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A COMEDY SERIES BY

CHRIS LILLEY

NEW ON DVD

Includes over

2 1/2 hours OF extras

‘A UNIQUE & DISTINCTIVE TALENT... TO BE CELEBRATED’ - THE AGE GREEN GUIDE

‘FUNNY...ENERGETIC, IRREPRESSIBLE... PLAYED BRILLIANTLY’ - CANBERRA TIMES

AVAILABLE FOBBA-LISCIOUS! AT LEADING RETAILERS

INCLUDES

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rock music news welcome to the frontline: the latest touring and music news...with Tyson Wray, Lauren Gill and Chris Martin

on the record WITH

THE BRAG

SIMON RIDLEY FROM DZ DEATHRAYS

record songs I’d write on guitar in my room after school. I haven’t heard those recordings in years and I really hope I don’t hear them ever again… although I don’t know what happened to those tapes so I’m a little worried. The Last Thing I Recorded We just released our 4. second record, called Black

1.

like us:

Lorde

The First Thing I Recorded I had a cassette tape deck 3. that had a mic on it. I’d just

The First Record I Bought I bought Moby – Play and A Perfect Circle – Mer De Noms. I was in year eight and had a bunch of music already but never the cash to actually buy anything. So I finally bought a nice CD player and those CDs with it at the same time.

follow us:

@TheBrag

2.

The Last Record I Bought The last record I got was Danny Brown – Old. Great, newish rapper who talks about taking a dickload of Molly occasionally. I usually go through hip hop phases but I haven’t for a long time so it’s nice to get back into it.

Rat, which we recorded with the legend that is Burke Reid. It was recorded out near Gosford at The Grove Studios, owned by Scott Horscroft, over two weeks and an extra ten days of preproduction party time. The Record That Changed My Life 5. It’s not so much a record but more just Neil Young’s entire

catalogue, including the Crazy Horse works. I had put off listening to him for so long for some reason – I feel like when you get into such a prolific artist like Young or Bob Dylan you need to give them a full week and listen to everything at least twice to let it sink in. I did that with Neil when we had some time off the road and he was one of the most rewarding musicians I’ve ever gotten into. He just inspired me to get back into writing guitar music, because after being in two rock bands the last thing you really want to write outside of that is guitar music… until I heard Neil, that is. What: Black Rat out now through I Oh You With: Palms, Foam Where: Oxford Art Factory When: Saturday May 31

THE LORDE RETURNS

After Lorde was forced to postpone her Australian tour at the 11th hour last month, the New Zealand pop wunderkind has locked in rescheduled dates. The news came via Lorde’s Twitter where she posted a screenshot of her upcoming tour dates. Lorde will now play the Hordern Pavilion on Friday July 11 and Saturday July 12.

ONE OF THESE NIGHTS

Queen + Adam Lambert

MANAGING EDITOR: Chris Martin chris@thebrag.com 02 9212 4322 ONLINE EDITOR: Tyson Wray ONLINE COORDINATOR: Emily Meller SUB-EDITOR: Georgia Booth STAFF WRITERS: Alasdair Duncan, Jody Macgregor, Krissi Weiss, Augustus Welby NEWS: Gloria Brancatisano, Lauren Gill, Chris Honnery, Ed Kirkwood, Erin Rooney, Tyson Wray

KATCHAFIRE

ART DIRECTOR: Sarah Bryant COVER PHOTO: Jaime Butler PHOTOGRAPHERS: James Ambrose, Katrina Clarke, Amath Magnan, Ashley Mar, Prudence Upton

Katchafire will make the journey across the Tasman for a string of tour dates this winter. The New Zealand collective channels classic roots reggae tinged with R&B, funk, modern dancehall and reggae-pop. Katchafire’s sound has earned them slots supporting the likes of Damien Marley, Steel Pulse, Michael Franti and The Wailers, and has taken them from the stages of Glastonbury to South America. They’ll come our way to play the Metro Theatre on Sunday June 29.

ADVERTISING: Georgina Pengelly - 0416 972 081 / (02) 9212 4322 georgina@thebrag.com ADVERTISING: Les White - 0405 581 125 / (02) 9212 4322 les@thebrag.com PUBLISHER: Furst Media 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: Sarah Corridon, Ed Kirkwood, Emily Meller - gigguide@ thebrag.com (rock); clubguide@thebrag.com (dance, hip hop & parties) AWESOME INTERNS: Sarah Corridon, Ed Kirkwood, Erin Rooney REGULAR CONTRIBUTORS: Nat Amat, Ian Barr, Keiron Costello, Marissa Demetriou, Rachel Eddie, Christie Eliezer, Blake Gallagher, Chris Honnery, Cameron James, Tegan Jones, Lachlan Kanoniuk, Pamela Lee, Alicia Malone, Adam Norris, Daniel Prior, Kate Robertson, Amy Theodore, Leonardo Silvestrini, David Wild, Harry Windsor, Stephanie Yip, David James Young Please send mail NOT ACCOUNTS direct to this NEW address 100 Albion Street, Surry Hills NSW 2010 ph - (02) 9212 4322 fax - (02) 9319 2227 EDITORIAL POLICY: The views and opinions expressed in this publication are not necessarily those of the publisher, editors or staff of the BRAG.

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 2003-2014 DISTRIBUTION: Wanna get the BRAG? Email distribution@ furstmedia.com.au or phone 03 9428 3600 PRINTED BY SPOTPRESS: www.spotpress.com.au 24 – 26 Lilian Fowler Place, Marrickville NSW 2204

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BLOODS AND MAJOR LEAGUES

QUEEN + ADAM LAMBERT

Tickets have gone on sale to Queen’s first tour of Australia in 30 years. Queen were last in Australia in 1985 when the late Freddie Mercury was still fronting the band. On their 2014 tour Adam Lambert will take his place. Lambert first performed with original members Brian May and Roger Taylor in 2009 on American Idol for a performance of their seminal hit ‘We Are The Champions’. They next teamed up at the MTV European Music Awards in Belfast for an eight-minute medley and in 2012 they performed a series of shows across Europe as well as dates in Russia, Ukraine and Poland. They’ll land at Allphones Arena on Tuesday August 26.

Sydney punk brats Bloods have just dropped their new single ‘Want It’, and to celebrate its release the band is heading out on a short east coast tour this June and July. The single is the first taste of Bloods’ currently untitled debut album, set for release this August. Joining the trio on their three stops in Brisbane, Sydney and Melbourne are co-headliners Major Leagues, themselves preparing new material after sharing stages with the likes of Sebadoh, Ben Folds, The Preatures and Ball Park Music. Catch the double bill at Newtown Social Club on Thursday June 19.

IF YOU WANNA SEE A PASSENGER

Breakout folkster Passenger will bring his latest tour to Australia, playing his biggest shows here yet. Passenger’s new album, Whispers, is due out on Friday June 6, on the back of lead single ‘Heart’s On Fire’. It follows the success of All The Little Lights, the album which spawned hit song ‘Let Her Go’. You can bet the latest run of venues will be a long way from the busking appearances which gave Michael Rosenberg his start. Passenger plays Qantas Credit Union Arena on Friday January 23, with support from The Once. Tickets go on sale 11am Friday May 30, while a fan presale begins via passengermusic.com on Wednesday May 28.

THE TIMES THEY ARE A-CHANGIN’

…But Bob Dylan’s influence remains a constant. Upon the celebration of his 73rd birthday, the folk icon announced a new tour of Australia. He’ll play a special run of theatre dates across the land, including two at the State Theatre on Wednesday September 3 and Thursday September 4. That means it’s Australian fans’ first chance to see him in such intimate venues for several decades. Tickets go on sale Thursday June 3.

Kids In Glass Houses

KIDS IN GLASS HOUSES

You’ll get one last chance to say goodbye to Welsh rockers Kids In Glass Houses when they head out on their Australian farewell tour this August. With 13 years, four albums and 14 singles under their belt, the five-piece first rocketed onto the scene with the release of 2008’s Smart Casual. In February, they announced their intention to part ways. Kids In Glass Houses will play Newcastle’s Cambridge Hotel on Wednesday August 27 and the Factory Theatre on Thursday August 28 with support from Sydney’s With Confidence.

thebrag.com

Queen + Adam Lambert photo by Kevin Mazur

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

The legendary Eagles are set to bring their critically acclaimed History Of The Eagles world tour to Australia early next year. Last in Australia in 2010, Eagles will perform a three-hour set of classic hits such as ‘Hotel California’, ‘Desperado’, ‘Take It Easy’ and ‘New Kid In Town’ alongside tracks they have never previously played live. Catch them on Monday March 2 at Qantas Credit Union Arena, Wednesday March 4 at Allphones Arena and Saturday March 7 at Hope Estate in the Hunter Valley. Tickets go on sale on Tuesday June 10.

BRAG :: 564 :: 28:05:14 :: 9

live & local

free stuff

welcome to the frontline: what’s goin’ on around town...with Chris Martin and Ed Kirkwood

head to: thebrag.com/freeshit

speed date WITH

LED ZEPPELIN REMASTERED

SUSY BLUE

Your Profile Susy Blue is confusingly myself; the 1. singer, songwriter, keyboardist and benevolent

Keeping Busy In February I did a songwriting challenge 2. to try and write 14 songs in the month. I only got nine but was happy with that. It’s part of an online forum where you upload your demos and get feedback on the songs, and the two-day deadline works super well for me. We’ve started getting the gears in motion for touring and releasing our second album. It’s all culminating right now, also with shooting film clips, rehearsing and the whole promo trail. Best Gig Ever Playing Woodford Folk Festival was 3. definitely a big highlight for me. As a former

Current Playlist I’m pretty excited about Tune-Yards’ new 4. album. Over the last two months I’ve been listening obsessively to Andrew Bird and Björk, and less obsessively to Dirty Projectors and some old school gospel and doo-wop. I’ve also been revisiting an old favourite, Tori Amos, as well as listening to some classical Indian records my boyfriend found in hard rubbish – they’re amazing! Your Ultimate Rider I have bizarre food tastes, mainly 5. involving straight white vinegar, so that alongside some pho, bison grass vodka, haloumi and coffee would keep most of the band happy. What: Nobody’s Somebody out now through Big Rig Where: Supporting Phfat and The Soorleys at Upstairs Beresford When: Saturday May 31

CITIZEN KAY + TKAY MAIDZA

Sydney’s live music scene gets a welcome injection of boppy beats this week when Citizen Kay and Tkay Maidza hit town on their joint tour. Kay’s had us raising a glass over the last few months, and scored support slots for Public Enemy, Danny Brown and more. Meanwhile, Maidza’s ‘Brontosaurus’ needs no introduction – released last year, it’s still stuck in everyone’s head, and that can only bode well for the young performer’s future. First up they play Sosueme at the Beach Road Hotel on Wednesday May 28, before scooting across town to Newtown Social Club on Saturday May 31. They’ll also play Newcastle’s Small Ballroom on Thursday May 29. Citizen Kay

Tkay Maidza

Royal Blood

KIM CHURCHILL

Josh Rennie-Hynes

JOSH RENNIE-HYNES

New Warner signee Kim Churchill is the man of the moment at Newtown Social Club this Friday May 30, having just put out his new album Silence/Win. It’s Churchill’s third fulllength effort, packed to the brim with melodic folk and blues and recorded in Vancouver with

Warne Livesey (Midnight Oil, Matthew Good). In another slice of good news for blues lovers, Steve Smyth is joining Churchill on the album tour. If you can’t get along to Newtown, they also stop in at Newcastle’s Cambridge Hotel on Saturday May 31 and The Brass Monkey on Sunday June 1.

The Strides

Brisbane folk artist Josh Rennie-Hynes is set to launch his debut full-length album, February. He’ll hit the road to play shows all over the country in support of the LP, which was recorded with country star Shane Nicholson. Rennie-Hynes has been working solidly for the last year, having released a self-titled mini-album already and spending much of 2013 touring the east coast relentlessly. He was billed on big community festivals like the Woodford Folk Festival and Tamworth Country Music Festival and has received airplay from triple j and community radio stations around Australia. Rennie-Hynes plays The Newsagency on Saturday June 21.

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Tickets are still available at the time of writing for Royal Blood’s second Sydney show next Wednesday June 4, added on the back of a sell-out Tuesday gig. The Brit boys – and recent BRAG cover stars – are excited to be bringing their live show our way for the first time after breaking onto the scene with their arse-kicking garage rock last year. But as drummer Ben Thatcher told us, Royal Blood’s inception was actually inspired by vocalist Mike Kerr’s visit Down Under as a backpacker. “We actually played a small gig the day after he got back from Australia,” said Thatcher. “He had written structures for a few songs and we had a rehearsal together and played in a little club the next day.” It’s about time we heard what came of those early sketches, so get thee down to Oxford Art Factory next week.

BUNKER FEST

FRANKIE’S FT CHILD

This week’s 10 O’Clock Rock lineup at Frankie’s Pizza – that’s live music from 10pm on Thursday May 29 – features a meaty headliner in Child. Also on the bill are Bitter Sweet Kicks, a Melbourne group pushing punked-up garage and blues rock, and the one and only Drunk Mums launching their new single ‘Plastic’, which is about… well, getting drunk. Want to know more? We interview the Mums on page 20 this week.

ROYAL BLOOD

TAKING THE RIGHT STRIDES

The Strides have released their new album, Reclamation, and will show it off when they headline Saturdays In The Rex at the Beach Road Hotel this Saturday May 31. The Sydney locals are fronted by reggae master Ras Roni from Barbados via London, and Fijian MC LTL G-Zeus, and have shared stages with the likes of Julian Marley, Tony Allen and Groundation. Warming up the crowd will be Iron Gate Sound, who as it happens sound nothing like a rusty old gate at all. They’re well oiled, this lot.

The June long weekend – Friday June 6, Saturday June 7 and Sunday June 8 – marks the second edition of Bunker Fest at Coogee Diggers. Lined up this year are the likes of Steve Poltz, Mick Thomas & Squeezebox Wally, Quarry Mountain Dead Rats, The Crooked Fiddle Band, Frank Sultana & The Sinister Kids, The Rusty Spring Syncopators, The Re-Chords, Big Blind Ray Trio, Karl Broadie, Red Slim, Eddie Boys & The Phatapillars, Gramophone Man and more, plus festival food and ten (ten!) pinball machines. Something for everyone, in other words. thebrag.com

Led Zeppelin 1969 courtesy of Atlantic Records

dictator, as well as the rest of the musicians that make up the six-piece band. We definitely embody the genre-hop, from alt-folk to vintage pop to a bit of bluegrass to calypso to surf rock. We like to surprise, sometimes with cheeky songs like ‘Cheer The Fuck Up’, or explore our darker side with titles like ‘Murder Bolero’. You can expect instruments like keyboards, Casio organs, violin, sax and clarinet alongside the usual rhythm section onstage, as well as honeyed harmonies in songs that are fun, free and on the fringe.

Queenslander, I’d been going to the festival for years and always loved it. The audiences there are so lively and ready to enjoy and interact; the whole festival has such a great vibe with so much amazing art and music and fun to be had.

Bonham, Jones, Page, Plant. Led Zeppelin were the band that redefined rock from the very first moment ‘Good Times Bad Times’ blared out of the speakers on their self-titled debut album in 1969. On the cover, the Hindenburg airship exploded; thanks to the band, the bang was heard around the world. Nine months later came Led Zeppelin II, and with it ‘Whole Lotta Love’, ‘Ramble On’ and ‘Moby Dick’; then in 1970 Led Zeppelin III featured cuts like ‘Immigrant Song’ and ‘Since I’ve Been Loving You’. In the best news Led Zep fans have heard since it turned out Jason Bonham could drum like his father John, the band’s first three records have been remastered by Jimmy Page himself. With each of them comes an additional disc of unreleased audio as part of a deluxe edition. We’ve got five copies of each double CD set to give away – to be in the running, head to thebrag.com/ freeshit and tell us about your favourite Led Zeppelin song.

BRAG :: 564 :: 28:05:14 :: 11

Industrial Strength Music Industry News with Christie Eliezer

THINGS WE HEAR * Red Hot Chili Peppers drummer Chad Smith and lookalike actor Will Ferrell had their long-promised “drum off� on The Tonight Show With Jimmy Fallon. They dressed identically and traded good-natured barbs (“do you play for the Lukewarm Chili Peppers?�) as they performed four solos each. The Chilis joined them for a run through Blue Oyster Cult’s ‘Don’t Fear The Reaper’ through which Farrell played cowbell and was declared the winner. * A Serbian church leader claims the Balkan floods were caused by Conchita Wurst’s Eurovision victory. * Virgin Australia is sorting out why Bliss N Eso were charged excess baggage fees of $1,750 during a Sunshine Coast to Melbourne flight. The band tweeted their displeasure. Virgin, which claims to be muso-friendly, is investigating if the band gave two days of advance warning

of using the complimentary allowance. It wasn’t showing on the system, and they were charged for 25 pieces of equipment. * Coldplay’s one-off theatre show in Sydney, at the Enmore on Thursday June 19, sold out in three minutes. It’s their only show during a six-day promo tour. * Australia gave the highest chart debut (#47) in the world for the debut album by new Max Cavalera-fronted metal supergroup Killer Be Killed. * Pharrell Williams has come out in defense of six Iranian fans who were arrested after making a version of his ‘Happy’ video, dancing and singing on the rooftops of Tehran with the city’s iconic Milad tower in the background. * The girl appearing in Robin Thicke’s video for new single ‘Calling All Hearts’ is Sydney model Shannon Lawson, who did the shoot in London. * Sheppard’s ‘Geronimo’

AUSSIE INDIES SLAM YOUTUBE Australian indie labels are among those criticising YouTube over the contracts it’s offering independent labels for its upcoming subscription service. The contracts are nonnegotiable and could lead to indie videos being taken offline if they are turned down. The Australian Independent Record Labels Association (AIR) is among 19 global organisations that have slammed the deal, saying it could destroy indies. AIR GM Nick O’Byrne said Australian indies have “a cooperative relationship� with the local YouTube team. But, “The current situation ... is untenable for both parties. YouTube is trying to launch a

has hit double platinum after 147,000 sales, Noise 11 reported. It was written in an hour. Their debut album is out within weeks. * Guitarist Jim Root has left Stone Sour but remains part of Slipknot. * 19-year-old Sydney singer Elen Levon was in Italy, where her hit ‘Wild Child’ went top 20 and gold. She appeared at a major radio event in Milan. * Wollongong hip hop crew The Illagroovers will represent Australia at the World Hip Hop Dance Championships this August in Las Vegas against 280 dance crews from more than 40 countries. * While some councils around Australia have a ‘dob a graffiti artist’ policy, Prospect Council in Adelaide have named a laneway after street artist KAB 101 (Scott Coleman), who transformed dull Honeysuckle Lane into a street art gallery.

new streaming service with terms significantly worse than Spotify, Rdio and Deezer. If YouTube’s streaming service launches without independent content then you can mark our words that it will fail.�

DANCE BIZ WORTH US$6.2B The global electronic dance music scene is worth US$6.2 billion, says the Association for Electronic Music. Its report was released at the International Music Summit in Ibiza. The biggest slice comes from club gigs ($2.4 billion) with an additional 800 million for Las Vegas clubs alone. Festivals make up $1.03 billion, CD/vinyl music sales $800 million and streaming/video

E HIFI 1300 THO M.AU

THEHIFI.C

This Week

Fri 30 May

Sat 31 May

Kingswood

Cubanizate

services $600 million. Sales of DJ software and hardware are $360 million, DJ earnings from other ventures are $60 million and value from other platforms like SoundCloud comes to $140 million. As EDM explodes (especially in the US), the earning power of DJs follows closely. AEM pointed out that last year’s top ten earning DJs made a total of $225 million, compared to $114 million in 2012.

CALL OUT FOR SYDNEYVISION SONG CONTEST To enter the Sydneyvision Song Contest, one must submit a music video accompanying an original song with the name of a Sydney suburb in the lyrics. This year, to mark the contest’s fifth year, the number five must be displayed prominently somewhere in the clip. First prize is $500 from the Newtown Business Precinct Association plus a slot in the Newtown Festival. Second prize is $300, while the third prize, People’s Choice and the new Youth (under-18s) prizes are $200 each. Deadline to enter is Tuesday July 29. Drop entries off to Newtown Neighbourhood Centre, 1 Bedford St., or post to Newtown Neighbourhood Centre, PO Box 19, Newtown NSW 2042. 14 finalists will be screened on Wednesday August 27 at Dendy Newtown. For enquiries contact Ken, Emily or Alex at the Newtown Neighbourhood Centre; phone 9564 7309 (Ken), 9564 7310 (Emily), or email ken@newtowncentre.org / sydneyvision@ newtowncentre.org. More details at www. sydneyvision.org.

AUSTRALIA TO FEATURE IN CANADIAN MUSIC WEEK Australia is the spotlight country for Canadian Music Week 2015 (May 5 to 9, Toronto). Over the last five years, Sounds Australia has targeted CMW as an important place to play. This year marked the highest amount of Aussies to perform, including The Jezabels, The Falls, Jordie Lane, King Gizzard And The Lizard Wizard, Blue King Brown, The Beards, Kate Miller-Heidke, DZ Deathrays, The Lazys, Busby Marou, Emma Louise and You Am I. Sounds Australia produced three showcases, Sound Gallery, Beat Pie and the Aussie BBQ. CMW President Neill Dixon said, “There is a lot that we can learn from Australia and we plan to explore and uncover as much of it as we can at CMW 2015.� This includes how acts can be successful without having to go abroad, the strength of labels and festivals, and how it’s a strong market for Canadian acts.

SPOTIFY HAS 10M SUBSCRIBERS Spotify now has ten million paying subscribers and 40 million active users in 56 countries. In March 2013, it was six million subscribers and 24 million active users. Spotify has a 71% share of the music streaming market. Eminem is the most streamed artist of all time on Spotify, and ‘Wake Me Up’ by Avicii is the most streamed song of all time with 235 million streams. Since Spotify’s launch in 2008, users have created over 1.5 billion playlists, or five million playlists each day. Australian users have streamed more than 8,200 years’ worth of music and created 27 million playlists since the music streaming service was launched here two years ago. Flume remains the most streamed artist here for a second year.

RDIO HITS NINE MORE COUNTRIES

Coming Soon

Rdio has moved into nine new countries, making it 60 in total. They are Indonesia, the Philippines, Thailand, Singapore, Greece, Croatia, Cyprus, Slovakia and Slovenia. Rdio promotes local music in its catalogue of 25 million songs.

Fri 20 Jun

Fri 27 Jun

Sat 28 Jun

Band of Skulls (USA)

The Crimson ProjeKCt

First Soundz feat. DJ Maveriq, Sequel, URKii + More

Sat 5 Jul

Fri 11 Jul

Wed 23 Jul

Wed 13 Aug

Bell X1

Tankard (GER)

Kelis

Hanson

Sat 23 Aug

Sat 27 Sep

Sat 22 Nov

Kid Ink

Rebel Souljahz (USA)

Toxic Holocaust & Iron Reagan

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

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NORTHSIDE RADIOTHON Northside Radio’s annual radiothon fundraiser runs from June 16 to 22, with prizes including movie passes, dinners, CDs and DVDs. Subscriptions are $70 (personal), $50 (concession) and $120 (family). See fm993.com.au.

ABC MUSIC PUBL. SIGNS DAVEY LANE ABC Music Publishing has signed a solo deal with Davey Lane. After ten years in bands including You Am I, Lane released a solo EP The Good Borne Of Bad Tymes last year, with a solo album due out shortly. He has also co-written with Jimmy Barnes, Jim Keays, Nic Cester and Phrase.

MARKETING YOUR LIVE GIG WORKSHOP Following its Getting A Gig 101 workshop, APRA AMCOS will teach musos how to market shows and connect with audiences

in Marketing Your Live Gig 101. Speakers include Adam Lewis (booker for Goodgod Small Club, programmer for Secret Garden Festival), Joe Gould of The Crooked Fiddle Band, and talent manager and former booker Nik Tropiano. It’s held on Wednesday June 25 at APRA AMCOS headquarters, Level 4, 16 Mountain St, Ultimo. It’s free, but RSVP to writer@apra.com.au.

Lifelines Born: son, Future Zahir, to Atlanta rapper Future and R&B singer Ciara. Born: daughter of Assisi Jackson, 21, who is the granddaughter of Mick Jagger, making him a greatgrandfather at 70. Assisi is Jade Jagger’s daughter. Hospitalised: Sum 41 frontman Deryck Whibley after his liver and kidney collapsed due to alcohol abuse. He passed out while drinking at home. Hospitalised: Melbourne singer ZoĂŤ Badwi with neck injuries after a man allegedly went through a red light in Frankston and crashed into her car. Ill: despite declaring he was cancerfree last year, Def Leppard guitarist Vivian Campbell’s Hodgkin’s lymphoma has returned. Ill: Dire Straits’ John Illsley revealed he’s been battling leukaemia for years. Suing: ex-Heart bassist Mark Andes and drummer Dennis Carmassi are taking action against the Rock and Roll Hall of Fame for using their likeness in promoting the 2013 induction ceremony even though they were not inducted. Suing: MOG founder David Hyman has hit Beats Electronics for $20 million over unfair dismissal. He was fired in 2012 to avoid an equity payout worth 2.5%. MOG was bought by Beats in July 2012, which has since been transformed into its own streaming service Beats Music. The lawsuit claims he was owed 25% of company shares if it reached a market value of $500m. In Court: two men convicted of plotting to kill singer Joss Stone had their 18-year prison sentences reduced on appeal. In Court: the NSW Supreme Court allowed late Sherbet co-founder Clive Shakespeare’s daughters, Coco, 37, and Tori, 35, to get their share of his estate early. The guitarist left an $800,000 apartment to his widow Elizabeth Flynn, and for the daughters to inherit it when she died. Now the apartment will be sold in three months and proceeds divided. Died: US virtuoso bassist Randy Coven, who played with guitar heroes Steve Vai (his onetime roommate) and Yngwie Malmsteen. He was 54. Died: US crooner Jerry Vale (‘Volare’) at 83. Born Genaro Louis Vitaliano, he appeared as himself in the Goodfellas and Casino mob movies. Died: Adelaide saxophonist, Elder School of Music jazz lecturer and JazzSA coordinator Mike Stewart, 41, while jogging near his home. Died: one-time financial advisor of The Rolling Stones, Prince Rupert Loewenstein, 80. He turned the fortunes of the band, which was nearly bankrupt in 1968 after it signed bad deals early in its career. Died: Brendan Hickey, 34, at the opening of Vivid Sydney. He drowned after he accidentally slipped and fell into the water of Cockle Bay Wharf. His friends dived in to try to save him, but were unable to do so.

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A

MEAT PUPPETS

rizona’s Meat Puppets are a noted influence for many canonical rock acts – not least Nirvana – but as is commonly the case with outsider art, the band’s significance surpasses its commercial achievements. Nevertheless, this hasn’t hindered vocalist, guitarist and songwriter Curt Kirkwood’s creative spirit. In fact, since Meat Puppets’ resurrection in 2006, they’ve released four new LPs. Speaking on the phone from his home in Austin, Texas, Kirkwood clearly feels no anxiety about living up to the band’s legacy. “I just figure that whatever I do becomes another part of it,” he says. “I don’t look at the past that much. It’s always been a fleeting thing. Something like Meat Puppets II [1984] to Up On The Sun [1985] – the transition there was like, ‘How did we do that?’ I don’t know, that’s just what we did.” Kirkwood started Meat Puppets in Phoenix in 1980 with younger brother Cris on bass and drummer Derrick Bostrom. Since then, amid various highs and lows, Curt’s written the majority of the band’s 14 records. Yet he wasn’t always intent on becoming a prolific songwriter.

Before the call of rock’n’roll became too strong to ignore, Kirkwood toyed with a variety of disparate vocations.

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“I wanted to be an animator. I loved Disney when I was growing up, and Charlie Chaplin. I went through a period of time where I wanted to ride motorcycles. And then when I graduated high school I moved to Canada and I wanted to be a fishing guide. I wanted to live in the wilderness and drive boats around for rich people out in the sticks. My brother came up and we just camped out for a couple of months all over the place. “Then we started realising, ‘This is great but it’s really great to play electric music too.’ When we got back to Phoenix we just dove in again with the music.” It didn’t take long before songwriting became second nature for Kirkwood. After signing with iconic punk label SST Records, Meat Puppets released their debut self-titled record in 1982. Although scarcely experiencing the success they were warranted, they proceeded to issue a new record almost every year; finally receiving minor commercial recompense with 1994’s Billboard charts entry Too High To Die. Despite the constant workflow, the band members weren’t exactly leading staid lifestyles. The most calamitous tangent in the Meat Puppets narrative is Cris Kirkwood’s degenerative battle with heroin addiction. His fierce drug habit not

only excluded him from the band for over a decade, but in 2003, after physically assaulting a police officer, Cris was shot in the back and subsequently imprisoned for 18 months. While 2000’s Golden Lies is the only Meat Puppets studio LP without Cris, Curt didn’t cease activity in the ensuing years – going on to release records with Eyes Adrift (featuring Nirvana bassist Krist Novoselic and drummer Bud Gaugh from Sublime) and Volcano (also with Gaugh), as well as a solo LP. In 2006, a penitent and rehabilitated Cris was welcomed back into the fold. “I was ready to make another electric record,” says Curt, “and my son told me, ‘Your brother’s acting like a human being again,’ so I gave him a call. It worked out great and it definitely was a motivator. I’m glad to have him back around.” Meat Puppets’ impact rears its head in the work of Pavement and Beck, as well as contemporary acts like Parquet Courts and Sun Kil Moon, but the band’s most famous fans are Nirvana. At Nirvana’s legendary MTV Unplugged In New York performance the Seattle heroes invited the Kirkwood brothers onstage to help out with cover versions of ‘Lake Of Fire’, ‘Oh, Me’ and ‘Plateau’, all from Meat Puppets II. The concert recording shows Kurt Cobain competently channeling Kirkwood’s vocal style, but there’s

no band anywhere that effectively mirrors classic-era Meat Puppets. Their unprecedented combination of punk rebelliousness, Bakersfield country, unhinged vocal wailing and masterful finger-picking shows Kirkwood is always searching for something new. “If I hear that I’m ripping something off inadvertently, or ripping off my old self, generally I’ll fix it,” he says. “I don’t think there’s any harm in something being evocative of something else but I like the stuff that makes you go, ‘Hey! That’s a new one.’” Indeed, the Puppets’ recent releases feature a decidedly relaxed powerpop and folk flavour, far removed from the volatile character of their earlier material. Even so, there are still plenty of ’80s classics included in their live show. “[The songs] update themselves,” says Kirkwood. “I never really had a formula for them, I just had the chords and the melodies. I do them in my present form. We’ve never really stuck to the recorded forms.” Any creator as prolific as Kirkwood, especially one whose output consistently brings pleasure and meaning to other people’s lives, is a source of wonder. Techniques and circumstances obviously vary from one individual to the next, but it’s generally true that enduring

“I’VE SPENT HALF MY CAREER GOING, ‘JEEZ, I DON’T KNOW HOW TO WRITE A SONG – I HAVE NO IDEA WHAT TO DO OR WHAT I WANT TO DO.’”

“I’ve spent half my career going, ‘Jeez, I don’t know how to write a song – I have no idea what to do or what I want to do.’ Right now I’m even looking at the last album [2013’s Rat Farm] just going, ‘Wow, I came up with a whole album?’ Right now I have jack on my mind. “I don’t really push myself – I’m not that disciplined,” he adds. “I think I’m actually pretty lazy by nature, but I like doing this and when I get a good idea then I’ll chase it.” Over the years Kirkwood has frequently noted that he’s not a sentimental guy and doesn’t include feelings in his lyrics. However, this doesn’t cloud his simple appreciation for the songwriting procedure. “It has to be fun for me,” he says. “Even if it’s something that’s borne from some shitty emotion, I’ll still make the thing a good time. It’s my retreat, the whole music thing. It’s something that was originally borne from alienation and I just wanted to fuck off and not live in the real world so much. I keep it fun and try not to challenge myself too much. I was always surprised that I could do it in the first place.” What: CherryRock014 With: Brant Bjork, Redcoats, Gay Paris, Beastwars, Drunk Mums and more Where: Factory Theatre When: Saturday May 31 And: Rat Farm out now through Megaforce

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Meat Puppets photo by Jaime Butler

“Growing up in Phoenix it was just boring out in the desert, so I liked to play guitar and ride dirt bikes,” he says. “Once we started playing as the Meat Puppets it was like, ‘Well, we need songs to play.’ At first we all pitched in a bit – on the first album. We started to get a little popular and it was like, ‘We’re in a fun band here, let’s party!’ But then it was like, ‘If you’re going to make it a career somebody’s got to write songs.’ So I was like, ‘Alright, I’ll do it.’”

UNDER THE INFLUENCE•BY AUGUSTUS WELBY

creations stem from a reasonable amount of doubt and naivety. The sage words of Australian art critic Robert Hughes – “Perfect confidence is granted to the less talented as a consolation prize” – ring true when it comes to Kirkwood.

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Dune Rats Don’t Wanna Grow Up By Jody Macgregor

F

our years ago, Danny Beusa and BC Deusa of Dune Rats were sitting in a pub with their mates from fellow Brisbane band DZ Deathrays, saying, as Beusa puts it, “Fuck, what are we gonna do with our lives?” They’d been in bands since high school, and looking at their future it was starting to seem like maybe they’d have to give up on that dream. But here they are in 2014, part way through a world tour that’s sent them around Europe and Asia, and will have them back home in time for their self-titled debut album to come out on, as they’re calling it, “Dune 1”. That dream’s worked out OK so far. Of course, in that same time DZ Deathrays have put out two albums. Any rivalry there? “Yeah, full rivalry,” says Beusa. “You get us and DZ in a room, only two people leave. Maybe a hybrid band will leave!” There was one genuinely competitive moment between the two Queensland groups, when DZ Deathrays put out the video for ‘The Mess Up’ in which they work through a bottle of Jägermeister (and some beer) in three minutes, predictably ending in a power spew. Dune Rats saw that and figured they could go one better, uploading a video for ‘Red Light Green Light’ in which they motor through bong after bong. It earned them a warning notice from YouTube, but were they worried before they put it up? “In all honesty, the night before that went to air on YouTube both BC and I were talking about it. You just lie in bed and think, ‘Tomorrow’s gonna be a fucking different day,’ when you drop on YouTube you smoking a lot of bongs. Mainly we were thinking, ‘What’ll our parents think?’ But luckily enough by the time my mum and dad saw it, it was about two months on and it had a fair few views. They were like, ‘I dunno, you kids today. You’re fuckin’ idiots.’ They’re pretty cool.” That video recently got them in trouble with a festival in Hanoi. Supposed to be part of their current tour, they were pulled off the bill when organisers of the festival, which is sponsored by the Vietnamese government, saw the clip. “I don’t know if the government really

wanted to attach its name to a band that choofed a fuckload of weed,” Beusa suggests. Following that video with a new one for their album’s first single ‘Funny Guy’ has been tough. How do you top that? “We could sit around a table and snort a fuckload of cocaine and maybe that’d possibly get half the reaction,” says Beusa. They tried to film something while they were in Amsterdam but too many drinks were consumed beforehand, and “the film clip ended up just being a bunch of fucking drunk c**ts doing kick-flips over a guy’s testicles, which we couldn’t really use.” Being in Paris inspired them to try again. Though Beusa is enigmatic about how the video they filmed there will turn out (“We wanted to do a film clip mocking the fact that we were even there”), he says it’s very much in the spirit of what they do.

And what they do is have fun. “We’ve never been keen to write music when we’re not having fun,” says Beusa. “To me that’s a bit of a fuckin’ weird one, where people get depressed and write music. When I get depressed I fuckin’ get drunk and try and root a chick to make me feel better.”

Helping them keep the velocity up was their newest member, bassist Brett Jansch. “Bretty’s been in the band now for two years but everyone thinks it’s a new thing to have a third member,” says Beusa. “But that’s only because people have just started putting press photos with him in there. For us it was a first time writing as a full-on three-piece.”

To keep themselves in the fun zone while making Dune Rats, speed was of the essence – they wrote all the songs in one intense period. “We just locked ourselves in a shed for a month or two and smoked a fuckload of weed – that wasn’t deliberate, that just happens when you’re in a shed writing music – and by the end of it we were pretty well-drilled in the songs and real tight.” Inspired by Steve Albini’s loose and lightningquick work with Nirvana on In Utero, they recorded the entire thing in a week.

Now they’re getting ready to launch the album in Australia, Dune Rats are planning something special for the tour – something that harks back to their own days starting out as kids in bands. For the all-ages shows they’re playing, they’ll have under-18 acts as the supports. “All of us were in high school bands, have done that and thought, ‘Fuck, imagine playing with one of your favourite bands.’ To be playing under18 shows and not have an under-18 support seemed like a bit of a joke.

That’s the one show kids who are 16, 17 can actually rock up to.” And Dune Rats have a lot of fans in that age bracket, for obvious reasons. A gang of potheads who never grew up and don’t seem likely to start now – they’re living a teenager’s dream. “We met a lot of rad kids that are in bands that come to shows,” Beusa says. “We just thought, ‘Fuck it, we’d rather hang out with them.’” What: Dune Rats out Sunday June 1 through Ratbag Records With: Shining Bird, The Walking Who Where: Oxford Art Factory (18+) When: Saturday June 21 And: Also appearing with Lunatics On Pogosticks at The Lair, Metro Theatre on Sunday June 22 (all ages)

Propagandhi A State Of Unrest By Augustus Welby

J

ust like individuals, bands often grow more conservative with age. When it comes to Canadian punk legends Propagandhi, the opposite is true. The band arrives in Australia this week in support of its sixth LP, 2012’s Failed States, which is as tough and fi ercely political as anything in its career. “The more you play music the more you realise what really pushes you and excites you,” says bassist Todd Kowalski. “For me, just as a listener, I fi nd as I get older I like more and more crazy, chaotic music. Dark, heavy, crazy music – it’s just exciting to me.” Hailing from Winnipeg in southcentral Canada, Propagandhi have been making politically driven and remarkably catchy punk rock since the early ’90s. Their ire grows more pronounced with age, so the foursome faces no dilemma mustering furious energy in performance or in the studio. “We like to feel the amps blazing and feel the impact,” Kowalski says. “We just go for what we want to hear and try to achieve it. There’s always a fear that we won’t be able to think of any songs. But I don’t think there’s ever a fear of the songs getting accidentally really lame.” Despite this clarity of purpose, Propagandhi have never rushed to release new music. “It takes us a

while to make interesting riffs and collect them,” Kowalski explains. “It just takes us a lot of time and effort to get where we’re headed. By the time we do, we just look at the calendar and a couple of years have gone by.” A key ingredient that has distinguished Propagandhi since day one is vocalist Chris Hannah’s explicit lyrical address of everything from corporate greed, civil inequality and religious hypocrisy to animal and environmental abuse. The band has never disguised its beliefs, but Kowalski says they don’t expect listeners to agree with everything they express. “It’s our own thoughts and our own outlook. It’s not really to push anything on anyone. If someone writes a love song – if it’s a true love song – they either write it when they’re completely head over heels or they write it when they got dumped, when they’re sad. Our songs come about when we’re really moved by something in the world and almost have to express it. That’s where good music comes from, just a need to express yourself into the world.” This essential urgency has earned Propagandhi a signifi cant place in punk rock history. Indeed, the hot anticipation for their forthcoming Australian tour is testament to the band’s enduring impact. Honouring this legacy is another

reason for Propagandhi to pace themselves during the creative process. “If you know not as many people are listening, you can throw in maybe riffs and stuff you’re not so sure about,” says Kowalski. “I play in a grind band sometimes, and I fi nd it easier to go and make a riff and just put it in the band easily – just because there’s not all this pressure and worry about making sure it rips.” As it stands, each Propagandhi record is a blazing statement of intent. It’s hard to imagine what modern punk and hardcore would look like without the imprint of the Canadians’ D.I.Y. achievements. 2013 marked 20 years since the band’s debut record How To Clean Everything came out, and although Kowalski didn’t join the group until 1997, he was keenly interested from the start. “I was a fan from the first demos,” he says. “When I think back to just hearing the tapes, for me as a fan that was the most exciting time. When I first heard them I was like, ‘Oh, this band’s so killer.’” With: Crisis Alert, Death Mountain Where: Manning Bar / Cambridge Hotel, Newcastle When: Friday June 6 / Saturday June 7 xxx

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Bastille Look To The Stars By Paul McBride and yet there’s this appetite for our music, but it’s very gratifying and we look forward to coming. Our live show is more band-oriented and more heavy, with a harder edge to it than the record. The record was made as a studio project and then when you tour it for a year and a half or two years it takes on a new dimension; it has a bit more guts.” Over a quarter of a million copies of debut album Bad Blood have been sold in the UK alone, but it’s a statistic that Farquarson isn’t keen on analysing too intensely. “A lot of people in the industry are always looking for the formula,” he says. “I think that it’s just that Dan’s [Smith, vocalist] songwriting is strong. I think sometimes people don’t realise that our stuff just connects with the public, and we were lucky that we were quite a word-of-mouth sort of thing; we never really got much hype or press in the UK. I think we just grew quite a solid, loyal fan base over the course of the two years prior to releasing the record. [The album] went triple platinum, which is a crazy, crazy number of records to sell.”

E

nglish synthpop sensations Bastille may be in the middle of a sell-out US tour before hitting Australian shores next month, but bass player Will Farquarson has bigger things on his mind. Outer space, for one. “We went to NASA the other day and met the director,” he says. “We expressed an interest on the internet and then they got in touch and invited us. He said, ‘Oh hi, I became the director of NASA when I stopped flying spaceships.’ It’s a surreal thing, the fact that writing some songs and playing a bit of guitar

gets you to hang out at NASA. Also, we got taken to the actual place where they’re building the Orion spacecraft, which is the next generation of spacecraft. It wasn’t even like a touristy trip; it was the actual laboratory where they’re building the spaceship, and it was all a bit weird. But a lot of things in our lives are quite surreal, to be honest. The strangest thing was that everyone at NASA seemed to be a fan, and it’s a sad thing as they were imploring us to be ambassadors of NASA as they need the younger generation to engage and show an interest. When NASA people said,

‘Oh my God, you’re in Bastille,’ I was like, ‘Dude, you’re literally a rocket scientist.’”

As if that isn’t enough, the record was re-released as an extended version in November.

Cosmic concerns aside, Farquarson and his three bandmates are looking forward to their run of Australian shows in June, having sold out venues in Sydney and Melbourne as recently as last August.

“It can be quite cynical after an album is out to just chuck a couple of bonus tracks on,” Farquarson says. “But there’s quite a lot we’ve done in the last year and a half that didn’t make it onto the original album. There were a lot of B-sides that were recorded that we loved just as much as the ones that were on the album, we did two mixtapes and there was some material that we did live. So, we wanted everything that we’ve done with a

“We’re always amazed when we sell out shows in our own country,” he says. “So to do it in places where we haven’t spent as much time is just amazing. It’s mind-boggling that we haven’t done much promotion there,

“Sometimes people don’t realise that our stuff just connects with the public. We were lucky that we were quite a word-of-mouth sort of thing”.

whole bonus section on the second disc, and it was nice to put all the bits and bobs into the one package.” Recently, Bastille covered Miley Cyrus’ ‘We Can’t Stop’ for a UK radio session, with near disastrous consequences. “We did an Eminem riff at the beginning,” Farquarson says. “Apparently he’d written a verse on his record dissing her, but then it turned out that was all a hoax. We kind of inadvertently got involved in a beef that wasn’t even real, and nobody wants to be involved in a fake beef. I think generally she gets a bit of a rough deal. I don’t like her music particularly, but she gets flak for doing things that other people do and don’t get flak for. Rihanna and Madonna and other pop stars have done things just as risqué and trashy, and yet she has become a bit of a pariah, I think.” With an end to touring almost in sight, Farquarson already has one eye on the next Bastille album. “We’ve got 16 or 17 tracks demoed for our second album already,” he says. “We’re going into the studio in September to record; hopefully by then we’ll have 20 or maybe more. I think it’s always better to have more material and whittle it down. Our producer has gone on tour with us, so we’ve been doing things on our days off and during soundchecks. One of the weirdest things about being in a band is that when you have so many commitments and do so much travelling, making music is sort of a secondary thing to flying around the world, touring and promo stuff. It’s been nice to spend some time being creative again.” What: Bad Blood out now through Virgin/EMI With: Foxes, Alison Wonderland Where: Hordern Pavilion When: Saturday June 14

James Vincent McMorrow Cavalier Spirit By Paul McBride to do them way later, then all of a sudden I was told things are really good here. About a week after they put them on sale, I got a call saying that the Sydney Opera House was sold out and they were adding second dates. It definitely took me by surprise in the most wonderful way possible. “I mean, I’m pretty ambitious and I want to play places like that, but I didn’t expect it to happen this quickly in somewhere as far away as Australia,” he says. “But then, you can’t predict everything; sometimes things just work. We just finished the US tour, and it was very much big venue to small venue to big venue, depending on which city we were in. I don’t feel any different if we go from 1,600 people one night to 600 people the following; I still feel the same. “Obviously [the] Sydney Opera House is a special place; it’s like the Royal Albert Hall or Carnegie Hall or somewhere like that. There’s a resonance that goes beyond it being just another show, perhaps.”

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gets bigger as the set goes along. We’ve got this really expansive lighting rig that we’re bringing; it’s kind of the fifth person onstage. Hopefully we’ll bring a booming big set.” The 31-year-old Irishman is no stranger to Australia, having been here as recently as five months

ago, but he admits the sudden demand for tickets on this tour caught him off guard, in a good way. “I don’t really pay attention to what’s going on in particular countries unless I’m there,” he says. “We were [in Australia] in January and the reaction was brilliant. When we talked about doing these shows, the idea was

“It’s been interesting going from territory to territory and seeing people’s reactions. The first record did very well in Europe, and when

The first single taken from the album is ‘Cavalier’, which McMorrow explains is the most accurate representation of what Post Tropical has to offer. “I chose it because I thought it was the best song on the record, in the sense of letting people know what’s coming,” he says. “I wanted it to be a song that draws a line in the sand, or plants my flag in the ground or whatever you want to call it … If they hear it and understand what I’m doing and what I’m going for, musically and stylistically, then they’ll like it. I don’t want to waste people’s time putting out songs that might be a little bit like something they might’ve heard before.” What: Vivid LIVE 2014 With: Airling Where: Sydney Opera House Concert Hall / Joan Sutherland Theatre When: Thursday May 29 / Saturday May 31 And: Post Tropical out now through Dew Process/Universal

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xxx

ames Vincent McMorrow’s music is tailor-made to fill big spaces, metaphorically and literally. Luckily for him – and us – an upcoming show at the Sydney Opera House will allow it to do just that. “I want [the show] to be something that’s not just song, gap, song, gap,” he says. “I want it to be something that flows and

Released in January, Post Tropical is McMorrow’s second album, and sees his sound moving further away from his folk roots in a more soulful direction. “This record was made for people to live with for a while,” he says. “I didn’t expect it to give itself away to people incredibly quickly.

we played shows there we could see people starting to wrap their heads around the new sounds and new ideas. By the end of the shows we could really see people understanding it. When we went to the US, people were really into it intensely, and we could hear people singing every word … with the first record, I spent two years working away before people really heard anything. The response to the new record was really quite compelling and drove me onwards to play the songs better and better every night.”

FESTIVAL STARTS IN LESS THAN 1 WEEK! HURRY TICKETS SELLING FAST 4 -15 JUNE TOGETHER IN THE DARK WE SING, DANCE AND PLAY

Festival Hub at Town Hall is the beating heart of the Festival, a meeting place for film lovers featuring over 25 free events, talks and performances presented over 11 days and nights. Enjoy a drink from the Festival Bar or a scoop of Gelato Messina, see an exhibition, dress up for our photo booth, listen to a free talk upstairs, visit the TITLE pop-up store and much, much more. SFF.ORG.AU/HUB ALTMAN ON ALTMAN

EAMES ON EAMES

TRIPPY FILMS

PANEL: WOMEN IN FILM

THU 5 JUN 5:30-7PM FREE In this live recording of the Hell Is for Hyphenates podcast, film critics discuss the filmography of the great Robert Altman with son Michael Altman, ahead of the Festival’s retrospective.

FRI 6 JUNE 6PM $10 EVENT CINEMAS GEORGE ST FOLLOWED BY A BOOK SIGNING IN THE HUB Iconic American designers Charles and Ray Eames were also filmmakers. Grandson and Eames Office director Eames Demetrios presents a program of short films that define the designers’ legacy.

FRI 6 JUN 8-9PM FREE Australian Film Critics Association chair Richard Haridy presents an illustrated talk on representations of altered states and psychedelia in cinema, from Easy Rider to Enter the Void.

SAT 7 JUN 5:30-7PM FREE How do we measure and improve female representation on film? How do we ensure complex and realistic portrayals? Guest filmmakers and critics tackle the issue of vexed gender equality on screen.

FILM TRIVIA: FRANCIS FORD QUESTION MARK

CINEMA BURLESQUE

VLADMASER VIEWMASTER EXPERIENCE

FREAK ME OUT DISCO: GIRL ROCK RIOT

WED 11 JUNE 8:30PM-10PM FREE Know your Fassbender from your Fassbinder, your Nick Cave from your Nic Cage? Festival passes are up for grabs at this trivia night hosted by Josh Wheatley and puppet critic Harvey Feltstein.

THU 12 JUNE 9:30-11PM FREE Making a popular return to the Hub, the talented artists of Bobbi’s Pole Studio perform sassy, outrageous burlesque and pole-dance performances inspired by cult movies.

SAT 14 JUN 6-7PM $10 Experience original short stories using handmade View-Master reels created by artist Vladimir. This unique, lo-fi viewing experience, both private and communal, is one you won’t soon forget!

SAT 14 JUN 9PM-MIDNIGHT FREE A wild night of female rock & roll. Vinyl collector Richard Kuipers and grrl-music expert Daz Chandler are your DJs for this highly danceable tribute to the goddesses of guitar, bass and drums.

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Brant Bjork Bjork Again By Augustus Welby

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fter a lawsuit filed by ex-Kyuss members Josh Homme and Scott Reeder prohibited the band’s original vocalist John Garcia and drummer Brant Bjork from continuing to use the name Kyuss Lives!, in September 2013 the pair’s newly branded Vista Chino released their debut LP, Peace. However, less than a year on from the album’s release, Vista Chino have rolled down their shutters. “Vista Chino’s officially on hiatus,” says Bjork. “John Garcia decided he wanted to go pursue his solo career. I was a bit surprised, to be honest.” Far from being an impasse, the band’s abrupt halt lets Bjork resume the singing and guitarslinging post that kept him busy for the decade prior to the Kyuss Lives! reunion in 2010. Starting with his 1999 debut Jalamanta, Bjork has released seven solo LPs, as well as two credited to Brant Bjork and the Bros. “As much as I love Vista Chino I’m always itching to get back to my solo work,” he says. “Once I knew Vista Chino was on hiatus I went to work and started writing new shit. This is all fresh stuff, clearly representing where I’m at right now.” After exiting Kyuss in 1994, Bjork lent his distinctive drumming facility to Californian kinsmen Fu Manchu. Fu Manchu was still an active entity when Bjork released his first solo LP, and he wasn’t expecting the solo work to become his primary focus. “I was just purely responding to my need to make my own music, my own way,” he explains. “I didn’t know I was going to call it Brant Bjork – I’d have never thought in a million years I’d have a formal solo career. It just unravelled its own nature and as the years rolled on I just never stopped.”

aforementioned prolific ten-year period was actually recorded alone. “I was taking care of all the creative work and all the logistics,” he says. “It was a tremendous amount of work, but it’s not easy to put together a band. To get four dudes on the same page is really difficult.” While Bjork has now resumed frontman duties, he didn’t want to revert to solitary operation. “I quickly put together a fucking great band and we’re in the middle of recording our new record,” he reveals. “I called the band Low Desert Punk. I like playing with a band and I like bouncing ideas off of one another and jiving and developing our own chemistry. “I grew up on rock bands: the Ramones, Black Sabbath, The Beatles, Black Flag. All these bands were bands of brothers; they were like a team. That’s what I experienced in Fu Manchu. It was a great team of guys all on the same page playing rock music. I missed that when I was working on my solo music.” Bjork brings his Low Desert Punk project down to Australia this week to co-headline the inaugural Sydney instalment of CherryRock. Although the future of Vista Chino remains uncertain, Bjork is appreciative of the last three years playing with the band. “The Kyuss reunion was great because it really did have me reflecting on who I was and what I did in that band at that age. And I was able to see how much I’ve evolved and departed from that trip. Also, it really showed me how, in a lot of ways, I’m still the same. I still have the same fundamental approaches to my craft and my songwriting and my inspirations.”

For those unfamiliar, Bjork’s solo work isn’t conventional singer-songwriter fare. It propagates the driving stoner rock style he helped make famous with Kyuss (and later Fu Manchu). Despite the music’s rocking nature, a large portion of Bjork’s output during that

What: CherryRock014 With: Meat Puppets, Redcoats, Gay Paris, Beastwars, Drunk Mums and more Where: Factory Theatre When: Saturday May 31

Drunk Mums Made Of Plastic By Denver Maxx

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runk Mums are not actually mums, but they do drink. When the BRAG catches up with four of the five Drunk Mums – bass player Adam Ritchie, guitarist Jake Doyle, drummer Jonny Badlove and guitarist Dean Whitby (tambourine player Isaac Forsyth is absent) – each of them is nestling a beer. They’re here to talk about their national tour supporting latest single ‘Plastic’, a simple and catchy rock’n’roller with a singalong chorus: “You are a piece of plastic”. “We all helped make the clip but I was the one who had the main idea for the clip,” says Ritchie. “It was filmed in an abandoned student village that had previously been a detention centre in the ’60s or something.” The film clip consists of shared shots between the band playing at various spots throughout the spooky, gumtree-littered village, and vision of a large plastic bag floating around the derelict site. The image of the peacefully floating plastic bag has reminded some viewers of the famous sequence from Sam Mendes’ 1999 film American Beauty. “It wasn’t trying to be like that scene,” laughs Ritchie. Whitby jumps in, “It wasn’t until we got there that we saw that bit of plastic cruising around and decided to use it.” “The actual idea is that the plastic is contagious and the shots of it floating about represent its spread,” Ritchie explains.

With the bare bones of a song in mind, Ritchie took ‘Plastic’ to the rest of the band and parts were arranged to fit. Doyle explains that the first guitar part he put to the song wasn’t good enough for Ritchie. “The first guitar part I came up with, Adam said it was too wussy, so the second version of it I made it tougher.” Tougher how? “No effects, just…” Doyle pauses and Whitby interrupts, “It’s all about the face!” “Yeah, the face,” Doyle says, “the stance and the amount of muscle you put into the strum.” All four of the Mums laugh. The ease of construction extended to drummer Badlove, whose inspiration for his contributions came easily enough. “It’s real simple banger drums, nothing too complicated,” Badlove offers. “I just fucking went along with the rest of song.” But what face did he put on to nail it, Whitby asks? “I was pretty blank-faced when I was trying to nail it,” he deadpans, before realising the comedic timing of his answer, and the boys all burst into laughter again. What: CherryRock014 With: Meat Puppets, Brant Bjork, Redcoats, Gay Paris, Beastwars and more Where: Factory Theatre When: Saturday May 31 And: Also appearing at Frankie’s Pizza on Thursday May 29 and The Small Ballroom, Newcastle on Friday May 30 Xxxx

Since releasing the Eventual Ghost EP in 2011, Drunk Mums have been on a steady trajectory to the top of the pub/rock scene in their native Melbourne, with their 2012 debut self-titled album winning plenty of fans. Perhaps the title chorus of ‘Plastic’ is a comment on the fake people trying to align themselves with the band, now that Drunk Mums are in demand?

Ritchie says it’s not the case. “I don’t mind people thinking that, but [‘Plastic’] is actually about getting really drunk and hearing a song on a stereo. But then I actually found the source turned out to be the inside of a musical birthday card, just this little piece of plastic playing the tune to ‘Happy Birthday’.”

Fucked Up Life In The Glasshouse By Lachlan Kanoniuk

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ow does a revered hardcore outfit follow up an ambitious, allencompassing rock opera? After the 2011 release of David Comes To Life, it seemed like the answer for Fucked Up was a simple, “They don’t.” Despite fears the band would not be seen again, at least with the same lead vocalist, the Canadians have returned as we have always known them, this time with the more personal LP, Glass Boys. Speaking from his Toronto home shortly after putting his kids to bed, frontman Damian Abraham ruminates on what happens when punks grow up. For one, Glass Boys cherry picks elements from the preceding rock opera, but is overall a more focused effort. “I think for Mike [Haliechuk, guitar] it was a reaction to how big David Comes To Life was, I think maybe for Jonah [Falco, drums] too, when they were arranging how big this record was going to be in terms of the number of songs. “With David Comes To Life, it was just so many songs by the end of it. All the seveninches, all the companion singles, the David’s Town compilation we did – it was too much. I think the reaction to that was us trying to scale it back so we could focus a lot more, and make individual songs… bring that epicness to the individual songs. Pulling back the curtain to extend the rock opera metaphor to its most sickening point. Pulling back the 20 :: BRAG :: 564 :: 28:05:14

curtain to reveal us. Mike and I were writing lyrics about us, who we are as people, rather than hiding behind characters to articulate our feelings.” Speculation regarding Fucked Up’s demise, or the prospect of touring with a replacement vocalist, was primarily fuelled by Abraham’s comments following the release of David Comes To Life. To create Glass Boys, a turnaround of mentality was needed. “There’s a change of mindset, definitely,” he says. “I was more aware of decisions I’ve made in the band, and the decisions the band has made as a band, and what those are and where those have led, both positively and negatively. I think it’s also a change of mindset in recognising that you’re older. There was a lot of resistance to feeling older prior to this record.” The dilemma as a parent and musician, particularly in a climate where extensive touring is the primary method of income, is finding a balance between providing for a family and allowing time to spend with that family. “My eldest at least likes the music I make, so at the end of the day I know he at least likes what I’m doing,” says Abraham. “Going away, that’s the worst part – even though you’re making money, all you hope that money will do is buy you more time with your kids.

You’re pursuing that money at the expense of spending time with your family. I knew if I got a job in Toronto it might not be as glamorous and it certainly wouldn’t be as fun, but I could find a job that pays the bills and be home every night after school and never worry about missing anything. Then I start thinking that maybe I’m just addicted to the celebrity of it all – and it’s definitely minor celebrity in our case, I’m not pretending that I’m getting mobbed in the streets. But that celebrity of

people coming to see you play, or taking the time to interview you, or buying your records. Maybe I’m not making the best decisions for my family, I’m only making the best decisions for myself, keeping this 15-year-old fantasy that I’m living. There’s always that in the back of my mind. It’s a constant inner struggle.” What: Glass Boys out Friday May 30 through Matador/Remote Control

thebrag.com

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arts frontline

free stuff

arts news...what's goin' on around town...with Chris Martin, Ed Kirkwood and Gloria Brancatisano

five minutes WITH

head to: thebrag.com/freeshit Jonah From Tonga

BENEDICT HARDIE, WRITER/DIRECTOR OF THE BOAT PEOPLE The tagline teases: “Yesterday, she was a boat person. Today, she is our brightest and most controversial success story.” Can you give us a hint as to what the play is about? A woman who came to Australia and lived in mandatory detention as a teenager has built a successful restaurant chain that cashes in on ‘boat people’ clichés and iconography. Along with her husband, she has climbed the ranks of society and eventually makes a run for federal politics.

Benedict Hardie

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he Boat People finds comedy in an unlikely place. Is it time we found a sense of fun in such an important political issue? I wouldn’t say that, but I have felt for a long time that something’s got to give. In using this subject matter to create a comedy, what I’m really doing is asking

a different question about this national wound that we still haven’t salved. I’m using humour because I think it’s a subtle and effective way to be provocative, rather than hitting people over the head and telling them what to think. I’m hoping the laughter begets reflection and encourages people to see this issue in a new light.

Four-time Gold Logie winner Lisa McCune plays English governess Anna Leonowens opposite baritone Teddy Tahu Rhodes as the King. The King And I was Rodgers and Hammerstein’s fifth musical together and is based on Margaret Landon’s 1944 novel Anna And The King Of Siam. The original John Frost production premiered in Australia in 1991. The King And I will play at the Joan Sutherland Theatre, Sydney Opera House from Sunday September 7 – Saturday November 1.

It’s also The Hayloft Project’s first Sydney production since relocating. You seem surrounded by talented people? I feel incredibly lucky. The past successes of the company mean that I can work with industryleading creatives and crew, a company as amazing as Rock Surfers is willing to co-produce the show, and we might even get an audience too. What: The Boat People Where: Bondi Pavilion Theatre When: Thursday May 29 – Saturday June 21

PUCK YOU, MISS

Watch out, rangas – Chris Lilley’s enfant terrible, Jonah Takalua, is back in Jonah From Tonga. The 14-year-old breakdancer and troublemaker with a heart of gold (maybe) stars in his own show away from the surrounds of Summer Heights High. After airing on the ABC and internationally, Jonah From Tonga is out now on DVD and the new Digital UltraViolet format – a free, cloud-based service that allows users to stream and download purchased content to multiple platforms and devices. That means it couldn’t be easier to catch up with Jonah and his latest battles with the rangas, the teachers and his breakdancing rivals. The BRAG has five copies of the new DVD + Digital UltraViolet to give away – for your chance to score one, head to thebrag. com/freeshit and tell us who your favourite Chris Lilley character is and why. Hedda Gabler photo by Gary Heery

Olivia Satchell in My Name Is Truda Vitz

You created The Boat People with some of Sydney’s most talented comedians. Can you tell us about working with them as writers and actors? I had wanted to make a play with comedians for a long time, particularly Susie Youssef and William Erimya. Susie is one of the most charming, honest and subtle improvisers I have ever seen, and Will’s stage persona is hilarious in an utterly original

way. Obviously there are plenty of laughs in rehearsals, and all the cast’s contributions to the script make it a much funnier show than I could have written, but I think comedians have a sensitivity to communication and timing that is really valuable in a dramatic context too.

Jasmin Sheppard and Thomas Greenfield in Patyegarang

BRAD CHECKED IN

INTRODUCING TRUDA VITZ

Writer, performer and cellist Olivia Satchell will tell the semi-fictional story of Truda Vitz at the Tap Gallery from next month. Her one-woman show, My Name Is Truda Vitz, focuses on a Czech-Viennese Jewish teenager fleeing persecution and starting a new life in England. The production spans time from pre-war Austria to present-day Sydney, and Satchell plays her cello throughout. The production runs at Tap Gallery, Darlinghurst from Wednesday June 25 – Sunday July 6.

JEANETTE WINTERSON

THE KING AND I

The Rodgers and Hammerstein masterpiece The King And I has returned to Australia and will be heading to Sydney this September.

Ash Flanders in Hedda Gabler

HEDDA GABLER

Originally written in 1902 by renowned playwright Henrik Ibsen, Hedda Gabler opens at Belvoir St Theatre next month. Belvoir’s new resident director Adena Jacobs brings the play to life as the title character is embroiled in a conventional but insane life. After the selfish and jealous Gabler marries scholar George Tesmen and is wrapped up in his professional rivalries, she becomes recklessly destructive when a vindictive judge attempts to blackmail Gabler, setting in motion a deadly sequence of events. The play comes to Belvoir on Saturday June 28 and runs until Sunday August 3.

PATYEGARANG

Celebrating its 25th anniversary this year, Bangarra Dance Theatre is telling the story of Patyegarang, the journey of an indigenous spirit alive in Australia’s past and present. The show celebrates a young Aboriginal woman of intense courage, who garners and deserves the respect of Aboriginal knowledge and language of today. As the colonial fleet arrived in the late 1700s, Patyegarang befriended Lieutenant William Dawes, teaching him the native dialect in an unprecedented display of trust and friendship. Dawes faithfully recorded all of his times with Patyegarang in his notebook, which were rediscovered in 1972 and are the inspiration for this creative work. Patyegarang is showing at the Drama Theatre at the Sydney Opera House from Friday June 13 – Friday July 4.

TIERRA BOO AT THE TATE WATCH OUT, LANNISTERS ABOUT

Nikolaj Coster-Waldau

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Nikolaj Coster-Waldau, AKA Game Of Thrones’ Jaime Lannister, is coming to Sydney in June for the Supanova Pop Culture Expo. The ‘Kingslayer’ (is-he-a-good-guy-oris-he-not-we-don’t-even-know-anymore) will be sure to excite Thrones fans across the land as he appears alongside Stan Lee, Rose McGowan, Jon Heder and more on the ‘Supa-Star Guests’ lineup this year. Will Coster-Waldau still be without an arm, so as to stay in character? We’ll have to find out next month. Supanova takes over Sydney Showground, Olympic Park from Friday June 13 – Sunday June 15.

The Tate Gallery will play host to Tiera Boo’s new exhibition, Future Primitive. Boo’s first Sydney solo show, Future Primitive showcases contrasting layers and delicate stencilling to create intertwined stories and concepts. Boo remains committed to the DIY focus of her community, and runs regular stencil-making workshops in Sydney and Melbourne. Future Primitive opens on Wednesday June 11 and runs until Sunday June 15. thebrag.com

Patyegarang photo by Greg Barret

Acclaimed British author Jeanette Winterson OBE will visit the Sydney Opera House as part of her 2014 Australian tour. The writer, poet, journalist and activist is known as one of the most influential voices of our time, having written over 20 books since a turbulent childhood when she was exiled from her community after having a love affair with another woman. She’ll visit Australia as part of the Byron Bay Writers Festival and to appear in Brisbane and Sydney. See Winterson at the Joan Sutherland Theatre on Sunday August 10.

Brad Checked In follows recently divorced Brad as he checks out of marriage and into the world of social networking and internet dating. What follows is an awkward sequence of hook-ups, including Di, who’s definitely had work done (Brad is uncertain if she’s married or not), and Rebecca from Brad’s uni days (who’s married for sure). When Brad’s ex-wife shows up unannounced, Brad’s two worlds – digital and real life – collide. Brad Checked In is showing at the Old Fitzroy Theatre from Tuesday June 3 – Saturday June 21.

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The Adventures Of Prince Achmed

The Rap Guide To Evolution

[FILM + SOUNDTRACK] Let There Be Sound By Tegan Jones

The Rap Guide To Evolution [THEATRE] Science And Rhyme By Meg Crawford

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aba Brinkman is not your regular rapper. For a start, he has a Masters in Medieval and Renaissance English Literature, and his show, The Rap Guide To Evolution, examines some pretty erudite topics, taking a stroll through natural and sexual selection and evolutionary psychology. It’s all for a good cause – namely, hailing Charles Darwin as the forward-thinking genius that he was and, respectfully and humorously, putting the creationists back in their place through the medium of rap. It’s a slightly odd concept for Australians to contemplate, but in the States the majority of folk still don’t believe in evolution. “I started this show in England,” explains Brinkman, “where the theory of evolution isn’t controversial. They have Charles Darwin on their money. That’s part of the reason I wanted to move to the US. The theory needs soldiers and I’m doing my best in these songs. There’s a few reasons why creationism still holds sway in the States. The main one is probably that entrepreneurship and religion is a big thing here. A lot of people make a good living off it. It’s a version of capitalism. America was founded by religious outcasts. The people who were too religiously extreme for England became the Pilgrims. Now they have all sorts of offshoots – Mormons, Methodists, Baptists, Pentecostals. “There were real opportunities here for charismatic leaders and it’s been persuasive to a lot of people. I’m exploring how you move people on this. Traditionally, people have tried using argument, education and logic. Maybe an emotionally salient experience will go further. It may be harder for people to feel hostile that way. I’m trying to reach people with art, rather than with argument.”

“I have a good rapport with people,” Brinkman says. “I’m going to entertain them, intrigue them and make them laugh, and do it respectfully. Sure, there have been plenty of heated arguments, but to date, I haven’t been threatened.” He is also attracting a lot of supporters. “People are super enthusiastic. It’s unusual to be saying these sorts of things down there, so people are telling me, ‘We need more people saying it,’ and thanking me.” The shows are well attended and are inspiring healthy debate. “The evolutionist brings his creationist friend and then we get some discussion,” Brinkman says. “The show ran for five months off Broadway. That was an older demographic. For some of them, I became the embodiment of a hip hop theatre performer. One of my favourite things was that I had people coming up to me later saying, ‘I never liked it before,’ or ‘I never got hip hop before, but now I do.’ Young people would come, too, because it was hip hop in a theatre and I had them telling me that science was interesting.” The irony of his name is not lost on Baba Brinkman, a dedicated atheist. “My parents were into Hindu mysticism,” he laughs. “I think they were doing yoga with Baba Hari Dass. I was given the name un-ironically, but for a rationalist to be named after a guru is some sort of cosmic joke.” Although, after a moment’s reflection, he recants. “Babas in mystical traditions were just teachers of wisdom, and all I’m doing is collecting pearls of wisdom about science and distributing them.” What: The Rap Guide To Evolution Where: Sydney Opera House Studio When: Thursday June 19 – Friday June 20

The Adventures Of Prince Achmed

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omposer Phillip Johnston will be redefining the target audience of Vivid Sydney’s New Wave: Sound program with his modern score to 1926 silent silhouette animation The Adventures Of Prince Achmed. Dedicated primarily to experimental and electronic sound, many labour under the misapprehension that New Wave will have nothing for them, or for young audiences. Johnston breaks down these imagined barriers by bringing silent film into the 21st century. Johnston has been a lifelong lover of silent films, and a large portion of his career has been dedicated to writing modern scores for them. “Contemporary scores for silent films present a composer with extraordinary opportunities,” he says. “There’s no other sound in the film, no dialogue to worry about overwhelming them. The music is the entire score and sound, so it’s a chance to create a large-scale work.” The composer also believes there’s much more to the silent film genre than people’s preconceived notions dictate. “It’s an amazing body of work. Silent film is, in a sense, an entirely different art form than sound film. People generally look at it as the early infancy of film, but I look at it as something really different. The acting style, the structure; it’s really a whole art form which developed an incredible body of work in the short 30 years before synchro sound came along. So [for me] it’s partially a love for this art form; the variety, the depth, the inventiveness, the imagination, the resourcefulness and the sheer weirdness of it at times.” When asked what inspired him to compose for The Adventures Of Prince Achmed, Johnston

The film’s story is adapted from The Arabian Nights and includes classic fantasy elements such as an evil sorcerer, a flying horse, a beautiful princess, monsters and even Aladdin. One can’t help being seduced by the concept as well as the execution. “It’s a very personal kind of work,” Johnston says. “Lotte Reiniger [the film’s creator] developed this style called silhouette animation, which involves the meticulous cutting out of black paper and photographing it, like stop motion animation. It’s a real stylised kind of work, and she devoted her entire career to working in that medium. She ended up creating many works which were based on fairytale subject matter.” What makes Johnston’s score for the film a perfect addition to the New Wave program is his decision to go in a different direction to previous work. “Normally all of my scores are performed by live musicians, and I wanted to create a score in which I use pre-recorded elements and combine them with live elements. I also wanted to use elements of electronic music and sampling, like you see in electronica. “All at once it’s a cutting-edge piece of new music and it’s fun for the whole family. Kids like it because it has a great story and I like to think that the music, in spite of its weirdness, does serve the film. At the same time, it’s something that has elements it in that are quite avantgarde.” What: The Adventures Of Prince Achmed at New Wave: Sound, as part of Vivid 2014 Where: Everest Theatre, Seymour Centre When: Saturday June 7

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Not that he is shying away from an argument – he’s had a few lately, having taken the show to Mississippi, Texas and Alabama. When we speak, Tennessee is next. Brinkman is making a documentary while he’s at it, which sounds like a risky proposition, but he’s remarkably

relaxed about it.

explains: “In all of my silent film scores I try to do something different in the basic relationship between the music and the film. I was looking for a film that would give me an opportunity to do something unique, and I found The Adventures Of Prince Achmed. About five different things from different directions pointed me towards the film, including the film itself, which is amazing.”

X-Men: Days Of Future Past [FILM] Peter Dinklage Opens Up By Tyson Wray Peter Dinklage in X-Men: Days Of Future Past

to eliminate mutants through sophisticated detection programs while leaving humans unharmed. However, after Trask has a run-in with Mystique (Lawrence), it sets in course a series of events that leads to an unwinnable war, dooming both mutants and humans to certain extinction. Days Of Future Past sees Wolverine (Jackman) sent from the near future back in time in a desperate last-ditch attempt to change the course of history. “In history everybody who is proposing war is doing it for ‘the good’,” says Dinklage. “Us against them: they’re the bad guys, we’re the good guys. In American history, wars have always been fought in faraway places. It’s always been about that fear of [the] unknown and protecting ourselves and there are people who profit from that.

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the ultimate X-Men ensemble as the original film’s characters join forces with their younger selves (X-Men: First Class) to fight a war set across two time periods. In 1973, military scientist Bolivar Trask (Peter Dinklage) is urging the government to fund his Sentinel Program – one that he believes is necessary to save humankind from the unstoppable threat of mutants overtaking the planet. The Sentinels are specifically designed

“Trask is an outsider, and we address that just through the sheer nature of myself playing the part and my size,” he says. “There’s a lot of selfloathing and envy going on. I think that happens to a lot of people who have a certain reaction to a certain group. I question people who have a strong animosity to a certain group. What is it about them that is affecting you so deeply?

It’s this great appeal of X-Men that’s led to not only the multi-million dollar film franchise, but a universal legacy that fans have cherished for over five decades. When he appeared on The Late Show With David Letterman earlier this year, Dinklage remarked that while he’s arguably best known for his role as Tyrion Lannister in Game Of Thrones, he hasn’t read George R. R. Martin’s books. So was Dinklage an X-Men fan before now? “I didn’t keep them in the pristine packages and know everything about them down to the last detail like some of my friends did,” he laughs. “I wouldn’t consider myself a true comic book collector. But I certainly enjoyed them. You can’t grow up in the world without knowing about them.” What: X-Men: Days Of Future Past (dir. Bryan Singer) When: In cinemas now thebrag.com

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-Men: Days Of Future Past is arguably the most audacious instalment in the film series thus far. Based on Marvel’s 1981 Uncanny X-Men comic storyline of the same name (written by Chris Claremont and John Byrne), it sees Bryan Singer (X-Men and X2) return to the director’s chair alongside a reprised cast of Hugh Jackman, James McAvoy, Michael Fassbender, Jennifer Lawrence, Halle Berry, Anna Paquin, Ellen Page, Nicholas Hoult, Ian McKellen and Patrick Stewart for a journey which brings together

“Trask is a war profiteer,” Dinklage says of his X-Men character, the film’s main antagonist. “He sees what he’s doing as something that will definitely save mankind. But he’s not altruistic – he has a financial motive.

“That’s one of the great appeals of these movies. No matter what, even if you seem perfect, at some point of your life you’ve felt like an outsider. Whether it be because you’re a dwarf, or your race, gender, sexual orientation, ability, disability or whatever it is. These books were written at a time when this wasn’t just becoming an issue – because it’s always been there – but it was becoming more talked about and fought for.”

Film Reviews xxx

Hits and misses on the silver screen around town

X-Men: Days Of Future Past

Scarlett Johansson in Under The Skin ■ Film

■ Film

UNDER THE SKIN

X-MEN: DAYS OF FUTURE PAST

In cinemas May 29 When it isn’t straight-up horrifying, Jonathan Glazer’s (Sexy Beast) long-inthe-making Under The Skin masterfully instills a deep sense of existential unease. Loosely based on the novel by Michel Faber (a former long-term Marrickville resident), it’s nominally a science fiction film starring Scarlett Johansson as an alluring humanoid femme fatale, stalking Scotland in an unmarked white van for unattached – and mostly unwittingly filmed – male victims (much of the hunting is shot using hidden cameras within the van, with Johansson going unnoticed under a black mop of hair and an adequate English accent). After determining how much they’ll be missed on Earth with a few generic chat-up lines, she lures them back to her abode in the Highlands, wherein lies a pitch-black cosmic dreamscape; the prior spontaneity segueing into a ritualised dance of seduction between predator and prey, aided in no small part by the Bernard Hermmann-via-Noh-theatre music score from Mica Levi (best known for her work with Micachu And The Shapes). This routine constitutes roughly the film’s first half, with a few ruptures (including a truly disturbing scene on a beachfront). Then, an encounter with a facially disfigured man who reacts incredulously to Johansson’s scripted flirtation inspires a reassessment of her task at hand, looking from the outside like embers of humanity. Much of the film’s imagery toys with our tendency toward anthropomorphisation or emotional transference; an unconscious face that seems to cry, a deflated human husk that contorts helplessly in a liquid abyss, or what looks like a patriarchal role assumed by Johansson’s male-form motorcyclist assistants.

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It takes a while for the film to regain its footing following Johansson going AWOL from fucktruck duties, and whatever Glazer and co-writer Walter Campbell have to say about the innate qualities that maketh us human – inefficiency, inequality, loneliness – is, on paper, not completely profound. But the crowning achievement of Under The Skin is how Glazer and co. use a rich audio-visual language to suggest the vantage point of something unknowable. The film’s unmooring cumulative effect – from cosmic opening to elemental finale – is one of sentience feeling like a wonderful, terrible gift. Ian Barr

In cinemas now “Is the future truly set?” This question is a perfect summation of the plot of X-Men: Days Of Future Past. The fi lm begins in the near future when the world has been ravaged into a dystopian state. Men and mutants alike have been murdered en masse by a new enemy called the Sentinels – giant robots that can transform their powers at will in order to combat any mutant’s powers. Only a small band of mutants remain and are being led by the now reunited Charles Xavier (Patrick Stewart) and Magneto (Ian McKellen). Their only hope at survival is Kitty Pryde (Ellen Page), whose psychic abilities enable her to send people’s consciousnesses back into their younger selves. In the comics, this task is left to Pryde herself, but Wolverine has now been assigned to help. I suppose they had to give Hugh Jackman something to do. Enter the young mutant misfits that we met in X-Men: First Class, roughly a decade after we last saw them. Not only does Wolverine have to get Young Charles (James McAvoy), Magneto (Michael Fassbender) and Mystique (Jennifer Lawrence) to work together to save the world, he has to do it with Professor X being stripped of his powers. The complicated time-travel storyline really should have made for a terrible fi lm, but it’s highly successful in its execution. The performance of the actors in particular is a joy to behold, and it was especially rewarding to delve deeper into the juxtaposed feud and friendship between Professor X and Magneto. Evan Peters is also delightful in his portrayal of Quicksilver, and deserves a special mention for providing the most hilarious and charming scene of the fi lm. Fans of the franchise and the comics alike are sure to enjoy the latest instalment. Bryan Singer has outdone himself yet again, and the film will hopefully overshadow the train wreck that was X-Men Origins: Wolverine. Tegan Jones

See www.thebrag.com for more arts reviews

Arts Exposed What's in our diary...

Sydney Film Festival Opening Night State Theatre, Wednesday June 4

20,000 Days On Earth

The countdown is on for the 2014 edition of Sydney Film Festival, and boy are we excited. Some 183 titles will feature at this year’s festival, kicking off with the Opening Night Gala and 20,000 Days On Earth by Iain Forsyth and Jane Pollard. The film paints a portrait of the one and only Nick Cave, with the writer and musician himself narrating a stylised tale of his 20,000th day alive. There are still tickets available to the film and afterparty, but you’ll want to move fast. Otherwise, our sneak peeks at SFF features like Boyhood and Frank have us tipping that this will be a festival to remember. Sydney Film Festival 2014 runs from Wednesday June 4 – Sunday June 15. For tickets and more info, head to sff.org.au. thebrag.com

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Had enough of being locked out of your favourite nightspot come 1:30am? Yeah, we thought so. While the fun police are out in force, it doesn’t mean we can’t still enjoy a responsible drink at our favourite haunts. We caught up with some venues around town to tell us why they’re the best places to start early, go all night or finish up late – and make the most of your night out, lockouts or not.

1.

2.

The Balmain Hotel What’s the vibe: Our deceptively large venue offers an area to suit any occasion. Enter through the public bar, home of Balmain Rugby, where there’s a large projection screen making it the perfect place to cheer on your favourite team. Walk through the doors out to the courtyard and be transported to a Polynesian paradise. Best beer garden in Balmain – hands down. Get a fun holiday feel sipping delicious cocktails under the thatched tiki huts. Settle in next to the fire in the Bora Bora Bar during the week and enjoy one of our many weekday meal deals. Have a groove on Friday and Saturday nights to our resident DJs.

nights – $18 burger and booze deal; and pig on a spit Sundays.

For our ears: An awesome Friday and Saturday night atmosphere with resident DJ Kate Monroe (Sydney’s first lady of house) on Saturday night and DJ Husky from Random Soul on Fridays (coming soon).

Wallet damage: Food: small stuff $10-12; mains $16-26. Drinks: beers from $5.50; cocktails $16; wine $35. During the week, Happy Hour runs from 4-7pm: $4 schooners, house wine and spirits.

For our tummies: Sensational food serving pub classics with a modern twist. Our new menu features healthier choices to satisfy the most figure conscious diners, plus delicious burgers. Weekly dinner specials means there is no excuse to stay home: Monday – 50c wings; Wednesday – $12 schnitzel; Thursday – $1 dumplings; Friday

Where: 74 Mullens St, Balmain

Bevvy of choice: The Balmain has all manner of options to wet your whistle! Lap up pub classics in the public bar and journey down to the Bora Bora Bar for something a little more exotic. Choose from our cocktails list or chat with our friendly staff and they can create something for you! The Balmain Booze Juice is a fresh fruit frappe of your choice with Skyy Vodka or Appleton. Beating the fun police – what’s the highlight: Delicious food. Thumping beats. Stiff drinks.

When: During the week attracts an after work crowd; early evenings are busy. On the weekend the party starts with lunch and then continues on into the evening. The atmosphere is given a jolt when resident DJs start spinning the decks at 8pm.

3.

Papa Gede’s Bar What’s the vibe: We’re a small bar with big vibes, all about a super friendly lounge atmosphere. People have been known to dance when certain Al Green tunes come on… For our ears: Heaps of soul, New Orleans blues, ’60s and ’70s funk, reggae. For our tummies: We have a great selection of cheese and charcuterie, and some cheap and salty nuts and pretzels on offer. We also encourage those in need of hot food to order in pizza, Thai or whatever they feel like. Bevvy of choice: Cocktails! The It’s Rick James… with scotch, peach liqueur, fresh apple juice and lemon, or an absinthe if you’re feeling artistic – we do a great

We are just wrapping up our testing phase and are excited to be moving into our new Friday and Saturday nights – underground venue with three bars, lounges, tables and a laidback atmosphere. Our new late-night lineup will begin mid-July. Our sister venue next door is Spring Street Social, a new small bar and restaurant. Open Tuesday to Saturday, 4pm to 3am, there is free live music every night. For our ears: On Fridays, energetic live, local and domestic indie/rock/alternative bands. On Saturdays, house/electronic DJs and live electronic acts. 26 :: BRAG :: 564 :: 28:05:14

Bevvy of choice: Brooklyn Lager of course, but if that doesn’t suit we have a selection of over 40 Australian and international craft beers, plus top-notch cocktails in our adjoined Spring Street Social bar. Beating the fun police: Luckily we are comfortably outside of the lockout zone, so we will be doing our bit – thankfully the hideous lockout laws don’t affect us. Only two train stops from Kings Cross or a $15 cab, so it’s easy to get to. Wallet damage: Normal night out prices. We’ve kept ticket prices, if any, really low. Free entry before 10pm lots of the time. Where: Jam Gallery – 195 Oxford St, Bondi Junction. Spring Street Social – 110 Spring St, Bondi Junction. When: Jam Gallery – doors open 7:30, bands/DJs start around 9pm. Spring Street Social – Tuesday to Saturday, 4pm-3am.

Wallet damage: Cocktails start at a very modest $16, absinthes from $14. Beers and wines from $8/9. Where: Enter via laneway at 348 Kent St, Sydney When: We open from 5pm. Weekdays we are busy quite early, Saturdays from about 8pm.

For our tummies: Our authentic Mexican cantina serves up fresh delicacies every night of the week, and is open right through until 3am on Fridays and Saturdays. With a menu designed by Dan Hong, you’re in store for award-winning tacos, hot dogs, quesadillas, delicious fi sh ‘torta’ sandwiches and much more. For the adventurous we also have a ‘secret taco’ – dare you to try it! Keep an eye out for our vouchers around the neighbourhood too – you could score one of our famous tacos for free after midnight. Bevvy of choice: Tequila, margaritas, cervezas! We specialise in tequila (with over 30 on offer) and margaritas, and also have beer bucket specials all day every day. If you haven’t been here yet, you have to try our frozen margarita with pink cuco, grapefruit and coriander.

Jam Gallery For our tummies: Great bar food, hot dogs, burgers, fancy fries et cetera.

Beating the fun police – what’s the highlight: The voodoo mugs, the shrunken heads, the absinthe drip, the beats, the cobblestones and the flaming lime husks. And the friendly service of course.

El Loco Later

4.

What’s the vibe: Historically Sydney has experienced many ups and downs affecting the prosperity of the live music scene, battling poker machines, POPE laws and noise complaints. However, the latest introduction of licensing restrictions has predominantly hindered punters’ ability to see acts at various live venues after 1:30am. Thankfully, Jam Gallery at 195 Oxford St, Bondi Junction lies comfortably outside of these restrictions, enabling us to play right through to 3am.

absinthe cocktail called Divine Intervention with apple and passionfruit. So freakin’ good. Or one of our super rare American whiskies.

What’s the vibe: El Loco Later is a new late-night party every Friday and Saturday at El Loco, Surry Hills. After dinner wraps up, the Excelsior is transformed into one of the best late-night spots in the neighborhood. Tables are pushed aside, and with a rotating cast of Sydney’s best party DJs, the dancefloor kicks on well into the night. The kitchen remains open right through ’til 3am, and with our award-winning tacos on offer, we’ve got the best late-night snacks going around. The staff are all in costume and getting into the festive vibe – it’s unpretentious, a great atmosphere, great value and open late! For our ears: We’ve got some of Sydney’s finest party DJs mixing it up on rotation – Kristy Lee (triple j), Raye Antonelli, Tina Turntables, Bambii, Bernie Dingo, Liz Bird, Bobby Gray, S.Kobar, Fingertips and DJ Crazy Caz! Expect hip hop, house, ol’ skool, indie, ’90s, just block-rockin’ party beats all night long.

Beating the fun police – what’s the highlight: You’ll definitely remember the oversized cactus you were posing with! Our totally kitsch Mexicool décor may have you wanting to Instagram all night, but don’t forget to get off your mobiles and have a dance. The food, drinks, the friendly staff and feel-good factor make for a great night to be had by all. Wallet damage: Nada, gratis. Free entry all night. Where: El Loco at the Excelsior Hotel – 64 Foveaux St, Surry Hills. Only a couple of minutes’ walk down from Crown St or up from Central Station. When: Things get started early at El Loco – join us for dinner and happy hour from 6pm and prepare for the party ahead. The latenight party really kicks in around 10pm with DJs and the dancefloor keeping spirits high all the way through until 3am. thebrag.com

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

ALBUM OF THE WEEK DUNE RATS

Marijuana’ is an instant garage pop crossover hit. The song is repetitive and consistent like a steamroller, both dynamically and melodically, quickly asserting itself as one of the record’s standouts.

As we speak, Brisbane natives Dune Rats (or ‘Dunies’, as their mob of enthusiasts endearingly prefer to call them) are emerging as a veritable force to be reckoned with.

‘Funny Guy’ finds the band hitting its stride, complete with a smooth rolling bassline, solid drumming and energetic vocals that wreak havoc over the top of it all with the catchy cry, “Why you gotta lie all the time?!”

Dune Rats Ratbag/Warner

Recorded in little over a week, Dune Rats’ selftitled debut is a testament to the trio’s growth as artists, translating prolonged potential into a revolving door of high-energy fuzz rock. Sonically, the album picks up where the Smile EP left off. Opener ‘Dalai Lama Big Banana

Indie/stoner pop/surf rock – whatever the classification may be, it’s clear this record will be

the soundtrack to which you’ll sink some tinnies while basking in the sunlight of your mate’s veggie garden. xxxx

Xxxx Dune Rats have arrived, and they’re a force to be reckoned with.

‘Home’sick’ and ‘Et’ continue in the same vein, and while ‘Lola’ floats along, ‘Blind’ gathers back the momentum, raising the album up on its haunches.

Kiera Thanos

PASSENGER

DAVE GRANEY

SHELLEY SEGAL

THE HORRORS

RON POPE

Whispers Black Crow/Inertia

Fearful Wiggings Wolverine Enterprises

An Easy Escape True Music

Luminous XL Recordings/Remote Control

Calling Off The Dogs Brooklyn Basement

Talented musicians make their craft look ridiculously easy. After listening to Passenger’s sixth studio album Whispers, you might feel like you too can grab a guitar and begin a swooning love ballad that captures the essence of youth.

Dave Graney explains things this way: “The title comes from a 1920s book of French stories. I came across a new word and looked it up in the glossary and the meaning was put as ‘fearful wiggings’. I took it to mean ‘great anxiety’.” Thankfully, with the exception of ‘Everything Is Perfect In It’s Beginning’ [sic], there is nothing anxiety-provoking about the album. Rather, this latest collection of musings is mostly soothing. And it’s unmistakably Graney. The album is carefully crafted and a beautiful, languorous listen – in a time where 30-minute albums are de rigueur, the longer play is refreshing.

To say The Horrors have come a long way since their 2007 debut Strange House and all that big hair and goth make-up is putting it mildly. Having become the darlings of the British music press, expectations were high for their fourth album after the success of 2009’s Primary Colours and 2011’s Skying.

Ron Pope’s talents first reached many fans’ ears when he put out his beautiful single ‘A Drop In The Ocean’ in 2005. Since then, though having independently released ten albums and countless other singles, it seems Pope hasn’t made a major splash.

Of course, if you do so, you’ll realise how much time, effort and talent has gone into Whispers. Despite being a mainstream success, reaching the top five of the Billboard chart in February this year, Passenger has managed to keep a very pre-success sound. There’s an excitement of things to come, best experienced with album opener ‘Coins In A Fountain’ and later ‘Thunder’. Michael Rosenburg’s voice can barely hold back from breaking with anticipation. The flip side of this excitement is also captured beautifully with ‘27’ and ‘Rolling Stone’, exploring that frustration at the need for patience. Passenger’s subdued vocals throughout the album accentuate his Brighton accent, and add a maturity that belies the music’s youthful tones. This is a record which personifies the exuberance and vision of someone in their prime, on the cusp of great things, while showing the patient skill and focus typically found in much older musicians.

The difficulty in combining folk with pop is that while the sound can be more accessible, the songwriting tends to simplify itself, taking away from the natural storytelling style of folk music. An Easy Escape, the third studio album from Shelley Segal, tries to find the perfect balance between the two with mixed results. Album opener ‘What I Want’ does well at both storytelling and maintaining a pop sound, but it’s too much for a first song, feeling like it’s in a rush to set things up. ‘Morocco’, while based on Segal’s own experience in the country, seems to focus more on the pop sounds rather than the story, which is a shame as it could easily be expanded upon.

The Horrors allay any fears that this album would be anything other than brilliant from opening track ‘Chasing Shadows’, a sprawling aural soundscape that channels early Kasabian with a unique Horrors twist. ‘First Day Of Spring’ is more direct, conventional in many ways – but then again, there isn’t much about The Horrors that is conventional. They push boundaries sonically, and meld genres at will.

We are kicked out of the idyll only temporarily in ‘Everything Is Perfect’. It’s discordant, purposefully so, and makes for unsettling listening. Otherwise, nothing’s urgent here. Sometimes Graney’s barely singing, and the album overall is sparsely arranged. He is joined on ‘I Know You Can’t See Me’ by Lisa Gerrard, but you wouldn’t know it. She can sing the shit out of anything, but her vocals are confined to background ambience.

An Easy Escape tends to feel like a folk artist’s attempt at injecting some alternative into the mainstream; like a tourism video that ends up making a destination look somewhat cheesy.

Combined, they become something magical, a sound that few can replicate.

Mostly, the lyrics are surreal. It’s always been hard to know whether Graney is taking the piss. This album is no different. He’s smarter than the rest of us, but it doesn’t matter. Just listen.

It’s clear Segal is a natural storyteller; it’s just a shame that instead of focusing on that, she seems more concerned with attaining a commercial sound. And that doesn’t make it a bad album, but when you hear songs like ‘Big Fish’ and ‘Answering Machine’, you can’t help but feel it could have been more.

Daniel Prior

Meg Crawford

Daniel Prior

INDIE ALBUM OF THE WEEK presume a songwriter is detailing strictly personal experiences, but when a voice positively bleeds with emotion like Van Etten’s, it’s hard to separate the individual from the art. Are We There is relationship music. It’s not necessarily breakup music, but if your heart’s burning Van Etten offers surplus stimulus for lamentation. Concordantly, her visceral vocal projection is apt for enthralled lovers to unite under the sublime feeling.

SHARON VAN ETTEN Are We There Jagjaguwar/Inertia It sounds like tough work being Sharon Van Etten. One shouldn’t 28 :: BRAG :: 564 :: 28:05:14

Producing the record herself (and taking her impeccable live band into the studio), the New York songwriter has never sounded more confident. Musically, Are We There is a progression from its stunning predecessor, Tramp. There are no

straight-up rock numbers to be found. In their place are staggered R&B (‘Taking Chances’), autumnal and subtly synthesized contemplation (‘Our Love’), and gut-wrenching crescendos (‘Your Love Is Killing Me’). Americanatinged closing number ‘Even When The Sun Comes Up’ provides absolution by willingly acknowledging the ugly that lies within the beautiful. Van Etten’s fourth LP takes cues from Leonard Cohen, PJ Harvey, Nick Cave and The Walkmen, but it doesn’t lean on these influences too transparently. Rather, Van Etten deploys her own, singular sensitivity while showing loving appreciation for the discourse her distinct voice is contributing to.

‘So Now You Know’ is an album standout, sounding more polished than most songs you’ll hear this year, yet managing to sound completely different to anything you’ve got on your iPod. ‘In And Out Of Sight’ sees the band again challenging its own sound, unsurprisingly to great effect. Luminous is a tremendous record, one of those albums that reminds you just how exciting, liberating and altogether different music can still be.

Now, Pope branches out from his alt-country and folk roots, choosing to go a little more ‘pop’ as he returns with Calling Off The Dogs. The chaos of colours on the cover really represents the variety of sound you’ll find throughout this record. Starting off with some catchy and upbeat pop, Pope makes things slower, deeper and more thought-provoking once ‘Explain’ hits the speakers. For any fans of his breakout single, the track ‘Silver Spoon’ will really hit home, with the voice that we heard back then really shining through. Meanwhile, guest vocalist Alexz Johnson’s powerful tones come through to great effect on ‘Nothing’. A good listen overall, Calling Off The Dogs offers plenty of variation, right up until Pope explores his higher register on ‘Blood From A Stone’. It’s an odd way to end a sprawling record. Amy Theodore

Alexander Crowden

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USE ME. BRAG :: 564 :: 28:05:14 :: 29

snap sn ap

live reviews

up all night out all week . . .

What we've been out to see...

R.I.P SOCIETY 5TH BIRTHDAY Sydney Opera House Saturday May 24 For one night – seven solid hours, to be precise – a wealth of underground talent infiltrated the bowels of the Opera House for Vivid LIVE, unleashing a constant geyser of eclectic and excellent musicality. A right royal enema, tickling the hallowed establishment from below. The dozen acts (ten from the R.I.P Society family, plus headliners feedtime and The Dead C) performing tonight did so in a rapid-fire chain, sharing the panoramic stage in two-and-a-half sections – the spotlight shining on each active band while another set up across the boards.

24:05:14 :: Sydney Opera House :: Bennelong Point, Sydney 9250 7111

Newtown Social Club Wednesday May 21 With a slew of sold-out shows at Newtown Social Club and two well-received EPs to his name, Dustin Tebbutt had set expectations high for his Wednesday show. However, this seemed to work to his favour rather than detriment as a combination of incredibly tight production, calm atmosphere and simple confidence made for a memorable performance to add to his Bones tour. As the crowd trickled in, sitting towards the back of the theatrical new band room of the Newtown Social Club, Simon Relf AKA The Tambourine Girls sidled onto stage and kicked off the night. Though Relf began with some pitchy moments, he quickly revealed the spooky earthiness of the voice behind his fringe as his presence grew more confident. He looked kind of lonely without a full band in this space and with the audience so far away and seated, though he still produced a big sound, rich with oldschool rock and blues influences. But when the curtains parted to show Dustin Tebbutt and his band take the stage, the venue transformed completely.

OUR LOVELY PHOTOGRAPHER

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Sydney luminaries feedtime were ferociously potent, while Kiwi icons The Dead C were attacking to the point of belligerence, igniting carpet bombs of loose noise. The verdict is simple: this was a great event and I’m real glad it happened. Lachlan Kanoniuk

Hovering candles hung amongst the instruments, the audience circled around Tebbutt as if around a campfire and the general murmur that existed before became stillness. Every element of the sound they produced was gentle and made your skin tingle: Dustin’s honest vocals, the semiacoustic guitarist’s soft yet important touch, the drummer’s lightness and the bassist’s seamless transitions.

pixies

23:05:14 :: Sydney Opera House :: Bennelong Point, Sydney 9250 7111

If anything, the set was almost too calming, making it easy for the mind to drift and meaning that the crowd did not shout enthusiastically at the end for the encore that perhaps Tebbutt deserved. Often it was difficult to discern his echoing lyrics, with mellow sounds being the star rather than articulation. But by no means did this prevent him from forming a connection with the audience – he told genuine stories of Sydney life throughout and presented a touching solo cover of ‘The Beauty Surrounds’ by Houses, dedicated to a friend of his from Newtown that recently passed away. Tebbutt and his band have prepared a real treat for fans and newcomers alike on this tour; his live presence will send you into reflection and likely touch a tender side you didn’t know you had. Erin Rooney

S :: KATRINA CLARKE :: ASHLEY

MAR :: PRUDENCE UPTON

ed kuepper

PICS :: KC

DUSTIN TEBBUTT, THE TAMBOURINE GIRLS

Tasmanian two-piece Native Cats emanated a captive charm, highlighting in their banter all the R.I.P Society acts who couldn’t perform tonight for whatever reason. In just five years, the magnitude of talent harnessed by the label is astounding. Native Cats were effortlessly brilliant, consisting of a drum machine, bass and a Korg emulator loaded into a Nintendo DS. There are no rules here.

PICS :: PU

r.i.p society 5th birthday

Commanding an array of electronic gadgetry from behind a desk centre stage and beneath a beret and flat cap, duo Half High delicately constructed abrasive noise loops, as their sense of eerie symmetry engulfed the boxlike Studio. Purveyors of a vastly different strain of electronic music, Holy Balm pumped out hearty dance-pop bangers – primitive but infectious beats eliciting a few hands in the air.

PICS :: AM

Constant Mongrel displayed impeccable decorum, their sartorial choices suited to the iconic setting, as they were decked out like preppy yacht aficionados with jumpers draped across shoulders. They were in top form, busting out surf-tinged garage, later joined by Melbourne legend Al Montfort for a burst of saxophone. After closing their set, a guitar was handed across stage to R.I.P Society head honcho Nic Warnock as he commenced Bed Wettin’ Bad Boys’ set. It was a corker, despite the slight awkwardness of staging imbalance, with the audience happy to huddle in front of the appropriate corner of the stage. Guitar

strings snapped, though the scene never turned overly raucous.

23:05:14 :: Newtown Social Club :: 387 King St Newtown 1300 724 876 thebrag.com

d ite m Li hs ot Bo e bl la ai Av

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$5 drinks and complimentary bites from 5-7pm 2 levels & outdoor areas

100 George St, The Rocks bar100.com.au / (02) 8070 9311

bar100sydney @bar_100

Have you heard?

thebrag.com BRAG :: 564 :: 28:05:14 :: 31

snap sn ap

live review

up all night out all week . . .

What we've been out to see...

DMA’S Goodgod Small Club Thursday May 22 If you want to know the best-kept secret in Sydney music, you’ll have to look further than DMA’s. This may have been the first date of their debut tour, but a packed-out floor at Goodgod Small Club – with another to follow two nights later – is enough to prove that the swaggering trio has seized the attention of local music fans. There’s still room on the bandwagon, but perhaps not for long. On the evidence of their self-titled EP release, DMA’s will be called derivative – but if that’s the primary criticism to be mustered, it washes away in the stargazing swagger of a chorus like ‘Delete’. DMA’s expand to a six-piece live, but when their lead single lands, the sing-along comprises everyone in the room, onstage and off.

slaytanic swillfest

PICS :: AM

They hold it back until near the set’s end, of course, instead kicking off with ‘Feels Like 37’, driven by Johnny Took’s and Matt Mason’s twin guitar swell and Tommy O’Dell’s pleading wail. They’ve only got five songs to play from that EP, but throw in another three unheard offerings. It’s no surprise they’re all strong – the boys have said they’ve been working for years to come up with a hundred more songs than could fit on their first release, so there’ll be even more aces in their deck to come. Equally unsurprising is the power of their live setup – each of their core members has been around the local music scene for years, especially down Annandale Hotel way, where they all poured beers for a stint, so if anyone in this here town knows how to work a stage, it’s them.

25:05:14 :: Frankie's Pizza :: 50 Hunter St Sydney

Truth be told, since Sydney first heard the name DMA’s – a hyped-up three-piece signed to I Oh You on the strength of a single demo – they’ve delivered no more or less than exactly what’s been hoped and expected of them. Their live show is just another piece of the jigsaw. To make a lasting impact, they’ll need to start surprising their audience – but for now, seeing a young band fulfilling each and every opportunity that comes its way is all the satisfaction we can ask for. Chris Martin

25:05:14 :: Sydney Opera House :: Bennelong Point, Sydney 9250 7111 CLA RKE :: ASH LEY MAR :: S :: DAN IEL BOU D :: KATR INA OUR LOV ELY PHO TOG RAP HER :: PRU DEN CE UPTON

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things of stone and wood

PICS :: KC

st. vincent

PICS :: PU AND :: DB

PHOTOGRAPHER :: ASHLEY MAR

23:05:14 :: The Vanguard :: 42 King St Newtown 9557 9409 thebrag.com

I MAG I N E BE I NG MAD E TO

FE EL L I KE C RAP J U ST FOR

Okay, that’s hard to imagine? But being gay, lesbian, bi, trans or intersex is no different to being born left handed, it’s just who you are. So stop and think because the things we say are likely to cause depression and anxiety. And that really is pretty crap.

GO TO LEFTHAND.ORG.AU TO WATCH THE VIDEO BEING

LEFT

H A N D E D.

STOP t THINK t RESPECT

BRAG :: 564 :: 28:05:14 :: 33

g g guide gig g

send your listings to : gigguide@thebrag.com

pick of the week Meat Puppets

SATURDAY MAY 31

Factory Theatre

CherryRock014 Meat Puppets + Brant Bjork + Redcoats + Gay Paris + More 2pm. $60. WEDNESDAY MAY 28 ACOUSTIC, COUNTRY, BLUES & FOLK

Mitch Anderson & His Organic Orchestra Coopers Hotel, Newtown. 8:45pm. free. Pulp Kitchen And Folk Club - feat: Live Rotating Folk Bands Soda Factory, Surry Hills. 5pm. free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Big Band Blast - feat: Duned City Jazz Orchestra + Fort Street Big Band + Jazz Connection Venue 505, Surry Hills. 6pm. $15. Damian Wright Quartet Foundry616, Ultimo. 8:30pm. $21.50. Gang Of Brothers Jam Night Spring Street Social, Bondi. 9pm. free. Lionel Cole Imperial Hotel, Paddington. 8pm. free. Supafly Jam Night (Open Mic) Vintage Night Club, Sydney. 8pm. free.

34 :: BRAG :: 564 :: 28:05:14

INDIE, ROCK, POP, METAL, PUNK & COVERS

Andy Mammers Duo Maloney’s Hotel, Sydney. 9pm. free. Anna Calvi Sydney Opera House, Sydney. 8:30pm. $50. Closure In Moscow Small Ballroom, Newcastle. 8pm. $23.50. Concert On The Park feat: Debora Krizak Campsie RSL, Campsie. 1pm. free. Daniel Champagne Brass Monkey, Cronulla. 7pm. $20. Fat Bubba’s Chicken Wednesdays Soda Factory, Surry Hills. 5pm. free. Gemma Observer Hotel, The Rocks. 9:30pm. free. Leeli Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10. Matt Jones Trio Rock Lily, Pyrmont. 8pm. free. Ms. Lauryn Hill Sydney Opera House, Sydney. 8pm. $79. The Waifs Metro Theatre, Sydney. 7:30pm. $58.

THURSDAY MAY 29 ACOUSTIC, COUNTRY, BLUES & FOLK

Ed Wells + Darby + Hannah & Josh Venue 505, Surry Hills. 6pm. $10. Live Music Thursdays Bar100, The Rocks. 5pm. free. Rachel Laing Nag’s Head Hotel, Glebe. 8:15pm. free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Cath & Him Ramsgate RSL, Sans Souci. 7:30pm. free. Cole Soul And Emotion feat: Lionel Cole The White Horse, Surry Hills. 8pm. free. Evelyn Duprai Foundry616, Ultimo. 8:30pm. $21.50. LiveLatin Sessions - feat: Salsa Dance Classes + Bachata Classes + Watussi Jam Gallery, Bondi Junction. 6:30pm. $5. Ngaiire The Basement, Circular Quay. 7:30pm. $24.10. Sheena Wilbow

Spring Street Social, Bondi. 9pm. free.

James Vincent McMorrow

INDIE, ROCK, POP, METAL, PUNK & COVERS

10 O’Clock Rock Frankie’s Pizza, Sydney. 10pm. free. A Team Duo Crows Nest Hotel, Crows Nest. 9pm. free. Beau Smith Pioneer Tavern, Penrith. 12pm. free. Bexley De Lion + The Former Love Brass Monkey, Cronulla. 7pm. $12. Bryce Cohen The Vanguard, Newtown. 6:30pm. $20.80. Cambo Observer Hotel, The Rocks. 4pm. free. Dave White Duo Maloney’s Hotel, Sydney. 9:30pm. free. David Agius Dee Why Hotel, Dee Why. 7pm. free. Greg Agar Scruffy Murphy’s Hotel, Sydney. 7:30pm. free. Hedge Fund Standard Bowl, Surry Hills. 6pm. free. James Vincent McMorrow + Airling Sydney Opera House, Sydney. 8:30pm. $65. Joe Echo Duo Orient Hotel, The Rocks. 9:30pm. free. Kim Churchill Heritage Hotel, Bulli. 7pm. $18. Matt Price Northies Cronulla Hotel, Cronulla. 7:30pm. free. Naturally 7 Enmore Theatre, Newtown. 8pm. $79. Paul Greene And The Other Colours Lizotte’s, Newcastle. 7pm. free. The Late Night Soda Social Soda Factory, Surry Hills. 5pm. free. The Paper Kites Cambridge Hotel, Newcastle. 8pm. $23.50. The Twoks + Midnight Pool Party + Hudson Arc FBi Social, Kings Cross. 8pm. $10. Tori Darke Northies Cronulla Hotel, Cronulla. 8pm. free. Twin Beasts + The Harlots Hotel Steyne, Manly. 6pm. free.

FRIDAY MAY 30 ACOUSTIC, COUNTRY, BLUES & FOLK

Extension Chord Spring Street Social, Bondi. 9pm. free. Frente The Basement, Circular Quay. 7:30pm. $45. Live Music Fridays Bar100, The Rocks. 5pm. free. Magic Fleas Collingwood Hotel, Liverpool. 4:30pm. free.

INDIE, ROCK, POP, METAL, PUNK & COVERS Amaya Upstairs Beresford, Surry Hills. 6pm. free. Andy Mammers Duo Hillside Hotel, Castle Hill. 8pm. free. Angie Dean Castle Hill RSL, Castle Hill. 6:30pm. free. Balmain Blitz Band Semi Finals Bridge Hotel, Rozelle. 7pm. $15.

Ben Finn Castle Hill RSL, Castle Hill. 9:30pm. free. Ben Finn Trio New Brighton Hotel, Manly. 10pm. free. Born Jovi - The Bon Jovi Show Bull & Bush Hotel, Baulkham Hills. 10pm. free. Celtic Thunder The Star Event Centre, Pyrmont. 7:30pm. $99. Darren Johnstone Quakers Inn, Quakers Hill. 8pm. free. Dave Phillips Mona Vale Hotel, Mona Vale. 9pm. free. David Agius Castle Hill RSL, Castle Hill. 9pm. free. Diesel Lizotte’s, Dee Why. 7pm. $82.50. Everyday People Band Revesby Workers Club, Revesby. 8:30pm. free. Franky Valentyn Trio Club Five Dock, Five Dock. 8pm. free. Heath Burdell Crows Nest Hotel, Crows Nest. 7pm. free. Hell Crab City + Meatbeaters + The Vee Bees The Sly Fox, Enmore. 8pm. $10. James Blunt + Busby Marou State Theatre, Sydney. 8pm. $106. James Englund Australian Hotel And Brewery, Rouse Hill. 10pm. free. James Englund Duo Kings Cross Hotel, Kings Cross. 10:30pm. free. Jess Dunbar Novotel, Darling Harbour. 5:30pm. free. Jess Dunbar Crows Nest Hotel, Crows Nest. 7pm. free. Joe Echo Trio Cronulla RSL, Cronulla. 8pm. free. John Waters - Looking Through A Glass Onion The Juniors, Kingsford. 7pm. $45. Johnny Cass + Jim Hilbun Lewisham Hotel, Lewisham. 8pm. free. Jon English Rooty Hill RSL Club, Rooty Hill. 8pm. $35. Keith Armitage Massey Park Golf Club, Concord. 7pm. free. Kim Churchill + Steve Smyth Newtown Social Club, Newtown. 8pm. $18. Kingswood The Hi-Fi, Moore Park. 7:30pm. $22.40. LeBelle Factory Theatre, Marrickville. 8pm. $10. Leon Fallon Parramatta RSL, Parramatta. 5pm. free. Live Music At The Royal The Royal, Leichhardt. 9:30pm. free. Luke Dixon The Grand Hotel, Rockdale. 5:30pm. free. Luke Dolahenty Coogee Bay Hotel, Coogee. 9pm. free. Mandi Jarry Duo

Kirribilli Hotel, Milsons Point. 8pm. free. Marc Malouf Duo Rock Lily, Pyrmont. 6pm. free. Matt Price Ingleburn RSL, Ingleburn. 9pm. free. Matt Price Brewhouse Marayong, Kings Park. 8pm. free. Mental As Anything + Jorja Carroll Brass Monkey, Cronulla. 7pm. $40. Movement Spectrum, Darlinghurst. 8pm. $13.30. Natasha Kavanagh Mona Vale Hotel, Mona Vale. 5:30pm. free. Nicky Kurta Stacks Taverna, Sydney. 5pm. free. Phoncurves Brighton Up Bar, Darlinghurst. 7pm. $10. Pop Fiction Castle Hill RSL, Castle Hill. 10:30pm. free. Raise The Roof Benefit feat: Paul Hayward + 50 Million Beers + Satellite V + Suzy Owens Marrickville Bowling Club, Marrickville. 8pm. free. Rise Of The Dead Vol1 Valve Bar, Agincourt Hotel, Ultimo. 7pm. $15. Rob Henry Observer Hotel, The Rocks. 5pm. free. The Chosen Few Crows Nest Hotel, Crows Nest. 10:30pm. free. The Chosen Few Cyren Restaurant, Darling Harbour. 6pm. free. The Ex’s Duo Time & Tide Hotel, Dee Why. 7:30pm. free. The Owls Standard Bowl, Surry Hills. 7pm. free. The Paper Kites Enmore Theatre, Newtown. 7:30pm. $37.80. The Predictors Bull & Bush Hotel, Baulkham Hills. 9:30pm. free. Triple Shot Trio Harbord Beach Hotel, Harbord. 7pm. free. Twin Beasts + Papa Pilko & The Binrats + Hank Haint & The Brothers Welsh FBi Social, Kings Cross. 8pm. $15. Vancouver Sleep Clinic Goodgod Small Club, Sydney. 7:30pm. $13.30. We Are Scientists Factory Theatre, Marrickville. 7pm. $56. Yuki & John Well Co. Cafe And Wine Bar, Leichhardt. 8pm. free. Zoltan Adria, Sydney. 5pm. free. Zoltan PJ Gallagher’s, Leichhardt. 9pm. free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Afro Moses Jam Gallery, Bondi Junction. 7:30pm. $15. Elevate Duo Huskisson Hotel, Huskisson. 8pm. free. Jazz Hip-Hop Freestyle

thebrag.com

g g guide gig g

send your listings to : gigguide@thebrag.com Sessions Foundry616, Ultimo. 11:30pm. free.

SATURDAY MAY 31 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Greg Foster’s Jazz Group Penrith RSL, Penrith. 2pm. free. Peppermint Jam Revesby Workers Club, Revesby. 8:30pm. free.

ACOUSTIC, COUNTRY, BLUES & FOLK

Frente The Basement, Circular Quay. 7:30pm. $45. Kelly Hope Gladstone Hotel, Chippendale. 7pm. free. Kim Churchill Cambridge Hotel, Newcastle. 8pm. free. Paul Hayward Town & Country Hotel, St Peters. 4pm. free.

Xxx

INDIE, ROCK, POP, METAL, PUNK & COVERS Amaya Laucirica Goodgod Small Club, Sydney. 8pm. $11.60. Andy Mammers Panthers, Penrith. 9pm. free. Andy Mammers PJ Gallagher’s, Moore Park. 7:30pm. free. Beatnix - Beatles Show Wallacia Hotel, Wallacia. 8pm. free. Ben Finn Trio The Mean Fiddler, Rouse Hill. 9pm. free. Cara Kavanagh And Mark Oats Duo PJ Gallagher’s, Leichhardt. 9pm. free. Carl Fidler Observer Hotel, The Rocks. 4pm. free. CherryRock014 - feat: Meat Puppets + Brant Bjork + Redcoats + Gay Paris + Beastwars + Drunk Mums + Chris Russell’s Chicken Walk + King Of The North + Bitter Sweet Kicks + Child + The Harlots + Don Fernando + More Factory Theatre, Marrickville. 2pm. $60. Chris Wilson + Johnny Cass Brass Monkey, Cronulla. 7pm. $27. Christie Lamb Duo Woolloomooloo Bay Hotel, Woolloomooloo. 9pm. free. Cover Me Crazy Penrith RSL, Penrith. 9pm. free. Dan Spillane Duo The Mean Fiddler, Rouse Hill. 6pm. free. Dave White Experience Crows Nest Hotel, Crows Nest. 10:30pm. free. DZ Deathrays Oxford Art Factory, Darlinghurst. 8pm. $19.50. Elvis - Walking In Memphis Manly Leagues Club, Brookvale. 7pm. free. Gary Numan Metro Theatre, Sydney. 8pm. $85. HBDM’s Blink 182 Bash Valve Bar, Agincourt Hotel, Ultimo. 6pm. $10. Heath Burdell Time & Tide Hotel, Dee Why. 7:30pm. free. Jam Joole Spring Street Social, Bondi. 9pm. free. James Blunt + Busby Marou State Theatre, Sydney. 8pm. $106. James Vincent McMorrow thebrag.com

Sydney Opera House, Sydney. 8:30pm. $65. John Waters - Looking Through A Glass Onion Castle Hill RSL, Castle Hill. 7pm. $47. Mark Lucas & The Dead Setters - feat: Ghost Train Katoomba RSL, Katoomba. 8pm. free. Matt Jones Greystanes Inn, Greystanes Inn. 8pm. free. Michael McGlynn Kirribilli Hotel, Milsons Point. 8pm. free. Nicky Kurta Harbord Beach Hotel, Harbord. 7pm. free. Peter Powers Revesby Workers Club, Revesby. 8pm. $35. Pink Chevys Ramsgate RSL, Sans Souci. 8pm. free. Rob Henry Observer Hotel, The Rocks. 5:30pm. free. Sarah Paton Sir Joseph Banks Hotel, Botany. 7pm. free. Shining Bird Standard Bowl, Surry Hills. 6pm. free. Shir Madness Presents: A Tribute To Jewish SingerSongwriters Paul Simon, Bob Dylan And Carole King Jam Gallery, Bondi Junction. 7:30pm. $30. Sound City Duo Ettamogah Hotel, Kelly Ridge. 7pm. free. The Strides + Iron Gate Sound Beach Road Hotel, Bondi Beach. 8pm. free. The Supreme Motown Show Bankstown Sports Club, Bankstown. 7:15pm. free. Video DJ Shayne Alsop AKA Sloppy Mounties, Mount Pritchard. 8pm. free.

SUNDAY JUNE 1 ACOUSTIC, COUNTRY, BLUES & FOLK

Chill Out Sundays Scubar, Sydney. 7:30pm. free. Intimate Sessions Paragon Hotel, Sydney. 6pm. free. Live Music Sundays Bar100, The Rocks. 1pm. free. Melody Rhymes Collingwood Hotel, Liverpool. 3pm. free. Murrumbidgee Jones Shakespeare Hotel, Surry Hills. 6pm. free. Paul Hayward + Satellite V Marrickville Bowling Club, Marrickville. 4:30pm. free.

INDIE, ROCK, POP, METAL, PUNK & COVERS Andy Mammers Harbord Beach Hotel, Harbord. 6pm. free. David Agius

Gabrielle Aplin

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Woolloomooloo Bay Hotel, Woolloomooloo. 3pm. free. Gabrielle Aplin Oxford Art Factory, Darlinghurst. 8pm. $36.90. Heath Burdell Coogee Bay Hotel, Coogee. 8:30pm. free. Jess Dunbar Mill Hill Hotel, Bondi Junction. 3pm. free. Kim Churchill + Steve Smyth Brass Monkey, Cronulla. 7pm. $15. Mark Travers Ettamogah Hotel, Kelly Ridge. 1pm. free. Matt Price Northies Cronulla Hotel, Cronulla. 4pm. free. Phil Simmons Ramsgate RSL, Sans Souci. 2pm. free. Psychedelic Rock Show Valve Bar, Agincourt Hotel, Ultimo. 4pm. $10. RBMA Presents: The Music Of Moroder Sydney Opera House, Sydney. 8pm. $59. Rob Henry Observer Hotel, The Rocks. 8pm. free. Rob Henry Time & Tide Hotel, Dee Why. 2pm. free. Steve Passfield & The Hand Picked Band Penrith RSL, Penrith. 2pm. free. Strangerous Collective The Vanguard, Newtown. 7pm. $18.80. Sydney Rock N Roll & Alternative Market Manning Bar, Camperdown. 10:30am. $5. The Mondays The Mean Fiddler, Rouse Hill. 1:30pm. free. Three Wise Men Observer Hotel, The Rocks. 4pm. free.

(9:30PM - 1:30AM)

SATURDAY AFTERNOON

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Gabrielle Aplin + Melody Pool St Stephen’s Uniting Church, Sydney. 7pm. $57.50.

INDIE, ROCK, POP, METAL, PUNK & COVERS Frankie’s World Famous House Band

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BRAG :: 564 :: 28:05:14 :: 35

g g guide gig g

send your listings to : gigguide@thebrag.com Frankie’s Pizza, Sydney. 9pm. free. Goodgod Hai Life At USYD Paths To The Future PopUp Bar, University Of Sydney. 6pm. free. Steve Tonge Observer Hotel, The Rocks. 8:30pm. free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Chris Dave And The Drumhedz Venue 505, Surry Hills. 8pm. $42. Latin & Jazz Jam Open Mic 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.

TUESDAY JUNE 3 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Swingtime Tuesdays The Basement, Circular Quay. 7pm. $9.

ACOUSTIC, COUNTRY, BLUES & FOLK Innersoul Live - feat: Jesse Witney + Alice Terry Play Bar, Surry Hills. 6pm. free.

INDIE, ROCK, POP, METAL, PUNK & COVERS Ellie Goulding + Broods Hordern Pavilion, Moore Park. 7pm. $72.90. Rob Henry Observer Hotel, The Rocks. 5pm. free. Royal Blood Oxford Art Factory, Darlinghurst. 8pm. $42.50.

gig picks up all night out all week...

Anna Calvi

WEDNESDAY MAY 28

We Are Scientists Factory Theatre, Marrickville. 7pm. $56.

Anna Calvi Sydney Opera House, Sydney. 8:30pm. $50.

SATURDAY MAY 31

Ms. Lauryn Hill Sydney Opera House, Sydney. 8pm. $79. The Waifs Metro Theatre, Sydney. 7:30pm. $58.

DZ Deathrays Oxford Art Factory, Darlinghurst. 8pm. $19.50. Gary Numan Metro Theatre, Sydney. 8pm. $85.

THURSDAY MAY 29

James Blunt + Busby Marou State Theatre, Sydney. 8pm. $106.

James Vincent McMorrow + Airling Sydney Opera House, Sydney. 8:30pm. $65.

SUNDAY JUNE 1

Naturally 7 Enmore Theatre, Newtown. 8pm. $79. Ngaiire The Basement, Circular Quay. 7:30pm. $24.10.

Gabrielle Aplin Oxford Art Factory, Darlinghurst. 8pm. $36.90. Strangerous Collective The Vanguard, Newtown. 7pm. $18.80.

FRIDAY MAY 30

TUESDAY JUNE 3

Celtic Thunder The Star Event Centre, Pyrmont. 7:30pm. $99.

Ellie Goulding + Broods Hordern Pavilion, Moore Park. 7pm. $72.90.

Diesel Lizotte’s, Dee Why. 7pm. $82.50.

Royal Blood Oxford Art Factory, Darlinghurst. 8pm. $42.50.

Frente The Basement, Circular Quay. 7:30pm. $45.

Royal Blood

Kim Churchill + Steve Smyth Newtown Social Club, Newtown. 8pm. $18. Kingswood The Hi-Fi, Moore Park. 7:30pm. $22.40. The Paper Kites Enmore Theatre, Newtown. 7:30pm. $37.80. Vancouver Sleep Clinic Goodgod Small Club, Sydney. 7:30pm. $13.30.

36 :: BRAG :: 564 :: 28:05:14

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

COSMIN TRG

CHILDISH GAMBINO

Childish Gambino’s show at the Big Top, Luna Park sold out within an hour of tickets going on sale. However that’s not the end of the story, would-be attendees. In order to accommodate the demand for tickets, Childish Gambino’s show has been moved from Luna Park to the larger capacity venue of the Hordern Pavilion, which means that tickets are still available. The date remains Sunday July 27 and tickets for the Luna Park show will be valid for entry into the Hordern without the need for exchange.

FREDA’S THURSDAY

An interesting assortment of electronica will be showcased at Freda’s this Thursday May 29. A lineup comprised of Brisbane’s Enderie Nuatal, Gareth Psaltis, T. Morimoto, Hannah Lockwood and DJ Hydro Majestic will throw down from 7:30pm. Better still, it’s free to get in.

DJ Q

Growing Up My childhood pretty much 1. happened around a turntable made by a

The Music You Make And Play I make music easily filed under techno, 4. but with a few quirks. Most techno is pretty

Czechoslovakian company called Tesla (not that Tesla). Pivotal records were Marsha Hunt, Pink Floyd, Stravinsky and a best of The Beatles – the Soviet edition.

weird right now though, so I don’t feel very lonely. In my sets I go for material that’s both hypnotic and engaging. I’m feeling the output on L.I.E.S., Opal Tapes, a lot of loopy, anonymous techno, and everything from Prince Of Denmark.

Inspirations I’m inspired in equal measures by early 2. electronica (Raymond Scott, Daphne Oram), minimal wave (Das Ding), ’90s techno (Basic Channel) – everything that has an edge to it; something provocative, something evocative, and a bit of attitude. Your Crew I’ve just started my own label, Fizic, 3. focusing on my own output. It’s a solo affair but it wouldn’t exist without the team effort from Word And Sound, my distributor, and everyone else involved in the operation.

5.

Music, Right Here, Right Now I think dance music is at its healthiest, and also its most vulnerable. It should be aware of its history, but also stay away from being self-referential to keep progressing. What: Holeandcorner 2014 With: Hot Chip DJs, Matthew Dear, Henry Saiz, Guy J, Xosar and more Where: Home Nightclub When: Sunday June 8

BBC radio host and UK garage producer DJ Q will make his Australian debut at The Civic Underground on Friday June 27. Q made his mark on BBC 1Xtra before releasing hit singles such as ‘Love Like This’, ‘Teabag’ and ‘You Wot!’ He’s also remixed the likes of Amy Winehouse, Dizzee Rascal, Katy B and Shola Am and recently released his debut album, Ineffable. Mike Who, Ben Ashton and Adrian E will also be DJing.

MYKKI BLANCO

The House of Mince will take over Goodgod Small Club on Saturday June 21, hosting NYC’s “cross-dressing MC spitfire” Mykki Blanco. A strong emphasis is placed on performance; Blanco cites Alice Cooper, Björk and Missy Elliott as major infl uences. Blanco has featured in anthemic cuts by the likes of Flosstradamus, Sinden, Le1f and Brenmar while also authoring a book – From The Silence Of Duchamp To Noise Of Boys was published under her birth name Michael David Quattlebaum, Jr.

Prosumer

PROSUMER

Panorama Bar resident Prosumer, who hails from Saarbrücken in southwestern Germany, will headline The Spice Cellar this Saturday May 31. Taking his moniker from Alvin Toffler’s novel The Third Wave, a book that informed much of the imagery and ideology that surrounded the emergence of Detroit Techno, Prosumer has forged himself a reputation for being one of the most knowledgeable DJs on the scene, earning himself a regular spot at Berlin’s zeitgeist-defining Panorama Bar. Drawing on the soulful sensibility of early Detroit and Chicago records, Prosumer has released for revered labels such as Running Back, Playhouse and Ostgut Ton, collaborated with Tamo Sumo and crafted his maiden album Serenity in addition to mixing Panorama Bar 03. SlowBlow, Murat Kilic, Robbie Lowe and Space Junk will all be DJing in support of the German headliner, with entry $25 after 10pm.

ECHOES

Dancers with a penchant for proper local dub and dub techno ought to head down to The Burdekin this Friday May 30 for the return of Echoes. Gabe Fernandes, Dave Stuart, Raffi Lovechild and Theta State will all be DJing and exploring dubinfused sounds, with entry $5 all night.

Ejeca

NOSAJ THING Kid Ink

Los Angeles producer Jason Chung, who releases under the moniker Nosaj Thing, commands top billing at the next Astral People bash at The Basement on Saturday July 5. After making his mark with his pioneering debut album Drift in 2009, Chung released his second, Home, last year, following on from his remixes of Jon Hopkins, the xx and Charlotte Gainsbourg. Renowned for crafting beat-heavy electronic music that is at once emotive and intricate, Chung has been recruited by Kendrick Lamar and also worked with the likes of Chance the Rapper and Toro Y Moi in addition to touring with James Blake. Support will be provided by America’s D Tiberio, Alba and Modern Fairytale. Presale tickets are available online for $40.

DIMITRI FROM PARIS

Prosumer photo by Michael Mann

KID INK

Los Angeles rapper Kid Ink headlines The Hi-Fi on Saturday August 23. Kid Ink started producing music while still a teenager and has been on a scintillating streak of late. He recently notched up a new record when his single ‘Show Me’ featuring Chris Brown spent its 18th consecutive week at the top of the Rap Airplay Chart. This followed on the success of Kid Ink’s major label debut album, My Own Lane, which topped the iTunes charts when it was released earlier this year. Presale tickets are available for $60.

thebrag.com

Dimitri From Paris (who was actually born in Istanbul) will release a new compilation that he has dedicated to “the recently deceased Godfather Of House, Frankie Knuckles.” Dimitri started out hosting a radio show on the French station Radio 7 in the mid-’80s and has pursued his love of disco ever since. He readily admits that producing music isn’t a priority even though his artist album, Sacrebleu, was voted Mixmag’s album of the year in 1996; he considers himself a specialist DJ who focuses on overlooked sounds from yesteryear. His forthcoming mix In The House Of Disco is a double CD compilation featuring 37 tracks from the likes of Todd Terje, Chic and of course Frankie Knuckles, who Dimitri described as “a key person in the mutation of disco into house, he best described house music as ‘disco’s revenge.’”

CHINESE LAUNDRY’S QUEEN’S BIRTHDAY FT EJECA

Belfast producer Garry McCartney, AKA Ejeca, will make his Sydney debut when he plays a three-hour set as the headliner for Chinese Laundry’s Queen’s Birthday bash on Saturday June 7. Ejeca was a key player in the garage/house revival, and also experiments with deep house, disco and techno influences in his sets. Ejeca will be joined by Hannah Gibbs, Dirty Uncool and Empress Yoy, with the beats commencing at 3pm.

BRAG :: 564 :: 28:05:14 :: 37

Allday For The People By RK demo CD which resulted in an EP, then a raft of touring and working on a debut album, Startup Cult. “When my song ‘So Good’ got some traction on the radio I decided I didn’t have much else going on in life so I should give music a serious try,” he says. “It all just flowed on from there. When I did the Loners Are Cool EP, I really wanted to tell a story about the lone side of me; I wanted people who related to that to feel better about themselves. To be honest, the project was a massive struggle because I parted ways with my producer and had no budget to make the EP.” Despite the setbacks, everything happens for a reason – when Loners Are Cool was all finished up, the only song that Allday felt he would listen to if it weren’t his own was ‘Eyes On The Road’. “So I started working on my LP and based it off that sound,” he says. “It’s coming out in the middle of the year and has been a real labour of love. I have been driving around listening to it and smiling to myself. I don’t want to talk it up too much, but I’m happy that I’m getting better and I intend to keep getting better.”

Life of a real MC? Must be.

“T

hey’re not exactly musically oriented,” chimes Tom Gaynor, AKA Allday, speaking of his family. “Music, though, was always a big part of my household. Music is playing 24/7 at my mum’s house and she always encouraged me to be creative.”

As a result, the youngster attended art school, toyed with graffiti and experimented with

writing songs – all of which culminated in a hobby that ultimately looks like it’s going to lead to bigger and better things. Indeed, after winning his first MC battle when he was just 17, Allday felt the scene was set for him. “I was young, but it didn’t feel young to me,” he explains. “My best friend is a rapper from Adelaide called Dialect. He was

winning battles when we were 14, so that made me feel like a late bloomer. At the time, I just knew I could freestyle a little bit. I’d always written raps, but I had absolutely no idea how to make any of that into real music or what steps to take.” The prize for winning that battle, as it turned out, was time in the studio. That spurred a

What: Startup Cult out Friday July 4 through Onetwo With: Jackie Onassis Where: The Lair, Metro Theatre (all ages) / Goodgod Small Club (18+) When: Saturday June 14

Hot Chip When The Chips Are Down Under By Natalie Amat

F

ear not, fans of fried starch and electro music, there is a new Hot Chip album in the works. When asked what food it most resembles, Al Doyle laughs: “Well, I think right now it would kind of be a dinner of sauces; it hasn’t got a lot of shape to it. Or sort of a jelly shape, because it’s still setting in the refrigerator. [But] we’re quite a way through; I’d say we’ve probably got about ten or 12 songs floating around. We’re in the studio right now.”

Historically, it’s been a one-every-two-years release program for Hot Chip, but this time around the guys are taking their time after an intense touring schedule and a number of other endeavours. With albums due from Alexis Taylor and Joe Goddard’s respective side projects, along with one from Doyle and Felix Martin’s New Build, Doyle says, “Three albums in your year off is not too bad going for a band, so we’ll be back with the new Hot Chip album sometime next year, maybe.” In the meantime, Doyle spends his nights DJing with Taylor and Martin as Hot Chip DJs. When it comes to whether or not he takes requests, he laughs again – “I’m against, I’m completely against!” – but he’s figured out a polite response. “What I usually say is, ‘I haven’t got that one, but I’ll ask Felix or Alexis if maybe they’ve got it,’ and so it’s a technique of deflecting those questions because then it seems like they’re the arsehole, rather than me.” But at festivals, requests often aren’t too much of a problem. “Unfortunately we’re usually quite far away from the audience to get requests, which I don’t really like. I like to be close, but not so close that they can physically get to me – that’s my preferred situation.” Hot Chip DJs will appear at the inaugural Holeandcorner festivals next month in Melbourne and Sydney, following a set in Brisbane. “I don’t know what it’s going to be like in Australia, but hopefully it’ll be fun,” says Doyle. “It’s quite a punishing schedule and quite busy days and everything, so I’m a bit worried about getting overtired, but I’ll have to figure out some strategies to deal with that because Sydney’s towards the end.” Doyle also played with LCD Soundsystem in between Hot Chip commitments, fi nishing up at their Madison Square Garden fi nale in 2011. “It was a strange period, because the fi nal show we played for about four hours 38 :: BRAG :: 564 :: 28:05:14

and we’d already played four other shows that week, so there was a lot of exhaustion and a lot of emotion fl ying around. I’d been playing with LCD for about fi ve years so it felt really absorbing – the reality of what we were doing and the show itself was kind of a distraction from the moment. If we’d really been thinking about it coming to an end I don’t think we would have been able to play a tour!” While LCD Soundsystem took over the globe with their trademark sound, Hot Chip have a distinct signature of their own. “I think a lot of it is to do with the vocal presence,” says Doyle. “I think Alexis has got a very unusual voice, and one of the strongest pop voices of the 2000s and now, in my opinion. Being with him onstage, everyone sort of thinks he has this high-pitched voice, but it’s always the loudest thing onstage; it’s incredible. You don’t really have to cue it or do anything to

it, just put it on top of the track and it just sounds really great. And Joe’s voice I think is really unusual and works really, really well, so a big part of the Hot Chip sound seems to be that.“

Chip, basically, so I think it’s something that happens when you have that same bunch of musicians. It just sounds like a particular thing, and if you try and overthink it too much you get a little trapped, or paralysed really.”

It all means that even when the band members are working on different projects, their sonic identity remains intact. “There’s the other kind of things that we’ve been doing, I suppose, progressing to an ever more dancey sort of sound, and keeping it really live-feeling. I think those are the kind of things that tie in together, and that gives it a lot of scope.

It’s irresistible to ask Doyle one final question – how do the guys actually feel about hot chips, anyway? He laughs and says, “I mean, we like them. Owen [Clarke] always said, when you’re travelling ’round, ’cause you’re always worried about eating dodgy food, he says, ‘You can’t get sick of chips.’”

“For instance, we’ve just done this cover of [‘Atomic Bomb’] by a Nigerian musician called William Onyeabor that’s coming out on David Byrne’s label, Luaka Bop. It’s a kind of dubby, funky, and quite a strange song that doesn’t really sound like anything else, particularly that Hot Chip’s done – but it still sounds like Hot

Who: Hot Chip DJs What: Holeandcorner 2014 With: Matthew Dear, Henry Saiz, Guy J, Cosmin TRG, Xosar and more Where: Home Nightclub When: Sunday June 8 thebrag.com

Allday photo by Aleksandar Jason

It’s a good moment for Allday to reflect on what makes this all worthwhile. “It’s all for the people, to the people. I always keep the philosophy that musicians are supposed to be the voice of the people and not above them. That’s why I prefer to meet fans and interact with them and that’s why I do my best to reply to people on social media.”

Deep Impressions Dance And Electronica with Chris Honnery

GusGus

that features three floors of music. Smart has played alongside many of the bigger club draw cards to tour Australia since he started spinning back in the ’80s. He can add another scalp to his belt this weekend when he plays alongside Flores, who was originally known as Audio Injection before delving in to the darker shades of techno through his work as Truncate. Smart has released his own productions and remixes under various guises, including Headland, Altitude, Sprocket and Earthlink. Additionally, Smart is the co-founder of record labels Think and Thunk, which were responsible for early releases by Infusion and Pocket. He has also had a hand in organising Burning Seed, the Australian version of the Burning Man Festival, which is happening this year from Wednesday October 1 to Tuesday October 7 in Matong State Forest, NSW.

Omar S

D

GusGus photo by Ari Magg

etroit luminary Omar-S is certainly getting into the swing of celebrating the tenth anniversary of his FXHE label. Earlier this year he mixed the FXHE 10 Year Mix Compilation, made up of 16 tracks from the label’s back catalogue by the likes of Gunnar Wendel (AKA Kassem Mosse), OB Ignitt, Luke Hess and of course Omar-S himself. Omar then dropped his Romancing The Stone EP. Now news has filtered through that Omar-S has mixed FXHE 10 Year Compilation Mix #2, which will drop on Sunday June 1. Returning to the blueprint of his 2009 Fabric 45 mix, which was comprised solely of Omar-S’ own productions (a tad self-aggrandizing perhaps, but it’s hard to raise such qualms when the final product was of such high quality) the forthcoming label mix is an all-Omar affair. The 16-track vinyl mix consists entirely of material from the Omar-S archives, with recent productions blended with tracks from his classic 2005 album Just Ask The Lonely. Omar’s coming yo! Icelandic group GusGus will release their next album, Mexico, in June on Kompakt Records. Mexico is the follow-up to 2011’s Arabian Horse and is apparently influenced by ’80s synthpop, garage and, uh, ’90s trance. GusGus continue their increasingly vocal trajectory on Mexico, with the title track the only instrumental one on the album. Anyone eager to hear a sample of GusGus’ latest output should seek out Mexico’s lead-off single ‘Crossfade’, which dropped last month with remixes by big guns Maceo Plex and Michael Mayer.

Erudite Englishman Ewan Pearson and regular collaborator Al Usher are releasing their first new Partial Arts material since Telescope six years ago on Kompakt Records in mid-June; a single called ‘Taifa’. Pearson has had a big year behind the scenes, having recently finished studio production and mixing work for new albums from Jagwar Ma and Ben Watt, but it’s good to see him returning to the production fray with his old offsider Usher. Pearson describes ‘Taifa’ as “Kraftwerk trying to make an acid record with Andreas Vollenweider”. The undulating, pop-bred Balearic acid soundscapes of the original will be accompanied by a remix from Andy Meecham, AKA Emperor Machine, who is coming off the back of a well-received remix of Erol Alkan.

LOOKING DEEPER SATURDAY MAY 31 Phil Smart & Truncate The Burdekin Prosumer The Spice Cellar

SUNDAY JUNE 8 A Guy Called Gerald Warehouse party

SATURDAY JUNE 21 Pfirter Warehouse party

Pfirter

Vaunted veteran DJ Phil Smart will play The Burdekin this Saturday May 31 alongside Los Angeles techno proponent David Flores, AKA Truncate, in a party

Direct all Deep Impressions-related feedback, praise, vitriol and other proposals to deep.impressions@yahoo.com. thebrag.com

BRAG :: 564 :: 28:05:14 :: 39

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

club pick of the week Koreless

SATURDAY MAY 31

SATURDAY MAY 31

HIP HOP & R&B

Sydney Opera House

Future Classic Party Koreless + Stwo + Basenji + More 10pm. $35. WEDNESDAY MAY 28 CLUB NIGHTS

DJ Tom Kelly Goldfish, Kings Cross. 9pm. free. I Love Salsa Night - feat: Don Juan + Dante Riviera Marquee, Pyrmont. 8pm. free. La Femme Boheme Illuminate The Spice Cellar, Sydney. 7pm. $25. 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. We Are The Brave + Why We Run Goodgod Small Club, Sydney. 7pm. $12. Whip It Wednesdays - feat: Various DJs Whaat Club, Kings Cross. 9pm. free.

HIP HOP & R&B

Citizen Kay + Tkay Maizda Beach Road Hotel, Bondi Beach. 8pm. free. xxx

THURSDAY MAY 29

HIP HOP & R&B

Foveaux Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10.

CLUB NIGHTS $5 Everything

40 :: BRAG :: 564 : 28:05:14

Montero + Donny Benét Sydney Opera House, Sydney. 7:30am. $45. Inspector Dubplate - feat: Doctor Werewolf + Empress Yoy + Joe Barrs + Mitch Lowe + Daschwood + Sippy + M Lux Chinese Laundry, Sydney. 9pm. free. Jad & The Ladyboy The Spice Cellar, Sydney. 7pm. $20. Loco Friday - feat: Various Live Bands And DJs The Slip Inn, Sydney. 5pm. free. Moonshine Fridays Ivy Bar/Lounge, Sydney. 7pm. free. Zannon Marquee, Pyrmont. 10pm. $15.

Scubar, Sydney. 5pm. free. Gareth Psaltis + T. Morimoto + Hannah Lockwood + Enderie Nuatal Freda’s, Chippendale. 8:30pm. free. Hot Damn Spectrum, Darlinghurst. 9pm. $10. Kicks World Bar, Kings Cross. 9pm. free. Leura Oxford Art Factory, Darlinghurst. 8pm. free. Lights Out Ivy Bar/Lounge, Sydney. 8pm. free. Loopy - feat: Drty Csh + Daschwood + Generous Greed + Guest DJs The Backroom, Kings Cross. 10pm. $12. Mantra Collective Presents: Schlepp Geist The Spice Cellar, Sydney. 7pm. $20. Naysayer & Gilsun + Astral DJs + Pelvis Carriageworks, Eveleigh. 8:30pm. free. Pool Club Thursdays - feat: Resident DJs Ivy Bar/Lounge, Sydney. 5pm. free. The Dip Turns 3 Goodgod Small Club, Sydney. 6pm. free. The World Bar Thursdays World Bar, Kings Cross. 9pm. free. Yuko Nishiyama Goodgod Small Club, Sydney. 8pm. $10.

FRIDAY MAY 30 HIP HOP & R&B

Dru Hill Metro Theatre, Sydney. 8pm.

Citizen Kay + Tkay Maidza Newtown Social Club, Newtown. 8pm. $15. Phfat Upstairs Beresford, Surry Hills. 6pm. free.

CLUB NIGHTS

Cakes - feat: 4 Rooms Of Live Music + DJs And International Guests World Bar, Kings Cross. 8pm. $10. El’ Circo - feat: Resident Circus Act Performers Slide Lounge, Darlinghurst. 7pm. $109. El Loco Later - feat: DJs On Rotation

Excelsior Hotel, Surry Hills. 10pm. Free. FBi Hands Up! - feat: DJ Clockwerk + Special Friends With Benefits FBi Social, Kings Cross. 11:30pm. free. Future Classic Party - feat: Koreless + Stwo + Basenji + Future Classic DJs Sydney Opera House, Sydney. 10pm. $35. Grant Smillie Marquee, Pyrmont. 10pm. $25. Infamous Saturdays - feat: Live DJs Scubar, Sydney. 7pm. free. ITM Get Local Tour - feat: Uberjak’d + Ember + Kilter + Yahtzel Chinese Laundry, Sydney. 9pm. $20. Masif Saturdays Space, Sydney. 10pm. $25. My Place Saturdays Bar100, The Rocks. 8pm. free. Pacha Sydney Ivy Bar/Lounge, Sydney. 7:30pm. $32.80. Reign Launch Party - feat: Justice Crew The Establishment, Sydney. 8:30pm. $25. Sampology + Levins Present: Friendship Goodgod Small Club, Sydney. 11pm. $11.50. Sienna Saturdays - feat: Resident DJs The Establishment, Sydney. 9pm. free. Slowblow Presents: Prosumer The Spice Cellar, Sydney. 7pm. $25. Soda Saturdays - feat: Resident DJs Playing Disco And Funk Soda Factory, Surry Hills. 5pm. free.

SUNDAY JUNE 1 CLUB NIGHTS

La Fiesta - feat: Samantha Fox + Agee Ortiz + Av El Cubano + Resident DJ Willie Sabor The Establishment, Sydney. 8pm. free. S.A.S.H Sundays - feat: Schlepp Geist + INXEC + Sam Francisco + Tom Massey + Kerry Wallace + Matt Weir Flyover Bar, Sydney. 12pm. $10. Sunday Sessions - feat: Cadell + Tom Kelly + Ocky Goldfi sh, Kings Cross. 4pm. free. Sundays In The City - feat: Various DJs The Slip Inn, Sydney. 12pm. free.

MONDAY JUNE 2 CLUB NIGHTS

Crab Racing Scubar, Sydney. 7pm. free.

TUESDAY JUNE 3 CLUB NIGHTS

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

p send your listings to : clubguide@thebrag.com

$60. MC Filth Wizard Beach Road Hotel, Bondi Beach. 8pm. free. One Mic - feat: Phfat + Smacktown + Decypher Us + P. Smurf + Mikoen + Rain Supreme + More The Roller Den, Erskineville. 9pm. $20. Vent @ Valve - feat: Izzy & The Profit + Izzy & The Profit + DJ Maniak Valve Bar, Agincourt Hotel, Ultimo. 9pm. $10.

CLUB NIGHTS

Alison Wonderland At Wonderland Warehouse Project - feat: Wave Racer + Young Franco Secret Location, Sydney. 7pm. $25. Argyle Fridays - feat: Resident DJs The Argyle, The Rocks. 6pm. free. El Loco Later - feat: DJs On Rotation Excelsior Hotel, Surry Hills. 10pm. free. Factory Fridays - feat: Resident DJs Soda Factory, Surry Hills. 5pm. free. Fresh Fridays - feat: MC Filth Wizard + DJ Secrtweapn Beach Road Hotel, Bondi Beach. 8pm. free. Fridays - feat: DJ Morphingaz + Grant Lewers + Pistolshrimp + Bernie Dingo + Stacie Todo + Kit Lennon + Toby Neal + Sam Wall + Benny B Manly Wharf Hotel, Manly. 8pm. free. Frisky Fridays Scubar, Sydney. 5pm. free. Goodgod Tin Pan Alley - feat: Penny Penny + Shogun + Bart Willoughby +

THURSDAY MAY 29

Schlepp Geist

Mantra Collective Presents: Schlepp Geist The Spice Cellar, Sydney. 7pm. $20.

FRIDAY MAY 30 Alison Wonderland At Wonderland Warehouse Project - feat: Wave Racer + Young Franco Secret Location, Sydney. 7pm. $25. El Loco Later - feat: DJs On Rotation Excelsior Hotel, Surry Hills. 10pm. Free. Dru Hill Metro Theatre, Sydney. 8pm. $60. Jad & The Ladyboy The Spice Cellar, Sydney. 7pm. $20.

Alison Wonderland

Zannon Marquee, Pyrmont. 10pm. $15.

SATURDAY MAY 31 Citizen Kay + Tkay Maidza Newtown Social Club, Newtown. 8pm. $15. ITM Get Local Tour - feat: Uberjak’d + Ember + Kilter + Yahtzel Chinese Laundry, Sydney. 9pm. $20. Slowblow Presents: Prosumer The Spice Cellar, Sydney. 7pm. $25.

SUNDAY JUNE 1 S.A.S.H Sundays - feat: Schlepp Geist + Inxec + Sam Francisco + Tom Massey + Kerry Wallace + Matt Weir Flyover Bar, Sydney. 12pm. $10.

thebrag.com

snap

hayden james

PICS :: JA

up all night out all week . . .

paces & rattraps

PICS :: AM

21:05:14 :: Beach Road Hotel :: 71 Beach Rd Bondi Beach 9130 7247

23:05:14 :: Chinese Laundry :: 111 Sussex St Sydney 8295 9999 BOADO :: S :: JAMES AMBROSE :: MARK OUR LOVELY PHOTOGRAPHER :: MAR :: AMATH MAGNAN :: ASHLEY

KATRINA CLARKE ::

live review spice spektrum

PICS :: KC

What we've been out to see...

23:05:14 :: The Spice Cellar :: 58 Elizabeth St Sydney 9223 5585

SIBERIAN NIGHTS Sydney Opera House Friday May 23

dj bliss

PICS :: MB

Xxx

Walking into the Opera House’s Studio foyer, you could see a ghostly figure perched in a windowed crevice – a mannequin with Kirin J Callinan’s apparition projected onto its face. Still not as creepy as the Michael Jackson hologram. Striving for the unconventional rather than the prolific, Siberia Records showcased that philosophy at its Vivid LIVE night, taking over the Studio space with an all-encompassing, futuristic carnival atmosphere. Overcoming the lateral nature of the performance space, a huge disc and peripheral strips were hung overhead as targets for projection, most notably during Midnight Juggernauts’ debut of their Aerials project. Shying away from live drums and bass, the trio was a tightly wound unit, honing its techno acumen. The disc above the stage transformed into a lunar landscape. The Juggers’ electro hits of yore were shifted away from banger territory, deftly woven amongst a mix of newer material. There was a reinvigorated air about the band tonight, something like a renewed sense of direction. Earlier, Midnight Juggernauts’/Siberia Records’ Daniel Stricker had performed

in two-piece project DCM, setting the scene with minimalist industrial-inclined compositions. The foyer area was consistently abuzz, with a rotation of partystarting sets pulled off behind the decks and a dance troupe gallivanting through the venue. Making his way from the decks to the theatre, Lavurn Lee joined Marcus Whale and Jarred Beeler for one hell of a Black Vanilla throwdown, owning the stage with killer moves and superpowered vocals. They were crazy good. Melbourne two-piece Forces have their debut full-length due to drop on Siberia sometime in the near future, and teased new material tonight alongside the killer cuts from their 12-inch of last year. ‘Overland (In My Mind)’ is a monster. Special guest headliner Andy Stott was impeccable when he hit his stride, the spaces in between often lacking due to sonic nuance being lost in the cavernous box. The night wasn’t so much a celebration of what Siberia has achieved so far, maybe due to flagship act Callinan’s non-hologram self currently supporting Tame Impala in Europe, but was a resounding indicator of things to come. The future looks bright. Lachlan Kanoniuk

23:05:14 :: Marquee :: The Star Pyrmont 9657 7737 thebrag.com

BRAG :: 564 :: 28:05:14 :: 41

snap

sneaky vs spice

PICS :: AM

up all night out all week . . .

dirty south

PICS :: AMT

24:05:14 :: The Spice Cellar :: 58 Elizabeth St Sydney 9223 5585

s.a.s.h sundays

PICS :: AM

mayhem + antiserum

25:05:14 :: Flyover Bar :: 275 Kent St Sydney 9262 1988 42 :: BRAG :: 564 :: 28:05:14

PICS :: AM

24:05:14 :: Marquee :: The Star Pyrmont 9657 7737

24:05:14 :: Chinese Laundry :: 111 Sussex St Sydney 8295 9999 BOA S :: JAMES AMBROSE :: MARK OUR LOVELY PHOTOGRAPHER :: :: AMATH MAGNAN :: ASHLEY MAR

DO :: KATRINA CLARKE ::

thebrag.com

PISTOL ARTIST SERVICES, VILLAGE SOUNDS & RATBAG RECORDS PRESENT

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