unique is the Ozomatli live show, and Pacheco is happy to let us in on what to expect from the band’s Bluesfest performance and sideshows. “We’re a high-energy dance band – we really get people moving, and if you’ve never seen it, I think that you’re just going to go for a ride for a couple of hours. We really try to connect with our audience in a

And for the old-school fans, they do their best to cover as much of their back catalogue as they can, right through to the new material. “We try to play songs from every record, [and] we’ll play some songs off our new record, called Place In The Sun. So we’ll be playing songs from all our career.”

Slow Magic

Yo! Mafia La Dama By Claire Knight

Identikit By Naomi Faye “Even though it’s somewhat impersonal, I think it adds a personal ownership to the project that people can relate to,” says Slow Magic’s creator. “The first time I played …

I was talking to some random people and asking how my own set went. They told me without knowing it was me, and I realised I could get really sincere answers. It’s kind of scary, but it’s nice.”

Like the ambiguous mask the artist dons when he performs, Slow Magic likes his listeners to define him, rather than doing it himself. What he will say, though, is that his next release (due later this year) will be a “progression, not a departure” from his last, and that his music encapsulates a sense of summery nostalgia – the first record, Δ, being a summer’s day, and the upcoming album a summer’s night.

Adding to Slow Magic’s overall allure is the project’s visual centricity. His videos are captivating, and our anonymous guide takes the aesthetic side of his concept seriously. “I think that the visual aspect of music is almost as important as the music itself,” he says.

Slow Magic has created an admirable paradox. Despite building a buffer between his real self and the public, his performances have one goal in mind: breaking down the barrier between artist and audience. At every show, the producer finds a way to overcome the barriers of security and stage limitations, and joins the crowd, often letting the audience play the drum pads along with him.

S

low Magic, as his cryptic biography states, is our “unknown imaginary friend”. A successful but mysterious chillwave producer (he’s remixed for Gold Panda, Giraffage and XXYYXX), Slow Magic is presented as a luminous mask; the hybrid of a fox, a cat and a dog. Acclaim Magazine describes his sound as “the aural equivalent of an Instagram filter”, and with live percussion layered over this mystique, he certainly makes for something a little different.

In previous interviews the producer has been as secretive about his current location as he has about his identity, so I was surprised when he was candid enough to say he was calling from LA, finishing off the follow-up to his successful 2012 release, Δ, and working on a brand new remix for Flight Facilities.

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We’ll soon be able to join Slow Magic in smashing drums over his glittery glo-fi when he tours Australia this month, and seeing as he’s arriving into our summer he’s excited because, well, “that’s what I write songs about”.

The only reaction he wants from his Australian audience is surprise. “I hope that it’s something they don’t expect. That’s really all I can ask, I guess; that people will have a good time, there’s not much more.”

What: Ryan Hemsworth Pool Party With: Empress Yoy, Kailo, Big Deal Gillespie Where: Ivy Pool Club When: Saturday March 1

S

neaker collector, vinyl freak and all-round music geek Yo! Mafia is headed our way to spin at the official Sydney Gay and Lesbian Mardi Gras Party – and she’s mighty keen. “I can’t wait to get back to Sydney! It’s been ages,” says the Melbourne local, brimming with excitement over the fact that “Mardi Gras are finally putting hip hop on”.

For an event synonymous with Kylie Minogue pop anthems, a hip hop-centric act does seem to be an interesting addition to the lineup. “I can play Kylie!” counters the international party DJ, who has made a career of bending genres to appeal to a wider audience. “I’ve got a mad bootleg Missy Elliot, ‘Pass That Dutch’ into ‘Slow’. It’s crazy.”

Mafia’s enthusiasm is palpable. It is strikingly clear that this is someone who absolutely loves her job. Promising she’ll use her unique position on the dance-heavy lineup “to give Mardi Gras something a little bit different”, she will be drawing from an extensive background in ’90s hip hop and R&B, and a love of current music, to perform a diverse three-hour set.

“I love Whitney, I love Mariah,” she says, citing her favourite ’90s gay icons. “I love all that shit and I’ll bang that out too. When I played at Meredith Music Festival in front of 15,000 people I was like, ‘You know what, fuck it – I’m gonna play some bangers and gay anthems,’ and they were going bananas! It translates. It doesn’t matter who you are, what you are; if you love music, you love music.”

Contrary to rapper Macklemore’s belief (“If I was gay, I would think hip hop hates me”) it seems as though now, more than ever, hip hop is really finding its place within queer culture. “I know a lot of gay guys and girls are really into twerk music at the moment,” agrees Mafia.

This fresh appreciation of the genre within the

community has been spearheaded by acts such as Le1f, Mykki Blanco, and Big Freedia – the ‘Queen of Bounce’ with whom Mafia toured last year. “It was all gay audiences and I know they love that New Orleans bounce and twerk shit,” Mafia says.

Refusing to be pigeonholed, Mafia has never let her gender or sexuality influence her craft. “I made a point early on not to be a ‘gay DJ’,” she explains. “No-one ever knew I was a girl either, because my name is Mafia and I kind of dress like a boy. When I took that name I really wanted something that wasn’t gender-specific. I didn’t want anyone to look at me and go, ‘Oh, that’s a chick DJ, she’s shit’ and have a preconceived notion.”

After her Mardi Gras appearance, 2014 will see Mafia supporting Harlem rapper A$AP Ferg on his first headline tour of Australia, as well as playing alongside Australian dance legends The Presets and signing her first record deal. “It’s pretty exciting. There is a group of us that are coming onto this label,” she says, remaining tight-lipped about the finer details of the deal. “All I can say is that I’m really excited to release my first official mixtape. I have some incredible drops from some of my favourite MCs and international rappers.”

Mafia’s last unofficial mixtape, made especially for Mardi Gras, is streaming on Soundcloud now. At the annual Mardi Gras Party, she’ll play alongside international party-starters Kim Ann Foxman, Derrick Carter and Alex Taylor.

In her own words: “Bring your rainbow flava… I’ll be bringing the badass hip hop steez to the queers this year! Get ready for something completely different.”

What: Mardi Gras Party 2014 With: Kim Ann Foxman, Tina Arena, Derrick Carter, Courtney Act, Leomeo, Dan Murphy and more Where: Hordern Pavilion When: Saturday March 1

thebrag.com

xxx by photo by xxx

Slow Magic is definitely not the first artist to work behind a secret identity, but whether we admit it or not, anonymity does hold a fair level of intrigue. In this man’s case though, it isn’t a vain attempt to appear enigmatic. The producer believes that secrecy brings the focus back to his music, connecting people to his sound.

“I think overall it’s important to have the mentality that the people onstage and the people not onstage are all in it together, there’s no separation, and sometimes [the barrier] is just there … it can be broken down.”

What: Byron Bay Bluesfest 2014 With: Jack Johnson, John Mayer, Dave Matthews Band, Elvis Costello & The Imposters, Buddy Guy, Erykah Badu, John Butler Trio and many more Where: Tyagarah Tea Tree Farm When: Thursday April 17 – Monday April 21 And: Also appearing with Chali 2na and House Of Vibe at the Factory Theatre, Friday April 25 More: Place In The Sun out Tuesday March 11 through Vanguard

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

Ryan Hemsworth

SATURDAY MARCH 1 HIP HOP & R&B

DJ Marty Wentworthville Leagues Club, Wentworthville. 9pm. free.

Swagger Gay Bar, Darlinghurst. 11pm. $20.

Video DJ Shayne Alsop AKA Sloppy Mounties, Mount Pritchard.

8pm. free.

CLUB NIGHTS

SATURDAY MARCH 1 Ivy Pool Club

Ryan Hemsworth + Slow Magic + Empress Yoy + Kailo + Big Deal Gillespie

An Inca Trail With Nu The Spice Cellar, Sydney. 7pm. free.

Cakes - feat: 4 Rooms Of Live Music + DJs And International Guests.

World Bar, Kings Cross. 8pm. $10.

Derrick Carter + Lamanex + Illya Cooper + Alex Taylor + Phil Hudson + Johnny Gleeson Goldfish, Kings Cross. 9pm. $25.

El’ Circo - feat: Resident Circus Act Performers Slide Lounge, Darlinghurst.

7pm. $109.

FBi Hands Up! - feat: DJ Clockwerk + Special Friends With Benefits FBi Social, Kings Cross.

11:30pm. free.

Goldroom + Kerry Wallace + Alex Preston

Chinese Laundry, Sydney. 9pm. $25.

Goodgod Hai-Life Goodgod Small Club, Sydney.

9pm. free.

Masif Saturdays Space, Sydney. 10pm. $25.

My Place Saturdays Bar100, The Rocks. 8pm. free.

Ryan Hemsworth Pool Party - feat: Slow Magic + Empress Yoy + Kailo + Big Deal Gillespie Ivy Pool Club, Sydney. 12pm. $35.30.

Sienna Saturdays - feat: Resident DJs The Establishment, Sydney.

9pm. free.

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

Swarm And Trench Pres.

Mutate - feat: Vic Zee + Mookie + Kate Doherty + Orion + Scott Kilpatric + Sebastian Bayne + XXX + Que-Zen + Gabriel Fernandes Valve Bar, Agincourt Hotel, Ultimo. 8pm. $15.

The Aston Shuffle + Thief + Island + Franco Goodgod Small Club, Sydney.

8pm. $15.

Uone + Danny B Spice Cellar, Sydney. 10pm. $10.

WEDNESDAY FEBRUARY 26 CLUB NIGHTS

DJ Tom Kelly Goldfish, Kings Cross. 11pm. free.

House Party Scubar, Sydney. 8pm. free.

Noisey Presents Unity Floors + Disgusting People + Atom Bombs Goodgod Small Club, Sydney.

8pm. free.

Snapback - feat: Various Artists Newtown Hotel, Newtown.

7:30pm. free.

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

10pm. free.

The Wall - feat: Various Local And International Acts World Bar, Kings Cross. 9pm. $5.

Whip It Wednesdays - feat: Various DJs Whaat Club, Kings Cross.

9pm. free. xxx

CLUB NIGHTS

$5 Everything Scubar, Sydney. 5pm. free.

Goldfish And Friends - feat: Regular Rotating Residents Goldfish, Kings Cross. 10pm. free.

Loopy - feat: Drty Csh + Daschwood + Generous Greed + Guest DJs The Backroom, Kings Cross.

10pm. $12.

Physical Education - feat: Various DJs Flinders Hotel, Surry Hills.

10pm. free.

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

Solarium - feat: Solarium DJs + Live Acts Goodgod Small Club, Sydney.

9pm. free.

The World Bar Thursdays World Bar, Kings Cross. 9pm. free.

THURSDAY FEBRUARY 27

FRIDAY FEBRUARY 28

HIP HOP & R&B

CLUB NIGHTS

Sketch Kombat Round 2 - feat: MC Jeswon (Thundamentals) + The thebrag.com

Argyle Fridays - feat: Resident DJs

MONDAY MARCH 3 CLUB NIGHTS

Crab Racing Scubar, Sydney. 7pm. free.

DJ Mattia Goldfish, Kings Cross. 11pm. free.

SUNDAY MARCH 2

TUESDAY MARCH 4

CLUB NIGHTS

CLUB NIGHTS

DJ Harvey + Andy Webb + Marcus King + Steele Bonus + Angelo Cruzman + Tamas Jones Oxford Art Factory, Darlinghurst.

6pm. $25.

Chu World Bar, Kings Cross. 9pm. free.

DJ Robin Goldfish, Kings Cross. 11pm. free.

send your listings to : clubguide@thebrag.com

12pm. $35.30.

Tongue + Joe New + P-Smurf + Mantra + Bravo + Pigeonboy + Vanessa Caspersz The Basement, Circular Quay.

8pm. $18.

La Fiesta - feat: Samantha Fox + Agee Ortiz + Av El Cubano + Resident DJ Willie Sabor The Establishment, Sydney.

8pm. free.

Marco Polo - feat: Various DJs Ivy Bar/Lounge, Sydney. 1pm. $15.

Martini Club And Friends feat: Ocky + Tom Kelly Goldfish, Kings Cross. 10pm. free.

S.A.S.H Sundays - feat: Terranova + Thomas Gandey + Danni B + Kerry Wallace + Matt Weir + Tomek + Mo’Funk Flyover Bar, Sydney. 12pm. $10.

Sunday Sessions - feat: DJ Alter Ego Oatley Hotel, Oatley. 6pm. free.

Sundays In The City - feat: Various DJs The Slip Inn, Sydney. 12pm. free.

SATURDAY MARCH 1 The Argyle, The Rocks. 6pm. free.

Awesome Tapes From Africa - feat: King Opp + Silky Doyle + Jimmy Sing Goodgod Small Club, Sydney.

9pm. free.

Bass Mafia - feat: Jubei + Alf + Whitey + DJ Lucian + Moriarty + Slice + Max Gosford Chinese Laundry, Sydney.

9pm. $25.

DILF + Phil Romano + Nelson De Sousa + Chip Imperial Hotel, Erskineville.

11pm. $50.

DJ Corey Hodge AKA DJ Slinkee Campbelltown Catholic Club, Campbelltown. 8pm. free.

DJ Marty Wentworthville Leagues Club, Wentworthville. 9pm. free.

Factory Fridays - feat: Resident DJs Soda Factory, Surry Hills.

5pm. free.

Frisky Fridays Scubar, Sydney. 5pm. free.

Infamous Saturdays - feat: Live DJs Scubar, Sydney. 7pm. free.

Loco Friday - feat: Various Live Bands And DJs The Slip Inn, Sydney. 5pm. free.

Mark Pellegrini Marquee At The Star, Pyrmont. 10pm. $15.

Mashed Fridays - feat: Draz + Lazar Oatley Hotel, Oatley. 8pm. free.

Soft & Slow - feat: Astral

DJ Harvey

THURSDAY FEBRUARY 27 Sketch Kombat Round 2 - feat: MC Jeswon (Thundamentals) + The Tongue + Joe New + P-Smurf + Mantra + Bravo + Pigeonboy + Vanessa Caspersz The Basement, Circular Quay. 8pm. $18.

FRIDAY FEBRUARY 28 Bass Mafia - feat: Jubei + Alf + Whitey + DJ Lucian + Moriarty + Slice + Max Gosford Chinese Laundry, Sydney. 9pm. $25.

DILF + Phil Romano + Nelson De Sousa + Chip Imperial Hotel, Erskineville. 11pm. $50.

Mark Pellegrini Marquee At The Star, Pyrmont. 10pm. $15.

Soft & Slow - feat: Astral People + Pink Lloyd + Parihaka The Spice Cellar, Sydney. 10pm. $10.

An Inca Trail With Nu The Spice Cellar, Sydney. 7pm. Free.

Derrick Carter + Lamanex + Illya Cooper + Alex Taylor + Phil Hudson + Johnny Gleeson Goldfish, Kings Cross. 9pm. $25.

Goldroom + Kerry Wallace + Alex Preston Chinese Laundry, Sydney. 9pm. $25.

Ryan Hemsworth Pool Party - feat: Slow Magic + Empress Yoy + Kailo + Big Deal Gillespie Ivy Bar/Lounge, Sydney. 12pm. $35.30.

The Aston Shuffle + Thief + Island + Franco Goodgod Small Club, Sydney. 8pm. $15.

SUNDAY MARCH 2 DJ Harvey + Andy Webb + Marcus King + Steele Bonus + Angelo Cruzman + Tamas Jones Oxford Art Factory, Darlinghurst. 6pm. $25.

S.A.S.H Sundays - feat: Terranova + Thomas Gandey + Danni B + Kerry Wallace + Matt Weir + Tomek + Mo’Funk Flyover Bar, Sydney. 12pm. $10.

Derrick Carter

BRAG :: 551 :: 26:02:14 :: 35

Xxx

club pick of the week

People + Pink Lloyd + Parihaka The Spice Cellar, Sydney.

10pm. $10.

Start (Cue 012) - feat: Denney Jam Gallery, Bondi Junction.

8pm. free.

snap

soft & slow

PICS :: AM

up all night out all week . . .

marcel dettmann

PICS :: AM

s.a.s.h sundays 22:02:14 :: Chinese Laundry :: 111 Sussex St Sydney 8295 9999 36 :: BRAG :: 551 :: 26:02:14

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21:02:14 :: The Spice Cellar :: 58 Elizabeth St Sydney 9223 5585

23:02:14 :: Flyover Bar :: 275 Kent St Sydney 9262 1988 OUR LOVELY PHOTOGRAPHER MARIA DE VERA ::

CLAR S :: LIAM CAMERON :: KATRINA

KE :: BEN LAU :: ASHLEY MAR

::

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live review Eminem photo by Jeremy Deputat

What we've been out to see...

RAPTURE 2014 ANZ Stadium Saturday February 22 Was this the hip hop festival Australian fans had been waiting for? Certainly, the fact this felt like a stadium gig (as opposed to a large, disconnected outdoor show) long before the headliner took his mark suggested as much. Or maybe M-Phazes, Action Bronson, 360 and J. Cole just find playing enormous stadiums piss easy.

No disrespect to any of those respective performers’ talents, but this was an afternoon and evening driven by the fans – just the way it should be.

Still, just making the opening curtain was an achievement for Paul Dainty’s Rapture, given the recent history of failed hip hop festivals in this country. By the time the sun withdrew and Kendrick Lamar arrived in its place, expectations were high.

The Compton rapper, backed by a full live band, opened with ‘Money Trees’ and accelerated towards a ‘Swimming Pools (Drank)’/ ‘Bitch, Don’t Kill My Vibe’ double-up, the centrepiece of his set.

Lamar himself was on fine form, as was his drummer, though in these enormous surrounds the rest of his accompanists were disappointingly difficult to make out.

But the MC hit a sweet spot by introducing his last song: “I love Sydney just like I love Compton, know what I’m sayin’?” Yep, copied loud and clear.

Eminem is, of course, the central pivot on which Rapture has rested in its debut year, which may prove to be a

hindrance down the track. Just how will the promoter match Slim’s profile with his next headliner? Surely it can’t be anyone worthy of filling Sydney’s biggest stadium. Such concerns were of no consequence during Eminem’s hundred or so minutes onstage, though. In the moment, Eminem was a star of all stars; hyperactively stalking the stage on his first visit here since 2011.

Not so his hype man, Mr. Porter, who spent much of the time interrupting the hero. No “whatthefuckisupsydney” or “putyourhandsup” or “Sydneyareyouwithus” will ever speak as loudly as Eminem’s rhymes.

‘Survival’ opened proceedings, and ‘White America’ was an early highlight. ‘The Way I Am’ was hampered by its vocals being mainly backing track – what was Mr. Porter there for in the first place, if not that? – but ‘Lighters’ opened up the atmosphere of the second half with, well, a sky full of lighters.

While Eminem himself seemed most enthusiastic about his newer Marshall Mathers LP 2 material – ‘Berzerk’ was comfortably the night’s most energetic effort – he was eager to please the masses. Hence a medley of ‘My Name Is’, ‘The Real Slim Shady’ and ‘Without Me’, before ‘Not Afraid’ closed the main set and ‘Lose Yourself’ filled the encore.

The general enthusiasm around Rapture’s debut, however, only brought us back to the original question – where to from here?

Based on current evidence, Rapture has huge potential. If it can somehow achieve a lineup anywhere near this one in future, maybe the revolution really is nigh.

Chris Martin

PHOTOGRAPHER :: ASHLEY MAR

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BRAG :: 551 :: 26:02:14 :: 37

snap up all night out all week . . .

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leased summer series ft: marcel dettmann mark henning

PICS :: KC

22:02:14 :: The Ivy :: 1/330 George St Sydney 9254 8100

phetsta

PICS :: AM

soul of sydney disco-funk block party 21:02:14 :: Chinese Laundry :: 111 Sussex St Sydney 8295 9999 38 :: BRAG :: 551 :: 26:02:14

PICS :: LC

22:02:14 :: The Spice Cellar :: 58 Elizabeth St Sydney 9223 5585

23:02:14 :: Secret Funk Oasis :: Sydney OUR LOVELY PHOTOGRAPHER MARIA DE VERA ::

CLAR S :: LIAM CAMERON :: KATRINA

KE :: BEN LAU :: ASHLEY MAR

::

thebrag.com

featuring

ryan h1e m s w o r t h # # . H ( - &%)# .1

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TRIPLE J, MAX, THE BRAG & JARRAH RECORDS PRESENT

JOHN BUTLER TRIO

WITH SPECIAL GUEST EMMA LOUISE

WEDNESDAY 9 APRIL | CIVIC THEATRE NEWCASTLE Licenced / All Ages. Tickets available from Ticketek | www.ticketek.com.au | 132 849

FRIDAY 11 APRIL | HORDERN PAVILION SYDNEY Licenced / All Ages. Tickets available from Ticketek | www.ticketek.com.au | 132 849

SATURDAY 12 APRIL | ROYAL THEATRE CANBERRA Licenced / All Ages. Tickets available from Ticketek | www.ticketek.com.au | 132 849

SUNDAY 13 APRIL | ANITA’S THEATRE THIRROUL Licenced / Over 18. Tickets available from Ticketmaster | www.ticketmaster.com.au | 136 100

TICKETS ON SALE NOW

ALBUM OUT OUT NOW FEB 7 ALBUM