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3 $65*&
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www.themusic.com.au
Strong sexual references, drug use and coarse language
IN CINEMAS MARCH 1
THE DRUM MEDIA • 3
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SYDNEY OPERA HOUSE PRESENTS
THE COMPOSERS
‘O U R G R EATE ST LIVI NG COM POSER’ THE N TH NE EW Y YO OR RK K TIM MES S
A:
STEVE REICH A CELEBRATION
WITH SYNERGY PERCUSSION AND EIGHTH BLACKBIRD INCLUDING MUSIC FOR 18 MUSICIANS FEATURING: /ENSEMBLE OFFSPRING /HALCYON /ACO EMERGING ARTISTS /ORAVA STRING QUARTET /SYDNEY SYMPHONY SINFONIA QUARTET /CONDUCTOR: ROLAND PEELMAN 29 APRIL 6PM CONCERT HALL
B:
STEVE R E I C H I N C O NVE R SATI O N
IMAGE IMA GE E BY SII LVI LV A M OG OGN G I GN
REICH DISCUSSES THE TECHNIQUES, INFLUENCES, AND IMPLICATIONS OF HIS WORKS 26 APRIL 6.30PM UTZON ROOM
JOIN US ON FACEBOOK ‘MUSIC AT THE HOUSE’ FOR YOUR CHANCE TO WIN 1 OF 3 DOUBLE PASSES TO BON IVER 8 • THE DRUM MEDIA
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T H IS
B I L L I O N S AU ST R A L I A P R E S E N T S
W E E K
W I T H S P EC I A L G U E S T S D A P P L E D C I T I E S
F R I 24 F E B R U A RY
SOLD OUT
EN M O RE THE ATRE , SY D N EY
S AT 2 5 F E B R U A RY
ON SALE NOW
ENM O R E THE ATRE , SY D N EY
www.ticketek.com.au | www.enmoretheatre.com.au ARTIST WEBSITE www.deathcabforcutie.com TOUR INFORMATION www.billions.com.au
NEW ALBUM ‘CODES and KEY S’ OUT N OW THE DRUM MEDIA • 9
WITH SPECIAL GUESTS
THURSDAY 10 MAY SYDNEY t MANNING BAR OZTIX.COM.AU 1300 762 545
ON SALE MONDAY 27 FEBRUARY ‘KEEP YOU CLOSE’ OUT MARCH 30 WWW.FRONTIERTOURING.COM
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STREAMING THIS WEEK
GUIDE
HIT THE LIGHTS’ INVICTA THE POP PUNK OUTFIT FROM OHIO, KICK IT UP A NOTCH, WORKING ON THEIR THIRD ALBUM WITH PRODUCERS MACHINE (FOUR YEAR STRONG, COBRA STARSHIP) AND MIKE SAPONE (TAKING BACK SUNDAY).
OUT 24 FEBRUARY ON 3WISE
PASSENGER’S ALL THE LITTLE LIGHTS UK SINGER/SONGWRITER MIKE ROSENBERG ADOPTED THE NAME PASSENGER AND MADE A NEW HOME IN AUSTRALIA. SINCE THEN HE’S RECORDED WITH BOY & BEAR AND LIOR AND TOURED WITH JOHN BUTLER AND JOSH PYKE. ALBUM NUMBER THREE HAS DRAWN COMPARISONS TO CAT STEVENS.
OUT 24 FEBRUARY ON IE THROUGH INERTIA
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LAST WEEK YOUR DAIL LY SPA WAS FIRST WITH: • A LOOK AT THE HI-FI’S NEW SYDNEY VENUE • STREAMING NEW ALBUMS FROM THE MENZINGERS & THE SMOKING HEARTS • NEIL FINN COVERING BOB DYLAN
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INSIDER EXCLUSIVE 20% OFF TICKETS
THE DRUM MEDIA • 13
Tues
TRIVIA WITH KEVIN
Wed
$500 PRIZE POOL
Thurs 16 Feb
OPEN MIC NIGHT
Weekly Jackpot 7.30pm
Open Mic Night 7.30pm
BYO Instruments (PA Provided) Rock up to play
7.30pm
Fri MICK RAVEN 17 Feb + GUESTS
INTERNATIONALIST Sat 18 Feb (POWDERFINGER TRIBUTE) + GUESTS
For Bookings
james@thelaunchsquad.com.au | www.thelaunchsquad.com.au
TRIPLE J FEATURE ALBUM
FEATURES THE SINGLE “PELICAN” “A world-crosser and a world-beater” – NME “Ably equipped to play in the same sandpit as crossover titans such as Coldplay” - Beat
ALBUM INSTORE NOW LONG AWAITED FOLLOW UP TO $O$ LIVE: WED 7TH MARCH - THE PRINCE
14 • THE DRUM MEDIA
LIVE WED MAY 16TH THE HI FI
THE DRUM MEDIA • 15
th f e or ha m rperl hoy te
l
900 PRINCES HIGHWAY, TEMPE PH: 9559 6300 www.valvebar.com.au WED 22 7PM
THURS 23 7PM
FRI 24 7PM SAT 25 6PM
SUN 26 12PM
“THE DAMNED HUMANS” PROG METAL SHOW WITH SUPPORT FROM “THE WINDOW” , “PARETHIA” “EXEKUTE” THRASH METAL SHOW WITH SUPPORT FROM “ABACINATION” , “PUTREFACTION” , “HEAD IN A JAR”
“VANITY RIOTS” ROCK’N’ROLL AND BURLESQUE SHOW WITH SUPPORT FROM: “VIRGINIA KILLSTYXX” , “BECOME THE CATALYST” , “ARCAIEN” AND BURLESQUE BY MAPLE ROSE
‘12 SELECTION SHOWCASE FEAT: FINE SELECTION OF UP AND COMING TALENT VIBRATIONS AT VALVE BAND COMPETITION FEAT: “THE BROKEN LINE” , “ANONYMOUS” , “ANTISOCIAL SOCIETY CLUB” , “HEY BABY” , “ AND MANY MORE
COMING UP: Wed 29 Feb: Glam Rock Show with: “Dirty Dezire” , “Rattlesnake” , “Sylvain” , “Smokin Mirrors” , “Dreamer’s Crime” ;
Thu 1 March: West Tigers Homeground Heroes Competition ; Fri 2 March: Rock’n’Roll Show feat: “Collins Class” , ”The Pixie Kills” , “Dinki Bike” , “The Gunn Show” , “The Ivory Drips” ; Sat 3 March 12pm: Rock Show/EP Launch feat “The Bland” , “Jake McDougal &Band” and many more; 7pm: Groove Rock Show feat: “Alberta Brown” , “The Eagle & Child” , “Cosmic King” , “This Sanctuary”; Sun 4 March: 12pm - Vibrations At Valve band competition feat: “Where’s Rachel” , “Portland” , “April Falls” , “Limited Headspace” , “Nothing Is Sacred” and many more For band bookings please email valvebar@gmail.com
Bistro open Lunch and Dinner !!
Sat 3/03
WEDNESDAY 22ND FEBRUARY
Rick Price
+ Tamara Stewart THURSDAY 23RD FEBRUARY
Madison Violet (Canada) + Jordan Millar + Morgan Joanel
FRIDAY 24TH FEBRUARY
Dan Mangan
(Canada) + Leader Cheetah (Duo) SATURDAY 25TH FEBRUARY
CASH
80th Birthday Show FRIDAY 26TH FEBRUARY
Bridie King & The Foreday Riders
Sunset Riot CD Launch Wed 7/03 Peter Rowan Bouegrass Band (US) Thur 15/03 Mick Harvey Sat 17/03 The Frocks present – Women In Uniform Tues 20/03 Beoga (Ireland) Fri 23/03 Abigail Washburn & Kai Welsh (US) Sat 24/03 Pierre Bensusan (France) Sun 25/03 Chris Hillman & Herb Pedersen (US) Fri 30/03 Garvais Koffi & The African Diaspora Thur 5/04 Rosie Ledet & The Zydeco Playboys (US) Fri 20/4 Davidson Brothers Sun 22/04 DIG IT UP – Celebrating 30 Years of recording from the Hoodoo Gurus
16 • THE DRUM MEDIA
THE DRUM MEDIA • 17
WEDNESDAY 22
8.00PM FREE(FRONT BAR)
THURSDAY 23 7.00PM $8.00(DOOR)
FRIDAY 24
8.00PM $10.00(DOOR)
SATURDAY 25 8.00PM $12.00(DOOR)
MUSO’S JAM S.L.A.M. PRESENTS:
THE GRAND PLAN + THE JONES RIVAL + KARMIC DIRT + SENZA SOLE
PAPER CRANE
+ GUESTS OF GHOSTS (MELB) + DEAD JOHNNY
KING PARROT (MELB)
+ WOLFKAHN + INEBRIOUS BASTARD + INFESTED ENTRAILS + FESTERING DRIPPAGE
SUNDAY 26
A CONCERT FOR LIFE
MONDAY 27
THE PRETTY RECKLESS (USA)
5.00PM $5.00(DOOR) $10.00 (FAMILY DISCOUNT) LIC/ALL-AGES $34.30 (PRESOLD) 7.30PM LIC/ALL AGES
TUESDAY 28
$28.70(PRESOLD) 8.00PM LIC/ALL AGES
WEDNESDAY 29
8.00PM FREE(FRONT BAR)
+ HEROES FOR HIRE
BLACK VEIL BRIDES (USA) + ELEKTRIC DYNAMITE
MUSO’S JAM
COMING SOON:
SYBREED (SWITZERLAND), TRAPPED UNDER ICE (USA), WILL & THE PEOPLE (UK) ‘GOBOOKEM.COM’
18 • THE DRUM MEDIA
Australian Tour
With support from THE RUMJACKS
The Manning Bar Sydney University Saturday 7th April 2012 (02) 9563 6000 Tickets available from www.manningbar.com
SATURDAY 25TH FEBRUARY
MADISON VIOLET THURSDAY 1ST MARCH
FRIDAY 27TH APRIL
THE BONDI CIGARS
RICK PRICE
FOR BAND BOOKINGS, PLEASE CONTACT INFO@CODEONE.NET.AU
$12 STEAK & ALE DEAL
TUE-FRI 12-3PM
TUE 21 JAN WED 22 FEB
$5 PINTS
RIOT HOUSE COMEDY THE STUDY feat
HANNAH & JOSH
THE STRINGSMITHS + OFELILI SLAM PRESENT
THU 23 FEB
SAVE LIVE MUSIC GHOSTS ON BROADWAY + STAND FOR THE FALLEN
FRI 24 FEB
NEON HEART
29/02 03/03 09/03 15/03 22/03 20 • THE DRUM MEDIA
RIOT HOUSE COMEDY TUESDAY’S
DIVIDE & CONQUER + LOVE & SATELLITES
L.U.S.T + OLYMPIC AYRES + DJ CEE CEE
THE FREAK & SHOWGIRL 02/03 AVERICE MY CITY SCREAMS 08/03 THE SKIMPS THE ART + CELADORE 10/03 URGE OVERKILL DJ QUIK 17/03 LEO THE LIONHEART MASAKI KIKUCHI 23/03 SPACETRIBE 29/03 VIENNA CIRCUS
COMING SOON
THE DRUM MEDIA • 21
GIVEAWAYS
30
THE SANDRINGHAM HOTEL 387 KING STREET NEWTOWN / 9557 1254 S YEAR WWW.SANDO.COM.AU BOOKINGSCONTACT SANDO@ATOMICDROP.COM.AU WWW.MYSPACE.COM/THESANDRINGHAMHOTEL
$10
WED 22 FEB
UPSIDE DOWN MISS JANE + ANATTA + FURRY LIPS + L.G.T. ROOTS'N'REGGAE, DANCEHALL, SOCA, DUB, JUNGLE AND POLYNESIAN MIX FEATURING SELECTOR SECRETARY, DJ ONE LOVE, MISS KATIE AND SPECIAL GUESTS, MC/DJ IBO JAH, SELECTOR MELODY MAN AND THE MELODY MAKERS
FRI 24 FEB
"ZOMBIE DOG PRESENTS"
+ VERY$15SPECIAL GUESTS PRE-SALE / $20 DOOR SALE *** TICKETS ON SALE NOW WWW.MOSHTIX.COM.AU ***
$18
(ONE OFF SHOW)
+ INTERCONTINENTAL PLAYBOYS + MEN FROM UNCLE EVERY MON “SANDO SKETCH CLUB” EVERY TUES
“THE SONGWRITER SESSIONS”
COMING SOON WED 29 FEB --- WILL & THE PEOPLE + M.S.D. + UNGUS UNGUS UNGUS + SYE MCRITCHIE FRI 2 MAR ---
For more giveaways this week head to facebook.com/ drummedia and click on the giveaways tab
HEAD TO THE DRUM MEDIA FACEBOOK PAGE TO ENTER
DRUM MEDIA
THE DC3 + ROOT! DENIZ TEK GROUP
The first Canadian act to win the prestigious international John Lennon Songwriting Competition, Madison Violet is Brenley MacEachern and Lisa MacIsaac, one of Canada’s most celebrated roots duos, who are back in Sydney this week for a run of dates showcasing their latest album
If he’d lived, this Sunday Johnny Cash would have turned 80. Singer Daniel Thompson reckons that’s something worth celebrating, so Saturday night he’s inviting you down to Notes where he and the band will showcase songs from right across the career of Cash: The Man In Black, supported by Camille and Stuie French. We have two double passes to the night to give away.
T H E D R U M M E D I A I S S U E 1 0 9 8 T U E S D AY 2 1 F E B R U A R Y 2 0 1 2
+ MANIC SLEEPER CELL
"I-94 BAR PRESENTS"
MORE VIOLET
$15
DRILL + ZEAHORSE + TOYDEATH
SUN 26 FEB
GET CASH FOR FREE MADISON VIOLET
"COOL RUNNINGS WITH $10 THE BASHMENT CREW"
THU 23 FEB
SAT 25 FEB
The Good In Goodbye, Wednesday at the Brass Monkey, Thursday at Notes, Friday at the Clarendon Guesthouse in Katoomba, Saturday at The Vault in Windsor and Wednesday 29 February at Lizotte’s Kincumber. We have two double passes to Thursday at Notes.
"NIGHT OF THE LIVING GUITARS"
*** WWW.MOSHTIX.COM.AU ***
PETULANT FRENZY PLAYS FRANK ZAPPA FRI 9 MAR --- ENDLESS BOOGIE (USA)
Giveaways – Check it out for free stuff and head to Facebook for more! The Front Line hits hard with industry fact and conjecture, plus Backlash and Frontlash. Foreword Line – the latest news on tours, releases and more. What the hell is math metal anyway? Meshuggah sure don’t know, despite being supposed progenitors of it. Death Cab For Cutie weave things into a continuing story. Parkway Drive are looking to make a cohesive piece. Slipknot are a chaotic force with all these different opinions – and they wouldn’t have it any other way. It’s going to be midnight in your brain with Coal Chamber. Ryan Adams wants to go places that are difficult to go. Mayer Hawthorne had a few iron on heavy metal patches in his day. Antiskeptic gain a fresh perspective. The live set is important for Will & The People and is pretty much what they’re all about. Switchfoot are a rock band that make music for everyone. Dan Mangan doesn’t believe the hype. Rustie tries to push his own standard. The Orb is a virtual home in the sky. Heading to Soundwave? You’ll need the map and times then. On The Record reviews new release albums and singles from Dirty Three, The Ting Tings, Passenger and more. Chris Maric gets local with hard rock and metal in The Heavy Shit. Sarah Petchell brings us local and international punk news in Wake The Dead. Adam Curley muses on all things pop
22 24 26 32 34 36 37 38 39 40 40 40 41 41 41 41 42 44 46 46
culture The Breakdown. 47 Viktor Krum asks you to Get It Together with the latest in hip hop. 47 Dave Drayton gets Young & Restless with all ages goings on. 47 Cyclone gives you urban and R&B news in OG Flavas. 47 Dan Condon features the world of blues and roots with Roots Down. 48 Michael Smith delivers some Blow with jazz and world music news. 48 Go south as you enter Pedro Manoy’s Swamp Shack. 48 James McGalliard gives us tales from the mother country in London Fields. 49 The electronica’s a little leftfield and the soul’s futuristic with Huwston giving us Bebop & Rocksteady. 49
FRONT ROW
This Week In Arts plans your week ahead; there’s a new local comedy coming to TV, It’s Not You. It’s Bree; Cultural Cringe wraps up the week’s arts news and whispers. 50 The Old 505 Theatre plans to bring a little Adelaide Fringe to Sydney audiences; Italian Spiderman creator Dario Russo talks about his new TV series, Danger 5; the ACO’s latest performance is reviewed, as is Steve McQueen’s Shame; we preview the World Of Women Film Festival. 51 Made You Look tackles the etiquettes of the art world. 52
LIVE
It’s all here: gig reviews, tour guide, what’s happening this week, charts, gig guide, random shit; Made In Japan unintentionally capture a bit of Sydney summer, Jeremy Edwards toughens up and we look at SLAM Day going national. 53 The Classies – need a singer/bassist/drummer/any other service/product you can think of? Your answer is here. And on iflog.com.au. 67 We feature a special Australian Musician supplement. 69
THU 8 MAR ---
*** WWW.MOSHTIX.COM.AU ***
STEVE GRIMMETT (GRIM REAPER / LIONSHEART) (UK)
SAT 10 MAR --*** WWW.HELLDOWNUNDER.COM ***
"ST PATRICK’S DAY WITH THE RUMJACKS" *** WWW.MOSHTIX.COM.AU *** FRI 23 MAR --- THE POOR *** WWW.MOSHTIX.COM.AU *** SAT 17 MAR ---
STREET LEVEL BAR
PAUL HAYWARD’S PUNK ROCK KARAOKE BAND + $3 SCHOONERS OF SANDO LAGER THU 23 FEB --- JOHNATHAN DEVOY + SPECIAL GUESTS FRI 24 FEB --- B-MASSIVE SAT 25 FEB --- DAVE TICE AND MARK EVANS 4PM-7PM WED 22 FEB ---
DJ KAKI 8PM-LATE
50 MILLION BEERS MON 27 FEB --- UNHERD OPEN MIC TUE 28 FEB --ADAM PRINGLE AND FRIENDS – FUNKY AS F#CK + TOOHEYS $6 NEW JUGS (7-8PM) SUN 26 FEB ---
----------------DJ’S BISTRO----------------OPEN 7 DAYS SERVING GREAT PUB FOOD ALL NIGHT
22 • THE DRUM MEDIA
PUBLISHER Street Press Australia Pty Ltd GROUP MANAGING EDITOR Andrew Mast EDITOR Mark Neilsen ASSOCIATE EDITORS Michael Smith, Scott Fitzsimons FRONT ROW EDITOR Daniel Crichton-Rouse frontrow@drummedia.com.au CONTRIBUTING EDITOR Adam Curley CONTRIBUTORS Aarom Wilson, Adam Wilding, Alex Hardy, Amber McCormick, Anita Connors, Anthony Carew, Bethany Small, Brad Barrett, Brendan Crabb, Brent Balinski, Bryget Chrisfield, Celline Narinli, Chris Familton, Chris Maric, Craig Pearce, Cyclone, Dan Condon, Danielle O’Donohue, Dave Drayton, Fiona Cameron, Giselle Nguyen, Gloria Lewis, Guy Davis, Huwston, Ian Barr, Jake Millar, Jamelle Wells, James d’Apice, James Dawson, James McGalliard, Jessie Hunt, Justin Grey, Katie Benson, Kris Swales, Liz Galinovic, Liz Giuffre, Lucia Osborne-Crowley, Mark Hebblewhite, Matt O’Neill, Paul Smith, Paz, Pedro Manoy, Rip Nicholson, Rob Townsend, Robbie Lowe, Ross Clelland, Rod Hunt, Sarah Petchell, Sasha Perera, Sebastian Skeet, Sevana Ohandjanian, Shane O’Donohue, Steve Bell, Stuart Evans, Tim Finney, Tom Hawking, Troy Mutton PHOTOGRAPHERS Angela Padovan, Carine Thevenau, Chaz Webb, Cybele Malinowski, Josh Groom, Justin Malinowski, Kane Hibberd, Linda Heller-Salvador, Luke Eaton, Rod Hunt, Tony Mott ADVERTISING DEPT sales@drummedia.com.au
themusic.com.au
Brett Dayman, James Seeney, Andrew Lilley iflog.com.au
CLASSIFIEDS
ART DEPT artwork@drummedia.com.au Dave Harvey, Matt Davis, Kieryn Hyde COVER DESIGN Dave Harvey ACCOUNTS DEPT accounts@streetpress.com.au GIVEAWAYS/GIG GUIDE Justine Lynch THE DRIVERS Grant, David, Julian, Ray, Paul, Al, Mark PRINTING Rural Press (02) 4570 4444 DISTRIBUTION distro@drummedia.com.au SUBSCRIPTIONS Subscriptions are $2.20 per week (Minimum of 12 weeks) – Send your details with payment to Subscriptions Dept, The Drum Media, PO Box 2440 Strawberry Hills NSW 2012 (cheques/money orders to be made payable to Dharma Media Pty Ltd) ADDRESS Postal: PO Box 2440 Strawberry Hills NSW 2012 Street: Level 1/142 Chalmers St Surry Hills NSW 2010 Phone (02) 9331 7077 Fax (02) 9331 2633 Email info@drummedia.com.au www.themusic.com.au The Drum Media is also available on iPad via the iTunes App Store
O OF MARRYING TW
ST PLEASURES
LIFE’S GREATE
GREAT FOOD
AND MUSIC
LIZOTTE’S SYDNEY
02 9984 9933 AWARDED BEST ENTERTAINMENT RESTAURANT IN SYDNEY
22 FEB 23 FEB 24 FEB 25 FEB 29 FEB
1 MAR 2 MAR 3 MAR
Jon Stevens Doug Parkinson The Last Waltz Revival Show King Tide Drum Media & Lizotte’s presents Live and Local Cookin It Up Greek Style Troy Cassar-Daley Eugene Hideaway Bridges W
O N N PE O
LIZOTTE’S CENTRAL COAST 02 4368 2017 22 FEB
23 FEB 24 FEB 26 FEB
29 FEB 2 MAR 3 MAR
4 MAR
Lizotte’s presents Live and Local Jon Stevens Doug Parkinson Lazy Sunday Lunch with Karl Broadie & Caitlin Harnett Madison Violet Eugene Hideaway Bridges Cookin It Up Greek Style Lazy Sunday Lunch with Troy Cassar-Daley
LIZOTTE’S NEWCASTLE 02 4956 2066
AWARDED BEST ENTERTAINMENT RESTAURANT IN AUSTRALIA
22 FEB 23 FEB 24 FEB 25 FEB 29 FEB 1 MAR 2 MAR 3 MAR 4 MAR
Lizotte’s presents Live and Local Karl Broadie & Caitlin Harnett Jon Stevens Doug Parkinson Mark Wilkinson Think Rock n Food Trivia Cookin It Up Greek Style Troy Cassar-Daley Eugene Hideaway Bridges
Calling all artists for Live and Locals! Contact events@lizottes.com.au Lizotte’s Sydney 629 Pittwater Rd Dee Why
Lizotte’s Central Coast Lot 3 Avoca Dr Kincumber
Lizotte’s Newcastle 31 Morehead St Lambton
w w w . l i z o t t e s . c o m . a u THE DRUM MEDIA • 23
THE
FRONT LINE
FIRST PHOTOS INSIDE SYDNEY’S THE HI-FI
Last week Your Daily SPA revealed construction photos from inside Sydney’s newest venue – The Hi-Fi. The venue – which has taken over the space where The Forum previously resided – is the latest venture by the people behind Melbourne and Brisbane’s The Hi-Fi, giving them a string of East Coast rooms. When it was announced in November, The Hi-Fi’s founder and chief Luke O’Sullivan told Your Daily SPA that they would be completely overhauling the room. “We’ve reduced capacity and purpose built it,” he said. “In simple terms we’ve gutted it to make it simpler in operations.” Pictures of the build have emerged and you can see the gutted venue take shape ahead of its first night with Cobra Starship Wednesday 29 February.
INDUSTRY NEWS WITH SCOTT FITZSIMONS frontline@streetpress.com.au
THE LEVELS AS OF LATE JANUARY
Brisbane based 24-year-old Lochlan Watt has been named as the new presented for triple j’s metal show The Racket. The Street Press Australia contributor – who writes a weekly column in Brisbane’s Time Off, will take up the role after Andrew Haug departed last year. As well as his journalistic interests in the genre, Watt is/has been a musician with Western Decay, The Surrogate, Ironhide and Nuclear Summer, has promoted shows and started his own label Monolith. His first show will air Tuesday 28 February.
CAT EMPIRE MEMBER WRITES NEW FOOTY ANTHEM
The Cat Empire’s Harry Angus has composed a polka theme song for the AFL’s newest franchise – GWS Giants, who will enter the national Australian Rules competition this year. It comes after years of publicity for the club as they move into a region which has traditionally been Rugby League territory. Last week the club has announced their theme song The Mighty Giants has been composed by Angus. The song will be played before all games and after games that the team wins. Traditionally, players sing their club’s song after a victory. Angus said, “I started to become interested in this idea that there exists an entirely different genre of music that is the old classic football song. It got me thinking about how easy it could be to make a new song sound old. I began to research where some of these old classic songs had come from, to understand the mindset of the old captains and players who created these pieces of music. It became clear that the beauty of these great songs is their simplicity.”
AMP JUDGES PROTEST THE AWARD’S SHORTLIST
Judges of the Australian Music Prize (The Amp) have criticised the make-up of the shortlist – which the eventual winner of PPCA’s $30,000 will come from. Announced earlier this month, Boy & Bear’s Dave Hosking, who are shortlisted, admitted that the list was aimed towards triple-j listeners. Those thoughts have been echoed by the judges themselves. News Limited journalist and AMP judge Mikey Cahill called the shortlist “safe”. In his Rock City column he wrote, “It’s very, um, triple j friendly read: a safe collection of albums. This year’s judging process cast a wider net but ended up with a collection of records that failed to really push the envelope.” He added, “The judging process needs an overhaul and the whole thing needs a shake-up. Evidently, there needs to be more focus on braver, bolder records like the first ever winner of The Amp: The Drones’ Wait Long By The River and The Bodies Of Your Enemies Will Float By.” Fairfax’s Bernard Zuel called the list “geographically and musically diverse” but warned that hip hop acts may boycott the award in the
songs and stirring live performances.” Husky will be touring Germany before visiting SXSW and Canadian Music Week, before returning home in April for a tour. Melbourne’s Damn Terran have recently signed an exclusive deal with booking agency Premier Artists.
MC5 BASSIST DIES
NATIONAL SLAM DAY: ‘WE’RE MAKING HISTORY’
Bassist for iconic Detroit proto-punks MC5, Michael Davis has died of liver failure at age 68. After an illustrious career with MC5 and off-shoots, Davis survived an motorcycle accident in 2005 and launched The Music Is Revolution Foundation with his wife. It raises awareness of cultural advantages of music in American schools.
ANNANDALE’S RENOVATIONS TO GO AHEAD
GUTTING THE BUILDING IN OCTOBER
AN EMPTY SHELL IN NOVEMBER
LOCHLAN WATT TAKES THE RACKET POST
string of chart-topping singles including cricket anthem Howzat and Summer Love, which Shakespeare co-wrote. After performing on the band’s first four albums, he left in 1975 and was replaced by Harvey James. James also lost a battle with cancer January last year.
future if they’re are continually overlooked as, he said, they were this year. “We may see some Australian hip hop artists ask publicly and loudly whether they should bother nominating for the AMP. In fact, one Melbourne label refused for several years to submit its artists, possibly suspecting it was a waste of time in a local music industry dominated by pop and rock at executive and media level. This even as the public seem very keen to buy hip hop and fill venues putting on hip hop. In any case, widely praised albums from last year such as Phrase’s Babylon, Drapht’s The Life Of Reilly, Future Shade by The Herd and Falling And Flying by 360 continued a long trend of low or in this case no representation in the short list.” Street Press Australia’s (publishers of this magazine) Group Managing Editor Andrew Mast has removed himself from the final stage of the final judging process. “I have informed AMP that I won’t be participating in the final vote,” he told Your Daily SPA. “Look, I don’t think this year’s shortlist is a true indication of the quality and variety of great Australian music that was released in 2011. I believe the change in the voting system this year meant that some of the smaller releases that fell outside of the mainstream were overlooked. I have championed the AMP since its instigation, and will keep supporting them in the future, but each year it seems to get harder and harder for non-pop and mainstream rock artists to be shortlisted. There are acts like Fred Smith, Melodie Nelson, Joelstics and Oscar + Martin who would have made the shortlist in the past but now seem to slip between the cracks.” He directly attributed the make-up of this year’s shortlist to the change in judging process. Not all judges are opposing the nine shortlisted artists, with high profile judges recently telling theMusic.com. au why they believe each album to be there. The Preset’s Julian Hamilton said of Gurrumul’s Rrakala album, “Such moving and personal stories, set to achingly beautiful, yet effortless sounding music. As well as being an absolute joy to listen to, Rrakala also provided me a wonderful insight into a rich culture I know not enough about. Easily my Australian album of the year.” Powderfinger’s Ian Haug said Boy & Bear’s Moonfire had, “Damn good songs with damn good production. There is a variety within the songs and feels and sounds within this record that most records lack, yet it remains coherent.”
SHERBET CO-FOUNDER LOSES CANCER BATTLE
Clive Shakespeare, co-founder and guitarist with iconic ’70s band Sherbet, has died from cancer aged 62. The news was confirmed last week by friends close to the family, who had been visiting Shakespeare in the hospital. He died Wednesday 15 February night after his long battle with prostate cancer, which he’d been fighting for several years. It had been in remission recently. Shakespeare co-founded Sherbet in the late ’60s and the band enjoyed success in the ’70s, with a
With the Annandale Hotel taking itself off the market, owner Dan Rule has told us renovations will begin within months. The staple Sydney venue had put itself on the market last year and looked certain to sell after funding for planned renovations appeared to not be forthcoming. Despite the likes of Justin Hemmes looking at the venue, it remained unsold. Last week owner Dan Rule told The Music Network that they’d be taking down the For Sale sign that currently sits on top of the venue. Not only a symbolic action, the venue is now off the market. He also told Your Daily SPA that the planned renovations would be taking place this year. Rule said that a strong response to their Buy A Brick campaign and the sale of their pokie machines are helping to fund the revitalisation, which “will start in six months,” he said, adding that “we hope to be doing the toilets and kitchens in two months”. The Annandale Hotel has also announced a strong presence for their National SLAM Day involvement, hosting three shows next week. Papa Vs Pretty will lead the main event, Fait Accompli Friday’s and The Fauves Saturday’s.
SONY APOLOGISE FOR WHITENY PRICE-HIKE
Sony have finally responded to the Whitney Houston price-hike storm, saying that the upped price was a mistake. Sony came under fire after the UK press accused them of increasing the price of her two most popular best of albums in the UK just hours after news of her death broke. It was understood that by upping the wholesale price by 60 percent those costs were automatically passed on to Apple’s iTunes store. Sony have released a statement writing that the, “Whitney Houston product was mistakenly mispriced on the UK iTunes store on Sunday. When discovered, the mistake was immediately corrected. We apologise for any offense caused.” They stressed that the mistake only affected the UK iTunes store and denied that they review prices upon artist death, but instead periodically depending on supply and demand.
FRESHLY INKED
Husky have been announced as the first Australian band to be signed directly to Sub Pop. The iconic Seattle label nurtured grunge acts like Soundgarden and Nirvana before finding its niche with indie acts like Fleet Foxes and Beach House in more recent years. Husky’s signing comes off the strength of their debut album Forever So. The news was announced on Sub Pop’s website, with label President Jonathan Poneman saying, “Sub Pop is enamoured with the Melbourne quartet, Husky. The band’s strength rests in its infectious, evocative
RICE IS NICE INK INERTIA DEAL
Sydney based independent label Rice Is Nice have announced a distribution deal with Inertia for 2012. The new deal will see Inertia handle the label’s releases in Australia and New Zealand. In a release the label said, “We are thrilled to announce Rice Is Nice has joined forces with Inertia. Inertia will provide distribution for Rice Is Nice releases in Australia and New Zealand. We are very proud to have the support of the Inertia team for 2012 and beyond.” Rice Is Nice is (or has been) the home to artists like Seekae, Richard In Your Mind, Donny Benét, Seja, Straight Arrows and Talons, amongst others. Rice Is Nice is currently distributed internationally through Red Eye in the USA and State 51 in the UK.
ROGER DALTREY CANCELS TOUR, BLUESFEST
The Who’s Roger Daltrey has cancelled his upcoming Australian tour, including his headline slot at Bluesfest. Daltrey topped the festival’s first announcement last year and had been slated to perform at the festival Monday 9 April. In a statement today organisers said that the cancellation was due to “unforeseen scheduling conflicts”. The festival is offering refunds on single day tickets purchased for the Monday, but urge, “Before you pick up the phone, please take into consideration that the Monday artist line up, still features 30+ standout performances with approx 6 new artists yet to be added to the Monday bill.” But, “If you do wish to refund your single day Festival ticket for Monday 9 April, we are happy to arrange this for you and please call the Bluesfest office on 02 6685 8310.” The refunds are available until Friday 24 February.
NEW MUSIC BOARD MEMBERS
Deborah Conway and Gabriella Smart have been appointed to the Australia Council’s Music Board by Minister Simon Crean. The Australia Council is the Federal Government’s funding and advisory body for the arts sector.
FRONTLASH
BACKLASH
THE SIMPSONS
RICKY PONTING
Say what you want about it jumping the shark long, long ago, but the fact that it’s made it to 500 episodes this past weekend is testament to its staying power.
He’s served Australia well in the one dayers, but maybe it’s time to pass the baton to a younger player.
TROPFEST WEATHER The weather held just long enough to get to the winner, but pity not many pf the crowd had confidence and cleared out before the winner was declared.
music 24 • THE DRUM MEDIA
The inaugural music awareness National SLAM Day has attracted over 100 venues, organisers claimed today. The event was officially launched last December after the success of the initial SLAM Day Rally in Melbourne, prompted after liquor licensing laws threatened the future of live venues. After asking for expressions of interest, today organisers have announced that over 100 venues had signed up for the day – Thursday 23 February. SLAM Day organizer Helen Marcou said, “We are so excited to see over 100 venues already signed up, from Tennant Creek to Hobart, Gosford to Melbourne, Fremantle to Adelaide, artists and venues are coming together to celebrate local live music, with more being registered each day. Giving thousands of music lovers the opportunity to get out and support their local live music scene.”
themusic.com.au
BOBBY BROWN Supposedly couldn’t sit where he wanted to at Whitney Houston’s funeral so pretty much walked in and out of the service. It was his prerogative after all, but shouldn’t be cruel at such a time.
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THE DRUM MEDIA • 25
FOREWORD LINE
NEWS FROM THE FRONT
TOUR NEWS As you’d expect, the response to the forthcoming Australian tour by Lady GaGa has been over the top and as a result there are now three Sydney concerts, Wednesday 20, Thursday 21 and Saturday 23 June, at Allphones Arena that have been locked in. Brisbane’s Last Dinosaurs, whose debut album In A Million Years not only sees release locally Friday 2 March but will now also see release in the UK, have completely sold out their Wednesday 29 February show at Spectrum. Due to scheduling and time constraints, America’s Murder By Death have been obliged to move their forthcoming inaugural Australian tour to May, which will see their Sydney date at The Wall happening Saturday 19 while they’re at Chino’s in Newcastle Sunday 20. Mickey Avalon has also been obliged to postpone his forthcoming Hi-5 Australian tour from March to May because of studio commitments and the US launch of his latest album, Loaded. Joined by special guest Kid Mac, Avalon will now play Fanny’s in Newcastle Thursday 17 May and The Hi-Fi Friday 18, with tickets purchased for the previous dates valid for the new ones. Vocal ensemble The Hilliard Ensemble come to the Llewellyn Hall in Canberra Saturday 10 March, Sydney Opera House Sunday 11, City Recital Hall Angel Place Saturday 17 and Tuesday 20, and Wollongong Town Hall Thursday 22.
BLEEDING KNEES CLUB
BEES KNEES
Hot on the heels of new single Nothing To Do, Gold Coast’s garage-pop bombshells Bleeding Knees Club are psyched to announce their Australian album-release tour, where they’ll be joined by fellow Queensland slackers Dune Rats. Recently named by NME as one of the 100 New Bands To Watch in 2012, catch them Wednesday 11 April at the Beach Road Hotel, Thursday 12 Transit Bar Canberra, Friday 13 Oxford Art Factory, and two shows Saturday 14 at Oxford Art Factory (all-ages) during the day and The Patch in Wollongong in the evening. DEAD LETTER CIRCUS
SLEEP WALKIN’
Barry Adamson’s Sydney film screening and album preview performance has been rescheduled for Wednesday 21 March at the Factory Theatre.
As the momentum keeps building for Dead Letter Circus in the US, they’re headed there for some tours including SXSW, before returning for the Sleepwalker Australian Tour, with Fair To Midland and Twelve Foot Ninja, playing The Patch, Wollongong Wednesday 23 May; Zierholz, Canberra University Thursday 24; The Hi-Fi Friday 25; The Entrance Leagues Club Saturday 26; and the Cambridge Hotel Newcastle Sunday 27.
Joining US duo The Royal Baths at the Annandale Friday 30 March on their debut tour of Australia are Melbourne duo Super Wild Horses. American bands The Sonics, Redd Kross and The Fleshtones, along with Japan’s The 5.6.7.8’s will join The Lovetones, Died Pretty, The Hard Ons, Deniz Tek & Rob Younger of Radio Birdman and The Hoodoo Gurus at the Enmore Theatre Sunday 22 April for Dig It Up, The Hoodoo Gurus Invitational, celebrating the band’s 30th anniversary. John Butler’s Tin Shed Tales solo show at the Metro Friday 27 April has completely sold out, so a second night at the Metro has now been added for Saturday 28, with Felicity Groom once again supporting. The Ball Park Music show at the Factory Theatre Friday 30 March has sold out so it’s obvious a second Factory show is well in order. It’s been announced for Sunday 1 April. Tickets are still available for the Bar On The Hill in Newcastle on Wednesday 28 March, the Wollongong UniBar on Thursday 29 and the Transit Bar in Canberra Saturday 31.
DZ DEATHRAYS
DEATH STREAMS
After blowing us away at Laneway and being named by NME as the world’s fourth most exciting new band of 2012, DZ Deathrays are ready to present their debut LP, a 13-track assault titled Bloodstreams that represents the duo’s last four years of hard work. They celebrate with a huge tour, playing the Beach Road Hotel Wednesday 18 April, The Patch Wollongong Thursday 19, Oxford Art Factory Friday 20 April, and Transit Bar Canberra Saturday 21. They’re supported by Brisbane garage-rockers Velociraptor.
Brisbane’s Halfway are hitting the road with labelmates We All Want To for a quick spin around the country before heading into the studio to record their fourth album. They’re playing the Oxford Art Factory Friday 27 April and the Phoenix Bar in Canberra Saturday 28. Accompanied by her longtime band, guitarist Boo Hewerdine, bass player Alan Kelly and drummer Ian Carr, Scottish songbird Eddi Reader is back for another tour that will see her play Lizotte’s Newcastle Thursday 15 March, The Southern Cross Club, Canberra Friday 16, the Blue Mountains Music Festival in Katoomba Saturday 17 and Sunday 18, Lizotte’s Kincumber Wednesday 21, Blue Beat in Double Bay Thursday 22 and Paddington Uniting Church Friday 23.
DEEZ NTS
GOING NUTS
ENEMY LEGIONS
26 • THE DRUM MEDIA
Following the success of Gossling’s second EP Until Then, she’s set to dominate the airwaves again with new single Wild Love. Recently Gossling has captured a whole new audience with her collaboration with 360, Boys Like You. In addition to supporting Adam Cohen (at The Basement Circular Quay, Wednesday 14 March), she embarks on her own headline tour, playing with her band at Clarendon Guest House, Katoomba Friday 27 April, The Basement Circular Quay Saturday 28 and Brass Monkey Sunday 29.
THE MEDICS
There is no question The Medics are amongst the most uniquely exciting live bands in Australia today. Originating from Far North Queensland and now well and truly part of the fabric of the Brisbane music community, they’ve recently been announced as one of Triple J’s next crop artists and are about to embark on a tour celebrating next single Joseph. The You Built Walls To Cover Your Pride tour hits GoodGod Small Club Friday 20 April.
To celebrate the release of their new CD/DVD package F#*k The World, Deez Nuts will take on their first Australian tour in almost a year, joined by two of Sydney’s finest heavy hitters in Phantoms and The Bride. It’ll be their last for a while before they jet off to write and record their third studio album. Saturday 7 April they play two shows at The Annandale Hotel (Under-18s day, 18+ at night) and Monday 9 they play an all-ages show at Oasis Youth Centre, Wyong.
ARCH ENEMY
JOHN BUTLER
YOUNG LOVE
CALL THE MEDIC
Geoffrey O’Connor has been invited to open for Big Scary on their forthcoming East Coast tour, which will see them take over Oxford Art Factory Friday 27 April. Funkoars have announced the supporting acts that will be joining them at various venues on their forthcoming Being Vincent D’Onofrio tour, including Raw City Rukus, Old School Al and Matrix at the Tradies Club in Canberra and Def Wish Cast and more at the Annandale Saturday 5 May, for starters.
GOSSLING
TIN SPARROW
SPARROW’S ART
A follow up to the well-received debut From The Sun, Tin Sparrow are about to release their follow up release, an EP featuring the singles Hector Myola and upcoming Azzuro. Having secured the coveted spot of national support on the upcoming sold out Matt Corby tour, Tin Sparrow will then take to the stage at Secret Garden Festival on Saturday 17 March. They play their own shows Thursday 19 April at GoodGod Small Club and Friday 20 at Yours & Owls, Wollongong.
HUSKY
Swedish melodic death metal heavyweights Arch Enemy, with nine albums under their belts, are masters of their craft. They have never been a band to do anything without 100 percent commitment and their new album Khaos Legions is a testament to that fact. Arch Enemy will be bringing tracks from it and their trademarked sonic violence to our shores for a no doubt brutal show Monday 30 April at Manning Bar, supported by As Silence Breaks and Datura Curse.
SUB HUSKY
Melbourne band Husky will be the first ever Australian group to be signed to Sub Pop, joining the likes of world-class acts Fleet Foxes, Beach House and The Head & The Heart, plus of course grunge legends Nirvana and Soundgarden. They’re obviously pretty chuffed about it and are hitting both the international and national touring circuit for some good times and spruiking latest single The Woods. Thursday 3 May they play Oxford Art Factory.
themusic.com.au
THE PEEP TEMPEL
PEEP SHOW
Melbourne three-piece rock/punk/garage group The Peep Tempel will be heading to the King’s Cross Hotel in celebration of their self-titled debut album on Saturday 10 March. A collection of vignettes inspired by the grime of everyday life, The Peep Tempel is a frenzy of concise riffs and incisive lyricism. Joining in on the night are The Go Roll Your Bones, Corpus and The Grand Lethals.
THE DRUM MEDIA • 27
FOREWORD LINE
NEWS FROM THE FRONT
ILL DEVOE American R&B legends Bell Biv Devoe and Ginuwine are heading Australia’s way for the very first time. After their days in New Edition came to an end with the departure of Bobby Brown in 1986, Ricky Bell, Michael Bivins, and Ronnie DeVoe carried on to form Bell Biv DeVoe. They’re joined by superstar Ginuwine, best known for his epic smash hit Pony and his cover of When Doves Cry. Friday 1 June they play an all-ages show at the Enmore Theatre.
M A R L E Y VIVID GUITARS
Following the success of his first CD in 2009, French guitar virtuoso Pierre Bensusan makes a return visit to Australia to mark the release of his latest CD, Vividly. Recognised as one of the most eloquent and diverse world musicians, Bensusan is a composer as well as a bilingual and improvisational vocalist. In addition to appearances at the Port Fairy Folk and Blue Mountains Music Festival, he plays Notes Saturday 24 March and Lizotte’s Dee Why Sunday 25. David Ross MacDonald supports him at both shows.
RISING FEVER Bluesy guitar/drums duo The Blackwater Fever hit the road again with a tour taking them well into March. Joining forces on their Sydney date will be equally seething dark and moody blues sultress Kira Puru & The Bruise, plus The Preachers, Friday 23 March at GoodGod Small Club. The show comes at the tail end of recording sessions for the twosome, busy constructing their third LP, tentatively titled Depths.
THE MACCABEES
INTO THE WILD
After being announced to play Groovin’ The Moo Saturday 12 May at Maitland Showground and Sunday 13 at University of Canberra, The Maccabees will also be performing headline shows on their first trip to Australia. Following big singles Pelican and Love You Better, their primary focus is third album Given To The Wild – the band’s most adventurous work to date – a work of distorted pop, psychedelia and soulful guitar. Thursday 10 May they play the Metro Theatre.
SHORT & CURLY
CHRIS GILLESPIE
MORE FOR MOUNTAINS
KAISER CHIEFS
RUNNIN’ THE MOO
Australia’s favourite Leeds lads the Kaiser Chiefs are returning to our shores this May for a string of exclusive shows to coincide with their Groovin’ The Moo headline dates. They’ll be bringing their brand new single On The Run, playing the previously announced Moo shows (Saturday 12 May at Maitland Showground and Sunday 13 at University of Canberra), before hitting The Hi-Fi Tuesday 15 May. Up-and-coming young guns Deep Sea Arcade and Loon Lake support.
CITY & COLOUR
CITY GROOVIN’
Following their just-announced appearance on Groovin’ The Moo Saturday 12 May at Maitland Showground and Sunday 13 at University of Canberra, City & Colour will appear in an all-ages headline show Monday 14 May at the Enmore Theatre. Joining them is fellow Canadian, Bahamas. What began as a hobby for hardcore singer Dallas Green (Alexisonfire) has evolved into one of the most praised acoustic/ indie/folk acts to enter the scene in recent times.
With just under a month to go, more acts have been announced for the Blue Mountains Music Festival, taking place from Friday 16 to Sunday 18 March. These include King Marong & Safra, Noriana Kennedy, Chris Gillespie & The Wandering Hands, Tinker, Mike & Ged, Bellyache Ben & The Steamgrass Boys and The Ruby Bloomers. They join the likes of Judy Collins, Krystle Warren, Harry Manx, Eric Bibb, Blue King Brown, Eddi Reader and many, many more.
BIG BANG THEORY
Take a trip back to where it all began this year at Future Music Festival 2012 as Starfuckers return to once again host their own stage and this year they are set to deliver The Big Bang Stage. Joining head fuckers Mr Disorder, Hookie and Trentertainment will be space cadet DJs Narrator, Ruslan, Trelz, La Dooda, Oh Boy, Error and Go Freek, Saturday 10 March at the Royal Randwick Racecourse.
WHO’S NOT NEXT
Due to unforeseen scheduling conflicts, it has been announced that Roger Daltrey’s upcoming tour of Australia, including an appearance at Bluesfest on Monday 9 April, will regrettably be cancelled. Refunds are available for the single day of Bluesfest he was due to perform as well as his other scheduled concerts.
UKULELE ORCHESTRA OF GREAT BRITAIN
LOOSE CHANGE
The Ukulele Orchestra Of Great Britain are celebrating “the instrument bought for loose change” with their first trip to Australia. The Orchestra has been performing for the past 25 years, playing songs ranging from favourites such as Teenage Dirtbag and Psycho Killer, to mashes of classics like Flight Of The Valkyries. They play Canberra Theatre Centre Saturday 3 March, Illawarra Performing Arts Centre Sunday 4, Sydney Opera House Concert Hall Tuesday 6 and Newcastle City Hall Wednesday 7. They continue south for a few more shows before hitting WOMADelaide.
SKRILLEX
BANGARANG GANG
Freshly crowned as the new king of EDM following three Grammy wins, Skrillex is ready to send his younger fanbase into a frenzy with a massive all-ages headline show at the Enmore Theatre, Wednesday 7 March. Touring as part of the Future Music Festival (Saturday 10 March at the Royal Randwick Racecourse) and celebrating his new Bangarang EP, the scary monster will be supported by a nice sprite in 19-year-old wunderkind producer Porter Robinson.
MOVING LIPS
Flower punkers The Black Lips’ Sunday 4 March show has moved from The Standard to The Annandale Hotel. All tickets from the original show will be valid at The Annandale, where the ‘Lips will be supported by Circle Pit – known for their harsh, abrasive sound and alternating male/female vocals – and Bed Wettin’ Bad Boys. This show is the day after their Playground Weekender performance.
BUILDING A GROUNDATION
After a massive Australian tour in 2010, California’s renowned roots reggae band Groundation return to celebrate the release of their seventh album Building An Ark. Their live shows are synonymous with high-energy positive communal vibrations, combining the message and determination of the best reggae music has to offer with perpetually fresh jazz-inspired improvisation. Supported by Budspells and Loren, they play The Manning Bar Friday 9 March, prior to playing Womadelaide.
28 • THE DRUM MEDIA
WAVVES
EXPANDED PLAYGROUND
Playground Weekender has announced an itinerary of unique entertainment to complement its diverse line-up of music artists. New for 2012 is The Village Green, a focal point for the festival encompassing several entertainment hotspots, a watering hole and gourmet eateries. There you’ll find Get Forked, featuring different food options; The Local, an authentic beer and cider garden; Strictly Prancing, featuring stand up comedy by day and burlesque and cabaret at night; Jingle Jangle Jenga, where you can enjoy games of giant Jenga, Connect 4 and draughts in the sunshine; Chakra Kahn featuring a range of massage treatments and healing therapies and Om Shackalacka, consisting of yoga, workshops and spiritual guidance. In addition to all of the action at The Village Green, the venue has a range of entertainment to keep restless bodies active, including mini golf, tennis, basketball and volleyball, plus there will be immersive art installations.
GROOVY WAVES
Following their just-announced shows at Groovin’ The Moo, Wavves will play a sideshow Tuesday 15 May at Oxford Art Factory. Thrust into the spotlight after generating buzz through the brilliant home recordings of the first two albums – both chock-full of charisma and infectious power-pop – the distortion-happy, lo-fi slacker and his poppy melodies has attracted plenty of fans.
WWW.SUMMERFESTIVALGUIDE.COM.AU
themusic.com.au
Hailing from Mannheim, Nick Curly is responsible for spawning a distinct house sound of the same name that has proliferated around the globe. Label owner, producer and DJ, Curly emerges out of 2011 with accolades such as boasting Cocoon’s highest selling 12” and ranking high on Resident Advisor’s annual DJ poll along with his buzz-worthy residency at Space Ibiza. He brings his Between The Lines tour to Goldfish on Saturday 24 March.
GET SOME, GO AGAIN The GO!! Show was a groundbreaking phenomenon when it first went to air nearly 50 years ago, introducing live and local music to a new generation of music fans. It hit television screens in 1964 hot on the heels of the lifestyle shattering tour of The Beatles, creating the perfect vehicle for a stable of local teen stars and changing the lives of a generation. In Go!! Show Gold, on stage together for the first time since the television show will be Johnny Young, Normie Rowe, Masters Apprentices, MPD Ltd, Ronnie Burns, Dinah Lee, Darryl Cotton, Bobby Bright, Tony Worsley and Marcie Jones. It takes place at the State Theatre Friday 4 May.
ON YOUR SIDE A-Sides is a pioneer of drum’n’bass and his ability to combine soulful vocals with rolling breaks and his trademark heavy bass makes his tracks work extremely well on the dancefloor. As a result, his tracks are regularly played by the top drum’n’bass DJs in the world. But A-Side will be spinning tracks in the flesh when he plays at the Sly Fox on Thursday 8 March.
SLAMMING BRICKS The Annandale Hotel have decided that they will make their SLAM (Save Live Australian Music) Day last well beyond the actual day this Thursday, when they have Papa Vs Pretty, Cabins and Palms play for free. They’re putting on another two free gigs, with Friday featuring Fait Accompli, Raise The Crazy, Devine Electric and Blackie (Hard-Ons), while Saturday has The Fauves, Little Lovers, Tom Ugly, March Of The Real Fly and Jack Carty. The focal point for these events will be on the hotel’s Buy A Brick Campaign, with bricks being sold and the money going towards a much needed upgrade of the hotel and to reduce debts.
COMMUNITY COMING TOGETHER Preparations are well underway as Sydney gets ready to host its first Reclink Community Cup at Henson Park on Sunday 18 March. This familyfriendly fun day out which will see music and entertainment industry personnel battle it out during an AFL match against local musicians all in the name of raising funds for Reclink Australia. It’s Sydney’s turn for the event, which in Melbourne has been running for 20 years to assist the disadvantaged via the fundraising efforts of the community and has become a fixture on the event calendar for thousands of Melburnians. The Sydney Sailors team will be captained by Adam Spencer (ABC Sydney Radio). The Western Walers will be made up of Sydney’s musicians and will be captained by Dan Sultan. SBS TV’s Brian Nankervis (RocKwiz) will be one of the official umpires on the day. More details regarding players and bands performing at the event will be announced soon. Whilst the footy match will be the centrepiece, there will also be musical entertainment provided by bands on this family-friendly fun day.
105 VICTORIA RD MARRICKVILLE
130 ENMORE RD ENMORE
DEATH CAB FOR CUTIE
Switchfoot + HOLLAND all ages
mon 27 february
+ DAPPLED CITIES
1ST SHOW SOLD OUT!
BUSH
sold out!
+ STAIND + CHERRI BOMB
DEVIN TOWNSEND PROJECT & MESHUGGAH + DREDG all ages
MON 27 FEBRUARY
MARILYN MANSON
tue 28 february
+ COAL CHAMBER + WEDNESDAY 13 + MOTIONLESS IN WHITE
CATHEDRAL + Paradise Lost + Turisas all ages
24 - 25 FEBRUARY
WED 29 FEBRUARY
APHEX TWIN
wed 29 february
+ MARK PRITCHARD + HARMONIC 313
FRI 2 MARCH
underoath
SKRILLEX
+ Dream On, Dreamer + The Smoking Hearts all ages
thu 1 march
+ PORTER ROBINSON
black cherry
ON SALE NOW
FATBOY SLIM
+Brothers Grim + Firebird + The Delta Riggs + Graveyard Rockstars & More!
sat 10 MARCH
+ AJAX
THU 8 MARCH
ALL AGES 2ND SHOW ON SALE NOW
DIE ANTWOORD
BALL PARK MUSIC + Nantes + Cub Scouts
30 maR - 1 apr
FRI 9 MARCH
CITY & COLOUR
ON SALE NOW all ages
amy meredith thu 12 april
ON SALE AL 23 FEB
10 - 12 may BOOKINGS: 9550 3666 OR FACTORYTHEATRE.COM.AU
+ BAHAMAS
MON 14 MAY
BELL BIV DEVOE
ON SALE now
DEAD CAT BOUNCE
WED 7 MARCH
ON SALE NOW
+ GINUWINE
FRI 1 JUNE
BOOKINGS: 9550 3666 OR ENMORETHEATRE.COM.AU
624 GEORGE ST SYDNEY
MAYER
HAWTHORNE
FRI 24 FEB
THE ORB & BOMB THE BASS
SAT 25 FEB
+ ELECTRIC EMPIRE + FANTINE (ACOUSTIC)
+ ANIKIKO + SHANE SOS
ALL AGES
THURSDAY + SAVES THE DAY + CIRCA SURVIVE
ALL AGES
THE RAPTURE + AZARI & III
MON 27 FEB
THU 8 MAR
ON SALE NOW
BEST COMEDY OF MALAYSIA
FEAT HARITH ISKANDER, DOUGLAS LIM & KUAH JENHAN
SUN 25 MAR
ALL AGES
AUGUST BURNS RED + BLESSTHEFALL
FRI 20 APR
+ NORTHLANE
1ST SHOW SOLD OUT!
JOHN BUTLER
27 28 APR
+ FELICITY GROOM
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THE MACCABEES
THU 10 MAY
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LANIE LANE
FRI 1 JUNE
+ THE RUBENS
BOOKINGS: 9550 3666 OR METROTHEATRE.COM.AU
tix $ from
10 entertainment quarter moore park
bookings: www.comedystore.com.au or 9357 1419 THE DRUM MEDIA • 29
FOREWORD LINE
NEWS FROM THE FRONT
IN BRIEF The second album from Slash, due for release Friday 18 May, will be titled Apocalyptic Love, and features Myles Kennedy & The Conspirators. Julia Stone has just released the first single and lead track from the EP of the same name, Let’s Forget All The Things We Say, from her forthcoming solo album, By The Horns, due in May. Meanwhile, this Friday sees the release of what Stephen Cummings is suggesting will be his second last album ever, Reverse Psychology, while American sweetheart Estelle is releasing All Of Me. The Ting Tings release their new album, Sounds From Nowheresville, and Phnom Penh-based The Cambodian Space Project deliver their debut slab of Khmer rock, 2011: A Space Odyssey.
DEUS
ONE DEUS dEUS have enjoyed a 20 year career thus far, with their previous five albums earning them a place on the hit-lists of numerous tastemakers, whilst their latest offering Keep You Close (out in Australia Friday 30 March) has been described as a glorious climax of their musical talents. Despite that, Belgium’s biggest act are yet to perform Australian headline shows. This will be rectified when they play the Manning Bar on Thursday 10 May.
Stoner rock band Fu Manchu are returning to Australia for a full national tour. Special guests are the crushing San Francisco sludge metal duo Black Cobra, while local openers will be Matt Sonic & The High Times. You can catch this bill Thursday 3 May when they play The Hi-Fi.
SHOOT STRAIGHT
LOOK MA
The Pistols At Dawn East Coast tour sees Tasmanian swamp blues/rock/hardcore act Guthrie teaming up with likeminded Brisbane rock’n’rollers Transvaal Diamond Syndicate. They are set to completely traverse the East Coast from Cairns to Launceston and everywhere in between with over 50 shows on the books. In Drum parts you can catch them Saturday 14 April at the Great Northern Hotel Newcastle, Sunday 15 The Junkyard Maitland (2pm), Thursday 26 Valve Bar, Friday 27 Hotel Gearin Katoomba, Friday 18 May Old Canberra Inn and Saturday 19 The Phoenix Canberra.
Leftfield are releasing their new album, Tourism, Tuesday 2 March, and the same day sees Sublime With Rome release their album, Yours Truly, while Andrew Bird releases his new album, Break It Yourself, and Lambchop release their 11th album, Mr. M.
FU MANCHU
FU COBRAS
Sydney duo MA are releasing their raucous new album Dance Until My Heart Breaks, featuring infectious beats and a huge, brassy sound, on Friday 2 March. They are launching their new album with their full 11-piece band playing soulful tunes that marry classic hooks to electronic beats on Wednesday 14 March at The Vanguard. Also playing are sweet songsters Hello Vera whose new single On The Road is a catchy cross between Feist and Burt Bacharach, as well as Lily So & Co – a Sydney songstress whose combined love of folk stories and Edith Piaf produces songs with a unique, guitar-driven sensibility.
SAN CISCO
AWKWARD AGAIN After only just finishing up a sold-out tour with The Jungle Giants, WA indie popsters San Cisco are heading out on the road again for a string of shows to coincide with their Groovin’ The Moo performances. This time they will be revealing a few new tunes as well as songs from their EP. In Sydney they’re playing The Standard on Wednesday 9 May.
Friday 16 March sees the release of the debut album, Cognitive, from the new band for ex-Opeth drummer Martin Lopez and Testament bass player Steve DiGiorgio, the four-piece Soen. The same day sees the release of the next big and remarkably diverse Late Night Tales compilation, this time from Belle & Sebastian, the new album Belle from iconic NZ singer Bic Runga, the new album, How About I Be Me (& You Be You)? from Sinead O’Connor, and the debut solo album Provincial from Canadians The Weakerthans’ singer/songwriter John K Samson. East London four-piece Django Django, who aren’t remotely gypsy jazz despite their name, release their self-titled debut album Friday 23 March, the same day seeing Sydney’s Bearhug release their full-length debut album Bill, Dance, Shiner, and The B-52s in concert captured in hometown Athens, Georgia, for release on DVD and CD as B-52s – With The Wild Crowd.
WED MAY 9TH THE HI-FI, BRISBANE thehifi.com.au
THU MAY 10TH METRO THEATRE, SYDNEY ticketek.com.au
WED MAY 16TH THE HI FI, MELBOURNE thehifi.com.au
FRI MAY 18TH CAPITOL, PERTH moshtix.com.au
NEW ALBUM GIVEN TO THE WILD OUT NOW
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30 • THE DRUM MEDIA
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JIMMY VARGAS & LILIANA SCARLATTA’S NOIRSVILLE
WITH VERY SPECIAL GUEST CHANTEUSE ANGIE HUBBARD
WEDNESDAY 22 FEB
Noirsville’s Wednesday residency is a night of 1940s Hollywood cabaret, Exotica, Torch and Crime Jazz, aided and abetted by a cavalcade of specialty combos and exotic entertainers. Tonight ANGIE HUBBARD chills with some lush interpretations of the 1940s and ‘50s boudoir jazz songbook. Angie sings wonderful, stripped down, classy, sexy interpretations of jazz classics. And we mean wonderful, as in pretty damn awesome. Check out the 8 minute film for Black Coffee at http://www.youtube.com/ watch?v=bGUgMityreg. Gerard Masters will be backing Angie’s stripped, sexy ‘n strong vocals live at Blue Beat in a deliciously intimate affair.
VINCE JONES THURSDAY 23 FEB
After two remarkable shows at Blue Beat in December and January, which saw him singing at the peak of his considerable powers, Vince Jones returns by popular demand. His songs - words and music - are inspired by his love of 60s soul music and politically aware folk and rock as much as jazz. The environmental and social concerns in his lyrics - as politically engaged as the work of any songwriter in the world today - ride on a deeply swinging or grooving rhythm, and the effect is astonishing. Pianist and co-writer Matt McMahon (on Blue Beat’s ex-Opera House Steinway) helps render even familiar material utterly new. Guitarist James Muller and the rhythm section of Simon Barker and Ben Waples complete the circle. And at last it seems the world is catching up with Vince’s political, environmental and social concerns, which have for so long been at the heart of his lyrics. In the intimate surrounds of Blue Beat’s classic jazz club setting, you can hear a pin drop when Vince is on stage. Undoubtedly a Vince Jones performance is one of the great musical experiences on offer here or anywhere in the world in 2012.
GANG OF BROTHERS FRIDAY 24 FEB
Final call 27 Feb intake
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Brand new project of the four Martinez Brothers, showcasing their musicianship and love of the groove every Friday in February. Lovers of LIVE New Jack Swing, R&B and funk, this is an awesome band. Guest vocalist is Buddy Siono, also very awesome!
SALSA MASQUERADE FEATURING
SYDNEY SALSA ALLSTARS AND DWIGHT ‘CHOCOLATE’ ESCOBAR
SATURDAY 25 FEB
“After you learn how to walk in Venezuela you learn how to dance”. That’s DJ Dwight ‘Chocolate’ Escobar, host of Blue Beat’s evening of mystery, elegance and dancing, the ultimate masked Salsa dancing experience, with the SYDNEY SALSA ALL STARS featuring vocalist WILSON OROZCO, plus two of Sydney’s hottest Latino DJs, VICCO EL SONERO and DWIGHT ‘CHOCOLATE’ ESCOBAR himself, Sydney’s connoisseur of authentic Afro-Cuban and Latin rhythms, mixing Cuban Timba, Hispanic rap, Latino hip hop and the most exquisite Salsa sounds. “I love Salsa. As soon as you hear it you love it. It comes from great happiness”.
BLUE SUNDAY
BLUE BEAT’S SUNDAY SESSION WITH D1 AND SPECIAL GUEST CARLOS C MAJOR
SUNDAY 26 FEB
Improvised funky masterpieces with crunch. Keeping the weekend alive with funk, Latin and R&B til very late. Surprise guests sitting in every Sunday.
Degrees and Diplomas in 3D Animation. Your creative future starts today. Launch your creative journey through collaboration, education and training at JMC Academy. Visit jmcacademy.edu.au or call on 1300 410 311.
SONIC MAYHEM ORCHESTRA MONDAY 27 FEBRUARY AND EVERY MONDAY Launching a new Monday night gig and late night jam session, with a blasting 10-piece band + guest vocalists, followed by a free-wheeling jam session, every week. Featuring special Feb guest Dan Barnett plus James Ryan (leader, tenor, baritone, flute), Aaron Michael (flute, soprano, alto, tenor), Paul Cutlan (baritone, bass clarinet, clarinet), Martin Kay (alto, clarinet), Warwick Alder, Simon Ferenci and Dave Panihci (trumpets), Greg Coffin (piano), James Hauptmann (drums), Andrew Atwill (bass, from March). High energy jazz rockin the room from 8.30, loud and live til very, very late.
COMING SOON
JIMMY VARGAS & LILIANA SCARLATTA LAUNCH ‘LUST ANGELES’ (WED 29TH) SAM MCNALLY (THUR 1ST MAR), PROFESSOR GROOVE WITH LO FIVE (SAT 3RD MAR), EVERY WOMAN FESTIVAL (THUR 8TH MAR), THE IDEA OF NORTH (THUR 15TH), KING TIDE (SAT 17TH MAR), EDDI READER (UK, THUR 22ND MAR, ONLY SYDNEY CLUB DATE) KITCHEN OPEN LATE FRIS AND SATS
DELICIOUS LATE NIGHT TAPAS Blue Beat is the perfect venue for Media, Tour and Record Launches, Functions and more. Give us a call. THE DRUM MEDIA • 31
DIRECT AND APPROACHABLE
BUILDING A KOLOSS How many a metal fan would dearly love to be a fly on the wall during the making of a Meshuggah album. Drummer Tomas Haake says in some respects, Koloss was the product of a rejigged writing process, but otherwise, the reliable machine kicked in. He offers further insights into the writing and recording.
SWEDEN’S TIME SIGNATURE-TEASING CRUSHERS MESHUGGAH WANT TO CLEAR SOMETHING UP – THEIR MACHINE-LIKE PRECISION IS NOT CONCEIVED IN SOME TECH-METAL LABORATORY BY SCIENTISTS PORING OVER EVERY MINUTE DETAIL. BRENDAN CRABB STARES INTO THE RATIONAL GAZE OF DRUMMER TOMAS HAAKE.
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lenty of terms are tossed about when discussing the music of Swedish metallers Meshuggah, complex, hypnotic, impenetrable and dense among them. All applicable descriptors, but their polyrhythmic-driven brutality is approached from such a technically proficient place that some pundits perceive the band spending immeasurable hours punching figures into calculators in order to devise the most complex compositions possible. Quite the opposite really as drummer Tomas Haake explains when asked if songwriting is more about the groove and feel than a contrived pursuit of virtuosity. “Yeah, it’s definitely all by feel,” he explains shortly before heading to rehearsals. “I think a lot of people tend to think that this band is very analytical when it comes to writing music, but we really never have been. We just start out writing a song, if it sounds cool you just take it from there; you don’t dwell too much on the theoretics of things. There’s never actually anything theoretic about how we write our music and that’s a misconception I think that a lot of people have. Because of the complexity of the music, they think that everything’s very calculated, but it’s really not.” Given this false perception, one wonders how the sticksman feels about the use of a term like “math metal” then. As ludicrous as it seems it has become an almost accepted tag for certain bands in recent years. Does such categorisation rub him the wrong way? “Yeah, it definitely does. It always has. To me, I definitely understand and appreciate that people want to put all bands in compartments, because it’s the easy thing to do – to try and compartmentalise all the metal and all the music that’s around. But that term for example, math metal, I could never really get my head around that one. I don’t know, to me it just kind of implies that the very thing that we talked about in the last question, that you have a very calculated way of writing music. I mean, what is that? Do you sit with calculators and write music? I mean, it doesn’t add up,” the seemingly unintentional pun still ringing true. “I don’t think there are any bands that do that, but to me a term like that is kind of weird. But then again, over the years we’ve heard a lot of weird wordings for what we’re doing. Like cyber-thrash – I mean, what the hell is that? Do you perform over the Internet?” Haake laughs. “It’s not so much that it rubs me the wrong way, I don’t get pissed off. It’s just I don’t really understand it.” Fear Factory are still dubbed “cyber-metal” by a lot of critics too. “Yeah, to me cyber is something that has to do with the Internet, in that digital communication. That to me is cyber, so I don’t know how that would apply to any music really. If you really are a cyber-metal band in the sense that you don’t play live and only release albums or songs over the Internet and market yourself as only a cyber-band that fits only in that kind of realm. That I could appreciate, but to me that’s what it implies.” Irrespective of how it’s conceived, the arrival of each Meshuggah record elicits outright delirium among fans, who themselves dissect every note. It’ll be no different for forthcoming disc, Koloss either. At the time of the interview, few people had heard the new record yet; label Nuclear Blast were keeping it under lock and key.
But after a few weeks of sitting with it, one can say that like everything Meshuggah releases, while this new slab will take some time to digest, it is still heavier than a busload of sumo wrestlers. However, the tub-thumper feels in some respects it’s a more immediate offering. “In a lot of ways to me at least it’s definitely more direct. It’s not as involved as the [2008’s] obZen album. Like all the rhythmic pattern work that’s on that album is kind of over the top in a lot of ways. On this one I think you’ve kinda got the same thing going, but it’s more dragged out, or at a bit of a slower pace. In a lot of ways I definitely think that it is more direct and maybe more approachable. It’s not something that we went for really; it’s just kinda what came out this time around.” While they’re not as analytical about crafting music as many like to believe, Meshuggah are still rather harsh critics of their own output. Other band members have revealed that when an album is completed they’ll often sit around and complain about little things they could have tweaked slightly. “There’s always things that you want to redo; there’s always gonna be, ‘Why did we choose to do that part there? Why didn’t we do this or that?’ That’s always been the case for us, so it’s always a matter of you have to look at it for what it is; it’s another album, overall we think it’s really cool, but we’re always going to have issues with stuff. I think that’s the case for a lot of bands too. For us, we don’t really have the time; we can’t spend any amount of time on an album, just because we don’t have the financial resources to do that. So at some point, for that reason and also for our own mental health reasons, you’ve got to let things go. You can’t just dwell on every single riff and every single part on every song and be overly anal about everything – it just doesn’t work. We could have kept doing this album, recording and trying to refine it for another year if we had the money and felt that we
“
album, but when it comes to that we’re a little divided in the band. Me and Jens [Kidman, vocals] think we should at least play one of the new tracks, like a teaser thing. That’s the actual track [Break Those Bones Whose Sinews Gave It Motion] that we already leaked online. I think a lot of our fans, they already heard it. So in that sense it could be a cool thing. For the other people in the audience at the Soundwave Festival, most of them are not going to be familiar with our music; they don’t really know what it is. So then we just consider if it’s a track that would work in this kind of setting with a very mixed crowd. I think that track would actually go over well, ‘cause it’s a bit more straightforward and not as insane as some of the stuff that we’ve done over the years. I think we really should. What’s your take on that?” It’s suggested that a band needs to be careful in doing so, because if you play a new song live in 2012, you’re effectively releasing it because it will be on YouTube within nanoseconds. But if it’s one fans already know, it could only be beneficial. “Yeah, it’s a marketing thing from our side too. We want to release it because it’s gonna be the first video track that will hopefully be out before the album. It’s a song that we wanted people to get familiar with and see how people take it. I think it could be a good addition to our set in Australia. But apart from that, since we’re doing a couple of off shows as well, we’re trying to mix the set up a little bit. But on the other hand we’re always governed a little bit by what songs we really think work. We don’t really play any super old stuff anymore, apart from [1995’s] Future Breed Machine and stuff like that. It’s not going to be a huge difference I think from last time. We’re still gonna play Bleed [from obZen] and some of the
“THAT TERM FOR EXAMPLE, MATH METAL, I COULD NEVER REALLY GET MY HEAD AROUND THAT ONE… WHAT IS THAT? DO YOU SIT WITH CALCULATORS AND WRITE MUSIC? I MEAN, IT DOESN’T ADD UP.”
wanted to do that. But at the same time, is it really gonna be better or is it just gonna be something that we’ve spent a lot of time on and we’re a little more satisfied with [some] parts of the album? So sometimes it’s a matter of letting things go and just accepting it and trying to listen to the whole thing, as opposed to just really scrutinising part-by-part things.” Before the new album hits store shelves in late March, the band returns to Australia as part of the Soundwave Festival. This will be Meshuggah’s third trek Down Under in support of the acclaimed obZen. However, whether fans on these shores will be exclusively treated to a new track live must remain unconfirmed. “We’ve always been a little like, when we don’t have a new album out we don’t really want to play stuff from the new
songs that we did last time around. We’ve been rehearsing two or three tracks that we haven’t played in probably ten years, so that should be pretty cool. We also started playing New Millennium Cyanide Christ again [off 1998’s Chaosphere] and I believe we didn’t play that one last time. So we’re definitely trying to change it up a little.” WHO: Meshuggah WHAT: Koloss (Nuclear Blast/ Riot) out Friday 23 March WHEN & WHERE: Sunday 26 February, Soundwave, Sydney Showground; Tuesday 28, Factory Theatre
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“Overall the writing was similar to what we’ve done previously with obZen, in some ways. But then you have some differences. We kind of ended up finalising all the tracks in the fall of 2011. There was one track, Swarm, that was recorded already, I think back in December 2010 or January 2011. That was the one track that we all rehearsed as a band in the rehearsal room. That was our intent for the whole album, to do that with every track and to really be a band when it comes to… when it’s time to record stuff, that everyone should know the track already. That’s because you’ve rehearsed it like that. “But it ended up only being for that track that we did it that way and then we just fell back into the old routine of [doing things] more separately. Since we had to finalise a lot of tracks over a period of a couple of months we definitely had to work together. In the band the roles are different and we all work in different ways. Mårten [Hagström, guitars] for example, he sometimes, for a project that ends up being a five-minute track, that project could be anything from two to four hours long in Cubase. Which means you have a shitload of different riffs to scrutinise and discard and choose which ones you’re going to use to make it the best song that you can out of those. “To some extent we’ve gotten better at talking about and accepting other people’s views in the band. It’s something that you grow into, that comes with maturity or the longevity of the band, I think. We’re more open to each other’s ideas … You have the input of the others and you kind of ponder on that for a while and then usually if it’s more than just the one person that thinks you should do it differently, that’s usually a sign that it’s a good idea to do that. In that sense, we definitely did collaborate a lot over the last few months of creating this album.”
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WORLD IN THE BASEMENT FEAT. JOHANNA ELMS + FUEGO LENTO + JAMINO & GROUP LAFAYA
Join us for our ever-popular monthly showcase of Australian world music artists. A marvellous night, curated by iHearMusic.com.
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MARY KIANI (SCOTLAND) - ALBUM LAUNCH
With a passion for the "songbook" style of classic standards, Mary Kiani is one of Scotland's greatest exports of Song! Well known as the Scottish Songbird, originally signed with Mercury Records, she has had many international hits in the dance and pop music genre throughout the 90s, in Scotland, England, Europe and Australia.
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TANGLED UP IN BOB
A wonderfully satisfying celebration of Bob Dylans classic 1962-76 period, led by accomplished singersongwriter Dave Debs and a cast of red hot musos!
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VAN THE MAN THE AUSTRALIAN VAN MORRISON SHOW
Close your eyes at The Australian Van Morrision Show and it's hard to believe the Irishman is not on stage thanks to the uncanny vocals of Steve Hogan. Expect to hear all-time favourites such as Moondance, Bright Side Of The Road, Brown-Eyed Girl, Gloria, Domino, Baby Please Don't Go and Have I Told You Lately That I Love You.
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NATIVOSOUL
With a set list created from their multicultural backgrounds, Nativosoul is a Sydney based 6-piece band that melds roots, reggae and rock with traditional Latin and world rhythms. Join us for a a Gala that will also incorporate dancers in a boundary crossing urban musical fusion.
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SUMMER AT MACQUARIE PLACE BAR
Join us for Happy Hour and kick back with some cool Summer sounds and drinks to match in our Bar on Macquarie Place, with plenty of seating inside and out.
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ROOTS CARAVAN FEAT DAN HOPKINS + CARL STEWART + INICIATE
Some early week finetuning with a whole lotta folk, roots and blues from the likes of Dan Hopkins & Band, Bryce Cohen, Carl Stewart, Iniciate and Renatte Nguyen - stripping it back, but laying it on.
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MARK WILKINSON + LISSA
Mark Wilkinson has built his reputation from the stage. His lyrical depth, gift for melody, and soulful voice have been connecting with fans the world over.
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JAMES MORRISON
A virtuoso in the true sense of the word, its hard to imagine that James Morrison could get any better, but it seems with each time he hits The Basement stage, he raises the bar even higher and effortlessly sails over.
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BEN SOLLEE (USA)
A genre-bending cellist and vocalist known for his percussive playing style, genre hopping songwriting, wide appeal, and political activism, Ben's music music incorporates banjo, guitar, percussion and unusual cello techniques to create a unique mix of folk, bluegrass, jazz and R&B.
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ERIC BIBB IN DUO MODE WITH STAFFAN ASTNER + SPECIAL GUEST KRYSTLE WARREN
A performance by Eric Bibb is an enriching experience both musically and spiritually. Purveying a beautifully realised and deftly accomplished, soulful and gospel infused, folk-blues, Eric has no problem melding a traditional rootsy American style with a subtle contemporary sensibility.
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50 YEARS OF THE ROLLING STONES - A HISTORICAL PERSPECTIVE
Damien Lovelock (Celibate Rifles) will present this hand-picked set list to celebrate the fiftieth anniversary of the Stones. The band will be playing two full sets covering the span of Mick's and Keith's catalogue.
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STORYLINES - CELEBRATING THE GREAT STORYTELLING SONGS
Creative DirectorJoseph Calderazzo (guitars) will be joined by guest vocalists Jason Walker, Suzy Connolly, Lachlan Doley, Danielle Blakey, Luke O'Shea and Sam Knock to interpret a treasure trove of songs both intimate and upbeat, by troubadours including Bob Dylan, Bruce Springsteen, Cat Stevens, Joni Mitchell, James Taylor, Suzanne Vega, Simon and Garfunkel and many more.
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ADAM COHEN (CANADA) + GOSSLING
The son of legendary poet-balladeer Leonard Cohen, Adam Cohen will embark on his first Australian tour showcasing the unique and distinctive voice that has made him a success in his own right.
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THE BLANKS (USA)
Just the right balance of self-aware nerdy cuteness, you can't help but snap your fingers along. And they're good -- as in Sweet Adeline's good. Believe it or not, they've been performing since before Scrubs existed. Their live show adds skits and dorky dance moves, talking toys and costume changes.
THE DRUM MEDIA • 33
EVER FRESH SEVEN ALBUMS AND 15 YEARS INTO THEIR CAREER AND DEATH CAB FOR CUTIE STILL REMAIN ONE OF THE WORLD’S MOST EXCITING OUTFITS. BASSIST NICK HARMER TELLS BEN PREECE THAT HE CAN’T BELIEVE IT’S BEEN THAT LONG.
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ooking at them now, it’s hard to believe that Death Cab For Cutie, as we know and love them in 2012, began as a solo project for vocalist Ben Gibbard. Fast forward 15 years and following the success – on some level or another – of seven remarkable records and you have yourself one of the finest, not to mention most consistent and exciting bands the musical world has to offer. Their latest record Codes And Keys, like its six predecessors, has once again stepped up to the challenge the four humble musicians set themselves each and every time. “We’re very, very happy and very proud of it,” Death Cab For Cutie bass player Nick Harmer enthuses. “We were very proud of it when we were finished with it, when giving birth to it and bringing it into the world. I think, if anything, our feelings
with it have only become more confident and a lot stronger as we’ve figured out which songs fit into our set and we can feel the music connect to our older music and everything just weaves itself together into a continuing story, if that makes any sense. It’s nice, we’ve been able to try some fun stuff on this album already, even with video ideas and the new remix EP [the subsequent Keys And Codes] that we’ve always wanted to try and finally have this time. “We’re definitely a band that has never really made any long-term plans or lofty goals about what we want to accomplish – we don’t have a mission statement that we’re working towards and there’s nothing consciously planned,” he reveals. “I do know that we like playing with one another and we aim to be the best players we can with each other and even this many years on, there is a great sense of wanting to impress my bandmates. I want to be a bass player that when I play bass or play a bass line, they all get excited about it. I know that’s the same for everybody in the band – we’re all invested in writing the right parts that everyone will get excited about. There’s a nice sense of, I don’t know, connection that happens when we all get in a room. There’s a bit of the conscious stuff – we do practice and play and are constantly listening – and also the more natural sort of things. I guess that’s just what happens when you make music.” From 2000’s indie classic We Have The Facts And We’re Voting Yes to their 2003 breakthrough Transatlanticism and their major label debut Plans from 2005, each and every Death Cab will argue for their favourite. However, there is no denying a notable progression that is present on each album as the band’s career continues. Guitarist Chris Walla is also the producer on every record in their discography and his techniques impressively improve as much as Ben Gibbard’s songwriting pencil sharpens. Codes And Keys was no exception with Walla once again setting himself all new production challenges. “Chris usually has a specific way of recording,” Harmer says, “that he might want to try, push or explore… like [2008’s] Narrow Stairs where he wanted to make that whole album on analogue tape and stay away from computers; he wanted to record the band off the floor, as live as possible with minimal overdubs. That was his mission on that album and we were happy to rise to that challenge. On Codes And Keys, he was in love with recording on the computer in the Logic program and really wanted to explore the infinite possibilities that recording with a computer can bring. That was also a fun challenge and really opened things up, you know, really throwing everything at songs.” As we’ve already learnt, Gibbard is the principal songwriter and makes the calls about exactly when the band will enter the studio. But as Harmer explains, there certainly is no hierarchy when it comes to what songs will be recorded or even how they will be manipulated from demo-form into final, album-ready songs. “Ben had a big pile of demos and at some point in the process he will always be like, ‘You know what, we have enough for an album. I don’t know what it’s going to be but let’s go look at them’. With Codes And Keys, we went in with maybe thirty songs and they weren’t even always fully-realised songs. I guess you could call them thirty great ideas – some full songs, some fragments, whatever. We just got in a room and started recording and talking about them and reacting to them and over that process, the album finds its way out of all of that. Sometimes we go into the studio and we think it’s going to be these twelve particular songs but there’s always a few that rise to the occasion and weren’t going to make the album and [are] suddenly our favourites. There’s not a set way – we seem to just feel our way through and we just… know when it’s done. “You Are A Tourist, the first single, was the last song we recorded and it was very different to how it’s heard now – it was a slow, mid-tempo demo that Ben had written in the middle of the recording process. It wasn’t even in the original batch of songs we were going in to record. Chris was always on the fence about some stuff that was going on in it, so he decided to cut a bunch of the information that Ben had in it and focus in on this one guitar solo and that solo ended up being the main riff of the song once they talked about it and shifted it. Once they unlocked that piece, the whole song just fell into place and we all knew where it needed to go and what needed to happen and we loved it. We liked it so much that not only did it go on the record, but it was the first thing we wanted everyone to hear from it.” Relentlessly touring since the album dropped in May last year, the band are finally making their way to Australia for a headline tour. “This is our fourth or fifth time in Australia; we’ve been down there a fair amount,” he says. “It is our favourite country to tour in, no question. It sounds kind of pandering to tell you that, but we always have a great time down there. It’s great going down there when it’s winter where we’re from. We have a couple of albums of material that you haven’t heard played live yet, but that’s Ben’s job. He has a file where he keeps setlists, every setlist we’ve ever played in every city we’ve ever played in. When we come back to Australia, he’ll bring up the last time we were down there and make sure we have it covered. There are some we have to play – the hits and whatnot – but there’s a rotating cast of other songs that perhaps we didn’t play last time. We pride ourselves on not being that band you can predict. But we do have a lot of songs now; I wish we could play longer. It’s funny, this many years on, I think, ‘Wow, we’ve been a band for fifteen years – how did that happen?’ It does, in some ways, feel like it just started not so long ago.” WHO: Death Cab For Cutie WHAT: Codes & Keys/Keys & Codes EP (Warner) WHEN & WHERE: Friday 24 & Saturday 25 February, Enmore Theatre
34 • THE DRUM MEDIA
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WHAT WOULD YOU HIDE TO PROTECT YOUR FAMILY?
Strong coarse language and violence
IN CINEMAS FEBRUARY 23
KARMA TO BURN IN 2012, BYRON BAY’S PARKWAY DRIVE NEED NO GRANDIOSE INTRODUCTION. THE BAND’S EVER-HUMBLE VOCALIST WINSTON MCCALL TALKS ALBUM NUMBER FOUR, DVD NUMBER TWO AND TOTALLY UNICORN WITH LOCHLAN WATT.
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he five members of Parkway Drive have established themselves as perhaps the most finely-tuned group in the metalcore game. Between consistently successful studio releases, the band has barely rested from an ever-snowballing tour schedule that has spanned a decade of existence. Hundreds of ‘Romance Is Dead’ fan tattoos (that McCall confesses he looks at and thinks “I ruined your life”) later, the now-worldwide leaders have somehow found the time to prepare their fourth album for the studio. “I can tell you that we do, in context, have ideas to have big things,” he explains. “I’m not sure what those big things equate to when you compare it to other bands. We do want to do something that sounds different, but at the same time, you know us – it’s still going to sound like Parkway.
I guess we will have a lot more influences coming in – I think [2010 album] Deep Blue was kind of testing the waters when it came to, ‘Hey can we do things a little bit differently, and have it still work?’ That went really well for us, and we liked making it. “This time it’s like whatever we want to do, we’re just going to try. So far I think we’ve got ten songs done already. It’s one of those things where we’ve done as much as we can, and we still have a hell of a lot to do, but it can only be done when we’re in the studio, when we start using other instruments and things like that. There’s really nothing that we’ve said we won’t try other than me singing, so... we have a song that has Jeff [Ling – guitar] hitting a pot with a spoon.” Wait a second – the inclusion of instruments beyond the established two guitars, drums, bass and vocals on a Parkway Drive album? “That’s the idea,” McCall confirms. “We definitely want to create an album again. That’s the one thing we want to do – make something that isn’t just twelve songs stuck together. We’re writing with the idea of making a cohesive piece, but it’s not a concept album like last time. The music side of things we just want to open up as many doors as we can and try and put the music together to at the same time still sound like us.” He reveals that the band has a period set aside to record “smack bang in the middle of the year”, with a release in late 2012 planned. At the time of the interview, the potential producer was yet to be 100 per cent locked in and as such McCall was unable to reveal that information. He did however say that “it’s not the same person again”. By comparison, Deep Blue held a much more natural, realistic sound to its recording than 2007’s Horizons and 2005’s Killing With A Smile. Will Parkway continue with the idea of natural sounds over studio trickery? “Hopefully. We want to build on that. We definitely don’t want to go backwards in terms of going back to the full-on, compressed, fucking what everyone else is doing at this point in time. But there is things we want to improve on from the last record, and there is definitely things that we think we wouldn’t be able to do, sonically-wise, with the sound that we had on the last record. I think there’s going to be some little changes, but at the same time we want it to sound big and we want it to sound like a band. We’ll see how we go!” With the band’s 2009 release of The DVD having achieved platinum sales, the band documented their 2011 travels for a second DVD. Winston confirms that filming is complete and that the primary edit has begun. However, he doesn’t really see it as a ‘sequel’ as such. “It’s kind of hard to call it the sequel because it is shot in a completely different style. The last one was seven years or whatever it was, and this was one year, so the footage is of a different kind. It’s a fair bit less tongue-in-cheek, candid stuff, because it’s not so much handy-cam moments. It’s more just an in-depth look at where we’ve toured, the places we’ve toured, and so far the footage that we’ve got, the raw footage, is pretty... well I’m impressed by it so far. “It started on the Mix N’ Mash tour and finished with India,” he says referring to their final show for 2011, which saw Parkway Drive literally become the first-ever heavy international band to play the city of Calcutta. He excitedly recalls that “there was people there who had been holding onto the sides of trains for two weeks to get to the gig. It was fucking insane. Absolutely insane. The show itself was great, but everything surrounding the actual show was just... I’ve never experienced anything like it.” Going back to their forthcoming DVD, “I think it spans around forty countries, so I think it has everywhere in the world that we’ve been able to tour so far included. It’s going to be a range of stuff in there. We tried to film as much cultural stuff around the shows to try and show people what it’s like outside the places we actually go to, as opposed to ‘this is a gig inside a club, and these are the people that come to it, and this is how they stage dive.’ There’s some pretty interesting things on there.” Released last year, Parkway Drive’s video for the song Karma was something a little different for a group that had previously produced consistently dark clips. Instead, they opted for a beach performance, complete with surfing and submerged instruments. Wollongong party noise-makers Totally Unicorn decided to shoot a parody of it for their own video, complete with terrible surfing graphics and fat dudes getting suss in wetsuits. So what does Winston think of the band that’s taking the piss out of his life’s work? “Amazing!,” he says with wonder, laughing, “so good, absolutely... When we found that, it made our night. I think we were in Chicago or some shit. I don’t know how the fuck I found it, but it’s absolute genius. That band is fucking great. I’m so stoked that they actually did it as well. We’ve never been burned that hard and it’s done in such an amazing way. So well done to them.” Known for playing a hand in the selection of their supports, is Totally Unicorn a band they’d ever consider taking on the road? “Yeah, hopefully,” McCall admits. “When I was hanging out with Jay from Frenzal Rhomb, ‘cause I’ve never seen them live, he said, ‘I saw this band Totally Unicorn, they made me feel like a fuckin’ old fart, they were so insane live, you should take them out.’ So yeah, we’ll definitely think about it.” WHO: Parkway Drive WHEN & WHERE: Thursday 23 February, Bateau Bay PCYC; Friday 24, Sutherland Entertainment Centre; Saturday 25, Penrith Panthers; Saturday 12 May, Groovin’ The Moo, Maitland; Saturday 13, Groovin’ The Moo, Canberra
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COMING UNDONE THE 2010 DEATH OF GUITARIST PAUL GRAY CAST A DEFINITE SHADOW OVER SLIPKNOT’S FUTURE. IN THE WAKE OF THE RECENT TENTH ANNIVERSARY OF SECOND ALBUM, IOWA, AND AHEAD OF THE BAND’S FORTHCOMING AUSTRALIAN APPEARANCES, MATT O’NEILL SPOKE TO DRUMMER JOEY JORDISON ABOUT THE STATE OF THE BAND.
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lipknot have never existed without conflict. There are various career hallmarks and quotations one could trot out to demonstrate the point – the claims that their third album (2004’s Vol. 3: Subliminal Verses) would be their final recording as a band, percussionist Shawn Crahan’s frank revelation that he considered All Hope Is Gone to be a substandard album for the band weeks after its 2008 release – but such anecdotes are merely indicative of the band’s homeostasis as a conflicted entity. It’s hardly surprising, either. In every respect, Slipknot’s work over the past 15 years has oscillated around the forcible collusion of an almost excessive array of incompatible and often contradictory elements. The band’s music has incorporated everything from death metal and hip hop through to breakbeat and folk. Clocking in at nine members, personality conflicts were always going to be a fixture of the band’s career. “You know, people want to think that we’re at each other’s throats all the time. If that keeps them happy, I’m totally fine with that,” drummer Joey Jordison says pragmatically. “You’ve got to realise – you’ve got nine different personalities with nine strong opinions and that’s what has always made Slipknot the chaotic force that it is and I would not have it any other way. We’re all so different and, once we come together, there’s no one else like us.”
writing in Paul’s brother’s basement. When we actually got into the studio, people really started to separate. We were all living in different rooms and things started getting dark. “Man, if you listen to that record, you can hear how pissed off we were at each other,” the drummer laughs. “But, at the same time, it reflected everything we had came from – that’s why we called it Iowa.” WHO: Slipknot WHAT: Iowa: 10th Anniversary Edition (Roadrunner) WHEN & WHERE: Sunday 26 February, Soundwave, Sydney Showground; Monday 27, Sydney Entertainment Centre
Still, the premature death of founding member Paul Gray seems to have unsettled the volatile dynamic of the ensemble to an unprecedented degree. The band’s guitarist since their 1995 inception, Gray was found dead by accidental overdose in May 2010 and Slipknot’s fans and members are still reeling from the news nearly two years after the fact. It’s got to the point where Jordison is reluctant to discuss the matter at all – almost aggressively so. “The one thing I’d like to say is it’s starting to sicken me. That people keep almost using his name as promotion or, ‘Oh, Paul this, Paul that,’ – just let him rest. We did the tours, we celebrated him but, at a point, you just have to let his spirit rest. Just let him rest. It’s really starting to piss me off, to tell you the truth. We have to live with this for the rest of our lives. “All the music that he created, we’re going to be playing forever. He’s already made his mark and he’s going to live on forever. So, he’s not dead,” Jordison’s rage stumbles slightly, the drummer pausing for a second before concluding on a more reflective note. “Look, insofar as the impact of the band, it’s already been felt. We’ve moved on – or, at least, I’ve moved on. I’ve had to. He was my best friend. I just want people to let him chill out. Let him be.”
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As a journalist, it’s difficult to honour Jordison’s wishes. Make no mistake; it is genuinely ethically uncomfortable to do otherwise – but it is also somewhat necessary. The complications brought about by Gray’s unfortunate passing have yet to be fully (or, at the very least, publicly) resolved by Slipknot. Going by the various reports given by the band’s members, the jury is out as to whether the current incarnation of Slipknot will continue beyond the current tour.
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Frontman Corey Taylor has expressed uncertainty about whether he would be able to continue with the band while percussionist and de facto spokesperson Shawn Crahan has effectively claimed it’s still too soon to even begin discussing the possibility of a fifth Slipknot album. Jordison, however, has remained adamant that the band will continue (without Taylor, if necessary) and, at the time of interview, was actually writing and demoing material for the band’s next album.
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“In my opinion – and I can only speak for myself – Slipknot is my entire life. I’ve played with countless bands in the off-time but, when it comes to Slipknot time, I don’t think of anything else – and that’s where I’m at right now. As far as I’m concerned, there is no other direction for me at the moment. I’m in the studio every day, I’m in the studio as we speak. I don’t even know how many songs I’ve recorded. I’m very proud of the direction we’re heading in but we’ll see.
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“To tell you the truth, I don’t know what the other guys are doing. I can only speak for myself. I haven’t heard anything from anyone else. All I know is what I have. I’m just speaking for myself,” he repeats – a phrase that sounds like it was forged in the controversy of prior interviews on the subject. “You know, I can’t claim to speak for anyone else in the band. I’m strictly speaking for myself and what I have and what I know.” It paints a worrying picture – Gray’s best friend, writing and recording songs in obsessive isolation for an album that other band-members are uncertain will ever be recorded, let alone released. Jordison does acknowledge the situation, however – “I look at it more as a challenge for me; I’m writing songs, will they turn up on the next Slipknot album? I don’t know.” – and the reasoning behind his belief in the band is difficult to fault.
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“What I can tell you is this – I don’t know many bands who managed to maintain the same lineup for fifteen years. All nine original members for fifteen years,” the drummer says proudly. “The thing is, we’re all very different people but, in a weird way, deep down inside, we’re all kind of the same. That’s why we lasted fifteen years and that’s why we’re still together. Like I said earlier, once we do come together, there’s no one else like us.”
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Regardless, it’s difficult to know what the future will bring for Slipknot. In a frustrating way, the recent tenth anniversary re-release of the band’s second album, Iowa, underscores and emphasises the looming ambiguity of their future. A blackened, churning, misanthropic masterpiece of a record, Iowa reminds one of both what the band are capable of at their best and the brutal cost exacted on the individual members of the band (like Gray) in pursuit of such quality. “This is the thing about Iowa,” Jordison admits. “This is where stuff started to get dark. We came off an eighteen-month tour where the band had achieved a lot of success – and me and Paul could not stop. We took like two, three days off and then we were back to
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BACK TO THE COALFACE A REUNION HEAVY MUSIC FANS NEVER THOUGHT THEY’D WITNESS IS THAT OF GOTHIC NU-METAL STARS COAL CHAMBER. FRONTMAN DEZ FAFARA TELLS BRENDAN CRABB IT’S TIME TO GET LOCO, AUSTRALIA.
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espite their considerable success, when US goth-infused crew Coal Chamber called it a day, it seemed long overdue – and not just because the bloated nu-metal genre they were associated with was all but dead and buried. After a decade together and three successful studio albums, their initial run finally ended in 2003 amid reports of out-of-control drug use, egos clashing and on-stage altercations. Vocalist Dez Fafara now describes their last days as “horrible”.
forward to ‘09, Meegs came on-stage with DevilDriver and did [Coal Chamber’s] Loco in Pasadena. You can YouTube it and at the end of the song, he gives me a hug and says, ‘Let’s do this in the future’. So it’s been two years of conversations. I wanted to make sure their headspace was right and make sure they were going to be 100 percent capacity and when all that came to fruition, it just seemed like this is the time. Revisiting this thing has absolutely revamped my soul.”
“I left them because they got on methamphetamines and what I did in the press when I left was take the higher road,” he recounts during a tour stopover in Denver. “I could have come right out and said, ‘Those guys are drug addicts and that’s why I left’. But I knew their families, friends, daughters, kids. So I came out and just said, ‘Look, I just want to do different music’ and took the high road. That being said, it got horrible. When you have people staying up for four days in a row and then having shows, you’ve got people paying hard-earned money to see shitty shows. So the gig wasn’t working man; it wasn’t working for anybody. What I realised is every night I was going on stage with Coal Chamber, I was putting money in their pocket, that was what was buying them the drugs and allowing them to live the lifestyle that they were living. So I had to cut my own nose off, man, to spite my face. But in the end I saved my friends, so the karma is mine.”
The band’s slightly re-jigged line-up also features new bassist Chela Rhea Harper. Since the split Fafara has carved a sizeable reputation as leader of the harderhitting DevilDriver, who have released five albums to increasing acclaim. He says Coal Chamber were adopting the age-old “take it as she comes” with respect to the future. He’s also insistent that DevilDriver’s hectic road schedule won’t be abating anytime soon.
In the past Fafara dismissed suggestions of a reformation, so why have they decided to go down that track now?
Coal Chamber’s return couldn’t be better timed, joining the likes of late’90s/early-‘00s stablemates Limp Bizkit, System Of A Down and Slipknot as part of Soundwave 2012.
“Well, it started back in ’05,” he recalls. “Since ‘05 ‘Meegs’ [guitarist Miguel Rascón] and Mikey [Cox, drums] started coming to DevilDriver concerts and at a DevilDriver show Meegs took my wife aside and apologised for everything that went down in Coal Chamber. Because it affected all of our lives, it affected my wife, my children’s lives, we had to move into a one-bedroom apartment and really restart our lives over. So when he did that I really thought he was a big man and had a big heart. They said they were clean off of hard drugs, so in ‘05 I said, ‘Let’s see’. Fast-
38 • THE DRUM MEDIA
“We’re not discussing anything man; since we’ve said that we’re going to reunite and do the Soundwave shows, we’ve got three or four record deals thrown at us and offers from all over the globe to do tours,” he reveals. “We’re just not in a headspace to even think about that yet. We want to get in rehearsals, do this the right way and have a good time. If it’s all smiles and a good time – which music is supposed to be – and positive, we might discuss it. But right now, we’re only discussing doing Soundwave.”
“You’ve gotta realise that Coal Chamber took Slipknot on their first US tour ever, Coal Chamber took Machine Head out in the US and Machine Head took Coal Chamber out in Europe,” Fafara offers. “System Of A Down opened for Coal Chamber for like their first three or four years of existence before they even had a record deal. Limp Bizkit, Manson – all of them – we’re all friends, so it just seems very appropriate and strange too that we talked about doing this months ago before we even really knew the line-up. I kinda
knew some of the bands that were going to be on there, but I didn’t know it would be like this, just a revisiting of a bunch of great bands that have been around for a long time. We’re glad to be part of it.” With the benefit of hindsight, the growler also dissects the differences within heavy music from Coal Chamber’s 1997 self-titled debut to the present. “In the heavy music scene right now, everyone sounds the same,” he spits. “I hear 15 bands a week coming out of my 13-year-old’s room, all new bands and I know all their names and I listen to all of it. But I can’t tell them apart, ‘cause they all sound the same. In the late-‘90s, early-‘00s, it was a totally different story. Everyone had their own identity; Coal Chamber was a heavy band but with way more goth influences than anyone else around. Korn was a heavy band that had hip hop influences, System Of A Down was a heavy band but had Armenian influences. It was a different time, a different scene and I really wish that people would work a little more on having identity. For me with DevilDriver, it’s very important that we have
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our own identity and that we don’t sound like anybody else. It’s almost first and foremost with the band.” Will Coal Chamber be revisiting the fashions that formed a key part of that distinctive identity while on-stage too? “People ask me, ‘Are you going to be putting on fishnet and this and that?’ You know what? No. But am I going to spice it up and go darker? Most definitely; we were a gothic band with metal influences and what you’re going to get onstage is darkness. Even though it’s going to be daytime, it’s going to be midnight in your brain, trust me,” Fafara chuckles. “Some of those songs just really held up over time, so it’s going to be grand to do that stuff live.” WHO: Coal Chamber WHEN & WHERE: Sunday 26 February, Soundwave, Sydney Showground; Wednesday 29, Enmore Theatre
LETTING GO RYAN ADAMS IS BACK FROM THE MUSICAL WILDERNESS WITH A NEW SOLO ALBUM AND, AS HE TELLS STEVE BELL, IS FEELING COMFORTABLE WITH BOTH FRIENDS AND FOE.
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hen country-rock singer-songwriter Ryan Adams publicly walked out on his band The Cardinals in March, 2009, citing – amongst a raft of other reasons – hearing problems from his ongoing battle with Meniere’s Disease, nobody was that surprised. Such drama was pretty much par for the course for the notoriously temperamental musician, and the consensus was that the prolific artist would be back releasing music before he’d have time to even be missed. When another couple of years went by without new tunes surfacing from Adams – although in this layoff he still managed to air two previously unreleased albums, and even a couple of books of short stories and verse – folk started to take the affects of his ailments more seriously, and it’s only now with the release of his brand new solo album Ashes & Fire that we’re finding out exactly how bad things got as he struggled against an impairment that could easily have cost him his livelihood. “Well I had [hearing trouble] since 2005, I was showing symptoms then, but I was diagnosed in 2007,” Adams recalls from LA of his battle with Menieres. “Between 2007 and 2009 – basically through the last couple of years of The Cardinals – I was struggling manically to overcome my issues, and trying to work as hard as I could through them because I wasn’t sure what was going to happen to my hearing – initially the idea was that I would go completely deaf at a much faster rate. “When I stopped and took a break from music – and, by the way, I never said ‘I’m quitting music’, I see people write that in the press and it really irritates me, I said I was ‘taking a step back’; ‘taking a step back’, that is not quitting – I needed to quit smoking, I needed to do hypnotherapy, I needed to work on a lot of stuff. There were so many things that I needed to do in order to be able to hear and live peacefully, because I had a screaming siren inside of my ear; from 2007 forward I could barely hear over the tinnitus, I was so sick and so nauseas that I lost something like 35 pounds – I was a fucking skeleton, I was drastically ill – I’m so happy to be on the other side of it. I have a completely different diet, I don’t smoke, I exercise. I try to live a stress-free life, it’s really helpful.”
Thus the previously hedonistic Adams embraced sobriety and changed numerous other aspects of his life: he decamped from NYC to LA, married girlfriend Mandy Moore and after regaining his health and wellbeing began work on the new album, which he recorded surrounded by friends and previous accompli such as Benmont Tench, Nora Jones and The Cardinals’ Neal Casal. Even the album’s esteemed producer Glyn Johns had arranged strings for Adams’ former alt-country outfit Whiskeytown, as well as fathering Ethan Johns who’d helmed previous Adams albums Heartbreaker (2000), Gold (2001) and 29 (2005). “It’s normal for me, I’m a musician so I’m around the people that I play music with often,” Adams tells of his decision to surround himself with friendly faces. “At least for my group of friends, we’re musicians so we all kind of do the same thing, so when we hang out and do the same thing we do the same thing as like mechanics who are friends; they all get around a ’57 Chevy and rebuild the engine block – they don’t even talk about the engine block, maybe, ‘Pass that tool’ or ‘I think we should pull a carburetter out’ or whatever, it just sort of is. It just is what we’re doing, and we live all of our personal lives around it. I’m pretty good friends with most of the people who I’ve played with.” Lyrically Ashes & Fire finds Adams in a fragile state, offsetting the assured feel of the music; the hearton-sleeve imagery verges on soppy at times, yet as a songwriter he’s generally at his best when in confessional mode and confronting his current emotional predicament, and he has no qualms about putting such travails into the public domain. “Every writer writes from fiction and from non-fiction – it’s our job,” he offers. “I wish to write songs that show things to people that are awkward to say: that is my wish. I want to go to places that are difficult to go. And it’s not music for everybody; people who really dislike my music – who really hate my voice or probably a lot of the things I have to say, maybe they don’t like the style – those are all valid arguments, because they are all things that I put a lot of time and work into. It’s a lot better to be disliked than to be ignored, and I think the idea is to not write an ignorable verse, or to not lob the
ball so much that it doesn’t incite anything – very rarely have I seen arguments based on mere disinterest.” And Adams, often a favourite critical target, has even come to terms with his legacy, not minding for a second that the restrained tone of Ashes & Fire will inevitably bring around comparisons with his perennially-lauded debut, Heartbreaker. “I mean, what’s interesting is that it will be something else fixated on next week,” he mulls. “Sometimes it’s Heartbreaker, but sometimes it’s Love Is Hell (2004) or something. I have 13 solo records, but 17 records if you count the ones with Whiskeytown, and there’s always a different time that reflects to a different time. But I don’t think about any of that stuff when I’m working, I just make music. I wouldn’t have made that other stuff if it hadn’t mattered to me the way that it did at the time – I think songs find their own time. “The records that I made that nobody at the time was interested in and they said were shit or they were rubbish or whatever, now fast forward to eight years later and there’s a completely different take on them,
or the songs on them are the most requested live songs – songs just have a funny life of their own, they just seem to be born and they reach people and it’s like they’re second-hand clothes or something, they just keep finding new people via the people that they’re already with, so I try not to judge them. “Once I’ve worked on them and once I think I find value in them and I think that they are in some way going to be to be helpful to the listener and be worthy of existing on some level, I let them go by making people aware of them or making them for sale or just giving them away, it’s my way of kinda making peace with them and saying, ‘Okay, we’ve done our work together, now let’s go see where you’re meant to be in the world’.” WHO: Ryan Adams WHAT: Ashes & Fire (Sony) WHEN & WHERE: Tuesday 28 February, Sydney Opera House
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THE DRUM MEDIA • 39
THIS CHARMING MAN THE LAST ARTIST TO TOUR WITH AMY WINEHOUSE, MAYER HAWTHORNE RELEASED HIS DEBUT SINGLE ON RED, HEART-SHAPED 7” VINYL “’CAUSE IT WAS COOL”. BRYGET CHRISFIELD CHATS TO THE CROONER WHO’S DEVOTED TO KEEPING CHIVALRY ALIVE.
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elieve it or not, Mayer Hawthorne actually enquires, “How do you do?” (the title of his latest album) to kick off our chat. He’s currently “chillin’ in Los Angeles” and upon hearing about Mötley Crüe’s upcoming residency at The Hard Rock Hotel and Casino in Las Vegas, admits enthusiastically, “Wooow, that sounds dope! Damn. Are they gonna have the crazy drums?” Yes, the drum coaster has been confirmed. “The drum coaster, yeah,” he laughs. “That’s showmanship right there. That’s a show!” Sounds as if Hawthorne has clocked some footage of Tommy Lee’s drum coaster on YouTube then. “Oh, yeah, I’ve seen plenty of videos. I used to be a big Mötley Crüe fan.” Props to the soul sensation for embracing his love of metal when a lot of people out there would fear being classed… “Oh, fuck that!” he interjects. “I used to be a metalhead. I used to listen to Poison and Megadeth and Iron Maiden and all that stuff.” It’s hard to imagine this cat, who usually sports powder blue three-piece suits, decked out in one of those black heavy metal T-shirts complete with iron-on patch, but au contraire: “Oh, yeah, I had a few of those. I definitely had a few iron-on patches in my day.” But we digress. It’s also surprising to learn that Hawthorne has only been singing for a couple of years. Not sure we buy this theory, as he sings like an angel! So when did Hawthorne first realise that he could sing? “Um, I don’t know whether that’s really even happened yet,” Hawthorne replies modestly. “I’m, um... singing is a very new thing for me and I’m still very much learning every time I get on the stage. I’m always just trying to make sure that every night is a little better than the night before, you know. It’s something I’m working very hard at now, but it’s still very new for me.” Not wanting to blow smoke up his arse or anything, but Hawthorne sure has been blessed with an extraordinary God-given instrument. “Well, yeah, I mean, thank you very much. Hopefully one day I will really learn to use it properly,” he laughs uncomfortably. Hawthorne admits he does vocal warm-up exercises “every day”, adding “you’ve got to. It’s my livelihood now. I do have a vocal coach. I have an amazing
vocal coach. His name is Roger Love. He’s the shit: Roger is the greatest. But I also learned a lot just from touring with [and] doing shows with some of my favourite singers in the world, like Erykah Badu and, you know, I toured with Amy Winehouse in Brazil.” Reflecting on Winehouse’s untimely death, Hawthorne pauses and then offers, “That was tough. She was one of the sweetest people I ever met in my whole life. But, you know, I’m really thankful that I was the last artist to get to tour with her. I’m super thankful for the brief time that I had with her.” Not only has Hawthorne toured with some phenomenal artists, he has also featured on some sonic masterpieces. Heard SebastiAn’s track, Love In Motion? If you haven’t, do so sharpish. Hawthorne is chuffed when this track’s singled out. “Ah, man, that’s one of my favourite things that I’ve ever done.” There’s something about his vocal delivery that calls to mind Prince. “Well, it’s just something totally different that nobody’s heard from me before, but Prince is – yeah, I mean Prince is one of my favourite artists of all time and it was cool to get a chance to do something different like that; something unexpected. I actually met SebastiAn for the very first time in Amsterdam. We both happened to be in Amsterdam at the same time and it was originally a different artist that was supposed to… it was a girl, actually, that was supposed to sing that song. And she got sick or something and couldn’t make the studio session in Amsterdam and I had just met SebastiAn that day and he said, ‘Hey, why don’t you just do it instead?’ And I was like, ‘Wow! Okay, no prob, let’s do it.’ It was definitely meant to be.” Hawthorne’s music explores romantic themes. When asked whether he endeavours to keep chivalry alive in his daily life, the crooner’s response is immediate. “Of course, man, you’ve gotta! Yeah, chivalry is something that… I dunno, that’s just the way that I was raised and I’m really thankful that I had parents that taught me the importance of manners
RIPPING OFF THE BAND AID L
“It was a highlight of my year for 2011. My own wife was like, ‘That was a real blast. That was so much fun.’ So as the months went on we stayed in touch with each other and just kind of laid it all out on the table. What would we be prepared to bring back to the table? “One thing I noticed in particular, I really relied on the band on a lot of levels for my contact with other blokes. All my best mates, I had a smattering of mates in each state. It was weird that I’d probably see them more through band travel than my close mates in Melbourne, so those relationships turned to email and online and a couple of mobile phone calls on birthdays and such. It was quite a shock realising that if I ever wanted to see them again, I was going to have to fly there and I was going to have pay for it. I really miss the brotherhood.” Originally a three-piece, with Kitchen, Nick Coppin on drums and Sean Daly on bass and vocals, Antiskeptic have now returned as a four-piece. After much discussion between the three about how they wanted Antiskeptic phase two to proceed, it became clear 40 • THE DRUM MEDIA
Ever the charmer, Hawthorne released his debut single, Just Ain’t Gonna Work Out, on red, heartshaped 7” vinyl. The dialogue that led to this creative decision must have been eavesdrop-worthy. “Ah, well, fortunately I was signed to one of the dopest labels of all time, Stones Throw Records. And I
WHO: Mayer Hawthorne WHAT: How Do You Do (Universal) WHEN & WHERE: Friday 24 February, Metro Theatre
AS FAR AS WILL RENDLE, THE MAN BEHIND UK SKA/ POP COLLECTIVE WILL & THE PEOPLE, IT’S ALL ABOUT MUSIC FOR THE PEOPLE BY THE PEOPLE, WHICH MICHAEL SMITH RECKONS IS FAIR ENOUGH.
ast year Antiskeptic vocalist/guitarist Andrew Kitchen stood on stage at the about-to-be-closed venue Arthouse in Melbourne and told everyone that he wanted his band’s final ever show “to be the best funeral that you’ll ever go to”. Twelve months on and Kitchen’s band Antiskeptic are getting ready to play their first headline shows in more than three years.
But Kitchen says the impetus of the Arthouse gig reminded him of the many things, outside of the actual music, that he loved about being in a band.
The man’s clearly got game. So does he walk on the curbside of the street as well? “Of course,” he says emphatically, obviously believing this unwritten rule of etiquette is not open for debate. “Yeah, come on, that’s just the way I was raised, so I try to impart that wisdom on as many people as I can. It’s a better way to live.” Hawthorne’s music also suggests he falls in love easily. “Oh, I’ve always had lots of crushes. You know, I remember in elementary school I wanted to kiss all the girls.” He’s almost certainly prone to giving out valentines, then. “I did back when I was in school. Nowadays, you know, I may give a valentine to my valentine, but it’s not as many as it used to be.”
was just kinda clowning around. I was like [puts on dopey voice], ‘What if we press my record on a red, heart-shaped record. Wouldn’t that be crazy?’ And [Stones Throw label head] Peanut Butter Wolf is just such a G, he was like, ‘Yeah, that sounds dope so let’s DO that, for real!’ [Laughs]. And I was like, ‘Wow, really? Okay, let’s do it.’ So, shout out to Stones Throw Records for even having the balls to do something like that, ‘cause that’s a really expensive undertaking. The cool thing is that they just did it ‘cause they thought it was cool, you know? And they didn’t care whether they were gonna sell a million copies of it, or whether they were gonna make any money on it, they just wanted to do it ‘cause it was cool and sometimes you’ve gotta just do that.”
FOR THE PEOPLE
MELODIC MELBOURNE ROCKERS ANTISKEPTIC HAVE RISEN FROM THE DEAD. ANDREW KITCHEN TALKS POST-FUNERAL PLANS WITH DANIELLE O’DONOHUE.
“We all very much considered it to be over. In 2008 we were like, ‘No, we’re done’,” Kitchen explains. “We really were considering [the Arthouse show] to be the last ever. A couple of times throughout those three years we did get offers. And one of them was like six months after we ended, ‘Do you want to do a reunion show?’ ‘No. Didn’t you get it? The final farewell.’ The last thing I wanted to do was do a John Farnham.”
– of good manners – and chivalry. You know, open your door for your lady when you gotta go out.”
W that Daly’s idea of reuniting put him out of synch with the other two, so it was decided he would bow out.
hen Will Rendle, born and raised in the UK seaside town of Brighton, left school, there was never really a question about what he wanted to do. University might have beckoned, but instead he put a band together. That band eventually became Will & The People, but finding the right combination of players, let alone the right vehicle for releasing his music, turned out a little more complicated than he thought.
“What have we lost? We’ve lost a great band member and someone who was there from the start. What have we gained? Fresh perspective and a couple of new people’s ideas and attitudes and a couple of people who are keen to see where the band can take itself and where they can take the band.”
“It went through loads and loads and loads of different people and then I got signed by Sony BMG and it was a bit of a problem at the time,” Rendle explains. “People were trying to push me as a solo artist and my friends were in the band still and that finished and I was like, ‘I’ve got to do this properly,’ you know? [I]started a record label [Baggy Trouser Music] and tried to carry on. Then I realised that, in order to do it properly, [the band] had to be people that were just wholeheartedly in it and the guys I’m with now, we all live together. Glastonbury 2011 was where the band first played – and we know each other through school together. I mean some guys actually came to see [earlier versions of] Will & The People at other shows and were fans, you know, before they were even in the band, which is kind of cool.”
Antiskeptic’s two new members are Ryan McLerie (guitar) and Tavis Wardlaw (bass). For Kitchen, introducing new band members into the Antiskeptic world has turned into as much of a joy as getting to play music again.
Much of the press on Will & The People has emphasised the ska/reggae elements in the music, but one listen to their debut album Morning Sun and it’s obvious that there’s much more going on. There’s an obviously strong pop sensibility at work in there too.
“I’ve been loving getting to know the two new band members. Each night I come back from band practice I’ve been saying to my wife that was so much fun and I haven’t laughed that hard for a long time. They’ve worked out magnificently.”
“’Melodic’ is the best word for it,” he says. “There’s that ska/reggae kind of groove influence, which is, like, something that is prolific, but at the same time with the melody, you can have any style. I think that’s what excites us, is the idea that we can just kind of use the songs that we have and work them in any way we want really.
“It was hard to do. It was risky and scary. You realise that you have a chemistry that you don’t really know about. Well, you realise it when they’re not there and you get someone else to do it. So as a tribute to Sean in some ways we’ve actually gotten two new band members to fill the void on the bass and in stage presence and in vocal capabilities and all those things.
WHO: Antiskeptic WHEN & WHERE: Saturday 25 February, the Lair
“Morning Sun is a bit more of a ‘chilled’ version of what we actually do live, but at the same time, because the
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melodies are there in both things, they both work well together. Our live set is something that’s very, very important and pretty much is what we’re about.” Even before the album came out in the UK, things were already ramping up for the band. As well as Glastonbury, last year saw them play T In The Park, the Isle Of Wight Festival and pretty much all the other UK festivals as well as UK and European tours with acts as diverse as Paolo Nutini, The Script and Girls Aloud. Impressive enough, but the extraordinary thing is they’ve done it all independent of either management or booking agency. “It’s funny,” Rendle admits. “Because having a big record deal I had a big agent as well, but I never got to talk or deal with the guy through my management. When I got dropped, my first reaction was, ‘Right, if I can hold onto that agent, that would be really good,’ so I tried to make that happen and it lasted about two weeks. So before we knew it we were booking all our own stuff and it was the best thing that ever happened to me, because all those people [agents, managers] we’ll replace with band members who really care and we just ring people.” WHO: Will & The People WHAT: Morning Sun (MGM) WHEN & WHERE: Wednesday 29 February, Sandringham Hotel; Wednesday 7 March, Rock Lily; Thursday 8, Lizotte’s Newcastle; Friday 9, Lizotte’s Dee Why; Saturday 10, Hard Rock Café; Sunday 11, the Wall; Wednesday 14, Macquarie Uni
TWO WAY COMMUNICATION
THE LONG ROAD
“LIVING NEXT TO THE OCEAN GIVES YOU TIME TO REFLECT ON YOUR PLACE IN THE WORLD,” SAYS SWITCHFOOT DRUMMER CHAD BUTLER. YET IT DOESN’T QUITE ALLOW YOU TO FIGURE OUT LIFE, AS STUART EVANS DISCOVERS.
DAN MANGAN TELLS STUART EVANS THAT THOUGH HIS BANDMATES SHOULD PROBABLY WANT TO KILL EACH OTHER BY NOW, THEY DON’T.
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t has taken a few years but thanks to music’s marketing men and a bit of positive PR, alternative American band Switchfoot has built an international fanbase. “We’ve been lucky enough to have played and returned to many places. It’s a privilege to play in another country and not something we take lightly,” says drummer and percussionist Chad Butler. Formed in 1996 by Butler and brothers Jon and Tim Foreman, the enthusiastic surfers competed in surf championships on weekends (good enough to earn product endorsements from surf companies) and honed their musical aptitude at every other opportunity. “Music was our real passion. We grew up in San Diego, right near the beach and enjoyed a laidback culture that grounded us. Living next to the ocean gives you time to reflect on your place in the world,” he explains.
Searching for a place in the world or trying to understand how life fits is a reoccurring theme. Originally known as Chin Up, the San Diego band, now a five-piece, gained mainstream attention in 2002/03 thanks to the movie, A Walk To Remember, which included four of the band’s songs. It also helped propel the Californians’ album, The Beautiful Letdown, to a new and untapped mainstream. Before A Walk To Remember lifted them to these lofty heights, the band’s previous successes had been limited to the American Christian rock scene – a tag the band has previously disputed. If going mainstream could have been perceived as a risky move by their traditional Christian fans, the mainstream tactic actually worked out to be a shrewd ploy. “We’re just a rock band who makes music for everyone. We’ve always been open with our faith and beliefs and view music as a way to dive deep and explore. Music is a great way to tackle some of life’s difficult issues and if you listen to our songs, we actually ask more questions than answer them. We don’t have life figured out.” Labelled Christian rock by sections of the American media, the genre tagging has caused contention over
the years. After the release of The Beautiful Letdown, media speculation that their faith was distracting their music was rife. Switchfoot took the unusual step of halting appearances at Christian festivals and stopped all interviews with Christian media. Three years later, the band reversed the policy and returned to Christianbased festivals and media. “The audience who attend our concerts are of mixed ethnicity and diversity. It’s great to see people from a range of backgrounds attend. For us the most pleasing thing is seeing people sing along to our songs,” explains Butler. Oh! Gravity, released in 2006, Hello Hurricane (2009) and last year’s Vice Verses, which debuted in the top ten on the American Billboard 200, have continued to lift Switchfoot to commercial ears. Butler says the albums’ core is an unyielding message that we cannot understand or control life, love, emotions or happiness if you do not understand polarity. Vice Verses also grapples with mysticism and the psychology of life. “We’re wrestling with life, particularly birth, death and all that sits inbetween. Musically, the album was a big step for us as it included more spoken words. We started with bass and drums and that was a different foundation.” Their live shows have also caught the eye. “We grew up going to sweaty rock‘n’roll shows. When we perform live we’re energetic and you see all the blood, sweat and tears. It’s a two way communication with the audience.” WHO: Switchfoot WHEN & WHERE: Sunday 26 February, Soundwave, Sydney Showground; Monday 27, Factory Theatre
EYE OF THE STORM
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“I guess, when I first started out, I was just trying to make stuff that I liked. The sort of stuff that I was DJing, the sort of stuff I was playing,” Whyte quietly muses. “You know, before I produced stuff I DJ’d everything from hip hop to house to techno to electro and I think I was just kind of trying to make music that was kind of a mixture of all that stuff – a mixture of all the different music that I liked to play to people.” Unlike Birchard’s predominantly hip hop-flavoured work, meanwhile, Whyte’s output isn’t stylistically selective. One of the most remarkable aspects of Rustie’s debut album, Glass Swords – released to widespread critical acclaim on Warp Records last year – was the producer’s ambition to cram each and every production with as many contrasting ideas as possible (and, shockingly, succeeding). Yet, at the heart of such a maelstrom, stands an astonishingly quiet architect. “I don’t read reviews or articles or interviews. I try to avoid it as much as possible,” the producer says of his relationship with his own profile. “I don’t really like reading stuff about myself or hearing about myself too much. It makes me feel kind of anxious. I think I’ve got better at it as I’ve gotten more successful. You know, I live in London these days, but I’m almost always either in my room making music or on tour, so I don’t really interact with the outside world much at all.”
Not that he’s whinging; the ever-humble Mangan reckons he’s fortunate to have been given the chance. “I’m part of a very hardworking band and we’ve all still got a lot to learn,” he reckons. It’s been a plentiful few years for the singer as he’s emerged from the shadows of Canadian folk culture to become more mainstream and more recognisable – and not just in his indigenous homeland. For the wispy-voiced Canadian, the past few years have marked a growing demand for his music as his trademark sound and shabby, untidy image has resonated. “I actually have a hard time believing all the hype,” he laughs. “I know it’s a cliché, but I’m the biggest critic of my work. The band and I had some encouraging feedback from the press over the past few years and we’re just very fortunate to have been granted this opportunity.” He believes he’s grown, both musically and ideologically, over the past few years as he has focused on people around him. Be it crowds, family or his band, all have played a part. Mangan and band – consisting of jazz connoisseurs John Walsh, Kenton Loewen and Gord Grdina – are tight. “By all means we should probably want to kill each other by now but we’re passionate and they’ve been amazing throughout. It actually feels like we’re growing up together as we’ve developed an emotional connection. I mean, these are real people who have kids and other things happening in their lives.”
If previous album Nice, Nice, Very Nice was influenced by travel and touring, his latest effort, Oh Fortune, is prone to bursts of melancholy – so much melancholy in fact that Mangan’s copped criticism for his depressive lyrics. Although many songs on Oh Fortune are overlain with uplifting melodies and charming instrumentals, lyrics that openly spout of death, sorrow, grief and pity are to be heard right through. “I wanted to make a record that had a bit of everything and a record that took people in different directions. The extent of the album was bigger and it was a real joy to make.” You can trace the joy of making Oh Fortune to a single factor: time. “I spent five months making it and it was a real labour of love,” he explains. “It was nice to have so much time as it helped figure out what I actually wanted. It was a very positive experience.” Described as a bearded rhymester, Mangan’s become something of a reluctant progressive, moving from country to country with his trademark guitar and seemingly crusty beard. Still, he’s adapted and moved with the times and those times have led some to call him one of Canada’s most successful exports. It’s good to report that he’s as down-to-earth as anyone you’re likely to meet. He’s also wonderfully candid, revealing his songwriting had taken a hiatus since he finished Oh Fortune. The good news for fans is that he’s just started to write again. “If I lost my creativity I may have to give it all up and become a teacher,” he laughs. WHO: Dan Mangan WHAT: Oh Fortune (ABC Music/Universal) WHEN & WHERE: Thursday 23 February, Steyne Hotel; Friday 24, Notes
KEEPING UP APPEARANCES
IN GLASS SWORDS, RUSTIE’S GENRE-BLURRING MAELSTROM OF DUBSTEP, HOUSE, ROCK, CHIPTUNE AND R&B, HE DELIVERED ONE OF LAST YEAR’S MOST TALKED-ABOUT RECORDS. IRONIC, THEN, THAT RUSSELL WHYTE STILL DOESN’T WANT TO TALK ABOUT ANYTHING, IN PARTICULAR, TO MATT O’NEILL. t’s become cliché to discuss the contrast between a producer’s music and their personality – but it seems particularly relevant to the work of Scotland’s Russell “Rustie” Whyte. Together with close friend and fellow Glaswegian producer Ross “Hudson Mohawke” Birchard, Whyte has helped pioneer a form of maximalist dance music. Born of dubstep and grime, Rustie productions encompass everything from prog-rock guitar lines through to r’n’b breakdowns and electro-house groove.
n 2011, Canadian indie folk-rock singer Dan Mangan had not slept in his own bed for more than 25 days. Such was the singer/songwriter’s itinerary, being at home was a rarity. “If you have any tips on how to make it easier I’m all ears,” he laughs. He’s jesting but there’s seriousness, too. “You have to know that touring is hard. As a musician, you start by wanting a gig before wanting to make records and touring the globe. At the start it’s all a bit of a dream or fantasy, going on tour with friends and doing what you love doing for little or no money. When touring becomes your profession, things change as it’s more about coming to the realisation that this is life and things have to fit around it.”
ONE OF THE MOST INFLUENTIAL ELECTRONIC ACTS OF THE EARLY ‘90S, UK AMBIENTHOUSE EXPERIMENTALISTS THE ORB HAVE ALMOST 25 YEARS OF HISTORY TO REFLECT UPON. FOUNDER ALEX PATERSON, HOWEVER, HAS LITTLE INTEREST IN DISCUSSING ANY OF IT, MATT O’NEILL DISCOVERS. The young producer speaks almost exclusively in a quiet, almost aimless Scottish murmur, every thought preceded by a protracted ‘erm’ and punctuated by a series of lengthy pauses. It casts an intriguing light over the scintillating technicolour brilliance of Rustie’s musical output. The immediate temptation is to paint Russell Whyte as a form of creative escapist of the ADHD generation – bored with life, a youth sprints headlong into music of elastic freedom. If you dig a little deeper, matters prove decidedly more realistic. It may not be visible on the surface but the ambition, ego and determination evident in Rustie’s meteoric rise (debut production to debut album on Warp in less than five years) is definitely a prominent part of his personality. Asked if he was surprised by his success, for example, the producer immediately offers a confident “No – I think my music’s good.” Whyte isn’t some shrinking violet. He just apparently prefers privacy. “I try not to watch what other people are doing. I’m more just trying to push my own standard. I kind of use myself more as a benchmark than anyone around me. There was a bit of pressure when I was working on the album for Warp, but then I just kind of went the opposite way and did what I wanted as much as possible, rather than try and fit into some Warp aesthetic. And they seemed to really like it.” WHO: Rustie WHAT: Glass Swords (Warp/Inertia) WHEN & WHERE: Saturday 25 February, Manning Bar; Friday 2 March, Playground Weekender, Del Rio Riverside Resort
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lex Paterson can talk. The Orb founder may have worked with predominantly instrumental music for the majority of his career but the legendary DJ and producer can talk – about almost anything and for almost any length of time. Whereas the majority of musicians seem to view interviews as a necessity or obligation, Paterson has always seemed to delight in any opportunity to converse with and entertain a new audience with his unique set of stories and theories about the world. “At the moment, I’m sporting a big fuzzy beard and growing all my hair out because it’s winter around here. I believe it’s called hibernating,” he spontaneously drops into a conversation about his age. “I’m contemplating shaving it all off for this weekend. It’s one of my best friends’ fiftieth birthday and I’m playing a ska set, so I thought I’d go down as a pseudo skinhead. It’s a rockers and mods night but I thought I’d be different and go as a skinhead. Problem is it’s in Brighton – where all the skinheads look like gay people now. I’ll probably get, you know… ‘Hey hey!’ ‘No, go away! I’m not gay but I’m not a skinhead either, so don’t beat me up!’ … I’ll probably get one of those lines,” the producer adds with a laugh – before a characteristically unexpected turn of sincerity. “In answer to your question, though, I’m always conscious of my age, always conscious of my weight, always conscious of my appearance. Wouldn’t be human if I wasn’t.” There’s only one topic that seems to be somewhat offlimits. Ironically, it’s the closest. Paterson seems genuinely disinterested in discussing the history of The Orb in any detail. Where other topics warrant lengthy bouts of exposition and storytelling, the producer’s thoughts on The Orb’s legacy are relatively brief and atypically direct. “Whenever I think of how long The Orb has lasted, I always think of two really close friends,” Paterson reflects. “Youth
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[a.k.a. Martin Glover] – who was in Killing Joke and then out of Killing Joke and is now back in Killing Joke after ten years and who was in The Orb with me – and Jimmy Cauty – who actually started The Orb with me before he went on to work on The KLF and eventually delete their entire catalogue, something he very much regrets doing, just by the way. “They both, in their own way, can see The Orb as a vehicle for themselves as well as a vehicle for me – and that’s a pleasure for me. When the time is right, Jimmy will come back to The Orb and do some music with me. It’s like having a home. A virtual home in the sky.” Both on record and in concert, The Orb were a cuttingedge ensemble. Their records stitched together layers upon layers of samples and rhythm into vast, pulsating soundscapes – practically inventing ambient house in the process – while their live shows were huge, intricate multimedia showcases for both modern technology and the multifaceted creative endeavours it could produce. All of this, meanwhile, was accomplished alongside chart-topping success and critical acclaim. “I’ve never felt limited by The Orb’s reputation,” Paterson says of the band’s successes. “Because I’ve been able to use it. You know, I did a reggae cover of a Bee Gees song with Robbie Williams back in the late ‘90s and, not only did The Orb allow me to do that, it let me get away with playing it in really heavy club sets. No one ever has any idea. That’s kind of what The Orb was designed for – to let me fly around the world, making music in my spaceship. So far, it’s been quite successful.” WHO: The Orb WHEN & WHERE: Saturday 25 February, Metro Theatre; Friday 2 March, Playground Weekender, Del Rio Riverside Resort THE DRUM MEDIA • 41
STAGE 1 8:30 - 100:00 8:3 00pm
MARILYN MANSON
4:00 - 4:55
2:440 - 3: 3:20 20
BUSH A DAY TO REMEMBER
1: 0 - 2:00 1:2
LOSTPROPHETS STEEL PANTHER
12: 12 12:4 2:4400 - 1:20 1:200 11:1:40 40 - 12:4 2:400
SAVES THE DAY / PINKERTON
3 AN A NE NEXX
THE SUMMER SET STRUNG OUT
SYDNEY - SUN 26 FEB OLYMPIC PARK 42 • THE DRUM MEDIA
FRAMING HANLEY
5:300 - 66:100 5:3 5:000 - 5:330 5:0
11:330 11: 30 - 12:0 12:00 00 11::00aam - 11:30 11
8:550 - 9: 9:20 2 8 100 - 88:50 8:1 7:30 - 8:10 6:50 - 7:30
COBRA STARSHIP
4:500 - 5:30 5 3:500 - 4:20 3:5 4:20 3:220 - 3:50 3:5 2:50 - 3:20 2:5 20 2:20 - 2::500
YOU ME AT SIX THE READY SET UNWRITTEN LAW HEROES FOR HIRE
ZAKK WYLDE’S BLACK LABEL SOCIETY MASTODON IN FLAMES MESHUGGAH HELLYEAH TIMES OF GRACE CHIMAIRA
STAG ST AGE 5A 5
4:220 - 4:50
RELIENT K
12:50 12: 50 - 1:30 1 20 - 12:5 12: 2:500
12:00 12: 00 - 12:3 1 30
5:30 - 66::10 10
FOUR YEAR STRONG
2:000 - 22:40 :40 1:300 - 2:00 1:3 2:00
1: 0 - 11:30 1:0
THURSDAY
TONIGHT ALIVE
3:100 - 3:50 3:1 50 2:400 - 3:10 2:4
1:330 - 22:00
6:10 - 6:50
DASHBOARD CONFESSIONAL
4 0 - 55::00 4:2 00 3 0 - 44:20 3:5
2:00 - 2:30 2:3
WATAIN
9:20 - 100:00 00pm pm
THE USED
66:440 - 7:200 6:10 - 6:4 6:1 6:40
STAG ST AGEE 3 AG
CONDITIONS
7:500 - 8:30 7:5 7: 0 - 77:50 7:2
2: - 3::10 2:30 1
ANGELS & AIRWAVES
9:000 - 100:00 :00pm pm 8 0 - 99:00 8:3 :00 0
4:300 - 5: 4:3 5:10 10 3 0 - 4:300 3:5
12: 2 300 - 1:00 00
HYRO DA HERO
1 10aam - 111:4 11: :40
6:100 - 7:10 6:1
33:110 10 - 3::500
ALTER BRIDGE
2:00 - 2:40 2:
8:000 - 8:30 8:0
5:10 - 6:10
BAD RELIGION
3:20 - 4:000
8:330 - 9: 9:00 00 7: 0 - 8:00 7:1
LIMP BIZKIT
4:555 - 5:55 5:
STAGE 4A 9:000 - 10:0 10 00pm
SLIPKNOT
7:000 - 8: 7:0 8:30 30 5:555 - 6:50 50
STAGGE 2
SYSTEM OF A DOWN
1:550 - 2:20 2: 1:20 - 1::50 12:50 12: 500 - 11:20 12:20 12: 20 - 12:5 2 0 11:50 - 12:2 1 :200
THE CAB I AM THE AVALANCHE THE PRETTY RECKLESS CIRCA SURVIVE KIDS IN GLASS HOUSES THE DANGEROUS SUMMER FIREWORKS ATTACK! ATTACK! CHERRI BOMB
STAG ST STAG AGEE 4B MACHINE HEAD UNEARTH LAMB OF GOD TRIVIUM
STAG ST A E 6AA 8:4 :40 - 9:200
CRO-MAGS YOUR DEMISE LETLIVE
7:100 - 7: 7 40 6:300 - 7: 6:3 7:10 100
HATEBREED KVELERTAK
6:000 - 66:30 6:0 6:30
COAL CHAMBER
5 0 - 6:00 5:3 5:
SHADOWS FALL
4:30 - 5:00
GOJIRA
ENTER SHIKARI
8:100 - 8::40 8:1 7 0 - 88:10 7:4
BLACK VEIL BRIDES KITTIE
5 0 - 5:30 5:0
IN THIS MOMENT BIOHAZARD
4:00 - 4:30 4:30 3:30 - 4:00 3: 4:
STREET DOGS UNDEROATH
3:00 - 3:30
THE BLACK DAHLIA MURDER TURISAS
STAGE 5B VERSAEMERGE MADINA LAKE
2:30 - 3:000
A ROCKET TO THE MOON THESE KIDS WEAR CROWNS
RIVER CITY EXTENSION KILL HANNAH
THE MENZINGERS CKY THE SMOKING HEARTS
12:000 - 12:30 1 11:1:30a 30am - 12:00
THE SWEET APES
STAGE 7 9 0 - 10:00pm 9:2 8:220 - 9:00 7:20 - 8:00 6:20 - 7:00 5:20 - 6:00 4:20 - 5:00
THE MISSION IN MOTION
DREAM ON DREAMER HEAVEN SHALL BURN
1 0 - 1:30 1:0 12:30 - 1:000
JACK’S MANNEQUIN FOREVER THE SICKEST KIDS
BREAK EVEN
2:000 - 22:300 1:3 :300 - 2:00 :3 2 0
STAGE 6B ST RAISED FIST
9:20 - 10:00pm
3:20 - 4::00 2:200 - 33:00 2:2 1:300 - 22:00 1:3 12 40 - 1:10 12:40 1:10 11:40 - 12:200
THE SISTERS OF MERCY DEVIN TOWNSEND PROJECT STAIND THE DILLINGER ESCAPE PLAN CATHEDRAL PARADISE LOST WEDNESDAY 13 MOTIONLESS IN WHITE SWITCHFOOT DREDG BLACK TIDE
THE DRUM MEDIA • 43
SINGLES/EPS WITH ROSS CLELLAND
JULIA STONE
ON THE RECORD
Let’s Forget All The Things That We Say Picture Show/EMI Certainly with a little more than strumming ‘Leaving on a big jet plane (repeat x37 to fade)’, Julia Stone in solo guise goes for a more worldly look and sound, while retaining that distracted wisp that is so much her. Production by chaps who have worked with an intriguing range of others – David Byrne, The National, Mary J Blige, Antony Hegarty among the names – which means there’s some interesting textures underpinning her words. She’ll probably still irritate or delight according to your already set opinions of her.
LIVE
BEN BROWNING I Can’t Stay
Cutters Records
VD
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Remove bass player from well-popular electronic combo – Cut Copy, if unaware – and allow him an EP under his own name, even if a couple of the other members of said band wander by to donate services. Result is a little dancey, sure but perhaps owing its summery guitar stutter to another vein of pop from the ‘80s. Haircut 100 being the probable answer for upcoming trivia contests. Add video designed to garner terms such as ‘quirky’ and a certain amount of TV and radio playings seem assured.
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VD
SONICANIMATION
(Hey Lady) I Just Wanna Dance Creative Vibes Meantime, back at the turn of this century, Sonicanimation were the techno/synth/pop band of choice across most of far fewer number of festivals across the nation at that time. They also had the best furry animal suits, which also seemed popular back in that recent day. Deciding there was life in old Theophilus Thistler yet, this first new thing in seven years defaults to the always-worked-before idea of drum machines interrupted by banjos and cartoon noises. Come kiddies, party like it’s 1999. Or thereabouts.
THE WEDDING PRESENT
THE TING TINGS
THE DEAD LEAVES
Columbia/Sony
Liberation
The age-old question in music is how do you follow up a successful debut? Well if you’re The Ting Tings, apparently you go everywhere. Sounds From Nowheresville is the unpredictable follow-up to 2008 rookie record, We Started Nothing, dipping into almost as many different genres as there are tracks.
The Dead Leaves’ debut album has the same dense orchestral and lyrical beauty that makes it perfect for fans of The National or The Temper Trap. Opener, If The Shoe Fits, gives no indication of the band’s local roots before vocalist Matt Joe Gow reveals a distinct edge to his smooth, crooning lyrics. Gow’s tightly controlled vocals dominate the record, backed by dense harmonies that swell and crescendo to a stunning soundscape, revealing the talents of the rest of the band who shine during the brief interludes where Gow isn’t singing.
Sounds From Nowheresville
Cities On The Sea
Opening song, Silence, centres on the vocal mantra of Katie White as she sings, “Hold your tongue now and let them all listen to your silence”. Reaching its crescendo behind heavy stadium drums and space-filling synths, Silence has that uplifting quality so identifiable with electro. Hit Me Down Sonny emphasises a tight drum roll and utilises bells and sparse guitar to create a basic hip hop beat that backs White’s pseudo rapping. Not to be outdone, bandmate Jules de Martino has his own little rap verse on lead single, Hang It Up. These rap attempts seem deliberately simple but aren’t quite The Ting Tings’ forte. Guggenheim plays a little more to the duo’s strength, invoking a ‘60s r’n’b feel during the spoken word verses while the chorus rages with that familiar Ting Tings cling and clang. Day To Day seems a bizarre direction, playing like a ‘90s pop song straight from the Dawson’s Creek soundtrack with layered vocals and acoustic guitars. The record finishes up with In Your Life, a sombre modern Western ballad accompanied by sorrowful stings. It’s another change in direction, but works as a downtrodden tale of regret. A bubbling concoction of ingredients that at times boils over and fizzles out, the album plays more like a playlist on shuffle than a consistent LP. Of course that’s the point and Sounds From Nowheresville should be a kick for those who dig diversity.
Guest vocalist Gin Wigmore provides an interesting dynamic for the album, bringing her raspy, melodic voice to This Living, redeeming its slight philosophical cliché in lyrics like “Life ain’t worth living if you’ve got nothing to die for”. Overall, Gow’s songwriting is intimate and revealing, particularly in If Anyone Asks, which is heightened by the stripped-back instrumentals and melodic pop guitar hooks, making it tender and heartfelt. The three minutes of In My Surrender show the band’s confidence as they present us with a perfectly measured pop and alt-rock song. The final track, This Must Be The Place, is a distinct departure from the dominant formula, introducing us to an electronic side of the band and giving us a glimpse into their diverse capabilities for future music. Cities On The Sea is a triumphant and impressive debut album, filled with reflections of love and loss that bring on a bout of melancholy, but leaves you uplifted and, frankly, optimistic about this band’s future. Fiona Dunne
NADA SURF
The Stars Are Indifferent To Astronomy Stop Start/EMI In the late ‘90s, Nada Surf went from snarky altrock to sublime indie pop in just two short albums and, ever since, they’ve been perfecting that sound. The pop that Nada Surf makes is mature and articulate and there’s hardly a misstep on new album, The Stars Are Indifferent To Astronomy. That said though, this album doesn’t seem to reach the heights of Nada Surf’s first and so far best effort into this kind of guitar pop – the breathtaking 2002 album, Let Go. Instead, The Stars Are Indifferent To Astronomy is consistently good. It may not quite have that dazzling sparkle, but the guitars still buzz and shimmer and Matthew Caws’ vocals still sit lightly over the top of the tightly-wound music. Songs like Jules And Jim are vintage Nada Surf. With a chorus that chimes, “I am lost in my mind when you go to sleep”, this is the kind of song that should delight the band’s fans. Though much of the album is populated by carefully constructed swirls of electric guitar, for the early part of When I Was Young, the amplifiers are turned off to gorgeous effect. When the waves of electric guitar start to overwhelm the delicate acoustics, you realise there is still plenty of power in the band’s gently, gently approach. It’s easy to dismiss this band these days as having just one setting, but if you give them your time and patience, these songs unfold to reveal tenderly beating hearts. The big question is whether you’re happy to settle for something less than Let Go. Danielle O’Donohue
Marc Zanotti
You Jane
Lost & Lonesome/Fuse Meantime, in Leeds, it’s 1989 – when at least they had a football team in the first division. The Wedding Present made fizzy, scrappy guitar pop that fitted well with the era and retains an affection among their faithful greater than their standing. Lead ‘Present, David Gedge, reactivated the name a couple of years ago, with a rotating membership of former and unrelated members. Gedge still has a touch of Yorkshire dour humour in his approach, though now it’s maybe more of a groan than a whine. Has some charms.
POND
Moth Wings Modular/Universal Basically the guys from Tame Impala who aren’t the guy who is Tame Impala, Pond take the not untypical course of holing up in a bush farmhouse with the requisite ‘supplies’ and making long jammy noises, which are then cut to suit. Those familiar with the Impala oeuvre will not be troubled with the slabs of psychedelic noise and warbled vocals of this. It just shows again that certain kids will find their way to old Cream records and try and recreate that noise. Attendant album rejoices in the title Beards, Wives, Denim. Yep, that sums it up.
TIARE
Black Unicorn In Deep Through a breathy darkness, the SwedishPolynesian mix of Tiare’s background does come out sounding like her upbringing also included a collection of Cohen and Gainsbourg piled up by the door on high rotation. Her voice has that feeling of hurt distraction to it and the overall sound of it has that dreamy quality, which seems even more natural when you find three-quarters of the church – most notably Marty Willson-Piper’s spiralling guitars – are often involved. You can read things into her words – and many will.
NAPALM DEATH
OF MONTREAL
PASSENGER
Century Media/EMI
Polyvinyl/Shock
Black Crow Records/Inertia
Napalm Death were never meant to last this long. But here we are, 25 years after Scum shocked a nation and “Napalm” are nearly as big an institution as their Brummie forerunners Black Sabbath. Of course, this is a band incapable of making anything approaching a truly bad record, so it’s no surprise that Utilitarian is an absolute stonker. In fact, as it cuts down on some of the fat that hampered the likes of previous albums, Smear Campaign and Time Waits For No Slave (most songs clock in at no more than two-and-a-half minutes), this is arguably the band’s finest since 2000’s vicious comeback platter, Enemy Of The Music Business.
Of Montreal’s 11th full-length album is a deeply troubling examination of emotional trauma, played out through psychedelic prog explorations and abstract experiments. Several different songs battle each other for dominance within in each track and the bipolarity of band leader Kevin Barnes’ arrangements make for difficult listening. His frustrated ramblings (Spiteful Intervention is a good example) work so hard to attain a level drama and catharsis it ends up feeling impotent, wildly grasping at hooks to hold it in place. Dour Percentage on the other hand is an island of refuge amidst the anarchy. Flutes bravely offer a lovely salvo of trills to alleviate the mood before the song petulantly begins to stamp its feet.
All The Little Lights is the latest effort from modern day minstrel Mike Rosenberg aka Passenger. Known for his knack of writing catchy folk songs, he has once again delivered a collection of acoustically-crafted tales. Opening number, Things That Stop You Dreaming, begins with the beautiful lull of a violin, ushering in the gentle yet buoyant vocals of Rosenberg. Lyrically the song cautions the cost of compromise behind lines such as, “If you can’t get what you need/ You learn to need the things that stop you dreaming”.
Utilitarian
Paralytic Stalks
But what really gives Utilitarian a special feel is that while the band can still grind it out as ferociously as ever (check Errors In The Signal and Collision Course for proof) they don’t feel the need to do it all the time. Circumspect is doomy and menacing while Protection Racket matches blistering grind with crushing mid-tempo riffs. Most interesting, however, are the likes of The Wolf I Feed and Leper Colony, which include clean chanted vocals that wouldn’t sound out of place on a Swans or Killing Joke LP. And just to top it all off, Everyday Pox features saxophone (I kid you not) courtesy avant-garde musician and all-round genius/nutter John Zorn. It’s simple – Napalm Death just keeps getting better. Who said old people can’t grind? Mark Hebblewhite
Songs dissolve into expressionism at will. We Will Commit Wolf Murder contains some of the catchiest passages on the album, but it eventually undoes itself with atonal splashes of noise before giving in to the chirpy Queen riffing of Malefic Dowery. Ye, Renew The Plaintiff is an impressive yet fractured nine-minute journey that ultimately defies accessibility and Wintered Debts gets lost in a milieu of industrial textures and sounds. Whilst the album is unquestionably strange, it is a fascinating mess. It’s also extremely well produced and recorded and it achieves a surprising level of depth to the sound, fleshing out each perpetrator and co-conspirator responsible. Barnes doesn’t seem like he’s pulled himself out of the emotional muck he’s found himself in since 2007’s magnificent Hissing Fauna, Are You The Destroyer?, but hopefully Paralytic Stalks is a final exercise in exorcism, in which case we can look forward to something a little less… bent, next time. Someone give Barnes a hug please. Matt MacMaster
44 • THE DRUM MEDIA
themusic.com.au
All The Little Lights
It’s this kind of polar opposite comparison that becomes a recurring lyrical theme across the album. On Let Her Go, the same technique is used to illustrate that you don’t know what you have until it’s gone – “Only hate the road when you’re missing home”. Once again this sort of opposing parallel is evident on The Wrong Direction, an unsettled struggle where the subject cannot find contentment, “When you’re apart you don’t want to mingle/ When you’re together you want to be single”. As for the musical accompaniment, All The Little Lights never deviates from Passenger’s documented busker’s mentality. Each track could seemingly be recreated on a street corner and still possess the same impact. It’s a moving blend of acoustic, percussion, strings and horns. Although at times an expression of indecision and conflicting yearnings, All The Little Lights is at its core an uplifting record. The delivery of Rosenberg’s vocals carries a dreamer’s optimism that convey hope in the search, even if one isn’t sure what they’re looking for. And if you’re looking for an easily digestible record full of nourishment, this is for you. Marc Zanotti
around it that you can practically feel the slushy snow and rain dripping down the windows. The reason Dirty Three have become such a force of nature, even after a seven-year gap between albums while Ellis cemented his place as Nick Cave’s righthand man, isn’t just because of the music the band has made – though their back catalogue is indeed awe-inspiring. It’s because these three musicians share a very rare musical connection that you can hear in every song as melodies wrap around themselves and the percussion swells to aching crescendos.
PERFUME GENIUS
THE 2 BEARS
Matador/Remote Control
Liberator
Seattle musician Perfume Genius returns with a second album fearlessly confronting vulnerability and heartbreak. It’s an exquisite howl of anguish aimed squarely at prejudice and isolation, specifically from a gay point of view. It’s an accomplished record that not only articulates some murky issues in lead singer Mike Hadreas’ life, but is also broad enough to allow us to project our own narratives onto his canvas. It’s an intensely personal result, but it wisely avoids the cheap voyeuristic thrill of other confessional albums and leaves us feeling privileged that he chose to confide in us so frankly.
The electronic duo of Hot Chip’s Joe Goddard and Raf Rundell, aka The 2 Bears, are creating unabashed dancefloor music that carries echoes of everything from soul and trance. The title track alone of this, their debut album, is a series of anomalies that somehow meld seamlessly – a handclap track, whirring synths, the obligatory repeated lyrics with female vocal backing and percussion that is nothing short of classic house music. Last year’s single, Bear Hug, is reminiscent of late ‘90s garage dance, before transforming at the chorus into classic Hot Chip melodies. Goddard’s voice is the secret weapon here; he’s got a sweet pathos that’s irresistibly singalong. The unquestionable highlight is Work and it’s easy to picture people in clubs around the world raising their hands high to this anthem for the middleclass. The universally understandable lyrics married to staccato synths that kick in at each chorus is a classic recipe for a mayhem-inducing tune.
This isn’t an album to throw on during dinner, or a party, or doing the cleaning, or on the bus to work. Actually, the quiet devastation on this record rules out doing much of anything except giving it your full attention until Hadreas has wrung the full extent of his grief out. At just over 30 minutes it’s not a huge undertaking – and in fact by the time Sister Song softly fades out like the last star before dawn, you’ll find yourself feeling right as rain. Catharsis is good like that.
In its entirety, Be Strong is very evocative of the house and pop dance music that was top of the charts ten or so years ago. The duo’s use of deep percussive beats, female vocals that have been pushed through ProTools a few times, random rap verses and melding of r’n’b and hip hop into electronic sounds are all hallmarks of late ‘90s and early noughties dance music. Yet the record manages to not sound anachronistic by cleverly adapting these old tricks into catchy melodies and pairing them with unlikely bedfellows like calypso and disco.
Matt MacMaster
Sevana Ohandjanian
Danielle O’Donohue
LIVE
DIRTY THREE
FACT FILE
Anchor & Hope/Remote Control
Moods: cathartic, freewheeling, meandering
Once again there’s a storm brewing on the Dirty Three’s musical horizon. And for this innovative, evocative trio whose music is so intrinsically linked to the earth and the elementals, that means you can hear the thunder and driving rain wreak havoc then give respite as each of these songs plays out its little four or five minute drama. Right from the off, album opener, Furnace Skies, bristles with a frantic percussive chaos – an intensity that catches you off guard the minute you press play. This isn’t the slowly building fire of some of their older tracks like Authentic Celestial Music or Alice Wading. This is fast and brutal. And it takes a moment after it’s over to catch a breath before settling into the more familiar groove of Sometimes I Forget You’ve Gone. Here a melancholy piano is just as much a feature of the song as Jim White’s feathery brush stokes on the snare or Warren Ellis’ arching violin. Then there’s Ashen Snow, the kind of slowbuilding song that this trio does so very, very well. The piano on this track seems to seep into your soul. This band is so connected to the world
themusic.com.au
Length: Nine tracks, 41 mins • Of the new album, violinist Warren Ellis has said, “I think we may have cracked it. This may well be the definitive VD album from Dirty Three… Dirty Three has always been about the way we play together and feed off each other. We wanted this one to be a return to the more improvised and instinctive approach of the earlier recordings.”
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Toward The Low Sun
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The ghostly synth drones and Hadreas’ shaky voice that make up the majority of Put Your Back N 2 It are unsettling and he sounds like he’s on the verge of tears the entire time. It stirs up an arresting combination of pathos, empathy and discomfort that requires close attention to draw out all the subtle nuances and inflections that give it such a unique quality.
Hopefully there are still several more albums in these three musicians, but Toward The Low Sun might just be their best so far.
Be Strong
VD
Put Your Back N 2 It
• The album was produced by Chicago ex-pat Casey Rice. Before relocating to Australia ten years ago, Rice had worked with Tortoise, Sunny Day Real Estate and Liz Phair. Since moving Rice has recorded Ben Lee, Aleks & The Ramps and now the two most recent Dirty Three albums. Not tied down to one particular studio, Rice and the band recorded Toward The Low Sun at Head Gap Studio in Melbourne and mixed it at Sing Sing. • Guitarist Mick Turner does all the band’s artwork. He sells his paintings and regularly exhibits work in galleries in Melbourne. • When he’s not playing with Dirty Three, drummer Jim White has played drums on albums by PJ Harvey, Marianne Faithfull, Smog, Will Oldham and Cat Power.
THE DRUM MEDIA • 45
COGNITIVE PROCESS
SOEN are a brand new, four-strong metal ensemble featuring a collection of European metal veterans including Opeth’s Martin Lopez, Testament’s Steve DiGiorgio, Willowtree’s Joel Ekelöf and guitarist Kim Platbarzdis. The group has recently signed with Spinefarm Records, fostering a debut album to be released in Australia Friday 16 March. This release, titled Cognitive, was mastered and produced by Grammy Award-winning producer Dave Bottrill, who has previously worked wonders with artists like Tool and Smashing Pumpkins. The band describes the release as “melodic, heavy…different to everyone else.” For a sneak preview of the album, see the recently released single, Savia.
A NEW BREED
Europe’s industrial groove masters Sybreed head down under in March for their first ever Australian tour. The four-piece will bring their vicious grooves, metallic blasts, technological shivers and icy melodies to The Wall on Friday 2 March, Saturday 3 as part of Chaos ACT VI at The Maram, Canberra, as well as Thursday 15 at The Cambridge Hotel Newcastle. Sybreed will be performing around the nation with local blackened death metal machines Anno Domini.
ARGENTINA BRINGS DEATH
Argentina’s In Element fuse the old school catchy hardcore punk leanings towards a deathcore place with that of modern day thrash/death stylings. They have just re-released their album, Act Of Stamina, and will be touring Australia to promote this. Joining them will be local metalcore act Engage The Fall. They play Saturday 14 April at The Basement, Canberra, Wednesday 18 at the Hamilton Station Hotel and Saturday 28 at Venom Nightclub. SOEN
THE HEAVY SHIT Well, it appears that for the most part, every band in Sydney has wisely taken the week off from playing live after realising everyone else will be in prep mode for the Soundwave Festival. Makes sense to me. Next week is gonna be a mess of Sidewaves. My picks for shows of the week are Meshuggah/Devin, Cathedral/Paradise Lost and BLS/Hellyeah. BLS being Zakk Wylde’s Black Label Society for anyone checking. But there is a tonne more and I think next week’s ‘Shit will be listing them all and not much else! Are you ready? As you may know by now, The Racket has a new host! After an exhaustive search and with over 300 entries, the management at triple j has named Lochlan Watt as the show’s fifth host. Watt is seriously pumped about his new position too. Who wouldn’t be? Having known him for a while, I can vouch for his metal credentials and can assure you he will do a great job and the Js have made a fantastic choice. Watt is based in Brisbane and also writes the metal column for Drum’s sister paper there, Time Off. I hate it when this happens. The nice blokes in Centred Self have announced that they have gone on hiatus for an undetermined length of time. They tell me that it’s got nothing to do with Allan’s transfer to Dawn Heist and in fact they are pretty stoked for him, but it was a band decision and maybe one day that decision will be reversed. Good luck guys. While we are on the subject, an announcement that took everyone completely by surprise, including myself, was that Mortal Sin’s main man and one of only two original members, Mat Maurer, has decided to leave the band. He posted comment the below on the band’s Facebook page: “I have decided to leave the band for personal reasons and irreconcilable differences. Last year was an incredibly difficult year for me personally and I have decided to put my family first. Thank you to everyone who has supported me over the years. Over and out. Mat.” There has been no word from the band yet as to whether they will continue without him. Just as I wrote this bit up, I Alt/Tabbed over to my browser and saw a post from Wayne Campbell who has had a bit of a chuckle at the whole situation. I received an email last week saying that Mich Perry and Allan Fryer will be joining up with John Haese, Laurie Marlow and Joe Turtur for a full-blown Heaven reunion to take place around May. More info on that when it comes to hand. We all still miss Kelly though.
BABY YOU’RE A FIREWORK
In the lead-up to their appearance at Soundwave this Sunday, as well as performing a Sidewave at the Manning Bar on Thursday 1 March with Four Year Strong, I Am The Avalanche and Conditions, we grabbed bass player Kyle O’Neil from Fireworks to talk all things Soundwave and their most recent album, Gospel. You’re described as having enough pop to keep your little sister’s attention, but enough edge to keep to the punk genre… how would you describe your sound? Have any of you little sisters that do listen to your music? Dave is the only one of us that has a little sister and she seems to like us. So that description sounds about right. I once time dressed up my little brother in a wig and dress to look like a girl and he likes us, if that counts for anything. What sort of influences helped shape Gospel? Why do you think it’s your best record so far? It’s hard to nail down specific influences because we have so many. I feel that our broad tastes in music in general really helped shape the record and as always we draw influence from life experiences and each other as friends. I think it’s our best record so far because it was the first time we actually got to sit down and write a cohesive record as a whole, as opposed to a just a collection of songs written. You already have a solid and devoted fanbase, but for anyone who hasn’t heard you yet, can tell us why they should check you out at Soundwave this year? Just do it! I’ll make sure you have a good time. You toured with Four Year Strong back in 2009. What’s it like to tour with them again? Will you be glad to play your Sidewave alongside them? Those guys are the best. We’re really good friends so it will be a fun time for sure. FIREWORKS
46 • THE DRUM MEDIA
METAL AND HARD ROCK WITH CHRIS MARIC
BILLY RYMER They’ve been described as sounding a little like “Little Richard wildly fucking Blood Duster, Captain Cleanoff and Elvis at a hedonist coke orgy”. Which is probably the best line ever written! Find out for yourself ‘cause Battle Pope’s new album is available online for free. Search for it and then check them at Black Wire Records on Saturday 10 March.
FRIDAY
As far as I can tell, there are no shows happening tonight – none that anyone told me about anyway. Maybe you can stay in and check out all those albums I told you to buy last week?
SATURDAY
King Parrot are back and are ready to rip the guts out of The Stag. Featuring members of Melbourne’s best metal bands like Blood Duster, Dreadnaught and Stiff Meat, King Parrot are a force to be reckoned with in their own right and their debut EP, The Stench Of Hardcore Pub Trash, has received excellent reviews around the country and overseas. A grind-infested support cast includes Wolfkahn, Inebrious Bastard, Infested Entrails and Festering Drippage. ‘Twas the night before Soundwave and if you wanna get the party started early, then head to Venom where they will have a ‘90s tribute night out in full force. The ‘90s were a decade that saw more of a musical transition in metal than any other – equal parts brilliance and total shit – but it is what it is and we still love it (mostly).
WAKE THE DEAD
SUNDAY
Soundwave is finally here. It’s sold out so why am I even telling you about it here? You’re either going or you’re not. If you are, plan your day so you’re not spending most of it running between stages. Drink plenty of water too – last year I saw way too many people collapsing from heat exhaustion (Yes dad). If the headliners aren’t your thing, then be at the metal stage around 8.30pm for Watain. Vocalist/guitarist Erik Danielsson has promised something you won’t forget. Have fun! The great Rock N Roll Alternative Markets was meant to be on today, but obviously the clientele will be otherwise engaged. Put Sunday 18 March in your diary as the day to go.
MONDAY
The Dillinger Escape Plan’s powerhouse drummer and funny bastard, Billy Rymer, will be at The Brain Recording Studios in Surry Hills for the Ultimate Drummers Workshop #2. A two-hour interactive masterclass will be held in their awesome live/drum room from 2pm. Tickets are very limited but there are some left from the studio. Give them a buzz on (02) 9211 8474 if you’re keen. The biggest and arguably heaviest of the Sidewaves on tonight is Slipknot at the Sydney Entertainment Centre. heavy@drummedia.com.au
PUNK AND HARDCORE WITH SARAH PETCHELL
So this week is the week we’ve all been waiting for: SOUNDWAVE WEEK! It has sold out, but for those of you attending on Sunday timetables are now available for you to plan your day out. My picks for the day are letlive, The Dillinger Escape Plan, Raised Fist and The Cro-Mags. If you can catch at least one of these bands then I guarantee you’ll walk away from that set with your mind blown. Also next week, the Parkway Drive Sick Summer Tour hits New South Wales with Sydney locals Hand Of Mercy and Northlane along for the ride. On Thursday, the band hit up Bateau Bay PCYC with Revival Ashore opening. Then on Friday, Sutherland Entertainment Centre with Aftermath. Saturday 25 it’s Penrith Panthers’ turn with Caulfield kicking things off. These are some of the last shows that Parkway will be doing before heading into the studio to record album number four. On top of that, keep your eyes peeled in the coming weeks for announcements regarding the release of the band’s second DVD. Unfortunately for fans, Murder By Death have had their very first Australian tour (which was supposed to commence this week) postponed at the very last minute, with the new shows now set to take place in May. I’m personally a little relieved by this, because with Parkway, Soundwave, Sidewaves and the Trapped Under Ice tour all hitting town in the next couple of weeks, there was going to be very little downtime for recovery. Scheduling and venue difficulties had been cited as the official reason for the postponement and the new dates mean that unfortunately Perth’s Eleventh He Reaches London will be unable to continue as support. You can obtain a refund for the original dates at point of purchase. The new dates will see the band playing an 18+ show at The Wall on Saturday 19 May and also an 18+ show at Chino’s in Newcastle on Sunday 20. A massive congratulations has to go out to New Zealanders (though frequent Australian visitors) Antagonist A.D., who have signed a deal with premiere US metalcore label Mediaskare. The label will be releasing the band’s new and very highly anticipated album, Nothing From No One, in the American summer and will see the Auckland band join the likes of The Ghost Inside on the label’s roster. Vocalist Sam Crocker said of the move, “Mediaskare is a great label with a great reputation. We know their bands are hardworking ‘real’ bands that actually tour and make music. Less
LETLIVE gimmicks and more heart – which is what we are all about. The music is paramount – first and foremost before any hype/spin/fashion/faux industry bullshit.” If you don’t know by now that Dallas Green and City & Colour are one and the same then you need to get your head out of the sand. It has already been confirmed that after a completely sold-out tour mid-last year and an incredibly successful third album in Little Hell, City & Colour will be heading back out to Australia this May as a part of the lineup for the Groovin’ The Moo Festival. This week it has also been announced that the festival appearances will not be the only opportunity to see Mr Green and his guitar, as a whole round of sideshows have been confirmed. As such, you can catch City & Colour at the Enmore Theatre on Monday 14 May. Tickets go on sale this Thursday, so make sure you snap them up ASAP because they won’t last long. The always controversial Deez Nuts are heading back to work in Australia with the launch of their new DVD,, F.T.W. (which actually stands for Fuck The World not ‘for the win’), and a tour. The last time Deez Nutstoured Australia was their Destroy Music tour back in May last year. Since then, the band has toured Europe, Asia and the US with some of the biggest names in hardcore (Madball, Parkway Drive, Bring Me The Horizon). The
themusic.com.au
DVD and tour will be a stepping stone to fill the gap while the band head to the US to record their new album. It’s released on Friday 30 March. But the April dates will see Deez Nuts joined by Phantoms and UNFD labelmates The Bride around the country. Tickets are on sale now. On Saturday 7 April, there will be an all ages day show and an 18+ night show at the Annandale Hotel. And then on Monday 9, the bands will hit Oasis Youth Centre in Wyong for another all ages show. I know I seem to have a lot of them, but one of my favourite bands is definitely The Weakerthans and a pretty large reason for that is the pure poetry that is the lyrics of John K. Samson. Already available overseas, Samson’s debut solo record, Provincial, will now be getting a local release, thanks to the guys over at Epitaph Records, on Friday 16 March. The album contains newly-recorded versions of some of Samson’s songs from his previous two EPs as well as a whole bunch of new tracks. As usual, the lyrical content is all about Samson’s home province of Manitoba in Canada, a common theme in all his music. This is truly a beautiful record, so if you’re a fan of The Weakerthans or folky punk music then make sure you grab a copy. wakethedead@drummedia.com.au
GET IT TOGETHER
HIP HOP WITH VIKTOR KRUM
D’Angelo’s planning a comeback. “Yawn,” we hear you think. Well, yes. OK. But just remember that R&B is exciting now. Hang onto the fact that three of the most exciting artists of last year (The Dream, The Weeknd and Frank Ocean) were R&B guys who owe at least some of their notoriety and relevance to the slightly cheesy groundwork laid by D years ago. He was a stepping stone in the process of getting where we are today: to a world where singing about sex sounds as fun as it should. Our former hero played some new material at a recent Stockholm show and, most excitingly, churned out a refreshingly faithful cover of Space Oddity. Humility, tied in with an acknowledgement of the greatness of an artist outside your genre, screams relevance to us. Perhaps this re-entry will see D’Angelo return relevant-er than ever? Stones Throw: the label that produces middling-to-fair music with occasional highlights but that, nonetheless, stands at the vanguard of how to distribute music out to its rabid fanbase. It’s playing around with how to sell music online. Get this: for US$10 (so, what? Twenty cents?) you subscribe to the service and get every single new Stones Throw release sent to you for free without any DRM bullshit associated with it. You just get an email and you have the songs. Each new release as it’s released. This is revolutionary. This will, in essence, remove the transaction from your music buying. Let’s say you have the money coming out of your account each month automatically like one of those charity pledges you signed up to six years ago and don’t have the heart to abandon. In exchange for that commitment, every few days you get sent some new stuff from Stones Throw. If this catches on en masse the whole business model of Stones Throw will change. Their strength (or lack of it) will no longer be about releaseto-release quality, it will be about becoming a brand that produces high quality music regularly. Rather than asking fans to commit to a certain artist or a certain album, fans are being asked to commit to the label itself. It’s a thrilling idea. It probably won’t catch on in exactly this form but, by gee, things are changing aren’t they? How is this ridiculous industry going to look in another five years? Oh, OK. Yes Azealia Banks is a pretty good rapper. Yes she is also woman. Yes she is also a woman straight men, gay women and bisexual whomevers would like
It might seem a gruesome scenario – and Talese’s concession to his readers who thought so was to assure them that Whitman was “rather special” – but it’s also understandable. A newspaper writer whose sole job was to write obituaries for celebrities would understandably have tinges of excitement when a piece he wrote well was published. It was at that moment, after all, that he was able to share not just his way with prose but his nuanced perspective on a person many had an interest in, delicately crafted (journalism was different back then) from the knowledge he’d gained about them. He was able to say, ‘Hey, did you know this?’ and look on as others appreciated his enlightenment. Almost like a school classroom show’n’tell – but with dead people. Whitman, and Talese’s brilliant depiction of him, often enters my mind when a celebrity dies. Not while reading the obits and imagining a journalist hunched over a stack of papers, expertly piecing a life together – that’s now done, I imagine, by an overworked news-agency intern and a Wiki page. It happens while reading the feed of facts and links and succinct emotional spillings on Facebook and Twitter. Between the seemingly neverending posts, it’s possible to glimpse the thrill of putting on display knowledge and memories; the giddiness of show’n’tell. Etta James is dead: this is the song that helped me through a hard time. Rowland S Howard is dead: have you heard the original recording of this track? Whitney Houston is dead: I’ve loved her since I was four. Four! The sharing of memories and stories after a death is hardly a new idea, as anyone who’s attended a
ALL AGES WITH DAVE DRAYTON
There are all ages shows coming out the wahzoo! Friday at Dirty Shirlows Making, Simo Soo, Haunts and Thomas William vs Scissor Lock (one half of the awesome Collarbones) play. On Saturday my very own Soundwave alternative SoundDave kicks off from 11am at Blackwire Records with Epics, Virginia Sook, Surprise Wasp, Palisades, The Union Pacific and more playing. On Sunday at Jura Books Lenin Lenon, Rat King, Wells and more play at the Love Sweat and Beards mini-festival from 2pm. On Monday, Billy Rymer, the behemoth on the kit for Dillinger Escape Plan, is doing a two-hour drum masterclass/ workshop at The Brain Recording Studios, Surry Hills. It’s open to all ages and you can book a slot by calling (02) 9211 8474.
D’ANGELO to sleep with. We understand. Now king of fashion grossness Karl Lagerfeld understands too. You know the Mickey Mouse top Banks wears in the 212 video? Yeah. Lagerfeld made her one with his own silhouette in place of Mickey’s. Banks tweeted that she and her host listened to The Blueprint over dinner. You know what this means, right? Now that Azealia is cool she’s no longer cool. It was nice while it lasted, I guess. A cappella rap battling. Some really don’t like it. For them it’s ugly, clumsy, homophobic bush poetry yelled by one pathetic drunken lout at another with no concern for subtlety or nuance. Some people really like it. For them it’s an exhibition of the wittiest wordplay ever put to paper and subsequently committed to memory. We fall somewhere between those two (highly emotional) camps. The Saurus is/was the world’s best at a cappella battling. Being the world’s best, he’s battled a number of the world’s very good and has, on occasion, stumbled. Recently he faced Victoria’s Defron. The outcome was pretty entertaining, even for those of us who are hesitant about this genre. We won’t spoil it, but it’s worth checking. Oh, and there’s a rumour that two of this country’s most charismatic rappers ever, The Tongue and 360, will be battling each other some time soon. Could be fun! getittogether@drummedia.com.au
BREAKDOWN There’s a passage in a 1966 essay written by American journalist Gay Talese about The New York Times’ then obituary writer Alden Whitman in which Talese described the somewhat morbid side effects of such work. In the essay – titled Mr Bad News and reprinted in a Penguin Classics compendium of Talese’s articles in 2011 titled Frank Sinatra Has A Cold & Other Essays – Whitman was depicted as being frequently surprised to learn that a sick celebrity for whom he had written an advance obit was still, in fact, alive. The act of writing the obit often rendered the famous figure dead in his mind. Furthermore, Talese wrote, Whitman admitted that after writing an advance obit he was particularly proud of, he could “barely wait for that person to drop dead so that he may see his masterpiece in print”.
YOUNG & RESTLESS
POP CULTURE THERAPY WITH ADAM CURLEY
ETTA JAMES traditional Catholic wake will know. Nor is the mass outpouring of information and emotion in the event of a celebrity’s passing, particular to the age of ‘social networking’ – the terms ‘mourning sickness’ and ‘grief porn’ have been around for a couple of decades, at least since the sudden death of Diana, Princess of Wales. But while psychologists are often called upon to espouse the benefits of public displays of emotion to the process of grieving a widely admired person, we all know that, really, it isn’t all about grief. There’s a certain, slightly shameful thrill, like that which Whitman admitted. And when it comes to pop stars, particularly those from the ‘MTV era’ like Houston and Michael Jackson, we are all Whitman. We all have information to share; we all have memories. It’s surprising, however, how quick we are to trade those memories in; to let the thrill take over; to swap our personal experiences for a quick public nod of acknowledgment that we know something. While the cynical can accuse those who become emotional over the deaths of people they never personally knew of gross superficiality, there is a real grief that goes with the death of a celebrity. Grief for our own childhoods, when relating personally to a singer was an act of innocence and searching, and grief for the moments and lost people in our lives soundtracked by or somehow connected to their songs. In their own way, our memories of celebrities are important. And they are unique, personal, part of us, and perhaps should be protected as our sense of self should be protected. I’m sure there were stories even Whitman didn’t write down. breakdown@drummedia.com.au
We lined up Winston McCall, frontman for hardcore heavyweights Parkway Drive, ahead of their completely all ages Sick Summer tour for a few questions. It’s a little longer than our normal interviews, but Winston’s honest responses certainly justify it! You can catch the band Thursday at Bateau Bay PCYC, Friday at Sutherland Entertainment Centre, Saturday at Panthers, Penrith and Wednesday 29 February at Shoalhaven Entertainment Centre. Phew! It’s an impressive feat having such an extensive tour with every show open to all ages. Why do you think all ages shows are important? I think they’re massively important. All you have to do is consider the reason every show isn’t all ages simply comes down to licensing laws and the consumption of alcohol. Personally, I don’t see how the hell you can justify limiting live music and dictating who can and cannot be a part of it simply because people like to drink certain beverages while listening. It’s ridiculous. Everyone has the right to listen. We try to facilitate that. Is there something synonymous with hardcore and all ages shows? For sure, I think the ideals behind hardcore encourage an egalitarian outlook at all things in life. Considering that music is the platform for this message, then I think it is key. Similarly impressive is the amount of rural/coastal towns you’re playing. What drives the band to keep taking your music to kids outside regional centres? We know firsthand what it is like to be from a small regional town. Growing up in Byron we had little to no access to all ages shows or venues and missed out on a lot of bands. It’s frustrating as hell, so to be in the position now to play places
PARKWAY DRIVE that are off the beaten track is something we like to take advantage of. Having spent much of the last few years on the road all over the world, how do you think Australia’s all ages scene compares to elsewhere? It’s great, everywhere is different in some little way, but at the same time everywhere has its similarities. We love playing Australia; it’s our home and playing smaller shows in less toured places generally leads to some insane crowd responses and good vibes, which is what we love. What’s your favourite all ages venue in the country? It’s so hard to pick, but anywhere with a stage to dive off and a high ceiling so it’s not a million degrees is great by me! What was the best show you attended as a young’n? The Warped tour was pretty insane, so many of my favourite bands playing in my hometown in one day. Front End Loader at the Byron Bay Epicentre (when it still existed) was mental as well. The floor is yours to sell us the shows – why should people get out to one of the gigs? We play harder, yell louder, have more fun and sweat more than any other band that will play your town until the next time we’re back. Come and jump on your friends’ heads and sing along. allages@drummedia.com.au
OG FLAVAS The late Whitney Houston was no mere ‘celebrity’. She had cultural capital as the first modern pop ‘diva’, breaking records and amassing awards. Mariah Carey, Beyoncé Knowles and Jessie J are all indebted to her, as is virtually every (female) Idol contestant – most obviously Jennifer Hudson. Houston pioneered a new melismatic vocal style, which some (like Renée Geyer) consider oversinging. More significantly, she smashed through racial barriers. Indeed, Houston was a true crossover artist, appealing to listeners of soul, R&B and pop (oh, and Osama bin Laden was a fan). A product of the Civil Rights era, she realised Martin Luther King’s American Dream. The New Jersey native was born into a middle-class musical family, her mother gospel singer Cissy Houston and cousin Dionne Warwick. Aretha Franklin was her godmother. Houston first sang in a Baptist church choir, later joining Cissy on stage – the pair backed Chaka Khan on I’m Every Woman. In high school she modelled, gracing the cover of Seventeen. Houston was signed at 19 by Arista President Clive Davis, her lifelong mentor. The diva would specialise in dance-pop and power ballads. Houston’s eponymous debut surfaced in 1985, taking in Greatest Love Of All. Urban journalist Sasha Perera points out that Whitney Houston’s lead single, You Give Good Love, “a classic ballad”, betrayed an “early vulnerability” with its then charming vocal crack. “Her stunning AfricanAmerican ‘natural look’ on the front cover of the album was also a breakthrough – and [the album] was the first step in bringing the urban community into the pop mainstream, Whitney being one of the first, and most notable, black women to break through onto segregated playlists on MTV.” Houston followed with Whitney, home to I Wanna Dance With Somebody (Who Loves Me). She held her own into the ‘90s amid the New Jack Swing surge, presenting the R&B-oriented I’m Your Baby Tonight. Next, she’d try acting, cast opposite Kevin Costner in The Bodyguard, a box office hit. Houston contributed several songs to the soundtrack, most famously I Will Always Love You, a Dolly Parton cover. Houston continued to juggle singing and acting with Waiting To Exhale – she appeared on Babyface’s OST together with the likes of Mary J Blige – and The Preacher’s Wife. But “America’s first black sweetheart” created a stir when in 1992 she wed ‘bad boy’ Bobby Brown. The ex-New Edition member was ‘hip hop’ – street – and he’d be blamed for Houston’s descent
themusic.com.au
URBAN AND R&B NEWS BY CYCLONE
WHITNEY HOUSTEN into drug addiction, their marriage volatile (Brown was subsequently diagnosed with bipolar disorder.) Like Carey, Houston pursued an urban sound on 1998’s My Love Is Your Love. Among its producers? Missy Elliott. Especially memorable was Rodney “Darkchild” Jerkins’ sassy It’s Not Right But It’s Okay. Houston divorced Brown in 2007, after ill-advisedly participating in his reality TV show, Being Bobby Brown. The superstar made a decent comeback with 2009’s US #1, I Look To You, Davis teaming her with everyone from Akon to his young protégé Alicia Keys. Houston’s voice was damaged by substance abuse yet, courageously, she left I Didn’t Know My Own Strength unpolished. Houston was primarily a song stylist – she rarely penned material, instead relying on production crews. As such, her albums often felt impersonal, even disjointed. Houston’s drug battle and ‘partying’ have been avidly chronicled and occasionally mocked (remember her Keith Haring quote ‘crack is wack’?). Now the media – and ‘celebrity’ psychologists – are turning her life into a trite morality tale. Ironically, the passing of other black icons (Gil Scott-Heron!) frequently doesn’t make the news in Australia. Still, everyone has a favourite Whitney song: OG can’t go past All The Man That I Need or When You Believe, a symbolic duet with her rival Carey. For Melbourne neosoulstress Paris Wells, it’s Queen Of The Night. “Whitney had all the notes, but she never over-sang her card – her phrasing was great,” she tells OG. “Her voice was a true gift from gospel royalty.” We’ll see Houston again on screen in this year’s remake of Sparkle: she plays mum to Jordin Sparks’ aspiring starlet, with Sparks’ role originally intended for Aaliyah. ogflavas@drummedia.com.au THE DRUM MEDIA • 47
ROOTS DOWN
KEEPING IT CIVIL BLUES AND ROOTS WITH DAN CONDON
afternoon rolling around our beautiful harbor wasn’t enough incentive to shell out your hard-earned, you’ll also be treated to musical entertainment coming from none other than the Fiona Boyes Band. Boyes is obviously one of our country’s finest blues guitarists (though I’m actually not sure where she lives nowadays) and by the looks of her recent touring schedule, you can bet that she is in serious form; not that she ever disappoints. The cruise leaves from the #6 King Street Wharf at 11.45am, it costs $35 if you’re a member of the Sydney Blues Society or $45 if you’re not and you can grab your ticket from sydneyblues.org right now!
You’ve probably heard the news by now that Roger Daltrey has cancelled his Australian tour, including his Monday night headline slot at Bluesfest. If you had a one-day ticket for Monday and the lack of Daltrey has you glum, you can grab a refund by calling the Bluesfest office. There’s obviously and I think understandably been a lot of talk about whether they’ll have a replacement for Daltrey and I’m willing to bet the short answer is no. It takes a lot of time, effort, logistical juggling and money to secure international headline acts and frankly I get the feeling that with less than two months until the festival, it’s just not going to happen. There are quite a few more acts (six, I believe) to be added to Monday’s lineup so let’s just wait and see what’s pulled out of the bag. I bitched about the Grammys a little bit last week but it still remains an award that artists truly want to get. I interviewed Steve Earle, dual Grammy winner, a couple of weeks ago and he said “anyone who pretends they don’t care about winning a Grammy is pretentious.” He was up for Best Folk Album for his excellent I’ll Never Get Out Of This World Alive album, but lost out to another really good record in The Civil Wars’ Barton Hollow. If you haven’t heard The Civil Wars then I can guarantee you that won’t be the case for long, Australia will pick up on this Nashville duo very soon and they’ll be massive. They also won the Country Duo/Group Performance Grammy, which is a pretty big deal. Speaking of country, Paper Airplane by Alison Krauss & Union Station won Best Engineered Album (Non-Classical) and Best Bluegrass Album and George Jones and Glen Campbell were both among the recipients of the Lifetime
THE CIVIL WARS Achievement Award, alongside the Allman Brothers Band, The Memphis Horns, Diana Ross and the much-missed Gil Scott-Heron. The Tedeschi Trucks Band picked up Best Blues album for Revelator, the awesome Tinariwen won Best World Music Album for Tassili, Booker T Jones’ The Road From Memphis won Best Pop Instrumental Album (which is funny because there’s a lot of singing on there), Levon Helm’s Ramble At The Ryman was awarded Best Americana Album and Rebirth Of New Orleans by the Rebirth Brass Band picked up the award for Best Regional Roots Album. Well done all concerned. The Sydney Blues Society has put together a Blues Cruise to take place on Sunday 4 March. As if a leisurely Sunday
Finally, this column is being written to the soundtrack of Neil Young and Crazy Horse’s new 37-minute song currently streaming on neilyoung.com. It is called Horse Back, it is awesome and jammy and loud and unhinged and really everything that is great about Neil Young when he is in full Crazy Horse mode and it comes with a pretty cool little video, presumably of Audio Casa Blanca, the vintage studio where the song was recorded. Go and listen to it now and be transported into another dimension. SPOILER ALERT: It has hints of Young tunes like Fuckin’ Up in there and launches into Cortez The Killer at around the 23 minute mark, but don’t skip to there, that’s cheating. Hopefully this reunion will birth a wonderful new record and a big old Australian tour! We’ll see.
Saturday night The catholics return to the Sound Lounge. Direct from Prague in The Czech Republic, singer and classical guitarist Lenka Filipová comes to the Camelot Lounge Thursday night. This weekend sees the Campbelltown Arts Centre launch this year’s Contemporary Music Program with, on Saturday, a screening from 5pm of the extraordinary documentary, Intangible Asset #82, followed by a performance by the Simon Barker-led Australian/Korean ensemble, Daorum, featuring Korean pansori vocalist Bae il Dong, who will also present a two-hour workshop in the traditional vocal technique from 2pm Sunday. Monday sees the launch of the new album, Stone, from the guitar-led Carl Morgan Quintet, featuring drummer Ben Vanderwal in his last local performance before he relocates to New York. It takes place at 505. Elixir featuring Katie Noonan play the Joan Sutherland Performing Arts Centre, Penrith, Thursday 1 March.
JAZZ/WORLD WITH MICHAEL SMITH
Gavin Ahearn & Barney Wakeford: Piano Duets – Colbourne Ave Glebe Vince Jones – Blue Beat Paul Sun Trio – Jazushi
FRIDAY Arrebato Ensemble – 505
MATT BAKER A third and final concert in Sydney Opera House by veteran jazz crooner Tony Bennett has been announced for Thursday 12 April.
Alister Spence Trio + Aaron Blakey Quintet – 505 Johanna Elms + Fuego Lento + Jamino & Group Lafaya – The Basement Circular Quay
The Matraville RSL has been staging some great dance nights of late and this Friday is no exception as they present Melbourne’s Scotty Baker along with Pat Capocci & Band and DJ Brian. It’s very much a dress up event and you are invited to wear “’50s Hollywood evening glamour” with prizes for the best looking outfits. As an added bonus admission is absolutely free! The Concert For A Life Sunday at the Bald Faced Stag is an event in which some of our best singer/songwriters throw their talent in with mental health workers to raise awareness of depression and suicide prevention. The music comes from the very talented Torchsong Country Soul Band, Velvet Road and Steve Miller and there’s a 48 • THE DRUM MEDIA
Gang Of Brothers – Blue Beat
Cameron Undy’s Abstract Brotherhood – 505 Nadya & Giga & 101 Candles Orkestra – Camelot Lounge John & Yuki – Well Connected Café Leichhardt
James Valentine Quartet + Virna Sanzone – Golden Sheaf
Paul Sun & Trevor Gascoigne – Epitome Café Lane Cove
John Harkins – Jazushi
SUNDAY
WEDNESDAY
The Swinging Blades – Marrickville Golf Club
Hammerhead – 505
Michael Griffin Quintet – Summer Hill Hotel
THURSDAY
Bobby Singh, Sandy Evans, Ben Walsh & Sarangan Sriranganathan – Camelot Lounge
Adrian Mears – 505
Former drummer, writer and vocalist of Catskill Mountain troubadours The Felice Brothers, and the creator of folk-soul outfit The Duke & The King, Simone Felice steps into the spotlight as a lone artist with his debut self-titled album, released Friday 30 March. Largely self-produced with help from Ben Lovett (Mumford & Sons), the album was “recorded in deeply resonant places, settings that were as haunted in their rafters as Felice felt in his bones.”
IN THE CARAVAN
There’s an event at The Basement in Circular Quay on Tuesday 28 February called Roots Caravan. It features Daniel Hopkins & The Generous Few’s mix of inquisitive folk, acoustic rock and footstompin’ blues, Central Coast groove rockers I N I C I a T E, and the Carl Stewart Band, whose music is a mixture of acoustic strings backed by electric guitar that ranges from clean melodies to heavy riffs, Roots with a touch of blues and light rock.
THE LITLE THINGS
Internationally renowned Scottish singing sensation Mary Kiani will launch her new album, Little Things Mean A Lot, featuring torch songs, jazz and classic standards, stage two of a career where she’s better known for dance pop. With her band she performs at The Basement Circular Quay on Wednesday. We asked her a few quick questions. What attracted you to the songs by female vocal legends like Kitty Kalen, July Garland and Ella Fitzgerald? These artists and songs were very much a part of my teenage years when I used to sing in wine bars in Glasgow. I learned to sing during this time. Great songs, great melody and feel. How did you make the leap from dance and pop hits to torch songs and jazz? It was the other way about! I was singing jazz and learning my craft when I was approached by a huge rave band back in the UK called T.T.F (The Time Frequency). I then got my own record deal with Mercury and then Mary Kiani Dance Diva was born. What did you take away from work with producers like Fergie, Paul Oakenfold and Simon Clime? I’m still very close to Fergie.He is my good mate. Working with Paul Oakenfold was great. He was brought in to work on Let The Music Play and also Simon worked on With Or Without You with me. Great guys that shared their talents with me. They were all very much at the top of their game back in the ‘90s. I felt very much like I was also a huge part of that time too so we all saw quite a bit of each other.
blow@drummedia.com.au
THE SWAMP SHACK Great to see Johnny Cash has become the Elvis of the country music scene, albeit with not quite the same degree of reverence reserved for “The King”. Nevertheless there are numerous performers now doing the Johnny Cash tribute thang and his birthday has become an important date for country music fans right around the world. If Johnny were still with us he would have turned 80 this coming Saturday so what better night to stage a special birthday tribute show at Notes? Daniel Thompson, a former independent country music vocalist of the year, takes up the role of Johnny Cash and I’m told his rich baritone voice emulates the man like no other. He’s joined by guitar picker Stuie French, slap bassist Artie Taylor and drummer Ben Elliot. Camille and Stuie French will do the opening spot and you are invited to join in the spirit by dressing black.
Afro Moses’ Afro Spirit 5 in 1 + Ojah – Camelot Lounge
SATURDAY
TUESDAY
LONE FELICE
roots@drummedia.com.au
BLOW New York City-based Australian pianist and composer Matt Baker returns to Sydney to showcase his latest and American-recorded album, Underground, in the Sound Lounge Friday with a crack local team featuring Ken Allars on trumpet, Brett Hirst on bass and Cameron Reid on drums. Baker then presents an evening of music inspired by his adopted home, performing songs from Bernstein’s West Side Story and George Gershwin’s remarkable catalogue at the Hayden Orpheum in Cremorne from 1pm Sunday, with his father Ian Baker on trombone joining the trio.
Roots/folk duet The Civil Wars will be releasing their debut album, Barton Hollow, in Australia on Friday 30 March. The album reach #1 on the US iTunes chart selling over 200,000 copies of their album independently. Adele has personally chosen them to support her in her upcoming tour, saying, “The Civil Wars are the best live band I have ever seen.” Meanwhile, Taylor Swift has called the duet Poison And Wine “exquisite”.
ROCKABILLY/PSYCOBILLY/ALT.COUNTRY WITH PEDRO MANOY
Stag it’s business as usual with the long-running Musos Club Jam night.
THURSDAY Jeremy Edward & The Dust Radio Band have a new CD they’re launching at Beaches. Finn push the pollies out of the way at the National Press Club, ACT, and the Musos Club Jam night moves to the Carousel Inn.
VELVET ROAD guest speaker from the Black Dog Institute. Admission is $5 with a special family price of $10 kick off 5pm. The recent passing of Etta James served again to highlight the incredible contribution women have made to the history of rock’n’roll and Rokafillies this Sunday at The Vanguard pays tribute to some of the great pioneers such as Ruth Brown, Big Maybelle, Ella Mae Morse, Wanda Jackson, Aretha Franklin and Nancy Sinatra. It’s a night filled with good girls gone rocking, good girls gone bad performed by a lineup of sassy, seductive Sydney ladies of song including Kira Peru, Carrie Phillis (The Booby Traps), Sally Street, Pia Andersen, Sally Marett, Kitty Van Horne, Sarah J Hyland and Sara O’Connor (The Velvet Set).
WEDNESDAY The Beaches Blues Jam hosted by Illya Szwec takes over Beaches in Thirroul from 7pm. At the Bald Faced
FRIDAY Jeremy Edward & The Dust Radio Band extend their CD launch to the Empire Hotel.
SATURDAY The Ginhouse Blues Band celebrate the end of summer with a Rocks Rhythmboat cruise, departing 11.45am from Pyrmont Bay Wharf, bookings on 0414 854749. Dave Tice & Mark Evans play their sunset spot at the Sandringham from 4pm. Lou Lungo’s Blue Groove swing the Merton Hotel in Rozelle.
SUNDAY There’s a huge afternoon at the Towradgi Beach Hotel with Tony Cini’s Blues Explosion, Glenn Cardier, the Bridie King Band and Ginhouse Blues Band from 3pm. swampshack@drummedia.com.au
themusic.com.au
THE POWER OF 3
Amber Lawrence launches her new album, 3, at Randwick Rugby Club on Sunday. We grabbed Lawrence to answer a question or three about it. Your latest album 3 was written with co-writers, unlike previous releases. How is writing different when multiple people are involved? The creative process is a lot different because the songwriting process happens a lot quicker when you’re co-writing and you can be heading in a totally different direction to what you thought the minute your co-writer strums a different chord. It requires you to just go with the flow and see where you end up. The idea of family comes through a lot over your record. Why is that? Family is absolutely everything to me. This has become more apparent since my second album was released. My dad passed away, my sister had two kids – life has suddenly gained some perspective for me personally and definitely so as a songwriter. When you experience big events like that in your life, you reflect on the moments that really matter, the moments that bring regret and sadness and happiness – in my opinion it’s all to do with family… So I guess I couldn’t help but bring these themes into my songs. Your collaboration with Axle Whitehead could be seen as unexpected. How did that come about? My Attraction is ‘longing for’ kind of love song – and when thinking of the backing vocal, we needed a style of voice that matched the tone of the song. Rod McCormack (my producer) had recently worked with Axle and not only found out Axle liked country music, but also had that real raspy, sexy voice we were after. He was excellent to work with – he’s a great musician and, yes, he did bring ‘sexy’ to the track!
BEBOP & ROCKSTEADY
LEFTFIELD ELECTRONICA AND FUTURE SOUL WITH HUWSTON
With all of the Laneway/Young Turks action out of the way, it feels like there’s a little bit of breathing room in Sydney once again, however, it’s sure to be shortlived as a number of cracking one-offs take place and are about to be announced. I’ll lay off the gigs a bit for this month because the company I work for is putting on the ones I am most excited about. Thanks to everyone for their feedback from the SBTRKT support slot; it’s always a pleasure to play alongside champions of the scene past and present, like Aaron Jerome. This month sees Robert Glasper’s Black Radio getting a release on Blue Note/EMI and what a special album it is. Throwing back to this column’s first edition way back in July 2003, when Roy Hargrove’s RH Factor album, Hard Groove, epitomised the wonderful fusion of jazz, hip hop and soul going on at the time (who could forget Poetry, featuring Erykah Badu and Q-Tip?), this album tunes things up for 2012, with similar guest personnel while however cutting out the funk and groove elements for more of a deep soul and jazz outing. Highlights come from Yasiin Bey aka Mos Def, Erykah Badu, Musiq Soulchild and one of this column’s least favourite MCs Lupe Fiasco, as well as the always reliable, one of a kind tunesmith that is Bilal. Certainly worthy of purchase because of the sophisticated way it marries contemporary soul and beat culture with ‘proper’ jazz, let’s hope it sets tongues wagging when it drops at the end of February. With my earlier comments that jungle is making a comeback, it’s good to know its grumpy younger brother drum’n’bass is still battling away, too. With Fabio and Grooverider another casualty in Radio 1’s recent programming changes, it’s nice to see Fabric with a new mix from the relatively unknown-to-this-column Kasra, who contributes Fabriclive 62, a rough and ready journey mix from brooding, atmospheric minimal d’n’b through to straight-out dangerous tear-out territory. Featuring a number of VIPs and exclusives, Kasra’s mix goes for some usual suspects like Alix Perez as well as the more subtler points of Noisia’s career before destroying speakers with some S.P.Y and Proxima material. A label fast working its way up as the one to watch is Idle Hands, who released a really nice slow-mo house single from Outboxx last year and have come correct with a newy by Alex Coulton due out this month. Both
ROBERT GLASPER Candy Flip and Brooklyn’s brilliance lies in the menacing rumble beneath some pretty sparse drum and synth programming. It’s 4/4 material that crosses into funky territory, but could also be embraced by the minimal European mob, which is probably why it’s going to be such a hit. A versatile record by all stretches of the imagination, the B-side has a very recognisable sample (in the same vein of Addison Groove’s It’s Got Me, for the fusion heads out there) and can be placed well as either a peak-time highlight or bridging record. Miss this one at your peril. Finally, Mo Kolours, the half-Mauritian producerpercussionist signed to One Handed Music is coming through with his second EP, which sees him exploring the outer regions of dub and tropical folkloric music like some kind of Lee Scratch Perry dub of Harry Belafonte or something. It’s really special stuff sounding nothing like anything that’s around at the moment, which is becoming a bit of a specialty of the label that brought us Bullion and Paul White. bebop@drummedia.com.au
LONDON FIELDS Keep Calm & Carry On. Around three years ago the media was saturated with stories of how staff at Barter Books in Alnwick discovered a copy of this forgotten poster from an abandoned 1939 wartime propaganda campaign in a box of donated books. Recently, as Great Britain (like most of Europe) hits a wall of austerity, there’s further incentive to stoically Carry On Regardless. We’re less than halfway through the first of these new five-year parliamentary terms and England (and especially London) today is a different place to live than when this campaign was first revived. Then slacktivism was the most common form of protest, sometimes amounting to little more than clicking a “Like” button on a social media site. Now things are much more tangible – the Occupy movement is still grimly holding on outside St Paul’s Cathedral, while debates run through the courts with government authorities determined to have the site cleared before the Queen’s Diamond Jubilee celebrations in June. July sees London as the host of “the greatest show on earth”; that’s the Olympics to normal people. Living in London during them will be fine as long as you don’t want to leave your home and travel anywhere; that is if your greedy landlord hasn’t already evicted you so as to charge visitors to London obscene amounts for very short-term lets. It feels as if we’re having the relatives over but instead of cleaning the place properly, we’re stuffing everything into carrier bags and hiding them in the spare room while tossing throws over the furniture to try and hide how shabby it all is, as though it’s all about keeping up appearances. The infrastructure of London is already struggling to cope, and I wonder if these games won’t be a breaking point of some kind. I mean, if things grind to a halt with a single night’s snowfall, how will the capital cope with the hordes of visitors over the summer months? Recently there have been a series of power blackouts; one hit at work just after lunch the other day. It’s a very new and award-winning green building which utilises lots of natural light, so we were able to continue to work without power as we all use laptops. However the situation became pretty nasty pretty quickly as the water supply relies on electricity, meaning there was none for drinking, washing or flushing. The Luftwaffe bombing campaign may have taken place over 70 years ago, but you still hear the expression Blitz Spirit – the idea that this nation clubs together in time of adversity. But that was against an external danger and the reason the Keep Calm & Carry On posters never went into wider circulation was the message was one for a country that had been invaded, something that hasn’t happened
themusic.com.au
TALES FROM THE MOTHERLAND WITH JAMES MCGALLIARD
(although the more reactionary readers of the Daily Express or Daily Mail may tend to disagree). So if this country is at war, who is the supposed enemy? My street was in total darkness as I came home from work the other night, a result of yet another power blackout, and then I did think of the Blitz, of how harrowing it must have been to live in these streets back then. Today’s demons must be more subtle. The papers say we’re losing the battle of the bulge with an obesity “epidemic”; there’s also a growing field of causalities in the battle of the bottle. The dismantling and backdoor privatisation of the NHS (National Heath Service) may only be months away and a great good that came in a country rebuilding after the war will be lost forever. And arguments over the ownership of the Falkland islands (and their oil reserves) again hit the headlines just as they attempt to finally sweep away the long-standing protest camps outside parliament. To me there’s sometimes of a sense these days of a depressed nation just about holding on, living in fear, feeling unsatisfied with their lot and feeling they’ve had a much worse deal than their neighbours. A country where youth gangs will wage turf wars over a post code, and where Scotland wants a vote in 2014 to get out altogether. You have to start to wonder how United this Kingdom is anyway. londonfieldscolumn.blogspot.com/James McGalliard
THE DRUM MEDIA • 49
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THIS WEEK IN
ARTS
THE DESCENDANTS
THIS WEEK AT STARLIGHT CINEMA DRUM MEDIA PICK OF THE WEEK: The Descendants: from the director of Sideways and Election, Alexander Payne, this Hawaii-set film has George Clooney starring in an award-winning role as Matt King an indifferent husband and father of two girls who has to cope with the aftermath of his wife’s accident and overseeing the potential sale of his family’s estate (Saturday 25). Other films screening this week include a special girl’s-night-out screening of Bridesmaids in conjunction with the National Breast Cancer Foundation (Tuesday 21); Red Dog, about a much-loved Kelpie that unites a broken community (Wednesday 22); Sherlock Holmes: A Game of Shadows, Guy Ritchie’s second take on the detective, starring Robert Downey Jr. and Jude Law (Thursday 23); Happy Feet Two, the sequel to the Academy Awardwinning animated flick (Friday 24), and The First Grader, directed by Justin Chadwick, about an old Mau Mau veteran in his eighties who is desperate to learn to read (Sunday 26). All films begin at sundown, around 7pm, at the open-air Starlight Cinema, North Sydney Oval. See starlightcinema.com.au for more details.
TUESDAY 21 Jurassic Lounge – tonight’s event marks the launch of the hilarious new Australian TV series, Danger 5 (read about it in this issue), with a preview screening and creatives Q&A. In addition, there’ll be music from punk poet Candy Royalle and her band Sloppy Joe, and burlesque and magic from Manik Jones, Legs 11.11, and Benny O, and much, much more! Australian Museum, 5:30pm.
THURSDAY 23 Collaborate – an exhibition from Japanese printmakers and artists Kyoko Imazu and Damon Kowarsky, who have worked together since 2010 based on a system where gives Kyoko his drawings, which Kyoko then ‘vandalises’ with her own interpretations. Opening Day, 11am. Japan Foundation Gallery until 21 March. The Girls – written by Patricia Jones, a staged reading about two lesbians who confront their past and future at a wake for a lost partner; DANGER 5
a young transsexual who has AIDS joins their grief by singing and swearing. Opening night, 7:30pm. Tap Gallery until 26 February. Persian Film Festival – Opening Night: I Am Nasrine, set in modern day Tehran and the UK, the film follows Nasrine and Ali, siblings in a middle-class Iranian home. When Nasrine has a run-in with the police, the punishment received is exile in the UK, however for Nasrine, there is undeniable excitement about the prospect of starting a new life in the West and an eagerness for its promise of new freedoms. Dendy Opera Quays, 7.15pm. Festival runs to 26 February.
SATURDAY 25 Rainy Seasons – directed by Majid Barzegar, an intimate, unusual Iranian urban story of a teenage boy trapped in the middle of his parents’ divorce. Desperate, the only person he can confide in is a female student looking for a roof over her head. Part of Persian Film Festival. Dendy Opera Quays, 4pm.
MONDAY 27 Burly Beary Beefy Blokes – an exhibition from Peter Skirrow, who is recognised for his unique drawings and watercolours of the male nude. “My art aims to illustrate and affirm the love and intimacy between masculine hairy men,” Skirrow says on the new series of portraits. Opening night, 7pm. Tap Gallery.
ONGOING
Babyteeth – written by Rita Kalnejais, directed by Eamon Flack; a comedy about how good it is not to be dead yet. A group of ordinary(ish) Sydneysiders who go about their lives until that sobering moment when they realise that Milla will die before her 15th birthday; an exploration into the ‘violent sweetness of life’. Upstairs, Belvoir St Theatre until 18 March. Pygmalion – taking its name from the Greek myth about the sculptor who fell in love with his statue, George Bernard Shaw’s enduringly popular play has inspired interpretations as diverse as My Fair Lady, Pretty Woman and Educating Rita. Shaw’s story is one of rags to relative riches but his Eliza is no Cinderella and Higgins is certainly no Prince Charming. Sydney Theatre until 3 March.
LET’S TALK ABOUT SEX
A MELBOURNE-MADE MOCKUMENTARY ABOUT A SEX THERAPIST IS COMING TO COMMUNITY TV, CALLED IT’S NOT YOU. IT’S BREE. GUY DAVIS TALKS TO ITS CREATOR, SHANE DUNLOP. “Thee underlying theme of the series, st it looks at what happens to whilst someone when they blindly pursue their own self interests and how it affects those around them, is really all about the search for love and/or happiness. And a good gang-bang.” Now that you know that, aficionados of fine television, why wouldn’t you tune into It’s Not You. It’s Bree, a made-in-Melbourne sitcom screening on community television station TVS? There’s simply no reason. By the way, that opening statement was series writer-director-producer Shane Dunlop providing you with some insight into the ideas underpinning Bree, a six-part mockumentary-style comedy following the personal and professional misadventures of Bree Browning (played by Kath Gordon), a sex therapist with grand delusions of becoming Australia’s answer to Dr Phil. However, according to Dunlop, Bree’s
C U LT U R A L
CRINGE
WITH JAMELLE WELLS Koko, the star of Red Dog, has won Best Dog In A Foreign Film at the Golden Collar Awards in Los Angeles. The six-year-old kelpie apparently accepted his award via satellite. His movie also won Best Film at the recent Australian Academy Of Cinema And Television Arts (AACTA) Awards. We are told Koko will travel to the US with other cast members later in the year for the Hollywood premiere. Adelaide businessman Richard Frolich has joined the board of directors of the Biennale of Sydney. Frolich has been a supporter of the visual arts for 30 years and was the founding chair of the Art Gallery of South Australia’s successful Contemporary Collectors’ benefaction group. He’s also been a board member of the Melbourne Art Foundation and a key supporter of the Australian Visual Arts Awards. Chatswood’s new performing arts centre, The Concourse, is attracting audiences with coups
50 • THE DRUM MEDIA
quest for multimedia stardom faces a few minor snags. “She is blissfully unaware of her own shortcomings, which include an inability to respect traditional doctor/ patient boundaries; she is often blindly ignorant towards race, sexuality, age and disability, and she is running her own personal life into the ground,” he explains. “She has hired a camera crew to follow her along the way, hoping to document a stratospheric rise to fame, but the wheels quickly start coming off once the cameras begin to roll.” It’s not all about Bree, though (despite what the title might indicate), as she has a bunch of “weird and wonderful clients” – one word: plushies; another word: nudists – who add a little extra spice to the proceedings. And Dunlop knows what he’s talking about when it comes to this type of scenario. “I had spent some time working in one of Melbourne’s sexual health clinics
such as an exclusive season of the English National Ballet in July and performances by the Vienna Boys Choir, Dame Kiri Te Kanawa, Steve Earle and Kate Miller-Heidke. But there are reports the conference venue next door isn’t getting many bookings because it’s taking too long to build a proposed hotel near it. The 200-room hotel was meant to open with the rest of the Concourse last September. Shire Music Theatre in Sutherland has assembled a cast of 13 young people from across Sydney and Wollongong for a March production of the Broadway musical, 13. The show about growing up is based on a teenager who is forced to move from New York to a small town in Indiana when his parents get divorced. Producers John Frost and Sharleen Cohen have announced more cast members for the May premiere of their new musical, An Officer And A Gentleman. Joining the principal cast of Ben Mingay, Amanda Harrison, Kate Kendall and Alex Rathgeber will
there I learned and while working w that for the most m part, society puts on a very straight facade. We are all very careful to not give too much away about some of the things we all enjoy doing ‘behind closed doors’. It’s usually because people think that no one else is like them, or they’re too embarrassed or ashamed to admit that they might be just a little freaky. In reality, I think almost everyone has at least something that floats their boat they might consider a little unusual. We, and I include myself, are all a little fucked-up when it comes to sex. Providing it’s healthy and safe, that’s almost certainly a good thing. So going in with that background in mind, I thought there was plenty of room for a character who dealt with some of these issues but did so in a completely unprofessional way.”
their time and effort sans salary, Dunlop evolved Bree from a 13-part series of three-minute episodes into the sixparter coming to community TV.
Working with a low, low budget and a cast and crew that generously donated
WHEN & WHERE: Tuesdays, 9:30pm, from 6 March on TVS
be Barthlomew John, Bert LaBonte, Josh Piterman, Zahra Newma and Josef Brown. Based on the movie, the production has been adapted for the stage by the original screen writer Douglas Day Stewart and co-writer Sharleen Cohen, with music and lyrics by Ken Hirsch and Robin Lerner.
programmes are broadcast on SBS radio.
SBS managing director Michael Ebeid has told a Senate committee the broadcaster suspended radio services in 15 languages over summer because of falling advertising revenue. Services affected included Bulgarian, Danish, Estonian, Fijian, Hebrew, Indonesian, Norwegian, Romanian, Slovak and Yiddish. More than 60 language
RED DOG
“It was quite honestly one of the hardest things I’ve ever attempted and to actually get it to a point where we are days away from broadcast is pretty bloody satisfying. Quite honestly, it would be nice if people watched it and enjoyed it, but I’m stoked just to have it completed because it wasn’t easy. The more days we shot that involved the nudists, the more I felt I was slowly heading towards an eventual career in soft-core pornography. You never know, it may still happen. I have developed an ability at directing naked people.” WHAT: It’s Not You. It’s Bree
Griffin Theatre Company is opening its doors on Sunday afternoons from 11 March with a new initiative for emerging and established artists. Each GRIFFringe session will include performances ranging from ten to 30 minutes. There will be short plays, excerpts from works in development, cabaret, stand-up, devised pieces and mini-musicals. The company tells us everything about the initiative, except for its artistic standards, is cheap. After operational costs, box office takings (tickets at $10 a pop) are split between performers.
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ADELAIDE COMES TO SYDNEY
KERRI GLASSCOCK AND OLD 505 THEATRE SAVE YOU A 1,500KM TRIP WITH A TASTE OF ADELAIDE’S FRINGE FESTIVAL IN SURRY HILLS. WORDS BY DAVE DRAYTON. From Friday 24 February to Sunday 18 March hundreds and performers – and thousands of punters – will descend on the City of Churches for one of the country’s largest arts festivals, Adelaide Fringe. As enticing as the programme is it obviously poses some difficulty for Sydneysiders – travel, time off work, the rapidly accumulating costs of the first reasons, and probably a couple more. Enter Kerri Glasscock, director of the Old 505 Theatre, fringe festival fanatic and the woman who – alongside co-curator Gareth Boylan – will be giving Sydney residents a snippet of Adelaide’s acts over the next fortnight. “Gareth Boylan and I attempted to do it last year because we have so many friends who head down to Adelaide and, well, we really just wanted to see their shows more than anything because we never got to see them,” Glasscock expains the catalyst for this mini festival. “We ended up only getting one or two shows last year, so we didn’t make a big deal about it but when the time kicked around for this year we were determined to do it again. “We had friends heading down and we thought it was a nice opportunity to give them a chance to show their local friends their performances but also to just test-run the piece because so often when you head down to a festival like that you don’t have a chance to rehearse or bump in shows necessarily with the luxury that you would ordinarily want. So it’s a nice way to test the waters a bit and get a bit comfortable before you go into the madness of a Fringe Festival like that.” This time they’re making a bigger deal out of it, having lined up four productions – the innovative social
media-driven improv antics of Tweatre, courtesy of Ferknerkle Productions; the shadow puppetry and musical fusion of Lahara; The Sexy Tales Collective’s 100 Years Of Lizards, and the wine-fuelled Blind Tasting – for a show or two each before they head south. “There’s one week in there where we’ve got something different on here every other day so there’s definitely a festival vibe going on. There’s always a great buzz around things when you’ve got only one or two chances to see a show and there’s a whole bunch of stuff on that week. “The venue itself lends itself to that element of excitement and the rough and ready nature of a festival like that,” Glasscock says of the endearingly ramshackle Elizabeth St headquarters. “More so than the more polished venues around town and because we are limited in our means here as far as equipment and resources – but also it’s not soundproofed and it’s rough – that kin of adds to that element of excitement that you would get at a fringe festival where productions are in unusual venues and they have limited tech and not much lighting and it’s all about the work. “And there’s a hang vibe here. I think the best thing about any really successful festival is that the community gets together and you have a hang and there’s a vibe of excitement and a vibe of being relaxed and this space definitely lends itself to that. Come with wine!” WHAT: 505’s mini Adelaide Fringe season WHERE & WHEN: Old 505 Theatre Wednesday 22 February to Saturday 3 March
DO THE REICH THING
THE GENIUSES BEHIND VIRAL HIT, ITALIAN SPIDERMAN, ARE RESPONSIBLE FOR THE FUNNIEST TV OF THE YEAR: DANGER 5 – A PASTICHE OF MEN’S-ONLY MAGS THAT RECALLS THUNDERBIRDS AND OSS 117, AND BOASTS NAZI DINOSAURS. GUY DAVIS TALKS TO CO-CREATOR DARIO RUSSO.
CONCERT ACO: CHOPIN & MENDELSSOHN’S OCTET Sydney Opera House Concert Hall, 12/02/2012 The Australian Chamber Orchestra open their 2012 season with guest Russian pianist Polina Leschenko who, fittingly, first toured with the ACO in 2006 performing Mendelssohn’s Concerto in D minor for violin and piano. But, before the fiery pianist takes the stage, for Paganini’s Caprice on Caprices – arranged by Tognetti – the orchestra whispers, trickles and flirts between cascades of strings that soon become torrents. Then comes Morricone’s Esercizi No.1
FILM Nazis: nobody likes ‘em. Except, well, maybe other Nazis. But the one good thing they have offered the human race is an instant go-to villain for pop culture. You never need to delve too deeply into their motivation or even offer up a token sympathetic one. Nope, in the words of Dario Russo, co-creator of the new SBS series, Danger 5 (which has its fair share of nasty Nazis), “you don’t even need to explain why they’re the bad guy, you just have to slap a swastika on there”. Danger 5 slaps a swastika on there, and it slaps on a few other things as well – lizard super-soldiers, talking animals and suave secret agents who make Sterling Archer look positively secondrate. A glorious pastiche of the ‘Men’s Only’ adventure yarns of the ‘60s and ‘70s, with nods to the lurid era’s Italian-cinema aesthetic and Japanese monster-movie conventions, it’s the latest creation of Russo and David Ashby, who previously collaborated on the cult YouTube hit, Italian Spiderman. “David and I have long been fans of a peculiar genre of magazine known as the ‘men’s adventure’ magazine, very popular in the ‘60s and ‘70s,” explains Russo. “They would have pulpy short stories that would more often than not involve WWII scenarios that had vulgar Nazis torturing scantily-clad Allies women in exotic locations. They would have wonderfully explicit cover art, like rampaging Nazi baboons! We looked at a lot of these covers and they seemed to get more and more ridiculous as we went further along, so we wanted to create a show that emulated this pseudo-WWII universe, one filled with surreal and historically inaccurate elements bathed in this ‘60s/’70s aesthetic.” And the result is this bizarro six-part
comedy that pits its faux force five – “Jackson from the USA, Tucker from Australia, Ilsa from Russia, Claire from Britain and Pierre from Europe” (gotta love that “from Europe”) – against the worst excesses of Hitler’s reign of terror. We’re talking “Josef Mengele’s perverted Antarctic death circus” and “Erwin Rommel’s golden murder casino”. “At no point in the series do we ever condone Nazism,” Russo helpfully points out. “We’re re-forming them into this supervillainous entity rather than a historically accurate picture. And we’ll probably be able to do that forever. No one ever has a problem with Nazis as a bad guy.” With the popularity of Italian Spiderman as their calling card, Russo and Ashby were offered a deal by SBS to submit three ideas, one of which would be selected for development. “Danger 5 was the most ambitious,” says Russo. And despite the production’s low budget, the Danger 5 team was keen to provide the most bang for their buck. “We had Italian Spiderman to prove our worth when it came to making pastiche of this kind of cinema. It proved we could deliver. With this, everything was painstakingly put together. We were being serious about the effects we created. It’s going to be a ridiculous show, well outside the sphere of credibility, so the production values don’t need to be hammed up. We’ve got this much money to make six Nazi lizard-soldier masks – make the best ones you can!” WHAT: Danger 5 WHERE & WHEN: Screening Mondays, 9:30pm, from 27 February on SBS1 / Released on DVD 21 March (Madman)
THE WOW FACTOR
IAN BARR PREVIEWS THE UPCOMING WORLD OF WOMEN FILM FESTIVAL PROGRAMME, NOW IN ITS 18TH YEAR. For ten days in March, the World Of Women (WOW) film festival enters its 18th year of showcasing emerging women filmmakers from Australia and worldwide. Its programme consists of predominantly short films – 38 in total, 29 world premieres – by female filmmakers, ranging from fiction, doco, animation and non-narrative/experimental, that collectively promote “seeing the world through the eyes of women,” as per the fest’s credo. In addition to this obvious distinguishing factor from the plethora of festivals that lead up to Sydney Film Festival in June, is the presence of the filmmakers at each of the six sessions (seven including the free launch). With up to ten shorts at each session and the key
members of cast and crew present to discuss the work, there’s a more inviting and interactive aspect to the festival that sets it apart to the PayWatch-Leave vibe of certain other film fests. Among the world premieres of Australian films are ‘live action animation’ Crystal Jam, from recent AFTRS graduate Leonie Savvides; more animations from international and Aussie female filmmakers screen as part of the ‘Tricky Women’ session. Also premiering is 50-50, an ambitious-sounding period drama about a prostitute set in 1920s and ’30s Kings Cross, featuring The Loved Ones star Jessica McNamee. It plays alongside ten films in the festival’s second session, including double-suicide comedy (!) Heck, an award-winner at the Palm Springs
REVIEW for ten strings, a stand-out in the programme, with mourning midrange cellos beneath chaos on high, a mesmerising improvised canon. The sound of a revelation. For all her skill – and it is unquestionable, almost to the point of disbelief – Leschenko performs with flare and sass. The allegro sections of Chopin’s Piano Concerto No.1 are traversed effortlessly and she stamps an individual essence on the more tender movements. The Górecki Concerto is delivered with equal skill, as is the Mendelssohn Octet that follows Leschenko’s departure, but it is hard to shake the sense of awe established with Chopin. DAVE DRAYTON
REVIEW
SHAME Sex addiction might not rank up there with brain cancer and leprosy on the list of gravest afflictions known to man, but you wouldn’t know it from the way Shame tells it. Reuniting director Steve McQueen and actor Michael Fassbender, who both broke out in a big way with 2008’s Hunger, their second collaboration goes in the opposite direction to their first. Instead of pointedly de-dramatisating a potentially sensational subject (the 1981 Irish prison hunger strike led by Bobby Sands), Shame catapults a first world problem into the realm of high tragedy, to exasperating effect. The problems start with the script, co-written by McQueen and Abi Morgan. It’s tempting to lay the blame on the latter, fresh off the ghastly The Iron Lady. There’s a moralising, unmistakably reactionary air carried from the title and subject matter down to the mournful light shone on Fassbender’s corporate drone New Yorker Brandon and his anguished three-ways with prostitutes and last-ditch visit to a gay club (among other activities). But the self-seriousness of
McQueen’s directorial choices doesn’t help matters. His long takes work best when they afford breathing room for his actors (especially a dinner date between Fassbender and a co-worker), but scenes like a lateral tracking-shot following Fassbender as he jogs through the Manhattan streets is the kind of pseudo-contemplative moment that show up the film’s emptiness. Then there’s the music score, a bombastic attack of strings that manages to transform a rimjob into a RIMJOB OF DESPAIR. This hollowness would be less frustrating if Fassbender wasn’t so committed to registering the depths of numbness (or Carey Mulligan for that matter, effectively playing against type as his estranged sister), or if McQueen’s filmmaking didn’t occasionally hint at the sublimity of Hunger – the first 15 minutes condenses Brandon’s work and leisure into a freely associative montage that’s an effective short film in its own right. Shame about the rest, then. WHERE & WHEN: Screening in cinemas now IAN BARR
SHAME
International Shortsfest, The Burnt Cork, a stolen generation-themed drama set in 1950s rural Australia that played at Cannes, and Portugese animation, Camera Obscura. Diversity, then, is key to WOW. Overseas entries include Crumble, a gritty Manhattan-set drama starring The Sopranos’ Oksana Lada and Stephen Bauer (Traffic, Scarface), rock-gig love story Nice Guys Finish Last, British dark comedy Ray Morley, and the queer coming-ofage fairytale, The Maiden And The Princess, from the US. Also playing from abroad are The Heart Needs No Reason, an Indian writer-centric drama starring Bollywood actress Sakshi Tanwar, and the fantasticallytitled Snygga Brost: Cupcakes, a Swedish tale of café staff rivalry. Among the documentaries are the ballet portrait, An American Swan In Paris, concerning the tension-filled lead-up to an American dancer’s performance at the Paris Opera House. UMOJA: No Men Allowed, from Australia’s Elizabeth Tadic, tells the inspiring story of a group of tribal Samburu women in Northern Kenya,
who challenge their community’s patriarchy by establishing a womenonly village. World premiere, Piercing Silence, presents us with three women who tell about the hardships facing them in their experiences of abortion. One of the most acclaimed and awarded titles is the doco, Murder Mouth, the winner of ‘best grassroots film’ at Inside Film’s recent IF awards. It follows 21-year-old meat-eater Maddie, who puts her culinary habits to the test by seeing if she can murder an animal for food and stay a carnivore. The programme’s launch on Tuesday 6 March at Customs House Library is free, including a ‘meet the filmmakers’ panel. All in all, a great cause, a great chance to become acquainted with burgeoning filmmaking talent and insight into their processes, and of course, the opportunity to catch some great films. WHAT: World Of Women Film Festival WHERE & WHEN: Dendy Opera Quays and other venues Tuesday 6 March to Friday 16 THE DRUM MEDIA • 51
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MADE YOU
LOOK
WITH BETHANY SMALL The other day I was procrastinating, reading through bits of Debrett’s etiquette guide, because why not? Obviously I need to know how to behave according to uptight British rules. And also I actually secretly think that the advice is generally pretty good; old-fashioned but handy stuff about the correct ways to address people aside, it’s generally all a matter of ‘don’t be a dick to anyone, and don’t be gross.’ Like, mean it when you apologise and close your g-d mouth when eating and stuff like that. Etiquette: it’s not really a rulebook so much as it is a handy How Not To Be Heaps Awkward Guide To Not Making Yourself And Others Uncomfortable, which is something in which I would like everyone in the (art, especially) world to be instructed. So here goes, a little bit: Anyway looking through it and looking up ‘Ps and Qs’ because that is a curious expression that gets my (none-too-deeply) suppressed etymologist aspect all fired up, and that led me on (via alphabetical listing, which itself is another fine system) to the entry on ‘Pronunciation’ and that resolved a question that has bugged me and lots of people I know, that question being the matter of whether or not you should, when saying foreign words, say them in the way they’d be said in their language of origin or not. Debrett’s say to “gently anglicise”, which is pretty hilarious given their gentility and Englishness, but their point stands:
GIVEAWAYS
if you go into a madly strong accent for one word it messes up your whole rhythm of diction what with how you are suddenly forcing your mouth and tongue to make whole different motions because of phonemes and whatevs and it’s going to be stilted.
LIKE CRAZY
It’s rude, they suggest, to straight-up correct someone when they get something wrong, but you can introduce the word into your own lines later in the conversation and give them the example, and what they do with it is up to them from there. The principle is that it’s generally not a big deal if someone says something in a way that’s not the usual, unless that leads to confusion of meaning, with the exception of people’s names, where repeated incorrect pronunciation can be upsetting to the bearer in that they can take it in an ‘I clearly am of very little significance to you’ way. Only of people’s own names, though, so maybe shut up about real strong view on how a person or place should be said. It seems to be a thing all over the arts that people are either very uncertain about how certain names go, or very keen too demonstrate that they know, or using the latter to cover up the former, and it’s exhausting and stop it. Admit you’re not sure, get as close as you can, just try to make sure people know who or what you’re talking about. It is awkward when you get heaps excited that your date’s mum owns a Bracques painting when actually she has a (still awesome, but quite a different thing) Brack.
When a British college student (Felicity Jones) falls for her American classmate (Anton Yelchin) they embark on a passionate and life-changing journey only to be separated when she violates the terms of her visa. Like Crazy explores how a couple faces the real challenges of being together and of being apart. Winner of the Grand Jury Prize for Best Picture at
adventure into design THINKING | MAKING | CONNECTING
Enrolling now for march 2012 Sydney | Melbourne | Brisbane Enrol now on 1300 851 245 or join us at www.billyblue.edu.au Think: Colleges Pty Ltd, ABN 93 050 049 299 trading as Billy Blue College of Design, RTO No. 0269, HEP No. NSW5028, CRICOS Provider Codes: NSW 00246M, QLD 03107J, VIC 03252M.
52 • THE DRUM MEDIA
the 2011 Sundance Film Festival and of the Special Jury Prize for Best Actress for Felicity Jones, Like Crazy depicts both the hopefulness and the heartbreak of love. Opening in cinemas 1 March, thanks to Paramount we’ve five in-season double passes to giveaway. For your chance to win one, head to facebook.com/drummedia / facebook.com/inpressmag
/ facebook.com/timeoffmag / facebook.com/drumperth. Two of our favourite things in the world are BBQs and New Zealand. Thanks to Random House, we can now have both of these in convenient book form. In Stoked, highly regarded NZ chef Al Brown (owner, Depot, Auckland; host, Hunger for the Wild) shares his experiences of traditional outdoor cooking methods from New Zealand’s diverse cultures – a hangi at Matahiwi Marae on the Wanganui River, cooking tandoor with his Wellington grocer, and putting a pig in a pipe with a third generation
Chinese New Zealander. Al is a keen hunter and gatherer and forages in Canterbury for porcini mushrooms, collects seaweed on the Wairarapa coast, and goes hunting for deer as well as trout fishing. The book is brimming with great recipes and stunning photography, and celebrates the rewards of eating outdoors. Thanks to Random House we’ve a copy of the book to giveaway. For your chance to win it, head to facebook.com/drummedia / facebook.com/inpressmag / facebook.com/timeoffmag / facebook.com/drumperth.
TOUR GUIDE FEATURE TOUR
TRIPLE TREAT TOUR
The Triple Treat tour – featuring Nantes, Millions and Northeast Party House – kicks off, starting in Wollongong on Thursday and taking over the UniBar’s O Party, then hitting up the Oxford Art Factory on Friday and Transit Bar Canberra on Saturday. With Nantes basking in the attention of their track Fly, Millions hot off the release of their clip for Those Girls and Northeast Party House gaining fame and fortune through their release Dusk, this tour will be full of treats for all.
DRUM PRESENTS
PLUTO JONZE @ THE STANDARD. PIC: JOSH GROOM
PLUTO JONZE CUB SCOUTS, MRS BISHOP THE STANDARD 17/02/12
The Hurricane Evie tour was a perfectly mixed bag— neat indie-pop courtesy of Brisbane guests Cub Scouts, then the positively otherworldly tunes of Pluto Jonze, plus the sonic magic crafted by Mrs Bishop. There was also a magical kind of camaraderie in the air, with each act watching – and then thanking – the act before it. Mrs Bishop weren’t your standard unrehearsed, immature young support act; their songs were crafted with care and skill. From the high-pitched male vocal harmonies, to the angelic synth lines, to the gentle pitter-patter of cymbals, Mrs Bishop put forth a sound that was delicate and unique. Though the band seemed a little awkward in their stage presence, the music speaks for itself – this band has something virtually unique to communicate with us. Since their last venture down south, Cub Scouts have climbed a little farther up that musical ladder. Their soundcheck seemed to go on forever, but the audience were rewarded with close to perfect sound. They opened with Rack Attack, a neatly arranged, potential indie-pop anthem that neatly showcases both the band’s trademark keyboard lines, as well as the flawless way in which the drums and melody interact. You get the feeling this song is going to be
everywhere soon enough. Cub Scouts followed up with Hands, a little track that frontman Tim Nelson penned about a girl in his anatomy class who was really into cadavers. In an era in which plenty of bands barely interact with their audience at all, the disarmingly polite way in which Nelson explained to his audience the story behind tracks let the audience in a little further. Pluto Jonze set up for an otherworldly set by assembling stacks ancient-looking televisions around the stage, all blazing with fuzzy snow. It was a kind of jarring reminder of earlier times, when television wasn’t digital and people watched video cassettes. Watching the band set up was an exciting process in itself; those well-known guitars, that infamous Theremin. And then it was time. Pluto Jonze creates something that is so different, so reminiscent of a million different sounds and yet so unlike anything you’ve ever heard before – it would be possible to go on like this for several pages. From the almost famous rock‘n’roll strains of Plastic Bag In A Hurricane to the ethereal beauty of Stars To Your Feet, Pluto Jonze is, undoubtedly, an artist.
TRIPLE TREAT feat. MILLIONS, NANTES, NORTHEAST PARTY HOUSE: Feb 23 Wollongong Uni, Feb 24 Oxford Art Factory, Feb 25 Transit Bar BEN KWELLER: Mar 2 The Hi-Fi APHEX TWIN: Mar 2 Enmore Theatre MANCHESTER ORCHESTRA: Mar 4 The Hi-Fi CHIC feat. NILE RODGERS: Mar 5 The Metro TINIE TEMPAH: Mar 6 Hordern Pavilion NEW ORDER: Mar 7 Hordern Pavilion JESSIE J: Mar 8 Hordern Pavilion THE RAPTURE: Mar 8 The Metro DIE ANTWOORD: Mar 9 Enmore Theatre FUTURE MUSIC: Mar 10 Royal Randwick Racecourse WILD FLAG: Mar 13 Manning Bar I, A MAN: Mar 15 King’s Cross Hotel BLUE MOUNTAINS MUSIC FESTIVAL: Mar 16 – 18 Katoomba MICHAEL ROTHER: Mar 17 Oxford Art Factory ADAM ANT: Mar 23 Enmore Theatre JAMES WALSH: Mar 24 The Standard THE BON SCOTTS: Mar 29 Manly Boat Shed, Mar 30 The Vanguard, Mar 31 Grand Junction Hotel, Apr 1 Brass Monkey DEAD TO ME, COBRA SKULLS: Mar 30 ANU Bar, Mar 31 Annandale Hotel, Apr 3 Yours & Owls, Apr 4 Newcastle Leagues Club, Apr 5 Blush Nightclub JOHN HIATT: Apr 3 The Metro BUDDY GUY: Apr 4 Enmore Theatre BLITZEN TRAPPER: Apr 5 Oxford Art Factory FABULOUS THUNDERBIRDS: Apr 7 Factory Theatre ALABAMA 3: Apr 7 Manning Bar BLEEDING KNEES CLUB: Apr 11 Beach Road Hotel, Apr 12 Transit Bar, Apr 13 & 14 (day) Oxford Art Factory, Apr 14 (eve) The Patch THE BEARDS: Apr 18 Great Northern Newcastle, Apr 19 ANU Bar, Apr 20 Manning Bar JAY & SILENT BOB: Apr 20 & 23 Enmore Theatre PASSENGER: Apr 21 Factory Theatre DIG IT UP!: Apr 22 Enmore Theatre, Notes Live, The Green Room SYDNEY COMEDY FESTIVAL: Apr 24 – May 12 various venues THE GUM BALL: Apr 27 & 28 Dashville BIG SCARY: Apr 27 Oxford Art Factory GOSSLING: Apr 27 Clarendon Guesthouse; Apr 28 The Basement Circular Quay, Apr 29 Brass Monkey ANDREW WK: May 10 The Standard THE MACCABEES: May 10 Metro Theatre DEAD LETTER CIRCUS: May 23 The Patch, May 24 Zierholtz @ UC, May 25 The Hi-Fi, May 26 Entrance Leagues Club, May 27 Cambridge Hotel BOY & BEAR: May 30 State Theatre, May 31 Newcastle Uni, Jun 1 ANU Bar, Jun 2 Waves, Jun 17 Entrance Leagues Club GROOVIN’ THE MOO: May 12 Maitland Showground, May 13 University Of Canberra
Jessie Hunt
themusic.com.au
NATIONAL
SISTER JANE, MAGNETIC HEADS, CAITLIN PARK, THE MAPLE TRAIL: Feb 22 The Lass Newcastle, Feb 23 The Standard, Feb 24 The Clifton School Of Arts, Feb 25 The Baroque Bar PEAR & THE AWKWARD ORCHESTRA: Feb 22 King’s Cross Hotel, Feb 23 Yours & Owls RICK PRICE: Feb 22 Notes, Feb 23 Brass Monkey, Mar 1 The Vault, Mar 3 Clarendon Hotel, Mar 29 Lizotte’s Kincumber, Mar 30 Lizotte’s Dee Why, Apr 1 Lizotte’s Newcastle JOHN WILLIAMSON: Feb 22 99 On York, Apr 21 Nelson’s Bay Diggers, May 4 Campbelltown RSL, May 5 North Sydney Leagues Club, May 6 Castle Hill RSL, May 23 99 On York THE CAIROS: Feb 22 Beach Road Hotel, Feb 24 Chino’s Newcastle, Feb 25 Spectrum STICKY FINGERS: Feb 23 Crows Nest Hotel, Feb 24 Annandale Hotel, Mar 11 Front Bar Canberra ELIZABETH ROSE: Feb 23 Goodgod Small Club JEREMY EDWARDS & THE DUST RADIO BAND: Feb 23 Beaches Hotel, Feb 24 Empire Hotel PARKWAY DRIVE: Feb 23 Bateau Bay PCYC, Feb 24 Sutherland Entertainment Centre, Feb 25 Penrith Panthers TRIPLE TREAT feat. MILLIONS, NANTES, NORTHEAST PARTY HOUSE: Feb 23 Wollongong Uni, Feb 24 Oxford Art Factory, Feb 25 Transit Bar 360: Feb 24 & 25 The Standard ANTISKEPTIC: Feb 25 The Lair STEP-PANTHER: Feb 25 Cambridge Hotel MATT CORBY: Feb 27, Mar 1, 4, 5 Oxford Art Factory FUSHIA: Feb 29 Rock Lily, Mar 1 Oxford Art Factory Gallery Bar, Mar 2 Hamilton Station Hotel, Mar 3 The Lansdowne ALEKS & THE RAMPS: Mar 1 ANU Bar, Mar 2 The Patch, Mar 3 Goodgod, Mar 4 Chino’s JEN CLOHER: Mar 1 The Vanguard LAST DINOSAURS: Mar 1 Spectrum TWELVE FOOT NINJA: Mar 1 The Basement, Mar 2 The Patch, Mar 3 Annandale Hotel ELIXIR: Mar 1 Joan Sutherland Performing Arts Centre, Apr 19 Ravensthorpe Guesthouse & Restaurant, Apr 21 The Basement TROY CASSAR-DALEY: Mar 2 Lizotte’s Dee Why, Mar 3 Lizotte’s Newcastle, Mar 4 Lizotte’s Central Coast THE DEAD LEAVES: Mar 2 Goodgod, Mar 3 Old Manly Boatshed RATTLEHAND: Mar 2 Grand Junction Hotel, Mar 3 Phoenix Bar Canberra, Mar 4 The Lansdowne FEARLESS VAMPIRE KILLERS: Mar 2 Spectrum FAIRCHILD REPUBLIC: Mar 3 Oxford Art Factory TIM HART: Mar 3 King’s Cross Hotel, Mar 4 Yours & Owls MINX: Mar 3 Ivy, Mar 23 The Mean Fiddler, Mar 30 La La Land, Apr 13 King Street Hotel A DAY ON THE GREEN feat. NOISEWORKS, IAN MOSS: Mar 3 Bimbadgen Winery Hunter Valley I, A MAN: Mar 15 King’s Cross Hotel THE BON SCOTTS: Mar 29 Manly Boat Shed, Mar 30 The Vanguard, Mar 31 Grand Junction Hotel, Apr THE DRUM MEDIA • 53
TOUR GUIDE 1 Brass Monkey BLEEDING KNEES CLUB*: Apr 11 Beach Road Hotel, Apr 12 Transit Bar, Apr 13 & 14 (day) Oxford Art Factory, Apr 14 (eve) The Patch THE BEARDS: Apr 18 Great Northern Newcastle, Apr 19 ANU Bar, Apr 20 Manning Bar PASSENGER: Apr 21 Factory Theatre BIG SCARY: Apr 27 Oxford Art Factory GOSSLING*: Apr 27 Clarendon Guesthouse; Apr 28 The Basement Circular Quay, Apr 29 Brass Monkey DEAD LETTER CIRCUS*: May 23 The Patch, May 24 Zierholtz @ UC, May 25 The Hi-Fi, May 26 Entrance Leagues Club, May 27 Cambridge Hotel BOY & BEAR: May 30 State Theatre, May 31 Newcastle Uni, Jun 1 ANU Bar, Jun 2 Waves, Jun 17 Entrance Leagues Club
INTERNATIONAL
MADISON VIOLET: Feb 22 Brass Monkey, Feb 23 Notes, Feb 24 Clarendon Guesthouse, Feb 25 The Vault, Feb 29 Lizotte’s Kincumber DAN MANGAN: Feb 23 Steyne Hotel, Feb 24 Notes DEATH CAB FOR CUTIE: Feb 24 & 25 Enmore Theatre LUKE ABBOT: Feb 24 Chinese Laundry HUDSON MOHAWKE: Feb 25 Manning Bar LEE BURRIDGE: Feb 25 AGWA013 Yacht Party JONATHAN BUTLER: Feb 25 Seymour Centre THE ORB, BOMB THE BASS: Feb 25 Metro Theatre MARK MCGUIRE*: Feb 25 King’s Cross Hotel MAYER HAWTHORNE: Feb 26 The Metro DANNY DAZE: Feb 26 World Bar SOUL II SOUL FEAT. JAZZIE B: Feb 26 The Ivy DASHBOARD CONFESSIONAL: Feb 27 Manning Bar BUSH: Feb 27 Enmore Theatre THURSDAY: Feb 27 The Metro SLIPKNOT: Feb 27 Sydney Entertainment Centre SWITCHFOOT: Feb 27 Factory Theatre HYRO DA HERO: Feb 27 Candy’s Apartment THE PRETTY RECKLESS: Feb 27 The Wall ANGELS & AIRWAVES: Feb 27 UNSW Roundhouse BLACK VEIL BRIDES: Feb 28 The Wall A DAY TO REMEMBER: Feb 28 UNSW Roundhouse HATEBREED: Feb 28 Newcastle Panthers ALTER BRIDGE: Feb 28 Enmore Theatre RYAN ADAMS: Feb 28 Sydney Opera House Concert Hall SYSTEM OF A DOWN: Feb 28 Sydney Entertainment Centre A ROCKET TO THE MOON: Feb 28 Annandale Hotel LOSTPROPHETS: Feb 28 The Metro DEVIN TOWNSEND PROJECT: Feb 28 The Factory WILL & THE PEOPLE: Feb 29 Sandringham Hotel, Mar 7 Rock Lily, Mar 8 Lizotte’s Newcastle, Mar 9 Lizotte’s Dee Why, Mar 10 Hard Rock Café, Mar 11 The Wall ENTER SHIKARI: Feb 29 The Metro MACHINE HEAD: Feb 29 UNSW Roundhouse BAD RELIGION: Feb 29 Big Top Luna Park MARILYN MANSON: Feb 29 Enmore Theatre CATHEDRAL: Feb 29 The Factory BELINDA CARLISLE: Feb 29 Viking Club, Mar 2 Penrith Panthers, Mar 3 Revesby Workers Club, Mar 6 West Leagues Club, Mar 13 Castle Hill RSL ATTACK! ATTACK!: Feb 29 Annandale Hotel COBRA STARSHIP: Feb 29 The Hi-Fi CUBAN BROTHERS: Mar 1 Ivy Pool Club DJ KRUSH: Mar 1 Upstairs Beresford SPRUNG MONKEY: Mar 1 Great Northern Hotel, Mar 7 The Patch, Mar 9 Manly Fisho’s, Mar 11 Cambridge Hotel FOUR YEAR STRONG: Mar 1 Manning Bar MASTODON: Mar 1 The Hi-Fi BLACK LABEL SOCIETY: Mar 1 The Metro LAMB OF GOD: Mar 1 UC Refectory SLOW CLUB: Mar 1 Goodgod UNDEROATH: Mar 1 The Factory ICICLE: Mar 1 Sly Fox ODDISEE: Mar 1 Civic Underground REBEL SOULJAHZ: Mar 1 Selina’s ERIC BIBB: Mar 1 Sutherland Entertainment Centre, Mar 8 & 21 The Basement, Mar 9 Joan Sutherland PAC, Mar 20 Lizotte’s Central Coast, Mar 22 Lizotte’s Newcastle, Mar 24 Lizotte’s Dee Why ARIEL PINK’S HAUNTED GRAFFITI: Mar 2 Oxford Art Factory 54 • THE DRUM MEDIA
BONOBO: Mar 2 The Metro NEON INDIAN: Mar 2 The Standard APHEX TWIN: Mar 2 Enmore Theatre BEN KWELLER: Mar 2 The Hi-Fi SYBREED: Mar 2 The Wall, Mar 15 Cambridge Hotel MEN: Mar 2 Red Rattler EUGENE ‘HIDEAWAY’ BRIDGES: Mar 2 Lizotte’s Kincumber, Mar 3 Lizotte’s Dee Why, Mar 4 Lizotte’s Newcastle UKULELE ORCHESTRA OF GREAT BRITAIN*: Mar 3 Canberra Theatre Centre, Mar 4 IPAC, Mar 6 Sydney Opera House Concert Hall, Mar 7 Newcastle City Hall STEVE BUG: Mar 3 Chinese Laundry RUPAUL: Mar 4 The Metro BLACK LIPS*: Mar 4 Annandale Hotel MANCHESTER ORCHESTRA: Mar 4 The Hi-Fi CHIC feat. NILE RODGERS: Mar 5 The Metro BONNIE ‘PRINCE’ BILLY: Mar 5 Sydney Opera House Concert Hall JUDY COLLINS: Mar 6 Lizotte’s Kincumber, Mar 7 Lizotte’s Lambton, Mar 8 The Concourse, Mar 16 Lizotte’s Dee Why, Mar 19 & 20 The Basement DANIEL O’DONNELL: Mar 6 Newcastle Entertainment Centre, Mar 7 State Theatre, Mar 8 Royal Theatre TINIE TEMPAH: Mar 6 Hordern Pavilion SKRILLEX*: Mar 7 Enmore Theatre THE CHECKS: Mar 7 Beach Road Hotel BEN SOLLEE: Mar 7 The Basement Circular Quay, Mar 21 Street Theatre, Mar 22 The Vanguard NEW ORDER: Mar 7 Hordern Pavilion JESSIE J: Mar 8 Hordern Pavilion THE RAPTURE: Mar 8 The Metro DIE ANTWOORD: Mar 9 Enmore Theatre WILD FLAG: Mar 13 Manning Bar JOHNNY CLEGG: Mar 15 Enmore Theatre MICHAEL ROTHER: Mar 17 Oxford Art Factory ADAM ANT: Mar 23 Enmore Theatre JAMES WALSH: Mar 24 The Standard DEAD TO ME, COBRA SKULLS: Mar 30 ANU Bar, Mar 31 Annandale Hotel, Apr 3 Yours & Owls, Apr 4 Newcastle Leagues Club, Apr 5 Blush Nightclub JOHN HIATT: Apr 3 The Metro TROMBONE SHORTY: Apr 3 The Basement Circular Quay JUSTIN TOWNES EARLE: Apr 4 Factory Theatre STEVE EARLE: Apr 4 Lizotte’s Newcastle, Apr 8 Factory Theatre, Apr 9 Concourse Chatswood BUDDY GUY: Apr 4 Enmore Theatre BLITZEN TRAPPER: Apr 5 Oxford Art Factory GREAT BIG SEA: Apr 5 The Basement Circular Quay KENNY WAYNE SHEPHERD: Apr 5 The Factory YANN TIERSEN: Apr 5 The Metro FABULOUS THUNDERBIRDS: Apr 7 Factory Theatre ALABAMA 3: Apr 7 Manning Bar VUSI MAHLASELA: Apr 7 The Basement Circular Quay ZIGGY MARLEY: Apr 8 The Metro DAVID BROMBERG BAND: Apr 9 The Basement Circular Quay CANDI STATON: Apr 11 The Basement Circular Quay SEASICK STEVE: Apr 12 The Metro ANDREW WK: May 10 The Standard THE MACCABEES*: May 10 Metro Theatre
FESTIVALS
SOUNDWAVE: Feb 26 Sydney Showground PLAYGROUND WEEKENDER: Mar 2 – 4 Del Rio Riverside Resort FUTURE MUSIC: Mar 10 Royal Randwick Racecourse KARAVAN!: Mar 10 The Standard CMC ROCKS THE HUNTER: Mar 16 – 18 Hope Estate BLUE MOUNTAINS MUSIC FESTIVAL: Mar 16 – 18 Katoomba SHIR MADNESS: Mar 25 Bondi Pavilion BLUESFEST: Apr 5 – 9 Tyagarah Tea Tree Farm DIG IT UP!: Apr 22 Enmore Theatre, Notes Live, The Green Room THE GUM BALL: Apr 27 & 28 Dashville GROOVIN’ THE MOO: May 12 Maitland Showground, May 13 University Of Canberra SYDNEY BLUES & ROOTS FESTIVAL: Oct 25 – 28 Windsor * indicates new or amended listing this week
YOUTH LAGOON @ OXFORD ART FACTORY. PIC: JOSH GROOM
YOUTH LAGOON, OLIVER TANK OXFORD ART FACTORY 16/02/12
The ease with which anyone can attempt to record guitars, synths and drum machines and then send the results into the world via the internet has enabled bedroom geniuses to emerge and find niche markets that may or may not translate into wider success. Two such acts were on display at the Oxford Art Factory. Oliver Tank had a huge 2011 with a trip to Iceland, remixes and general love from the local music scene. On stage he showed he can translate those songs into a viable format that blurs the line between man and machine and gives the audience a sense of a performance rather than just a guy pressing buttons. Tank undeniably has a strong voice that can swing between soul, r’n’b and pop styles and whenever he dug deep and invested some real emotion into the delivery, you sensed that there is much better stuff still to come; that he is still in the process of refining his style. There was a recurring theme of dreams that populated his lyrics and repetition of lines and phrases that showed he either favours simplicity or is also still figuring out what he wants to say in his songs. Youth Lagoon (aka Trevor Powers) is one step ahead of Tank in that he has released his debut album The Year Of Hibernation and has a much stronger and self assured stage show. With an impressive guitarist fleshing out his songs, Powers focused on keyboards, his vocals and some minimal electronics. He used them effectively to add accents to rhythms and melodies, but ultimately they were there to support his keyboards and voice. On record, Youth Lagoon has that lo-fi tinge and washes of hazy reverb that work to give it all a rather nostalgic feel. Live, the songs are stripped back to their key elements and as a result they sound even better. Powers wouldn’t be out of place alongside Ben Kweller and Ben Lee in terms of creating excellent, melody rich and slightly askew pop music. This was a short set, but it felt like the perfect length and an ideal accompaniment to an alternative view of the album. It was an introduction to the real Youth Lagoon that left many feeling like they want to get to know him better. Chris Familton
ERYKAH BADU, FANTINE
SYDNEY OPERA HOUSE CONCERT HALL 19/02/12 As the opening show of Erykah Badu’s first ever Australian headline tour, the bubble of anticipation
themusic.com.au
engulfing the Sunday crowd was contagious. The excited chatter failed to cease even when Fantine took to the stage with an acoustic set to kick off the night. A steady beat began on the cajon, while a driving guitar riff welcomed the singer to the stage. She threw her powerful voice into belty choruses and soulful grabs, displaying a finesse that caught the ear. Her single Eleven was catchy with its quirky rhythms and punchy melodies. Unfortunately the guitar wasn’t loud enough throughout most of the set, so the sound was very sparse and the melodies a little lost. The loops of guitar were an effective idea but needed volume to be fully realised. Her voice however, was tightly controlled and had an explosive energy burning through it that made this reviewer ache to hear it with a full band in support and a more attentive audience. Still, it was a good set and Fantine is definitely a lady to look out for. Erykah Badu kept the crowd waiting for nearly an hour but as the drummer, bassist, keys player and DJ built a beat bathed in blue spotlight, and four back up singers slipped into position, the excitement bubbled over into an almighty cheer. The lady herself strutted onto the stage and with a whir of her hands over a sampler, launched into The Healer. The beat was contagious and the harmonies thick and from the get-go Badu had the crowd in the palm of her hand. She moved with a confidence and cheeky swagger that was immediately endearing. Pouring herself a cup of tea, she purred, crooned, growled and screamed at the crowd, ruling a tight stage with synchronised moves, cuts and poses. Her voice wove from reverbdrenched to silky, record-perfect and by the second song people were up and dancing in their seats with Otherside Of The Game harking back to the album where it all began, 1997’s Baduizm. She wove hit after hit, with On And On, Kiss Me On My Neck, Apple Tree and Didn’t Cha Know? making it impossible not to groove. She frequently broke into drum solos on the sampler and, at one point, an awesome vocal “scratch” solo. She was effortlessly cool, sexy, fun and charming and of course an encore was expected. She held the hall captivated with the stories behind her New Amerykah albums before launching into Soldier complete with audience singalong. Bag Lady was the icing on the cake, with Badu ending up in the front row of the crowd passing the mic around. It was a performance to be remembered – the lady is a modern soul genius. Alex Hardy
singalong, half John Hughes soundtrack – throughout their show. As would be the theme for the night, most of the band’s setlist was derived from one album – their 1989 debut album, …ish – with That’s When I Think Of You and If I Could getting a response to rival those that were to come. One cringe worthy moment aside, when frontman Erik Weideman dedicated Compulsory Hero to the country’s servicemen, 1927 were an apt support.
Lachlan Doley’s thundering organ and Tony Kvesic’s electric guitar, which seemed to do its own thing. No doubt conducive to this style is their heavy touring and time on the festival circuit. However, perhaps a tendency to jam unexpectedly – albeit impressively – is an overuse of decoration on meek foundations. While they grab hold of their audience, the core of their songs is somewhat slippery.
Even though it’s their first tour since the mid-1990s, Roxette came to Australia with a new album, 2011’s Charm School, so it’s surprising that only two of its songs were played. In fact, the majority of the setlist came from the duo’s 1991 album, Joyride – eight songs in total, including Fading Like A Flower, Church Of Your Heart, Spending My Time and the album’s title track – while 1988’s Look Sharp! added another four: Listen To Your Heart, Dangerous – which they launch into without fanfare after Crash! Boom! Bang! – set opener Dressed For Success and the second encore’s closer The Look.
Rather than the piercing beauty of other high tenor voices like Neil Young or those of The Band, Meli’s voice can be overly sweet and thus exposing grandiose imagery and vague notions of love and spirituality. Nonetheless, it holds very well with a textured lightness and injects credibility into the melodrama from which the driving music erupts in softer smooth grooves like Sweet Lady Mary and reverberates through thumpers like Time We Gotta Move On. The performance was perfectly rounded out by extended and astounding, visceral solos with Johnny Wishbone of The Snowdroppers joining in on harmonica. The Widowbirds’ natural musicianship was a greatly inspiring experience for all.
The crowd was quiet during lesser known songs such as 7Twenty7 and Opportunity Nox (aside from their new material, the latter was the only song on the setlist from the noughties) and during many of the bigger songs, the concert became a giant karaoke session as Roxette let the crowd do the work for them – which turned out to be a wise move, as the audience often drowned out the on-stage antics. Joyride was a mess as band and audience battled for the dominant voice.
ROGER WATERS @ ALLPHONES ARENA. PIC: LINDA HELLER-SALVADOR
ROGER WATERS
ALLPHONES ARENA 14/02/12 There was a sense of theatre about Roger Waters running through Pink Floyd’s two-disc opus even before he takes the stage – The Wall itself was an imposing presence even in its incomplete form, while a mannequin sat in the middle of the stage brandishing a black trench coat before some soldiers carted a stuffed puppet of Pink on stage then dropped him over the edge as slaves declared, “I’m Spartacus!” over the quadraphonic speaker set-up. Riiiiight… Opener In The Flesh got things on track though, with Waters donning the trench coat and non-ironically welcoming the packed crowd to the ‘rock concert as fascist rally’ amid fireworks and a plane soaring into one end of the wall. This is spectacle of the highest order, with the signature Floyd circular video screen above the stage and projections on the wall mapped so precisely that each new brick switches on as it’s added to the structure. Some of the touches didn’t quite work – the all-singing, all-dancing chorus of schoolkids in Another Brick In The Wall Pt 2 was a little too cute, while Hey
You opening the second stanza with the band completely covered by the wall was bizarre no matter how conceptually accurate. But the highlights were many, such as the inflatable puppets of Mother and Young Lust, the warship visuals of Goodbye Blue Sky, guitarist Dave Kilminster shredding the Comfortably Numb solo from atop the wall and Waters taking on all the characters himself in The Trial as Gerald Scarfe’s animations from the film covered the wall before its crumbling finale. Mind-boggling bells-and-whistles notwithstanding (and we’ll refrain from passing judgment on a quaint but ill-advised encore run through Waltzing Matilda altogether), The Wall is a flawed masterpiece at best – but when presented on such a grand scale, even at its worst it’s an exhilarating experience. Kris Swales
ROXETTE, 1927
SYDNEY ENTERTAINMENT CENTRE 17/02/12 A half-full auditorium welcomed Melbourne soft rock group 1927 and it’s an intriguing vibe – half public bar
Jarred Keane
CASS MCCOMBS, SINGING SKIES THE STANDARD 18/02/12
Vocalist Marie Frederiksson’s long battle with cancer during the 2000s has obviously had great physical effect on the performer and whilst she often struggled to hit softer notes, she was particularly strong on the choruses to It Must Have Been Love, Dangerous and Perfect Day – songs that’ve probably been on every setlist since they were written. And aside from a few creases, guitarist Per Gessle doesn’t look like he’s aged in 20 years. His ability to control the stage is still strong; his voice remains sickly sweet; his wry humour ever present. The “Fun” emblazoned on his guitar strap summed up the night perfectly.
The Singing Skies drew a modest crowd at the beginning and the stage setup (keys, guitars and cello) was used to create a subdued and very quiet atmosphere. The project of local lad and vocalist Kell Derig-Hall, sometimes folky and sometimes void of any tempo, it was a nice way to get things going. The gap between the first band and scheduled second act Songs started to arouse suspicion, with the conclusion being they had pulled out and, judging by the fact the first band stuck more or less to their scheduled playing time, it must have been a last-minute thing, which was a shame given the sizeable audience that had gathered.
DCR
Self-styled contemporary nomad Cass McCombs finally decided to visit our shores, well into a career that spans six albums. Getting to the stage with another four musicians in tow (on Hammond, bass, drums and pedal steel) seemed to be overdoing it – as anyone familiar with his albums would have been conscious that they are generally stripped-back affairs – but it became clear from opening track Love Thine Enemy and subsequent tracks that all those parts one might overlook on the albums would need extra people to help reproduce live. With the benefit of hindsight, I don’t see how McCombs could have pulled it off without the help and with this in mind, finally hearing the tracks such as Harmonia and Buried Alive in full, one got the sense of just how intricate and complex the songs actually are. The former featured a slight tempo shift, an extended outro and some virtuoso guitar solos from the man himself, plus the pedal steel fading in and out added to the to the fabulous mood. County Line off last year’s Wit’s End received the biggest cheer from the crowd and featured another extended outing to close the night.
THE WIDOWBIRDS, ASHLEIGH MANNIX, FONNIE WOOD & THE ALTER EGOS THE VANGUARD 16/02/12
A young band with a possibly deliberate name play, Fonnie Wood & The Alter Egos held their ground humbly and played with as much rocking soul as you can while crowds file into their seats, order and then consume a big dinner. Ashleigh Mannix has a grit and fiery rhythm in her songs that bellows out; defiant yet vulnerable. Her music does not lounge about on dull and barely existent chord progression that bolster posturing paeans to the songwriter’s post-modern ego. In fact, her honesty and bare, gruff strumming are aggressive like a slap in the face before a wet, long kiss. Songs like The Girl’s Gone Wild, Isabelle and Yes No Maybe stand alone by themselves and ultimately, it is simply one woman with an acoustic guitar; more than enough. The Widowbirds’ age and experience within their short existence have given them a professional quality that shines through and puts any audience at ease. Despite claims of being worn out, frontman Simon Meli led his band with assurance and quiet glee. Playing in that realm of soul and soft blues rock, they would often start with a reticent folk melody and ride the soulful passion alongside
Despite playing for well over an hour, the setlist wouldn’t have been much more than ten songs, thanks in part to the extended outros that really breathed extra life into each track. The DJ that followed didn’t give much time for what the crowd had just witnessed to settle in and snapped everyone out of their reverie with some bangin’ track. Despite this, the show was thoroughly enjoyable and already in the top five for the year. Adam Wilding
A venue with a mission statement: Reviving Sydney’s live music scene 1 gig, 1 band, 1 fan at a time. Recently we have launched our website www.sydneylivehouse.com. Bands that register their details using the site prior to March 11th will be considered for the Bring It On Festival which attracts 10,000 people annually. SLH is located in the Lewisham Hotel 794 Parramatta Rd Lewisham. Surrounded by plenty of free on-street parking, bus stop at the door and train station just 5 mins walk away. Recently upgraded P.A.system plus new lighting rig, and a massive dedicated merch shop inside the venue. Ideal for local, national and international acts to utilize for launch’s and tours.
For further info and contact details please visit www.sydneylivehouse.com themusic.com.au
THE DRUM MEDIA • 55
RESURFACING
ELECTRICITY
JAZZ RELIGION
FORTUNATE
Pianist and composer Matt Baker returns from New York, his new home, to play a few shows in his old hometown Sydney. He recently released a new album, Underground, reflecting the New York influences and sounds in which he’s curremtly immersed. Baker will play just one date at SIMA’s Sound Lounge, on Friday.
The catholics brings their trademark jazz and global dance rhythms back to the Sound Lounge, the scene of last year’s sold-out 20th anniversary concerts.
HOW DO YOU DO?
America’s great soul/sunshine pop crooner Mayer Hawthorne makes a Sydney appearance this Friday night at the Metro Theatre, straight off the back of the release of his new album, How Do You Do? He’ll be supported by Australian funk royalty Electric Empire and Fantine.
BASSLINE This Saturday, America’s pride and joy, the muchtravelled DJ AC Slater will be gracing the Chinese Laundry. He’s played everywhere from underground dens in New York City to grimy illegal warehouse raves in London to fluorescent clubs in Japan, commanding party crowds with his twisted electro, bass-driven beats. Chinese Laundry regular and electro music cult figure Peking Duck will act as support.
Niche Productions presents some of the finest electronica around at the moment, hauling over Glaswegian producers Hudson Mohawke and Rustie, up-and-coming superstars of electronic music. This Friday at the Manning Bar will be the place to be for all electro music fans.
Prolific touring artist and indie/folkster, Canada’s Dan Managan returns to Australia this week to support the release of his brand new album, Oh Fortune, flanked by his band at Notes.
WHAM!
DON’T TELL MUM
Seven up-and-coming bands that play for you until late on a Friday night — seems perfect, right? This week, The World Bar present City Calm Down, Argentina, These New South Whales, The Bogey Lowensteins and more plus Mum DJs.
Four rooms, the best of undiscovered dance and hip hop sub-genres — The World Bar’s Wham party night isn’t your average night in clubland, not when they’re featuring DJs Act Yo Age, Kato, Boonie, Adam Bozzetto, T-Bo, Illya, Mehow, Rodskeez, Mattt, Zues, Mike Hyper, Astrix Little and Shamozzle.
FULL KIT This Friday night, Kit and Kaboodle present for your aural pleasure a cocktail of the best indie/ electro/dance artists — Devola, Wolf Wolf, Isbjorn, Bernie Dingo and DJ Rumfoord. Sign up to the guest list on Facebook for free entry.
COMING BACK
A DRILLING RETURN RECKLESS HEROES
On Monday, Australian pop/punk outfit Heroes For Hire bring their infectious, punky anthems Take One For The Team and Secrets, Sins And Lies back to Australia with Sydney getting an all ages event at The Bald Faced Stag in Leichhardt, where they’ll be supported by the sexy, American, Gossip Girl-fronted The Pretty Reckless.
Australia’s favourite 1980s band, Machinations, makes a return this week, appearing at The Bridge Hotel. Their signature mix of groove, dance, funk, pop, post-punk and electronic music will still be there, but each track has been subtly rearranged to ensure that the show lives up to the audience’s expectations. They perform Friday and Saturday.
Sydney’s four-piece band Drill are bringing their distorted sounds and theatrics back to you this Friday. Their EP, Spin Dry The Adjudicator, made it to number five in the Red Eye Charts in 1995, the same year they decided to give it a break. Reformed and better than ever in 2012, Drill are ready to make a grand return at the Sandringham Hotel. Supporting the band are Sea Horse, Toy Death and Manic Sleeper Cell.
DON’T STOP THE RACKET Sydney garage rock up-and-comers Modern Murder will be headlining a killer lineup this Friday at The Wall. They’ll appear with Ugly Little Secrets, Kill Appeal, Burial Chamber, Reign of Terror and many more.
WHAT’S THE PRICE? Legendary singer-songwriter Rick Price returns to Australia from his adopted home in Nashville
SNEAK INTO THE YEAR
Your first real taste of campus life at UTS comes at O’Fest on Wednesday (City Campus, Building 1). This is the first port of call to meet new people, score a truck load of freebies and attend one of the biggest dance parties of the year. Running across two stages through the day from 3pm, you’ll catch Sneaky Sound System, The Holidays, Papa vs Pretty, Owl Eyes, Deep Sea Arcade, Strange Talk, The Never Ever, Sures, Nantes, Set Sail, Leroy Lee and many more. to tour his new album, The Water’s Edge. He’ll play two Sydney dates – at Notes in Newtown on Wednesday and the Brass Monkey on Thursday.
NIGHTS IN CAIRO
The Cairos are hitting the road to celebrate the release of their single, We All Buy Stars, one of triple j’s most requested songs. They’ll play two Sydney locations — the first, this Wednesday at Bondi’s Beach Road Hotel, the second at The Spectrum in Sydney this Friday.
MAGIC 8-BALL
This Sunday, catch Queensland’s alternative/blues supremo, 8-Ball Aitken, at the Marrickville Bowling Club. He has recently had his first shave in nine years, in memory of a music-industry friend who passed away due to leukaemia. 8-Ball Aitken’s new live album is due out soon as well, so keep an eye out.
Calling all young performers to take to the stage at Leichhardt Town Hall in April 2012
Register to take part, go to www.leichhardt.nsw.gov.au/something-really-epic.html
Leichhardt Youth Council presents
Something Really Epic 2012 a battle of the best performers
Entrries close 5pmm Friday 24 Februuary 2012 For more information call 9367 9216
Leichhardt Youth Council
56 • THE DRUM MEDIA
themusic.com.au
THE PEOPLE, UNITED…
SLAM DAY THURSDAY
TWO YEARS AGO THIS THURSDAY, MELBOURNE SHOWED THEIR STATE GOVERNMENT HOW MUCH THEY CARED ABOUT LIVE MUSIC. TWO YEARS ON, SLAM DAY HAS GONE NATIONAL AND THE CALL IS OUT TO SYDNEY’S LIVE MUSIC LOVERS TO SUPPORT THEIR LOCAL SCENE AND MAYBE EVEN BUY A BRICK. MICHAEL SMITH INVESTIGATES THE NSW PERSPECTIVE. The first SLAM (Save Live Australian Music) Day, 23 February 2010, in Melbourne was prompted by two things – the closure of the very popular live music venue, The Tote, and draconian liquor licensing laws being instigated by the Victorian State government in a misguided attempt to stem a perceived rise in alcohol-related violence around live music venues. Some 20,000 passionate music fans marched down Melbourne’s Swanston Street to Parliament House and actually managed to change the government’s mind and save the Tote.
WITH THE ADVENT OF SLAM DAY GOING NATIONAL, SAMSON MCDOUGALL TALKS TO ORGANISER HELEN MARCOU ABOUT THE NATIONAL AGENDA. On 23 February 2010 the Victorian public marched to the steps of Parliament House in a 20,000strong show of support for a live music community under threat. It was the largest cultural protest in the nation’s history and the message was clear – we do not accept that live music is in any way associated with violence and we expect live venues to be treated as the cultural hubs that they are, not lumped in with seedy beer halls and gambling dens by association through alcohol alone. And, it seemed, the Victorian government listened. An accord was drawn up recognising the nonassociation between live music and violence and, accordingly, an exemption process was established whereby venues could apply to have their ‘high risk’ status lifted, thus relieving the financial burdens associated with security and insurance costs. Two years on and the SLAM (Save Live Australian Music) organisation responsible for the Victorian march is taking the initiative to every state and territory in the country by way of a national ‘SLAM Day’ celebration, where venues and artists are encouraged to register gigs in a show of solidarity for a cause that touches each of us in and of the music community. “Part of the reason we have gone national is that after the SLAM rally we’ve constantly received letters and emails from all around the country and other cities around the world asking for help with their own campaigns,” says SLAM organiser Helen Marcou. “There are similar problems of gentrification, land values rising, artists being forced into the peripheries of society and the same themes of no protection for these cultural clusters.” In the same way politicians took note only when confronted with 20,000 angry voters, the concept behind SLAM Day is to mobilise the gig-going public en masse in a celebration of all things live music. “As a continuum of the SLAM rally we’ve seen that governments respond very strongly to numbers. They’re incredibly poll driven,” Marcou says. But there is also a recognition that the challenges
SLAM GIG GUIDE Bald Faced Stag Hotel Foot in the Wall feat: Grand Plan, Teal, Karmic Dirt
The Crows Nest Hotel Sticky Fingers, The Walking Who, Static Silhouettes, Jason & The Lyrebird Petersham Bowling Club Song @ The PBC – open mic Annandale Hotel Papa Vs Pretty, Cabins, Palms (ex Red Riders) The Gaelic Ghosts on Broadway, Stand For The Fallen, Divide and Conquer, Love and Satellites Mars Hill Cafe Open mic Sandringham Hotel ”Cool Runnings with The Bashment Crew” — featuring Selector Secretary, DJ One Love, Miss Katie ….including special guests, MC/DJ Ibo Jah, Selector Melody Man and The Melody Makers GoodGod Small Club Elizabeth Rose plus special guests 58 • THE DRUM MEDIA
facing the live music community vary from state to state. “Brisbane City Council has done a lot of work, but NSW is another story altogether when we talk about nurturing live music. It took the Raise The Bar campaign eight years to even change the situation with liquor licensing laws and have them rewritten. It’s a very slow process to inject small venues around the city and it’s very expensive. Land prices are through the roof – it’s prohibitive to open a live music venue.”
While it was a popular and apparently resounding success, the work of SLAM isn’t over by a long shot, which is why a national SLAM Day has been organised for this Thursday 23 February to once again to give support to our local live music scenes right across the country and to show state and local governments that there are issues important enough to bring the voters out in visible numbers to show their support. As Melbourne-based organiser Helen Marcou points out, in Victoria, the biggest threat to established live music venues remains residential development, an issue of which Sydneysiders are all too aware.
The SLAM organisers are also looking at the day as an opportunity for the public to voice concerns surrounding the health of live music. “Sydney is the place that we get the most emails from, so [SLAM Day] is a great opportunity for people up there to come together and voice their concerns to their state government and their local councils,” Marcou continues. “Ultimately it is a great celebration of our great small venues and our musicians but we also have to raise awareness as to what it needs to continue.”
More than 100 venues have signed up to fly the SLAM flag on the day, from Tennant Creek to Hobart, with The Wall, The Gaelic, Valve Bar, Factory Theatre, Annandale Hotel, The Vanguard, Lizotte’s Newcastle and more among those venues in Drum parts dedicating their entertainment on the day to the cause.
If nothing more, SLAM Day is a good chance to reflect on what live music means to you. Whether you make it down to your favourite venue, write a letter or call up your Minister, pass the info onto a friend or buy a bit of locally-produced music, it’s about engaging with your surroundings and being part of a community. Even a stroll around your neighbourhood will reinforce what you potentially stand to lose, or perhaps have already lost. “They’re a soft target, live music venues. It’s much cheaper to just put on a big telly screen or run poker machines or sexually explicit [entertainment] or just straight drinking than to run live music. People tend to drink less in these venues, they have a cultural focus and it’s a little community that teeters on the edge. We can’t see our culture planned out of existence.”
FBi Social Bearhug, Skullsquadron, Lyyar, The Cadres The Vanguard A Tribute To The Grand Ole Opry featuring: Kane Dyson (Spurs For Jesus), Dan Marando (The Maladies), Emma Swift (49 Goodbyes), Stu H, The Green Mohair Suits Venue 505 Adrian Mears Qbar Shinto Katana, Pledge This!, Van Damage, Anchored The Factory Theatre Self Destraction, Blue Candy, Supporting ”The Kumpnee” – End of Days Camelot Lounge Lenka Filipová Live at The Wall Grand Plan, Teal, Karmic Dirt, Senza Sole Valve Bar Abacination, Exekute, Putrefaction Lizotte’s Newcastle Karl Broadie & Caitlin Harnett Yours And Owls, Wollongong Pear & The Awkward Orchestra, The Penny’s, Bec Sandridge
“Involving local talent and local music, as a restaurateur that decided to go for music as a medium to deliver my product, is the heart and soul of our three venues,” Brian Lizotte, who runs Lizotte’s in Newcastle, Kincumber and Dee Why, explains. The Annandale Hotel is going one – or two actually – better and dedicating three nights, Thursday through Saturday, of music, free entry to boot, to the SLAM cause. The Annandale is of course a venue all too aware of the importance of a popular people’s movement like SLAM, as Matt Rule, who with his brother Dan runs the Annandale, explains. “I think things like SLAM are a great first step, by giving venues a bit of profile and hopefully getting access to a bit of mainstream media. What happened in Melbourne showed the value of live music, especially in small venues and the special place they can hold in people’s hearts. Ultimately the small venues, unlike the big festivals and big thousand and two thousand-person venues, are the real breeding ground for the next generation of both local and international artists. You’ll always have a great story of a band that is now massive overseas who at some stage came through on a smaller venue. So it’s about that profile raising, probably the most important thing.” In September last year, the copyright collection agency Australasian Performing Rights Association (APRA) released a report, Life’s Better With Live, evaluating the contribution of venue-based live music to Australia’s economy, which showed it contributes $1.2 billion to that economy and supports nearly 15,000 jobs nationally. An estimated 42 million patrons attended 328,000 venue-based gigs at 3,900 venues in 2009/10. So whether local, state or federal government like it or not, live music is obviously a very important part of Australian life and culture and the people who attend live
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performances are voters who deserve to be heard. Yet look at the case of the Annandale. The Rule brothers bought a half-share in the hotel a decade ago when it had debts of more than $2.5 million, eventually taking full ownership while slipping further into the red. “The Annandale’s had very well documented battles over the years with Leichhardt council, but it’s amazing what a difference new councillors can make. We pretty much spent the first eight years of our Annandale life, through to 2008… The position the Annandale is in now I would comfortably, squarely attribute to our treatment and the incompetence and bungling of Leichhardt council throughout those years. Then with new councillors, there’s been a change of attitude where we actually got a fair hearing and since then we haven’t had an issue in the slightest, which I think says something for what a decent council can do when prepared to listen. It’s not as though we’ve suddenly changed a hell of a lot.” Unfortunately, finally getting fair treatment from the local council hasn’t been the end of the venue’s problems. Six months ago, they were obliged to put the hotel up for sale, but when developers expressed interest in knocking it down for units, they were so incensed they decided to find another way to solve their problem. “I think Buy-A-Brick fits so hand-in-hand with SLAM,” Rule suggests. “SLAM was started by the community getting together and doing something about some laws that were unfair and biased putting undue pressure on live music venues and Buy-A-Brick is a response from us to the community asking, ‘What can we do to help?’ They saw the position the Annandale was in, they saw the For Sale sign going up and we thought Buy-A-Brick was a great way for the general public – and that’s Level One, which we’re selling now – to get involved. They can purchase a brick for which they get a plaque on which they can put their names or their kids’ names so that we can show in twenty years time that the community said, ‘No, we actually want to do something and we’re going to be part of this,’ and just on a punter level we’ve already hit about 150 bricks. “We’ve got a lofty goal of trying at least to get to a thousand and we’re looking at getting some corporate aspects involved and we’re already talking to a range of bands about doing some special one-off, unique shows where all the money will go directly back into upgrading the hotel. It’s all about the community on all levels getting together to save an institution. It’s not just your local pub – it’s been doing music for over thirty years now and it’s been an icon and a stalwart in the Sydney community. It’s probably even one of the most recognisable live music names in Australia.” The Buy-A-Brick initiative certainly seems far more likely to achieve its aims than the now forgotten online petition instituted a few years ago to rail against the closure of the Hopetoun. In another move that shows the Rule brothers’ commitment, they recently won a reprieve from the bank when they sold off the nine pokers cluttering up the place, a brave move many a venue would never consider. Plus the For Sale sign is coming down, indicating the venue is off the market.
G N I T A R B E L E C IS
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THE HOME OF METAL THE DRUM MEDIA • 59
THREE’S THE MAGIC NUMBER
JUST VISITING
NORTHEAST PARTY HOUSE, MILLIONS AND NANTES WILL SHARE A FEW STAGES THIS WEEKEND ON THE TRIPLE TREAT TOUR. WE CHECK IN WITH THE THREE BANDS – ALL TRIPLE J UNEARTHEES – BEFORE THEY HIT TOWN.
JW: A beer or two followed by a joint followed by furious d-floor manoeuvres followed by (hopefully) a cab not alone followed by a nap – or a DJ set.
KING PARROT
Everyone will get along swimmingly of course for this tour, but have you ever played a gig where you haven’t been treated very well by another band? DR: To this point it’s been great, everyone has been really good to work with and we’re enjoying playing with so many different bands. We had a great time supporting Does It Offend You, Yeah! and went out with them after the Metro show in Sydney and got extremely happy with them. My head reminded me of it the next day!
What’s the title of your new EP and where did it come from? The EP is called The Stench Of Hardcore Pub Trash. It was dedicated to our favourite pub in Melbourne The Tote, which was shut down a few years ago as direct result of new government laws giving live music a tough deal. We obviously didn’t like it, and thankfully that pub is now open again. How many releases do you have now? This is the one and only release, but it’s been selling well and its giving us some motivation to get an album out later this year. We’re not lazy, we just appear that way because of the look of disgust at the world on our faces most of the time.
ZHR: Hmm, I don’t remember ever being treated badly by another band. Some bands aren’t all that sociable and stick to themselves. But usually, if you go up to them, they’re more than happy to chat. We’ve met a bunch of cool bands that way. It’s probably the best thing about being in a band, meeting other, friendly, crazy, like-minded individuals who know how to have a good time.
NORTHEAST PARTY HOUSE
NANTES You each have vastly different musical styles. How did you come together for the Triple Treat tour? David Rogers, Nantes: Our management had put together three acts on a tour before and they thought it would be a good idea to do it again – we’re all triple j Unearthed bands as well so it all tied in quite nicely. The tour’s title suggests you’ll be bringing something really special for audiences. How do you plan on treating your audiences? DR: We’ll be playing tracks from our first EP and tracks from our new EP, which we’re just recording at the moment. We think having the three of us on together is a real big treat anyways – it’s great to do a tour like this ‘cause it’s fresh and different and captures a real on-the-road feel. Zach Hamilton-Reeves, Northeast Party House: We actually had one of those Skype conference videos today, to discuss how to “melt some faces”, as such. We settled on giving out some free acid tabs, pumping everyone with smoke machines and strobes and projecting Disney’s villain from Peter Pan, Hook, through the smoke and trigger some loud, real-time whale sounds from our MPC. James Wright, Millions: By playing for new audiences with some other really cool bands. Also I got some new glasses and Ted got a haircut and loves surfing both crowds and water. Favourite treat to have after a gig?
There’s an emergency on tour and you have to dial triple zero – What’s happened? ZHR: I think we had enough emergencies on last tour: missing the opening show with Ball Park Music and The Jungle Giants and breaking down twice. One of which was because some guy at a petrol station four hours out of Toowoomba, called Diesel, put diesel in Sean’s petrol/gas Patrol. Ended up spending a very relaxed day in sunny NSW country – I think worse things could happen. JW: Heart broke, again. Make mine a triple. Can you handle it? DR: Can you? JW: If there was ever any doubt I don’t think we’d be embarking on this party-bus-style venture. Let’s do it. Describe in three words what we can we expect when we go see you on this tour. DR: Have fun! ZHR: I’m not very good at being clever and organising words that will entice you or the reader. We’re simply going to take you on a journey and try our hardest to make you lose your shit. JW: Watch The Throne. WHO: Nantes, Millions, Northeast Party House WHAT: Triple Treat Tour WHEN & WHERE: Thursday, Wollongong University; Friday, Oxford Art Factory; Saturday, Transit Bar, Canberra; Sunday 4 March, Playground Weekender, Del Rio Riverside Resort
How long did it take to write/record? About six months. We are a pretty new band, so once we got all the members in place it happened pretty quickly. Was anything in particular inspiring you during the making? Not really, we were just trying to come out with some twisted music that covers new ground. Trying to capture the live performance on record was pretty important. Our live show is pretty much a true representation of the band. What’s your favourite song on it? At first we liked Epileptic Butcher, so we did a film clip for that song, which is up on YouTube. Now we like Psychotherapy And Valium, so we’re doing a new live film clip for that song, which will be out in the next month. Will you do anything differently next time? Sure, next time we will have more money! We’ll have more time and an awesome-sounding record at the end of it if all goes to plan. We’re deciding who we’re going to do it with at the moment. The new songs we have written are really brutal and being received well at our shows so we hope we can get as many Sydney metalheads/thrashers/punks/grinders at the show as possible to check us out. Will you be launching it? We’re playing Friday at Club LED in Newcastle with our mates Frankenbok, Zombonimo and Grim Demise and then we play at The Bald Faced Stag on Saturday with Wolfkahn, Inebrious Bastard, Infested Entrails and Festering Drippage. For more info see: www.facebook.com/kingparrotband
There’s a real sense of lightness and summer in the Sights And Sounds album that, while Made In Japan cite contemporary acts like Foals and Bombay Bicycle Club as influences, recalls something of ‘80s local bands the Go-Betweens and The Triffids, capturing, in a way, something of the feel of a Sydney summer. “It’s a consistent theme that popped up in the record after we started writing songs for it, so I guess we ran with it,” singer and drummer James Cooney explains, “though I wouldn’t say that’s the limit of our sound. I wouldn’t say we try to box ourselves into that summery sound, but this record seemed to take form that way. I guess part of what we’re about is trying to capture our surroundings and our day-to-day life and ‘summery’ definitely shows a bit of Sydney creeping in there.
THEY MAY CALL THEMSELVES MADE IN JAPAN BUT, AS MICHAEL SMITH DISCOVERS FROM JAMES COONEY, THIS BAND IS OUT TO CAPTURE THEIR SYDNEY-NESS. 60 • THE DRUM MEDIA
The DC3 pay tribute to themselves in their usual cowboy hatted splendour. This Saturday at Newtown’s Sando, DC3 will celebrate their first year milestone in the music business and a massive year it was! DC3 have performed before a world record 65,000 fans at Shea Stadium, released Justin Bieber’s Christmas Album and went electric at the Newport Folk Festival - well, um,... To help celebrate, Root! will reform for the last time in a one-show-only comeback in support of DC3 so come down and join in the festivities.
JOIN THE CLUB
This Wednesday, the Musos’ Club Jam Night hits up the Bald Faced Stag Hotel once again with various Sydney artists belting out their favourite covers and originals in roots and blues. Can’t make Wednesday? That’s okay, the Jam Night will be on again Thursday, this time at the Carousel Hotel in Rooty Hill.
WE SHALL REMEMBER
This year marks the eighth anniversary of the passing of Johnny Cash. By way of remembrance, Daniel Thompson (former Independent Country Music Male Vocalist of the Year) plays a tribute show to the music legend at Notes in Enmore. His band — slap bass player Artie Taylor, drummer Ben Elliot and guitarist Stuie French, will accompany him there on Saturday.
LOST IN THE MAZE
The Maze, young up-and-coming Wollongong band, have a couple of show dates coming up this week — Monday night at the Sandringham Hotel and Saturday night in the Oxford Art Factory’s Gallery Bar. Describing their sound as a cocktail of Coldplay and The Wombats, and with no less than four keyboards in each show, these are dates worth putting in your diary.
SINGLE FOCUS
PEAR AND THE AWKWARD ORCHESTRA CASTLE What’s the song about? A dream I had.
MADE RIGHT HERE
“A lot of our songs are atmospheric and dreamy and tend to soar a bit, particularly with Pairs, but yeah, I think that kind of openness and expansiveness is something that personifies our music. I think dream pop is the perfect way of putting it because it’s got that kind of ambience but it’s not as visceral as, say, shoegaze.”
Black Label are supporting The Angels at Revesby Workers Club on Friday, and will also be sharing the bill with the Angels as part of the Maitland Bike Show on Saturday, alongside Tug, Kamikaze and many more.
COWBOY TRIBUTE
DR: Has to be a bag of Grainwaves – large size please, gifts welcome!
MILLIONS
BACK IN BLACK
Forming mid-2006 as a songwriting project by then school friends Cooney and guitarist Jono Graham, it wasn’t till 2009, when they released a debut EP – with the lineup by then filled out by guitarist Tom Davis and bass player Andrew Knox – that Cooney feels Made In Japan really discovered what they wanted to achieve with their music. “By the time we’d got around to thinking we’d record the album,” he continues, “we’d been playing together live for so long, so it was almost as if it had been predetermined for us what songs we were going to cut, because, playing them live, we took notice of what songs worked and what songs didn’t and what songs we liked, so that kind of process of A&R happened on its own.” So in a sense, the summery Sydney feel of Sights And Sounds is as much a reflection of their audience as themselves? “Exactly. I guess we know the Sydney crowd better than anyone else.” WHO: Made In Japan WHAT: Sights And Sounds (MGM) WHEN & WHERE: Saturday 25 February, Oxford Art Factory
themusic.com.au
Is this track from a forthcoming/ existing release? Existing release, debut album is Smocks!, which was released in July 2011 through Creative Vibes (Sydney). How long did it take to write/record? All up a year and a half. Was anything in particular inspiring you during the making? It’s a celebration of the relationships I’d formed in Brisbane, of Brisbane life and experiences there. I also really enjoyed working with arrangers for the first time. What’s your favourite part of the song? The bridge, definitely. It changes the whole feel and it’s fun. Do you play it differently live? We sure do. It’s a brand new ‘awkward orchestra’ from the album, so it’s all kinds of different. Will you be launching it? Yes, at the FBI Social on Wednesday, supported by Miss Little and Hello Vera For more info see: facebook.com/pearandtheawkwardorchestra or pearandtheawkwardorchestra.com
THE DRUM MEDIA • 61
TWIST AND SHOUT Spectrum’s ‘60s-themed dance party, Twist And Shout, is back again this week. Commemorating O-Week with a selection of songs lifted from coming-of-age films like Stand By Me and Ferris Bueller’s Day Off, the venue promise a “BIG PARTY dance-a-thon!”
AFTER THE JURASSIC AGE This Tuesday night, FBi hosts their weekly Jurassic Lounge After-Party. This week will feature Axton Frick, New York native, lifelong musician and DJ extraordinaire, who brings elements of pop, disco, hip hop and rock to his electronica tracks. For dessert, FBi brings out their finest inhouse DJs Adele Cutbush and Melanie Otuhouma.
GANGSTER POP Rapper and FBi darling Big Dumb Kid, who recently released the first single from his up and coming album, Chocolate, will be appearing at FBi Social this Friday night. Coming along to support will be DCZ Collective members Dead Beat and Hazy.
UP AND COMING Bryce Cohen is Australia’s hottest up-and-coming blues guitarist. He plays Stevie Ray Vaughan, Hendrix and Clapton with equal ease and skill, and breathes new life into the blues/rock classics. Cohen takes to the stage at The Brass Monkey this Tuesday (tonight!).
UPRISING
Combining ‘the rave generation’s Pink Floyd’, The Orb, in a live set with radiant techno creators Bomb The Bass, this Saturday night at the Metro will no doubt be unmissable. Anikiko and Shane SOS stand in as supports.
IN THE FAMILY
IT’S BEEN A WHILE BETWEEN ALBUMS, BUT JEREMY EDWARDS & THE DUST RADIO BAND FINALLY HAVE A NEW ONE. MICHAEL SMITH TALKS TO EDWARDS ABOUT TRANSCENDING GENRES.
The Martinez brothers, seasoned jazz professionals, begin a residency at Blue Beat this week. They’ll play a weekly set, each Friday night, under the moniker Band Of Brothers.
GIVE ME FIVE
Groove act Low Five will be hitting up Blue Beat as the honoured guests of Professor Groove and the Booty Affair. Don’t be surprised if some good-natured jamming emerges as these two funk bands fight it out onstage.
SAVE THE ANNANDALE
Renowned Australian pop artist Wendy Matthews will play a tribute to an artist very special to her, Billie Holiday, who guided Matthews through her formative years. The show will take place this Friday at the Brass Monkey.
MAY I HAVE THIS DANCE?
POCKETFUL
The Last Waltz was a farewell concert for The Band, a night which ended up featuring Bob Dylan, Eric Clapton, Neil Young, Joni Mitchell, Van Morrison, Muddy Waters and more, and became immortalised in rock and roll history. Now, so many years later, a ten-piece Sydney band, full of music veterans, prepares to remember that night. The show takes place this Saturday at the Brass Monkey.
THROW A PENNY THIS WAY Wollongong based Penny & The Mystics will bring their surf-infused blend of roots, reggae and rock to Cronulla’s Brass Monkey this Sunday. This band has been referred to as the “new wave” of Australian music, so be sure to check them out.
Why are you coming to visit our fair country? We’re tired of the cold, tired of the snow and we miss Australia a LOT. Between 2004 – 2008 we visited your beautiful country five times and it was starting to feel like our winter getaway paradise, so it’s time we return!
Is this track from a forthcoming/ existing release? It’s off the upcoming album, Plague, out through imprint records in the US and independently here in Australia. How long did it take to write/record? Twelve months. Was anything in particular inspiring you during the making? The music itself as we were writing it, as it took shape we knew we had something pretty special. What’s your favourite part of the song? The opening riff. Will you be launching it? Yes, at the Metro Theatre on Friday 24 February. For more info see: www.facebook.com/incydemusic 62 • THE DRUM MEDIA
At least there have been many really good distractions for Edwards since the 2007 release of second album, Stay Hungry. Among other things he’s signed a deal with Perfect Pitch publishing, so aside from Dust Radio he’s been busy writing songs for other artists as well as placing a song on ABC’s
How long are you here for? Not quite a month, not long enough. What do you like about Australia, in ten words or less? White squeaky sand beaches wineries not sharks crazy cockatoos sunshine. Any extra-curricular activities you hope to participate in? I hope to do a little surfing without being chased out by sharks like my previous visit up in Byron, some paddle boarding and if I’m really lucky… some kayak surfing! We’ll definitely find some time to visit a few olive groves and several wineries as well. What will you be taking home as a souvenir? Bonds socks and undies. Where can we come say hi and buy you an Aussie beer? Wednesday 22 February, Brass Monkey Thursday 23 February, Notes Friday 24 February, Clarendon Guest House, Katoomba Saturday 25 February, The Vault, Windsor For more info see: www.madisonviolet.com
“I wanted to toughen up a little bit for this album and push the electric guitars to the fore a little bit,” Edwards continues. “The band is really based around the harmony vocals of Julieanne [Henry] and I and I always want to keep pushing that forward. So I’m very aware of that when I’m putting the songs together, to make sure the harmonies remain a big focus – we’re pretty influenced by Buddy and Julie Miller and that style where the voices are out the front, even of big guitars. But I wanted to make this album a bit more anthemic, so the songs I picked for the album kept leaning towards that and in typical Dust Radio fashion we end up covering a fair bit of ground; it’s too hard pigeonhole exactly where the band sits genre-wise. “You end up writing what you write and songs that sit well together and a lot of the artists that I really love and respect kind of seem to do the same thing, so I just end up going down that path,” he laughs. “In the end it’s all about the song and if it’s good enough it should transcend genres.” WHO: Jeremy Edwards & The Dust Radio Band WHAT: Russian Doll (Independent) WHEN & WHERE: Thursday 23 February, Beaches Hotel, Wollongong; Friday 24, Empire Hotel
IF IT IS BROKE is like the dad on tour – he has endless knowledge, music and non-music-related. Just ask dad!
JUST VISITING
MADISON VIOLET
What’s the song about? Staying true to your convictions and artistic integrity even while you’re watching corporate whores make a fortune off dumbed down garbage.
“Labour of love, the third album,” singer, songwriter and guitarist Jeremy Edwards admits, talking about third album, Russian Doll, he’s just released with his roots/rock/alt.country outfit The Dust Radio Band. “I guess I started working on it a couple of years back – some of the songs that have ended up on it – but there have been so many other things in beautiful career co-ordination by a typical musician, bouncing around doing lots of stuff and then it’s hard to get the focus on the thing you really need to be focusing on [laughs].”
Four-piece acoustic rock band Pocket Of Stones, have been making an impression on the Australian music scene recently. They self-funded their first EP, Bondi Dreaming, and then touring the East Coast of Australia, and now, the band will make an appearance at The Factory Theatre in Marrackville this Friday.
SINGLE FOCUS
IN-CYDE DON’T ADMIT DEFEAT
upcoming TV documentary, Two Across The Great Divide, featuring environmentalist Tim Flannery and John Doyle aka Rampaging Roy Slaven.
IN AN ORB
Help save the iconic music venue The Annandale, and get some gorgeous live music at the same time, by attending any one of this week’s three free Annandale gigs: Thursday, featuring Papa Vs Pretty, Cabins and Palms, Friday, featuring Fait Accompli, Raise the Crazy, Devine Electric and Blackie. Finally, to wrap things up, The Fauves, Little Lovers, Tom Ugly, March of the Real Fly and Jack Carty will all smash the Annandale on Saturday night.
LET’S GO ON HOLIDAY
IT’S THE SONG
American artist Mark McGuire will be making his first trip to Australia this week, performing this Saturday at FBi Social. With a reputation for being in the heart of a ‘sonic uprising’, McGuire is set to stun Australian audiences with his ability to create rich, layered guitar sounds. With his will be pop/experimental Brisbane group Blank Realm.
Independent label Broken Stone Records is hitting the road this month for a roadshow. The touring showcase of music and mixed-media art will feature performances from Sister Jane, Magnetic Heads, Caitlin Park and The Maple Trail. The bands’ performances will be accompanied by live footage VJing and projections of their video clips. A display of artworks created as part of Broken Stone’s recording releases (including sculptural work used in film clips, photographs from live shows and illustrative cover art) will be on show in the venue space for audiences to explore. The tour arrives Thursday at The Standard, Friday at The Clifton School of Arts and Saturday at The Baroque Bar, Katoomba. We grabbed a member from each act to talk all things Broken Stone. As bands and individual artists touring together, have you learnt any new skills or techniques from each other? Or anything non-music related that you could share? Jonathon Desmond Miller (Magnetic Heads, Broken Stone Records label head): As a rule we are gear nerds… It’s hard to find a time when someone isn’t talking about some sort of piece of equipment… and when they’re not they’re usually performing or cracking jokes. So basically I’ve learnt a shitload of dirty jokes (which I’m not going to share). But I’m constantly learning things about recording and performing from the other bands. Even Chris Rollans, our live sound engineer is a producer at Shabbyroad/ Studio Ripple, so our car rides down from Brisbane have been filled with technical analysis of the songs that our iPod roulette (ie: shuffle) vomits up. Dan Davey (Sister Jane): On the tour Caitlin Park has become single-handedly responsible for the fact that I now know the lyrics to Fresh Prince Of Bel-Air. It’s quite an achievement. Caitlin Park: So far, I have learnt so much about sound – and this is one very important aspect about this tour – to make my live show the best it can be. Thanks to the other bands and Chris Rollans (our tour soundie) I know what to and not to do. Also, Jonathon Desmond Miller (Magnetic Heads)
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Aidan Roberts (The Maple Trail): I am always learning from my friends and peers. We lend each other our talents both on the road and in the studio, and the music gets better and better the more we collaborate and share each other’s work. All the artists on the label feel a close connection in many different ways. Some of us are old friends and have been making music together for years, but with each release I am inspired to do better, I always get ideas from watching other people’s music grow. How involved were you in creating the artwork and visual assets that are showcased alongside your music? Did anyone get their hands dirty in helping create them? JDM: Michaela Sanders (Lux Brand) has done a whole lot of work for Magnetic Heads, from album covers to film clips and visual/video art. It’s a real privilege to have someone like her passionately working alongside us and I’m excited about what we can pull together for our album this year. We have used some props Michaela made, along with poster art from Anne Chestnut and Greedy Hen next to some video art projections made by Aidan Roberts (from The Maple Trail)… so it’s a team effort. DD: It’s mostly visual material recorded to film by Aidan Roberts (of The Maple Trail) and it’s a perfect match for the sounds. CP: The artwork for my records were creating by Anne Chestnut (Collage Dropout) – and she did it all herself! I’ve seen Anne’s work develop over many years and I’ve always loved her style. Anne also does quite a bit of poster work for Broken Stone Records. AR: I have a very clear artistic vision for each record and I see the music and art as intimately related, so I almost always create my own artwork. I painted the sleeve for the latest album, Cable Mount Warning; it took me several attempts. I have various pictures of the same mountain in various abstract forms lying around my house - it was literally like the Richard Dreyfuss character in Close Encounters Of The Third Kind; “This means something, this is important!” I was determined to get it right and finally it somehow fell into place. There are little elements in all the art for my albums that people will recognise – there are always pine trees. Somehow, it feels empty if there isn’t a pine tree somewhere in there.
THE DRUM MEDIA • 63
TUE 21
ADAM PRINGLE, + FRIENDS: Sandringham Hotel, street level BRYCE COHEN: Brass Monkey - Cronulla FBI SOCIAL feat. AXTON FRICK, MELANIE OTUHOUMA, ADELE CUTBUSH: Kings Cross Hotel - Kings Cross HUE WILLIAMS: Jack’s Bar & Grill - Erina JAMES PARRINO: Coogee Bay Hotel - Beach Bar JAZZGROOVE feat. ALISTER SPENCE TRIO, AARON BLAKEY QUINTET: 505 - Surry Hills JOHANNA ELMS, FUEGO LENTO, JAMINO & GROUP LAFAYA: The Basement - Circular Quay OMG!: Scruffy Murphys - Sydney PETER HEAD: Harbour View Hotel - The Rocks ROB HENRY: Observer Hotel - The Rocks SONGS ON STAGE feat. LAURIE McGINNESS, JAKE BENNETT, MICHELLE CHRISTENSEN, SEAN RENFORD, BORIS SLADAKOVIC, RUSSELL NEAL: Dee Why RSL THEY CALL ME BRUCE: Maloneys Hotel - Sydney
WED 22
ANATTA, UPSIDE DOWN MISS JANE, THE FURRY LIPS, LGT: Sandringham Hotel, upstairs ANDY MAMMERS DUO: Maloneys Hotel - Sydney BDI: Town & Country Hotel - St Peters BEC SANDRIDGE: GoodGod Small Club - Sydney BLUE JUICE: Roundhouse, UNSW - Kensington CATCH 22: 3 Wise Monkeys - Sydney DAN SPILLANE: Mean Fiddler Hotel - Rouse Hill FBI SOCIAL feat. PEAR & THE AWKWARD ORCHESTRA, MISS LITTLE, HELLO VERA: Kings Cross Hotel - Kings Cross HAMMERHEAD: 505 - Surry Hills JAMIE LINDSAY: Northies, Sports Bar - Cronulla JIMMY VARGAS, LILIANA SCARLATTA, ANGIE HUBBARD: Blue Beat - Double Bay JON STEVENS, ASHLEIGH MANNIX: Lizottes Sydney - Dee Why LIVE & LOCAL: Lizottes Central Coast - Kincumber LIVE & LOCAL: Lizottes Newcastle - Newcastle LUNCHBREAK presented by ALBERTS feat. CAITLIN PARK: Kings Cross Hotel (afternoon) - Kings Cross MADISON VIOLET: Brass Monkey - Cronulla MARY KIANI: The Basement - Circular Quay MATT JONES TRIO: Scruffy Murphys - Sydney MICK THOMAS: Forecourt, Sydney Opera House MIKE BENNETT: Observer Hotel - The Rocks
64 • THE DRUM MEDIA
NICKY KURTA: Summer Hill Hotel - Summer Hill PAPA VS PRETTY, SNEAKY SOUND SYSTEM, THE HOLIDAYS, OWL EYES, DEEP SEA ARCADE, STRANGE TALK, THE NEVER EVER, SURES NANTES, SET SAIL: Glasshouse Bar, UTS - Broadway PAUL HEYWARDS LIVE PUNK ROCK KARAOKE: Sandringham Hotel, street level PETER HEAD: Harbour View Hotel - The Rocks RICK PRICE: Notes Live - Enmore SONGS ON STAGE feat. BLACK DIAMOND, WARREN MUNCE, STARR WITNESS, BORIS SLADAKOVIC, RUSSELL NEAL: Cat & Fiddle Hotel - Balmain SONGS ON STAGE feat. JOHN CHESHER, GAVIN FITZGERALD, LAURA & SUSIE BISHOP, LYNETTE SMITH, TAOS: Coach & Horses Hotel - Randwick SONGS ON STAGE feat. RAOUL GRAF, JULES BACKMAN, + GUESTS: Taren Point Hotel - Taren Point SONGWRITERS & PERFORMERS feat, TOMMY PICKETT, ALEX THOMPSON, GREG SITA: Cookies Lounge and Bar - North Strathfield STEVE TONGE DUO: O’Malleys Hotel - Kings Cross THE DAMNED HUMANS, THE WINDOW, PARETHIA: Valve Bar - Tempe THE SMITH: Artichoke Gallery Café - Manly TOM TRELAWNY: Coogee Bay Hotel - Beach Bar WOLF & THE GANG: Lansdowne Hotel - Broadway
THU 23
ADRIAN MEARS: 505 - Surry Hills ANDY MAMMERS: Harbord Beach Hotel - Harbord ANGE MURPHY: Artichoke Gallery Café - Manly BROKEN STONE RECORDS ROADSHOW feat, SISTER JANE, CAITLIN PARK, THE MAPLE TRAIL, MAGNETIC HEADS: The Standard - Surry Hills CARA KAVANAGH DUO: O’Malleys Hotel - Kings Cross CARTER ROLLINS: Front Gallery & Café - Lyneham, ACT COOL RUNNINGS feat, BASHMENT CREW, SECRETARY, IBOJAH, ONE LOVE, BASSLINES CREW, + GUESTS: Sandringham Hotel, upstairs CRAIG THOMMO: Coogee Bay Hotel - Beach Bar DAVID AGIUS: Dee Why Hotel - Dee Why DOUG PARKINSON: Lizottes Sydney - Dee Why ELIZABETH ROSE: GoodGod Small Club - Sydney
EXEKUTE, ABACINATION, PUTREFACTION, HEAD IN A JAR: Valve Bar - Tempe GRAND PLAN, KARMIC DIRT, SENZA SOLE: Bald Faced Stag - Leichhardt GREG BYRNE: Northies, Sports Bar - Cronulla HAYLEY SALES: RG McGees - Richmond IGNITION: 3 Wise Monkeys - Sydney JEREMY EDWARDS & THE DUST RADIO BAND, KEVIN BENNETT: Beaches Hotel - Thirroul JON STEVENS, NICK SAXON: Lizottes Central Coast - Kincumber KARL BROADIE, CAITLIN HARNETT: Lizottes Newcastle - Newcastle KRISHNA JONES: Gymea Bay Hotel - Gymea LENKA FILIPOVA: Camelot Lounge - Marrickville MADISON VIOLET: Notes Live - Enmore MATT TOMS: Marlborough Hotel - Newtown MICHAEL MCGLYNN: Greengate Hotel - Killara PANORAMA: Scruffy Murphys - Sydney PAPA VS PRETTY, CABINS, PALMS (EX RED RIDERS): Annandale Hotel - Annandale PARKWAY DRIVE, HAND OF MERCY, NORTHLANE: Bateau Bay PCYC PAUL SUN, RAY MARTIN, JOHN BLENKHORN: Jazushi - Surry Hills PETER HEAD: Harbour View Hotel - The Rocks RICK PRICE: Brass Monkey - Cronulla SAM & JAMIE TRIO: Maloneys Hotel - Sydney SLAM SHOWCASE feat, BEARHUG, SKULL SQUADRON, LYYAR, THE CADRES: Kings Cross Hotel - Kings Cross SONGS ON STAGE feat., RUSSELL NEAL, + GUESTS: Kogarah Hotel - Kogarah SONGWRITERS & OPEN MIC feat, SIMON MARRABLE, PAULY VELLA, HALFWAIT, HELMUT UHLMANN + GUESTS: Mars Hill Café - Parramatta STEVE TONGE: Observer Hotel - The Rocks TANGLED UP IN BOB feat, DAVE DEBS: The Basement - Circular Quay THE JAZZ FACTORY: Great Northern Hotel - Newcastle TRIBUTE TO THE GRAND OLE OPRY feat, KANE DYSON, DANIEL MARANDO, EMMA SWIFT, THE VANGUARD PICKERS: The Vanguard - Newtown TRIPLE TREAT TOUR feat, MILLIONS, NANTES, NORTHEAST PARTY HOUSE: UniBar University of Wollongong VINCE JONES: Blue Beat - Double Bay
FRI 24
2 OF HEARTS: Canterbury Hurlstone Park RSL
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AFRO MOSES O’JAH: Camelot Lounge - Marrickville ALMOST FAMOUS: Rooty Hill RSL AM 2 PM: Kingswood Sports Club - Kingswood ARMCHAIR TRAVELLERS DUO: Corrimal RSL - Corrimal ARREBATO ENSEMBLE: 505 - Surry Hills AUSTRALIAN PINK SHOW: Engadine Family Tavern BEATVILLE BOYS: Crows Nest Hotel (early) - Crows Nest BIG RADIO DYNAMITE: Mounties - Mt Pritchard BIG WAY OUT: 3 Wise Monkeys - Sydney BLACK DIAMOND HEARTS: Crows Nest Hotel (late) - Crows Nest BLACK ROSE: Courthouse Hotel - Taylor Square BLUE METTLE: Matraville Hotel - Matraville CRAIG THOMMO: The Belvedere Hotel - Sydney DAN LAWRENCE: Observer Hotel - The Rocks DAN MANGAN: Notes Live - Enmore DAVID AGIUS: Brewery Bar, Novotel - Homebush DEATH CAB FOR CUTIE, DAPPLED CITIES: Enmore Theatre - Enmore DOUBLE BARREL: Coogee Bay Hotel - Beach Bar DOUG PARKINSON: Lizottes Central Coast - Kincumber DR ZOOM DUO: The Mark Hotel - Newcastle DRILL, ZEAHORSE, TOY DEATH, MANIC SLEEPER CELL: Sandringham Hotel, upstairs EBONY & IVORY: Crown Hotel - Sydney ENDLESS SUMMER BEACH PARTY: Marlborough Hotel - Newtown FAIT ACCOMPLI, RAISE THE CRAZY, DEVINE ELECTRIC, BLACKIE (HARD ONS): Annandale Hotel - Annandale FALCONIA FRIDAYS feat, DEVOLA, WOLF WOLF, ISBJORN, BERNIE DINGO, DJ RUMFOORD: Kit & Kaboodle - Kings Cross FBI SOCIAL feat, BIG DUMB KIND, DEADBEAT & HAZY, OLD MEN OF MOSS MOUNTAIN, NAGAKIN: Kings Cross Hotel - Kings Cross FOGGY MOUNTAIN JAM feat, KASEY CHAMBERS, SHANE NICHOLSON, BILL CHAMBERS, TROY CASSAR DALEY, ASHLEIGH DALLAS, LAUREL EDWARDS, MICK THOMAS, DJ WALLY: Wollombi Valley GENE FEHLBERG: Red Lion Hotel - Rozelle GEOFF RANA: Observer Hotel (late) - The Rocks GEOFF RANA: Parramatta RSL - Parramatta GEOFF YULE SMITH: Sofitel Wentworth - Sydney GLASS CHAIN: Oriental Hotel - Springwood GREEN DAY SHOW: Scruffy Murphys - Sydney
GREG BYRNE: Harbord Beach Hotel - Harbord HARBOUR MASTERS: Kincumber Hotel Kincumber, Central Coast HARLEQUIN DUO: Mean Fiddler Hotel - Rouse Hill HEATH BURDELL: Grand Hotel - Rockdale ILLUKA, AXLE WHITEHEAD, BEARS WITH GUNS, LIME CORDIALE: Trackdown (Bdg 125) Entertainment Quarter INCOGNITO BAND: Exchange Hotel - Newcastle IN-CYDE, DAWN HEIST: The Lair, Metro Theatre - Sydney J CONNEXION: Vineyard Hotel - Vineyard JEREMY EDWARDS & THE DUST RADIO BAND, GLENY RAE VIRUS & THE TAMWORTH PLAYBOYS: Empire Hotel Annandale JIMMY BEAR: Great Southern Hotel - Sydney JJ DUO: Matraville RSL - Matraville JOHN FIELD DUO: Pioneer Tavern - Penrith JON STEVENS: Lizottes Newcastle - Newcastle JOSH MCIVOR: Red Cow Hotel - Penrith JUS GORDON: Duke of Wellington Hotel - New Lambton JUST PETE: Oasis on Beamish Hotel - Campsie KIRK BURGESS: Collingwood Hotel - Liverpool K-NOTE, JUDGEMENT, FASMWA: The Watershed Hotel Darling Harbour KOLONEL BIZARRE: Lansdowne Hotel - Broadway LIES N DESTRUCTION: Bull & Bush Baulkham Hills LUKE DIXON: Stacks Taverna - Darling Harbour LUKE ROBINSON: Northies, Sports Bar - Cronulla MACHINATIONS: Bridge Hotel - Rozelle MAITLAND BIKE & HOT ROD SHOW feat, THE ANGELS, BLACK LABEL, TUG, KAMAKAZE KOWBOYS, OMEGA RED, ROAR BOAR: Maitland Showground - Maitland MANDI JARRY: Macquarie Hotel - Liverpool MATT JONES TRIO: East Leagues Club - Bondi Junction MAYER HAWTHORNE: Metro Theatre - Sydney MICHAEL MCGLYNN: Castle Hill RSL - Courtyard MIDNIGHT DRIFTERS: Belmont 16’s - Belmont MIKE MATHIESON, CHRIS ALEXANDER: Seven Hills RSL MISSION JONES: Parramatta Leagues - Firehouse MOONLIGHT DRIVE DUO: Nelson Bay Diggers Club MURDER BY DEATH, ELEVENTH HE REACHES LONDON: Hermann’s Bar - Darlington NANTES, NORTHEAST PARTY HOUSE, MILLIONS: Oxford Art Factory, Live Art Space
NEON HEART, L.U.S.T, OLYMPIC AYRES: The Gaelic - Surry Hills NEONCOUSTIC, KEVIN GUANZON: Mars Hill Café - Parramatta NICK KINGSWELL: Tall Timbers Hotel Ourimbah, Central Coast NICKY KURTA: World Square Pub - Sydney O PARTY feat, DEEP SEA ARCADE, FIRE! SANTA ROSA, FIRE!, THE ZILLERS: University of Newcastle - Newcastle PANORAMA: Towradgi Beach Hotel - Towradgi PARKWAY DRIVE: Sutherland Entertainment Centre - Sutherland POCKET OF STONES: Factory Floor, Factory Theatre - Marrickville RAPTURE: 3 Swallows Hotel - Bankstown REBECCA JOHNSON BAND: Haymarket Hotel - Sydney REMMOS K, GENE MAYNARD BAND: Town & Country Hotel - St Peters RENAE KEARNEY: O’Malleys Hotel - Kings Cross RETRO GROOVE: Kurnell Rec Club - Kurnell RICK FENSOM: Collaroy Beach Hotel - Collaroy ROB HENRY: PJ Gallaghers - Drummoyne SAM & JAMIE TRIO: Kirribilli Hotel - Kirribilli SAM GILL QUARTET: Artichoke Gallery Café - Manly SHANE FLEW: Royal Oak Hotel - Parramatta SIMA feat, MATT BARKER QUARTET: Sound Lounge, Seymour Centre - Chippendale SONGS ON STAGE feat. INICIATE, KID VEGAZ, BLACK DIAMOND, DARREN BENNETT: Everglades Country Club - Woy Woy STEVE EDMONDS BAND: Warilla Bowling Club SURPRISE PARTY: Wentworthville Leagues THE ANGELS with DAVE GLEESON, THE LAZYS, BLACK LABEL: Revesby Workers - Revesby THE GROOVE MASTERS: Gladstone Hotel - Chippendale THE LAST WALTZ REVIVAL: Lizottes Sydney - Dee Why THE LEISURE BANDITS, WE THE PEOPLE, KANE SARICH, DJ SPENDA C: Upstairs Beresford - Surry Hills THE USUAL SUSPECTS: Overlander Hotel - Cambridge Park THEY CALL ME BRUCE: Quakers Inn - Quakers Hill TOM T DUO: Customs House Bar - Circular Quay TOTALLY GA GA AUST. LADY GAGA SHOW: Heathcote Hotel - Heathcote TRILOGY: Orient Hotel - The Rocks TUG: Orana Hotel - Blacksmiths
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UPROAR feat, OCTOBER RAGE, FROM LOVE TO VIOLENCE, MISTAKEN, CREATURES EVOLVED: Cambridge Hotel Newcastle VAN THE MAN - VAN MORISSON SHOW: The Basement - Circular Quay VANITY RIOTS, VIRGINIA KILLSTYX, BECOME THE CATALYST, ARCAIEN, MAPLE ROSE: Valve Bar - Tempe WENDY MATTHEWS TRIBUTE TO BILLIE HOLIDAY, ALANNA CHEROTE: Brass Monkey - Cronulla WILDCATZ: St Marys Rugby League Club, Members Bar - St Marys WOLF CALL! LAS VEGAS GRIND feat, THE GOOCH PALMS, LOS SUNDOWNERS, BAIN WOLFKIND, DJs FLASH & CRASH, DJ BLACKBEAR: GoodGod Small Club - Sydney ZOLTAN: PJ’s Irish Pub - Parramatta
SAT 25
031 ROCK SHOW: Scruffy Murphys - Sydney 12 SELECTION SHOWCASE: Valve Bar - Tempe (Early) 360: The Standard - Surry Hills AM 2 PM: Ingleburn RSL - Ingleburn ANDY MAMMERS: Rydges - Parramatta ANGIE DEAN: Castle Hill RSL - Cocktail Lounge ANTISKEPTIC, MOVE TO STRIKE, EMPERORS, THE MIRACLE IS NOW: The Lair, Metro Theatre - Sydney AUSTRALIAN PLAYED: Macarthur Tavern - Campbelltown BAND DOWN UNDER: Oatley Hotel - Oatley BEN FINN: Brewhouse - Marayong BEN MORRIS, CADELL, JEFF DRAKE: The Ivy - Sydney BIG MELTDOWN feat, THE ABSTRACTIONISTS, HONEY STOMPER, REVERSE VIENNA OYSTER, VINTAGE PLUMS: Red Rattler - Marrickville BIG RICH: Hunters Hill Hotel - Hunters Hill BLAZE OF GLORY-BON JOVI SHOW: Dundas Sports Club - Dundas BLUE MOON QUARTET: Fairfield RSL, Supper Club BNO ROCK SHOW: RG McGees - Richmond BROKEN STONE RECORDS ROADSHOW feat, SISTER JANE, CAITLIN PARK, THE MAPLE TRAIL, MAGNETIC HEADS: Baroque Bar - Katoomba CAMERON UNDY’S ABSTRACT BROTHERHOOD: 505 - Surry Hills CARL FIDLER: Observer Hotel (early) - The Rocks CHART BUSTERS: Canterbury Hurlstone Park RSL CREEDENCE & FRIENDS: Bull & Bush - Baulkham Hills DAN SPILLANE: Northies, Sports Bar - Cronulla
DAVE TICE & MARK EVANS: Sandringham Hotel, street level DAVID AGIUS: Castle Hill RSL - The Terrace DEATH CAB FOR CUTIE, DAPPLED CITIES: Enmore Theatre - Enmore DIRTY DEEDS - AC/DC SHOW: Narrabeen RSL DOUG PARKINSON: Lizottes Newcastle - Newcastle ENDLESS SUMMER BEACH PARTY: Penrith RSL, Castle Lounge ENNSU, PRESIDENT BIRD, FRAMES: Kings Cross Hotel (late) - Kings Cross FIONA LEIGH-JONES DUO: Harbord Beach Hotel - Harbord FOGGY MOUNTAIN JAM feat, KASEY CHAMBERS, SHANE NICHOLSON, BILL CHAMBERS, TROY CASSAR DALEY, ASHLEIGH DALLAS, LAUREL EDWARDS, MICK THOMAS, DJ WALLY: Wollombi Valley FOREVER DIAMOND: East Leagues Club - Bondi Junction GET THE PARTY STARTED-THE PINK SHOW: PJ’s Irish Pub - Parramatta HEATH BURDELL: Sir Joseph Banks Hotel - Botany HIT MACHINE: 3 Wise Monkeys - Sydney HORNET: Exchange Hotel - Newcastle HUDSON MOHAWKE, RUSTIE: Manning Bar, Sydney Uni - Camperdown JOHN FIELD DUO: Stacks Taverna - Darling Harbour JOHN VELLA: Rose Bay Hotel - Rose Bay JOHNNY CASH BIRTHDAY SHOW: Notes Live - Enmore JORDAN MILLER, OLLIE BROWNE, FIRE TREE: The Gaelic - 1st Floor JOSH MCIVOR: The Belvedere Hotel - Sydney KATRINA: Beauford Hotel - Mayfield KEEP THE FAITH - BON JOVI SHOW: Peachtree Hotel - Penrith KILL CITY CREEPS: Great Northern Hotel - Newcastle KING PARROT, WOLFKAHN, INEBRIOUS BASTARDS, INFESTED ENTRAILS, FESTERING DRIPPAGE: Bald Faced Stag Leichhardt KING TIDE: Lizottes Sydney - Dee Why KRIS MILLER: The Mark Hotel - Newcastle KYLE TAYLOR: Artichoke Gallery Café - Manly LES CAPILANES, DAVE SLADE, FRANK XAVIER, SCOTT WOLFE: Beach Rd Htl (Rex Room) Bondi MACHINATIONS: Bridge Hotel - Rozelle MACSON DUO: Courthouse Hotel - Taylor Square MADE IN JAPAN, + SPECIAL GUESTS: Oxford Art Factory, Live Art Space MANDI JARRY DUO: Narrabeen Sands - Narrabeen MATT JONES: PJ Gallaghers - Drummoyne MAZE, ARGENTINA, BATTLESHIPS: Oxford Art Factory, Gallery
GIG OF THE WEEK
SOUNDWAVE
It’s a massive festival of 90+ heavy metal, hard rock and punk bands, with all points of the heavy spectrum in between, featuring the likes of System Of A Down (pictured), Slipknot, Limp Bizkit, Marilyn Manson, Lamb Of God, Trivium, Alter Bridge, Lostprophets, Angels & Airwaves and many, many more. So it’s hard to go past this as gig of the week, is it? It all takes place Sunday at Sydney Showground and the festival is sold out, so enjoy the show if you’re already heading along. MICHAEL MCGLYNN: Kirribilli Hotel - Kirribilli MIKE MATHIESON, CHRIS ALEXANDER: Panania Diggers MJM, DREW MERCER: Shelbourne Hotel - Sydney MOTHER BRDY, CARNI MEAT WHEELER, STELLAR ADDICTION, ANOTHER AVENUE: Lewisham Hotel - Lewisham NADYA, GIGA, 101 CANDLES ORKESTRA: Camelot Lounge - Marrickville NICKY KURTA: Northies, Beach Bar (afternoon) - Cronulla NINE MILE: Orana Hotel - Blacksmiths PARKWAY DRIVE: Penrith Panthers, Evan Theatre - Penrith PAUL ROBERT BURTON TRIO: Heathcote Hotel, Afternoon PETER HEAD: Harbour View Hotel - The Rocks RADIANT LIVE feat, MARK McGUIRE (EMERALDS), BLANK REALM, + GUESTS: Kings Cross Hotel - Kings Cross RADIO INK, SCREAMING BIKINI, BEC AND BEN, DJ PHDJ: Upstairs Beresford - Beresford Hotel REAR VIEW MIRROR - THE PEARL JAM SHOW: Kiama Leagues Club -Kiama REBECCA JOHNSON BAND: The Kent Hotel - Newcastle RECKLESS DUO: Ettamogah Hotel - Rouse Hill ROB HENRY: Observer Hotel (afternoon) - The Rocks ROXETTE, 1927: Sydney Entertainment Centre SAM & JAMIE SHOW: Brewery Bar, Novotel - Homebush SCOTT DONALDSON, VENUS: Mean Fiddler Hotel - Rouse Hill SEATTLE SOUND: Blacktown RSL - Blacktown SIMA feat, THE CATHOLICS: Sound Lounge, Seymour Centre - Chippendale SINGLED OUT: Orient Hotel - The Rocks
SONGS ON STAGE feat., HANNAH MATYSEK, BENJA WILLAM, KEL MARSHALL, + GUESTS: Royal Exchange Hotel Marrickville SONGS ON STAGE feat., DARREN BENNETT, OLIVER GOSS, + GUESTS: Terrey Hills Tavern - Terrey Hills STEVE EDMONDS BAND: Dicey Riley’s Hotel - Wollongong TAIPAN, UNKNOWN TO GOD, STRAIGHT SATAN, NOBODY KNEW THEY WERE ROBOTS: Town & Country Hotel - St Peters TALK IT UP: Crows Nest Hotel (late) - Crows Nest TALL POP SYNDROME: Marlborough Hotel - Newtown TERRY BATU: Canterbury Leagues - Belmore THE BAD BAD THINGS: Duke of Wellington Hotel - New Lambton THE BLUES PIRATES: Bald Rock Hotel - Rozelle THE FAUVES, LITTLE LOVERS, TOM UGLY, MARCH OF THE REAL FLY, JACK CARTY: Annandale Hotel - Annandale THE GOYLES: Wollongong Bowling THE LAST WALTZ REVIVAL: Brass Monkey - Cronulla THE MATCHBOX TRIBUTE SHOW: Kingswood Sports Club - Kingswood THE MAZE: Oxford Art Factory, Gallery Bar - Darlinghurst THE ORB, BOMB THE BASS: Metro Theatre - Sydney THE SHIVON DUO: Revesby Workers - Revesby THUNDERSTRUCK-AC/ DC SHOW, SHADOW BOXER - THE ANGELS SHOW: Mounties - Mt Pritchard WHO’S SHOUT, ETHER: Town & Country Hotel (afternoon) - St Peters WILDCATZ: Penrith Panthers - T.C’s ZOLTAN: Ettamogah Hotel (afternoon) - Rouse Hill ZU2 - THE U2 EXPERIENCE: Shoal Bay Country Club Hotel
50 MILLION BEERS: Sandringham Hotel, street level ANTHONY HUGHES: Oatley Hotel (afternoon) - Oatley ANTOINE: O’Malleys Hotel - Kings Cross BENN GUNN: Waverley Bowling Club - Waverley BLUES SUNDAY feat., MARK HOPPER: Artichoke Gallery Café - Manly BRITNEY SPEARS: THE CABARET: Riverside Theatre - Parramatta CAMBO, ROB HENRY: Observer Hotel (afternoon) - The Rocks DAN BEAZLEY: Duke of Wellington Hotel - New Lambton DAVE WHITE DUO: Northies, Northies Bar - Cronulla DAVID AGIUS DUO: Northies, Sports Bar - Cronulla DENIZ TEK GROUP, INTERCONTINENTAL PLAYBOYS, MEN FROM U.N.C.L.E: Sandringham Hotel, upstairs DJ BRYNSTAR: The Watershed Hotel Darling Harbour DOLLSHAY: Mean Fiddler Hotel - Rouse Hill DOWN THUNDER: Riverstone Sports Hotel - Riverstone EBONY & IVORY: Overlander Hotel Cambridge Park ELEVATION - U2 ACOUSTIC: Orient Hotel - The Rocks
ENDLESS SUMMER BEACH PARTY: Bondi Icebergs - Bondi FERAL SWING KATZ: Penrith RSL, Castle Lounge FRANKY & JOHNNY, WELLSY: Belmont 16’s - Belmont HAPPY HIPPIES: Albion Hotel-Parramatta HARBOUR MASTERS: East Leagues Club - Bondi Junction HAT FITZ & CARA ROBINSON: Exchange Hotel - Newcastle HAYLEY SALES: Hunters Hill Hotel - Hunters Hill HELPFUL KITCHEN GODS, CALL TO COLOUR, DR DELITES, + GUESTS: Gladstone Hotel - Chippendale JJ DUO: Coogee Bay Hotel - Beach Bar JOHN LEIGH CALDER, + FRIENDS: The Clarendon Hotel - Surry Hills JONO LEE JONES: Tall Timbers Hotel Ourimbah, Central Coast KARL BROADIE, CAITLIN HARNETT: Lizottes Central Coast - Kincumber LAWRENCE BAKER: The Belvedere Hotel - Sydney LJ: Bayview Tavern - Gladesville LOOSE JOINTS, FOREIGNDUB AIRWYVZ, BABYBOOMA: Kings Cross Hotel (afternoon) - Kings Cross MACSON DUO: Helensburgh Workers
MIKE BENNETT: Observer Hotel - The Rocks NIC SCALI, MURAT KILIC: The Spice Cellar - Sydney NICKY KURTA: Harbord Beach Hotel - Harbord PENNY & THE MYSTICS, CARTER ROLLINS, DYLAN & CO: Brass Monkey - Cronulla PETER HEAD TRIO, + FRIENDS: Harbour View Hotel - The Rocks RICK FENSOM: Collaroy Beach Hotel - Collaroy ROCKAFILLIES feat, KIRA PURU, CARRIE PHILLIS & THE DOWNTOWN THREE, SALLY STREET, PIA ANDERSEN, SALLY MARETT, KITTY VAN HORNE, SARAH J HYLAND, SARA O’CONNOR: The Vanguard - Newtown ROCKERFELLERS: Beauford Hotel - Mayfield SCOOBY LOO: Orana Hotel - Blacksmiths SHANE MACKENZIE: Cohibar - Darling Harbour SHIVON: Oscars Hotel - Pyrmont SONGS ON STAGE feat., BLACK DIAMOND, +GUESTS: Avalon Beach RSL - Avalon SOUL II SOUL: The Ivy - Sydney SOULFOOD SUNDAY with, BOBBY SINGH, SANDY EVANS, BEN WALSH, SARANGAN SRIRANGANATHAN BAND: Camelot Lounge - Marrickville SOUNDWAVE FESTIVAL feat. SYSTEM OF A DOWN, SLIPKNOT, LIMP BIZKIT, MARILYN MANSON, A DAY TO REMEMBER, BUSH, MACHINE HEAD, LAMB OF GOD: Sydney Showgrounds - Homebush STEVE TONGE: Kirribilli Hotel - Kirribilli SUNDAY BEST: Great Northern Hotel - Newcastle SYDNEY BLUES SOCIETY: Botany View Hotel - Newtown THE POD BROTHERS: Gymea Bay Hotel - Gymea THE TORCHSONG COUNTRY SOUL BAND, VELVET ROAD, STEPH MILLER: Bald Faced Stag - Leichhardt
MON 27
AMY HOUSEWINE: The Supper Club, Oxford Hotel - Darlinghurst ANGELS & AIRWAVES, MADINA LAKE, FRAMING HANLEY: Roundhouse, UNSW - Kensington BUSH, STAIND, CHERRIBOMB: Enmore Theatre - Enmore CARL MORGAN QUINTET: 505 - Surry Hills DASHBOARD CONFESSIONAL, JACK’S MANNEQUIN, RELIENT K: Manning Bar, Sydney Uni Camperdown MATT CORBY, TIN SPARROW, EMMA DAVIS: Oxford Art Factory, Live Art Space SLIPKNOT, TRIVIUM: Sydney Entertainment Centre SONGS ON STAGE feat., CLAY & KELLY, RUSSELL NEAL, + GUESTS: Kellys on King - Newtown SWITCHFOOT: Factory Theatre - Enmore THE PRETTY RECKLESS, HEROES FOR HIRE: Bald Faced Stag - Leichhardt THURSDAY, SAVES THE DAY, CIRCA SURVIVE: Metro Theatre - Sydney
BLUES CRUISE The Sydney Blues Society Presents
FIONA BOYES BAND SUNDAY 4TH MARCH
11.45am on the Rocks Rhythm Boat from #6 King Street Wharf $35 for members $45 for non-members
SUN 26
Book early to avoid disappointment!
Call Robyn Baxter on 0437 991 461 or order tickets online via PayPal
www.sydneyblues.org Food and drinks are available for purchase on board, no BYO please. 66 • THE DRUM MEDIA
THEM APPLES, JAMES MCINTOSH: Town & Country Hotel - St Peters TIM PRINGLE: Kincumber Hotel - Kincumber, Central Coast VIBRATIONS AT VALVE feat, THE BROKEN LINE, ANONYMOUS, ANTISOCIAL SOCIETY CLUB, HEY BABY, + more: Valve Bar - Tempe (Afternoon) WHITE BROTHERS, HEATH BURDELL: Ettamogah Hotel - Rouse Hill WILDCATZ: 3 Wise Monkeys - Sydney
themusic.com.au
EMPLOYMENT ADMINISTRATION 15year old bass player looking to join metal or punk band. influences include metallica, slayer, megadeth, anthrax, pantera, ozzy osbourne/black sabbath and many more. email space1996@hotmail.com iFlogID: 16863 At STRINGS ‘N’ SKINS: You will find tuition for- Guitar, Bass, Drums, 5 String Banjo. Rock, Blues, Country, Jazz, Slide, Finger Picking, Music Theory. Sutherland Shire Contact Terry 0402 993 268 iFlogID: 17400 Bass player seeking working covers band. Plenty of experience, backing vox, good gear and transport. Located in Inner West. SMS 0415297217. iFlogID: 17312
BEST VALUE FOR MONEY STUDIO The House of Medici is a fully equipped recording and rehearsal studio based in Leichhardt, Sydney. It has been custom built for recording music, sound scores, voiceover, audiobooks and infomercials. Equipped with the newest facilities, insanely cheap daily rates and the option of an ARIA-charting in-house engineer, the studio is open to beginners and professionals. For bookings and further information please contact Sam at 0403 260 360 or sam@houseofmedici.com.au iFlogID: 17450 Casual Work Avail : Media Tree Australia has casual work available right now right across Sydney, Looking for flexible days, are reliable, honest and hard working email jobs@mediatree.com.au for details. iFlogID: 17189
DJ AVAILABLE- ANYTIME www.djzokithefab.com -0416306340 for any dj service club or home or birthday call anytimeGET A REAL DJ NOT MP3 PLAYER OR CRAPPY DOWNLOAD.......VINYL DJ ROCKS iFlogID: 16089 DRUM KIT WANTED or cymbals, snares etc. Also interested in anything vintage, ph 0419760940 iFlogID: 13226 Newly formed original hard rock band looking for bassist. Inner West location preferred. Ages 16-20. Influences Thin Lizzy, KISS, Oasis, GN’R etc. Call Liam after 8pm on 0413 855 632 iFlogID: 17049
ORIGINAL ‘ROCK’ GUITARIST ORIGINAL ‘ROCK’ GUITARIST LOOKING TO JOIN/FORM A SUCCESSFUL SYDNEY BAND.(20-35) A PEP UP FROM ‘HELL’ RATED HIS MUSIC ‘MAINSTREAM’. I DISCRIBE ABE AS A LYRICAL GENIUS WITH ‘KILLA’ MILLION $ RIFFS INCL ROCK ANTHYM ‘CAUGHT BY HER EYES’. ORIGINAL’ HARD ROCK’ INSPIRED BY SLASH, METALLICA, AC-DC. HAS GREAT GEAR & OWN TRANSPORT. INTERESTED? CALL ABE 0405808941 & GET READY TO BECOME A ‘ROCK STAR’. iFlogID: 17497 Pro singer wanted for an established 5 piece band Newcastle area covers and orginals hard rock,blues,pop,rocknroll. Exp band gigged with Angels, 2 booking agents Peter 4984 4731. iFlogID: 17156 Pro Singer wanted for an established 5 piece band Newcastle area. Hardrock,blues,pop,rocknroll covers and originals exp band gigged with Angels 2 booking agents,paid gigs Peter 4984 4731 iFlogID: 17366
CALL CENTRE/CUST. SERVICE Call Centre Sales, close to transport, great pay and incentives. Immediate start for the right applicant. Choose your own roster! Call Holly on 1300652733 or email careers@contactcentres. com.au iFlogID: 16839
EDUCATION & TRAINING
IMMIGRATION SERVICE
Business Migration Visas, Family Visas, Partner Visa, Unlawful Non-citizen Partner Visas; Temporary Workers Visas, ENS & RSMS, 457 Visas, Visitor Visas, Breach of Visa Conditions, Student Visas, MRT & RRT Appeals, Please contact Bridget @ 1800 901 223 or Email: Bridget.Liu@slatterylawyers.com.au iFlogID: 17022 MUSIC TEACHERS URGENTLY REQUIRED Drum, Guitar, Bass, Banjo & Violin/Viola teachers URGENTLY required for immediate start. For interview: 9585 0037 iFlogID: 16776
ENTERTAINMENT FEMALE SINGER WANTED FEMALE SINGER WANTED TO HOST REGULAR KARAOKE NITE IN CITY. BUBBLY PERSONALITY AND GOOD PEOPLE SKILLS ARE A MUST AS WELL AS THE ABILITY AND KNOWLEDGE TO SING A WIDE VARIETY OF SONGS. GOOD MONEY FOR THE RIGHT PERSON. PLEASE SEND BRIEF BIO WITH PHOTO TO: proartman@bigpond.com iFlogID: 17457
TRIBUTE SHOW NEEDS SOUND GUY.. Responsibilities include setting up/operation maintenance of professional pa(Supplied), and lighting gear at Pub gigs in Sydney and Central coast. Seeking LONG TERM COMMITMENT ARRANGMENT ONLY www.australiangnrshow.com More info- Ben 0438625750 iFlogID: 16941
PROMOTER ATTENTION BANDS AND PROMOTERS We have a great Room/Venue that we want to get Rockin’ Fully Licensed Bar and Well Situated in City Central. P.A. and Lights are Supplied including Live Recording Facility. Our prefered focus is on Live Indy Bands but will also consider proposals from DJ’s and Promoters. Also available for Functions, Photo Shoots and Film Clips. For more Info please Email Rob - newmusicclubsydney@gmail.com iFlogID: 17072
Manager Wanted by a successful Performer/ Composer, Pop-rock Band/Show, Album on iTunes, another Album in production. Begin on full commission, assist bookings, promotions and deals, great opportunity. Phone 99691179 Mosman. iFlogID: 17271
SALES & MARKETING People needed to send eMails offering a new music Book for sale. Must have own computer - payment by commission via Paypal. Contact Bill on (02) 9807-3137 or eMail: nadipa1@ yahoo.com.au iFlogID: 13289
TRADES & SERVICES TATTO ARTIST WANTED Experience tattoo artist required for inner western sydney tattoo shop. Must have at least 2-3 years experience and an up to date portfolio. ph 02 95574096 for enquiries iFlogID: 17475
FILM & STAGE OTHER darphi images is a film studio and requires help with finance. Each donation receives something in return, with investments starting at $5 for a credit in the film http://igg. me/p/59834?a=222791 iFlogID: 16914
FOR SALE AMPS PEAVEY BANDIT 80WATT 12” GUITAR COMBO 2 channel.footswitchable.great fat tone. reverb/saturation etc.USA made.VGC.$350. Ph.0428744963. Cooroy iFlogID: 13019
GUITARS
LEGAL / ACCOUNTING
FENDER PINK PAISLEY STRAT.
HAPPY NEW YEAR’S RESOLUTIONS!
genuine 1980’s.all original.in case.great tone/action/condition.very rare.$1500 ono. Ph.0428744963.Cooroy iFlogID: 13027
GET STONED LEGALLY! The original and strongest Super Nova. Available in this 3.5 gram Original or the 6 gram Special Edition. Created specifically for Which Legal Highs this is the most wonderful experience, it seems that the creators have perfected what we term as “Accidental Hot Spotting.” Whenever you smoke this blend it varies slightly sometimes you think you have dropped a mild tab of acid, others the most mentally freaky high you have never had. No matter what you get this is the most unbelievable high you can have. Long Lasting - Comparable to Buds on a most days and “This is too intense, make it stop!” on every others Deep and Intensive! - The high is almost overwhelming, and can be enjoyed by yourself and also mates (with some issues communicating) Delectable Flavour - A little sweet at first but never gets sickly sweet even after smoking all night.Ultra Fluffy - Makes a great big over-sized mix, often requiring twice the amount of tobacco to smoke. Slightly sticky Natural smoking feel with clean white smoke Legal in all Australia States ONLY AVAILABLE ONLINE AT www. BestLegalHighs.com iFlogID: 17479
Vocal Lessons - Rock/Pop/Indie/R’n’B? I am a Signed Vocalist with 10 years experience. Lessons in Gordon. Beginners through to experienced singers welcome. 1hr $50, Half-Hour $30. Call AJ on 0448-080-619. iFlogID: 17233
BOOKING AGENTS
SYDNEY LIVEHOUSE
BASS
Mainline Bass Guitar 4 string, white, made in UK, as new. Action good and looks great. $120 for quick sale. Ph. 97590970 iFlogID: 17295 Peavey 600 watt bass amplifer Head MK8. Beautiful sound, excellent condition. Plenty of power, $375. Ph. 97590970 iFlogID: 17297
BUSINESSES MUSIC MERCHANDISE BUSINESS 1000+ shirts hoodies caps etc all 100% USA imported licensed band merch & Streetwear all contacts, racking, websites, advertising material, systems, Transitional training assistance and more!. Selling as I have another business that is taking off $24,500 neg 0421648558 iFlogID: 17329
ONLINE BOOK BUSINESS WORK@HOME Turning over approx $100 a day and growing approx 10,000 books listed or in the process of listing on ebay another 10,000+ in boxes Shelving, ebay account, systems, Transitional training assistance and more!. Selling as I have another business that is taking off $39,500 neg 0421648558 iFlogID: 17331
CD / DVD Attention Musicians, Record Collectors, Universities, Libraries - new Book (print/cdROM/direct download) compiling 100 years of popular music. GO TO www.plattersaurus.com web-site on how to buy. Enquiries: (02) 9807-3137 eMail: nadipa1@ yahoo.com.au iFlogID: 13287
DRUMS DRUM KIT WANTED or cymbals, snares etc. Also interested in anything vintage. Ph 0419760940 iFlogID: 13232
If one of your new year’s resolutions included getting up to date with your taxes then now’s the time to act. Detax will maximise your tax refund or minimise your tax liability, by applying years of Entertainment & Arts industry tax knowledge into each and every tax return. Individual Tax Returns from only $99. Discounted rates available for multiple years. Fully Qualified Accountant & Registered Tax Agent. www.detax.com.au iFlogID: 17275
MASTERING Audio Mastering, mixing, recording. CD-R music & data duplication, cover artwork, colour disc printing, online global distribution. Full studio package deal for EP or full album projects. Enquiries ph: 02 98905578 iFlogID: 15156 Audio Mastering, mixing, recording. CD-R music & data duplication, cover artwork, colour disc printing, online global distribution. Full studio package deal for EP or full album projects. Enquiries ph: 02 98905578 iFlogID: 15162
THE BUTLER MASTERING...
iFlogID: 17459
DUPLICATION/ MASTERING CD MANUFACTURING:Acme is Australias best price CD manufacturer. 500 CD package = $765.05: 1000 CD package = $1320.00 Short run also available. www.AcmeMusic.com.au KevinW@AcmeMusic.com.au iFlogID: 13117
HIRE SERVICES For as low as $100, you get a professional sound/pa mixer system with operator for the evening. Suitable for weddings, pub/clubs band gigs, private parties etc. Infovision@yayabings. com.au. Contact Chris 0419272196 iFlogID: 15173
PA / AUDIO / ENGINEERING Experienced audio engineer, 10 years experience in both studio and live sound. Engineer at el rocco Sydney last 2 years. I Love my work, hire me. michael.elrocco@gmail.com iFlogID: 17452 For all your production needs, upto 20,000watt systems.Tailored to your requirements. Delivered,setup & operated by professional engineers. Loud ‘n’ Live Sound Systems Ph 0417 268850 iFlogID: 17398 P.A hire using top quality outboard gear; Lexicon, Allen & Heath, Sure 4.800, DBX drive-racks, 160SL compression, 4-way front-of-house, 3-way active fold-back. 30years+ experience in the music industry. 0414355763. iFlogID: 13264 Professional PA & Lighting for all occasions.1000watt - 20,000watt Tailored to your requirements.Ph 0417 268850 iFlogID: 17396 QUALITY PA HIRE with friendly, experienced operator. Vocal systems to full band rigs. All with lighting and at great rates. Corporate entertainment specialist. Graham 0418 423 463 platonic@bigpond.com iFlogID: 14573
STUMP LOVES TO BUMP I have better Ears than most of those P.A. Guys, so give me a call. 0414 255 542 - jacksongigs@gmail.com iFlogID: 17070
With the friendliest and best value mastering in the business we exist to serve you and your music. > Your audio will pass delicately through the best valve and solid state outboard equipment on earth, under the microscope of a world-class monitoring system and acoustic environment, and more importantly, will be... >Utilising a skilled engineer working with numerous Indie and Major Record Labels, including EMI Music, Silverback Records and Liquid US, with credits from major artists such as FAKER, The Art, Papa Vs Pretty, Melody Black & ex members of The Sex Pistols, Blondie, The Cult and The Ramones. >Our pricing is fixed and includes the provision of a Master Red-Book CD, Master DDP DVD, Master Reference CD and a high resolution project archive. > Plus, you are more than welcome to attend the mastering session! > Song - $80 / EP - $320 / Album - $600 >Contact us at; info@the-butler.com /or/ 0403 435 686 /or/ www.thebutler.com >Do your music, and your wallet a favour and drop us a line. iFlogID: 17440
OTHER S.L.H. is a venue with a mission statement.....Reviving Sydney’s live music scene 1 gig band 1 fan at a time. We have recently launched our website www.sydneylivehouse.com. Bands that register their details using the site prior to March 11th will be considered for the bring it on festival which attracts 10,000 people annually. Located at 794 Parramatta rd Lewisham. There’s plenty of untimed on street parking, easier then parking in newtown thats for sure... bus stop at the door and train station within 5 mins walk. Add to that new and upgraded P.A. and lighting rig... Its all here ready for bands agents and managers to utilize. For further information and contact details please visit www. sydneylivehouse.com
SEAN CAREY - PRODUCER
Options Categories NEW!
WWW.BLISTMEDIA.COM
BAND MERCHANDISE Band Booking Agent wanted for historic venue in Kings Cross (capacity approx 85).El Rocco needs acts Tues-Fri,Sun Generous comission offered.Immediate start. Direct Enquiries to Paul at paul.elrocco@gmail. com iFlogID: 17378
Recording Studio, Parramatta, $30hr casual rate. No kits! Singers, songwriters, instrumentalists for acoustic, world, classical genres specialist. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days. iFlogID: 15160
NEW!
Sick of seeing bands shittier than yours get all the media attention? iFlogID: 16964
MUSIC SERVICES
VOX AC-30/6TB made in England 1997, good condition. $1800 Call: Paul 0409923954 iFlogID: 17278
Fender Jazz Bass (5 years old), 5 string, as new, hasnt been played much. $1450. Ph. 97590970 iFlogID: 17299
Need Help overcoming Performance Anxiety, Stage Presence, Writers Block? Waking Life Hypnotherapy - Specialist Hypnotherapists with 15 years music industry experience behind them Waking Life Hypnotherapy - Live the Dream iFlogID: 17179
RECREATIONAL EQUIPMENT
LEGAL WEED DIRECT FROM USA
Music publicity. Do you want to get noticed? Affordable exposure for your band by someone that actually cares! www.perfectlywrite.com.au Drop me a line! iFlogID: 15737
Print & Online Classifieds
PROFESSIONAL BAND WEB DESIGN
Sydney PA Hire: Best quality equipment, small to large 2, 3 and 4 way systems, packages for all occasions, competitive prices servicing Sydney and environs. Details; http://www.sydneypa.biz, Chris 0432 513 479 iFlogID: 13943
PHOTOGRAPHY Image is everything! If you have a band wanting to get ahead let me capture the next gig. High quality pictures say everything. http://roybarnesphotography.com/ 0414 243 811 iFlogID: 16994
PROFESSIONAL BAND PHOTOGRAPHY
++ play more chinese music - love, tenzenmen ++ www.tenzenmen.com iFlogID: 14468 Get your Band or Business Online Cost effectively and PROFESSIONALLY - from $299 including Hosting and email addresses! Contact info@bizwebsites.com.au or see www. bizwebsites.com.au. iFlogID: 15452
30 WORDS
FREE
Want to be a recording artist? We’re looking for singers/songwriters for recording & development. Contact studio@musicentourage.com or 02 4013 1977 iFlogID: 14616
D iFlogID: 13500
Want to know what it takes to record a song? Book in an obligation free Q&A session in our recording studio at Five Dock. Visit www. musicentourage.com or email hookmeup@ musicentourage.com iFlogID: 14478
TUITION ACCOMPLISHER SINGING TEACHER
BOLD HEADING
DRUMMER, LESSONS Drum Lessons avaliable in Gladesville Teach all Levels,ages & experience.16 years experience. I studied at The Billy Hydes Drumcraft ,Obtained Dipolma in Drummming Mob: 0402 663 469 Michael iFlogID: 17025
iFlogID:
SUPER BOLD HEADING 13500
$1.50
SUPER BOLD HEADING
5 STRING BANJO TUITION 500
AAA TUITION: Fingerstyle guitar, open tunings, slide, flat picking, improvisation, rock, country, blues, folk, celtic styles, music theory, arranging, ear training, singing, banjo and mandolin. FIRST LESSON FREE. PHONE JOHN: 0431953178 iFlogID: 16880
iFlogID: 13500
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ATTENTION: MUSIC CREATORS
Studio, live, candid or location shots with an experienced band photographer. Gigs, promos, album covers, artwork.Affordable prices, professional quality. Mobile: 0479060317 Email: admin@mattgphotography.com.au Web: music. mattgphotography.com.au iFlogID: 17374
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Northern beaches area. Ex cabaret, session, studio singer, music producer. Toured with Shirley Bassey and Perry Como. Totally experienced. Free assessment. Beginners and all ages. Peter Flanagan 9905 8742, 0414860118 iFlogID: 16861
Up-Picking (Pete Seeger Style) and 3 Finger Picking (Scruggs Style). tel. John 0431953178 iFlogID: 16884
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Contact me for your free chapter of my book “ Chord Voicing for Composers, Arrangers, Songwriters and Pianists”. The complete guide to advance harmony. jdmuspub@gmail.com iFlogID: 16950 Beginners to Advanced Easy and Effective Singing lessong workshops include -Vocal scales- pitch and breathing excercises -singing and learning songs of choice -performance techniques -songwriting iFlogID: 16430
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BLUES GUITAR TUITION
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ROD HUNT PHOTOGRAPHY Experienced photographer specialising in live music photography, promotional photography for bands, portraiture and events. High quality, creative photos at affordable rates. Email rod@rodhunt.com.au for a quote. Or call 0415326721. www. rodhunt.com.au iFlogID: 17522
Do you get outrageously jealous when you see another band’s amazing looking website? Does your website look like a boring generic stock standard webpage? Or even worse...Does your band even have its own website yet?! We can help out! Musowebs is a team of dudes who only make band websites. So no, we won’t even talk to you unless you play an instrument. Boasting over 50+ happy bands in 2011! We are 100% committed to ridding the planet of hideously ugly band websites. We craft amazingly smooth, jaw-droppingly good looking band websites that will make other musos green with envy. Guaranteed to make you look professional! HURRY! For February only we are offering 100% free mocks. Which means: We make you a website for free, if you don’t like it, you don’t pay! PLUS we’ll give you 50% off the final Quote in February. Don’t miss out. GO TO: musowebs. com/drum & drop us a line today. iFlogID: 17341
Sean Carey (ex Thirsty Merc) is the In-House Producer/Engineer at TRACKDOWN Studios in Camperdown. Multi-platinum ARIA accredited Artist with over 10 years of production experience. Vintage guitars, microphones, gear and industry contacts! Get the most out of your songs! www.seancarey.com.au. Ph: 0424923888. iFlogID: 17384
POSTERS GOLD COAST BYRON BAY NORTHERN NSW Poster distribution for touring artists & bands. Fast, efficient & reliable service at a competitive price www.thatposterguy.com.au iFlogID: 17120
RECORDING STUDIOS RECORDING STUDIO $30ph
iFlogID: 17084
Recording Studio, Parramatta, $30hr casual rate. No kits! Singers, songwriters, instrumentalists for acoustic, world, classical genres specialist. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days. iFlogID: 15152
AFFORDABLE SYDNEY PRODUCER Sydney-based producer with multiple industry contacts and experience in both band recordings and electronic/ midi sampling. Affordable rates for radio-ready recordings. I’m aware that you’re looking for the best result for the lowest investment, give me a call to discuss your requirements. Let me help you bring your musical vision to life! Call or email Joe Sharratt for enquiries: 0416 321 209 sharratt.j@gmail.com iFlogID: 17235
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From Robert Johnson to Eric Clapton. tel. John 0431953178 iFlogID: 16886 DRUM TUITION. Drum Tuitiojn in Stanmore with a Billy Hyde trained teacher. Dip Ed, Dip Drums. All levels and all styles taught. Beginner Welcome! Call Lee 0403307796. www. lee-carey.com iFlogID: 15519
500
Eastern Suburbs guitar/ukulele/bass/slide lessons with APRA award winning composer. Highly experienced, great references, unique individually designed lessons from Vaucluse studio. Learn to play exactly what YOU want to play! www.matttoms.com iFlogID: 16690
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GUITAR LESSONS! Starting to learn the guitar, bass? or maybe you’re stuck in a rut and want to push through to the next level? Affordable and professional guitar and bass tuition in the Sydney inner west area. All styles, all levels. Jazz, Classical, Metal, Blues or whatever tickles your fancy. Equipped with a Music degree & Masters, the latest music tuition apps and music recording facilitates so you get the best results! Call Evan on 0434 266 406 or Email: wilkins.evan@gmail.com www.evanwilkinsmusic.com iFlogID: 17462
For a limited time. Free online and print classifieds Book now, visit iflog.com.au
$2
iFlogID: 13555
All prices include GST
VISIT IFLOG.COM.AU TO PLACE YOUR BOOKING NOW.
GUITAR LESSONS
PICKS AND STICKS STUDIO. Private Guitar lessons from an experienced teacher. All levels, All ages, All styles. Improvising, Theory, Song Writing, Technique Seven Hills, Sydney. Call Dave 0410 963 972 or email davemormul@hotmail.com iFlogID: 16948
TEACHER TO THE STARS!
RINGO’S DRUM SCHOOL PARRAMATTA
With experienced and fully qualified tutor. Who has 20 years of studio and live performance. Most styles including Rock, Pop and Jazz. Learn to play your favourite songs, practical theory, improvisation, proper technique, etc. etc. Beginners to advanced are welcome. In the convenience of your own home. Good results guaranteed. Phone Oles on 0407413143 or email olesguitarlessons@yahoo.com iFlogID: 17477
GUITAR TUITION BY MAL EASTICK Enrolling new students now for 2012. Tuition customised - beginners to professionals. Blues, rock, tone & theory my specialties. 39 years professional experience, national concert touring level, 4 Gold & 2 Platinum albums. Central suburban Sydney location. M: 0407 461 093 - E: mal@maleastick.com iFlogID: 15035
GUITAR TUITION
Ringo’s Drum School now in its 20th year is now taking enrollments for 2012. Learn how to read & play charts,rudiments,grooves, independence & double kick.Home lessons available.For more info phone Luke 0412 975 307 or visit www.ringodrums.com iFlogID: 17264
SCHOOL OF ROCK - ZEN STUDIOS
Fingerstyle guitar, open tunings, slide, flat picking, improvisation,rock, country, blues, folk, celtic styles, music theory, arranging, ear training, singing, banjo and mandolin. PHONE JOHN: 0431953178 iFlogID: 16876
KEYBOARDS/ MUSIC LESSONS
Ideal for DJs & producers wanting to be in total control of their music.Weekly or intensive tuition options to learning keyboards & music in the Eastern Suburbs.sean-mackenzie.com sean@ sean-mackenzie.com 0405127661 iFlogID: 17183
LAP STEEL & GUITAR LESSONS
Lap steel guitar/Dobro/Slide open tunings & standard style guitar tuition by experienced live & recording musician. Let me get you playing great lap steel & slide or lead & rhythm guitar quickly in any style. Beginner pedal steel lessons also available. Inner west location with relaxed & patient teacher. Phone Jeff 0412518070 iFlogID: 16912 Learn The Drums - Have fun and discover your rhythm. I’ve created a step by step program for you on learning how to play the drums, go to www.chrismccaig.com/learn-the-drums iFlogID: 14503
VIDEO / PRODUCTION
School of Rock teaches students from primary school to high school, from anywhere in Sydney with any level of musical talent. School of Rock helps students form a suitable band based on each of their musical likes and level of experience. Classes run every day of the week (Weekdays: 4.30pm – 6.00pm, Saturday/Sunday: 8.30am – 10.00am) at $320/per term (including all teacher fees, room and instrument rental). Each term includes a free recording session @ Zen Studios and a live show at The Valve Hotel in Tempe. Contact Ash 0450406-201. www.schoolofrockinnerwest. com.au iFlogID: 16990
SINGING LESSONS THAT >>ROCK<<
Voice science is out there to help improve your singing quickly. One on one lessons in hi tech multi award winning studio with fully qualified singing and performance expert. First assessment FREE. Beginners and professionals. I will help you find your voice. www.avic.com. au studio - 9588 2184 mob - 0414 453 066 Stephen Baker MRA iFlogID: 16954
SINGING LESSONS
iFlogID: 16934
Independant Music Producer available for Singers and Songwriters. Have you got a song in your head? Real guitars, bass,drums, piano plus much more Greg 0425 210 742 iFlogID: 17100 Kontrol Productions is a highly professional production company that specializes in the production of music video’s. We ensure that our products are of the highest industry standards. For enquiries www.kontrolproductions.com iFlogID: 13827
DJ for all occasions - Parties, Formals, Weddings..House, Electro, Dance, Hardstyle, Dubstep, R’n’B and Hip Hop. Latest Pioneer equipment and lighting effects. Call Jake’DJSplice’0423255668 or inbox www. facebook.com/#!/pagesDJ-Splice iFlogID: 17315
DRUMMER A1 PRO DRUMMER AVAILABLE for freelance gigs, tours etc. Extensive touring experience, gret time/tempo/groove, great drum gear and pro attitude. Sydney based but will travel. More info, ph 0419760940. www.mikehague.com iFlogID: 13230
DRUMMER Session Drummer, 26-yo, Gigging + Recording exp; Prog, Punk, House or Hip Hop. Productive and Reliable, Quality gear and transport. 0425820547 - Sydney myspace.com/megagiant iFlogID: 17493 EXPERIENCE MALE DRUMMER Seeks covers band/ fill in work 60’s to 80’s looking for easy going people with a positive outlook. Age group 35 plus NO DRUGS ph Mark 0422 173 728 iFlogID: 17174 Experienced Soul / Reggae / R’N’B / Blues / Funk / Rock drummer (36yo) available for work preferably in Northern Beaches. Call Michael 0402 549 423 iFlogID: 17324 Professional drummer/percussionist/vibraphonist available for performances/recording. Toured with international acts such as Dianna Krall, David Campbell and Patrizio Buanne. Have huge range of instruments including vibraphone. More info at www.davekemp.info iFlogID: 17317 Professional mature-age Drummer/Vocals/ reads/back acts/shows - all styles including jazz - available for casual work. phone:(02) 9807-3137 eMail: nadipa1@yahoo. com.au iFlogID: 13285 Professional mature-age Drummer/Vocals/ reads/back acts/shows - all styles including jazz - available for casual work. phone:(02) 9807-3137 Mob:0413-931-897 eMail: nadipa1@yahoo.com.au iFlogID: 17160 TOP INTERNATIONAL DRUMMER available. Great backing vocals, harmonica player and percussionist. Gigs, tours, recording. Private lessons/mentoring also available. www.reubenalexander.net iFlogID: 14261
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NEED A CELLO?
Music video production, live event filming, EPK’s, pro photography and more. Great rates for indi artists. Call Paul on 0412 222 111 or email paul@popfilms.com.au or visit www. popfilms.com.au iFlogID: 17273 MUSIC VIDEOS offer a great way to gain exposure. Immersion Imagery has worked with a variety or artists and strives to offer quality & creative Music Videos. Visit www.immersionimagery.com email info@immersionimagery.com iFlogID: 13825
UPSTAIR STUDIOS
Music video production and band portraits tailored to suit any budget. Get something cooler than an iphone recording up on the web. Our videos have aired and made the charts on Video hits, Rage, Mtv and all over the net. www.upstairstudios.com iFlogID: 17177
Music tuition, classical / flamenco guitar, celtic harp, theory & harmony, arranging. 9am - 9pm, 7 days. Parramatta area. $40 hr, $30 half hr. Mature & patient. Harps for hire. Ph: 02 98905578 iFlogID: 15158
Singing lessons in a positive environment with a highly experienced and professional singer/ songwriter. Lessons tailored to suit individual needs. Also beginners guitar. www.realvoice. net.au for more details. Inner West, Rosanna 0431 157 622. iFlogID: 17066
SLIDE GUITAR TUITION All styles from Duane Allman and Ben Harper to Blind Willie Johnson and Son House. www. acousticfingerpicking.com tel. John 0431953178 iFlogID: 16872
VOCAL TUITION for students having problems with pitch, placement and breathing.tel. John 0431953178 iFlogID: 16882
Specialised tuition from Don Hopkins, Blues Performer of the Year. Improvisation, piano technique, theory. Songwriting skills. Reading music, chords. Individual sessions. Beginners to advanced. Get to where you want to be. Spaces available now. 0425201870 donhopkins@ me.com iFlogID: 16432
6 Video Cameras (2 x Hi-Def, 2 x 3CCD, 2 x 3D) Great for Live Videos/ Live Clips/Docos Pro Editing/PostProduction too Use for Social Media/ Youtube etc All Free Contact me for more details/previous Work iFlogID: 17406
Dubstep to Drum&bass willing & able to adapt to your event. Low hourly rates. Everything negotiable. Easygoing, flexible entertainment. Call for a quote today. KN!VZ Entertainment Group Ph:0415680575 iFlogID: 16661
18 year old guitar player looking to form Rock N’ Roll band. Influences: Guns N’ Roses, Aerosmith, Led Zeppelin, New York Dolls. Preferably in South. Call Tom on 0401722767. iFlogID: 13358
SINGING LESSONS
PIANO • BLUES, ROOTS & POPULAR
I’LL FILM YOUR BAND LIVE FREE
DJ AVAILABLE
GUITARIST
Your voice has the ability to sing at the Audioslave/Muse/Aretha/ Yeah-Yeah-Yeahs level because of Design. Increase your range- sing with effortless power- learn to sing the right technique. Microphone technique, recording techniques, songwriting Newtown 0405-044513 iFlogID: 17412
Paramount Guitar Tuition. Learn to play the guitar. Or learn to compose &/ or improvise on guitar. Most importantly, learn at your own pace, no pressure! Classical & other styles. 0402 630 243 www.pgtonline.net pgtonline@hotmail.com Parramatta area iFlogID: 15320
THE BROADWAY VIOLIN SCHOOL. Classical European-style Violin Tuition in Glebe. Learn with Rebecca Tzigankova (BMus St Hons). www. broadwayviolinschool.com 0433 005 909 iFlogID: 17520
D7 STUDIO MUSIC VID FROM $250 music vid $250. Live gig edits, multi angles, fr $125 a set, 1 live track $100. All shot in full HD. d7studio@ iinet.net.au 0404716770 iFlogID: 13368
MUSIC PRODUCTION COURSE 6 WKS.
A practical guide to computer based recording with the bulk of the course being hands on with no more than 2 students per work station. The course is software neutral. The software and platform take a secondary role to the concepts that are being taught. Six 3 hour lessons over six Saturdays @ $660. Students are able to use the teaching resources anytime during the six weeks course for free. Contact Zen Studios 02-9550-3977. www. zenstudios.com.au
Steve Ostrow, New York voice teacher and vocal coach who discovered and nurtured the careers of Bette Midler, Barry Manilow, Peter Allen, Stevie Wonder and countless others now Sydney City based and welcoming students on all levels; beginners, advanced and performers; Rock, Pop, Classical etc. For availability call on 0408461868. For a free e-copy of my book ‘On Becoming a Singer..A Guide To How’ email me on sostrow@bigpond.net.au.Lessons include the entire scope of singing...voice production, musicianship, interpretation, performance skills etc. I look forward to hearing from you. iFlogID: 17029
DJ
VocalHub - Sing like no one is listening! Singing lessons for vocal technique and care, audition tips and repertoire in a encouraging and supportive environment. Visit: http://www.vocalhub. com.au iFlogID: 17102 Wanted left handed electric guitar teacher Parramatta area, Contact John at... rodt1114@ yahoo.com iFlogID: 16308
MUSICIANS AVAILABLE BASS PLAYER Bass player available. Mature, plenty of experience in Rock, Swing, Country, Blues and Pop. High standard and best equipment. I play Double Bass as well. Easy going. Ph 0434475785 iFlogID: 17293 Bassist looking for band. 17, have transport and gear. Listens to metal/thrash/deathmetal. Looking to gig and record album. Located in western sydney area. Email: Nado@optusnet.com.au iFlogID: 17214 Electric & upright bass. Good gear. Comfortable in most styles. Experience performing live and in the studio. Check out my website if you wanna hear more. http://www.wix.com/steelechabau/ steelechabau iFlogID: 16159
Cellist available for session recording, can read sheet music or play by ear and improvise. Professional, friendly, experienced, with very good intonation. Email kate@cellokate.com or call 0434 022 722 iFlogID: 17170 We are a friendly jazz band playing music to any style for romantic situations, weddings, anniversaries, small cozy clubs - very affordable. contact Chris 0419 272 196 ventura@ yayabings.com.au iFlogID: 15177
MUSICIANS WANTED BANDS ARE YOU A MUSICIAN LOOKING TO JOIN A NEW BAND THEN CHECK OUT THE ADD ONLINE NOW iFlogID: 17242
BASS PLAYER WANTED Bass player wanted for soft rock originals. Call Steve 0422934425 iFlogID: 17507 Central coast band seeking a drummer for a four piece hard rock band needs to be over 18 and needs own gear for more information contact rhyseaquilina@gmail.com iFlogID: 16510 FREE RECORDING Audio students seeking bands to record & mix in a professional studio. Located in Sydney CBD. Must be able to play to a click track. Text 0433442255 iFlogID: 16983 Geriatric Guitarist /singer wanted to join easygoing Bass player, Drummer, ex 80s highenergy punkers to jam, gig and have a laugh. Must have own transport. Everything else flexible. Call Rick 0409 225 489 iFlogID: 17491
GUITARIST/BASSIST WANTED!!! Guitarist/Bassist wanted!!!. Singer/guitarist (23) looking for part 2 of a duo (Bvocals would be nice). Looking to jam and make origional music along the vein of, Ashcroft, BRMC, Dylan, Empire of the sun, Noel gallagher. Psychadelic indie rock. Eagerly awaiting gigs, and with a view to form a band down the line. Call Aaron on :0404854025 or email on: aaron.prentice@ hotmail.co.uk Peace iFlogID: 17244
The Hornsby Inn is looking for talented local bands & musicians to perform on our Wednesday Open Mic nights with the opportunity of landing $ paid Saturday night gigs! email: info@ hornsbyinn.com.au iFlogID: 16980 Untalented Libertines/BlocParty/SexPistols inspired singer/songwriter/guitarist seeks bandmates who are also inspired by these bands, willing to practice, prefer making originals rather than covers & who are easygoing. Inner West/Sydney, How bout it? iFlogID: 13790 young guitar player looking to start metal, punk band. influences include metallica, ozzy, black sabbath megadeth, trivium, bullet, anthrax, slayer slipknot and many many more. email space1996@hotmail.com if interested iFlogID: 17027
PUNK/GARAGE DRUMMER WANTED for punky/garagey band “Ang and The Airbenders”. Check out www.myspace.com/angandairbenders. We will be an unoriginal band that rips off better bands : ) We plan to go gigging soon. Email michaelcorpuzbrock@hotmail.com iFlogID: 17304 rock drummer, solid/fluid 3pce primarily originals scope for self expression, seriousfun, loud/raw sound,need transport/equipment Influences varied 70/80/90’s, age/gender unimportant, BV’s useful not essential no wannabe’s/ timewasters/previous Phil 0402069500 info@kayeffsee.net iFlogID: 17219
SOUL BROTHER DRUMMER NEEDED
BASS PLAYER BASSIST needed for experimental DUB project. New genre and sound being created. Require OPEN minded, politically raged Bassist. Asian Dub Foundation influence. www.soundcloud.com/yesterdays-cub (preview Demo) contact: lion_of_tomorrow@hotmail. com iFlogID: 17446
Established Sydney band need Bass Player ASAP. Tours booked, new EP recorded. Looking for good attitude, own gear & transport, keen to tour. Age 20-30. Please contact Sash on 0409579688 anytime iFlogID: 17057 METAL BASS PLAYER NEEDED FOR SOON TO BE WORKING SOUTH-SYDNEY BAND!! MUST BE EXPERIENCED AND DEDICATED, NO TIME WASTERS INFLUENCES INCLUDE LAMB OF GOD, METALLICA, SEPULTURA, SLIPKNOT, CALL MATT 0401728868 iFlogID: 17487 Pop Punk band looking for a bassist preferably 18+ please email kissme-xx@live.com.au check out www.facebook.com/kissmeofficial Ian. iFlogID: 17438
SUNSET RIOT SEEKS BASS PLAYER WHY DOES THE DEVIL CLAIM ALL THE GOOD RNR! Applicant must be able to tour nationally/internationally, have own gear, reliable transport, age 21-30yrs and BE A CHRISTIAN. Gigging experience essential. Phone 0435784481/0404729014. iFlogID: 16841
DRUMMER 14-17 year old drummer wanted for new metal band, Metallica, Megadeth, Slayer, Misfits hard rock/thrash metal, has own gear, dedicated and not a time waster. iFlogID: 16384 aggressive solid drummer needed for band. have material written and demos recorded. rehearse in the wollonong area, keen to gig asap. age/sex/skill level not important. contact 0403508102 for demos iFlogID: 14021 Dead In Motion needs drummer. Heavy-rock, metal, visual-kei influences. Preparing to gig, record EP, and photoshoot. double kick preferred. Age 18-25. Intermediate+ skill. Email Dead_In_Motion@hotmail.com for details and demos. iFlogID: 17231 Drummer Required for an exciting poprock band/show with Album on iTunes. Paid performances await. A professional, reliable Drummer with good gear and attitude required. Phone Extraordinary Entertainment, Mosman 99691179. iFlogID: 17229
DRUMMER WANTED 3 piece rock/pop originals band with label interest seeking experienced and talented drummer for live shows and recordings. Age 18-25, must have live gig experience, own quality equipment, have readily available method of transport and recording experience. Email undercoverband1@live.com.au for more information. iFlogID: 17473 Experienced drummer with a commitment to practice and regular rehearsals required for Melbourne-based alternative rock band. Influences QOTSA, Foo Fighters, Nirvana… www.myspace.com/mollydredd 0411 372 469 iFlogID: 16936 MOTHER BRODY seeking drummer 20-30 wanting to play something different! Originals. Grungy riffs, catchy melodies, thick harmonies. Must have own gear & transport. Gigs booked. Be willing to sing backing vocals. www.facebook.com/MotherBrodyOFFICIAL 0431317613 iFlogID: 17308
NEW AUSSIE BAND WITH EP
Join 3 band members as 4th. Live soon Central Coast Sydney AU East Coast. Sess. drum on EP out March, you can play http://www.reverbnation.com/garethmoeller own gear & transport. Nick 0433202193 iFlogID: 17368 Pro Drummer wanted for established 5 piece band Newcastle area. Hardrock,blues,pop,rocknroll covers and originals exp band gigged with Angels 2 booking agents Album 2012 peter 4984 4731 iFlogID: 17158
Experienced, rock VOCALIST needed for Sydney-based, agency-backed 5pc cover band playing in the Sydney scene for 12 years. Regular gigs. Must be a confident lead-vocalist & be able to sing harmonies. Pls contact via email andrea8884@gmail.com or Troy on 0400 275 154 for further details and audition dates. iFlogID: 17421 GOSPEL SINGERS WANTED for non-denominational music ministry to record triple-CD in Perth. World-class, passionate and devotional vocalists sought. View www.THE001Music.com for details. Jesus is KIng! Reverend Eslam. God Bless You! iFlogID: 13088
SINGER / BASS PLAYER NEEDED
Singer / Bass player or willing to learn , wanted 4 Bargo area. Newly formed rock band, no experience needed. More info call Bruce 0418610032 iFlogID: 17355
SINGER NEEDED 4 ROCK COVERBAND
ECLECTIC BASSIST WANTED Bassist with extensive experience both live and recording needed.Should be able to play a wide range of genres without hesitation (Soul/Funk, Punk/Rockabilly, Jazz, Metal, Hip Hop etc) Must also be able to play Double Bass. If you are able to play other instruments as well that would be righteous If this sounds like your thing get in touch as soon as possible, Contact: nmur029@ gmail.com iFlogID: 17495
EXP FEMALE ROCK VOCALIST
hi im daniel, im looking for a drummer, im 37, your age doesnt matter. looking for lifetime loyalty and friendship, to form original grunge punk band. I need a drummer who plays 8th notes and 1/4notes and fills..my band in itunes music store is egyptian remains. i play drums guitar, little base, and some piano. my vocals are syncing 3 semitones down on guitar, C#F#BEG#C# my music is about sex drugs rock and roll, and anticaptitalist leftwing songs.. all original in 1, 4, 5, chord progressions. lets jam, gig and rock the world. my mobile is 0433345063 join my band dude! i also need a base player..i live in hornsby sydney and i’m prepared to travel.... iFlogID: 17212 Sydney based melodic metal band seek experienced drummer to complete line up. Own kit and transport essential. For more information or to express interest please contact Rachel 0402722010. iFlogID: 17372
U2 SHOW DRUMMER WANTED Drummer wanted for U2 tribute show. Phone Sasha on 0431 567 058 iFlogID: 17387
GUITARIST 18 year old guitar player looking for another guitar player. Influences: GN’R, Aerosmith, Zeppelin, New York Dolls. Preferrably someone in the south (Shire). Call Tom on 0401722767 iFlogID: 13407
Looking for rock and roll/hard rock singer to join coverband. Able to cover bands like Screaming Jets, AC/DC, Rolling Stones, Greenday plus more. We need a front man or woman that can jam weekly (have own free premises) and willing to gig in the near future. No pot, powders or pills. Relaxed bunch of guys needing singer with personality and audience presence. Call me for a full wrap of what we do and plans we have. 0411958023 iFlogID: 17517
SINGER REQUIRED Working Rock covers band requires a semiprofessional singer/front man. Gigs waiting, agent backed. Call Len 0402 122 331. iFlogID: 17360
SINGER WANTED FOR SYDNEY GRUNGE BAND. Less than 24 years old please. influences: Silverchair, Nirvana, AIC, Sabbath etc Contact Daniel on 0403 885 433 for more info and demos. iFlogID: 13145 The Clue is looking for a singer for blues-rock original songs. Email walrusblues@hotmail.com to express interest. iFlogID: 16853
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SEEKING SOLO ENTERTAINERS
Central Coast based Hard Rock originals band seeks a guitarist with a good sound and good gear 19-26 email underthecleff@gmail.com for more info. iFlogID: 16794
FEMALE SINGER & DRUMMER Singer & drummer looking for a dependable Lead guitarist to form Cover band. Ability to play various styles, jazz, blues and sing harmonies ESSENTIAL. A good attitude, gear, transport expected. Ages 25-45 . Influences Funk, Soul and Rock. Call Julie on 0419606657 iFlogID: 17505
GUITARIST WANTED
We manage several types of Solo performers including piano bar performers, stand up comedians, and more. We are seeking solo performers for our expanding data base of entertainers. This will enable you to maximise your full potential as a performer, supported by our unique style of management. We welcome circus acts, gymnasts, musicians, comedians, all styles of solo performers. 0451655694 iFlogID: 17502
SERVICES
QUIRKY FOLK BAND
BEAUTY SERVICES
KEYBOARD Post rock sleepmakeswaves,pelican, inspired band seeks keys, bass to complete lineup, rehearse zen st peters, call 0401056876. iFlogID: 17509 Sydney based Funk band who plays originals and covers seeks a keyboardist. Needs good gear and own transport. Contact rhyseaquilina@gmail.com. iFlogID: 17281 The Clue is looking for a keyboard player (organ, el. piano, synth, etc. all good) for original blues-rock songs. Email walrusblues@hotmail. com to express interest. iFlogID: 16851
SINGER
Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $399 including UNLIMITED pages, Logos, Hosting and 5xemail addresses and much more! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au iFlogID: 13864 Limited Edition mens tees and hoodies with a sense of humour. All hand-screened and numbered. monstrositystore.com iFlogID: 13611
YOUR NEXT ALBUM COVER... ...will look killer with the help of the award winning Wealth & Hellbeing Creative team! Turning your local look into an international standard release, working with bands/artists worldwide: www.wealthandhellbeing.com Ph 0405809066 iFlogID: 17358
OTHER EARPLUGS FOR MUSICIANS Protect your hearing with custom moulded earplugs designed to reduce the level of sound without adversely affecting the frequency response of the music. Choose between 10,15 and 25dB attenuation. Fitted by professional audiologist, by appointment only. Ph 9387 3599 iFlogID: 15216
GUITAR REPAIRS AND SETUPS Professional Guitar Tech and Luthier. Clients have played with Jimmy Barnes, Guy Sebastian, Human Nature, Short Stack, Moving Pictures etc.All repair work and setups. Call Timo 9484 4374 iFlogID: 17168 Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $399 including UNLIMITED pages, Hosting and 5xemail addresses and much more! Contact info@ bizwebsites.com.au or see www.bizwebsites. com.au. iFlogID: 13862
GOOD WITH YOUR HANDS?
Singer/songwriter looking to collaborate with a guitarist and/or keyboard player to perform covers and originals at small gigs around Sydney. An easy going personality and reliability are essential. iFlogID: 17481
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ustralian Musician magazine, Australia’s longest running publication for musicians of all levels goes monthly! The colour quarterly you’ve found in instrument stores since 1994, will still be distributed in March, June, September and December, but under the control of Street Press Australia, will now be available in venues, studios and many other additional outlets, as well as being available for iPad. In the months between the quarterly issues, this supplement will run in Street Press titles nationally, each with a specific theme in mind. This month we bring you LIVE, a look at what’s involved in getting a show on the road. We speak with three of Australia’s busiest sound engineers, road test a PA, chat to Zakk Wylde about playing live and offer you news on the latest sound, lighting and stage gear available. In the following months you’ll find features titled Hardcore, Accessories, Geek, DIY, Fretted, Recording, FX, Listen and Xmas! A recent survey conducted by SPA found that more than 50% of readers of their weekly street mags are musicians. It makes sense then that Australian Musician and Street Press come together to support Australia’s gear industry and our beloved musician community by offering you even more coverage ... and how karmic that we launch the Australian Musician features during SLAM (Save Live Australian Music) week! However, some things don’t change. We’ll still go that extra mile to bring you the exclusive stories, coming from creative angles, and achieving access to the big names at soundcheck, backstage and beyond, We’ll also keep up the tradition of personally involving our rich pool of local musicians by getting likeminded artists together in conversation and offering them guest writing opportunities, The licensing of the AMA’s flagship magazine Australian Musician to SPA benefits everyone in the music industry. We hope you enjoy our introductory feature and embrace this exciting new concept. Plug it in, turn it up and rip into it! GREG PHILLIPS Australian Musician Editor
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ixing a pub gig is one scenario a sound engineer can face, but what about when it comes to a major concert venue? Just how different could it be? “One is like driving a fourcylinder car and the other is like driving a V8,” is how Craig Abbott describes the difference between working the mixing desk for a band in a pub and an international act in an arena. “With a concert, you’re trying to reach a greater number in the audience over a wider area. You still get feedback. You still get issues with lead singers complaining. It’s very similar in how it works.” Abbott is a respected sound engineer who works as a Technical Representative for Jands’ production audio division. For Craig, keeping up with sound technology is vital and continues to be a learning curve for him, but surely your ears are still the most important gauge of a good sound? “I’d like to say your ears are the most important instrument of an engineer but it is not that simple. Trying to time align and phase align everything within the PA... you can’t sit at every probe point around the room at all times... it’s difficult to gauge if everyone in the room is getting hit with the same amount of sound at the same time. Therefore the digital consoles or what they call the DSP (Digital Signal Processing)… all that has taken a lot of the work away from us. There’s also the software packages like Smaart and MAP which monitor the PA at all times to see what it is doing and how the sound is hitting certain microphones that could be situated
MIXING IT BIG TIME CRAIG ABBOTT FROM JANDS HAS MIXED A WIDE RANGE OF LOCAL AND INTERNATIONAL ACTS FROM NOISEWORKS TO GEORGE MICHAEL. AM INVESTIGATES THE WORLD OF MAJOR CONCERT SOUND. around the room. We have schematics of a room before we even get there. We can calculate how many speakers we need to hang per floor and we can get dispersion of pressures and frequencies we can expect to hear within that room, all stuff you can’t get from your ears. So a lot of it is done on a computer prior to even getting to the venue.” With more at stake, you’d expect a concert engineer to be on their toes, but what are they looking out for? “Feedback is an obvious one,” says Craig. “Also, watching for the limitations of the system and monitoring your outputs at all times. With the digital consoles these days, if they go into distortion … digital distortion is horrible to your ears compared to analogue distortion. It can be like a crossed line on a mobile phone or very high rate fax machine in your ear. The number one thing you have to do is to make sure that the act people have come to hear … they can hear! If you’re at a concert where the drummer has got a bit excited and knocked the tom mic off the drum with a stick, it’s not as diabolical as losing the vocals. You can hide a lost tom a lot easier than a vocal.”
“
I’D LIKE TO SAY YOUR EARS ARE THE MOST IMPORTANT INSTRUMENT OF AN ENGINEER BUT IT IS NOT THAT SIMPLE.”
Like any musical instrument, a PA system needs to be tuned, but how exactly do you tune a PA? Abbott explains. “I’ll give you an example of tuning a PA at a really basic level. If you set up a really simple system where you have two speakers on either side of the stage on stands, and If you had a comedian on for instance... you’d turn the microphone on. Then, without anyone talking into it and being as quiet as you possibly can, you get on stage. Turn the microphone up as loud as possible before it starts feeding back. When it does start feeding back, it’s up to the sound guy to find those frequencies within that EQ. That’s where you start with your EQ... at absolute unity, so it’s dead flat. Then basically you find the offending frequency and slowly pull it down until it dissipates. By the time you’ve done that, you have EQ’d the room so your speakers will suit the room’s natural ambience. A lot of people think you have to tune your PA to get the best out of your speakers. No, you have to tune your speakers to suit the room you are working in. These days a lot of it is done by computers with feedback eliminators, notch filters and they will monitor the system at all times. In regard to achieving a great instrument sound, Abbot views the gain structure set up as vital. To explain, gain is the amplification of the signal. When you extend the voltage level of the signal, that’s what is called gain. The structure refers to the voltage levels in your PA and the gain it takes to get them to the required levels.”It’s the same as spray painting a car,” is Abbott’s analogy. “If you don’t prepare the body underneath, you’re not going to get the nice look on top! Then it comes down to the microphone you choose, making
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sure it has the correct pattern... whether you’re using cardioid or super cardioid. Microphone positioning is important, making sure your guitar mic is not too close to the speaker if you are not di-ing it and that it’s a little bit off, so it enables the sound to develop from the cone so that you’re not pulling it straight off the centre of the driver of the amp. Let it develop a little bit first so you are getting the full frequencies coming out of the driver. You can check out the Shure website on microphone positioning and choosing the correct mic for your situation.” Of course any young band with three chords, the truth and an inordinate amount of attitude is going to want to play loud! However, it’s not simply a matter of just turning the volume up. “You’ve got to understand the limitations of the amps that you have as well as the venue you’re in and the PA system you are running into,” says Craig. “There’s no point having a 200 watt guitar amp going flat out on stage when you’ve only got 100 watts front of house because you are outside the limitations of your PA. Also do you want loud on stage or loud front of house? If you want it to be loud out front, then let the person who is the engineer get the loudness. They should have the control. You don’t want a war between yourselves on stage with one turning up, then the other turning up and the lead singer can’t hear him or herself through the monitors. You have to work within the limitations of what you’re using. If you want to go louder, then you’ve got to get a bigger PA.” At some point a developing act may consider purchasing their own PA. There is merit in having a consistent sound each time you play a gig and it also takes away the surprise factor when you arrive at a venue without prior knowledge of the system you’ll be playing through. How the hell do you know what to buy though? Abbott suggests that the sound quality is only one of the considerations when buying a PA. “What do you feel comfortable with using and have best knowledge of,” is another, says Craig. “One of the best ways of getting the best sound out of your gear is being familiar with how it works. Worth saving a little extra to buy better quality gear because you will appreciate it in the long run. Even a good quality cable can effect your sound big time! Depending on how long you have to run your cable… each cable has a certain resistive value over a certain length. The more you increase resistance, the more output from the amp you’re using.” For the record, Craig’s mixer of choice is the Soundcraft Vi6 digital desk. THE DRUM MEDIA • 69
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loyd Barrett mixed sound for Australian singer, songwriter Mia Dyson for a decade. It’s a job which took him to many places, working in a variety of rooms and outdoor venues. After his stint with Mia finished, he took up residency at Melbourne’s soon to be deceased East Brunswick Club. His sound gig now is even more eclectic, moving faders for a blend of comedians, burlesque acts and rock bands at Red Bennies. Barrett believes that a major factor in achieving a great sound out front of stage, is to firstly get the sound right on stage. It may seem obvious, however Lloyd is not necessarily talking about performance levels but the balance of volume between band members. “If a guitarist is louder than the other or the band is louder than the singer, it’s a problem,” says Lloyd. “If a guitarist wants to be loud, angle the guitar amps across stage or to back of stage or even off stage.” Clint Sigmund agrees. “Get your stage volume right. If the sound engineer asks you to turn down your amp, don’t take offence. I promise, we are trying to make your band sound better, not worse!” Clint should know, his long list of mixing credits includes Alpine, Amanda Palmer, Ennis Tola, Kimbra, Rat Vs Possum, The Galvatrons, Gunn St Girls, and 67 Special to name a handful. “With pedals, try and get the volume difference between different effects sorted before the show,” he added. “Boosts should be minimal. I regularly have to inform guitarists that their clean sound is way louder than their dirty sound.” It’s not just guitarists that need to get their house in order early in the night either, Clint recommends that keyboard players ensure that the different patches don’t have massive volume jumps. For instance, fizzy synth sounds will be more efficient than a smooth sounding soft pad. If there’s a pattern which emerges in Clint and Lloyd’s advice, it’s preparation. The more the performer is organised, the more time the sound guy can spend on tweaking sound. In fact, both are continually surprised at how unprepared bands can be. Lloyd has lost count of the amount of times musicians show up to a gig without the basic needs such as leads. “They bring all their pedals and not have them plugged together, so it takes longer to set up. No
heavy curtains and the entire room has carpet over wooden floorboards (something not many venues like the idea of because of not being able to mop up spilt drinks or sweep up broken glass easily).”
THE PUB MIX SPARE A THOUGHT FOR THE SOUND CREW NEXT TIME YOU HEAD OUT TO A PUB GIG. THEY’VE BEEN THERE WELL BEFORE YOU, SETTING UP AND TUNING THE PA SYSTEM SO THAT THE ACT YOU’VE COME TO SEE SOUNDS AS GOOD AS THEY SHOULD. THEY’LL BE THERE WELL AFTER YOU’VE GONE TOO. AUSTRALIAN MUSICIAN SOUGHT ADVICE ON HOW TO ACHIEVE A GREAT GIG SOUND BY CHATTING TO TWO SOUND ENGINEERS WHO HAVE MIXED THEIR FAIR SHARE OF PUBS AND CLUBS. leads, powerboards, batteries. It happens more with bands starting out, they expect the sound guy to have everything. Music stands are another one, they’ll say ‘we had one supplied last year when we were here’. Beyond what the band does on stage, the size and a shape of a room are major considerations for the sound engineer, particularly when the venue hasn’t done their homework or consulted a credible audio professional. “Unfortunately this is one of the most expensive things to address from the venue’s point of view and is often overlooked when planning a band room,” says Clint. “I know of a few band rooms around Melbourne that have what should be a fantastic sounding PA system, only to be let down by poor room acoustics. On the other end of the spectrum, there are some band rooms that have good room acoustics and cheaper PA systems, that probably shouldn’t sound as good as they do. The materials that the room is made out of also have a big effect on how the room sounds. One of my favourite venues to mix in Melbourne is the Northcote Social Club. It is a medium sized room that has perforated acoustic roof panels, a stage that is surrounded by
Think back to any gig which has remained in your mind as a one of the best you’ve experienced. Performance values obviously come into play (as well as the company you kept that night) but chances are the quality of sound had a lot to do with your enjoyment. Lloyd Barrett recalls a recent Joe Cocker gig at A Day On The Green as the best sounding he has heard for a long time. For Clint, it was a St.Kilda Festival Kimbra gig. “Johnston Audio had the PA sounding great,” said Clint. “The band performed really well and I somehow fluked what I thought was a great sounding mix with a 20 minute line check and a band I had only mixed once before.” Unfortunately, things don’t always go right for the sound guy and Sigmund still has nightmares about the bad ones. “I won’t name the venue, but I’d never mixed there before this gig and probably won’t take another booking there. I did the usual setup of mics, stands and leads then went to tune front of house. The entire left side of the PA wasn’t working. After telling the bar staff of the problem, I was soon on the phone to a sound guy that regularly worked at the venue. He seemed to be aware of the problem, hadn’t bothered to attend to it and it wasn’t able to be fixed before the show. I ended up using one of the fold-back monitors as the left side of the PA. It worked out alright and got the show on the road, but it just wasn’t quite right.” In the course of research for this story, another sound engineer told Australian Musician that his crew had once spent a whole day setting up a 1,000 seater room for a corporate gig, only to discover 10 minutes before show time that it was the room next door which was the actual venue. As for Lloyd’s tools of trade, he prefers the Midas Heritage desk. Clint is a Midas man too. “I feel most at home on Midas consoles, haven’t tried their digital consoles yet, but have heard good things.”
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T AUSTRALIAN PRESONUS ROADSHOW NAS, has recently taken on the Australian distribution of the PreSonus brand and is taking their gear to the street. To promote PreSonus’ product updates, new pricing and progressive software, they’ll be touring around the country showing what the PreSonus range can do. Shows will feature demonstrations of the StudioLive console range, StudioOne 2 recording software and the amazing new QMix Control Software for iphone and iPad. Home studio enthusiasts will love that one. Attendees will also have the opportunity of picking up some gear but you’ve got to be there to have a chance. It’s recommended that you register a spot however, walk up regos are fine too. Melbourne and Sydney have already had a taste of the show. Remaining dates include: Brisbane on Wednesday 22 February and Perth on Thursday 23. Register via email at presonus@nationalaudio.com.au
CX ROADSHOW Too much stage gear is never enough! CX magazine is also hitting the road the same week as the Presonus guys in conjunction with a whole bunch of gear distributors including Jands, Amber Technology, CMI, Bosch, ULA, LSC, PRG, Show Technology, Syntec, TAG, and Production Audio Technology. The CX show will feature demos and seminars with key addresses by John Maizels and Thomas Lund. Register at cx-tv.com or you can register at the door. Dates remaining include: Sydney on Wednesday 22 February, Melbourne on Monday 27, Adelaide on Wednesday 29 and Perth on Tuesday 6 March.
o those who are unfamiliar with Germany’s HK Audio, they are a company dedicated to providing superb sound re-enforcement solutions to their customers, whilst constantly challenging industry standards with their radical design and creative approach. This has never been more apparent with the arrival of the new HK Elements PA systems. Essentially the “Elements” are a series of portable line arrays that couple active and passive components to achieve stunning results. The 10” sub enclosures (active or passive) are combined with a wide-range, passive 4 x 3.5” mid/high box (E345), which is powered by an active sub or additional E600 amp. Different parts of the PA are linked together with HK’s amazing E-connect technology, which does away with any need for physical cables, and adding specific HK stands and bases also changes how each PA throws its sound, adding further flexibility for users. I road tested a basic set up comprised of one E110A active sub powering two E435’s, with a speakon cable split off to power the passive version of the same rig on the other side. All up there were two subs and four E435’s running at 600 watts in mono, which was practical enough to get an idea of how this system sounds. I tested the pint-sized rig using my Line 6 Variax instead of bringing along a stock acoustic due to the vast array of tones it conjures up and also opted not to bring a vocal mic, as my voice is only reserved strictly for backing vocals (due to its crappy nature). The first thing that was immediately apparent was how sweet the top end was across a wide variety of different guitar sounds, from jazz to acoustic and beyond, all the harmonic content was very present and notably sweet, without the piercing tone that cheap horns give you in most active PA boxes. A nifty XLR/ ¼” input on the back of the active sub meant I could plug directly into the PA,
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switch down to -10dBu to boost my signal and play to my heart’s content. The subs provided heaps of low-end rumble, whilst still staying solid and tight and actually seemed roll off quite high in comparison with other subs I’ve tried out. This translated to a smoother crossover between the 435’s and the sub and a smaller frequency gap between the two than what you’d imagine. It’s obvious that the HK Elements have set a new standard in portable PA technology, and the “mix and match” concept they’ve brought forth, makes it so clever and flexible that it’s finally possible to provide people with between 600 and 3600 watts of crystal clear, high definition portable audio.
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THE DRUM MEDIA • 71
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ll the great bands have fans, but there are a rare few whose fanbase take their worship to another level. Take Zakk Wyldeâ&#x20AC;&#x2122;s Black Label Society for example. Wylde possesses a worldwide family of no bullshit, hard rockinâ&#x20AC;&#x2122; metal devotees. Itâ&#x20AC;&#x2122;s easy to see why. Wylde is the quintessential heavy rock guitar hero. As guitarist for Ozzy Osbourne for around two decades, he wasnâ&#x20AC;&#x2122;t afraid to step into the revered shoes of Randy Rhoads and make them his own. The guys worship his killer guitar riffs, blokey persona and take no prisoners attitude, and the bad-guy-lovinâ&#x20AC;&#x2122; girls are attracted to Wylde like moths to a light globe. Image however can be a deceptive thing. Despite the imposing facade, Wylde is also one of the nicest guys in rockâ&#x20AC;&#x2122;nâ&#x20AC;&#x2122;roll. Heâ&#x20AC;&#x2122;s also one of the busiest. It wasnâ&#x20AC;&#x2122;t long after the release of his current rock album Order Of The Black, that he presented us with an acoustic version of some of those same songs under the moniker The Song Remains Not The Same. Yet another acoustic-based project, an Unblackened DVD, featuring a bunch of guest artists is to be tackled as soon as he wraps up his Australian tour as part of Soundwave. Wylde is quick to deny heâ&#x20AC;&#x2122;s going soft, rather heâ&#x20AC;&#x2122;s just satisfying the requests of his followers.
GUITARS
Zakk could use any number of signature Gibsons on stage including: New Les Paul Custom all maple Vertigo Les Paul Custom Bullseye Les Paul Custom Camo Graveyard Disciple SG style but coffin shape Gibson custom Flying VEpiphone Camo Epiphone Buzzsaw
AMPS Marshall JCM800 Lead Series heads x2
PEDALS
On stage: Dunlop MXR Carbon Copy Analogue Delay Dunlop MXR Overdrive Dunlop MXR Eddie Van Halen Phase 90 Dunlop Rotovibe, Dunlop Wah
â&#x20AC;&#x153;Well we did do The Song Remains Not The Same but we have also been out on the road doing the heavy stuff for almost 15 months now,â&#x20AC;? he says. â&#x20AC;&#x153;Weâ&#x20AC;&#x2122;re talkinâ&#x20AC;&#x2122; about doing another live DVD and weâ&#x20AC;&#x2122;ve already done two with the heavy stuff.â&#x20AC;? Zakk Wylde gear nerds will be thrilled to know that Gibson has released yet another signature model Zakk guitar. This one is an all-maple Les Paul Vertigo design. Wylde had been been using a prototype on his recent tour supporting Guns Nâ&#x20AC;&#x2122; Roses and broke it out at the Winter NAMM show in Anaheim in midJanuary. Also at this yearâ&#x20AC;&#x2122;s Winter NAMM, the big man was bestowed with the honour of being the inaugural â&#x20AC;&#x2DC;roasteeâ&#x20AC;&#x2122; at Guitar Worldâ&#x20AC;&#x2122;s first ever Rockâ&#x20AC;&#x2122;nâ&#x20AC;&#x2122;Roll Roast with Ozzy Osbourneâ&#x20AC;&#x2122;s wife Sharon playing Roastmaster and fellow hard rockers Anthraxâ&#x20AC;&#x2122;s Scott Ian, Slipknot/ Stone Sour vocalist Corey Taylor, and Fozzy frontman Chris Jericho among others, firing barbs at Wylde. But back to the axe chat, the folks at Gibson have gone to great lengths to create guitars for Wylde that he is comfortable putting his name to. Of all the factors going into the guitar build, I ask Wylde if there was one particular quality they just had to get right? â&#x20AC;&#x153;Put it this way,â&#x20AC;? he says. â&#x20AC;&#x153;Every guitar I useâ&#x20AC;Ś with my signature guitarsâ&#x20AC;Ś I could pick one of these off the wall of a store and take it on stage and play that thing. Gibson have done an amazing job with them and all of the Epiphones that theyâ&#x20AC;&#x2122;ve made for me as well â&#x20AC;&#x201C; the Flying Vsâ&#x20AC;&#x2122; the LPs, SGs â&#x20AC;&#x201C; but usually itâ&#x20AC;&#x2122;s the shaved back and neck, the higher fret wire, the EMG pickupsâ&#x20AC;Ś but theyâ&#x20AC;&#x2122;re all amazing guitars.â&#x20AC;? Obviously playing the style of rock Wylde does so well, to feed the need of his disciples, itâ&#x20AC;&#x2122;s gotta be loud, but I wondered what Wylde has learned about volume over the yearsâ&#x20AC;Ś â&#x20AC;&#x2DC;Usually with me and even playing with Ozzy, Iâ&#x20AC;&#x2122;ve always gone to the bottom cabs. Thereâ&#x20AC;&#x2122;s a difference between painful loud and loud where itâ&#x20AC;&#x2122;s not piercing your ears like an ice pick. Thereâ&#x20AC;&#x2122;s good loud and thereâ&#x20AC;&#x2122;sâ&#x20AC;Ś well, itâ&#x20AC;&#x2122;s like putting hot sauce on food. You know, the difference between being overpowering or adding to the overall meal of what youâ&#x20AC;&#x2122;re eating. It adds another colour. I donâ&#x20AC;&#x2122;t play to the point where I want to kill myself. I canâ&#x20AC;&#x2122;t stand that. I like Zakk Wylde but I donâ&#x20AC;&#x2122;t like him that much! Thatâ&#x20AC;&#x2122;s the running joke on stage. Itâ&#x20AC;&#x2122;s like Zakk Wylde, I dig him, heâ&#x20AC;&#x2122;s cool and everything but I donâ&#x20AC;&#x2122;t like him THAT much!â&#x20AC;?
BACKSTAGE RUN BY GUITAR TECH MOBY Dunlop MXR Chorus Dunlop MXR Overdrive Dunlop MXR Flanger
ZAKK FACTS
BLEEDING BLACK FEW CAN INSTILL SUCH ALLEGIANCE IN THEIR FANS AS HARD ROCKINâ&#x20AC;&#x2122; GUITAR HERO ZAKK WYLDE. WHEN HE HITS THE STAGE, HIS FANS COME ALIVE IMMEDIATELY. WYLDE IS A HELL OF A GENEROUS GUY WITH HIS TIME, LOVES A CHAT, AND HEâ&#x20AC;&#x2122;S ALSO SAVVY ENOUGH TO KNOW THAT THE MORE THE ZAKK WYLDE NAME GETS OUT THERE, THE MORE HIS BRAND IS ENHANCED. A GLANCE AT WYLDEâ&#x20AC;&#x2122;S RELENTLESS AUSTRALIAN PHONE INTERVIEW SCHEDULE PROVES JUST THAT. GREG PHILLIPS SPEAKS TO THE MEGA GUITAR GOD PRIOR TO HIS ZAKK WYLDEâ&#x20AC;&#x2122;S BLACK LABEL SOCIETY SHOWS AT THIS YEARâ&#x20AC;&#x2122;S SOUNDWAVE. That Wylde can emit the most wicked of guitar licks is undeniable, but whatâ&#x20AC;&#x2122;s often overlooked is his incredible set of rockâ&#x20AC;&#x2122;nâ&#x20AC;&#x2122;roll tonsils. His coarse-grade sandpaper voice complemented with a generous serve of bottom end creates the perfect rock vocal and in the studio he puts as much time and effort into capturing it as he does his guitar takes. â&#x20AC;&#x153;Whether we double the vocal or just do it single or line by line, we just make sure everything is slamminâ&#x20AC;&#x2122;,â&#x20AC;? says Wylde. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s pretty much like the guitar stuff, I double the guitars and all of that. Thatâ&#x20AC;&#x2122;s the beautiful thing about the studio, itâ&#x20AC;&#x2122;s a controlled environment and youâ&#x20AC;&#x2122;re painting a picture. So you can step back from it and say, well maybe we can make the sky a little darker or a little more blue or whatever. Live, itâ&#x20AC;&#x2122;s just a free for allâ&#x20AC;Ś one shot and thatâ&#x20AC;&#x2122;s it.â&#x20AC;? Wylde has recently been having a ball supporting Gun Nâ&#x20AC;&#x2122; Roses on their US tour and thereâ&#x20AC;&#x2122;s a great YouTube clip of him jamming with Axl Rose on the AC/DC classic Whole Lotta Rosie. Itâ&#x20AC;&#x2122;s a band heâ&#x20AC;&#x2122;s had a long
BH3=4H CWT 6PT[XR 7^cT[ !( 541D0AH <0A27 cWTVPT[XR R^\ Pd 72 â&#x20AC;˘ THE DRUM MEDIA
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First rock album bought was a Black Sabbath record and from then on he set his sights on joining Ozzy Osbourneâ&#x20AC;&#x2122;s band, which he did in 1987 after sending Ozzy a demo tape. Early bands included Stone Henge, Zyris and Pride & Glory. In 1999 Black Label Society released first album Sonic Brew and the band have released nine albums in total. File under metal guitar god.
association with. â&#x20AC;&#x153;Highway To Hell was one of the first songs I ever learned on electric guitar,â&#x20AC;? claimed Wylde. â&#x20AC;&#x153;I remember when Back In Black came out â&#x20AC;&#x2DC;cause everybody and their mother had that album. Youâ&#x20AC;&#x2122;d go to parties and Back In Black would be cranking all the time. AC/ DC is amazingâ&#x20AC;Ś and theyâ&#x20AC;&#x2122;re still killinâ&#x20AC;&#x2122; it!â&#x20AC;? I left Wylde to prepare for his Soundwave Zakk Wyldeâ&#x20AC;&#x2122;s Black Label Society â&#x20AC;&#x153;blitzkriegâ&#x20AC;? and he asked to me to pass on a message to his Zakk Wyldeâ&#x20AC;&#x2122;s Black Label Society Australian familyâ&#x20AC;Ś â&#x20AC;&#x153;Stay strong and bleed black.â&#x20AC;? WHO: Zakk Wyldeâ&#x20AC;&#x2122;s Black Label Society WHEN & WHERE: Saturday 25 February, Soundwave Festival, RNA Showgrounds, Fortitude Valley; Sunday 26 February, Soundwave Festival, Sydney Showground; Tuesday 28 February, Forum Theatre, Melbourne; Thursday 1 March, Metro Theatre, Sydney; Friday 2 March, Soundwave Festival, Showgrounds, Flemington; Monday 5 March, Soundwave Festival, Showgrounds, Claremont
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hile most Australians ducked and heard the global financial crisis whizz by our ears, our American friends copped it square in the face… and are still suffering the effects of it. Local music retailers and wholesalers will tell you that the crisis has finally caught up with us, but if Winter NAMM (the annual American music trade fair held in Anaheim, California) is anything to go by, then things are looking up. The 110th NAMM show hosted a record 95,709 attendees, a six percent increase on last year and an all-time show record. What this indicates is that the music gear industry is defiantly going about its business with confidence. The manufacturers and distributers are making a lot of new gear available and the retailers are keen to check it out… as we are! Australian Musician investigates some of the gear released at this year’s NAMM show. Gibson guitars released the Signature Series Ace Frehley ‘Budokan’ Les Paul, a recreation of the famous guitar which first appeared on stage with Kiss in 1977. Another signature model unveiled at NAMM by Gibson was the Joe Bonamassa Aged Les Paul Goldtop. Bonamassa stopped by the Gibson booth along with Brian Wilson, Dave Navarro, ‘60s icon Donovan and many others. Meanwhile, the folks over at the Fender booth were excited about the signature model guitar for British guitar legend Johnny Marr. The 50th Anniversary Fender Jaguar also debuted, as well as the Kurt Cobain Fender Mustang. In yet another collaborative effort, Fender and Roland were thrilled to release their new hi-tech G-5 VG Stratocaster and GK Ready Strat. Celebrating their 25th anniversary year, Ibanez offered the RG1XXV FYE and RG1XXV FPK, flouro-coloured metal monsters as well as a couple of striking new S Series shred machines. Ibanez also celebrated a 25 year association with Steve Vai with the release of the JEM-EVO. Speaking of metal guitars, not to be outdone, ESP showed off their new Kirk Hammett KH-DC, LTD KH-DC and LTD KH-25 signature models. PRS added to their signature range with three new models including one for Neal Schon, Dave Navarro, and Australia’s Orianthi. Canadian-based company Godin premiered two new additions to their Godin Series as well as three new left-handed guitars, the Multiac SA Nylon, Multiac Encore Nylon and the Session from their Performance range. Peavey introduced the AT-200, a guitar that features Antares AutoTune technology which means it never goes out of tune. ESP made a bold showing this year with 21 new instruments including the HRF series, new Eclipses & Horizons plus Slayer, Metallica, Anthrax, Suicide Silence signatures and more. On the acoustic side, Takamine celebrated their 50th anniversary by presenting seven new models in their G Series; the EG340DLX, EG536SHB, EG430SC-WR, EG755S, EG455SC, EG355SCTB and G406S-VS. It was also with some pride that Takamine released the T50th, a beautifully crafted guitar of which they have only produced 50 units in total. Martin guitars, who have a new distributor in Australia
74 • THE DRUM MEDIA
(ELFA) displayed the 00-45SC John Mayer signature model, limited to only 25 pieces. One of the most intriguing releases this year was Washburn’s Paul Stanley model acoustic, the PSAV, which takes the shape of an electric Flying V. From the amp world, Fender gave us two curios including the Greta and Excelsior, which are extensions of their esoteric Pawn Shop range. Orange joined the small amp trend offering the Micro Terror, and UK heavyweight Marshall gave us the 50th anniversary range of one watt amps. Celebrating each decade of popular Marshall models, at NAMM they gave us head and combo versions of the JTM1, JMP1, JCM1, DSL1 and JVM1, all in mini mode. Jet City unveiled the Earhart 50, a hand-wired two-channel 50-Watt
THE NAMM SHOW 2012 IT AIN’T GONNA HAPPEN FOR YOU LIVE ON STAGE IF YOU DON’T HAVE THE GEAR TO CUT IT. AUSTRALIAN MUSICIAN TAKES A LOOK AT THIS YEAR’S NAMM SHOW RELEASES TO SEE WHAT INSTRUMENTS COULD SOON BE PUMPIN’ THROUGH YOUR PA. head. Also of note was the Ampeg Micro-CL Stack, delivering 100 Watts of blissful Ampeg tone. The Vox Limited-Edition Blue-Covered AC Series was quite tasty, and creating a lot of talk down at the Ashdown booth was the Classic Tube Magnifier 300. Italian-based company DV Mark offered six new pedals including DV7 Booster, DV7 Distorsore, DV Fuzzer, DV Mini Boost, DV Mini Dist, and DV Mini Drive. For the metal guys, Blackstar released their awesome HT-Metal all-valve pedal. Vox gave us the Delay Lab pedal, offering 30 presets and a 28-second looper. Keeping with NAMM 2012’s fascination with all things mini, TC Electronic displayed the PolyTune Mini. The always-innovative folk at Digitech trumpeted their iStomp, a pedal which connects to your iPhone, iPad, or iPod touch, allowing you to browse a selection of 24 stompboxes. Korg chipped in with their PitchBlack Poly, their new guitar and bass pedal tuner featuring ‘String Seeker’. Source Audio debuted their new Soundblox 2 range of pedals which include
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the Multiwave Bass Distortion and Dimension Reverb. The Gretsch people knew how to attract a crowd with their amazing massive all-chrome custom drum kit. Also impressing many was their Brooklyn USA series, Energy series and entry-level Renegade series drum sets. Yamaha’s successful Stage Custom Birch kit was seen in two new colour finishes, Matte Black and Honey Amber. Roland brought their SuperNATURAL® technology to the V-Drums, V-Pro TD-30KV and TD-30K kits, and released the HD-3 V-Drums Lite, as well as DT-1 V-Drums Tutor software for PC and Mac. As usual, Roland provided some great new keyboard releases with their BK-5 backing keyboard and AT-900 Atelier organ. Casio put in a strong showing with their slick looking XW-P1 and XW-G1 synths. Korg championed their new SV1-73 and SV1-88 in a sleek black finish and also offered a limited edition release of the SV173 and SV1-88 with reversed keys. The list of brilliant new gear on show at NAMM this year is endless. Here are few more isolated finds we couldn’t fail to mention. The world’s first powered pedalboard from SKB took our notice. SKB have been designing innovative pedalboards for guitar enthusiasts for more than 15 years and have developed the world’s first AC/DC pedalboard with a built-in combo amp featuring a 6” Eminence speaker. The 1SKB-FN-8 FootNote®Amplified Pedalboard is a fully powered pedalboard that will accommodate up to eight 9-Volt DC pedals and can be taken anywhere. Shure revealed their new ULX-D digital wireless microphone system. Zoom presented the G5 guitar effects and amp simulator, offering 120 effects including 20 amp models. Another neat little release this year came from Hohner, the John Lennon Sig. Series harmonica. Hohner has had a long relationship with John Lennon and The Beatles, dating right back to the early days of Beatlemania. Now, by special arrangement with the John Lennon estate, Hohner presents a limited edition John Lennon Signature Series harmonica. The instrument features reproductions of John’s signature and five-colour selfportrait on a specially engraved white cover plate. It also features a transparent acrylic comb, screwed construction throughout and MS-style reed-plates. Available in the key of C only. We were also pleased to see Audio Technica’s ATM510 and ATM610a dynamic handheld microphones and ATH-M50WH pro studio monitor headphones… reliable, quality gear. Most, if not all of the above products will find their way into Australian music stores over ensuing months. Go and check it all out!
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APRA: MEET THE LOCALS The next in the ongoing series of free Connecting Members events organised by the Australasian Performing Rights Association (APRA) is happening 6pm Wednesday at the Sydney office in Mount Street, Ultimo. Dubbed Meet The Locals, it’s a panel presentation that gives members and prospective members the opportunity to meet and hear from some key industry professionals, this time the Executive Officer with MusicNSW Kirsty Brown, Street Press Australia Sales Manager Brett Dayman and FBi Radio Music Director Dan Zilber. Just RSVP by emailing apra@apra.com.au to ensure a place.
AN ENLIGHTENING DAY AT A# SHARP Almost daily, A# Sharp Studios owner/ operator Jeff Cripps fields emails or calls from someone “doing a bit of home recording” asking how to improve their recording skills. The more persistent see Cripps sit down with them and the inevitable result is an enlightening insight into the whole business of recording, from demo to professional release. Then Cripps thought perhaps it would be better to run a full day, like a Boot Camp in Recording, during which he could impart his knowledge and experience across more than 20 years of recording and performing – he’s also a singer, songwriter, guitarist and drummer – engineering and producing. So 10am through 6pm Saturday 17 March, his Belmore Road, Riverwood facility will host An Enlightening Day @ A# Sharp Studios, during which he’ll cover everything from recording guitars electric and acoustic, to tone settings and mic placement, to the use of reverbs and delays and much more, with an hour of question time. The day costs $160, with refreshments provided and a substantial door prize up for grabs. For details and bookings, check the website or call (02) 9153 9988.
THE STEVE LUKATHER MUSIC MAN Ernie Ball has just announced the latest innovation in the signature Steve Lukather Music Man guitar series. The new Luke III model features a larger alder wood body, 22-fret full rosewood neck and new passive DiMarzio pickups with a custom Music Man active preamp, while on the electronics side of things, the III includes a dual humbucking or H-S-S pickup configuration, volume control and a passive tone control with a new push/pull switch for an adjustable 12dB volume boost. We should see the Luke III hit Australian retailers in June. BTL@STREETPRESS.COM.AU
SKB ROAD CASES
PHONIC’S NEW SAFARI 3000 MOBILE PA Released at Winter NAMM 2012 was the impressive Phonic Safari 3000, a 320 Watt Mobile PA System with 3-Channel Mixer. It’s a fully self-contained all-in-one portable audio system with slick moulded speaker cabinet with handle and wheels for easy mobility. The system packs 320 Watts (peak) of power through high performance class D amplification. It features 2-way output through 10” long-throw woofer matched with a pure-titanium compression driver, Two mono 1/4” & XLR combo inputs, plus a stereo input with 1/8” and RCA connectors, and 2-track RCA outputs for connecting to external devices. You can also connect additional passive speakers via Speakon speaker output with 80W output. There’s an onboard tone control for enhancing high and low frequency audio and provides 12V phantom power available on combo inputs. The Safari 3000 includes built-in battery with 4-stage status monitoring and switching power supply reduces weight and enables multi-national operation. Two storage slots are available for handheld microphones and there’s an optional anti-shock CD player with MP3 playback and USB port. www.cmi.com.au
POSSE PERSONAL MONITOR MIX SYSTEM
LINE 6 LAUNCHES XD-V SERIES DIGITAL WIRELESS MICROPHONE
Your gear is your lifeline to your music. Why wouldn’t you want to protect it? SKB provide an amazing range of cases for all your stage needs. For example, the SKB keyboard hard cases on wheels offer snuggly-fitting keyboard space with polyester foam supporting the bottom and six layers of slab and convoluted foam adjusts for board thickness. All models are available with built-in wheels and the exterior bumpers protect valance and hardware from impact damage. SKB also offer some brand-specific cases such as the Roland AX synth case. Other brand-specific cases include the SKB Flying V & Explorer / Firebird Cases and Bose PA cases among others. Plus there’s your general guitar protection in soft and hard case, SKB Studio Flyer Laptop Type Cases, SKB Amplifier Utility Cases SKB U.S Roto Rack Cases, SKB Drum Hardware & Cymbal Cases and more.
Released at Winter NAMM this year, Line 6, Inc. introduced the XD-V75, XD-V55, and XD-V35 series digital wireless microphones. Featuring sophisticated microphone modeling technology, XD-V systems deliver the sound of the world’s most popular wired mics combined with a proven 4th-generation digital wireless platform. With 24-bit, 10Hz–20kHz, compander-free performance, XD-V series digital wireless systems provide unmatched, full-range audio clarity and license-free operation worldwide.
www.promusicaustralia.com
www.musiclink.com.au
PRESONUS ANNOUNCES MONITOR MIX CONTROL VIA IPHONE/IPOD TOUCH
POSSE AUDIO launches an amazing, affordable and compact system for musicians, recording artists, and music venues, eliminating the need for a monitor mix sound technician and allowing for easy customization of ear monitors on stage or in the studio. The POSSE system (Personal On Stage Sound Environment) seamlessly interfaces with wireless earphone and instrument systems and comes with an acoustic gooseneck mic for the unelectrified. You can also use a built-in phantom power supply, record all your performances, play music during the break, and tune with a line-of-sight tuner—all. POSSE is great for private practicing too.
Up to 10 musicians can simultaneously control their StudioLive monitor mixes using an iPhone® or iPod touch® and PreSonus’ free QMix™ app. QMix builds on PreSonus’ original Virtual StudioLive (VSL), which provides bidirectional computer control of PreSonus StudioLive™series mixers via FireWire. QMix works by networking one or more iPhones wirelessly with a Mac® or PC, enabling QMix to remotely access VSL to control one or more FireWire-connected StudioLive mixers. As each iPhone connects to the network, its copy of QMix will discover all StudioLive mixers on the network, enabling each musician to quickly and easily create an aux mix that includes all mixer channels. And QMix lets the engineer set permissions so that each iPhone on the network only controls a specified mix.
For information visit www.trc.com.au
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Designed for professional vocalists and performers, the new flagship XD-V75 line includes handheld, lavalier, headset and bodypack digital wireless systems. The family offers pure, 24-bit sound with unparalleled reliability and a full complement of professional features including signal encryption, dynamic filters, gain control, channel scanning and more to handle the most complex applications.
YAMAHA RELEASES THE MGP SERIES COMPACT MIXERS Yamaha has provided an impressive range of lineups in professional audio since the release of the PM200 in 1972 and their first digital mixer, the DMP7 in 1987. With both the 40th and 25th anniversaries of these landmark achievements landing in 2012, it is no coincidence that they have released a product which draws from their rich past and looks far into the future. The new series comprises two models with two different channel configurations – MGP12X and MGP16X. The series features newly-refined discrete Class-A microphone preamps that use an inverted Darlington circuit design delivering a fat, rich, smooth tone. For superior sound-shaping capability, Yamaha’s proprietary X-pressive EQ manages to capture ultimate analog authenticity by reproducing the unique frequency characteristics of sought-after classic EQ modules. At the heart of the MGP’s compact configuration, they’ve taken an innovative new approach to the utilisation of digital technology in an analog mixer—adding highresolution effects, iPod/iPhone integration and the functionality of their new Stereo Hybrid Channel to the warmth and musicality of premium analog sound. www.yamahamusic.com.au
Electric Sun Studios Cog, Christina Parie (from X-Factor), Tonight Alive, Northlane, The Bride, The Sweet Apes and Many more. Our renowned and well sought after Producers are Shane Edwards, Dave Petrovic and Stevie Knight. So Add us and Like us! www.facebook.com/electricsunstudios. We have heaps of Artists that keep coming back due to our quality, comfortable and professional production. Listen for yourself. Go to our website www.electricsun.com.au 76 • THE DRUM MEDIA
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IS YOUR SHURE MICROPHONE GENUINE? The folks at Shure go to great lengths to ensure that their products are produced to the same lofty manufacturing standards time after time. You can imagine how peeved they are to discover an increase in counterfeit Shure gear being sold around the world. While some of the bogus Shure microphones may have visual similarities to the original product, the sound and build quality are nowhere near the quality of those built by Shure. Unfortunately, the counterfeiters are targeting some of Shure’s top selling microphones, in particular, the SM58 and SM57, two of the most famous mics on the market. Given the poor quality of the counterfeit models, it makes you wonder why the bogus market has taken off, however at first glance the models may seem to be genuine. In response to the glut of counterfeits, Jands, the Australian distributor of Shure gear has taken steps to ensure that customers know exactly what they are buying. First of all, they suggest you make your Shure purchases from authorised dealers. Secondly, they have introduced the Shure anti-counterfeit sticker on 4 of their top selling mics in their range: SM58, SM57, BETA58A and PG58XLR. Look out for the silver mylar stickers on these microphone models. Each sticker carries its own serial number which you can key into the product validation service on the Jands website to confirm it is a genuine Shure microphone. If your Shure product is not authentic, a page will appear with the appropriate details of who you should contact. The product validation service can be found at www.jands.com.au www.jands.com.au
AFFORDABLE STAGE LIGHTING FROM LIGHT EMOTION Adding stage lighting to your performance may have been an exercise for the big bands in the past, but the folks at Light Emotion make it an affordable option with their wide array of products. Their Moonstar 3 for example, is a spectacular mixed laser and LED effect. It features 100mW Red, and 40mW Green Laser diode and can be purchased for under $300. The Thunderbolt range includes blue and green single colours with red green yellow, red violet pink and green violet cyan available in three-colour combinations. The Thunderbolt G features 40mW Green Laser diode and comes in under $200. Both Thunderbolt and Moonstar range are DMX controllable, and can be either stand alone or master/slave and include a digital LED display control system.
STAGESCAPE™ M20D FROM LINE 6 StageScape™ M20d is the world’s first smart mixing system for live sound. Utilizing a groundbreaking touchscreen visual mixing environment, StageScape M20d streamlines the way you mix to get your sound dialed in quickly and stay in the creative zone. Massive DSP power delivers comprehensive, professional audio processing on every channel including multi-band feedback suppression. Pristine audio quality will impact your stage performances, and multi-channel recording allows you to easily capture every rehearsal or show, with or without a computer. The entire system can be controlled remotely from the stage or audience with one or more iPad® devices. StageScape M20d is the integrated professional mixing system that delivers great live sound, so you can focus on what’s most important: your performance.
Konig & Meyer present a clever way to display your iPad. The new connector holds an iPad securely and comfortably. Whether on stage, in the rehearsal room or at home and stage; the strong prismatic element with its ergonomic clamping screw allows the iPad holder to be attached quickly and easily to any tubes up to 30 mm diameter. The iPad 2 is snapped in or out of into holder effortlessly. The pivoting range is second to none, allowing the user the iPad 2 position of their choice. The swivel movement can be adjusted from free to resistant. Naturally, the iPad 2 can be rapidly switched between a vertical and horizontal format. The adjustment is easy and slip prevented. Working in tandem with the K&M holder is the stand holder! The new mount is guaranteed to hold the iPad 2 effectively and safely on stage or wherever you’re making music. www.trc.com.au
There aren’t too many local manufacturers in the Australian music industry, and those that do operate on home turf don’t get anywhere near the recognition they deserve. Jade Sound Systems has been in operation since the 60s and continues to produce a high quality, affordable range of gear from guitar amps and mixers to microphones, instruments and accessories. Anyone who attended last year’s Entech show would have witnessed Jade’s Rare Audio range which includes the impressive Tour ‘Combo’ Series. The Tour ‘Combo’ Series are single-sub, compact versions of the standard ‘Tour’ Systems. Designed as small lightweight PA Systems, they are easy to operate and feature a powerful punchy sound. The Subwoofer contains Active Bi-Amps with seperate Sub Volume & Twin Volume controls for the left and right speakers. Perfect for solo entertainers, small bands, corporate functions and DJ applications. The systems comes with 3 year warranty. www.jadeaustralia.com.au
www.musiclink.com.au
MACKIE DL1608 16CHANNEL DIGITAL LIVE SOUND MIXER WITH IPAD CONTROL
REVOLUTIONARY NEUTRIK “TIMBREPLUG”
The Mackie DL1608 turns live mixing on its head by combining the traditional power of a full-featured digital mixer with the ease and flexibility of an iPad. With 16 Onyx mic preamps and the performance of 24bit Cirrus LogicAD/ DA converters, you have unparalleled sound quality. Seamless wired to wireless iPad control means you can mix from anywhere in the venue. This gives you the mobile freedom to control not only the mix, but powerful plug-ins such as EQ, dynamics, effects and more. The sleek DL1608 even supports up to 10 iPad devices. Imagine a world free of bulky consoles and racks of gear! Other features include; 6 aux sends for monitor mixes, master L/R output for mains, touch-sensitive plug-ins, 4-band EQ, gate and compression on inputs, and wireless mixing.
For the busy musician with songwriting, gigs, gear and recording on their mind, often the smaller, but important things get forgotten ... like a decent 1/4 inch jack! The Neutrik timbrePLUG is a 1/4 jack plug that has been developed for performing musicians – and the idea behind it as brilliant as it is simple. Neutrik’s engineers recognised that an electric guitar’s sound is not only influenced by the instrument itself (pickups, strings, timber etc) but also by the choice of connection cable and amplifier. Different types and lengths of instrument cable can noticeably influence a guitar’s characteristic sound. Fitting the timbrePLUG to the instrument end of the cable allows musicians to adjust the ‘timbre’ of their guitar sound from a neutral, clear sound to warm characteristics in four steps by simply turning a knob on the top of the plug.
www.musiclink.com.au
www.ambertech.com.au
www.lightsounds.com.au
78 • THE DRUM MEDIA
LOCALLY MADE RARE AUDIO TOUR SERIES
SOUNDCRAFT SI COMPACT 24 DIGITAL LIVE SOUND CONSOLE UPGRADES At Winter NAMM in January, Soundcraft enhanced their already impressive Si Compact 24 Digital Live Sound Console with a whole bunch of new features via a free V2 software upgrade. The addition includes over 23 major new updates. The new version offers eight additional DSP channels, expanding the Si Compact 16 and Si Compact 24 to 32 and 40 inputs to mix, respectively. The Si Compact 24 features 24 recallable mic pre amps plus 4 stereo returns, AES in and 64 input option slot with a capacity to combine up to 40 of these inputs to mix. www.jands.com.au
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