SYDNEY’S LARGEST CIRCULATING FREE MUSIC PUBLICATION • 23 OCTOBER
2012 • 1133 • FREE
BENTO AEROSMITSH REVIEW & MORE
RUDIMENTAL
MIKE PATTON
S
THE VACCINE
INSIDE • WEDNESDAY 13 • ARRESTED DEVELOPMENT • KASEY CHAMBERS & SHANE NICHOLSON
• SURRY HILLS FESTIVAL
www.themusic.com.au
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SYDNEY O PERA H OUS E BY AR R AN GEM EN T WI TH GAYN O R C R AW F O R D P R E S E N T S
FEATURING ALEX WILSON ON PIANO “the most exciting and intoxicating live acoustic performers on the planet.” Acoustic Magazine, UK “Incendiary blend of metal-inspired riffing, jazz dexterity and Latin rhythm.” Telegraph UK
MUSIC AT THE HOUSE
2 JanUARY Tickets from $79* On sale now
02 9250 7777 | SYDNEYOPERAHOUSE.COM/MUSIC *TRANSACTION FEE OF $5-$8.50 APPLIES TO ALL BOOKINGS, EXCLUDING INSIDERS
4
AN EVENING WITH
THURSDAY 15 NOVEMBER THE METRO SYDNEY LIC AA
TICKETS ON SALE NOW FROM TICKETEK.COM.AU 132 849 CAKEMUSIC.COM
5
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BECK SIGUR RÓS
ĤiǓe’s ľŰtton
MONDO CANE GRIZZLY BEAR
BEN FOLDS FIVE SILVERSUN PICKUPS BEIRUT • SANTIGOLD • CAKE THE DANDY WARHOLS • DEXYS THE BLACK ANGELS • CHROMATICS • CRAZY P • LIARS FUCK BUTTONS • LOS CAMPESINOS! THE WAR ON DRUGS • DARK DARK DARK RIVER CITY EXTENSION • DARK HORSES • WINTER PEOPLE
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With Shots of Spoken Word, Theatre, Comedy & Dance on the CAMPFIRE STAGE
A Land of Guilty Pleasures & Lost Innocence
Welcoming the return of LA TOOSH
Groovy Tunes & Soothing Sounds at THE GARDEN STAGE Gourmet Food Boutique Bars Holistic, Retro & Vintage Markets AND MORE!
Featuring in LE
BOUDOIR
BRIEFS BOURGEOIS & MAURICE TRIXIE LITTLE & EVIL HATE MONKEY VAUDEVILLAGE THE LEAGUE OF SIDESHOW SUPERSTARS JUKE BARITONE
Revisiting the Astonishing World of THE SNUFF BOX
PLUS Fascinating Installations, Sideshows & Surprises
SATURDAY 17 NOVEMBER PARRAMATTA PARK TICKETS ON SALE NOW FROM HARVESTFESTIVAL.COM.AU & OZTIX.COM.AU 1300 762 545 *LINEUP AND VENUES ARE SUBJECT TO CHANGE 18+ ONLY EVENT - PHOTO ID REQUIRED
FACEBOOK.COM/HARVESTPRESENTS TWITTER.COM/HARVESTPRESENTS
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OPEN ‘TILL 3AM
MUSO’S NIGHT
8.00PM FREE FRONT BAR
ROCKIN WEEKLY BLUES JAM
‘FOOT IN THE WALL’ FEAT: EDDIE BOYD & THE PHATAPILLARS + THE ELLIOTS (MELB) + THIS SANCUTARY + CALLUM WYLIE
25 THU 7.30PM $8.00 DOOR
KNOX (FIJI)
26 FRI
SHINOBI
27 SAT
HAND OF MERCY
28 SUN
8.00PM $10 DOOR
+ 2GT + SPECIAL GUESTS
+ THE ABSENCE OF KIN + SPECIAL GUESTS
+ IN HEARTS WAKE + SIENNA SKIES + SHINTO KATANA + HALLOWER + OUTSIDER
900 PRINCES HIGHWAY, TEMPE PH: 9559 6300 www.valvebar.com.au
24 WED
8.00PM $10.00 PRE/ $12.00 DOOR
1.00PM $15.00 PRE / $20.00 DOOR LIC/AA
WED 24TH 7PM THU 25TH 7PM FRI 26TH 7PM
SAT 27TH 5PM
SUN 28TH 12PM
SUN 28TH 5PM
COMING SOON:
2/11: CORPUS 3/11: BLOW + REMMOS K 9/11: LOWER CLASS BRATS
“BAD VALLEY” ROCK SHOW WITH SUPPORT FROM “WHEAT FIELDS” , “MYSTIC FLARE” , “THE NEWSOUTH”
IMMORTAL BAND COMPETITION LAUNCH OF A VERY EXCITING BAND COMPETITION
“AMODUS” ROCK SHOW WITH SUPPORT FROM “THE ZOO CITY LADS” , “EVIL UGLY” , “FATAL EFFECT” , “FOUNDRY ROAD”
FESS’S HELL-OWEEN PARTY FEAT: “LAB 64” , “NOT ANOTHER SEQUEL JUST ANOTHER PREQUEL” , “DOMINO” , “ATOMESQUAD” , “UPSIDE DOWN MISS JANE”
“MASSONICS” ROCK SHOW WITH SUPPORT FROM “MILKMAIDS” , “THE NICE FOLK” , “DARK CLOUDS”
“PURPLE DOVES” PRINCE TRIBUTE SHOW WITH SUPPORT FROM “ROCCO” AND MANY MORE
COMING UP:
‘GOBOOKEM.COM’
Wed 31 Oct: Immortal Band Competition ; Thu 1 Nov: Rock Show with “Sheens” , “The Dash” , “Fret” , “The Ivory Drips”; Fri 2 Nov: Punk Rock Show with “Driverside Airbag” , “Matty Effin Morrison” , “Falling Down Stairs” , “Hellbound And Proud” , “Leatherhand” , “The Scabs” , “The Disadvantaged” , “Pants Optional” ; Sat 3 Nov: 12pm: “Sugar Sun” and friends; 6pm: Hip Hop Show with “Hometeam” , “BC” , “Nhostic” , DJ Riley , “Izzy’n’the Profit , “Barbone” , “Beat Theory” , “State Advanced & Curtis C” , “Black Magic”; Sun 4 Nov: 12pm: Rock Show with “Mitchell Dimech” and many more; 5pm: Roots Show with “Knox” (-Fiji) and friends
For band bookings please email valvebar@gmail.com
Bistro open Lunch and Dinner !!
THUR 25/10
Coming soon –
The Trews
Fri 9/11 Penny & The Mystics
Canada
+ Colour Coding + Feeding Edgar
FRI 26/10
Barbara Blue US
Fri 16/11 Dream Brother Tim & Jeff Buckley Tribute
FRI 2/11
Sat 17/11 Pyjama Party With The Frocks
Running In The Shadows
+ Rose Of York + Angel Awake
Thursday 25th October
RAY BEADLE & THE HIGHTONES /JILL BARBER (CANADA) Friday 26th October
THE SONG WRITERS CIRCLE
Feat: Steve Balbi (Noiseworks); Matthew Barber (Canada); Nicholas Roy; Asa Broomhall + Maples (Gabby Huber)
Saturday 27th October (USA)
BARBRA BLUE + Mojo Web + Steve Flack
Sunday 28th October
VAN HOORN
+ Driffs + Claudia Aphrodite
Wednesday 31st October
Fri 23/11 Wes Carr introducing Buffalo Tales
THE ART OF STORYTELLING - TRUE STORIES TOLD LIVE
Fleetwood Mac Tribute
Thur 29/11 Agnes Kain CD Launch
Thursday 1 November
Wednesday 14 November
Diesel “Hits & Blues”
SongsOnStage
Friday 2 November
Thursday 15 November
SAT 3/11
Fri 30/11 & Sat 1/12 Laughing Outlaw End of Year Party
Diesel “Hits & Blues”
Wayne Leffler
Saturday 3 November
Saturday 17 November
Steve Edmonds
Phil Jamieson
Sunday 4 November
Sunday 18 November
Fri 7/12 Charles Jenkins & The Zhivagos
Owen Campbell
Phil Jamieson
Tuesday 6 November
Wednesday 21 November
Butterfly Boucher
Matt Schlam
Sun 9/12 Open House Broadcast
Wednesday 7 November
Thursday 22 November
Back To Black
Stylus
Thursday 8 November
Friday 23 November
Mark Wilkinson
Darren Jack
Friday 9 November
Saturday 24 November
The Jeff Duff Experience
Tangled up in Bob
Saturday 10 November
Sunday 25 November
Spy Vs Spy
Van Hoorn
Karma County
+ Sam Buckingham
THUR 8/11
Band Of 15/12 Frequencies Sat Jordie Lane + Lake Nash
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THE TREWS
+ Southerly Change Sat 10/11 Petulant Frenzy Play Zappa
+ Mojo Webb
Wednesday 24th October (CANADA)
Single Launch
Secret Sounds Presents
with special guests
TUE 8 JAN ENMORE TICKETS ON SALE MON 29 OCT from ticketek.com.au & 132 849
HOT CHIP IN OUR HEADS STANDARD + DELUXE ALBUMS OUT NOW hotchip.co.uk | secret-sounds.com.au 11
GARY CLARK JR. NEW ALBUM
AVAILABLE NOW “Owing as much to Kurt Cobain and the Ramones as buddy guy and John Lee Hooker, indebted to hip-hop and psychedelia, his shape-shifting calling card EP is grounded in tradition while standing on the brink of change.” – Rolling Stone Magazine “This singer-guitarist may be the next Hendrix…churning his distorted strings into a euphoric moment of psychedelia.” – The New York Times
TOURING SUMMER 2013 BIG DAY OUT & SIDE SHOWS
SATURDAY 19 JANUARY FACTORY THEATRE, SYDNEY Tickets available from factorytheatre.com.au & lovepolice.com.au/tours
www.garyclarkjr.com
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Secret Sounds presents
with and
THE JUNGLE GIANTS
THU 3 JAN • HORDERN PAVILION ticketek.com.au, 132 849 (Licensed All Ages)
TICKETS ON SALE 29 OCT twodoorcinemaclub.com secret-sounds.com.au
NEW ALBUM BEACON OUT NOW. FEATURES THE SINGLES SLEEP ALONE AND SUN.
AT THE BREWHOUSE WWW.LIVEATTHEBREWHOUSE.COM.AU
22 The Promenade, King Street Wharf, Sydney NSW
THE 40 HOUR MUSIC MARATHON Ê " ,-
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16TH, 17TH AND 18TH OF NOVEMBER
Starts 8PM Friday the 16th Nov and ends Midday Sunday the 18th Nov
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SYDNEY TICKETS ON SALE THU 25 OCT 2012
TICKETEK.COM.AU
132 849
I C
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30
THE SANDRINGHAM HOTEL 387 KING STREET NEWTOWN / 9557 1254 S YEAR WWW.SANDO.COM.AU BOOKINGSCONTACT SANDO@ATOMICDROP.COM.AU
WED 24 OCT
FREE
STREET LEVEL BAR:
RJ CHOPS + KATASTROPHY
THU 25 OCT
$10 TANK MAN TANGO + SALTA + OLLIE BOWN & PETER HOLLO + CIRCUS MUSIC FREE
GIVEAWAYS released a new EP, … thank you and I’m sorry. We have three double passes to their show Thursday night show at Notes to give away.
A NIGHT WITH THE HEAVIES Papa Vs Pretty
NO STANDARD HAPPY BIRTHDAY Celebrate The Standard’s first birthday with Papa Vs Pretty, Fishing, Palms, Shady Lane and Falcona DJs. We have three double passes to the party to give away.
IT’S TREWS – THEY’RE BACK!
STREET LEVEL BAR:
FOR MORE GIVEAWAYS THIS WEEK HEAD TO FACEBOOK.COM/DRUMMEDIA AND CLICK ON THE GIVEAWAYS TAB
UNGUS UNGUS UNGUS
FRI 26 OCT
"NIGHT OF THE STRIPPING DEAD” - A HALLOWEEN NEO-BURLESQUE CREEPSHOW
VENUS VAMP
+ CHERRY LUSH + FRANKIE FAUX + MAYGEN LA FEY + SLUTARIS + CHRISTOPHER HAWKINS + DEFY PLUS, SPECIAL GUESTS FROM MELBOURNE…
RAVEN + KERRYX + BETTY BLOOD ALONG WITH…
MC - MEMPHIS MAE & STAGEKITTY - LADY MEDUSA ***tickets on sale now www.moshtix.com.au***
FREE
VIDEO JUKE BOX
STREET LEVEL BAR:
SAT 27 OCT
$20
"CITADEL RECORDS - 30TH ANNIVERSARY"
DOMNICKS
(DOM MARIANI (STEMS/DM3) AND NICK SHEPPARD (CORTINAS - UK)
+ DENIZ TEK
+ PENNY IKINGER STREET LEVEL BAR:
SUN 28 OCT STREET LEVEL BAR:
EVERY MONDAY
DAVE TICE AND MARK EVANS 4PM-7PM DJ KAKI 8PM-LATE DJ
THE SLOWDOWNS “SKETCH CLUB”
“THE SONGWRITER SESSIONS”
FREE
FREE
FREE
STREET LEVEL BAR: ADAM PRINGLE AND FRIENDS - FUNKY AS F#CK + TOOHEYS $6 NEW JUGS (7-8PM)
COMING SOON FRI 2 NOV + SAT 3 NOV
“Steel Assassins”
VOYAGER (WA), MEGAHERA (Italy), EYEFEAR (VIC) + DARKER HALF (NSW) + more ***www.moshtix.com.au*** FRI 9 NOV FRI 16 NOV SAT 17 NOV
Gay Paris Sex Wizard “Bastardfest 2012”
***www.moshtix.com.au***
***www.moshtix.com.au*** FRI 23 NOV
Ten Foot Pole (USA) ***www.moshtix.com.au***
FRI 30 NOV SAT 15 DEC
Hard-Ons! Psychotic Turnbuckles ***www.moshtix.com.au***
***www.moshtix.com.au***
20 • To check out the mags online go to themusic.com.au/mags
T H E D R U M M E D I A I S S U E 1 1 3 3 T U E S D AY 2 3 O C T O B E R 2 0 1 2
DRUM
FRONT ROW
Giveaways – Check it out for free stuff! 20 The Front Line hits hard with industry fact, while Forward Line brings news on tours and releases. 22 Album #4, sell-out tours – Parkway Drive know they’re lucky. 28 You get two shots at Mike Patton in the near future – Mondo Cane and Tomahawk. 29 The Vaccines’ Freddie Cowan fields those “expectations”. 30 Speech discusses hip hop and 20 years of Arrested Development. 32 Chief glam punk ghoul Wednesday 13 is still diggin’ 33 Four of Hackney’s finest, UK foursome Rudimental talk up their best year to date. 35 Kasey Chambers & Shane Nicholson serve up their second collaborative helping. 36 Taking their time, Bombay Bicycle Club have arrived. 38 Kiwi soul brothers Kora deliver second surprises. 40 Even Tara Simmons was shocked at how her new album came out. 58 Love, romance and classic jazz with Jill Barber. 58 Meet The Beast in Tin Sparrow. 58 Hell Joe, what do you know? Joe Robinson that is. 59 A little LA takes The Preatures a long way. 60 Hooking up with guitarist Karin Schaupp, Katie Noonan has reimagined some of her fave Australian songs. 60 Floyd, Radiohead, Beatles and now Michael Jackson – yes, it’s all Easy Star All-Stars. 60 Brisbane’s We All Want To want to. 60
Check out what’s happening This Week in Arts – Larry Cohen talks about the endless list of things to talk about as a keynote speaker at this year’s SPAA Fringe and Benicio Del Toro makes short work of his character in Savages. 65
The best in new releases with On The Record
UNHERD OPEN MIC
STREET LEVEL BAR:
EVERY TUESDAY
FREE
GOODGOD IT’S DIAFRIX Melbourne duo Diafrix – Momo and Azmarino – are celebrating their forthcoming album, Pocket Full Of Dreams with a run of dates. We have two double passes to the Saturday show at GoodGod to give away.
Australia has become something of a second home for Canadians The Trews, who have just
***DOORS OPEN 7:30pm***
Sydney five-piece The Heavies have finally got their debut single, Boogie & Jayne, in their collective hands. They’ll be launching the release with a Halloween Party this Friday at The Vanguard. We have one double pass to the show to give away.
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MUSO Making and recording music; studios, gear and beyond. You’ll find it all in our Muso supplement.
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PUBLISHER Street Press Australia Pty Ltd GROUP MANAGING EDITOR Andrew Mast EDITOR Mark Neilsen ASSOCIATE EDITORS Michael Smith, Scott Fitzsimons FRONT ROW EDITOR Cassandra Fumi frontrow@drummedia.com.au CONTRIBUTING EDITOR Adam Curley CONTRIBUTORS Aarom Wilson, Adam Wilding, Alex Hardy, Anthony Carew, Bethany Small, Brendan Crabb, Brent Balinski, Bryget Chrisfield, Celline Narinli, Chris Familton, Chris Maric, Craig Pearce, Cyclone, Dan Condon, Danielle O’Donohue, Dave Drayton, Fiona Cameron, Guy Davis, Helen Lear, Huwston, Ian Barr, Jake Millar, Jamelle Wells, James d’Apice, James Dawson, James McGalliard, Jessie Hunt, Katie Benson, Kris Swales, Liz Giuffre, Lucia OsborneCrowley, Mark Hebblewhite, Paul Ransom, Paul Smith, Pedro Manoy, Rip Nicholson, Rob Townsend, Robbie Lowe, Ross Clelland, Sarah Braybrooke, Sarah Petchell, Sebastian Skeet, Sevana Ohandjanian, Shane O’Donohue, Simon Eales, Steve Bell, Stuart Evans, Tim Finney, Tom Hawking, Troy Mutton PHOTOGRAPHERS Angela Padovan, Carine Thevenau, Cybele Malinowski, Josh Groom, Justin Malinowski, Kane Hibberd, Linda Heller-Salvador, Maclay Heriot, Tony Mott ADVERTISING DEPT sales@drummedia.com.au Brett Dayman, James Seeney, Andrew Lilley
We review Puberty Blues, Fallout and Hail, take five minutes with artist Jacqueline Larcombe – performing a tribute to Frida at Surry Hills Fest this weekend – and deliver Trailer Trash and Cultural Cringe. 66 Sydney Dance Company artistic director Rafael Bonachela tells Dave Drayton about Project Rameau and Anthony Carew previews the Greek Film Festival, while Kate Cherry talks about directing new STC show Signs Of Life. 67
LIVE Reviews of the week’s big gigs from around the city 69 Dan Condon features the world of blues and roots with Roots Down, Chris Maric gets local with hard rock and metal in The Heavy Shit, and Sarah Petchell brings us local and international punk news in Wake The Dead.
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Cyclone gives you urban and r’n’b news in OG Flavas, Adam Curley muses on all things pop culture in The Breakdown, Michael Smith delivers some Blow with jazz and world music news and Tim Finney charts the new currents in Dance Moves. 73 Viktor Krum asks you to Get It Together with the latest in hip hop, and Dave Drayton gets Young & Restless with all ages goings on.
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It’s all here: Tour guide, indie news, gig guide, profiles on The DomNicks, Black Mustang, Blacklevel Embassy, The Getaway Plan, maps and times for the Sydney Blues and Surry Hills Festivals, and previews of Halloween fun. 75 The Classies – need a singer/bassist/drummer/ any other service/product you can think of? Your answer is here. And on iflog.com.au.
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CLASSIFIEDS iflog.com.au ART DEPT artwork@drummedia.com.au Dave Harvey, Matt Davis 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
www.thebasement.com.au
The Home of Live Music Since 1973
FRIDAY OCTOBER 26
PETER NORTHCOTE + FRIENDS TAKE A LOOK
PETE’S ANNUAL BIRTHDAY SHOW
THE WORLD IN THE BASEMENT
TUE 23 OCT
THE DIXIE TICKLERS (UK)
WED 24 OCT
JAMES VALENTINE QUARTET
THU 25 OCT
FEAT. CARRIE LAKIN, REYES DE LA ONDA & EDEMA RUH
A NEW ORLEANS JAZZ FEEL
AUSTRALIAN JAZZ AT ITS FINEST
CHARLIE MUSSLEWHITE SAT 27 + HIP SISTER
THE MISSISSIPPI BORN HARMONICA MASTER
OCT
JILL BARBER & RAY BEADLE
WED 31 OCT
JON CLEARY
(SOLO) ALBUM LAUNCH
THU 1 NOV
MIKE MCCLELLAN
FRI 2 NOV
CANADIAN FOLK AND SYDNEY BLUES COME TOGETHER
THE NEW ORLEANS PIANO LEGEND IN A ONE-OFF, INTIMATE SHOW
THE ORIGINAL AUSTRALIAN SINGER SONGWRITER
NOW ON SALE
MELBOURNE CUP AT THE BASEMENT
FEATURING A 3 COURSE MEAL, LIVE FEED OF THE RACE, SWEEPS, PRIZES, AND A LIVE BAND AFTER THE RACE. ROBERT OATLEY WILL BE LAUNCHING THEIR NEW WINE RANGE, AURELIA, ON THE DAY, WITH FREE WINE TASTINGS - CALL (02) 9251 2797
FOLLOW US: ON FACEBOOK @ THE BASEMENT SYDNEY & ON TWITTER @ #DOOR_DIVA CHECK IN ON FACEBOOK EVERY THURSDAY & FRIDAY FOR DISCOUNTS AT THE BAR
21
FOREWORD LINE
NEWS FROM THE FRONT
FIELDS OF OWLS
Hot Chip
Since forming in 2008, Newcastle four-piece The Owls have been ploughing their sonic fields, harvesting a unique sound from their huge variety of influences. Mashing together elements of dirty blues and alternative rock with lashings of progressive southern rock all topped off with ethereal three-part harmonies, it all blends together on their EP Swamp Love. On the Swamp Love Tour, The Owls will play Friday 9 November at The Great Northern Hotel (Newcastle), Wednesday 14 at The Patch (Wollongong) and Thursday 22 at Transit Bar (Canberra).
CHIP BRO?
WINDS OF FIRE
I N D U S T RY N E W S W I T H S C O T T F I T Z S I M O N S frontline@streetpress.com.au
Hot Chip return to Australia, and besides their appearances at Field Day, Falls and Southbound festivals, they’ll play some special East Coast headline shows. Joining Hot Chip for all shows will be World’s End Press. They play Tuesday 8 January at Enmore Theatre. Chet Faker @ Jagermeister Independent Music Awards. Pic by Andrew Briscoe
CHET FAKER TOPS INDEPENDENT MUSIC AWARDS Melbourne’s Chet Faker was the only artist to pick up more than one Jagermeister Independent Music Award last week, taking out both the Best Independent Single/EP for his Thinking In Textures release and Breakthrough Independent Artist. Sydney garage rockers Royal Headache had their acclaimed eponymous LP bestowed with the Best Independent Album, while The Jezabels picked up Best Independent Artist. 360’s Falling And Flying unsurprisingly stormed through the pack to take out the Best Independent Hip Hop Album award. DZ Deathrays also scored the top honours in their genre award taking out the Best Independent Hard Rock Or Punk Album. Elefant Traks won Best Independent Label, Hermitude picked up Best Dance/ Electronica Album, Tom Piper made it two in a row when he picked up Best Independent Dance/Electronica or Club Single, Lanie Lane took out the Best Independent Blues And Roots Album, and Mike Nock Trio Plus claimed the Best Independent Jazz Album for Hear And Know. Newcomers Jess Ribeiro & The Bone Collectors scored their first ever Jagermeister Independent Music Award, their debut My Little River receiving Best Independent Country Album.
FULL LIST OF WINNERS: Breakthrough Independent Artist – Chet Faker Best Independent Single/EP – Chet Faker Thinking In Textures Best Independent Album – Royal Headache Royal Headache Best Independent Artist – The Jezabels Best Independent Hip Hop/Urban Album – 360 Falling And Flying Best Independent Hard Rock or Punk Album – DZ Deathrays Bloodstreams Best Independent Label – Elefant Traks Best Independent Dance/Electronica Club Single – Tom Piper & Daniel Harley LGFU Best Independent Dance/Electronica Album – Hermitude HyperParadise Best Independent Blues And Roots Album – Lanie Lane To The Horses Best Independent Country Album – Jess Ribeiro & The Bone Collectors My Little River Best Independent Jazz Album – Mike Nock Trio Plus Hear And Know
THE VINES’ CRAIG NICHOLLS ARRESTED AFTER ALLEGED ASSAULT The Vines frontman Craig Nicholls has been arrested and charged with five offences, including two counts of domestic assault. Nicholls, whose Asperger syndrome has been well documented, allegedly assaulted his parents and injured a policeman in Sydney recently. Fairfax reported that the 35-year-old punched his mother twice before resisting arrest, prompting police to use capsicum spray. His parents have since taken out an Apprehended Violence Order against him. “He tried to evade police and [a] violent struggle ensued,” Hurstville police Inspector Robert Duncan told the paper. “A police officer suffered grazes, cuts and bruises to both elbows and knees and was treated at St George Hospital.” Charged with two counts of domestic assault, stalking or intimidation, resisting arrest and assault occasioning actual bodily harm, management did not return calls for comment.
PRESENTED BY
GET INTO THE GROOVE
OMAR’S COMIN’
Jazzgroove have announced the fourth annual Jazzgroove Festival launch party and late night jam at the Gaelic Club this Thursday from 9pm to late. The $5 admission (free for Jazzgroove members) will get you access to catch Sean Coffin, Jonathan Zwartz and Tim Firth plus special guests from the Festival including Mike Gordon, Ken Allars and many more. Festival early-bird tickets are on sale Thursday.
Internationally acclaimed British soul singer-songwriter and multi instrumentalist Omar Lye Fook, known as Omar, is a classically-trained musician crafting his skills in piano, percussion and trumpet. Omar’s discography articulates a man of quality control with a career spanning over 22 years, six albums, 14 singles and collaborative joints. Omar has a new album and will be teaming up with a bunch of Australian musicians to perform on Saturday 10 November at Oxford Art Factory.
HIP HOP SMARTS With an astute, intelligent and creative sensibility, plus the kind of hooks that hip hop has been hanging out for for years, Seattle duo Macklemore & Ryan Lewis will be hitting our shores for the first time. Proving that interesting and intelligent voices can find an audience without label support, Macklemore and Lewis are paving the way for a new generation of artists. They perform Friday 15 February at Oxford Art Factory.
HITS AND MISSES The 2013 Hits & Pits Touring Mini-Festival will take aim on Australia in March and April. The line-up will feature some heavy-hitting punk and ska bands, including: Mad Caddies, Good Riddance, A Wilhelm Scream, Voodoo Glow Skulls, The Flatliners, Diesel Boy, One Dollar Short, Totally Unicorn, Paper Arms, Jamie Hay, Jen Buxton and more. It touches down on Saturday 23 March at the UNSW Roundhouse and Wednesday 27 at ANU Bar (Canberra).
MXIN’ IT UP
Joe Pug
PUG IS THE DRUG Since his inaugural visit down under in November 2010 Joe Pug has already come back twice for more. Now, almost precisely two years since he first wowed Aussie audiences with his music, he’s announced a fourth Australian trip which will find him headlining shows up the East Coast and finishing his run on Sunday 25 November at the burgeoning Mullumbimby Music Festival. He also plays Friday 23 at The Annandale Hotel with Little Bastard and Patrick James.
Throughout both decades of their existence, MxPx have maintained a solid relationship with Australian fans. They’ve played both the large and small club rooms as well as festival stages and the fans continue to return ready to sing along to their anthemic punk rock tunes. They’re headed back our way and will play Thursday 7 March at Manning Bar.
DJANGO BACK Following a rapturous response to their maiden trip down under, Django Django are back to see in the New Year at Falls and Southbound Festivals, also treating Australian fans to three very special headline shows. They stop off on Friday 11 January at The Metro. Tickets on sale this Thursday.
SWEENEY SHOWCASE It’s hard to believe that ten years ago Tim Sweeney was an 18-year-old student at New York University helming a little-known radio show on WNYU’s AM dial. The show started small, airing on an obscure frequency during the wee hours of the night. Now he’s a bit of an international sensation. You can see what all the fuss is about on Saturday 24 November at Marrickville Bowling Club.
SICK AS After years spent recording in a Tibetan monastery, Ebolagoldfish come back with nothing but an opium addiction and diminished grasp on reality. Luckily the effects we’re not lasting and the three scraped together their sanity to record a portion of their forthcoming album Prophet & Loss. They launch their latest single on Thursday 29 November at Phoenix Bar (Canberra), Friday 7 December at The Cambridge Hotel (Newcastle), Sunday 9 at The Patch (Wollongong) and Saturday 21 at The Annandale.
Charlie Musselwhite
Bonnie Raitt
BLUESFEST SIDESHOWS BEGIN The first round of Bluesfest sideshows has arrived. The incomparable Blind Boys Of Alabama will perform at Enmore Theatre Monday 1 April; Roger Hodgson, co-founder and legendary voice of Supertramp, will play at The State Theatre on Wednesday 3 April; and Bonnie Raitt with special guest Mavis Staples will play Enmore Theatre on the same night.
CHIMNEY SMOKE Rising wunderkind/beatmaker Flume is set to drop his debut self-titled album on Friday 9 November. The 20-year-old Sydneysider’s atmospheric, beat-driven music draws on a range of influences to create a fresh new sound; one capable of bringing a festival crowd up and then bringing it right back down again on demand. To celebrate he’ll play OutsideIn at The Factory Theatre on Saturday 10 November and Harbourlife at Mrs Macquarie’s Point on Saturday 1 December.
SPREADING THE HATE Thy Art Is Murder are unleashing Hate on the world. They are stoked to announce that they are hitting the road in support of the brand new single Reign Of Darkness, the first track to be released from their forthcoming full-length Hate. No strangers to stoking controversy and criticism, the band have not toned down their art for the sake of palatability and have introduced a morose melodicism into their maelstrom. They play Friday 30 November at Cromer Community Centre (Manly, all-ages).
Totally Enormous Extinct Dinosaurs
FIELD DAY ANNOUNCES LINE-UP Field Day is the New Year’s Day event synonymous with indie, dance and good times in the beautiful green surroundings of The Domain. They’ve delivered on another huge line-up and it includes: Two Door Cinema Club, Hot Chip, Sbtrkt, Mark Ronson, The Vaccines, Erol Alkan, Disclosure, Krafty Kuts & A-Skillz, Totally Enormous Extinct Dinosaurs, Fake Blood, Booka Shade, DJ Nu-Mark, Django Django, Adrian Lux, Maya Jane Coles, Coolio, Icona Pop, AC Slater, Danny Daze, Araabmuzik, Van She, Breakbot, Jesse Rose, Jaguar Skills, Hudson Mohawke, Scuba and more to be announced.
GRIZZLY/DRUGS/BEIRUT SUPPORTS OUT With just three weeks until their arrival, Grizzly Bear, The War On Drugs and Beirut have announced supports for their November Harvest sideshows. Supporting Grizzly Bear will be Kirin J Callinan, The War On Drugs have Good Heavens and Beirut have Otouto. Tickets are still available for Beirut on Wednesday 14 November at the Enmore Theatre and The War On Drugs on Thursday 15 at Oxford Art Factory.
MUSSEL-ING IN
ENTER CHOW TOWN
Harmonica master Charlie Musselwhite is a bona fide blues legend, having released over 30 albums the past 43 years. You can catch him at the Heritage Hotel Thursday 25 October, Lizotte’s Newcastle Friday 26, The Basement Circular Quay Saturday 27, the Sydney Blues and Roots Festival Sunday 28 and the Southern Cross Club Canberra Thursday 1 November.
For 2013 Big Day Out are embracing the art of great festival food as part of the expanding BDO experience. With renegade Porteno/Bodega boys Ben Milgate and Elvis Abrahanowicz as the ‘Culinary Outlaw’ ambassadors for Chow Town, you can expect food that is music to your mouth. The event takes place Friday 18 January at the Showgrounds.
22 • For more news/announcements go to themusic.com.au/news
It’s been a busy few months for Firewind ever since releasing their highly anticipated and heaviest album to date, Few Against Many. April 2013 will see Firewind land on Australian soil in support of the album. They play Saturday 27 April at The Bald Faced Stag. Earlybird tickets are available on Thursday 15 November.
The Delta Riggs
WE ALL SCREAM Primal Scream return to Australia this summer armed with Screamadelica classics, fan favourites and brand new songs. Joining Primal Scream at their headline shows will be local rock’n’roll evangelists The Delta Riggs. The show hits town on Wednesday 5 December at Enmore Theatre.
EPICA TOUR Dutch symphonic metallers Epica are set to tour the land down under for the very first time and can’t wait to bring their bombastic metal masterpieces to the Aussie metal hordes. They’ll play Friday 19 April at Metro Theatre (all-ages).
GOOD KID KENDRICK Across his career Kendrick Lamar has amassed a large following and has already worked with Dr Dre, Game, Drake, Rick Ross, Talib Kweli, Busta Rhymes, E-40, Warren G, Bun B, Tech N9ne, Lil Wayne and Lady Gaga among many other artists. His majorlabel debut album good kid, m.A.A.d city, is set to be released in Australia this week and he’s announced a tour. He’ll play Friday 14 December at The Metro.
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New EP SHAKING HANDS out Oct 12 on Mercury Records. Features TAKE A CARD & PALE RIDER. 23
FOREWORD LINE
NEWS FROM THE FRONT
HANLON XMAS SHOWS After a multifaceted year that included the operating of an underground speakeasy/venue in a bookshop in Melbourne, a period living in a bread truck and brief jaunts playing his songs for audiences in Europe and America, Darren Hanlon will stop in a town near you this December to play his ritualistic Christmas shows. He’s playing Saturday 15 December at The Street Theatre (Canberra) and Saturday 22 at St Stephens Anglican Church in Newtown.
I N D U S T RY N E W S W I T H S C O T T F I T Z S I M O N S frontline@streetpress.com.au
STRAIGHT EDGE MESSAGE Earth Crisis empower those searching for a straight path amidst a world of chaos. Two decades on, they continue to spread their message of human and animal liberation and drug-free living whilst releasing album after album. Returning to our shores for the first time in over two years, and in support of their latest album Neutralize The Threat, don’t miss your chance to see Earth Crisis on Friday 1 February at Manning Bar.
Dave McCormack, Antony Partos and Michael Lira @ the 2011 Screen Music Awards
SCREEN MUSIC AWARDS NOMS Nominations for this year’s Screen Music Awards have been announced, with the nation’s best composers for the screen recognised in the APRApresented awards. Across the 12 categories 61 composers are represented, and ABC’s The Slap has picked up the most nominations (Best Television Theme, Music for a Mini-Series or Telemovie and Soundtrack Album). As a result Antony Partos is the composer with the most nominations, with the three for The Slap and one for Mabo. Dead Can Dance’s Lisa Gerrard has picked up a nomination for her work on feature film Burning Man while Custard’s Dave McCormack appears again with collaborator Michael Lira for their work on television period drama Wild Boys in the category of Television Series Or Serial. The awards will take place on Monday 19 November at BMW Edge at Federation Square.
RICHARD BRANSON, PAUL DAINTY PARTNER GLOBAL VENTURE Richard Branson’s Virgin Group and Paul Dainty’s Australian touring company Dainty Group have announced a new global touring venture, Virgin Live, whose first tour is the upcoming Rolling Stones shows in London and New York. The legendary rock’n’roll band will return to the live arena this November and December, celebrating their 50th anniversary by playing two shows at London’s 02 Arena and two at Prudential Centre in Newark, near New York. Both Branson and Dainty having long working relationships with the band. Production company Endemol will also be partnering with Dainty to manage the international digital rights for the shows. Dainty said, “I am extremely excited about this collaboration with Virgin. There will be a lot more to say about Virgin Live soon but, for now, it’s all about the Stones.” He added that the shows were a “must-see”, saying, “I’ve worked with the Rolling Stones for many years and I still get a buzz every time I see them live.” Richard Branson – one of the world’s most famous businessmen – and founder of Virgin Records said: “In the future Virgin Live plans to make a real difference to how fans experience, interact and enjoy live events – Virgin Live gigs will be truly people driven. It’s great to join forces with Dainty Group to launch Virgin Live with the Rolling Stones 50th Anniversary shows. Who would have believed that a relationship with the band that started in the sixties, would still be going strong five decades later with us working together again on these amazing shows.” Branson was rumoured to be in the market for Virgin Records in the break-up of EMI’s recorded music division following the aftermath of its sale to Universal Music Group, and this is a strong indicator that the tycoon is looking to music again. As part of Dainty’s partnership with Endemol, the second American show will be telecast live via pay-per-view to American audiences through wrestling and pay-per-view giant WWE. Endemol Group’s president Tim Hincks said that the shows are, “set to be a phenomenal global celebration of the Rolling Stones.” The shows will take place Sunday 25 and Thursday 29 November in London, then Thursday 13 and Saturday 15 December in Newark.
SCA PARTNER WITH SONY, UNIVERSAL IN DIGITAL VENTURE Radio giant Southern Cross Austereo has bought into Universal Music Australia and Sony Music Entertainment Australia’s digital music business Digital Music Distribution. The announcement said that SCA’s multimedia presence and entertainment delivery platforms would help Sony and Universal create “cutting edge music solutions” through DMD. Universal Music Australia Managing Director George Ash said that, “The combined expertise of Universal, Sony and SCA will bring unique approaches to music and entertainment delivery in the Australian market and we are proud to be a cornerstone in that process.”
PRESENTED BY
Sarah Blasko
AWAKENING THE BEAST Sarah Blasko will take her new album I Awake on the road with her in February and it’s set to be a big affair. Taking in all states, Blasko has invited an orchestra in each capital city to accompany her, rousing the beast that is I Awake. Catch the show on Sunday 17 February at Sydney Opera House. Tickets on sale from Friday.
LAGWAGON SUPPORTS
SHUT UP AND DRIVE
Opening bands have been confirmed for Lagwagon’s Australian tour this December. On Friday 30 November at The Cambridge Hotel (Newcastle) they’ll be joined by Local Resident Failure, Saturday 1 December at The Manning Bar will feature Milhouse and Sunday 2 at UniBar (Wollongong) gets Harbourer.
To celebrate the release of the band’s fourth album, Atlas, the Parkway Drive pop-up shop will be open for three days commencing Friday at The Basement (Newtown). Fans will be able to get their hands on a copy of the brand new album as well as first opportunity to get their hands on brand new merch designs as well as plenty of favourites. In addition, on Saturday afternoon Parkway Drive will be in the store from 2pm to meet fans and sign copies of the brand new album.
FOOT FAULT The Faults’ frenzied sound is fuzzed-out guitars with a unique willingness to embrace melody through the lens of garage grit. They’ve played Sydney’s best and worst venues and released their first EP last year, now they’re back with their second EP, Patients, which they’ll launch on Tuesday 30 October at Jurassic Lounge at the Australian Museum and Friday 16 November at Goodgod Small Club.
HURRICANE SUPPORT SLOT This year has encompassed a string of achievements for Melbourne hardcore band House Vs Hurricane. The band have now been invited to support punkrock icons Alexisonfire on their final ever shows in Australia, plus they’ll play a couple of their own dates this spring/summer. They play Lift Off Festival (Canberra) on Saturday 8 November, support Alexisonfire on Tuesday 11 December at Hordern Pavilion and also play Big Day Out.
PARAMORE SIDEWAVE With millions of album sales, a Grammy nomination and a slew of sold-out signs gracing stadiums across the globe, Paramore will be playing their only Australian Soundwave sideshow, a headline show at Enmore Theatre on Thursday 21 February. Tickets go on sale Friday at 9am.
ALL BUTT Spencer P Jones & The Nothing Butts take their debut self-titled album on the road for the first and last time. It’s a group made in rock’n’roll heaven: Spencer P Jones, James Baker, Gareth Liddiard and Fiona Kitschin. They’ll play Saturday 15 December at The Annandale Hotel with support from Jed Kurzel (solo) and Bittersweet Kicks. Doors open 8pm.
Liz Stringer
Jordie Lane is excited to announce that Liz Stringer will be the main support for his Fool For Love Tour in November/December. Stringer has just released her critically acclaimed fourth album Warm In The Darkness and has been nominated for Best Album and Best Female Artist for the EG Awards. Catch them on Thursday 22 November at Smiths Alternative Bookshop (Canberra), Friday 14 December at The Great Northern Hotel (Newcastle), Saturday 15 at Notes Live and Sunday 16 at Clarendon Guesthouse (Katoomba).
MILLER’S MEET THE MISSES Meet The Misses is Lisa Miller’s seventh solo album. It reprises her own songs from the long-unavailable first two albums – Quiet Girl With A Credit Card from 1996 and As Far As A Life Goes from 1999. Despite her best efforts, Miller has never been able to acquire the rights to those recordings and so they have languished in the vaults. The new album is not an attempt to recreate the old albums but rather to find a new way of looking at these songs. On the upcoming Meet The Misses Tour she’ll play Friday 30 November at Camelot Lounge and Saturday 1 December at Clarendon Guest House (Katoomba).
OPEN UP, IT’S THE PIGS The Pigs are pleased to announce their long-awaited new album The Great Bluegrass Swindle. The Pigs are known for their interpretations of other people’s songs and for their infectious original tunes. They’re touring to celebrate and their first dates in Drum parts will see them play Saturday 10 November at Katoomba RSL and Friday 16 at Newcastle Leagues. They also have a bunch of dates planned in the New Year, Friday 1 March at the Old Many Boatshed and Saturday 2 at the Brass Monkey.
SECRET COLDPLAY SHOWS
Supports have now been announced for Best Coast’s Australian Summer Tour. On Thursday 3 January at Metro Theatre, Sydneysiders will be partying down to the garage sounds of Brisbane surf-rockers Dune Rats.
ON SKAFARI
SHIP SHAPE
Australia has some weird and outrageous native creatures. Have you seen a Thorny Devil? What the fuck is that? No matter how weird the Thorny Devil is, no creatures are more outrageous than The Bennies, Kujo Kings and Phat Meegz. These elusive creatures are going on Skafari and will be on display on Friday 21 December at The Annandale Hotel, Saturday 22 at Yours & Owls (Wollongong) and Sunday 23 at The Cambridge Hotel (Newcastle).
The Good Ship are heading back out on the road to show off their latest single, the third release from their second album O’ Exquisite Corpse. It’s been a frenetic year for the Brisbane eight-piece, who have supplemented their usual hectic touring schedule with coveted BIGSOUND and Australasian World Music Expo showcases. They’ll play The Sandringham Hotel on Saturday 1 December and Yours & Owls (Wollongong) on Sunday 2.
24 • For more news/announcements go to themusic.com.au/news
After The Fall return triumphant with fourth album Bittersweet and some serious lessons under their collective belt. The pop-rock quartet were one of the most successful acts to emerge from the ripe Central Coast punk rock scene in the mid-’00s. Tunes like Mirror, Mirror and Concrete Boots were radio and live staples for the band, who toured constantly around Australia. Check out the new jams and get sweaty with After The Fall on Thursday 29 November at The Bald Faced Stag and Saturday 1 December at The Great Northern (Newcastle).
Following the ethereal and dream-like songs on her 2011 debut album Meditations On The Sun, Melodie Nelson has created something a little darker and synth-driven on To The Dollhouse. She will launch the album at Raval on Friday 16 November. To The Dollhouse is out Friday 2 November.
To celebrate the release of Coldplay Live 2012 on DVD, CD and Blu-Ray on Friday 16 November, Huawei Ascend Smartphones present two very exclusive money-can’t-buy Coldplay events. Offering the ultimate superfan experience, selected winners will have the chance to see Coldplay like never before at special secret performances on Thursday 15 November. For a chance to win, head to facebook.com/huaweideviceaustralia.
COAST RATS
FALLING OVER
MELODIE’S MEDITATIONS
STRINGER JOINS LANE
Paramore
After The Fall
Elvis Costello
COSTELLO ON THE GREEN In keeping with the exuberant musicality that has defined his three-decade plus career, Elvis Costello has some tasty treats in store for A Day On The Green and some special theatre performances. As well as playing a Spectacular Spinning Songbook show on Wednesday 30 January at The State Theatre, Elvis Costello & The Imposters will be joined by Sunnyboys, Jo Jo Zep & The Falcons, Tex Perkins & the Dark Horses and Stephen Cummings in a not-to-be-missed five hours of musical splendour at A Day On The Green, which happens on Saturday 2 February at Bimbadgen Winery (Hunter Valley).
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FOREWORD LINE
NEWS FROM THE FRONT
USE THE FORCE It’s been almost a year since Kid Kenobi’s last release (2011’s Bass Music EP). That’s not to say he’s been laying low, The Kid has been busy running a label as well as writing club hits as one half of Too Fresh with his brother Hugga Thugg. But change is in the air, and with new label management looming The Kid has decided to shift focus back on to his own music and his latest EP, Music For Klub Kids, looks to spearhead the new focus. His tour touches down on Friday at King Street Hotel (Newcastle), Saturday 3 November at Chinese Laundry and Saturday 24 Clubhouse (Canberra).
I N D U S T RY N E W S W I T H S C O T T F I T Z S I M O N S frontline@streetpress.com.au
ALLANS, BILLY HYDE STORES TO CLOSE SOON It was revealed last week that Australian Music Group Holdings, the owners of Allans Billy Hyde, will be shut down and all arms of the music retail outlets will be closed within weeks. The group went into receivership in August of this year, though former CEO John Helme was optimistic a buyer could be found. One of those buyers could have been Gibson guitar distributor and owner of the Gallin’s Musician’s Pro Shop retail chain Con Gallin – he made an offer to buy the debt-ridden Australian Music Group, but was knocked back. Four franchise stores also existed alongside the 25 company-owned stores; those four stores will continue to operate as per normal.
NORTHCOTE SOCIAL CLUB OWNERS TO LAUNCH SYDNEY VENUE The team behind Melbourne venues The Corner and the Northcote Social Club are gearing up to launch a new venue in Sydney’s inner-west, Newtown Social Club. It is believed that a venue will be built from the ground up in Newtown and it is unclear if live music will feature immediately. Way Over There’s Richard Moffat – who books the Melbourne venues – told theMusic.com.au that there was “essentially nothing to promote yet”. On the venue’s new Facebook page it is described as, “A free-entry social club with friendly staff, great food, great drinks and all our favourite local, national and international tunes pumping through the place”.
PRESENTED BY
Two Door Cinema Club
CLUB BANGERS Two Door Cinema Club have just unveiled a new video for album favourite Sun, which premiered on the band’s website this week. They’re out for Falls, Southbound and Field Day in January and have just announced a massive all-ages headline show at Hordern Pavilion on Thursday 3 January. Tickets go on sale this Monday at 9am and if the previously announced Melbourne and Brisbane sideshows sales are anything to go by, you’ll need to get in quick.
OUT OF THE UNDERGROUND From formative days earning his stripes spinning hip hop, house and rave on pirate radio, and at parties around Essex and East London, Ben Sims has spent all his conscious life exploring all facets of underground dance music. The man has honed his reputation as a tight, energetic mixer who weaves together his own distinctive blend of tough funk and hardgrooves, often using three-deck wizardry and plenty of dexterity. He’s touring and will play as part of Melbourne Music Week on Saturday 17 November at Chinese Laundry.
include an extended set with The CO-OPerative at Goodgod Small Club on Saturday 3 November.
DECK THE HALLS
BRINGING HIS A-GAME
After the release of the first single, Dance In Costume, in July this year and shows around the country, The Fumes are still writing, demoing and recording what was at first to be an album, then an EP and now looking like becoming an album again. They are heading back out on the road in November for a short run of shows, mainly just for a hoot. They’ll play Thursday 15 November at The Annandale Hotel, Friday 16 at The Cambridge Hotel (Newastle) and Sunday 18 at The Heritage Hotel (Wollongong).
Multi-award winning Canadian soul and roots singersongwriter Charlie A’Court is ready to grace our shores on the eve of the release of his new album, Sun Is Gonna Shine. Don’t miss your chance to experience a truly unforgettable, emotionally-charged performance that is Charlie A’Court live when he plays the Sydney Blues & Roots Festival this weekend, Tuesday 30 October at Cafe Lounge, Thursday 1 and Friday 2 November at the Brass Monkey and Saturday 3 at Lizotte’s (Dee Why).
Detroit’s deep-house legend Delano Smith lands in Australia shortly for his debut tour, a visit which will
26 • For more news/announcements go to themusic.com.au/news
Stereosonic are pleased to announce that Strange Talk have been added to the already massive line-up. They’ve also announced the local artist line-up and it includes Alley Oop, Amber Savage, Future Classic DJs, Generik, Leah Mencel, Matrix Vs Scotty G, Matt Ferreira, Nina Las Vegas, Nukewood, Peking Duk, Phetsta, Starfuckers and a pile more. Third release tickets are still available. The event takes place on Saturday 24 November at Olympic Park.
The Hollies have been responsible for a remarkably varied and intriguing catalogue of music and are turning 50. They appeared on the BBC’s first Top Of The Pops on New Year’s Day 1964, along with The Stones, Dusty Springfield and The Beatles. In celebration of their five decades of success, The Hollies will be touring Australia in February and visit The State Theatre on Thursday 7.
GET A WHIFF
SMITH IN THE (DEEP) HOUSE
GIBBERISH
MORE HANSARD Sydney Opera House have announced a second performance for Glen Hansard with The Frames. The two shows fall on Monday 25 and Tuesday 26 March.
Ben Sollee
CHANGING MINDS Ben Sollee returns to wow Australian audiences in January, this time as a duo with the hyper-versatile percussionist Jordon Ellis. When you think of the cello, you normally don’t think of it as a foot-tapping kind of instrument. But for the past decade, Kentucky cellist Sollee has been changing minds all over the world with his brand of soulful, indie-tinged folk, with his voice and said stringed implement up front. He plays Saturday 5 January at Lizotte’s (Kincumber), Sunday 6 at Clarendon Guesthouse (Katoomba) and Wednesday 9 at Notes.
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As album four approaches, Parkway Drive and their frontman Winston McCall admit they’re some of the luckiest damn kids in Australia. He tells Scott Fitzsimons how they’ll make the most of it. Cover pic by Kane Hibberd. his is what happens when friends get lucky, and know they got lucky, rather than getting lucky and thinking they deserve it somehow.” So says Parkway Drive’s vocalist Winston McCall – ferocious when on stage, but utterly approachable while chatting in a Sydney pub, wearing shades against the sun in a look that is typical of his Byron Bay beginnings. He’s talking about the juggernaut that is Parkway Drive who, as they approach their fourth album, Atlas, have left a lasting mark on heavy music in this country
“T
is their context. They’ve become the defining band of a genre and an era that has seen many – if not most – of their contemporaries fall by the wayside. When the band formed, they were entering into an alternative scene that was just about to explode. Bands like themselves, I Killed The Prom Queen (who their first release was a split EP with), Carpathian and The Amity Affliction became regular high school war cries and, to an extent, veterans like Mindsnare and Toe To Toe found new audiences. But like all phases, the flame of the emo and the hardcore boom – the two groups of kids fuelling one another – began to flicker before the turn of the decade. All-ages shows started to dry up and mid-level bands stopped touring every second month. Parkway Drive were the exception to the fizzle; having opened the international channels early in the peace, they became the biggest success of that scene. They are the career that will write those years into heavy Australian music history. “It’s pretty weird,” McCall admits. “We do [take it on], but it’s always in a, ‘I can’t believe we’ve won awards, and that people come to the shows in the numbers
some of the more production-heavy tracks to the stage, McCall says things like “that song is a mission… but we can always come back and tour with an orchestra or something,” like it’s a real possibility. Safe to say, they’ve ‘made it’. “‘Made it’ happened years ago,” he clarifies. “There’s been so many points in this career that we were like, ‘This is it, this is as big as it’s going to get, enjoy this moment because this is amazing.’ We’ve said it at 300-people shows, we’ve said it when records came out, we’ve said it the first time we ever walked into a recording studio.
now is at the point of, ‘What else can we do?’” That mantra is evident in Atlas, a record that hasn’t so much reinvented the wheel for Parkway as it has built a bigger vehicle for them. They haven’t always been satisfied with their producer (Adam Dutkiewicz – too perfect on Killing With A Smile; Joe Barresi – too loose on Deep Blue), but with Matt Hyde, Atlas has found that middle ground and the band’s songwriting is continually creeping forward. “When it comes to writing, slowly we always push the envelope – a little bit, a little bit…” McCall explains. “It’s not a massive conscious thing about what people will think of it, it’s just between us. The understanding between us and the fans seems to work pretty well.”
of people coming, but what we can actually do with the band in regards to the band in making it something unique. The amount of touring we’re doing can slow down a little bit, but we want to make it worth it when people come to see us.” McCall adds, “There’s definitely some new music on this record that is bigger in a sonic sense, and in an emotional sense. I think we can do more visually to give more impact to the music than just us on stage, which I think has worked great for us up until this point in time. We really love doing it, and we don’t want to take away that element. But I’ve seen a lot of gigs in the last few years where I’m like, ‘Wow’. I think if you tie in extra elements – if your visual sense is stimulated as well as your hearing – it has a hell of a lot more impact, which is where we’re heading.”
Ther Th erre’ e’ss m moore to thhiss stoory r
on the iPad
DRIVING OFF THE MAP Through it all you can’t say that Parkway haven’t
and have cemented themselves as one of the nation’s top musical exports. If one needed evidence, you’d only need look to this year’s platinum-selling Home Is For The Heartless tour documentary. It shows five friends travelling the world, often to places other bands wouldn’t dare visit, making the most of a moment that must have originally seemed fleeting but has now lasted the better part of a decade. Truth be told, Parkway Drive’s story isn’t all that remarkable. In 2002 five guys from Byron Bay indulge in riff-heavy metalcore during their spare time and people start to take to it like basketball shorts to a mosh. What is special
that they do,’ sort of way. We definitely are one of those bands who happened to be right place, right time, right sound. It’s a complete fluke in regards to all those chance factors. We do look back and think, ‘Man, if we had started six months later this wouldn’t be happening. If we had written songs that were a little bit different, this wouldn’t be happening.’ There was going to be clean singing on Killing With A Smile, but the bass player at the time screwed up. So it could have been completely different, we could have written a record that people went, ‘Urgh, clean singing’. So many things could have changed in the band’s trajectory that would have had us fall out of that arc of what sounds were in at the time.” The career decisions Parkway have made have always seemed to be the right ones, but things are, remarkably, still getting bigger. And shit, while talking about bringing
“It’s still just a big mindfuck, basically; we just go along with it. We’re really, really stoked to be doing what we’re doing and I’m sure we sound like ‘trying to please everyone’ wankers, but it really is [how we feel]. No one can predict this shit and we’re so stoked to be doing what we’re doing. We had so much fun recording this record and I’m really, really psyched to play it. Everything
made their own luck. Relentless touring and a non-stop work ethic has helped their cause no end throughout this first decade together, but that can’t last forever. Their live show is set to get a substantial facelift next time around as the band develop an Altas show that can be toured anywhere in the world. “We want to make the shows something bigger. And I don’t mean the amount
Because, in the end, “Kids react universally in a really positive way,” McCall beams. “The shows overseas are mind-blowing these days. It’s so insane to think that that reaction is happening overseas. I can still remember the first time we toured overseas, playing a show and there were like 1,200 people and we were like, ‘Holy crap, this is insane. I can’t believe so many people are going psycho’. The shows overseas are twice as big as that now, it’s ridiculous. And the kids are losing their shit.” Despite their international adulation, Parkway remain an Australian band, and there’s a sense of ownership from those fans who moshed their way
through gigs in that scene that launched the band in the last decade. It goes back to the sense of, ‘Parkway Drive is our success story’. “To have that [international response] in your head is really bizarre, and you forget how insane Australia actually is until you get back to Australia. There seems to be a hell of a lot of pride in that we are a local band, and we’re stoked on that as well.” WHO: Parkway Drive WHAT: Atlas (Resist) WHEN & WHERE: Thursday 13 December, Byron Bay High School; Saturday 15 , Hordern Pavilion; Sunday 16, UC Refectory, Canberra; Monday 17, Panthers Newcastle
HOW TO MAKE IT IN AMERICA (…AND EUROPE) It’s a hard but true fact that Australia’s heavy scene just can’t support as much as we’d like it to and a band the size of Parkway (or The Amity Affliction these days) just has to go overseas to grow. According to McCall, networking is key. “I don’t think people realise how much networking, in the sense of touring with international bands, helps local bands. It would get us in contacts with labels who [we could work with] and vice versa.” Would you say that networking was the key to Parkway’s overseas success? “Absolutely, 100 percent. 100 percent. You’re talking about MySpace booming at the exact same time, but that also ties in because, like I said, the first international tours we had were because we did swaps with other bands because we made friends with them online or through Graz [Graham Nixon, manager and head of Resist Records] knowing someone at a label and saying, ‘Hey, do you guys wanna come over if we bring you over to Australia and do a tour with us, we’re doing OK. Then, do you wanna take us on some dates over there?’ And that’s how it happened. “That was literally the only way you could leave the country. And that still happens, you see bands coming over and swapping with Australian bands. The Amity Affliction, House Vs Hurricane… they all swap to help them out. And I think that is a fantastic thing – that’s the way the community works.”
THE ITALIAN JOB Pathologically restless, the man best known for fronting ‘90s metal favourites Faith No More, Mike Patton is about to bring his ambitious Mondo Cane and his battering Tomahawk projects down under. Christopher H James asks how he packs an orchestra into a suitcase. e may have been dubbed ‘The Pavarotti of Metal’ but, given our subject’s lengthy list of achievements, we should probably start calling Pavarotti ‘the Mike Patton of Opera’. Outside of the band that he’s best known for, Faith No More, he may not have scored too many platinum albums, but the labyrinthine body of work he’s established truly boggles the mind. In addition to being a permanent member of Tomahawk (the group you see pictured), Fantômas and Mr. Bungle, he’s notched up collaborations with Dillinger Escape Plan, Björk, deviate hip hop producer Dan The Automator and avant-jazz musician John Zorn, whilst maintaining hobbies such as providing voices for video games, monster noises for movies and running his own label, Ipecac Recordings, since 1999.
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His latest project Mondo Cane (pronounced “kah-neh”) sees him breathing new life into ‘60s pop standards and obscurities from the land shaped like a boot, with the aid of a 40-piece orchestra, a choir and a 15-piece band. As a former Bologna resident and fluent Italian speaker it seems a natural enough fit, but surely it would require army style logistics to cart the supporting cast abroad. “Yeees, in a word,“ he concedes with a cackle. “Basically so difficult that I had to record [the album] live and, sort of, re-touch it in the studio, if you will. This is not something I could afford to do; to bring into a studio and record that way. So I recorded some live shows that we did, thinking ‘If they turn out well, maybe I’ll make a record out of it.’ Turned out really well. So it’s an unofficial live recording. I was trying to create the illusion that it wasn’t live.”
decision. This is what I’ve chosen and I’m committed to it.” But has he made the right decisions? “Yeah, so far,” he muses nonchalantly. “Could change at moment’s notice? Who knows? Who knows? Maybe when I’m 60 I’ll open up a kennel and start raising dogs.” WHO: Mike Patton’s Mondo Cane and Tomahawk WHAT: Oddfellows/Mondo Cane (both Ipecac) WHEN & WHERE: Saturday 17 November, Harvest Festival, Parramatta Park (Mondo Cane); Sunday 24 February, Soundwave Festival, Olympic Park (Tomahawk)
Nonetheless, the full touring band will still be a feast for the eyes. “It’s about 25 people onstage,” he confirms. “A ten-piece band and twelve strings. I re-orchestrated everything; me and the guy that arranged the record, Daniele Luppi, who’s amazing. It’s proved still to be very difficult, but it’s much easier with 25. There’s many more keyboard players onstage, meaning there’s a little bit heavier use of sampling and synthesized sounds. Basically what we had to decide was ‘Do we need four trombones?’ ‘Nah, let’s sample that.’ Y’know what I mean? The important thing I thought was the violins. We’re using mostly violins for the string parts and to be honest those are the ones you hear the most, they’re the highest register and they translate the best in a live setting.” Unexpected perhaps, but this diversion into Italian pop accentuates his flamboyant onstage persona – one that exudes machismo and masochism in equal quantities – whilst making the most of majestic vocal talents. His speaking voice isn’t that bad either. Never mind onstage presence, of all the people I’ve interviewed, he’s the only one with genuine telephone presence; commanding, but still friendly with a kind of boyish excitement, possibly fuelled by heavy doses of Italy’s finest coffee – caffeine being the only drug he consumes, or so it’s claimed. The Mondo Cane album is not a one-off however; there’s another just around the corner. According to Patton it’s, “…half done already. I just have to put it in the assembly line and get it done. It basically was done by the same method the first one was done; a lot of tracks were recorded live, taken into the studio, chopped up, overdubbed, to try and create the illusion that it’s actually a studio record. It’s about the same number of tunes as the first one; ten or eleven. It’s basically about half of the repertoire that we play live.” Attendees of the upcoming Harvest Festival will get plentiful helpings of both records, he affirms. If that’s still not enough Latin Patton for you – pick up his collaboration with Belgian outfit Ictus Ensemble Laborintus II; a classical, Italian language work released earlier this year. I ask him if as he gets older he’ll be moving away from aggressive music towards comparatively sedate works. “Not necessarily,” he counters. “I just feel that I need to have a balance, and that’s part of the reason that I’ve been doing some film soundtrack stuff [for The Place Beyond The Pines] for the last year and a half or so, and I then felt like it was time to go ‘I gotta get Tomahawk.’ I felt that void in my life, y’know what I mean? It’s like with Fantômas, ‘I gotta do another Fantômas record now’. I go where I feel is appropriate at the moment. There are certain things that I do feel; I’d like to tour less, which means obviously maybe less band stuff? Y’know, sometimes I’m home for a while and I feel like touring. That’s why I say I think it’s more about with me not making a plan for myself. Just maintaining a balance and letting that take me where it does.” Speaking of Tomahawk, their new album Oddfellows is done. “Today is our last day in the studio,” he explains. “I’m not present. They’re doing it there in Nashville. Via email and phone I’m approving mixes and whatnot.” I mention that Tomahawk have been announced to play next year’s Soundwave Festival, but he doesn’t comment. It seems to be part of his interview technique that he doesn’t bite on open ended questions. Famously guarded about his private life, it’s an interview that feels somewhat like a game of tactical manoeuvres. Every time he responds you can almost sense he has a road map of where he wants the answer to go and how he’s going to get there. He’s been known to roast unsuspecting journos for breakfast, but fortunately I seem well prepared enough to be spared that treatment. What fuels his extraordinary work ethic? “If I knew what it was I probably wouldn’t be talking to you now,” he speculates. “I’d probably be at the fountain drinking from it. It’s something that feels natural; it feels like something that I need to do. I don’t have a typical lifestyle that other people have. It allows me to make the decisions I have made. I’ve been able to carve out a little place for myself personally where I have the time and the energy to do that and it means making some sacrifices, obviously, and it doesn’t make for the best personal life in the world, But, y’know, you deal with the consequences. It’s just important for me to work.” You feel like you’ve made big sacrifices, I ask? “Yeah, everybody does, in anything they do that they care about. You can’t do everything like the perfect human being. You have to say ‘What’s my priority; what’s important to me?’ and that automatically eliminates other things. Maybe my social life’s not so great. Maybe other things… family stuff, maybe that’s not so happening, like other people. But, I’ve made my
For more interviews go to themusic.com.au/interviews • 29
GREAT EXPECTATIONS “Lana Del Rey is a retired singer, now. She’s like Cher in the ’90s.” The Vaccines guitarist Freddie Cowan provides an example of how sped-up a recording artist’s career trajectory has become as Anthony Carew takes heed. reddie Cowan raises an eyebrow. A smirk crosses his lips. He’s heard the word ‘expectations’; his band, the ridiculously hyped UK combo The Vaccines, all too familiar with both the expectations and being asked about them. “I feel like every interview I’ve ever done asks about expectations,” smiles the 23-year-old guitarist. “Expectations after your first gig, your first demo, your first single, your second single, your first album – expectations of what? What are we actually talking about? What are we trying to achieve here?
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“In reality, The Vaccines just want to make music, and we want to tour. But all this talk of expectations – it’s clear people all want something of us. That we should be striving to be the biggest band in the world, or not the biggest band in the
WED NOV 14 CLARENDON GUESTHOUSE, KATOOMBA THU NOV 15 THE ABBEY, CANBERRA FRI NOV 16 THE FITZROY, WINDSOR SAT NOV 17 COOGEE BAY DIGGERS, SYDNEY SUN NOV 18 THE BASEMENT, SYDNEY MON DEC 10 LIZOTTES, NEWCASTLE TUE DEC 11 LIZOTTES, KINCUMBER WED DEC 12 LIZOTTES, DEE WHY FRI DEC 14 THE FACTORY THEATRE, SYDNEY SAT DEC 15 THE HERITAGE, WOLLONGONG SUN DEC 16 THE VANGUARD, SYDNEY TUE DEC 18 & THE BRASS MONKEY, WED DEC 19 CRONULLA
world, or a band that should be more ambitious, or a band that should be less ambitious, that should be making slicker records, or should be making dirtier records. That’s journalism, I guess, you’ve gotta have something to talk about. And maybe we’re not giving them enough?” If, as those overused and variously attributed (Brian Eno? Frank Zappa? Elvis Costello?) quotes go, music criticism is so much dancing about architecture, then writing about The Vaccines is dancing about dancing about architecture; all interpretive pirouettes so removed from the literal building as to be its own art. After all, The Vaccines’ music is, essentially, a slightly garage-y version of landfill indie; perhaps, as Cowan says, they’re not much to write about. But since their first gig, the Brit-rock buzz about The Vaccines has been so constant, so hysterical, that it is the story; a tale of hype and backlash and the music industry; of bands-as-memes, and debates over nepotism and privilege and music-industry machinations. Are they, perhaps, just the Lana Del Rey of slightly garage-y, landfill indie? “It’s funny, I’m talking now as if I’m writing my biography,” Cowan notices, where he’s speaking about the band’s birth, in 2010, and debut with 2011’s What Did You Expect From The Vaccines? as if it’s ancient history. “We’ve only just finished our first album campaign, but already people are talking about us as if we were something that happened. But that’s how things are now: everything is so sped-up. Lana Del Rey is a retired singer, now. She’s like Cher in the ’90s. You know what I mean? She’s thought of as a superstar, she has her own line of handbags, she spends more time going to premieres than performing gigs. People talk about her career as if it’s all over, and her first album came out six months ago.” The hype was born from the beginning; with the band’s insider status – Cowan is the brother of The Horrors keyboardist Tom Cowan and the pair spent years living together in a £2.45mil Fulham maisonette owned by their mother – making their first gigs well-trafficked by press types. The hype was immediate – transcending anything that The Horrors ever experienced – turning The Vaccines into overnight popstars-in-waiting in the UK, with the band eventually signing to Sony and being primed for chart success. When What Did You Expect From The Vaccines? debuted at number four, they’d been together barely over a year. Cowan had been a first-hand witness to the hype unleashed on The Horrors, and now, he was thrown into the “surreal” circus of the overnight arrival. “Any band that gets successful these days, it happens extremely quickly,” defends Cowan, of the ‘overnight success’ narrative. “It gets out on the internet and then it just goes like wildfire; things spread instantly. People don’t really get it, yet, that that’s the norm. We constantly get asked, ‘Why has it happened so quickly for you?’ But I can’t think of any band that’s come up slowly in the last few years. There are bands like Elbow or The National who played around for years, but even that just becomes a story to sell. And if they started playing together now, maybe they wouldn’t spend years playing to no one; that slow rise is for a different era.” So, as well as being asked about expectations, and overnight successes, what else are The Vaccines constantly negotiating with? “People in England are constantly talking about us, now, as the hardest-working band in the UK,” Cowan says; this, apparently, the logical reaction to a band that puts out two albums in 18 months, whilst touring all the while. “That’s our cross to bear. With The Horrors, it was the clothes. The clothes were bigger than the music for a stretch, and once the clothes were gone, lots of people just gave up on them. Now that we’re no longer that new band, I’m wondering how many people are going to give up on us.” The Vaccines are endlessly savvy about this press game; which, too, suggests their insider status. They called their debut album What Did You Expect From The Vaccines?, recalling the disappointment-etched titles of early-’00s New York hype magnets (The Strokes Is This It?, Liars’ They Threw Us All In A Trench And Stuck A Monument On Top, The Walkmen’s Everyone Who Pretended To Like Me Is Gone), and effectively pre-empting the backlash to the hype before it began. “We thought it sounded traditional, in the vein of The Other Side Of Bob Dylan or Meet The Beatles, whilst obviously being a stab at the press,” Cowan says, of their debut. “Because there was so much positive and negative anticipation for the record, it felt like it was becoming all about other people’s” – here’s that word again – “expectations. We wanted to get ahead of the inevitable backlash, in some ways, and kind of control the message that was going to be put out about [us].” Their follow-up album also pre-empts the press, but this time getting out in front of a classic critical cliché: The Vaccines Come Of Age. In this case, coming-of-age means questioning their meteoric rise (“the songs are more about, ‘Isn’t it weird getting up on stage in front of all these people, when I never wanted to be a rockstar’”), while losing the awful pop-radio-ready compression that dogged the first record (“Ethan Johns doesn’t make polished pop records, he makes rock’n’roll records,” Cowan swaggers, “no AutoTune, no editing, no click-tracks – as live as possible”). And coming-of-age also means being hype survivors, elder statesmen who can counsel bands new to Brit-rock buzz-making. “We see it in the support bands we play with, when they start to get that attention,” Cowan says. “You’re trying to find your feet and work out who you are and all of a sudden you’re being told who you are. Someone’s telling you you’re the next Clash or whatever, and there’s this immediate sense of false self-importance, you become this caricature of yourself, and it takes you further away from what you should actually be. “This time, I feel like I know who I am now, I feel like I know who we are now. But when we were going through all that, I didn’t, and that was certainly a negative thing. But it also doesn’t really matter at all. You don’t find yourself thinking too much about the expectations of the blogosphere, you just care that people are at your gigs.” WHO: The Vaccines WHAT: Come Of Age (Sony) WHEN & WHERE: Tuesday 1 January, Field Day, The Domain; Thursday 3, Hordern Pavilion
30 • For more interviews go to themusic.com.au/interviews
GREAT EXPECTATIONS “Lana Del Rey is a retired singer, now. She’s like Cher in the ’90s.” The Vaccines guitarist Freddie Cowan provides an example of how sped-up a recording artist’s career trajectory has become as Anthony Carew takes heed. reddie Cowan raises an eyebrow. A smirk crosses his lips. He’s heard the word ‘expectations’; his band, the ridiculously hyped UK combo The Vaccines, all too familiar with both the expectations and being asked about them. “I feel like every interview I’ve ever done asks about expectations,” smiles the 23-year-old guitarist. “Expectations after your first gig, your first demo, your first single, your second single, your first album – expectations of what? What are we actually talking about? What are we trying to achieve here?
F
“In reality, The Vaccines just want to make music, and we want to tour. But all this talk of expectations – it’s clear people all want something of us. That we should be striving to be the biggest band in the world, or not the biggest band in the world,
or a band that should be more ambitious, or a band that should be less ambitious, that should be making slicker records, or should be making dirtier records. That’s journalism, I guess, you’ve gotta have something to talk about. And maybe we’re not giving them enough?” If, as those overused and variously attributed (Brian Eno? Frank Zappa? Elvis Costello?) quotes go, music criticism is so much dancing about architecture, then writing about The Vaccines is dancing about dancing about architecture; all interpretive pirouettes so removed from the literal building as to be its own art. After all, The Vaccines’ music is, essentially, a slightly garage-y version of landfill indie; perhaps, as Cowan says, they’re not much to write about. But since their first gig, the Brit-rock buzz about The Vaccines has been so constant, so hysterical, that it is the story; a tale of hype and backlash and the music industry; of bands-as-memes, and debates over nepotism and privilege and music-industry machinations. Are they, perhaps, just the Lana Del Rey of slightly garage-y, landfill indie? “It’s funny, I’m talking now as if I’m writing my biography,” Cowan notices, where he’s speaking about the band’s birth, in 2010, and debut with 2011’s What Did You Expect From The Vaccines? as if it’s ancient history. “We’ve only just finished our first album campaign, but already people are talking about us as if we were something that happened. But that’s how things are now: everything is so sped-up. Lana Del Rey is a retired singer, now. She’s like Cher in the ’90s. You know what I mean? She’s thought of as a superstar, she has her own line of handbags, she spends more time going to premieres than performing gigs. People talk about her career as if it’s all over, and her first album came out six months ago.” The hype was born from the beginning; with the band’s insider status – Cowan is the brother of The Horrors keyboardist Tom Cowan and the pair spent years living together in a £2.45mil Fulham maisonette owned by their mother – making their first gigs well-trafficked by press types. The hype was immediate – transcending anything that The Horrors ever experienced – turning The Vaccines into overnight popstars-in-waiting in the UK, with the band eventually signing to Sony and being primed for chart success. When What Did You Expect From The Vaccines? debuted at number four, they’d been together barely over a year. Cowan had been a first-hand witness to the hype unleashed on The Horrors, and now, he was thrown into the “surreal” circus of the overnight arrival. “Any band that gets successful these days, it happens extremely quickly,” defends Cowan, of the ‘overnight success’ narrative. “It gets out on the internet and then it just goes like wildfire; things spread instantly. People don’t really get it, yet, that that’s the norm. We constantly get asked, ‘Why has it happened so quickly for you?’ But I can’t think of any band that’s come up slowly in the last few years. There are bands like Elbow or The National who played around for years, but even that just becomes a story to sell. And if they started playing together now, maybe they wouldn’t spend years playing to no one; that slow rise is for a different era.”
WED NOV 14 CLARENDON GUESTHOUSE, KATOOMBA THU NOV 15 THE ABBEY, CANBERRA FRI NOV 16 THE FITZROY, WINDSOR SAT NOV 17 COOGEE BAY DIGGERS, SYDNEY SUN NOV 18 THE BASEMENT, SYDNEY MON DEC 10 LIZOTTES, NEWCASTLE TUE DEC 11 LIZOTTES, KINCUMBER WED DEC 12 LIZOTTES, DEE WHY FRI DEC 14 THE FACTORY THEATRE, SYDNEY SAT DEC 15 THE HERITAGE, WOLLONGONG SUN DEC 16 THE VANGUARD, SYDNEY TUE DEC 18 & THE BRASS MONKEY, WED DEC 19 CRONULLA
So, as well as being asked about expectations, and overnight successes, what else are The Vaccines constantly negotiating with? “People in England are constantly talking about us, now, as the hardest-working band in the UK,” Cowan says; this, apparently, the logical reaction to a band that puts out two albums in 18 months, whilst touring all the while. “That’s our cross to bear. With The Horrors, it was the clothes. The clothes were bigger than the music for a stretch, and once the clothes were gone, lots of people just gave up on them. Now that we’re no longer that new band, I’m wondering how many people are going to give up on us.” The Vaccines are endlessly savvy about this press game; which, too, suggests their insider status. They called their debut album What Did You Expect From The Vaccines?, recalling the disappointment-etched titles of early-’00s New York hype magnets (The Strokes Is This It?, Liars’ They Threw Us All In A Trench And Stuck A Monument On Top, The Walkmen’s Everyone Who Pretended To Like Me Is Gone), and effectively pre-empting the backlash to the hype before it began. “We thought it sounded traditional, in the vein of The Other Side Of Bob Dylan or Meet The Beatles, whilst obviously being a stab at the press,” Cowan says, of their debut. “Because there was so much positive and negative anticipation for the record, it felt like it was becoming all about other people’s” – here’s that word again – “expectations. We wanted to get ahead of the inevitable backlash, in some ways, and kind of control the message that was going to be put out about [us].” Their follow-up album also pre-empts the press, but this time getting out in front of a classic critical cliché: The Vaccines Come Of Age. In this case, coming-of-age means questioning their meteoric rise (“the songs are more about, ‘Isn’t it weird getting up on stage in front of all these people, when I never wanted to be a rockstar’”), while losing the awful pop-radio-ready compression that dogged the first record (“Ethan Johns doesn’t make polished pop records, he makes rock’n’roll records,” Cowan swaggers, “no AutoTune, no editing, no click-tracks – as live as possible”). And coming-of-age also means being hype survivors, elder statesmen who can counsel bands new to Brit-rock buzz-making. “We see it in the support bands we play with, when they start to get that attention,” Cowan says. “You’re trying to find your feet and work out who you are and all of a sudden you’re being told who you are. Someone’s telling you you’re the next Clash or whatever, and there’s this immediate sense of false self-importance, you become this caricature of yourself, and it takes you further away from what you should actually be. “This time, I feel like I know who I am now, I feel like I know who we are now. But when we were going through all that, I didn’t, and that was certainly a negative thing. But it also doesn’t really matter at all. You don’t find yourself thinking too much about the expectations of the blogosphere, you just care that people are at your gigs.” WHO: The Vaccines WHAT: Come Of Age (Sony)
30 • For more interviews go to themusic.com.au/interviews
DAY BY DAY It’s been 20 years, six months, and 21 days since 3 Years, 5 Months and 2 Days in the Life Of… dropped Arrested Development right into the thick of pop relevance. Frontman Todd Thomas AKA Speech discusses with Rip Nicholson the band’s longevity and the current state of conscious hip hop. es, it really has been that long since Arrested Development broke through to the mainstream. Now the band is in celebration of this platinum milestone, which includes taking part in Sydney’s upcoming Cockatoo Island Festival.
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“This has been a really big highlight in our career,” emphasises Thomas. “We feel like the fans have really been with us for 20 years, and this particular year, with the shows we’ve been doing, the fans have really shown their appreciation. And there is something about the fact that we persevered and stuck with our message and our vibe, which the fans are really resonating with. It’s one thing to do 20 years; its another thing to actually stick with your guns – musically and conceptually – from what you first started with. [That’s] what I think makes it so special.” It took 3 Years, 5 Months And 2 Days… for Arrested Development to score their first record deal, giving them the title of their debut which was released in March 1992. The following year they collected two Grammy awards and topped Billboard’s album and singles charts; they etched themselves into the Rock & Roll Hall Of Fame and Rolling Stone and Village Voice voted them their respective best band of 1993. While this measures supreme industry success, Speech boils their immortality down to affirming their positive influence onto a culture widely stickered with Parental Advisory warnings by this stage in hip hop’s tryst with American history, inspiring wellknown acts out of their hometown of Atlanta, Georgia. “And they all came after us. You know, to me I feel like we opened the doors for groups like that,” opines Thomas on the influence his group laid out for hip hop, particularly in the Southern quadrant. “Goodie Mob – the fact that we came out first gave them a chance to come out and get a major label deal, in my opinion. Same with OutKast, Erykah Badu. I think the closest thing to what we did was the (Pharcyde’s) Labcabincalifornica record or maybe the Fugees (The Score) record. I think when Lauryn [Hill] talked about Zion [in To Zion], it tapped into some of the movement that Arrested Development brought to the table.
32 • For more interviews go to themusic.com.au/interviews
Theirs is a movement, not an alternate to gangsta rap, but a more Afro-centric representation of the other side of the dark moon with which rap has been portrayed. “I think it definitely was a cause to more than represent it. I wouldn’t call our style an alternative to gangsta rap but definitely a representation of other styles,” says Thomas, clarifying Arrested Development’s position. “So, there’s a difference because to me alternative means its either-or. And to me, what we wanna do is say, ‘No, there’s other sides to this. Check it out!’” The most recent work of Arrested Development is packaged in their free-to-download mixtape Standing At The Crossroads, which, as their website reads: ‘signifies the degradation of the rap genre 20 years on from their debut.’ Stand-out track My Reflection carries with it a line to surmise where Speech and Arrested Development stand today; “If Jay-Z is Jehovah then I’m the anti-Christ / and if making mad dough is living, I’m the anti-life.” “I actually like Jay-Z, but the truth is there’s more viewpoints to it,” Thomas explains. “Sell drugs, get ahead by selling drugs, start your label by selling drugs, then once you’ve made your money from selling drugs and you’ve got a nice record label and you buy some nice cars, then you really blow up and be an international mogul and just brag about all your riches while the rest of us all squalor in the mud That’s not my version of hip hop. To me my reflection is, ‘Gosh Jay-Z, you’re rich! But what about the people that decided not to sell drugs to make their living?’ I think people have forgotten the perspective of when you’re selling drugs, you’re selling drugs to the same community you’re in, so you’re killing families. That’s why to me the song Reflection is like, ‘What about the rest of us who ain’t living like that?’ I’ve done well, but I’m not living like Jay-Z by no stretch. I still take out my garbage every Thursday. So this record talks about some of the other viewpoints that get left behind in the present day hip hop population.” After the success of 3 Years, 5 Months and 2 Days… carried the 10-plus group internationally, Arrested Development released their sophomore album in 1994, Zingalamaduni – a shadow of merit that sold
poorly when compared to their first. Within two years the group disbanded, Aerle Taree forgoing his part in the group due to vocal constraints and DJ Headliner walking away with bitter disdain over finances. Speech advanced solo and Arrested Development did not record another full length until 2002’s Heroes of the Harvest. Despite the break-ups and make-ups, they furthered their catalogue with a handful more releases and today Thomas feels the reunion is in full strength. “To me it feels more together than ever,” he beams. “The reason is because the passion of the group is the same, the mission of the group is the same but we have some new blood in it and that just makes it even more exciting and more fresh. It feels real – very real and very authentic.” And rather than rekindling what once was, Thomas explains, “It’s more about two things. It’s about reflecting and celebrating the music we’ve done over the years with a lot of our classics, especially the first album. We’re celebrating it. We feel very confident about what we’ve accomplished. And then at the same time we’ve got 13 new songs that we’re gonna give away free to fans. We’ll do stuff from that because it’s brand new and in my opinion does have a very current feel to it. I think between those two things, that’s what I feel
this tour is all about. It’s about celebrating the music, celebrating 20 years and at the same time showing some new stuff that will interest people in the future.” In 2007 Arrested Development toured with INXS and Simple Minds, and in late 2011 they graced our shores again for Sydney’s Raggamuffin Festival – an experience which fed into their new album by way of stand-out track Raga Coolangatta, inspired by general rap wordplay created in the beachy town of its namesake. Thomas also found the Australian hip hop scene to be very refreshing, separated from the overhype of most rap materialism. “You guys are one of the saving graces of hip hop,” declares Thomas. “Anyone who really understands the art of it and loves the art of it and lives it, when you get to Australia it’s a breath of fresh air. It’s a desert and you find an oasis. There’s a few other places like it, but there’s not many, and we appreciate it.” WHO: Arrested Development WHAT: Standing At The Crossroads (Vagabond/EMI) WHEN & WHERE: Thursday 25 October, Cockatoo Island Festival, Cockatoo Island
ANOTHER DAY They said he’d never make a career of it, but more than 15 years on glam-punk’s chief ghoul scout Wednesday 13 is still digging graves. Brendan Crabb grabs a shovel. don’t know how or why and I’m not gonna question it because I love it,” vocalist Wednesday 13 (real name Joseph Poole) says when asked about his rapidly swelling Australian following. He was last seen Down Under in February/March for Soundwave. “It just blows my mind how the fan base has grown over the past couple of years. I came back in 2010 to do a couple of headline shows; they were my first shows in five years. I had no idea if my records were even available in Australia, or if people knew who I was anymore. The shows were packed and bigger than the ones I did five years ago when I was on Roadrunner, a major label,” he laughs.
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“It’s things like that which reassure me that I haven’t been wasting my time, and when people told me when I was growing up that what you’re doing is stupid and no one will ever want to be a part of that, or there’s no one out there who wants to hear what you’re singing about. I’ve proven people wrong with that and it’s become worldwide. I can go to Australia and just have this rabid fan base of kids that eat and breathe what I sing about. I think Australia right now is the most rabid audience that I have anywhere in the world that I’ve seen so far.”
was really great in my opinion and one of my favourite things I’ve recorded. Every day working on that record was a special time. I didn’t think it would ever happen again, so if that’s where it stays, then I’m okay with it. “I wish I could say that [it will be a shorter wait between albums] but I think it could be as long, or even longer, if it ever happens again. I think it might have been the spark that band has. I don’t want to say never, or [destroy] anybody’s hopes or dreams of it ever happening again. I don’t know the future; anything’s possible.” WHO: Wednesday 13 WHAT: Spook And Destroy (Riot) WHEN & WHERE: Friday 26 October, Manning Bar
The frontman attributes much of this success to maintaining a hectic recording and touring schedule. The sometime Murderdolls screamer (alongside partner-in-crime, Slipknot’s Joey Jordison) and solo performer recently unleashed the Spook And Destroy EP, and will release a proper follow-up to 2011’s Calling All Corpses next year. “It’s something I’ve done for a while and that a lot of people have asked about over the years; ‘why do you put out so many releases?’ I put out one release a year, whether it’s a full-length, an EP or something else. This EP is coming out in time for this tour; it’s just for this tour, to hold people over until we put a new release out in 2013. I’ve done this since 1996. I feel like I’ve put out stuff that I like and the fans seem to like it. As long as I’m putting out quality stuff I’m going to keep putting records out. All of my favourite bands did it back in the day; KISS and Alice Cooper, my favourite records of the ‘70s, those bands put out one record a year, sometimes two a year. That’s the work ethic and where I come from. It’s fun for me – I get bored easily. It’s busy, but it’s a fun busy. I’m having fun with it, not being on a label and being able to do what I want.” Wednesday has a well-established signature sound and horror movie-obsessed lyrical approach, though. Does he ever find it restricting that some fans don’t want him to operate outside of these parameters? “People say, ‘Oh, Wednesday 13 is the horror punk king’ or whatever. It’s not hard to be the king of something like that to me, because as far as that ‘genre’ goes there’s not a whole lot of competition,” he laughs. “Of course I got a lot of my ideas from people like Alice Cooper and I just kinda took it and put my own stamp on it over the years. I like to keep people guessing all the time. I think people expect me to do certain things and if I ever get into the situation where people expect me to do something, I won’t do it. I’m constantly trying to change stuff up. There’s no formula to follow with what I do. It’s a good spot to be in, because I can do whatever I want. I can write metal songs or punk songs. It’s just a big melting pot of all my favourite stuff.” It’s remarked that there’s a neat symmetry to him releasing a new LP in 2013. “Yeah, that was the whole plan,” he chuckles. “The reason we put this EP out was I didn’t want to release the full-length in 2012. For me, having the name Wednesday 13, to do an album in 2013, I don’t think that’s going to happen again anytime soon,” he laughs again. “I just thought I should take the opportunity and go with it. “We just finished recording the 2013 release and it’s awesome, man. I wish I could explain it, but I can’t fill you in on the details too much, because it’s a while before it comes out. The new record was really important. My plan was to make my best record ever for 2013. I didn’t know if I could pull it off. But we finished the record, I’ve been sitting on it for a week now and listening to the mixes, and feel like I’ve set out and accomplished my goal. I think I captured the best of what I do, and it’s all across the board. This record’s heavy, dark, fun; it’s nothing like the last record and I don’t think it’s anything like any of my records per se. But it has hints of everything I’ve done; I feel like I took the best of everything and made this ultimate record.” There won’t be any road-testing material from the next record here during the October Australian visit though, or over-emphasising Murderdolls either. “I don’t want to make it too much about that band with my solo stuff. There are a couple of songs that we do that we’ve played with the Murderdolls; that were also prior to Murderdolls a couple of my old band Frankenstein Drag Queens from Planet 13 songs. But I do try to steer away from playing the other stuff and stick with my solo stuff.” The vocalist also gives an update on Murderdolls’ status. Due to the much-vaunted new Slipknot record and Wednesday’s solo activities, an album’s arrival may be a similar wait to the eight-year gap between their debut and sophomore efforts. If one happens at all. “That’s definitely on the backburner and has been since early 2011 when we took our break. It’s just the way it is with the band. Initially we had hoped we could do it a little bit longer than we did, but looking back on it now, I’m just glad we got to do another record. Because that record
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FEELING LOVE Ahead of their just-announced slot at next year’s Future Music Festival, Troy Mutton chats to DJ Locksmith from UK superstars Rudimental about just how massive their past year has been. ou’d be hard pressed to find a bigger crossover hit in 2012 than Rudimental’s good time drum’n’bass banger Feel The Love, featuring the vocals of a Cee Lo Green-esque John Newman. It’s been smashed on all kinds of airwaves, debuting at #1 in the UK and #3 here, and before you know it they’re a household name.
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However, it’s not like the quartet from Hackney, London just one day decided to make a hit and there it was; Piers Agget, Kesi Dryden, Amir Amor and DJ Locksmith have been producing as Rudimental for a couple of years now, but working together longer before that. “Yeah, it has been a really big year. There has been a few pretty difficult times but the good times definitely outweigh them,” begins Locksmith in the midst of a “pretty cool” DJ tour in Scotland (“The crowds were good, the vibe was good”). He continues: “I mean, directly we’ve grown up with each other since we were very, very young, so we kinda know each other inside out. We know our weaknesses and we know our strengths.” While it’s been a long ride for the foursome, the pride in Locksmith’s voice beams down the line when he looks back on the past 12 months. “It’s definitely a good feeling; it’s amazing how things have happened. We are pretty much humble guys who come from different backgrounds and different areas but yeah, it’s much appreciated.”
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THE ALBUM IS COMING TO COMPLETION – JUST GETTING INTO THE SYNCHING OF THE TRACKS ON THERE – SO I THINK IT’S GOING TO BE REALLY SPECIAL.”
If anything, this new-found success has drawn the group closer together. “So it’s been a good journey that we’ve been on together. It hasn’t really affected us in too many ways. But we’ve kind of embraced together as a unit, we’ve just been going forward, trying to grow together even more.” Locksmith recognises the opportunities Feel The Love has now given the group, and is excited at the prospect of taking their sound outside of London. “The international stage is something we have always wanted to take on. Now we’ve got an opportunity…” One you sense they’re not going to pass up on. The quartet’s second release in Australia, Spoons, took a markedly different turn from the anthemic first single, and while it’s obviously not been embraced with mass singalongs on the dancefloor, its chilled vibes have been nonetheless appreciated. “It’s funny you say that Spoons is the second single because Spoons came out before Feel The Love,” Locksmith corrects. “We just let it simmer along and we just wanted to see how it would go. It actually took off and we’re very appreciative of that. When we get to the studio, we never ever sit down and say we need to make a drum’n’bass beat today or we need to come up with a house beat today. We always just go in there with a vibe and no pressure, if you like – we just write some music. I think that’s the best way to go when in the studio and hopefully it all comes off. “We come from a sort of eclectic listening music background,” he continues. “For example, the four members of us, we all listen to different types of music. So you’ve got myself who listens to old school garage, you got Kesi who is into hip hop, Amir was into hip hop and R&B, Piers used to love his jungle. Mix all those together once you get to the studio, and we come up with different vibes, different flavours. That’s pretty much how we go about it.” Their latest single, Not Giving In – again featuring Newman and also Alex Clare – has ramped it back up with a chorus line and big brass section. Being a collective of four, as mentioned above, gives four different perspectives when it comes to actually writing the tracks, and Locksmith goes into detail of the average week for Rudimental. “If we were to look sort of like on a day-to-day basis, we do spend quite a lot of time with each other. From Monday to Friday we are probably in the studio with each other, and then we’d break it up on the weekends where we’d probably spend time by ourselves just coming up with ideas then bringing them into the team throughout the week.” Of course, the sharp increase in attention has led to them needing to get their shit together when it comes to Rudimental live – almost a necessity in the current age of dance music festivals. It’s had a few run-throughs, but remains a work in progress. “We are definitely thinking about our live shows,” he says. “We actually just did a live show in Hackney in East London where we’re from, so that was something special. So we are looking to build off that, building some more tracks into our live show so we can show everyone that,” he tells. “On a programming level we will be using Ableton and then working through – Kesi and Piers on keyboard and Amir on bass. We were thinking of implementing a lot of brass into it, but I don’t know quite how it’s going to happen. Obviously, we don’t have a finished product yet. If we were going to go off the back of our last live performance, we had three brass players there, we had trumpet, saxophone and trombone, so that was pretty cool.” Until they sort that out for Future Music Festival next year, there’s their current DJ tour of Australia, and then finalising what will be their debut album. “Yeah, the album is coming to completion – just getting into the synching of the tracks on there – so I think it’s going to be really special. I’m really excited about it. As you’ve witnessed with Spoons and Feel The Love, two completely different genres, it’s going to be like that across the board of the album, it’s going to be something for everyone we hope. The vibe of it is pretty cool.” WHO: Rudimental WHEN & WHERE: Saturday 9 March, Future Music Festival, Randwick Racecourse
WHO’S ROLLIN’ TOUR 23 NOVEMBER GREAT NORTHERN HOTEL, BYRON BAY 29 NOVEMBER GREAT NORTHERN HOTEL, NEWCASTLE
30 NOVEMBER ANNANDALE HOTEL, SYDNEY 1 DECEMBER TRANSIT BAR, CANBERRA
DEBUT ALBUM OUT NOW
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THE GLITTER, THE GOLD AND THE RUIN Indisputably the King and Queen of Australian country music, Kasey Chambers and Shane Nicholson return with Wreck And Ruin, their first collaborative album since 2008’s ARIA number one Rattlin’ Bones. Chris Hayden is invited into their cozy world for some tea, to meet the kids and eventually a chat. t’s a chilly Wednesday night and 60 or 70 of Melbourne’s industry types are gathered in an infamous location named Rutherglen House, just off Flinders Lane in the CBD. The six-story building, reportedly Melbourne’s largest private residence, is home to enigmatic playboy Peter Janson, a man renowned as much for his illusiveness as his bizarre habits (see: driving around the city in a hearse). With staggering examples of taxidermy adorning the walls and a maze of corridors seemingly built to confuse, this 167-year-old converted warehouse is as opulent a location as could be conceived for the launch of the latest album from Australia’s country-loving sweethearts Kasey Chambers and Shane Nicholson. As they hit the stage to the adoration of the entire room, though, all pretences are stripped away. Bantering
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and joking with each other just like a married couple should, the two showcase tunes taken from Wreck And Ruin, their second album together the runaway success, 2008’s Rattlin’ Bones. Not ones to mess around when inspiration strikes, Chambers and Nicholson only started putting Wreck And Ruin together in March. Packing up their guitars, banjos and six-month-old daughter Poet, they decamped to the picturesque Hunter Valley for a period of rest, relaxation and songwriting. This easygoing nature is one of the crucial elements that have made these two such a successful partnership over the years – creatively and personally. “We never really talked about making another album together but it just felt right at the time,” Chambers explains from the much less extravagant but no less comfortable surroundings of Mushroom Music’s Albert Park office. “We didn’t go up to Hunter for a particular amount of time or anything. We’d go up there for a weekend here and there and I think that area inspired us to get into writing mode. We thought we might go up there once or twice to write a song and see what happened, but it was almost like going there once opened this floodgate of songs.” “We’d spend a couple of days there and come home with three or four songs,” Nicholson continues, finishing one of Chambers’ sentences as the two so often do. “We don’t follow a process with the actual writing of a song though. It really is whatever it takes to get that song. Sometimes we’d start it together and finish it separately, start it separately and finish together or start and finish together. There was just no format or pattern. There never has been.” “I think sometimes we wish there was,” Chambers adds. “It’s funny because if we wanted to write a song next week, we might just sit down and nothing would come out. I wish we had more control over it but we don’t.” Chambers is echoing the sentiment of her one-time collaborator Paul Kelly here. The great man once said if he knew how to write a song, he’d do it every day – and that same mysterious muse is at work here. Chambers and Nicholson’s greatest asset seems to be a kind of mutual understanding that their best work is done in collaboration with each other, even if, just like their marriage, times can sometimes get tough. “I suppose with the previous album, Rattlin’ Bones, and even with this album we didn’t enjoy every moment of making it,” Chambers admits. “I guess like any normal married couple there were times when we were like ‘Alright, I don’t want to work with you anymore!’ out of frustration more than anything. We always knew that we would come back and revisit it though because we liked the creative side of the sound we came up with together, and what we brought out in each other musically.”
There’s more to this story on the iPad Once the lightning had been bottled and the differences put aside, it came time to put the songs of Wreck And Ruin on tape. For the recording, Chambers and Nicholson went to great lengths to maintain the homespun quality of their songs. Longtime collaborator, Kasey’s brother Nash Chambers was brought in as producer as always; a crack team of musicians, including Steve Fearnley [drums], James Gillard [upright bass], Jeb Cardwell [banjo] and John Bedggood [fiddle], were assembled and the troupe headed up to Foggy Mountain, east of Sydney, to lay it down. The recording itself though, was by no means a formal affair. “We wanted it to sound like a gig – as if we’ve invited you into our lounge room to hear our gig from start to finish,” Chambers says as Poet throws some chocolate biscuits around at her feet, possibly wrecking the carpet of the poor Mushroom employee’s office we’ve taken over. “Yeah, and to make that happen we totally gave the band free rein,” adds Nicholson. “We picked people that we knew really well and that understood the type of music we were trying to make. Half of producing an album is what you do before you start making the record. The people you pick and the personalities that you put in a room together. Obviously the work you do in the studio is important, but I actually think that what you do before you start making it really shapes it. These musicians were so good too, so we couldn’t really go wrong.” Arguably the most distinctive element of Chambers and Nicholson’s work together is the way their distinctive voices work when used in harmony. When it came time to record the vocals on Wreck And Ruin, the duo went the John and June Carter Cash (or Springsteen and Van Zandt if you will) approach of singing into the same microphone. They would look directly at each other and concentrate on the deeper meanings within the lyrics they’d written. “It’s a great way to channel your focus; to not give yourself too many options or safety nets. Singing together makes it limited as to what you can fix and it’s a great way to put you in the moment. In modern studios you have so many options, and sometimes I’m not sure if you gain as much as you lose,” Nicholson laments. “This record was really about going into a room and going for it. It’s like you’re all on a team together and if one guy stuffs up then everyone stuffs up.” Back at Rutherglen House, as the end of their set draws near, the couple, singing into the one microphone as always, pause to thank everyone that helped put Wreck And Ruin together, like it was something of a happy accident, but as they move into the haunting lament Troubled Mind (introduced as “another lovely song about death”), it becomes clear these two were brought together by some musically divine twist of fate. “I am not lonely, not the worrying kind,” they sing in perfect unison. That very well may be their secret. WHO: Kasey Chambers and Shane Nicholson WHAT: Wreck And Ruin (Liberation) WHEN & WHERE: Wednesday 31, Canberra Theatre; Thursday 1 November, Shoalhaven Entertainment Centre, Nowra; Friday 2, Seymour Centre Sydney
36 • For more interviews go to themusic.com.au/interviews
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NOT THE NINE O’CLOCK NEWS British indie troubadours Bombay Bicycle Club have made headlines worldwide over the past few years. Over some shrimp, Stuart Evans chats to frontman Jack Steadman about their journey to this point. f you fancy taking a ride with the BBC, read on. The BBC is, of course, from London and is a musical hub of diversity, surprise and intrigue. Most are probably aware of its pedigree. But there is another BBC who is irking a pedigree of its own. The other BBC, the oddly named Bombay Bicycle Club, is also from London, and like its namesake is also full of surprises and diversity. But that is where the wobbly and shaky comparisons stop.
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The English indie lads hail from Crouch End, in London’s north, and include frontman Jack Steadman (lead vocals, guitar, piano), Ed Nash (bass), Jamie MacColl (guitar), and Suren de Saram (drums). Their rise started in 2006 when they won The Road To V, a TV reality competition that was broadcast via
the UK’s Channel 4, and gave fledging bands a chance to shine and perform at the V Music Festival, held the same year. Jack Steadman is happy with the band’s progression. “I’m happy because we haven’t rushed it and we’ve taken our time. We haven’t taken things at an unhealthy speed,” he confirms. They may have taken things at a modest pace, but that hasn’t hindered the band’s advancement over the past few years. In 2007 they released two EPs and a debut album, I Had the Blues But I Shook Them Loose. That they were still at school says much about their headway and determination. In some circles they’re still regarded as newbies, yet Steadman refutes such a tag. “Everyone else may think we’re still newcomers, but we certainly don’t,” he argues. “We’ve been doing this for the past seven years or so, and aren’t newcomers anymore.” He’s right – they’re not newcomers, officially anyway. Burgeoning young stars, however, they are. In 2008 the band officially finished high school, which gave them the additional benefit of freeing up time to allow them to commit to music around the clock. Steadman admits they are young in years and have much to learn. Not that they haven’t taken on a few lessons on their journey thus far. “We’ve learnt a few important things while being on tour,” he says, concurrently explaining that he’s in New Orleans, Louisiana, chomping on a shrimp. “Everything gets done for you whilst on tour. You get told what to do and where to be. It’s easy to become a baby as everything is put out on a plate for you. It’s important that we continue to do things for ourselves.” Steadman is a quick learner. He has taken note of the pitfalls from the ‘spit ‘em up, chew ‘em out’ attitude of talent shows and the industry in general. “It’s a gossip industry,” he says of the music biz. “If you’re a dick and say the wrong thing, it travels far.” One conduit for spreading rumours or gossip is, naturally, the media. In mid-2007, influential music mag NME published an article that named Bombay Bicycle Club one of the hottest bands to come from North London for quite some time. Steadman admits that initially the interest of music rags was a good thing – a positive to be taken and used as an endorsement. But times have changed. “In the beginning (the publicity) was very helpful, but as the band got bigger all they wanted to do was put out a headline and blow everything out of proportion. In my opinion, NME in particular is more like a tabloid.” Perhaps Steadman is bitter at a bad interview or a quotation gone astray. Regardless, he pauses before answering questions and doesn’t ramble. He is thoughtful, considered and measured. In 2009, instead of reflecting on just how far they’d come, the boys decided to record another album. The result was a surprise, not just for the output but for the tightness, semblance and professionalism of the result. Initially their record label was concerned by a band releasing an album so soon after their debut. However, the folkinspired Flaws, which was released in 2010, proved a turning point in their career. The album steered away from their conventional indie rock/pop sound as they went in a different direction – acoustic. “We wanted to do something different and that’s what we’re into at the time. We wanted to show people what we could do with little resources,” he tells. He’s not kidding either. Steadman explains that the album was recorded in a bedroom with short amounts of money, few resources and barely any assistance. The acoustic and stripped-bare Flaws debuted on the UK albums chart at number 8, smashing the previous peak of 46 that they notched for their debut. Another year then passed and another album arrived. This time it was the 2011 effort, A Different Kind of Fix, and yet again it was with a new approach and style. A Different Kind of Fix was in part inspired by J Dilla’s instrumental hip hop and other sources of electronica. Gone were the bare acoustic and folksy vibes; replacing it were a majority of electronic instruments. “When I was around 14 I got into Aphex Twin and others, and had been working on a few electronic music things in private over the years,” he reveals. So it was electric guitars, mashed piano samples, compressed beats and ‘bugger the acoustic’ as Steadman’s private electronic workings were transposed into public. For A Different Kind of Fix the band reconnected with producer Jim Abbiss, who worked on their debut record, and the original loops and samples were developed into indie/pop songs. The album quickly spawned a bunch of hits, including How Can You Swallow So Much Sleep? which appeared in demo form on the Twilight: Eclipse soundtrack. The media-savvy Steadman is elusive about the inspiration behind the songs. “When I write, I just want a clear head and to not think about how big the song could be. That is for the record label to ponder,” he says. He is more candid about the influence that good ol’ London has on his persona and his writing. “Lyrically, coming from a city like London has helped me. Without sounding too clichéd, for people moving from the country to a city like London or any big city, I think there is a little naivety. In the city, everything happens in fast-forward. The experiences and living in London has certainly helped me mature,” he tells. As Steadman and gang head to Australia, he’s already focused on the forthcoming gigs and their next album. “You know, our shows are probably a bit boring,“ he laughs. “Our gigs are no-frills; not fancy, but are very energetic. We’re very approachable and look like regular guys. We could be one of your friends.” As for the forth album, well, keep a lookout. “Australia is our final tour before we head back to the UK and start writing again. At this stage, we’re hoping to get an album out there by Spring 2013, but nothing has been planned.” WHO: Bombay Bicycle Club WHEN & WHERE: Monday 7 January 2013, Enmore Theatre
38 • For more interviews go to themusic.com.au/interviews
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TIME AND SPACE Sitting down to produce their sophomore album has been somewhat of an awakening for New Zealand soul brothers Kora. Singer Dan McGruer tells Monique Cowper he feels like they’ve finally found their groove. ith their dub-coated combination of metal and funk, Kora brought their unique sound across the Tasman almost five years ago with the support of some major bands, but behind the scenes bass player Dan McGruer claims they didn’t know a thing.
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The band, which consists of the five Kora brothers and McGruer, have earned a strong following for their mellow sound, but broke onto the local scene after touring with Shihad and Cog, who then invited them to tour Australia. Their debut self-titled album showcased a variety of sounds from soul to hard rock, but McGruer says in the four years they have spent making Light Years at his home studio, they have learnt a lot. “We were always known as a live band, that’s how we carved a name for ourselves,” McGruer says. “We were very lucky because a lot of big-name bands liked our sound and so we got to play to some big crowds and generated a following from festivals and live shows. But when we started out eight years ago, we didn’t know shit. Our last album was all over the place. We’ve never had a genre, but even we were asking ourselves, ‘What the hell are we, what the hell kind of music do we play?’ We never had a proper answer.”
“It’s all about space, the galaxy,” McGruer says. “We’re all geeks, we’re into sci-fi movies so that’s what ties us all together. We didn’t sit down and plan it, but when we started playing there was this moment of, ‘Hang on, there is a space theme here’. For me personally, I love spacey sounds. My favourite is that dub, trippy, twinkly, starry stuff – that otherworldly sound.” From the opening track on Light Years, Kora have well and truly captured the ‘twinkly, starry stuff’. The theme is obvious and blends effortlessly with their combination of funk and dub, but those who discovered Kora off the back of heavier prog-rock gigs won’t see a lot of that influence on this record. The album is more quirky and interestingly, McGruer said using guitar just wasn’t enough. “We tried a lot of guitar, but to me it wasn’t heavy enough,” he says. “That’s probably why I’m a bass player, because I’ve always thought it was heavier than a guitar. I really liked that sound for this album. The guitar just wasn’t cutting it, so we’ve used a lot of synthesisers. I’m not really into heavy music anymore. I prefer classic dub. We’ve got to be true to ourselves, and true fans will like whatever we do.”
“Over four years we’ve been working on writing; recording in my little house and producing ourselves,” he continues. “This sound is even fresh to us. It is eclectic but it feels much more together. We really wanted something which was one sound.”
Those who appreciated Kora’s political side may also be disappointed that the album is well and truly full almost entirely of love songs. It is an interesting decision by the band to change direction. Many acts will cling desperately to the formula of their debut album to try to recreate even the smallest amount of success, but Kora have to be respected for expanding their sound regardless of audience expectations. The synthesisers and samples feature heavily, but one aspect that is not lost is the luscious voices of the Kora brothers – Laughton, Francis, Stuart and Brad – and their ethereal harmonies. They have played the new material at some local gigs in their homeland and are receiving positive responses. “A few of the songs have been played live,” McGruer reveals. “We’ve opened with a few new songs and it feels really good; I can’t describe it, but it feels like I hoped it would.”
It was a somewhat unusual theme which eventually united the group and led to the title of the album, based on their love of video games and sci-fi.
For McGruer, the other major factor in producing a new album was working towards achieving a more mainstream audience. The bassist was actually
The main focus for Kora on this record was to define their sound. In the past they have been described as everything from prog-rock to reggae, but if Light Years is anything to go by, it seems the band may have settled in the sphere of R&B. In marketing, the band playfully refer to their new sound as ‘alien funk’. “We just went with the flow – there were no set rules about what we were going to do, we just wanted to create our own sound,” McGruer explains. “Light Years is a much more complete, polished record and it feels much more whole.
40 • For more interviews go to themusic.com.au/interviews
studying commercial music when he met singer and lead guitarist Laughton Kora. The popular side of music is a topic usually avoided by many bands, but McGruer was refreshingly honest about his hopes for Kora. “We do appreciate more commercial music. We’ve always been a live band but there is definitely that push to make our music easier to listen to and instantly attractive to an audience.” McGruer explains the 1980’s music scene was a huge influence for Kora. “We appreciate and admire that big ‘80’s ballad, but we have put a twist on it with a classic chord change and taking influences from other places, putting all the best parts together. We were conscious of it and always thinking, ‘What would be the best chorus here?’, ‘What is a really catchy hook?’ and running with that. It’s something we worked really hard at.” While Kora may not have plans for world domination any time soon, McGruer expresses the hopes of
many a musician in simply wanting his music to have a voice and not taking the popular line of only making it for himself. There is a definite sense that Kora have the determination and drive to succeed and will not be satisfied with underground success. “I think any band, especially one that is still coming up, always wants to be bigger,” he says. “Ultimately as a musician you want as many people as possible to listen to your music. But of course it’s still important to have our personality in it. It’s got to be real. You never know what might happen. Hopefully it opens us up to a new audience. Watch this space.” WHO: Kora WHAT: Light Years (Remote Control) WHEN & WHERE: Friday 23 November, The Metro
ISSUE 02
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OCTOBER 2012
TAKES THE CHAIR
PAPER KITES TOUR DIARY, AEROSMITH’S TOM HAMILTON CHATS, TOMMY BOLIN TRIBUTE, : INSIDE FACE THE MUSIC, SONGWRITER’S CIRCLE, LATEST GEAR ROAD TESTED AND MORE!
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MANNY’S TURNS 21
The first single, Keep My Cool, from Melbourne threepiece Aluka, was recorded in a stairwell one freezing August morning, the unusual location just one of many producer Nick Huggins chose in which to record the girls, such as a public swimming pool, a barn and a WWII bunker among others, utilising innovative mic’ing techniques.
DAVID JONES WORKSHOPS COLLARTS For those in Melbourne this week, David Jones is conducting a workshop at Collarts- The Australian College of The Arts – for secondary school students and musicians of all instruments and all levels Saturday 27 October. The awardwinning master drummer, who is Collarts’ Artist-in-residence, will present the workshop from 3 to 5pm, at Collarts, 55 Brady Street, South Melbourne. The workshop is free.
KOSMIC SOUND WINS WEB AWARD Perth’s Kosmic Sound is proud to have won a prestigious Australian Web Award in the category of Best Overall User Experience. Kosmic was the only music retail site to feature in the awards. Kosmic currently have super deals on Gibson, Epiphone, Mackie and Behringer gear. Go to www.kosmic.com.au for more information.
GUITAR FACTORY PARRAMATTA AMP DEALS Guitar Factory in Parramatta recently opened their new amp room and are celebrating with great deals on Vox amps, such as the VT20+ at just $189 and the AC15VR at $375. They’ve also slashed prices on Yamaha acoustics, keyboards and drums. New in store is the Yamaha P105B digital piano at $749. Go to www. guitarfactory.com.au for more information.
SUHR AT GUITAR BROTHERS Musicians looking for something different to the tried and true brands may want to check out the range of Suhr gear at Guitar Brothers in Brisbane. Suhr make a great range of guitrs, amps, pickups and pedals. Suhr users include Mark Knopfler, Mike Landau and respected fusion guy Scott Henderson. Go to www. guitarbrothers.com.au for more information.
WANNA BUY A RECORDING STUDIO? One of Sydney’s longest-running independent studios is up for sale. A fully operational recording studio based in the city’s south-west, 20 minutes from the CBD, it features a classic analogue desk, hard disc recording, low rent, long lease and parking. Easily operated as a co-operative, it’s a steal at around $73k, lock, stock and barrel. Call 0423 681 978 for details.
CREDITS Muso. Issue 2 - October 2012 Ph: 03 9421 4499 Fax: 03 9421 1011 584 Nicholson St Nth Fitzroy 3068 Website: www.themusic.com.au Editor and Advertising: Greg Phillips greg@streetpress.com.au Distribution enquiries: distribution@streetpress.com.au Layout & design: Matt Davis iPad edition: Dave Harvey Contributors: Reza Nasseri, Shannon Bourne, Baz Bardoe, Michael Smith, Marcel Yammouni, Joe Yammouni, Eamon Stewart, Mark Owen. Photographer: Kane Hibberd Published by Street Press Australia PTY LTD Printed by: Rural Press
Recorded over three sessions at Andrew McGee’s Empty Room Studios in Melbourne, when drummer James Baker was in Melbourne from Perth with his band The Painkillers, the eponymous album by Spencer P Jones & The Nothing Butts, featuring The Drones’ Gareth Liddiard and Fiona Kitschin, sees release Friday 9 November. Sydneysiders The Preatures recorded their second EP, Shaking Hands, at the LA studio, The Bank, owned by session drummer Joey Waronker (Beck, Elliott Smith, Jack White), with former Hives bass player, producer Tony Buchen (Tim Finn, John Butler Trio, Blue King Brown). The second album, To The Dollhouse, from Melodie Nelson, AKA Sydney musician Lia Tsamoglou, was recorded in Melbourne by Simon Grounds (Kes Band, Laura Jean) and mixed in Tasmania by Chris Townend (Daniel Johns, Augie March).
While the focus has been on the fall of the giant Allans + Billy Hydes retail group crash, we shouldn’t forget that we still have some great independent instrument stores in Australia. Something of an institution, Manny’s at 161 St Georges Rd, North Fitzroy has come of age! Manny and Gail Gauci-Seddon and staff have been serving Melbourne’s musician community for 21 years and still have the passion for what they do. Manny is a seasoned guitar player himself and knows what musicians want and that’s a vital thing today, knowing your customers. Muso salutes Manny’s.
GIBSON SETTLES WITH US DEPARTMENT OF JUSTICE The Lacey Act is a conservation law introduced by the American Congress back in 1900, brought about to protect native flora and fauna. Recently the law was amended, with massive consequences for those guitar manufacturers using exotic timber imported from around the globe. In 2009 and again last year, Gibson guitars ran into trouble with US authorities when shipments of timber from India and Madagascar were claimed in armed raids by a SWAT team. After a long and gruelling period of legalities, Gibson finally decided to settle out of court. CEO, Henry Juszkiewicz commented, “We felt compelled to settle as the costs of proving our case at trial would have cost millions of dollars and taken a very long time to resolve. This allows us to get back to the business of making guitars. An important part of the settlement is that we are getting back the materials seized in a second armed raid on our factories and we have formal acknowledgement that we can continue to source rosewood and ebony fingerboards from India, as we have done for many decades.” “We feel that Gibson was inappropriately targeted, and a matter that could have been addressed with a simple contact with a caring human being representing the government. Instead, the Government used violent and hostile means with the full force of the US Government and several armed law enforcement agencies costing the tax payer millions of dollars and putting a job-creating US manufacturer at risk and at a competitive disadvantage. This shows the increasing trend on the part of government to criminalise rules and regulations and treat US businesses in the same way drug dealers are treated. This is wrong and it is unfair. I am committed to working hard to correct the inequity that the law allows and insure there is fairness, due process and the law is used for its intended purpose of stopping bad guys and stopping the very real deforestation of our planet”.
Sydney fivepiece Strangers recorded their album, Persona Non Grata, with Shihad drummer, producer Tom Larkin.
I
like the cut of Silverchair drummer Ben Gillies’ jib. I’m not quite sure what a jib is or how best it should be cut, but I feel the phrase perfectly summarises my approval of how Ben has approached the creation of his debut solo album, Diamond Days. A drummer in an internationally recognised band steps out from behind the kit. He has a collection of unfinished, unconnected ideas from which he forms songs. Good songs. Happy songs. Playing drums on the album is almost an afterthought as he is too busy having fun laying down guitar, keyboard and bass tracks. He downloads an app, uses it on the spot to write music in the studio for a track which closes his album. Ben makes up a name (Bento) to call the project as he doesn’t want it to appear as a solo album. It’s an ad hoc mentality which on this occasion has paid off. The result is a quality pop album. I’m betting that the public will agree with me. Even if it hadn’t worked though, I get the feeling that Ben would
Black Sabbath are currently back in the studio with producer Rick Rubin (Red Hot Chili Peppers, Metallica, Slayer) working on the new album they began working on last year slated for release next year. Chicago cult punk heroes Alkaline Trio have begun recording at Blasting Room Studios in Fort Collins, Colorado, with long-time friend and producer Bill Stevenson (Descendents, Rise Against, Hot Water Music). The new album, Paradise And Lunch, from Ry Cooder, was recorded, mixed and mastered by Martin Pradler at Wireland Studios in Chatsworth, California, and Drive-By Studios in Hollywood, Cooder producing it himself. Former Comets On Fire member Ben Chasny recorded the latest album, Ascent, under his reconvened previous project banner, Six Organs of Admittance, at Louder Studios in California, coproducing with Tim Green. Sounding nothing like his former band TZU, Melbourne six-piece Texture Like Sun’s frontman Mark Pearl called on fellow former TZU member Pip Norman (Sparkadia, Ash Grunwald) to produce his new band’s self-titled debut EP, recorded over a year between Darwin and Melbourne’s Bounce County Studios. The EP was mixed by Dan Rejmer (Bjork, Foals, Paul Kelly).
Gear News AMBER TECHNOLOGY NABS JET CITY AMPS
Amber Technology today announced its appointment as the new exclusive Australian distributor for US-based tube guitar amp manufacturer Jet City Amplification. With the addition of Jet City Amplification, Amber Technology further expands its growing product portfolio of leading music technology brands. Founded in 2009, Jet City Amplification continues to expand its “design by Soldano” lineup of all-tube guitar amplifiers, featuring simple controls, cool cosmetics and sensible pricing. www.ambertech.com.au
AUDIO TECHNICA’S LP1240-USB Audio-Technica’s 50-year journey started in a Tokyo garage with a high-quality turntable cartridge, so the new LP1240-USB is something of a return to the company’s roots. Designed to deliver exceptional music reproduction even under the most demanding professional applications, the new turntable offers a host of high-performance features making it ideal for professional, mobile and club DJ use, and its sleek, gloss black design complements any home music system. Locally, the LP1240-USB is selling for around $690. www.audio-technica.com.au
WIN A $1395 STERLING BY MUSIC MAN RAY 35 To celebrate the success of the Sterling by Music Man and S.U.B. series of guitars and basses, CMC Music is giving away a Sterling by Music Man Ray 35 to one of the first 500 visitors to like their new Facebook page. www.facebook.com/cmcmusicoz
FINDING THE RHYTHM In the new book, Finding The Rhythm In Music ( JoJo Publishing $49.99), Melbourne author Marla Swift presents readers with a new simple and precise method of learning how to understand and perform musical rhythm, explaining how to feel rhythm and combine this with the reading of music, giving a deep, instinctual understanding.
have been happy with the enjoyment he got out of the writing and recording process. This is my point … during a sad time in our industry where a huge instrument retail chain can fall, and it’s easier for the liquidators (who have no synergy with music people) to just close down the operation rather than negotiate a deal with interested parties and save jobs, it’s comforting to know that artists like Ben are still out there, oblivious to everything else as he creates his art. As long as there are Bens around, and as long as there are fine instrument stores out there, staffed by musicians who are serving musicians like Ben, then I think it’s all going to be OK.
GREG PHILLIPS Muso Editor
BLUE MICROPHONES Blue Microphones, a leading innovator in microphone technology and design, announces “Free Fall 2012,” an in-store promotion at participating retailers through to November 30. During Free Fall 2012, customers who purchase a Bluebird, Baby Bottle or Reactor microphone instantly receive a free enCORE 100, 200 or 300 live mic. In addition, customers who purchase a Cactus or Kiwi microphone will receive a free Robbie mic preamplifier. www.bluemic.com/promotions
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From Silverchair to production chair, Ben Gillies sits comfortably with his new solo project, Bento. Greg Phillips reports.
H
istorically, drummers and bass players have copped a raw deal with regards to their perceived creative contribution to a band - after all they’re just the rhythm section aren’t they? A prime example is Silverchair, one of Australia’s most successful bands. While the trio of drummer Ben Gillies, bassist Chris Joannou and vocalist/guitarist Daniel Johns have achieved the unprecedented record of having all five of their albums reach number one on the charts, it’s generally been frontman Daniel Johns who has collected most of the accolades. Once drummer Gillies decided he was going out on a limb and recording his own album, it was always going to be interesting to finally hear Ben’s own musical voice. Funnily enough, Diamond Days, Ben’s new solo project is not such a giant leap from Young Modern, the musical statement Silverchair left us with and says as much about that band as it does about Bento. Diamond Days is essentially the threading together of a myriad musical ideas Ben had lying around in his head or documented on tape over the last decade or so. “I have always been a writer,” said Ben. “I wrote a lot in the early Silverchair days. When Dan
changed his writing approach, I was happy to take a step back. That was after Neon Ballroom and was a lot of years ago, over ten years. I mean a lot of those older ideas kind of fell away but I always logged ideas either on a four-track or on my phone or little Pro Tools sessions. There were some almost finished songs through to just a chorus idea or melody idea or just a set of chords. Working on the record, I did combine a lot of those. Sometimes it would just be me in a supermarket on aisle 12, and something would pop into my head. I’d put the dictaphone on and try not to look like I was too weird humming a tune in the middle of the supermarket.” Bento is the moniker Gillies came up with to work under in an attempt to sway people away from thinking this was totally a solo record. Ben’s partner in rhyme was Eric J Dubowsky (Faker, Art vs Science), as well as a bunch of mates that also includes Papa vs Pretty’s Thomas Rawle. Ben uses the Trent Reznor/ Nine Inch Nails association as an analogy of what he was aiming for in describing his role in the project: “I really wanted to have a band name rather than just be Ben Gillies … and the Space Cadets ... I dunno! I don’t personally like the perception of being a solo artist.” Releasing a solo project was never a burning ambition for Ben, rather something he thought he just might enjoy doing one day. “I think I have always wanted to get into the studio and have a really good chunk of time on my own and work on my own songs, without record company pressure, and just be really free. When Silverchair decided to go
WE KEPT PUTTING OFF THE VOCALS BECAUSE A LOT OF THE CHORUSES WERE WRITTEN BUT NOT FULL SONGS. I WAS NERVOUS ABOUT IT. AFTER A FEW DRINKS AT DINNER, I SAID THERE’S SOMETHING I HAVE TO GET OFF MY CHEST. I SAID I AM REALLY NERVOUS ABOUT SINGING.”
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on an indefinite haitus, or long break until we feel the time is right, in a way it was a blessing in disguise. It gave me the chance and enough time to finally have that opportunity. There have probably been times in the past where I have had time to do that but because Silverchair is such a massive and awesome thing, there’s a lot of energy you have to give to it. Sometimes the last thing I’d want to do is go back in the studio.”
The result of Ben’s studio time with his mates is a joyous, upbeat pop album, abounding with positivity. The Australian Football League liked the vibe of Gillies’ first single, title track Diamond Days, so much that it became an unofficial soundtrack to their finals broadcasts. Ben describes the album as a patchwork quilt of those fractured ideas he’s collected over time. It’s those incidental musical notions that combine to make this such a sonically absorbing and openly happy album, testament to the gratification Gillies obtained from making it. “The experience was liberating and exciting. I think I am just an optimistic kind of person. Dark songs are cool but obviously that wasn’t what I was feeling when I was writing this. I think diving into the unknown, the unchartered waters, I had that nervous excitement which comes from making music.”
Although Gillies is loath to portray Diamond Days as a solo album, he did write the material, had a stab at contributing parts on keyboards, guitar, bass, drums (of course!) and even utilised an iPhone app. “Give me an instrument and after a while I can make some kind of sound out of it,” he admits. “The last song on the album, the really trippy one called Naked Next to Me, it
came out of the Brian Eno app called Bloom. We were in the studio and I was consolidating all of those ideas I was telling you about and Josh asked me if I’d heard about the app. Between takes we were just chatting about music and he said, ‘dude, you are going to love this.’ I got it straightaway and began to muck around with it. I really love that instinctual reaction to a sound or song or instrument. I said plug
While Ben enjoyed the freedom of trying whatever musical whim entered his head, the vocal parts initially gave him quite a bit of grief. It was during a dinner with co producer Eric J Dubowsky that he aired his fears.
“You know what, I really think it was. Maybe we were suppressing it because of young teenage angst. It feels really natural to sit down and hum a tune that pops into your head, being open to it and letting it flow naturally. You know, I think most people can do it. If you sit down and start to go doo do doo do, you start humming shit and usually that’s the stuff that people love to hear because it resonates with everybody.”
“We kept putting off the vocals because a lot of the choruses were written but not full songs. I was nervous about it. After a few drinks at dinner, I said there’s something I have to get off my chest. I said I am really nervous about singing. I said, I know I can do it but I have never had that pressure and I just have to air it that I am nervous. The first song was Miss My Mind and it’s quite exposed and there isn’t a lot of band around it to cover mistakes. Anything
Being such an internationally successful band, Silverchair had the luxury of working with a number of high-profile producers including Kevin Shirley, Nick Launay and David Bottril. On their much-lauded fourth album, Diorama, they also employed the services of genius arranger Van Dyke Parks. For an artist breaking out with their first solo album, you’d assume that invaluable studio experience must have been of
like that sound. All of a sudden I want to buy Vox amps or some other brand. Once you open the door to that stuff, firstly you don’t want to shut the door but once you do it, that’s it, it’s open forever.”
’ Bento s
Portamento it in and hit record, we’re going to do a song right now. I fumbled around for five or ten minutes then we cut together that cool little intro part and a few other bits and pieces. Then on the spot, I put the drum track down. I put a really basic bass down and all it is is just an octave… me going dom, dom, dom and that’s all it is, the whole song, but it’s a good example of simplicity being all you need.”
Over his long and successful music career, Ben has accumulated a swag of music gear, some of which he dug out for the recording. “I’ve got a shitty old bass, a basic Gibson studio acoustic, and a bunch of drum kits. I have a couple of keyboards, a Wurly and a Rhodes. It’s funny because I have never been in the driver’s seat as much as I have with this. I can definitely see myself going crazy with buying cool new guitars, amps. That’s going to happen very soon or happening. I now have to think about guitar sounds, tones. In a band situation everyone has their role but with this I have had control of every facet of Bento. So whether it’s the guitar tone or the bass, I’m now having to go, OK I don’t like that or don’t
that is a challenge, if you can confront it then you can say you had a go and then if you conquer it, you gain some confidence. I felt that within that first day of recording, I got my confidence, then I could go in and enjoy the recording process rather than get sweaty palms. I didn’t want anyone in the studio apart from me and Eric but after I did half a dozen takes, it was just like I was performing.” Even with Silverchair, Gillies has never had a huge allegiance to any particular drum set-up, preferring to mix it up. Constants have been Pearl or Le Soprano drums, Sabian cymbals, Remo skins and Vater sticks. Le Soprano honoured Ben with the production of a Ben Gillies signature kit in the early 2000s. With Bento, it was again, however, a mix and match scenario.
“It was funny. I didn’t really use the kits I had used with Silverchair except for one. On some of the drum tracks I did at The Grove Studio, I used an original Premier 303 that I played on the recording of Tomorrow. It was just sitting at my house and was all shitty and dusty and even the skins on it were the same skins I had used on Tomorrow. So they were like 18 years old but still sound fantastic, so warm and old. I think a lot of engineers can get really caught up in making sure there are no buzzes. Particularly with rock music, once you get it all down on tape you don’t hear that stuff... you don’t hear the creaks. If you have a good sound engineer, I reckon once you get the sound right after about fifteen minutes, you are ready to go. That’s the approach I took and then once we got to BJB, I just enquired if there were any spare kits lying around, partly because I wanted a different sound and partly because I was late. They just had random kits sitting around. So I’d grab a bass from here, some toms from over there - it was a real mixed bag. It went with the nature of the album.” Bento offered Gillies the chance to release any pent-up musical ideas he may have been concealing over the years with Silverchair, I wondered if that also applied to drumming concepts? “Not really,” said Ben. “I’ve always had the freedom and said my two cents’ worth in Silverchair as far as songs go but I’ve always had the drumming freedom to pretty much do what I want ... except maybe with the albums that Dan had written, where he had a clear vision of what he wanted the drums to be. Even within that, he has been pretty open to how I interpret it. The drums came as a later thought with this though. Really it was about the tunes and the melodies.” It’s fascinating to see how the members of a band who started out with the angst of Frogstomp have, with each ensuing album, gradually displayed such a high regard for melody and pop structures. I wondered if that pop sensibility had always been there, even in the early Silverchair days?
great benefit. Gillies is more pragmatic in his summation of the Diorama recording experience.
“I guess I learned that it is very difficult to mix over a hundred tracks of audio! I love Diorama and I think it is one of our best records and I love that we did a lot of orchestration but it’s that classic thing that less is more. For me personally, within SIlverchair it works. I love to put horn sections and strings on stuff but I would just really scale it back. You don’t need an eightypiece orchestra. You could get twenty guys and make this amazing wall of sound. The recording process was pretty much how we’d done it in the past. You know, it’s band, some overdubs and orchestration, then vocals, so there wasn’t anything out of the ordinary that we hadn’t done before.” With regards to Bento’s Diamond Days, the studio process was much less formal than the massive productions that some of the Silverchair albums became. More energy was placed on the moment at the point of recording rather than afterwards in post-production. “In terms of shuffling stuff around and making it sound good, we kind of did that on the fly,” Ben admits. “We didn’t have a band to lay down a rhythm track and then overdub. Sometimes I played drums to a click track and there was nothing else. I had to imagine where everything else was going to go. Sometimes that didn’t work and we’d have to go in during the process and say, well this song needs a middle-eight now. Eric would set up the keyboard and I’d make something up on the fly. Sometimes that would work, sometimes not and we would cut that in and play some drums over that. I have been describing it to people as a patchwork quilt. We didn’t have a formula we worked to; it was always living in the moment, you know, what do we need right now?” With the album in the can and released this week, Ben’s focus now shifts to how he can reproduce this music live. He may jump behind the kit to satisfy the desire of some hardcore Silverchair fans he’ll find in the audience, but generally he’ll be Bento’s frontman. It’s a concept he’s still getting his head around when thinking about the instrumentation he’ll need on stage. “I reckon keys, bass, guitar, drums and, what am I missing? Oh yes... singing! A lot of it can be pulled off with keys’ sounds. All the tricky stuff is done on keys. It’s all achievable with a minimum band. Personally I am shitting myself that I have to get up and front a band. Like I said before though, once you confront those fears you can really go out and enjoy it. There still isn’t a band as such, just a lot of muso friends that I am going to get involved to play. The long-term plan is to have a stable of guys who are the band. If we go and do a record, it’s just a given that they’re the band.” www.wearebento.com
OTHER DRUMMERS WHO HAVE FAMOUSLY STEPPED OUT FRONT. DAVE GROHL Grohl has had so much success with his power rock outfit The Foo Fighters that it’s easy to forget he was behind the kit with the legendary Nirvana. Even in that band, with the focus always on Cobain, Grohl began to move towards the front, involved in writing and contributing lead vocals to the track, Marigold, originally released as a B-side to Heart Shaped Box). Grohl gladly returned to drum duties for supergroup project, Them Crooked Vultures alongside Josh Homme and Zeppelin’s John Paul Jones.
PHIL COLLINS Starting out as drummer in English progressive rock band Genesis, Collins later forged one of the most commercially successful solo careers in rock history. Before he had a massive worldwide solo hit with In The Air Tonight, he’d already stepped to the front of Genesis as vocalist when mercurial singer Peter Gabriel left the band. Due to the level of success Collins has achieved, he’s suffered from much derision from a newer generation of music fans. He hasn’t helped his cause by breaking out In The Air Tonight as a party piece every time he appears as a guest on stage. He also copped a fair bit of flack for both his divorce via fax in the late ‘80s and another legal case where he took two band members to court seeking $780,000 in royalties he claimed were overpaid fees.
RINGO STARR The most famous singing drummer of all time. Often referenced by other high-profile drummers as a musician who does not get anywhere near enough recognition for his playing skills, Ringo made several cameo appearances on Bealtes albums, usually with the tracks people love to hate, such as Octopus’s Garden and Yellow Submarine. It’s not surprising, with the childlike qualities of those songs, that Ringo later became the narrator of the children’s animated series, Thomas the Tank Engine. Starr released two solo albums in the same year The Beatles called it a day and had a number #4 single on the US charts with It Don’t Come Easy. More recently Ringo’s All Star band has performed regularly with lineups consisting of a who’s who of rock including Joe Walsh, Jeff Lynne, Tom Petty, Dr John, Todd Rundgren, John Entwistle, Peter Frampton, Jack Bruce, Ian Hunter, Edgar Winter and even our own Colin Hay.
KRAM Formed in 1989, Spiderbait have always been the darlings of Australia’s alternative music scene, often featuring high on Triple J’s annual Hottest 100. While Kram has never really left the drum stool with the band, his lead vocals on tracks such as Calypso, Buy Me A Pony and Black Betty have resulted in the band achieving a great deal of chart success. Kram released his first solo album, Mixed Tape, to much acclaim too.
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TOURING WITH
The Paper Kites A snippet from the first three shows of The Paper Kites’ Young North Tour in October, with amazing supports Art Of Sleeping and Battleships.
feeling like you can’t move around without knocking a stand or a guitar over, but it’s necessary to create the experience from our latest record Young North.
DAY 1
Thursday 11 October – Heritage Hotel, Bulli NSW “Passengers travelling to Sydney on flight DJ859, your flight has been delayed one hour” – not an ideal start to the tour for Raz and myself, who were already running late for soundcheck. We’d both worked most of the day in Melbourne while the rest of the crew had caught an earlier flight to sort out the gear, the set up, lighting hire and the rest. We finally arrived in Sydney, swooped through to pick up our hire car, and fanged it down to Bulli for our first show of the tour at The Heritage Hotel. We arrived long after our soundcheck was over and the first band (Battleships) had already started. Luckily our TM/Sound Engineer, Brett was all over it. With only 25 minutes to change over, set up and check our extra instruments, it left me feeling extra thankful for our crew. We had a quick meal at the pub and went upstairs to get warmed up and ready for our show. Before long we were standing side of stage listening to our intro music, just before walking on. First show of the tour! Whoo! First show nerves were evident to me through the start of our set, but I felt like our preparation and rehearsing paid off. The best thing about touring with a sound engineer is that no matter what venue you turn up to, they’ll always get the best out of the system. It wasn’t the crème de la crème of systems, and the foldback wedges were pretty muddy, but all things considered, it was a great show!
The Bullians were pretty darn accommodating at The Heritage Hotel, and I was surprised to see a regional crowd so attentive during our set. The rowdy minority were bullied into silence by the attentive punters. One lady actually came up to me after the show, “What a lovely show,” she said, “your audience is pretty intense though! This girl suddenly told me to stop talking because she’d paid good money to be here and wanted to hear the songs! I guess she’s a big fan.” I suppose I should be flattered that people would feel so strongly about listening to what they paid to come and see. Although the ‘shhhhhing’ sounds weird through the quieter songs in the set, I appreciate the sentiment. Thanks ‘shhooshers’. Highlight: The friendly folk of Bulli/Sam’s shirtless impersonation of Michael Flatley.
I’ve found one of the hardest instruments to get a sweet tone from is definitely the banjo. I’m playing a Deering Good Time Special, which sounds awesome acoustically, but micing up a banjo is just ridiculous, and hard to get any foldback without the thing screaming feedback. So I installed a Fishman Rare Earth pickup, which sounds pretty cool yet hugely clanky in the mid range. The secret ingredient has been the LR Baggs direct inputs we’re using on this tour. There is the perfect number of variables without massive compression on the DI, which makes it so much easier for a good sound through front of house and in foldback. In fact, it’s the same deal for all of our acoustic instruments.
Friday 12 October – Oxford Arts Factory, Sydney NSW
At this point I’d like to make a note of our extensive instrument entourage on this tour. This is what it takes to tour with The Paper Kites: two six-string acoustics, a twelve-string, a resonator, banjo, mandolin, lap steel, bass guitar and two electric guitars; Josh’s drum gear and our four pedal boards. Of course we can’t forget Deb’s lighting gear and Brett’s general TM and sound gear. It gets ridiculous sometimes on stage,
We woke to the sound of heavy rain and booming thunder, which shook the whole hotel. The old girl is 120 years old, so she didn’t fair too well through the storm. There was
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Lowlight: Loadout in the rain the next morning.
DAY 2
water coming through the roof and the windows, all over the stairs and the lobby floor. It was no surprise to the staff, so I guess it must happen all the time. We managed to get everyone together to go to the Gong for brekky, which was cheap as! I paid $8 for my coffee and cooked breakfast. Heck yeah, love a bargain! We fought the storm wind on the drive to Sydney, listening to Grizzly Bear’s Shields and enjoying the folks around with inside out umbrellas. We stayed in a hotel just across from Victoria Park. Think ‘90s timber bunks slumber party, with no ventilation. We killed some time before heading off to Oxford St. The only parking in the area we could find was a secure paid parking joint… $82! I don’t understand how people afford to park like that in the city. Load in, set up and soundcheck was a dream. Unlike the night before, we had plenty of time, and a lot more room. It really makes a difference when the venue is organised, and the house guy is really cooperative and helpful. We had a chance to run through a bunch of songs together and make sure everything was sounding nice and cohesive. We ducked out to inhale some chicken burgers and legged it back to watch the amazing Battleships play to their home crowd. And what a crowd! An appropriate turnout for such a great band. They have such a big musical presence, and confidently deliver a unique brand of post-rock with character. The dudes are so talented and real nice too, which makes them a pleasure to tour with. I have to say one of the best parts of my night was watching Dan play drums from side stage – that guy is amazing to watch and listen too! While back in the green room later, we were surprised by the arrival of our great friends from Avalanche City, all the way from New Zealand just to see us play (they managed to squeeze in some shows while they were over too). While on the road in NZ with Avalanche City, we had a significant amount of Daves on tour; Dave Parker, Dave Baxter and myself. We developed an intricate and complicated chant, which only we could understand, “DAVE! DAVE! DAVE! DAVE! DAVE!”…etc. Thus formed our ‘Dave’ brotherhood forever, and that chant would be the very same chant that united us once again this very night. “DAVE! DAVE! DAVE! DAVE!” echoed through the Oxford Arts Factory as we jumped up and down, arm in arm, like the winning team of a grand final. Maybe you had to be there? Anyway, we later stood side of stage with the curtains drawn as the intro music started the set. I have to say this was the most nervous I’ve been before a show for a long time. We had discussed earlier the balance and percentage of time spent performing on stage to an audience, versus the days and days of rehearsing, travelling, organising, setting and packing up, finding hotels, places to eat and of course loading out. We worked out it’s about 6% of the whole shebang but it feels like 99% when you’re up there
and it’s all totally worth it! And it was worth it that night. The OAF was sold out, and the crowd was beautiful, responsive and attentive. We couldn’t have asked for more. The whole show was a bar-setter for us, and possibly the best show we’ve played as a band to date. I have to say the lowlight of the show was the load-out. As soon as the show finished, the DJ started spinning the doof, and the crowd totally switched out to a new scene. Within 20 minutes our crowd was out, and the Oxford St party crowd was in. Josh was propositioned, a drunken lad fell down some steps and someone opened the stage curtain and vomited next the foldback wedge. The OAF is awesome, but is also notoriously bad
DAY 3
Saturday 13 October – Cambridge Hotel, Newcastle NSW A glorious morning! (Not that we could tell from the cocoon of our room.) We had the morning off, so a few of us went out for some brekky with friends in Glebe. We bumped into the Art Of Sleeping dudes and hung out at the markets for a while. After few bargains all ‘round and some gelato, we headed back to the hotel, then hit the road up to Newcastle. Getting to Newcastle was not as exciting as we’d hoped. When we got to the venue, we were told that we couldn’t load in for another hour. Brett managed to work his magic (which is what we pay him for) and we were allowed to load through the front. However, this was only the start of the ‘Not allowed’ show of the tour. “Can we open the back doors?”, “Not allowed”. “Can we use the hazers?”, “Not allowed”, “Can we have a good time?”, “Not allowed”. This guy was running a tight ship. We ended up with a short soundcheck and a stage with huge booming subs underneath it. All I could hear was bass until the room filled up later on. We had dinner in the pub, which was already full of blokes letting off steam from a long week at work. The NRL was blaring and the pool tables were swarmed. It was an absolute sausage fest. We got our food and basically ate in silence, because we couldn’t hear each other over the volume of Biffo on the phone to Shano telling him to get the F*#@ down to the Cambo
SAM STARTED A SONG ON THE WRONG KEY AND I MISSED A CUE FOR THE LAP STEEL, ONLY TO COME IN ONE SECOND LATER AT EXTREME VOLUME” for the front entry load-out. The back doors are locked and alarmed so we had to push our way through the pandemonium, with all the gear, out the front and down a flight of stairs to the vans. (When I say we, I mean the other guys. I was minding the vans out the side, talking to my wife on the phone, good job gang). Highlight: Dan from Battleships. Lowlight: Load-out.
for a game of pool and a jug of Tooheys. Biffo’s girlfriend later dropped a glass of beer on my feet. The whole night was real fun, and Art Of Sleeping played an amazing set! We had more time and space to hang out with those guys, and realised that we’ll miss them when this whole tour is over. Sam started a song on the wrong key and I missed a cue for the lap steel, only to come in one second later at extreme volume. I really enjoyed playing our cover of Dreams. So it was a great night with really good people, and despite the hiccups we were able to laugh it off before a huge drive back to Sydney. We managed two and a half hours sleep until the lobby call to get to our flight back to Melbourne. Highlight: Spending the day in sunny Glebe. Lowlight: “Not allowed” at the Cambridge Hotel. www.thepaperkites.com.au
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Love them or loathe them, you’ve got to give American music legends Aerosmith credit for their longevity and amazing album sales stats. Greg Phillips spoke to bass player Tom Hamilton about Music From Another Dimension, their first studio album in a decade, due for release in November.
Fender Relic bass G&L Asat bass Ampeg B15 amp Gallien Kruger amps blow one of those up and get a good sound.”
Music from another dimension
T
hey’ve always been considered America’s version of The Rolling Stones … Steve Tyler and guitarist Joe Perry, the Stateside Jagger and Richards. Aerosmith are in a rare group of recording artists who have sold over 150 million albums. The hits? Yeah, they’ve had a few… Sweet Emotion, Walk This Way, Dream On in their early days and later on, Love In An Elevator, Janie’s Got A Gun and Dude Looks Like A Lady. In Australia, they’ve never achieved the level of adoration they are used to at home and that’s probably one reason why they’ve only ever toured here once, but expectations are that album number 15 could bring them to our shores. Music From Another Dimension was a long time coming, partly due to extracurricular activities band members are involved with, and partly due to the difficulty of getting things done in a band with such strong personalities. The main issue delaying a start on the album was choice of producer. Once that was sorted, Hamilton tells Muso, the band was ready to roll tape. “I would say the bulk of the album was realised over the last two years. Some of the riffs have been around for many years. There were a couple of older songs, which were close to being finished, but everything was completely redone, redesigned and reimagined in the last year or two. It started with Jack [Douglas, producer] and I
think that some of these riffs were always going to be in limbo until we did work with Jack.” Much like The Stones, after four decades Aerosmith have to deal with that ever-present question of when they’ll call it a day. Although there’s no talk of quitting from the band’s camp, there is a sense of swansong about the new album in that musically it has a retrospective feel about it. “I think we just wanted something that had a strong connection to when we started but without trying to contrive an imitation of Toys In The Attic or Rocks. We have gained so much throughout our career by trying something outside of what we normally do. We have learned to just try things so I think there is a range of different material on the record and hopefully people like it and don’t jump all over us for not playing every song as fast and loud as we can possibly go.” On the album Hamilton mainly used a Fender Relic Jazz bass, as well as a G&L Asat through an Ampeg B15 amp, which is a different set-up he used on their recent American tour. “On stage I’m using Gallien Kruger amplifiers but for most of the set, I have been using my G&L Asat,” he says. “Last summer when we
were in the studio, their artist rep came over and dropped off this amazing Asat with an incredibly deep gold sparkle finish. He just said, ‘Here, do with it what you will!’ I tried it out and thought it was pretty interesting but the damn thing was as heavy as lead. Then we went out on the road and I brought it out with me and loved the sound of it, but it was so heavy! I got pissed off at it and only used it for a few songs. I told the company that I loved their bass but why did it have to be so damn heavy? So they made me one out of pine with that same finish and it’s beautiful and a joy
to play. Then they made me one out of ash and I channeled it, you know, dug a lot of the wood out of it and put a blue sparkle finish on it and that sounds great too. I have really been having a lot of fun playing them.” Hamilton is not a huge fan of effects, preferring to keep it fairly clean. “The only effects I really use are distortion but I have never been able to get the exact distortion sound I hear in my head. I have tried to do it with pedals. I think in the future, I’m going to pursue it, maybe trying some Marshall guitar amps. See if I can
The national Songwriters’ Circle tour kicks off in Sydney this week. Greg Phillips spoke to Steve Balbi, one of the Circle’s participants.
T
he Songwriters’ Circle is a concept which began in Canada and has since spread its wings across the globe. The Circle usually features three or four singer songwriters, who not only perform their songs to a live audience, but also dissect them, discussing how their songs are written, relating amusing anecdotes etc. This Australian tour features Canadian artist Matthew Barber, local guys Nicholas Roy, Asa Broomhall and former Noiseworks and Electric Hippies member Steve Balbi.
The Songwriters Circle Steve Balbi was unaware of The Songwriters’ Circle until he got a call from a couple of local promoters looking to launch the program here. Balbi was not short of work, being in the midst of recording a new Noiseworks album, rehearsing with that band for the Long Way To The Top tour, recording his own solo album, running his Ziggy stage show, and fronting ‘80s band MiSex... but the Circle gig intrigued him. “It seemed like a good thing to do,” he says. “It would be great for it to be an ongoing thing whereby people say, oh Songwriters’ Circle, four songwriters where we can go and listen to their guts. I’m not doing it to make a million bucks and go to the Bahamas, I’m doing it because it is the part of music which means the most to me.” Balbi is interested to hear what his fellow songwriters have to offer the audience on the tour but is fairly clear about his ideas on songwriting. “I’ve always thought that honesty is the best policy,” he reckons. “I like writing in metaphors, it’s nice to write in poetry but I think it’s best to just tell it like it is. I love affecting people. I like it that I can play a gig and make people cry. I love being able to tap into their emotions. Don’t be afraid to hurt somebody.”
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There are a million ways to tackle songwriting but one approach which Balbi has never subscribed to is the business method, whereby you write to a brief or treat songwriting as a day job. For Steve, it’s more a case of write when inspiration strikes and don’t force it. “There was an instance where I was asked to write a specific song based on rock’n’roll, fast cars and chicks and I thought the whole concept was ridiculous. I wrote the song in about five
minutes and it actually became successful and took an album to number one but I never meant to write that song. I come from a place where it’s a real gift to write a song, it’s quite precious.” For a musician who is playing an instrument and creating music on a daily basis, it’s easy to keep repeating musical ideas. Most writers develop comfort chords or habits which lead them down a similar musical path but Balbi doesn’t necessarily think it’s a disastrous practice.
“I think it is something you need to be aware of but not too bothered about. I think it’s OK but at the end of the day, it’s either going to move people or it’ s not. The chords may not matter, it could be a phrase or the melody or instrumentation. I think as writers, we all try to steer away from writing the same thing too many times. But comfort chords, yeah, the capo is good for that. Same chord, different key!” Another way Balbi prevents himself from repeating ideas is to put himself in different life situations, removing himself from any kind of comfort zone, a credo he brings to the stage too. “I hate being organised. I love the energy of being on the edge of anything. I hate being staid and in control. I think that is really boring so I will always put myself in dangerous situations. Whether it is something I say to an audience or something I give. I think the audience sometimes think, ‘Should you be saying that?’ It puts them in an uneasy place and it’s a place from which you can take them and make it OK.”
In forty years with the band, Hamilton doesn’t feel his playing style has changed much but has an interesting take on his band role. “I think I am a little more assertive with my playing and my writing but no, I think my role is what it has been and it’s interesting how my musical role is so similar to my band member role. As a musician, my musical role in the band is to be a liaison between the drums and the guitars, and my role as a band member is usually to be in between two personalities trying to claw away at each other. I try to make the guys understand each other a little better.” As bass player in a multi-million album selling band, Hamilton has racked up quite a few recognisable bass riffs, one of them, Sweet Emotion, was rated in the top 25 of all time in a recent web poll. But which bass lines does
One of Balbi’s most enjoyable methods of songwriting is in conjunction with another artist. It’s the exchange of ideas which appeals to him and it’s another reason why The Songwriters’ Circle held so much interest for him. The first time Balbi encountered collaborative joy was with fellow Noiseworks ad Electric Hippies member Justin Stanley. “Before Noiseworks there was an ad in the paper for a guy who wanted people to write songs with and I answered the ad and so did Justin,” recalls Steve. “We arrived at this guy’s place at the same time. It didn’t work out with him but Justin and I stuck together. With Justin it was effortless, there wasn’t any real verbal involved. I’d add a bit, he’d add a bit. He’s probably my soul brother in regard to music and collaboration. I don’t think I could find that with anyone else anywhere in the world.” Pushed for an example of songwriting perfection, Balbi offers two. “I break my life down to the simplest choices and the simplest route is always the greatest. I keep coming back to what I think the greatest song ever written and that’s Let It Be. What it says on many levels with its simplicity and the progression,
Hamilton consider to be among the best? “First of all, that’s a pretty amazing thing to hear. I mean I am aware that when people hear that bass line, they do know that it’s Sweet Emotion, which is interesting. As far as bass lines that I like, I was never one for getting the same bass line down as a record. First of all I didn’t have the patience. I didn’t have good enough equipment as a kid growing up to hear the bass well enough. I knew guys who would put their turntable on 78 to figure out the bass that way. I’ve always been one to learn the chords and then play something similar. I have always loved the bass part to Lady Madonna and a lot of Beatles’ songs, especially Rain and Paperback Writer. McCartney is so creative and uses such simple elements.” As to when the band might return to Australia, Hamilton is a little exasperated. “Jesus, I don’t know,” he said. “We’re so overdue. I think we’ve only been there once in our lives, It’s crazy! It’s insane, so make a loud enough noise down there and we’ll be there!” Music From Another Dimension is out November 6 www.aerosmith.com
it’s remarkable, just that line… Let It Be. Everybody’s life, every moment, every second, if you can embrace that phrase… it’s magic. On the other hand, I love the story of Like A Rolling Stone because that is my story. I remember hearing that song when I was about 12 years old and thinking what an amazing story and it ended up being my life. I think it’s amazing songwriting.” Balbi is looking forward to the uncertainty of the Songwriters’ Circle gigs and the surprises it will bring. I road test a couple of questions which may come from the floor on any given night. Song he’s most proud of? “What Do You Do When You Don’t Know What To Do? Nobody has heard it. It will be on my new solo album.” Easiest song he’s ever written? “Greedy People, which I wrote for Electric Hippies. We’d just walked out of the break up from Noiseworks. We left the accountant. I went home and wrote this sweet, melodic, jolly, pop song which was seamed with anger.” The Songwriters’ Circle begins in Sydney on October 25 and includes two shows at the Sydney Blues & Roots Festival. http://anoukpublicity.com
Best tip for home recordist?
One of the more intriguing panels at this year’s Face the Music conference will focus on music production. Panelists include Forrester Savell (Karnivool, The Butterfly Effect), Jimi Maroudas (Eskimo Joe, Bertie Blackman), Steven Schram (San Cisco, Shihad), and Gareth Parton (The Go! Team, The Breeders), pictured. Muso’s Greg Phillips puts questions to three of the four panellists and offers a sneak preview of the kind of information you may obtain by attending the session.
Perspective. Really hard one to get, really important to have a handle on. So take lots of little breaks, do some exercise, listen to other music, come back to your music fresh.
Tip for recording guitars?
Face The Music faces the producers
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very mainland state in Australia now has it’s own annual music conference and each claims that their’s is the most vital. In its 5th year Victoria’s Face The Music has proved to be one of the more popular events of this kind. For all of those knowledge hungry folks out there intending to work in the music industry or wanting to learn something to further their music career, conferences like Face The Music are invaluable and I’d suggest, well worth the meager investment to attend. Taking place again at Melbourne’s fantastic Arts Centre complex and once again running in parallel with the Australian World Music Expo, the two day conference occurs on Friday 16 and Saturday 17 November. The two day event presented by The Push and Music Victoria features presentations, discussions, networking, live music, practical workshops, and the hottest tips and tools to give your music career the edge. This non-profit event is made possible by the contribution of a host of music industry professionals including high profile artists, booking agents, promoters, artist managers, music lawyers, record label directors, event managers, and publicists, generously sharing their time and experience.
GARETH PARTON
Where did you get your start?
I studied at SAE in London in the mid nineties and started working as a freelance assistant at loads of the top London studiosStrongroom, Townhouse, The Church.
Most memorable session ever at studio and why? Working with The Breeders- Kim Deal was my hero since her early Pixies days so exciting and daunting to work with her.
Session most proud of and why?
Working on the first couple of Foals singles was pretty special- there was a big industry buzz around them at the time and I had to make sure the hype was matched by some decent recordings.
What do you ask of an act when you begin a session?
That they are open to experimentation in the studioit’s not necessarily about recreating their live show...
Best tip for home recordist?
Buy a few bits of better quality gear, rather than lots of cheap stuff. Concentrate on capturing good performances rather than over editing.
Tip for recording guitars?
Play well! Get guitar tones right at source rather than over EQing in the mix. Guitar choice/pick up choice/ amp choice/ pedal choice/mic choice- all change the sound hugely- these days I’ll often record a direct signal from the guitar as well as the amp (I can then re-amp this signal later to add any missing timbres)
Tip for recording vocals?
Make sure the headphone mix is right- too loud and the vocalist will oversing. Having a great vocal mic, pre-amp and compressor always helps..
Biggest studio no-no for an artist?
This might sound a bit square but ... musicians getting wasted in the studio might seem fun at the time but 99% of the time gives crappy results.
What do you see the producer’s role as?
It depends on the band- more experienced musicians just need to know that they’re performances are being captured properly, less experienced ones need to be coached and given a helping hand. People management is a big part of it.
If you could work with any act in the world, who would it be? Sonic Youth- I’m a fan boy.
JIMI MAROUDAS Where did you get your start?
I have been playing music for as long as I can remember. Elvis was my first inspiration inspiring me to pick up the guitar at the age of 4. As far as music production goes, I got a 4 track recorder for my 16th birthday, 7 years later I landed an assisting gig at Sing Sing studios which was a massive turning point and a life changing experience.
Most memorable session ever at studio and why? This is so tough as there are so
many wonderful memories in the studio. One moment that I recall is being in Paul Kelly’s bungalow/recording studio at the back of his house. We were recording Paul and Troy Cassar-Daley singing a duet. So there we were, squeezed into the bungalow and Paul is nonchalantly leaning on a mattress that is resting against a wall. Hardly raising his head to the microphone, he proceeds to deliver a jaw dropping performance! I remember Nash Chambers (who was producing) and I looking at each other thinking this is just incredible!
Session most proud of and why?
When I was just starting out as a producer and engineer I received a call from The Living End to record and mix some b-sides for their forthcoming album release. I was super excited to be working with the guys and promised myself that I would work as hard as I possibly could to impress. We recorded 6 songs in 3 days and I mixed them all in 2 days. Throughout the recording session I could overhear the guys making flattering comments about how it was all sounding (bear in mind that they had just finished their album with Nick Launay who is absolutely incredible!). I just kept my head down and kept working. On our day off between recording and mixing their manager called asking if there were any rough mixes to listen to because the band couldn’t stop raving about how the session was going. An empty taxi was sent to my house and I popped the only cd with rough mixes into the backseat of the car to be taken straight to management. A month later, I receive a call from the band’s management saying “Just thought we’d let you know that we’re here mastering the album and the band loved what you did so much that a track you did has made the record! Congratulations” Six Months later I was back in the studio working on an exclusive recording with the guys the week that the album was officially released and went straight to #1. Home run!
The player and the parts are key here, but options always help. So having a number of different guitars and amps on hand is always great as you can really tailor the sound scape to fit the mood that you’re going after for any given moment. For amps, having a good sounding room can make massive difference too.
Tip for recording vocals?
Having the singer be absolutely comfortable and free from distraction is the most import thing here. I have recorded vocals in all sorts of different locations, environments and times of day, all in the attempt to have the singer feel most comfortable.
Biggest studio no-no for an artist? Going into a session not knowing what you want to get out of it. Clarity of vision and realistic expectations are really important.
What’s a benchmark album for you in regard to recording quality as opposed to quality of songs?
Quality of recording is always important and I go to great effort in continually pushing the sonic boundary. Ultimately I don’t really think about music in those terms, it either moves me emotionally or not.
If you could work with any act in the world, who would it be?
Are we bound by time? If any artist at
any time, working with Elvis on “American Trilogy’ (or “Wooden Heart”)
STEVEN SCHRAM
Where did you get your start?
Chris Thompson at Triple J was kind enough to let me tag along to Live At The Wireless recordings and broadcasts.
Most memorable session ever at studio and why?
Peggy Frew from Art of Fighting stopping mid vocal take to run off and deliver her baby.
Session most proud of and why? Nobody got stabbed during the making of the Ground Components album. Close, but we avoided bloodshed.
What do you ask of an act when you begin a session? To really listen to each others parts.
Best tip for home recordist?
Sounds good, is good.
Tip for recording guitars?
Small amps and well set up guitars. One microphone.
Tip for recording vocals?
Don’t stare at them when they are singing.
Biggest studio no-no for an artist? Being late.
What do you see the producer’s role as?
The bus driver with a load of screaming school kids all wanting to go somewhere different. Some of them have motion sickness and some are wanting you to teach them how to drive.
Do you think you have your own sonic style?
Yes, Rough around the edges. Heaps distorted and over compressed. www.facethemusic. org.au
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have lives. If it’s not a brand new instrument, they come with a history and a life you are not really aware of. You know when you pick them up. Maybe it doesn’t even sound that good, it doesn’t really matter sometimes. It just feels right and you have a connection with them when you hold them. It allows you to do what you want to do with them and not get caught up in that equipment thing.
It’s been seven long years since The Wallflowers last release, Rebel, Sweetheart. Son of Bob, Jakob Dylan and his floral mates return with a brand new album Glad All Over and invite Clash and Big Audio Dynamite legend Mick Jones to assist on a couple of dub-flavoured tracks. Jakob called up local guitar slinger and Wallflowers fan Shannon Bourne to chat about it all.
Shannon: Yeah some of the old guitars with no real brand name can have a funky tone about them.
The seven year itch Shannon: Reboot The Mission is one of the Mick Jones tracks on the album which turned out great. What was it like working with Mick Jones? Jakob: Well, the band had recorded that song and we knew we were doing something in their territory. I just saw them recently and talked and said if there was anything we could ever do together, we would. We both wanted to. Anything to have the sensational Mick Jones join us. Shannon: What kind of guitars and tones did he bring to the table? Jakob: To tell you the truth, we sent him a file which is how people do things these days. I’d like to be able to tell you we stayed up all night in New York City or something but we sent him the tracks and he was generous enough to spend some time on them. I wish I could tell you what he did but I don’t think the equipment he used matters that much as he has such tremendous tone in his fingers. To me, it would sound like Mick Jones whatever equipment he used. Shannon: I have noticed quite a change in sound from Bringing Down The Horse to the latest album. Was that to do with having a different producer on
board as opposed to T Bone Burnett? Jakob: I don’t think so. I don’t think we were conscious of that. You know, things happen over time... bands evolve, people evolve, abilities change. I suppose it does sound a lot different to Bringing Down The Horse, I hope it does. I don’t think any of us would really know how to redo anything... that record or a different one. There’s a whole lot of factors which go into making a record. People’s interest in it or just something in the air at the time can’t be reproduced.
Shannon: I noticed some dry, funky tones on the record with the piano and also some dub textures. Was that something you or your producer decided to go with?
lot of stuff we haven’t done, so we say, ‘let’s discuss that’. So if you hear something like Motown or funk or whatever, it’s because we haven’t done it before and realising there is still stuff to do. Shannon: Was it more you bringing stuff to the table or the band writing together from the ground up?
Jakob: No Jay [ Joyce] doesn’t work that way. He’s played guitar with us. He was on Bringing Down The Horse actually. He’s not that type of producer. He’s very much a part of this band when making records, he’s such a fine guitar player. We just mess around with stuff and discuss our favourite music and there’s a
Jakob: Yes it was very much that. I brought a few completed songs to the table which is how historically the band has done things. When we first started talking about getting back together, when we discussed it , everyone wanted to be more involved. One of the key things we were looking for was... would the record feel good? Shannon: When you write, do you gravitate to any particular guitar? I have seen you with a nice White Tele and a few different acoustics. Does the instrument indicate what you are going to do? Jakob: I have a lot of stuff and sometimes it is nice to see familiar things around. I’m not sentimental about them or materialistic, there are just things I like and when I turn around, they are still there. I used to collect that stuff and be more interested. Instruments
Jakob: The life that they lived before you got your hands on them, you know, they lived and breathed. You can pick up a massively expensive instrument that doesn’t feel like anything. Maybe it sat in the back of a closet for years and didn’t live. You know, someone may not know it but they might have Charles Manson’s guitar! Can you imagine the stories it wants to tell? Shannon: I wouldn’t want to! Jakob: You never know. It wouldn’t be lost on me. I think if you would hold that guitar, you would feel something.
The energy of the player would transfer into the wood. There’s something in that guitar wherever it is. Shannon: What were the factors which made you take a seven year break from the band? Jakob: Probably a lot of communication failures. Simply put, we never stopped. The strain was gaining on us. You know with me particularly, I had never had a break or played to people outside the group. When we weren’t working, I was writing records for us. It may have seemed like the band took time off but I didn’t take time off. I was trying to write songs. It was just necessary for everybody, we were all burnt out. The classic internal issues were goin’ on. We did the right thing. There’s no need to break up under those circumstances, you just stop doing it. You don’t have to give a statement or explain to anybody, you just go and do different things. If you want to do it again anytime, we can. I don’t think we thought it would be seven years. Glad All Over is out now through Sony Music. www.thewallflowers.com
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Prairie didnâ&#x20AC;&#x2122;t realise he wasnâ&#x20AC;&#x2122;t re-recording the original Marching Powder. He said heâ&#x20AC;&#x2122;d been listening to it and I laughed saying itâ&#x20AC;&#x2122;s a bit longer than that!â&#x20AC;?
As the first remastered and expanded solo albums of the late Tommy Bolin hit the streets, guitarist Greg Hampton talks to Michael Smith about a tribute album to Bolin, Great Gypsy Soul, that set the stage for the reissues.
Sharing production tasks between Hampton and Haynes was a natural â&#x20AC;&#x201C; the pair have worked together for years, and Hampton plays in a band, 9 Chambers, with Haynesâ&#x20AC;&#x2122; bass player in Govâ&#x20AC;&#x2122;t Mule, Jorgen Carlsson. â&#x20AC;&#x153;Weâ&#x20AC;&#x2122;ve known each other long enough that communication comes fairly naturally,â&#x20AC;? Hampton admits. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s never laboured.â&#x20AC;?
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lready touting a reputation as something of a prodigy, Tommy Bolin, born in Sioux City, Iowa, 1951, was already a 24-year-old veteran when he was tapped in by Deep Purple to replace founding guitarist Richie Blackmore in 1975. Heâ&#x20AC;&#x2122;d recently departed from The James Gang, where heâ&#x20AC;&#x2122;d replaced Joe Walsh, recording two albums with them
The Tommy Bolin legacy before splitting to cut his solo debut, Teaser, which featured contributions from a number of fusion players heâ&#x20AC;&#x2122;d worked with in the band he formed just three years before, Energy. Bolin wrote or co-wrote seven of the nine tracks on Deep Purpleâ&#x20AC;&#x2122;s Come Taste The Band album, after which they decided to split, and headed out with his own band, recording a second album, Private Eyes, before unfortunately dying of a heroin overdose 3 December, 1976, after opening for Peter Frampton and Jeff Beck earlier that evening. Released in March this year, Great Gypsy Soul is a 2CD set credited to â&#x20AC;&#x2DC;Bolin and Friendsâ&#x20AC;&#x2122;; coproduced by guitarists Greg Hampton whose credits include albums for Alice Cooper and Lita Ford, Warren Haynes of Govâ&#x20AC;&#x2122;t Mule and the Allman Brothers. â&#x20AC;&#x153;Sonically,â&#x20AC;? Hampton suggests, â&#x20AC;&#x153;it sounds amazinglyâ&#x20AC;Ś I wouldnâ&#x20AC;&#x2122;t say modern â&#x20AC;&#x201C; [but] itâ&#x20AC;&#x2122;s very current sounding. Some of the playing is just breathtaking, itâ&#x20AC;&#x2122;s ridiculous; so ahead of its time. As well as Hamptonâ&#x20AC;&#x2122;s own Hampton Hacienda Laboratory, recordings were done at a variety of
studios that suited the various guests, involved including Wyman Studios, The Steakhouse, Command Studios, Tarpan Studios, Carriage Hose, Echo Mountain Studios, Sunset Lodge Studios and Perdenales Studios, with additional production carried out by Fabrizio Grossi, who also mixed the album with Hampton, the results mastered by Pete Doel at Universal Mastering. â&#x20AC;&#x153;At the NAMM shows every year,â&#x20AC;? Hampton continues, â&#x20AC;&#x153;all
these cats come to LA or Orange County over that course of time in January, and we were very fortunate to get quite a few performances within that timeframe. In two nights we got Warren and Joe Bonamassa, Steve Morse and Myles Kennedy [Alter Bridge]. Brad Whitford [Aerosmith] we did back east in Carolina. Nels Clines [Wilco] did some amazing stuff with [Israeli jazz guitarist] Oz Noy on that Flying Fingers
track [Disc 2]. And the version without Nels and Oz on that outtake from Teaser is incredible, seventeen minutes with Porcaro playing all those drum parts.â&#x20AC;? Completing that second disc is a piece called Marching Bag, which is broken up into four movements with Prairie Prince playing Michael Narada Waldenâ&#x20AC;&#x2122;s drumkit, â&#x20AC;&#x153;doing his best Narada imitation,â&#x20AC;? Hampton laughs in recollection, â&#x20AC;&#x153;on a twenty-eight minute version of Marching Powder [the version that was released on Teaser featuring Narada], which was taken from seven different takes, all different tempos and most of that drumming on there was just dodgy at best. We did that at Naradaâ&#x20AC;&#x2122;s studio outside San Francisco. He has this drumset that never moves â&#x20AC;&#x201C; he just did the new Jeff Beck record on it â&#x20AC;&#x201C; itâ&#x20AC;&#x2122;s always micâ&#x20AC;&#x2122;d, sitting in the corner, this big double-bass kit, green sparkle, and itâ&#x20AC;&#x2122;s got to be the best-sounding drumkit Iâ&#x20AC;&#x2122;ve ever heard in my life. But
The Teaser album was originally recorded at The Record Plant, Electric Lady and Trident Studios, Bolin producing with Lee Kiefer, apart from two tracks produced by Dennis MacKay, who also mixed the album at Trident Studios in London. Hampton produced, with Bolinâ&#x20AC;&#x2122;s drummer brother, Johnnie, the other two CDs of alternate and outtakes included in The Ultimate Teaser, mixing them again at Hampton Hacienda Laboratory with Jeremy Mackenzie. Hamptonâ&#x20AC;&#x2122;s approach to this record was simply â&#x20AC;&#x201C; â&#x20AC;&#x153;Trying to make it sound as good as I could. The drums, again, were
the biggest juggling act to get to sound good, but [Bolinâ&#x20AC;&#x2122;s] playing is just stellar â&#x20AC;&#x201C; that was the main thing. There was just so much stuff â&#x20AC;&#x201C; thereâ&#x20AC;&#x2122;s some other jammy stuff thatâ&#x20AC;&#x2122;s gonna be released too. Heâ&#x20AC;&#x2122;d go up to the Hollywood Hills to this guyâ&#x20AC;&#x2122;s place that had a rehearsal studio with a lot of guys heâ&#x20AC;&#x2122;d be touring with â&#x20AC;&#x201C; that manâ&#x20AC;&#x2122;s energy was just incredible â&#x20AC;&#x201C; but itâ&#x20AC;&#x2122;s not multitracked, a lot of it. It is what it is â&#x20AC;&#x201C; source material. Some of it is quite good, some of itâ&#x20AC;Ś you know, not,â&#x20AC;? he laughs again. Overall though, itâ&#x20AC;&#x2122;s gonna be great for other people to discover.â&#x20AC;? As for Bolinâ&#x20AC;&#x2122;s second and final album, Private Eyes, a lot of the original multitracks have been lost, but his death inevitably meant not nearly as much additional material was recorded so the reissue, when itâ&#x20AC;&#x2122;s released, wonâ&#x20AC;&#x2122;t be quite as expansive as the Teaser triple-disc set. For these tracks, Hampton points out , he didnâ&#x20AC;&#x2122;t use an amp at all for his solos on the recording, opting solely for DI. Both Great Gypsy Soul and The Ultimate Teaser are both out now on 429 Records through Universal. www.tbolin.com
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Behringer X32 Digital mixer
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igital consoles have become popular with sound engineers over the last decade due to the abundant features and ease of operation. These consoles have been very expensive and out of reach for many, but Behringer is about to change that. The Behringer X32 is the new kid on the block and boasts jam-packed functions and features at a price point that will impress the most discerning buyer. Since acquiring sister companies Midas & Klark Teknik, technological ideas from those brands have been implemented into the X32’s preamps as well as the effects and EQ algorithms. What you’ll notice about this 32 channel, 40 input console is the neat layout, so even if you are a first time user you will get your head around it fairly quickly. The 25 mix buses, which includes eight DCA (Digitally Controlled Amplifier) groups with simultaneous group level control, come equipped with serious signal processing (dynamics, EQ and inserts), which can be configured quickly to meet the demands of virtually any gig, large or small.
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REVIEWER: JOE YAMMOUNI INFO: WWW.GALACTICMUSIC.COM.AU
he H4N is the next generation of the widely popular Zoom H4, improving on the size of the display and adding a new 4-Channel capture mode.
As far as the X32’s use of motorised faders, Behringer decided to design and build the scribble screens and faders in-house, offering the features and functions of a much pricier console. Another handy feature is the dedicated view buttons for every section on the console surface, so you don’t have to go through multiple layers to access basic functions.
Another feature on the X32 is that the 32 channels of audio can connect from a computer via the USB/Firewire interface card slot on the rear panel. There are also two sets of 48 digital inputs on the desk itself. These use the AES50 ‘SuperMACí standard, an ultralow latency audio network hooked up with standard Cat 5 Ethernet cabling primarily intended for connecting Behringerís new S16 digital stage boxes. With up to three units per AES50 interface, a total of 96 sources and 48 returns are accessible from the console. The X32 straight out of the box lets you record your tracks straight into your DAW. You get compatibility with ProTools, Logic, Cubase and other ASIO or Core-Audio compatible DAWís.
On the top left section of the mixer, you have a dedicated channel strip section featuring 17 backlit buttons and 13 rotary controls with LED-collars right at your fingertips. This provides easy adjustment for each channel’s compressor, 4-band parametric EQ, gates and much more, all clearly functional and easy to set up.
Some other specs include: Midas-designed, fully programmable microphone preamps for audiophile sound quality,40-bit floating-point DSP features “unlimited” dynamic range with no internal overload and near-zero overall latency, 32 x 32 channel audio interface over FireWire and USB 2.0, with DAW remote control emulating HUI and Mackie Control, iPad app for professional remote operation available free of chargeóno host PC required, high-resolution 7” day-viewable colour TFT for easy viewing of workflow components and parameters, future firmware updates, including new FX ìPlug Insî, downloadable from behringer.com free of charge, USB type-A connector providing file storage and uncompressed stereo recordings plus show presets and system updates, Ultranet connectivity for Behringer’s P-16 Personal Monitoring System plus AES/EBU stereo digital output and MIDI, and networked remote control.
Below the channel strip is the 16 motorised input faders providing 32 high-end programmable mic preamps (switchable banks) as well as 6 balanced Line Ins and Outs on 1/4” TRS, 16 balanced XLR Outs, plus dual Phones and balanced Control Room outputs on both XLR and 1/4” TRS connectors. Scribble strips on each channel are backlit with dimmer functionality and let you change the colors and customise the labels. The scribble strips change with
Overall, I would’ve liked more time with the X32 but I was confident in using this desk after only a few hours of use. There is so much more this console can do and as far as a digital console costing goes, this one is a fraction of its competitors. This guy is going to turn a few heads. So clubs, houses of worship, school auditoriums or musos looking for a live/ recording console, it is definitely worth checking out. The X32 comes with a three-year warranty and is a definite mustsee at your authorised stockist. The game is about to change!
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REVIEWER: REZA NASSERI INFO: WWW.DYNAMICMUSIC.COM.AU
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the layer that youíre on and you can also route your inputs/outputs to create custom fader layers.
The X32 is armed with a wide selection of FX modules that you’d need. There are eight stereo or 16 mono effects which are fully assignable such as echo, delay, reverbs and even guitar cabinet emulators to name just a few. Guitar cab emulators are great when you either don’t have enough room on a stage for your Marshall 4x12 or the amp goes down before a show. The player can plug directly into the system via a DI, and off you go with a high-quality emulator, keeping the show going. Klark Teknik have delivered in this department, providing crisp quality and user-friendly effects which are extremely useful and dispenses with racks of out-board gear.
Zoom H4N Handy Recorder
Just looking at the unit I was impressed, with its solid build, perfectly positioned XY stereo mics, large on-screen display and simple to use interface. This unit is far more flexible than one might think, operating in three modes for stereo, 4-channel surround and multi-track record. The stereo mics can be adjusted at 90º or 120º, and a mid-side matrix decoder allows for extra spatial dimension during field capture. Two XLR inputs also take Hi-Z ¼” guitar leads so you can plug your guitar/ bass/drum machine straight in, and the addition of 24/48V phantom power means any type of mic is compatible with this unit.
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The specs on paper are pretty impressive, with up to 24-bit 96 kHz WAV/320kbps MP3 recording, it records audio as well as a DAW. With 32-bit effects processing and up to 50 types of effects including guitar/bass amp sim, reverbs, delays, modulation, and compression, so every sound source has a suitable effects chain. All the information is stored on an SD storage card (the unit comes with a 2G card and can go up to 32G), and can be transferred to computer via USB. When using ‘Stamina Mode’ you get up to 11 hours of continuous recording and even Cubase LE 6 is bundled in, should you wish to edit further I tested the Zoom H4N in Stereo, 4-Channel and Multi-Track modes to see what it was capable of. I grabbed my acoustic, set it to stereo mode, threw on some headphones and played. All you have to do is adjust your headphone level, mic level, hit record and play, and you’re off recording a stereo track at 44.1 kHz/ 16 Bit WAV. The quality is nothing short of studio grade and the onboard mics sound amazing if you’re just singing along with an acoustic guitar. This function is perfectly suited to singer/songwriters
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that want to capture spur of the moment. ideas You can even email your band mates the MP3s later. The onboard compressors and low cut were an amazing way of adjusting different environments, ensuring levels are balanced and clipping is absent in noisy places Activating the 4-Channel was a great way to add extra depth to your field recordings, sounding wonderful on pianos when paired with a couple of close condensers. You can even use it for capturing a simple drum kit by close miking the kick and snare while using the XYs overhead. Multi-Track mode was where this unit really shines, allowing a little demo to come together quickly. Plug in a drum machine, bass or guitar and use the onboard amp sims for convincing amp modeling to put together a killer demo in no time. The Zoom H4N is the ‘Swiss Army Knife’ of portable recording, with so many features making it relevant, for so many situations.
Godin Core Series HB Trans Red REVIEWER: GREG PHILLIPS INFO: WWW.DYNAMICMUSIC.COM.AU
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here’s something to be said for a familyrun business, even if it’s grown way beyond that. The hard working ethos and passion for the product usually seems to underly the corporate facade and this is what I’ve found to be the case with Canada’s Godin guitar company. When I received a Godin Core HB model guitar for review, I knew to expect a certain level of craftsmanship and ingenuity. There are three models all up in the Core range including the EMG and P90 pickup models. The HB relates to the twin humbuckers featured on this model. My first emotion on sighting the guitar was delight. I wasn’t expecting such a hotrod looking, rock’n’roll instrument. The trans red coloured, single cutaway instrument with black scratch plate and tone control knobs is striking to the eye. The mahogany set neck, rosewood fingerboard and beautiful chambered solid mahogany body scream quality. A 3-way pick-up selector switch is in white rather than black for a bit of contrast. A shining Graphtech Resomax silver bridge adds to the aesthetic. The headstock features Godin chrome plated contemporary-type tuners and signature logo. The guitar is quite weighty in the hands without being back-breaking, and before playing a lick you know it’s going to ring out and sustain like a son of a gun. The 22 fret, 300mm radius fingerboard with a 629mm scale length allows for sleek fret runs without being super slippery and makes for a generous note bend. Due to the chambered construction it’s possible to output some bold, chunky chords and smooth semiacoustic jazz stylings, characteristics you’ll find in many Godins. However, switch the Nitro humbuckers to rock mode and fuzz away to your heart’s content. From fluid George Benson-like licks to Neil Young-style sustained distortion, this guitar had both genres sorted fabulously. Unlike some of the other innovative Godin models, this is more of a workhorse-like instrument, free of fuss. The Trans Red colour tone is mighty attractive, but you may favour the
equally stunning Denim Flame model in blue, the Lightburst or Sunburst options. Comparatively speaking, the Core series is up against your Epiphone SG or Les Paul models and may be a little more expensive. It all comes down to whether you want something a little different and a little more exotic than the bog-standard guitar everyone else owns. Godin guitars are designed and manufactured in Canada. A nice human touch to each Godin instrument is the quality assurance tag which hangs from every guitar depicting 12 check-off points from body/neck finish and electronic install to intonation set up, final inspection and packing, each initialled by a Godin employee in ink. A small detail but one which proves they care about the products they manufacture and more importantly about the musicians who buy their instruments.
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DV Mark Triple 6
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REVIEWER: MARK OWEN INFO: WWW.CMCMUSIC.COM.AU
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V Mark is an Italian brand which has developed a devout group of followers from gear heads and guitarists to producers and engineers all over the world. And while their gear may have been sometimes placed in a corner with the Stratocaster-playing dad rockers, The Triple 6, or 666 for Slayer fans, is about to change this trend.
Channel one is the clean channel, and it’s a nice rounded warm vibe. It doesn’t really have any break up, even when you push the gain. That can be good or bad depending
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Two AA batteries power the unit’s bright led display, three rotary knobs control parameters and access different pages, a single stomp switch activates effects, engages the tuner or works as a tap tempo and four cursor buttons change effects and allow you to make up a chain. Navigation is ‘child’s play’ and anything unknown is easily resolved in the manual. I began by testing this unit the same way as a stomp box, between my guitar and amp, setting a clean tone and running through the 30 presets. Straight off the bat the first preset, ‘RAT Drive’ gave me a great rock tone. Here, five effects were chained together, a noise gate, distortion pedal, parametric equalizer, graphic EQ and a delay. You can select up to 6 effects at once and chain them together in different configurations, but beware there is a DSP limit in play. What’s even better is that any alterations made to the effects when scrolling back and forth are remembered by the unit without having to save.
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Distortions sounded thick and meaty, and thanks to the Zoom ZFX IV processor, tones don’t sound too harsh or ‘digital’. Standout distortions were the ‘Squeak’ (RAT) and ‘T Scream’ (Ibanez Tubescreamer) which both sounded similar to the real deal, but certain pedals like the ‘MetalWLRD’ (Metal Zone) really failed to hit the mark, having only one tone knob as opposed to four to shape your sound. Instead, for a metal distortion I chose the ‘Squeak’, threw in a noise gate and scooped some
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REVIEWER: REZA NASSERI INFO: SALES@DADDARIO.COM.AU
The Mini Mofo pumps out 15 watts of Class-A tone, with two EL 84’s firing the power amp and three 12AX7’s in the pre. Four cascading gain stages give all the drive you could ever need with the included footswitch operating the Mofo gain. Middle, Bass, Treble and Presence make up the EQ section with the Master volume controlling overall volume in conjunction with the Stealth switch (stealthily positioned underneath the head) dipping the wattage. There are two separate tone shaping inputs for US and UK tones, a series effects loop (which requires a stereo insert cable), 8 and 16 ohm outputs for a range of different cabs, and it all comes built in a cool, see-through steel chassis. Plugged in, the difference between
Now, powerful processing gets even smaller in the form of the Zoom MS-50G Multi Stomp pedal, a multi-effects processor housed in a single stomp box. Small effects processors have been around for a while, but I haven’t come across any that contain 55 effects consisting of 8 amp models, 12 dynamics/ filter effects, 10 distortions, 2 clean effects (including an acoustic sim), 13 mod/ sfx and 10 delay/ reverbs.
Hayden Mini Mofo and 112 Cab
he Hayden Mini Mofo is a little freak of an amplifier, with more gain and grunt than most full-sized heads. There are a variety of voicing’s on tap from warm cleans to mild break-up, or classic ‘Plexi’ rock to full blown metal mayhem.
the two inputs is that the US seems to have a bigger rounder bass like an old Fender or Mesa, whereas the UK has a grittier midrange and chime like a Vox or Marshall Plexi. I started with my Strat plugged into the US input scanning through the clean tones. The cleanest sounds came by turning the Master all the way up and keeping the Mofo all they way down, then using the gain to delicately set the volume. This resulted in a very clean, pristine tone with a nice fat bottom and jangly presence. There’s no reverb with this amp, but the series FX loop would eat up some reverb or delay for this type of sound. Turning the Master down and increasing gain brought about a mild drive along the lines of a Fender Deluxe or Blues Junior, whereas going all out and using some Mofo resulted in a nice flabby Mesa-style lead tone.
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fter having reviewed quite a number of different Walden guitars over the years, one thing always rings true, they’ve always been great value for money. Walden guitars are solid in construction and attractive in design, but more importantly always seem to play well and sound great too.
Six custom gold machineheads with satin black buttons aid tuning, and a Graphtech Fossalite nut and saddle cut to perfection, mimicking the tone of a vintage bone nut. Two glass fibre rails sit in the neck just before the headstock adding extra stability and extra tonal harmonics. The action is set low and string tension is loose, perfect for lead guitarists, beginners or players that are sick of shredding the callouses on stubborn strings, and the neck profile is shallow, smooth and makes for hours of comfortable, stress-free playing.
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Amp modeling was okay too, (nothing close to Fractal Audio or Line 6) and it’d be possible to go to a gig and plug the pedal straight into the desk for a useable tone. However, I’d suggest this pedal is designed to plug straight into a guitar amp. The Marshall Plexi, Fender Deluxe and Vox emulations sounded good and the Diezel model came close in 4th place. The real standout effects for me (besides the distortions) were the funky auto-wah and voice box, incredibly simple and effective noise gate, superb reverbs and delays, and a great Univibe effect. Tracking on the harmony and pitch shifting devices is spot on also and will please players who like these types of effects. In summing up, the Zoom Multi Stomp MS-50G is a brilliant device and would make a handy addition to any guitarist’s pedal board. Who knows, next time your amp blows a fuse at a gig or rehearsal you might even find yourself plugging one straight into the PA.
REVIEWER: REZA NASSERI INFO: WWW.MUSICMERCH.COM.AU
A scalloped spruce X-brace sits under the top alongside carefully carved tone bars stabilising the soundboard and providing detailed clarity and an open voice for this instrument. North American Sitka spruce is the pick for the top and is renowned for its balanced voice and strong attack, adding extra detail and crisp overtones in the mix.
Over on the UK input it’s a different story, as this amp magically transforms into a classic rock machine, eating up every note from my Les Paul. The bass becomes more subtle and immediate, the mids more focussed, the treble barking like a Marshall and the presence extremely sensitive. I hit the stealth switch and pumped the master for a saturated, responsive tone. I love how this amp adjusts to your playing, and it’s possible to get all your tones from the guitar by adjusting pickups and rolling the volume up or down.
mids with a couple of EQs in order to get a really impressive tone.
Walden Natura G740CE Acoustic
The body on the Natura G740CE is something different, coming in a ‘Grand Auditorium’ design, where the body is wider at the lower bout and narrower at the upper bout, with a beautiful Venetian cutaway allowing easy access to higher frets. The materials are all solid wood, a hard Sitka spruce top, light mahogany back, neck and sides and dark rosewood bridge and fingerboard.
One thing that’s immediately obvious is how much tonal range is available with the four band EQ – it’s so wide and musical with a massive dynamic range. You can go from mid-scooped metal to honky vintage leads and everywhere in between. The bass is solid too, even with the Eminence equipped Hayden 1 by 12 cab. The presence was really overbearing to my ears, so I liked keeping the treble up and the presence low as sort of master cut for the highs.
The Hayden Mini Mofo head and cab work beautifully together, being made for guitarists seeking a wide range of tones for recording, gigging, or setting that one perfect tone and using your guitar for dynamics. For a little amp, the Hayden Mofo does a hell of a lot.
REVIEWER: REZA NASSERI INFO: WWW.DYNAMICMUSIC.COM.AU
hose mad scientists at the Zoom laboratories have done it yet again. For those in the know, these Japanese audio gurus have been leading the pack with their pint-sized handheld audio (and video) recorders for quite some time, also making a memorable stamp on the guitarists’ collective consciousness with their 505 and G series effects.
Channel two offers as much gain as you’ll ever need. I had the gain about halfway and was playing through every metal riff I’ve ever played. The amp puts are a really tight, distorted tone. It’s clear, crisp and you can really play some faster, intricate stuff without it being swallowed in saturation. That was the best thing about the amp for me, the fact that no matter how low I had my guitar tuned, the amp still put out a clear and powerful sound. Channel three is just a bigger, nastier version of channel two, and is marketed as the ‘Lead’ channel, which seems fairly redundant considering the footswitch has a solo function to boost the volume for lead breaks. So basically the amp sounds fantastic, and for a metal/hardcore/hard rock player looking for a versatile amp I think this is a great solution. It doesn’t have the muddy wash of the Mesa and it’s a tighter, less ‘fizzy’ amp than the Peaveys. My only qualm is that the amp navigation took a little getting used to. However, if you are patient enough to brush your long metal hair every night, you are most likely patient enough to play this amp.
Zoom MS-50G Multi Stomp
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on personal taste. Importantly, it sounds great. A lot of amps made for ‘metal’ forget about clean, so its nice that this amp has the ability to really showcase DV Mark’s ability to create a really nice sounding tone.
This 120 Watt all valve 3 channel amp is based on the DV Mark Bad Boy, with the main change being a more aggressive gain and tone controls. It’s got a bunch of cool features like selfbiasing, loop assign, usual channel switch and a solo button. It has equalisation for each channel, presence and gain control, as well a volume.
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Visually, the quality and colour of woods is quite attractive, a soft vanilla spruce top, golden brown mahogany back, sides and neck and a dark tan finish on the headstock. The rosette features a nice blend of abalone and pinstripe to match surrounding white plastic pinstripe bindings, and mini dot markers add a modern, minimalist vibe to the fretboard. Unplugged she sounds great, very evenly balanced without too much top or bottom end. There is
a nice sparkle of presence resulting from a combination of fresh strings and great construction making lighter picks and fingerstyle playing sound crisp and airy. Lead guitar playing is especially good with the lower action and light string tension, as it’s so desirable for bending strings, vibrato and hammerons and pull offs. Plugged in, the B-Band T-35 is a simple, clear and bright preamp, utilizing a piezo pickup under the bridge saddle to provide tones. It’s a very brilliant sounding guitar when plugged in that would sit beautifully at the top of a dense mix, ideal alongside a couple of electric guitars or perhaps capo’d to sound a bit like a mandolin. The Walden Natura G740CE is another quality choice in a saturated market of acoustics under $1000, its appeal lying in comfort, tone and ease of use. The pickup is very easy to operate, and it would be hard to get a poor tone out of it with its wide, musical 3-band EQ.
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Product: Casio XW-G1
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t’s not unfair to say that in the past, the name Casio hasn’t figured highly in discussions about must have, hi-tech music making gear. However, it’s clear the company is now intent on making a bit of a statement with its two new synths, the XW-P1 and the XW-G1. The former is very much a player’s instrument with a vast range of synth, organ and rhythm sounds, and handy features such as ‘hex’, which allow the layering of up to six sounds. However, the XW-G1 is a slightly different beast, aimed at what might be diplomatically termed the ‘DJ’ market. With its amazing new features, the XW-G1 will add some grunt and inspiration to the DJ and dance music setting.
keyboard. I also immediately noticed the nonslip area on the top right, which would be ideal for an iPod, or similar such device.
It’s essentially a sixoscillator synthesiser with the capacity to record phrases and samples. It looks great and two things initially struck me - how light it was and how ‘generous’ it is with 61 keys. These are weighted just a little so they’re much more fun to play than the usual ‘springy’ kind of synth
It has all the expected ins and outs on the back panel, but one handy feature is the option to run other devices through its processing engines. The XW-G1 is in essence a production workstation. It’s generally laid out in a functional manner, and features the sorts of capabilities that’ll appeal to DJs who want to take their performance up a notch – the preset sounds are very ‘club’ and there are plenty of rhythm kits and so forth. It’s probably not intended to be a standalone piece of kit and shouldn’t be judged as such. What it can do is provide a considerable presence to DJ and live electronic music performance, and its sequencing/sampling capability allows complex phrases to be stored and played with one key stroke.
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REVIEWER: BAZ BARDOE INFO: WWW.SOUNDTECHNOLOGY.COM.AU
The main controls are divided into what are essentially three main areas. The left deals with the editability of tones, with four assignable knobs, and nine sliders. Three parameter program button options on the left allow the sliders to be used for different sound editing functions. It also doubles as the event editor for the sequencer function and is laid out in a way reminiscent of classic Roland kit synonymous with techno. I could speculate that Casio may have felt this was a kind of genre standard. The right-hand section deals with navigating around the preset sounds and user banks. It’s the middle that will interest the dance music fraternity greatly however. This area has the main volume knob as well as controls for the three main functions - performance mode, tone editing mode and the step sequencer. In performance mode the keyboard can be divided into four and there are 100 user and 100 preset tones, available plus the capacity to play prerecorded sequences and phrases. Tone editing allows the user to generate new tones, while the 16-step sequencer consists of nine note parts and four control parts. Five of these are for drums, one for bass, two for solo instruments and one for chords; however there’s still plenty of scope to create phrases for jamming, or augmenting a performance. Additionally, there’s the sampling capability, with up to 19 seconds per sample available. Used intelligently this is the kind of firepower that’ll make you look good.
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The Kemper Profiling Amp is quite different from all of its so-called competitors, as it’s genuinely the first of its kind. The KPA allows you to capture (profile if you will) the sound of any amp and quicker than Usain Bolt runs a 100-metre sprint. This is a new and unparalleled approach to guitar tube amp sounds. You can profile all and any amps you have, with your favorite sounds and/or cabs. You can even swap profiles with others on the net. There are already a number of people with vintage amp collections who have shared their profiles. I’m already thinking about two of my mates’ amps I’d love to profile - Shannon Bourne’s Gretsch Amp and Vinny Mancuso’s (Freestate) Modified Mesa. Well I’m that guy (like most guitarists) that is too excited to read the manual and likes to get straight into a new piece of gear headfirst. Lucky there’s an array of presets. So with its multiple output options, I plugged into my studio setup and got going. I immediately found Plexi and JCM 800 profiles (two of my favorites in the Marshall range) that brought a smile to my face (good start KPA). In the past when using a Simulator/Emulator I’ve always found that where they were lacking was in the sound of the air that only a mic’d amp gives you. I love that I can profile an amp with a mic other than a 57 or a 421 and can now use some of my favorite ribbon mics . I found most of the preset profiles very usable. So much so, I got straight to work on replacing guitars I recorded on a Jimmy Cupples track I was producing. I found it easy to modify the profile, adding and
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REVIEWER: EAMON STEWART INFO: WWW.JADEAUSTRALIA.COM.AU
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The same can be said for its similarities in sound. To begin with, I ran the guitar through a Marshall valve amp and that classic rock sound we all know so well was clear and present. It’s important to remember that this model is in the sub $1000 price range and therefore equivalent to the Epiphone range of Les Pauls, and like the Americans, the sound is very close to the real thing.
The sound is rich and the guitar is really easy to play. When soloing with distortion, the sustain holds for days and coupled with a big muff pedal, the tone is irresistibly bold. The clean sound held its own too, but let’s face it, this guitar is in its element with the gain knobs turned up.
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My only concern is with the tuning heads standing the test of time. This is an issue with all brands that have models within this price range, so it’s nothing new. If you really want to remedy the problem you can buy some standalone tuning heads. You might also consider this guitar’s bigger brother the ALS140F, if you’re serious about upgrading to a prolevel guitar with extra pickup grunt.
When you take a step back and look at the guitar, it’s hard to believe the price. It’s a really well-built guitar that sounds legit and the finished product is quite impressive. I must admit that I busted out “Sweet Child of Mine” and apart from my suspect playing, the tone was identical to the recording. You can definitely achieve the look and the sound with this model.
REVIEWER: MARK OWEN INFO: WWW.GOSPELPIANOS.COM
he Audya 4 is presented as a state-ofthe-art modern Expander and Arranger module; in simpler terms, it allows you to create accompaniments, backing tracks, and play along with them. Although you may be forgiven for thinking that this may be a very confusing and complicated device, you’d be mistaken. The interface is very user-friendly and allows you to navigate through the device quickly and with ease. And it’s a device that many players, arrangers and performers will find a very useful and valuable tool in their arsenal. Ketron have been around since the early ‘80s, are based in Italy, and have a rich history for audio interfaces, keyboards and PA systems. Since Ketron’s renowned MS60 / MS40 series was launched back in the early ‘90s, Ketron has been at the forefront of the industry and the Audya 4 is definitely consolidating that.
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subtracting gain, highs, lows, mids, etc. The KPA even has a number of onboard effects Delay, Reverbs, Mods, etc, that are very easy to control My recording setup/ studio is in a residential area. Out of respect to my neighbours, I usually halt drum recordings at 6pm and guitar recordings no later than 9pm. The KPA comes in very handy for those late night sessions. Anyone who has recorded guitar knows the variables of mic placement on a speaker cone. Sometimes you come up with a killer sound in an unlikely way i.e. a room mic and a close mic and so on. It’s quite cool that I can take a snapshot of my recorded rig and use it at anytime. So you’re all getting the gist that I want one, right? Well you’d be correct. In fact I think you’re going to be seeing the KPA in a lot of recording studios in time. I think once you get over that it looks like a machine you’d see in an Intensive Care Unit and use your ears to judge, you’ll be pleasantly surprised. Will it replace real amps in the future? Probably not, but I think they will co exist peacefully.
Ketron Audya 4 Advanced Music Station
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The intonation was great from the word go. Every note was pitch perfect. This is due to the sturdiness of the neck and the whole guitar for that matter, which is really evident when you pick it up.
With this model, Tokai shows once again they’re the real deal and that’s no false boast. Check out the list of players who have slung a Tokai around their neck, not least the late Stevie Ray Vaughan and ZZ Top’s Billy Gibbons. Since 1997 they’ve been producing Fender’s Japanese line which sees them really as the masters of the sub $1000 market these days.
REVIEWER: MARCEL YAMMOUNI INFO: WWW.INNOVATIVEMUSIC.COM.AU
e’ve all read the sensationalist claims of various guitar amp simulator/emulator manufacturers suggesting they have the upper hand with this new technology… some assert their products are even better than the real thing. Before going any further, I feel compelled to let you know I’ve always been a tube amp guy, with brands like Fender, Vox, Marshall, Mesa/ Boogie and even some of the more boutique brands like Ulbrick and Badcat being among my favorites. I love the purity of tone that a good quality valve amp provides and have been lucky enough to have heard and own quite a few in my time.
Tokai Lp Style ALS-48
laying this guitar was my first expedition into the world of Tokai. Although I’ve held down many conversations with friends in the past about the fabled Japanese brand, our paths have never actually crossed. The first thing that hits you is its striking resemblance to the American brand on which the model is clearly based. This model in particular (the LP STYLE ALS-48), is shaped like the Gibson Les Paul and in the Cherry Sunburst colour, the Jimmy Page look is certainly achieved.
Kemper Profiling AMP
The Audya 4 has over 560 in-built groove styles and 370 drum sequences, making it almost impossible not to find the right beat for your song, be it original or a cover. If for some reason you can’t find one, the device allows you to import you own drum samples and sequences; you can also start from scratch and create your own within the device. It has over 150 guitar patterns, allowing you to select a style, as well as the key and the chords or notes. It also includes a massive bank of bass guitar, ambient sounds and special effects, offering the user a total sonic experience. The device is made with both home studio and live situations in mind, with plenty of inbuilt effects including reverb, chorus, flanger and delay. It has two XLR inputs so you can have two vocals at any one time, with individual effects on either channel, MIDI in, into two through and 32 MIDI channels and two line inputs. You can play your guitar straight into the music station and use the in-built effects and play straight through the PA - no more lugging around a sequencer and amps or a pedal board.
This unit is such an impressive piece of kit, it’s impossible to even to talk about half of the abilities this gives the user. More features I haven’t mentioned include the Pro level multiplayer with up to six tracks simultaneously playing back, playlists, the ability to pre fader listen to your tracks, cross fades etc etc, input harmonisers and a state of the art vocaliser. Built with the working musician in mind, it’s easy to use and the 17 sliders allow fast and easy real-time control over effects and volumes. Although I have barely scratched the surface of this device, you can see why the Ketron Audya 4 is going to be the preferred arranger and sequencer for many performers. Do yourself a favour; get down to your local music store and spend some time with one - you won’t regret it. I’m off to delve further into this beast.
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TERRASPHERE P R OD U C T ION S
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CH-CH-CH-CHANGES When Tara Simmons started what’s become her second album, she wasn’t sure it would even be a Tara Simmons album. She talks to Michael Smith about how it all turned around.
After a year of heavy touring, Tin Sparrow are feeling the need to experiment – case in point, new single The Beast, as frontman Matt Amery tells Samuel J. Fell.
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t began, in a sense, with her decision to work with producer Yanto Browning, who’s worked with Kate Miller-Heidke, Art Of Sleeping and The Jungle Giants, among others. Brisbane-based singer-songwriter Tara Simmons had reached a point in her career where, while justly proud of the music she’s created to date – two EPs and her 2009 debut album, Spilt Milk, that had established her trademark down-tempo sample-driven sound – it was time for changes. “I actually did my previous EP [2007’s All The Amendments] with him,” she recalls, relating the evolution of what became her second album, It’s Not Like We’re Trying To Move Mountains, “which was very, very uninvolved in ways. I basically wrote the EP really quickly, we went to a secret location, set up a recording rig and recorded over a weekend, and released that. For me, I wanted to work with him – and I’ve never even said this to him – but in a way it was a little bit of a test to see how we worked together and if it would be a good idea for me to do an album with him. And we worked together incredibly well; we really share a similar view of which way I should head and how I should sound. It’s really, really positive.”
There’s more to this story
on the iPad
That said, only a small part of the work the pair did together as co-writers would end up on the album. “Basically, I knew that I had to write some more upbeat music,” she explains. “I actually went through a stage there where I thought I would create a new band to do that, and I felt confused by the idea of taking Tara Simmons into a new kind of… genre, so some of those initial songs that I wrote with him were actually going to be a project we started together. But as we were starting to do that, Yanto came along and saw a couple of shows and saw that, it was almost like subconsciously, I was already implementing a lot of the
FANCIFUL BEAST
things I wanted to do in my own show. So he kind of took a step back and said, ‘I think you just need to do the Tara Simmons thing and do what you want to do.’” Over the next 12 months, the pair worked through a lot of Simmons’ ideas and gradually the new album took form. In the meantime, she was also reassessing how she wanted to present the new music live. “I’ve got a four-piece that I’m taking on the road with me and it’s a completely different band to the one I’ve normally worked with,” Simmons says. “When I started this project, as part of my vision for what this record would be, there were a couple of rules that were put in place; one was no glitch beats or samples, and no cellos, or no strings – I’d played cello and sung on quite a few of my songs – and we actually stuck to that. So what I now have is more a rock’n’roll band, I guess. I don’t know what else to call straight up-and-down drums and bass; I’m on keys, with a guitarist who also plays keys.” Upbeat the album may be, but as a songwriter who writes very much from the personal perspective, Simmons found herself in the least conducive position for the necessary spurring of creativity – in a happy relationship. So she looked at her past. “I had to get back into a headspace at times that wasn’t really all that great,” she admits, “and tap into stuff that does feel a little unresolved or open-ended for me, and write from there.” WHO: Tara Simmons WHAT: It’s Not Like We’re Trying To Move Mountains (Inertia) WHEN & WHERE: Friday 26 October, FBi Social
he lush guitar lines and the big building pop/ country-tinged sound of Sydney-based quartet Tin Sparrow has been prevalent through their work thus far – debut EP From The Sun, released mid-2011, and second EP, Fair & Verdant Woods, released in April this year – and it looks set to continue, although as one listen to new single, The Beast, will attest, this is a group still striving to find a sound, still searching for what it is that defines them in a sonic sense. The Beast, the first single to be released from the band’s upcoming third EP, to drop early next year, is fuller, bigger, deeper, as frontman Matt Amery explains. “Yeah, it is a bit bigger in sound,” he muses of this new track. “There’s not so many harmonies, we tried not to overdo it with harmonies, and it’s more instrument-oriented I’d say. There are vocals there, but they’re pretty plain and aren’t the main focus. We just wanted to see what we could do with something a little bit more dirty, as opposed to clean, crisp songs.” Throughout May and June of this year, Tin Sparrow hit the road with Boy & Bear, a tour on which they covered a lot of ground, and a tour they emerged from with, it seems, an urge to experiment more, to try new things – The Beast being a case in point. “Playing with Boy & Bear, I didn’t know what to expect, and Killian [Gavin – Boy & Bear guitarist] at times, had some pretty heavy guitar sounds, which made us think, ‘What can we do with our guitar sounds?’” Amery explains on how they began to experiment once home from tour. “Dean [McLeod – guitar] loves guitar pedals, he buys one every two weeks, so it was more like letting him go. So let him go, let him do what he wants to do, find sounds that he likes and then he can bring them back to us and we can go from there. So that made things a bit more guitar-driven, as opposed to our earlier material.” It would seem then, that Amery, particularly with the new material Tin Sparrow is coming up with, sees McLeod as the nucleus of their sonic evolution.
“Yeah, I see him as the nucleus for some things,” Amery concurs. “[Here] I think we wrote a simpler song, and then used his instrumentation, his sound, and then from there we all thought, ‘What can we do with our sound, how can we change this, make it sound a little bit different?’” Along with drummer Mark Piccles and bassist Sonja Van Hummel, the Tin Sparrow sound is indeed building, growing, morphing and changing – an essential aspect to the evolution of any young band. “I think there’ll be elements of it… but I don’t think it’ll sound exactly like that,” Amery then says on whether or not The Beast will be indicative of how the rest of this upcoming third EP will sound. “If an EP is testing out a sound, then a single is like a whim – we just went in a direction to see how we liked it, and I think there are definitely some things we’ll want to change in the future… I think that louder guitar sound, the overdrive, that may be on the next EP, and I think we’ll also try to keep the harmonies maybe.” Whichever direction they choose to go, Tin Sparrow are growing, and this is indeed the most important thing – The Beast is a new beginning. WHO: Tin Sparrow WHAT: The Beast (Independent) WHEN & WHERE: Friday 26 October, The Standard; Saturday 15 December, Festival Of The Sun, Sundowner Breakwall Tourist Park, Port Macquarie; Monday 31, Peats Ridge Festival, Glenworth Valley
SWOON MUSIC Having fully embraced her inner jazz chanteuse, Canadian singersongwriter Jill Barber is finally creating the kind of romantic musical statements that she was born to make, as Michael Smith discovers.
“I
’m feeling in a good place, musically, and kind of on the path that I want to be on,” the former self-proclaimed “smoky folkie”, Jill Barber, on the line from her home in Vancouver, admits, “which I continue to explore. But I’m really proud of this record.” The record in question is latest album, Mischievous Moon, a collection that recalls classic jazz standards from last century, but is still entirely her own. The transformation from folk-oriented singer-songwriter to jazz diva began with her previous album, 2008’s Chances. “I think Mischievous Moon is a really natural progression from Chances. A lot of the songs were written, just like Chances in a sense. I spent time at a writing retreat in the Canadian Rocky Mountains at a place called the Banff Centre, which is an international Earth Centre. I’ve been there a few times. I wrote a lot of the songs on
Chances there and I also wrote a lot of the songs for this record – it’s a really special place for me. It’s where I go to write and reflect and get away from everything and try and open the floodgates of ideas and creativity. “I did some collaborating with great people – the guys in my band were incredibly important with this record. It was a really collaborative experience for me. I think songs come from a place of experience, and kind of being more comfortable as a singer, a songwriter, a musician and performer. Yeah, this next stage in my life, I suppose a lot’s happened since the last record. For me, this is my way of keeping a record of what’s going on in my life, in my head and my heart.” A major life turning point has certainly been her recent marriage, so there’s plenty of love and romance across Mischievous Moon. The release was produced and
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co-written once again by her guitarist, Les Cooper, but the big difference, however, is the lush string arrangements, courtesy of the ‘Mischievous Moon Chamber Players’. “I really wanted to create a soundtrack worthy of this music. I wanted to go for a lot of high drama and certainly paint with a broad palette of colours and instruments. It’s just so tempting to use strings for dramatic effect and to really help build songs. Dynamics were really important to us on this record, for sure.” If, apart from the more darkly pop Tell Me, Mischievous Moon is about Barber tipping her hat to the great jazz divas – Sarah Vaughan, Ella Fitzgerald, Dinah Shore – then If It Weren’t For Loving You, with the addition of accordion to the musical palette, points to the other side of the pond, such as French chanson Edith Piaf. In fact, Barber finishes the album with a French rendition of Tell Me, Dis-Moi, a nod too to the French-speaking side of the Canadian coin. “And it’s all leading to my next record,” she explains, “which I’m working on right now – a French covers album. I’m definitely experimenting lots with French and European influences.”
WHO: Jill Barber WHAT: Mischievous Moon (ABC/Universal) WHEN & WHERE: Wednesday 24 October, Clarendon Guesthouse, Katoomba; Thursday 25, Brass Monkey; Friday 26, Heritage Hotel, Bulli; Saturday 27 & Sunday 28, Sydney Blues And Roots Festival, Windsor; Wednesday 31, The Basement, Circular Quay; Thursday 1 November, The Abbey, Canberra
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58 • For more interviews go to themusic.com.au/interviews
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SINGING THE LICKS Young gun guitarist Joe Robinson is home for a couple of months and keen to show off his chops, not just on guitar but as a vocalist, as Michael Smith discovers. t’s barely nine months since northern NSW-born guitar wizard Joe Robinson released his third album, and first to showcase his vocal talents, Let Me Introduce You. Now, he’s back in Australia from his now home in Nashville to not only kick out the jams at a few festivals, but also launch a new EP, Toe Jam.
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“I wrote them quite a bit after the album was released,” the still only 21-year-old-yet-already-veteran-guitarist explains of the four songs on Toe Jam. “I was not a hundred per cent happy with how the album came out and kind of wanted to write a fresh batch of songs, so this EP is the result of just locking myself away in the studio and doing what I felt like doing. I was doing quite a lot of shows and I wanted to write some songs that I knew would work in a live set, some with kind of heavier, deeper grooves. I was playing a few festivals in America and wanted to have it be a little bit more high-energy than the acoustic stuff I’d done in the past.” Picking up the guitar at the tender age of 12, Robinson basically learned to play by seeking out YouTube clips of guitarists that would intrigue him – the guys in Steely Dan, Eric Clapton, Mark Knopfler and so on – but it was meeting the Emmanuel brothers that really kicked things off, the acoustic specialist Tommy Emmanuel particularly becoming a mentor. By age 13, Robinson was opening for him not only here but in the US, and by 16 he had cut his first album, 2007’s Birdseed, already three years into his touring career. He eventually cut his second album, 2009’s solo acoustic Time Jumpin’ in the US, however, the bigger jump came with this year’s Let Me Introduce You, where he stepped away from being strictly an instrumental artist and finally showcased a voice as flexible and melodic as anything he can play on guitar. “It’s funny because I always intended to sing,” Robinson states. “Even when I was first learning the guitar, I thought if you play the guitar you should sing too. But I guess I got kind of carried away with studying the guitar and I became obsessed somewhat. To be honest,
it took me a while to figure out how to sing – I mean, I’m still figuring it out – but I think it’s an important thing for me to develop because I feel I have more to say than just putting my guitar music out there. “It took me a while,” he chuckles, “to figure out how to sing and play a lot of this stuff. There’s a song on the EP, Piece Of The Puzzle, and the chorus has these licks going on while I sing. It really took me hours to figure out how to do that, but I felt a sense of accomplishment once I’d figured it out.” Lyrically too, the EP proved to be something of a reaction to the way he’d written songs for the album. “A lot of [the lyrics] come from personal experiences. I had written a whole lot of songs that maybe were kind of story-based and sometimes I’d bent the truth to make the story more compelling, you know, and with the EP I didn’t really want to do that. I really wanted to be honest with myself. That’s where the initial concept came from – honest lyrics and deeper grooves that I thought would work live.” WHO: Joe Robinson WHAT: Toe Jam (MGM) WHEN & WHERE: Saturday 27 October, The Vanguard; Sunday 28, Sydney Blues & Roots Festival, Windsor; Thursday 13 December, Street Theatre, Canberra; Saturday 15, Festival Of The Sun, Sundowner Breakwall Tourist Park, Port Macquarie
For more interviews go to themusic.com.au/interviews • 59
DEAL CLINCHER From a chance meeting in Sydney’s Broadway to recording in LA, The Preatures have come a long way in less than three years. Michael Smith checks in on their rise and rise with guitarist Jack Moffitt. riven by the duelling voices of keyboard player Isabella Manfredi and rhythm guitarist Gideon Bensen, the self-styled gothic soul five-piece The Preatures formed in early-2010 after Manfredi, lead guitarist Jack Moffitt and bass player Tom Champion met Bensen playing in another band at iconic innercity Sydney venue, the Lansdowne. By April that year they’d recorded an indie EP, and now they’re signed to a major label and about to hit the road to promote their second EP, Shaking Hands, recorded in Los Angeles late last year. Though it turns out the decision to record there wasn’t really planned.
Pink Floyd, Radiohead and The Beatles have all received the Easy Star All-Stars’ treatment, and now it’s Michael Jackson’s turn, as Michael Goldwasser tells Samuel J. Fell.
So the band headed to LA and recorded the EP over five days with Sydney producer Tony Buchen, whose CV includes records with Tim Finn, John Butler Trio and Gin Wigmore among others. “Tony’s been around since the early days. Gideon had actually done an internship with his wife in a music management firm and Gideon had played Tony some of the stuff that we did when we first started and got in touch with the band expressing an interest in working with us on whatever came next, so he’s been a great supporter of the band and helped us to be confident with what we were doing.” Part of building that confidence came from a task they set themselves as a band, The 66 Project, whereby
they would write and record at least six songs over six months, which spawned the five tracks on the new EP. “There was a lot of writing and demoing and, I guess, learning in that time. On reflection it was a really great way to prick the bubble for ourselves, ‘cause we did an EP in 2010 and I don’t think a lot of people have heard it – we put it together to recruit a drummer. The first year of our working together we didn’t have a drummer and we knew we needed one to get anywhere,” Moffitt chuckles. “So we sent it out and then we met Luke [Davison] and were back at square one. We had all this material – Gideon and I had been writing separately, so there wasn’t a shortage of stuff to explore – and then we’d get in the room with Luke and you have to find yourself in the dynamic. “When we decided to do The 66 Project it was to explore that, and when we got to the end of it we felt really good about who we were and what we could do, and I think we were left with some options of, ‘What do we feel the most connection with? And what do we really believe in in terms of what we’d written in the last six to nine months?’ and screwing around and having fun with that.” WHO: The Preatures WHAT: Shaking Hands (Universal) WHEN & WHERE: Thursday 25 October, Phoenix Bar, Canberra; Friday 26, GoodGod; Thursday 1 November, Hotel Steyne; Friday 2, Yours & Owls, Wollongong; Saturday 3, Cambridge Side Bar, Newcastle; Sunday 11, Newtown Festival, Camperdown Memorial Rest Park; Monday 31 December, Peats Ridge Festival, Glenworth Valley
SOUTHERN BELLES Bonding over the commonality of being handed down the gift of music from their acclaimed mothers, Katie Noonan tells Tyler McLoughlan how her pairing with Karin Schaupp led to a beautiful celebration of Australian and New Zealand music. n eclectic musical soul, songstress Katie Noonan always has a musical project or two on the boil, and her latest alongside internationallyrenowned classical guitarist Karin Schaupp has just earned the pair two ARIA nominations for Best Independent Release and Best Adult Contemporary Album. On the home stretch of a 22-date national tour to support their album Songs Of The Southern Skies, Noonan is very pleased with the reception thus far.
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“Well I guess the idea of the project is a celebration of the wide diversity of music that we make here across the broad cross-section of styles and people, and ages as well,” she says of the record, which honours Australian and New Zealand artists from The Easybeats to Nick Cave, incorporating Voices Of Birralee youth choir and a host of iconic guests. “It’s really beautiful getting into these songs more deeply, and playing to different audiences each night. Some people are strictly [into] classical music and some people more probably know me and my pop and jazz stuff, so it’s a real mixed bag of styles which is great. And one of the best things about [it has been that] at almost every show we’ve had a school choir join us onstage, which is really special because for a lot of the kids it has been their very first time ever on the stage, so it’s been nice to be a part of that journey with the kids. “I do a really broad range of projects so everything’s slightly different,” continues the prolific creator. “This is probably a little bit more classical in that Karin is obviously an amazing classical guitarist, but it’s extremely intimate which I love because most of the concert is literally just us in duet, so that’s pretty intimate. There’s a special quality from things being extremely stripped back like that, back to the essence of the song I guess. “And the special exciting news about Brisbane though is that my brother Tyrone is gonna join me.
60 • For more interviews go to themusic.com.au/interviews
illie Jean is not… a progressive and nontraditional reggae tune. Or is it? Put it in the hands of world-renowned album reinterpreters Easy Star All-Stars, and you know it could go pretty much anywhere. From their version of Dark Side Of The Moon (Dub Side Of The Moon, ’03) through cuts off OK Computer (Radiodread, ’06) and Sgt. Pepper’s (Easy Star’s Lonely Hearts Dub Band, ’09), this collective of top-flight reggae musicians have morphed the aforementioned classics to their dreadlocked whim, the results garnering them fans the world over.
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“It was interesting,” Moffitt remembers. “We had this conversation with the producer at a rehearsal and we were sort of throwing the options around and, you know, they all cost what they cost, and he kind of threw it in at the end, as a sort of joke, like, ‘Or we could just go to LA?’ And it just stuck with me, the idea of doing it there, and we looked at what it would cost and it really was the same. The only expense that we incurred that would have been more than doing it in Australia was staying in Hollywood, and even that wasn’t that expensive for five people.”
ALWAYS THINK TWICE
To some though, these concepts are gutwrenchingly gauche. Yet over the course of the last decade, Easy Star All-Stars have shown it’s about a respectful reinterpretation as opposed to a cheesy cover venture, and so their three records to date have become accepted, acclaimed and loved. And now it’s Michael Jackson’s turn. Easy Star’s Thrillah is the record, a reggae reinterpretation of the highest-selling record of all time, Jackson’s 1982’s Thriller, the album which launched the performer into the pop music stratosphere. For producer/ arranger/guitarist Michael Goldwasser, it was an inspired choice for the band, filling all his strict criteria. “Yeah, the first criteria is it’s gotta be an album of great songs,” he qualifies. “We want the songs to be diverse, songs that are well written and songs that people are gonna want to hear, regardless of what the arrangement is. It’s gotta be translatable to reggae in some sort of meaningful way [too]. And also, we have to do things that people are gonna care about. For this one, we wanted to do something different; our first three records in the series were based on rock albums, so we wanted to change the genre. “And R&B music from America is so important to the history of Jamaican music – not just reggae, but way before – so I thought, to get people thinking about that, even subconsciously, we’d do an R&B record.”
This is Thriller to a tee, a classic modern take on American R&B, a pop album against which to measure all others, and given its danceability, perhaps an easier choice to re-arrange, as opposed to the three that have come before it. “Yeah, it totally is [more sonically suited], but it gave me a new challenge in that, how do I take a danceable record, and make it danceable in a different way?” Goldwasser smiles. “If I keep the tempos the same and the bass lines the same, it’s just making the same record, so I really had to take each song and make it danceable on its own merits, but different from the original, so that was a cool challenge.” The results see the record opening with Wanna Be Startin’ Somethin’ as an eight-minute Afrobeat number; The Girl Is Mine, Thriller and The Lady In My Life get the straight up reggae treatment; Beat It gets slowed right down to a rootsy ballad and Billie Jean stretches out and gets reggae-fied, and then some – it’s a classic record, re-arranged into something different and real in its own right, just what the All-Stars do. “You’ve gotta dive in and just go for it, because if you think about the enormity of it too much then it’ll drive you crazy,” Goldwasser laughs. “And you can’t worry about what the purists are gonna say; you should just enjoy music. So this was a big record for me, of all the records we’ve done, the original of this was the biggest thing for me, Thriller was such a big album, for many people, but I wasn’t thinking about that making this album – I had a good relationship with the music.” WHO: Easy Star All-Stars WHAT: Easy Star’s Thrillah (Easy Star Records) WHEN & WHERE: Thursday 25 October, Rock Lily at The Star
EVERYBODY WANTS SOMETHING Tim Steward from Brisbane’s We All Want To tells Chris Yates that while the new album may not have turned out exactly how he expected it to from the beginning, the end results are more than he could have imagined.
Man Of Colours, the Icehouse record, was the very first album that we bought together – sorry, the very first Australian album that we bought together. The first album we bought was Crowded House, which is almost Australian. Iva Davies sings on [Songs Of The Southern Skies] but I thought it would be great to have something special for the Brisbane concerts that’s different to everywhere else, so [Tyrone]’s gonna join us for Man Of Colours, the song. I still remember going into Rocking Horse Records… and I distinctly remember getting the bus with my brother and going in with money and buying that album and falling in love with it,” she says, highlighting the personal insights that shaped the album’s tracklisting.
hen the time came to record the second album for We All Want To, Steward had in mind a raw and stripped-back affair. Anyone who’s heard Come Up Invisible can attest to the fact that this certainly did not happen! Instead, the record is a deliberate and carefully thought-out collection with nods to Steward’s past certainly, but also showcasing a mix of influences from different members of the band, plus an outside contributor whose impact on the album is obvious and thorough.
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Having met briefly in childhood and being aware of each other’s talents whilst studying in Brisbane, an encounter at Huntington Music Festival in 2004 led Noonan and Schaupp to joint explorations in British folk. From there, the impetus for Songs Of The Southern Skies, and the incorporation of guest collaborations including Gurrumul and Chris Cheney of The Living End, began at a very fitting celebration.
“The thing is, when we recorded and especially when we mixed I was always wanting to keep it sparse,” Steward says of his early intentions. “With the [2010 self-titled debut] We All Want To album I really wanted to record an album that we could represent live that really sounded honest and like a band. And it kinda worked to a little extent, but with the new one again I really wanted to take that minimal route in mixing.”
“That was a beautiful collaborative process and it literally started at the ARIAs last year, because Gurrumul was there and we very briefly hung out backstage, and then I saw Chris there as well,” Noonan smiles. “I presented with Iva, so that’s where I first got the idea of him to sing on the album. A lot of the seeds of the project creatively were sown that night actually.”
While it would be great to hear a stripped down version of We All Want To, it’s a blessing that producer Darek Mudge’s big vision was given an opportunity to shape the record. It’s not surprising he knew what to do, having played in Steward’s landmark band Screamfeeder as a second guitarist for a period when the band was a four-piece, as well as playing in more than a handful of other Brisbane bands. Also on his list of recent achievements is recording Steward’s partner from Screamfeeder Kellie Lloyd’s highly acclaimed solo album.
WHO: Katie Noonan & Karin Schaupp WHAT: Songs Of The Southern Skies (Kin Music/Universal) WHEN & WHERE: Friday 26 October, IPAC, Wollongong; Saturday 27, City Recital Hall
Despite Steward’s time in Screamfeeder, a hesitation to play live by himself is actually what led to the formation of We All Want To. He was admittedly nervous of permorming solo due to the inherent responsibility of the role. He eventually put together a Tim Steward
band to help him play his solo work live in a way that he wanted to hear it, and this led to finding new players, who became the first line-up of the band. “We started writing all this new stuff which was way better than the stuff we’d been doing from my solo album,” he says. “We just started putting the new songs in and suddenly we were like, ‘Oh wow, this is good!’” While he doesn’t write off the idea of Screamfeeder getting back together at some stage down the track, he cites drummer Dean Schwereb’s indefinite relocation to the UK as a factor that makes the possibility unlikely any time in the immediate future. Screamfeeder fans could do a lot worse than exploring the new albums from both Tim and Kellie’s new projects, as it really shows off a very different side of both of them as performers, while the hooks and pop magic that made Screamfeeder so beloved are still there in abundance. Even so, there may be something else quite interesting on the horizon to look forward to for those who want to indulge in some good, honest nostalgia for the much loved Brisbane icons. “When I was doing those solo gigs recently I did a bunch of Screamfeeder songs and I played them really soft,” he tells, “and I thought it was kind of great. So I’m actually kind of toying with the idea of doing a solo album of Screamfeeder songs. A lot of the songs actually worked way better really, really quietly than I imagined they might, so that was pretty interesting.” WHO: We All Want To WHAT: Come Up Invisible (Plus One/MGM) WHEN & WHERE: Wednesday 24 October, Great Northern Hotel, Newcastle; Thursday 25, Yours & Owls; Friday 26, Clarendon Guesthouse; Saturday 27, Brighton Up Bar
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SINGLES/EPS WITH ROSS CLELLAND
ON THE RECORD
Bob Evans
More big indie pop from a big indie pop band, The Good China. All eight of them, and with the good grace of We Knew When We Had To Leave (Independent). It’s a short EP long on being correctly stylish. It stutters, hooks you, references The Smiths, has some darker feeling hidden within the sunshine, and leaves little puddles of rainbows under the bed and over by the Playstation. The handclaps that open No More Maps, No More Roads will have you following them anywhere. Yes, makes even me happy in what it’s about. While happily, if perhaps inaccurately, making ‘indie’ an identifier of something lacking of a certain polish and élan back there, can Alpine accept the appellation. Seeing Red (Ivy league) has a cool fire to it. Small, but perfectly formed, perhaps? It still somehow sounds European of another age. An age when cigarette ads were shown in cinemas, and wistful looks out to the yacht in Monte Carlo harbour were the currency. This dances in the sea spray, and then lights up. Around the Mediterranean coast, maybe a decade and a half later, City Calm Down’s Movements EP (I Oh You) are swimming in a coastal cave somewhere on the Amalfi, looking wistfully towards Duran Duran’s yacht sailing by, while negotiating to purchase Orchestral Manoeuvres’ synths from their last tour. Electronic pop of a sort that may have got a run on the ‘Chartbusters’ segment of Countdown around 1985. The indie pop waves are also crashing in closer to home. Love Parade are looking for the right break somewhere between Merewether and Wanda, with Surfin’ NSW (Ind) true to its title with its, erm, ‘surf’ guitars and splashing drums and cymbals, and voices just fuzzed enough to be human. Inputs from a variety of relevant and helpful sources include Jim Moginie, Frenzal’s Jay Whalley and producer Robert F Cranny’s knowing and empathetic way with layers of female vocals.
62 • For more reviews go to themusic.com.au/reviews
PAUL BANKS
Epitaph/Resist
Matador/Remote Control
Hub/Inertia
Chart-toppers and globetrotters, it would have been oh so simple for Parkway Drive to take the predictable route on album number four. Some established bands promise the world and deliver an (ahem) atlas. The Byron Bay metalcore lads have broadened their horizons without neglecting what first brought them to the (fight) dance. New aspects introduced represent a major talking point. So much so, they will likely overshadow some of their most satisfying, identifiably them fare. Matt Hyde’s production is tighter than a duck’s arse and frontman Winston McCall is angrier than a box of bees, roaring the rallying cry, “We’re born with nothing and we die alone!” to segue into another seismicshifting breakdown on Old Ghosts/New Regrets. Hook-laden riffs, blast-beats and punishing beatdowns aplenty (monstrous Dark Days and Wild Eyes, jugularthreatening Swing) will please pit ninjas. Thrashedup Snake Oil And Holy Water is among their most aggressive exercises. Essentially, they’ve struck an ideal middle ground, expanding the template enough to stay fresh without pushing too far. If you need a ground zero for Atlas’ wider scope, see two-minute opener, Sparks, acoustic guitars, a dramatic string section and moody spoken word setting the tone. Not enough? Harmonydrenched The River indicates a sharpened sense of melody and occasion to which they add female vocals. The Slow Surrender introduces turntable scratches – it shouldn’t work, but somehow does. The multi-faceted title track’s symphonic flourishes and atmospherics add further colour. Closer, Blue And The Grey, throws elements, both old and new, into a blender and creates another tasty concoction. Considering Parkway is touring with grander production, they required the songs to match their vision. Now they have them.
Paul Banks’ second solo album, Banks, while certainly not uplifting, is endlessly impressive in its complexity and almost harrowing in its depth and melancholic feel. Each song feels darker and more fascinating than the last, and the record as a whole falls together with remarkable ease. Opening track, Base, establishes his thick, heavy, mournful sound, and with it the complexity and dexterity of the record as a whole, introducing his incredibly smooth, masterful vocals, and transforming them into an arrangement of soft, simple guitar melodies and melancholic vocal lines. Arise Awake is faster and more upbeat, with complicated guitar lines and slow, steady vocals, again with a distinctly sombre tone. Young Again features multiple layers of technically impressive guitar and drum rhythms, but it’s not as straightforwardly effective as other songs on the record. I’ll Sue You is distinctly reminiscent of his Interpol sound, featuring perfectly constructed layers of guitar, drums and calm vocals combined with sophisticated, honest lyrics. The standout track, however, is undoubtedly Paid For That, truly showcasing Banks’ incredible vocal and lyrical talent, displaying flawless vocal phrasing and combining it with a simple, upbeat melody. Another of the album’s highlights is the unexpected and enticing Another Chance, featuring repetitious spoken vocals over a fast, urgent string melody, giving the track a dangerous, almost maddening feel. His vocal prowess shines again in No Mistakes, with honest, poignant lyricism and almost inconspicuous but effective vocal harmonies combining to make a truly impressive track. The album then closes, interestingly, with Summertime Is Coming, the only vaguely optimistic song on the record.
Winter People are definitely the new darlings of the alternative folk-rock world. Hailing from Sydney, the LIVE six-piece are spearheaded by singer, songwriter and multi-instrumentalist Dylan Baskind. Their debut album, A Year At Sea, is a confident and comprehensive first foray into recording, with a lot going on here from traditional folk ballads through to more modern indie pop songs such as lead single Gallons.
Brendan Crabb
Lucia Osborne-Crowley
WINTER PEOPLE
Banks
A Year At Sea
A Year At Sea is at its best when all the band
members are in full swing, with complex harmonies VDand a sophisticated synergy; the combination of
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drums, guitars, violins and vocals creates a sweeping atmospheric air of hope and optimism. This is something that truly great folk instrumentation can create, and Winter People have been able to tap into the types of sophisticated harmonies that artists like Augie March and Fleet Foxes serve up with inspired ease.
VD
Their record company probably doesn’t care if the band gets back together, they’re getting double the return from Julia Stone and her sibling. Justine (PIAS/EMI) is typically airy, but perhaps a little more breezy than usual. And it’s just wafted out through the flyscreen, probably never to be found again. But then there are things that sneak in through the bathroom window after feared lost. Sherry Rich has respect in her Melbourne natural habitat for her voice and songs. Now around ten years ago, the late Jay Bennett thought so, too. They made a record at Wilco’s attic, with some of Bennett’s then-bandmates and assorted friends, which somehow never got released until not long ago. Pandora Mink (Vitamin) is harmonied rootsy pop of bent beauty that you should hear, particularly on the pink vinyl on which it is presented here. Also with admirers in those parts, The Griswolds put together the singles that have made the college charts over there and triple j playlists here on the Heart Of A Lion EP (MGM) with all the plinky guitars and tropical tribal percussion that can sound overdone when done wrong, or right on the money of what’s indie-ly fashionable when done right as here. It just shines, it does.
PARKWAY DRIVE
D
The break. The hiatus. The go away and don’t come back. Feel free to decide which of these continuing returns are of any interest. Something For Kate’s ‘comeback’ album seems to have kept the purists who went along with Paul Dempsey’s solo sidetrack, but left the rest of us with a wild case of indifference. Possible last throw Miracle Cure (EMI) seems to have a bit more attack to it, but isn’t the great leap forward if that’s what you were after. After taking a turn back at being Kevin in that adenoidal rock’n’roll band for a while, the coin comes down for him to be Bob Evans again. The rather happy and slightly snarky energy of I Don’t Want To Grow Up (Capitol) seems a reasonable philosophy from an artist who - unlike some - actually appears to enjoy making music, whichever guise he’s in. And then there are those who might not know any better. Apparently having not been in the same studio for seven years - and sometimes having trouble being in the same country - the venerable old firm that is The Rolling Stones make the necessary arrangements to throw the obligatory bonus track for their latest Christmas fund compilation. It’s called Doom And Gloom (RSR/ Universal), and if you can get past the irony of four richer-than-God old blokes (and some well-paid sidemen) trying to convince you they’re worried about the problems of the world, just listen to Keef’s and Ronnie’s blues guitars dance around each other as ever, while Mick yelps and gets in a harp solo before he runs out of breath. Essentially, still nobody does being a Stones tribute band better. And Charlie’s still the coolest old bastard of the lot of them.
Baskind’s voice is at the centre of this swirling microcosm. Leading the charge, his vocal harmonies are beautiful and sultry, ticking all the boxes as he sings about life, love and the countryside. His voice is engaging, unique and memorable, definite criteria for success in the alt-folk genre. It’s easy to see why their debut album has vaulted them to instant popularity. In recent months they’ve played a number of sold-out shows, toured nationally with Gossling and have even manged to find their way onto the Harvest festival bill - the only Australian artist to do so. No wonder they’re being touted as the next big thing. For a first album A Year At Sea is an arresting piece of music. Winter People have crafted something quite breathtaking and it seems they can only go onwards and upwards from here. Thomas Nall
POLIÇA
TWO GALLANTS
Inertia
Indochine/Warner
Minneapolis’ Poliça have delivered a poignant debut that taps into the dark psyche of lead singer Channy Leanagh,a response one suspects to the end of her marriage. Produced by Ryan Olsen, the electronic soundscapes on this record are astounding and in a world of their own, from the plucking electronics of Wandering Star to the rhythmic build-up and vocal layering of Lay Your Cards Out. With two drummers in the ranks, the record is predominantly driven by heady rhythms, which contributes to much of the trip hop essence and the marvellous percussive trickery scattered throughout the record.
The Australian and New Zealand release of Give You The Ghost comes with five bonus remix tracks, most of which the record could do without, except for Amongster (Exitmusic Remix) and Lay Your Cards Out (Alluxe Remix). These two remixes work with the strengths of Poliça.
In the five years since their last record, Adam Stephens and Tyson Vogel have played in different bands, and in Stephen’s case, spent time recovering from a van accident. Reconvening Two Gallants has seemingly allowed them to reflect on the experiences of those years and create a batch of songs that swing wildly between restrained folk music and raw, purgatorial moments of intensity. The grand gesture of Halcyon Days opens the album, showcasing the range of emotion in their sound. The riffs are big and bold, the vocal cords are pushed to the limit and the drums are used like a battering ram. Yet within the heaviness there are glimpses of nostalgia and reflection that counterpoint the song’s sonic agitation. It sets the album up perfectly as a brittle, demanding and often frustrating listen, but just as you get onto their wavelength the channel changes to the comparatively mellow rumination of Broken Eyes and Decay. Though they are good songs, the listener is too quickly thrown back into Two Gallants’ rock extremities. It’s that push and pull that creates the feeling of no middle ground, a barren plateau between valleys and peaks. When they do combine the best of both worlds into a single track, they can sound magnificent. Winter’s Youth does just that with crashing choruses and almost hymnal verses while Willie plays it straighter with a jaunty, playful vibe, lightening the mood considerably. In terms of Americana music, Two Gallants sit in a strange place. They work equally effectively on intimate and epic scales, and generally speaking, all the songs here are of a high quality. Yet by trying to combine the full spectrum of their music into 12 songs and 40 minutes, it comes off as disappointingly chaotic and disjointed.
Celline Narinli
Chris Familton
Give You The Ghost
Each song unravels an emotional wound. The jittery bass line of I See My Mother, coupled with Leanagh’s silky auto-tuned vocals, speaks of such grief-stricken stories – “Oh what a web I have woven myself in/ I’m always chasing after somebody else/ All by myself”. Harsher, more mind-frenzying moments are heard in Violent Games, which sees a Western-style duel between roughly-edged synths and soaring sirens before the song erupts into a drumming frenzy. The Poliça sound captures the eeriness of early-Portishead, yet their loosely-structured percussion – as evidenced in the outro of Fist Teeth Money, where the beat is on the verge of falling apart but is held together by a thin thread – is reminiscent of unstructured jazz styles.
The Bloom And The Blight
THE DEVIN TOWNSEND PROJECT Epicloud
Inside Out/EMI With this album, Devin Townsend devotees are getting even more bang for their buck than anticipated. The ‘Project quadrilogy seemingly culminated in grandiose fashion with Deconstruction’s immense extreme metal and polar opposite, Ghost, but this venture evidently has some life left in it. Much like 2009’s Addicted, this is a glossy, shiny record, commercially-oriented, albeit filtered through the Canadian’s towering wall of sound and off-kilter worldview. Ex-The Gathering’s Anneke van Giersbergen providing angelic guest vocals isn’t all it has in common with Addicted’s demented yet intoxicating pop/metal either. Structures are again simpler and more accessible. The songstress’ sublime touches during Grace, or chemistry with Townsend on Save Our Now are irresistible. There are traces of each previous Project record though, without any blatant rehashing. More! nabs Deconstruction’s bombast and elsewhere fleetingly touches on Ki’s ambience and Ghost’s serenity. Recent solo efforts a la Synchestra and 1997’s Ocean Machine: Biomech (the majestic Where We Belong) are also referenced. Add thick keys, gospel choirs, string and horn sections and it could’ve been a cluttered mess, but these ideas are fused with such zest, versatility and charming hooks one can’t help but embrace it. Crushing live staple, Kingdom, from 2000 solo album, Physicist, is finally afforded the sonic treatment it deserves. Elsewhere, romantic country ballads meet New Age flourishes, soundscapes and zany lyrics (Lucky Animals), yet somehow remain cohesive. Despite the overarching sense of familiarity, boundary-nudging and memorable tunes will satisfy even the most demanding fans. Brendan Crabb
KORA
DON BROCO
SARAH BLASKO
THE JIM JONES REVUE
Remote Control
Sony
Dew Process/Universal
PIAS/Liberator
To the band and many of their fans, Light Years may seem like a natural progression from Kora’s grooveinfused debut, but there will no doubt be many who are confused by the R&B flavour of their latest offering. The album’s title aptly describes the journey Kora are taking listeners on, and opening track, Little Stars, sets the tone with its space-age groove. It immediately evokes NERD and much of Light Years features more similarities.
Blasko’s fourth release, I Awake, is as powerful as her previous albums but with a new level of musical, lyrical and emotional maturity that really makes it stand out both from her own established sound and from others in her genre. The record’s incredible depth of texture and sound is matched by Blasko’s profoundly sophisticated lyrical content and her own complex vocal range. I Awake, the title and opening track, is one of the standouts, opening with a heavy drum rhythm confidently establishing the album’s unique quality. An Arrow is much slower and steadier, boasting an incredible breadth of orchestral sounds and clear, strong verses to compliment it. The ominous drum and string lines and deep, heavy lyrics in God Fearing creates a broad, textured sound, making for an incredibly alluring track. Blasko’s honest, emotive lyricism stands out most prominently in All Of Me, which combines a faster melody with slower vocal phrasing and sombre string harmonies. The second half of the record is unfortunately not as sophisticated or complex as the first and is thus considerably less engaging. Tracks such as Here and Cast The Net feel particularly simplistic and thin. Blasko’s talent for challenging compositions, both instrumentally and vocally, is showcased once again, however, in Fool. The record then closes with Not Yet, where the intense introduction, flawlessly composed piano, syncopated drum lines and powerful, effective vocals make it a perfect choice to end, the whole record truly a triumph on all counts.
In And Out Of Harm’s Way, track six of the new Jim Jones Revue album, The Savage Heart, is one of the best rock songs you’ll hear all year. Even if the rest of the album consisted of a four year old playing a recorder, it would still be worth buying this album just for that one song.
Light Years definitely achieves the cohesive feel the band were going for but much of the mellow dub sounds that were so strong on their previous work have been put aside for a lighter synth-based vibe. This leaves the album feeling as if it is lacking in depth at times and it is hard not to miss the strong, organic sound of their previous work. Kora claim to have found their real sound and you can’t argue with a band being true to themselves. As they sing on Last Generation, “I’d rather be hated for being myself than loved for being someone else”.
Relatively new British quartet Don Broco have, here, unleashed their debut album, Priorities, a thinking man’s rock record that features a tight collection of tracks. Complete with jazz and blues influences combined with big, open, rock choruses, this release is a fresh take on rock’n’roll, challenging the listener to discard the band’s apparent eagerness to please by succumbing to their obvious charm and succinct songwriting skills. Title track, Priorities, gets the ball rolling with a dominating guitar riff while lyrically tackling the hypocrisy of friendships. The track effectively sums up the band’s sound with the blues/jazz influences redolent in the verse, and focuses on bringing the rock in the choruses, which works to the band’s benefit as it’s the contrast between these two elements that provides the band’s uniqueness from their peers. Yeah Man broods intensely while Hold On is more rhythmic in its delivery. Here’s The Thing sees the band’s songwriting prowess in overdrive, with a strategic approach to dynamics within the song. Whole Truth is a straightforward rock number, while You Got It Girl, a sparse-sounding track focusing on melody and atmosphere, is an inward look at bitterness and love. Let’s Go Back To School picks up the pace, as does Actors, the latter taking the album’s most aggressive stance – a definite highlight. Don Broco have successfully created a cohesive and textured album that hits all the markers necessary for a great album. As Priorities is heavily produced, it’ll be paramount to the band’s success to be able to recreate the sound live.
Monique Cowper
James Dawson
Lucia Osborne-Crowley
Danielle O’Donohue
Light Years
The starry samples work best on songs like Last Generation. Said tune has a very soundtrack-like feel with a laid-back style and probably comes closest to an old-school Kora sound. The highlight of the album is stand-out single, Dream Life, which is quirky, extremely catchy and very easy to listen to. The rest of the songs on the album use the Kora brothers’ harmonies exceptionally well in a classic R&B sound, but the love theme can sometimes feel a little one-dimensional.
Priorities
I Awake
The Savage Heart
Menacing and intense in a way rock’n’roll hardly ever is anymore, In And Out Of Harm’s Way uses all the Jim Jones Revue elements in ways that push this song to a thrilling, heart-pounding conclusion. The piano’s ghostly chimes and the ghostly backing vocals have an 1850s feel that bleeds into a chaotic mess in the second half. Produced by Jim Sclavunos, this album has definitely taken on a more Grinderman-ish quality than last album, Burning Your House Down’s more bluesy influences, though the album starts off with more of the rumble and thump of recontextulised blues from before, and once again the piano is at the forefront, trading riffs with the wails of the electric guitars. But starting with Chain Gang there’s definitely a mood shift. The tone gets dark and the band members really start to let their demons take the reins. While Jim Jones Revue have always known how to inject some much-needed swagger into an old musical form, here they’re also throwing a whole serving of danger into the cauldron as well. What’s more, some of these songs are going to absolutely shred live, so hopefully it isn’t too long before the band are back playing shows here. We’ll definitely be down the front for Eagle Eye Ball.
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THIS WEEK IN
ARTS
Glitterface by Liam Benson (Sexes)
WEDNESDAY 24 Medea – Anne-Louise Sarks’ refocusing of Medea. Two children on a stage play games; off-stage and unheard their parents are having a very famous showdown. At some inevitable moment in the next hour the children will be drawn away from their games and into their parents’ bitter argument. From there they will enter mythology as the most tragic siblings of all time. Belvoir Downstairs, 7pm to Sunday 25 November.
THURSDAY 25 SEXES Exhibition – artists working in photomedia, video, installation, performance, sculpture, collage and theoretical discourse address the expressions of gender in Australia. Curated by Bec Dean, Deborah Kelly and Jeff Khan. Part of SEXES Festival, Opening night, Carriageworks, runs to Saturday 1 December. Whelping Box – a new collaboration between Branch Nebula Matt Prest and Clare Britton. The audiences sit around the action inside a wooden box. Two performers chain themselves to stakes, to test their limits and strip themselves of civility. Glorified acts of machismo, strange rituals and power games put on display our most primal desires. Part of SEXES Festival, Carriageworks to Saturday 3 November, 8pm.
FRIDAY 26 The Wharf Sessions – following the Friday night performance of
STC’s Sex With Strangers, which stars Jacqueline McKenzie and Ryan Corr, head to the picturesque Bar at the End of the Wharf to see reggae artist, Ngaiire, performing for free. The Bar at the End of the Wharf, from 10pm.
SATURDAY 27 Surry Hills Fence Poetry – Ed Wright is a poet, writer and cultural critic, whose first full-length collection of poetry, When Sky Becomes The Space Inside Your Head, is published this month. To celebrate his book’s launch, Ed will compose a new poem and large-scale poetry “installation”. Part of Surry Hills Festival, Prince Alfred Park: Main Stage.
SUNDAY 28 Ghostbusters – who you gonna call? ….. Ghostbusters. Possibly the comedy film of the 1980s, Directed by Ivan Reitman and written by Dan Aykroyd and Harold Ramis. Hayden Orpheum, Cremorne 6.30pm.
CASTING CALL Jillaroo School Looking For Applicants – the producers of a new documentary series for ABC1 are looking for everyday Australians who would like to take part in four-weeks of training to learn to be a jillaroo. The course will be held between February and March next year. However, all selected participants need to be available for two days of shooting in late January. For more info and to apply log on to abc. net.au/tv/programs/jillaroo.
MY WAY OR THE HIGHWAY From writing, directing, editing and producing films, multitasker Larry Cohen has an endless list of things to chat about as a keynote speaker at this year’s SPAA Fringe. Guy Davis scratches the surface. Larry Cohen is one of Hollywood’s great multitaskers. A successful television writer in the 1960s, he took ownership of his career in the ‘70s. “All of the movies I wrote failed to realise what I intended in the screenplay,” he reckons. “None of them were as good as the scripts, and I wanted to be able to look back when my career was
Empire – former Artistic Director of Sydney Theatre Company, Ross Mollison will work with choreographer John ‘Cha Cha’ O’Connell (Strictly Ballroom, Moulin Rouge) and designer Angus Strathie
(Academy Award for Moulin Rouge) to bring this Australian production of Empire that will feature performers like Moondog, Carrot Man, Polka Dot Woman, Rubbish Bag Lady and Lime Green Lady. In Sydney Friday 4 January 2013 at the Spiegeltent.
The closest comparison he can make is to his loathsome Sin City character Jackie Boy, a corrupt cop who menaced women before coming to a nasty end.
Benicio Del Toro makes short work of his character in Savages. He talks getting into the mind of a “worm” with Guy Davis.
As Lado, the sadistic right-hand man to Salma Hayek’s drug-cartel baroness Elena, he’s out to make life miserable for California weed entrepreneurs Taylor Kitsch and Aaron Johnson, their shared girlfriend Blake Lively and their shady DEA contact John Travolta.
Whether he’s wiping Lively’s spit off his face with Lively’s own hair or quietly intimidating Travolta by commandeering the man’s sandwich, Lado is a powerful presence. And Del Toro makes him vividly nasty without chewing the scenery. “You always live with that fear that you are going to go over the top and ham it up in a bad way – well, hamming it up in any way is probably not good for an actor – but you especially have that fear when you do a bigger-than-life character like this one,” he admits. “You have a good meter in the other actors, though – they either directly
WHEN & WHERE: Friday 26 and Saturday 27 October, Cockatoo Island
I know about or that I’ve read over the years that help make whatever happens in Savages believable,” he adds. “But I used my imagination on this thing a little bit more than on perhaps any other character.”
THE BEAST Benicio Del Toro is the kind of actor who can do a lot with a little - his Oscar-winning performance as principled but pragmatic cop Javier Rodriguez in Traffic is a good example - or a lot with, well, a lot - his mumbly, jittery turn as Fred Fenster in The Usual Suspects kinda put him on the map. And in Oliver Stone’s sunburnt film noir, Savages, Del Toro gets to do a bit of both.
UPCOMING IN ARTS
over and say that I made movies the way I wanted them to be.” And so he has. While his résumé as a screenwriter for hire is studded with B-movie gems, from the awesomely horrific Maniac Cop films (only the first two, mind you: “the third one is terrible”) to the smart, gritty thriller, Best Seller (which he admits falls apart in the
final five minutes due to a poor decision by the director – “We almost made it to the finish line but they blew it”), his career as a writerdirector-producer-editor has resulted in brilliant blaxploitation pictures like the gangster movie, Black Caesar – originally developed for legendary entertainer Sammy Davis, Jr, it seems – and trippy, offbeat and utterly original chillers like God Told Me To and Q: The Winged Serpent. He’ll be talking about all these and more when he appears as a keynote speaker at SPAA Fringe, a two-day conference organised by the Screen Producers Association of Australia
taking place during the inaugural Cockatoo Island Film Festival. “I usually just answer the questions people ask me and find out what they’re interested in knowing about,” smiles Cohen when asked what he usually discusses at such events. “There are so many aspects to making motion pictures, and I write and direct and produce and edit... I do everything on my films, so there’s an awful lot to talk about.” The independent nature of Cohen’s filmmaking is a topic that comes up frequently, though. “I wanted to make pictures that were all mine. Most people can’t do that; it’s hard to get people to get complete control over a movie unless you’re at the pinnacle of the industry like Spielberg or someone like that, someone who has had enormous hits. Otherwise you get it at the other end of the spectrum – low-budget films the studios aren’t going to spend much time supervising because they’re too busy with bigger product. They’ll leave you alone in that case, and that’s something I like: being left alone to make my movies.” The best way to do that? Keep the budgets low, sure, but give your backers something bigger and better than they could have anticipated. It’s an ethos that sort of sums up the filmmaker’s relationship with B-movie studio American International Pictures, which released Hell Up In Harlem and The Private Files Of J Edgar Hoover. WHAT: SPAA Fringe part of the Cockatoo Island Film Festival
or indirectly kept me in check, and Oliver also kept me in check. But he also told me when I could go further. And there are a couple of things in there where they just happened right on the spot. Ideas came up that weren’t necessarily scripted – that’s just collaboration. Oliver might have thrown ideas at me that I took and ran with, or another actor – like John Travolta in our scene together – may make a comment or suggestion that helps set the tempo.” In creating Lado, Del Toro made good use of Don Winslow’s novel to get an idea of the character’s background and motivations. “And there are many little stories that
“Lado could be related to that guy, closer than any other character I’ve done if I was going to draw a line connecting all of them. “They’re both bullies, they’re both greedy, they both stop at nothing... but at the end of the day the idea was to not give this guy any dignity. Me and Oliver saw eye to eye on that. We both wanted him to be a worm, and I think we accomplished that. “You know, there’s this scene with Salma where she slaps me and yells at me, and it creates this thing where it’s like, ‘Oh, maybe Lado’s not that bad.’ But you know that story about the woman who picks up a wounded snake, takes it home, feeds it and cares for it and then one day the snake bites her, right? The woman says, ‘What did you do that for? I brought you back from the dead, I took care of you,’ and the snake says ‘But you knew I was a snake.’” WHAT: Savages In cinemas now
To check out the mags online go to themusic.com.au/mags • 65
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REVIEWS
C U LT U R A L
PUBERTY BLUES SEASON 1: DVD Loosely based on the iconic 1979 book of the same name by Kathy Lette and Gabrielle Carey, Puberty Blues as an eight-part TV series still manages to shock, even by today’s standards. We follow BFFs Debbie Vickers (Ashleigh Cummings) and Sue Knight (Brenna Harding) as they work diligently towards achieving their adolescent goal of fitting in by finding boyfriends from the Greenhill Gang of surfers. Those who lived through the ‘70s will appreciate the meticulous attention to detail (that classic 4711 “cold as ice” Ice Cologne ad; Charlene’s I’ve Never Been To Me accompanying a touching interpretive dance routine). Those who didn’t will baulk at the casual drink driving, lack of seatbelts and panel van gang-bangs (were they really that rampant?). And
FALLOUT THEATRE Dirty and delirious Alpha, Bravo and Charlie engage us in an emotionallycharged opening, and director Kip Williams maintains the intensity for the next 85 minutes with the conflicting appeal of watching a car crash; it is certainly confronting, but well-wrought enough to be so without feeling indulgent. Stressed and mad, the production asks a lot of the audience in the first scene as we are thrown – as unsure as the inhabitants of the stage, and with the seeds planted for a paranoia that soon grows to match their own - into this dirtied dystopia. An unseen and unnamed malevolent power – them, they – watches from above. Adrienn Lord has created an impressively bold, hopeless set. Concrete pylons and piles of dirt are
the lingo is priceless: “get rooted”, “moll”, “gated”, “deadset”, “five finger discount” and “titted off”, for example. Acting performances are stunning and believable throughout, with actual teenagers (instead of adults à la Beverly Hills, 90210) a welcome change: Debbie’s ten-year-old brother David (Ed Oxenbould) almost steals the show from veteran actors such as Claudia Karvan and Dan Wylie. The series is beautifully shot on location in and around Sydney’s Sutherland Shire, using lenses from the period in which Puberty Blues is set. If you can ever bring yourself to stop singing along with the show’s theme song – Dragon’s Are You Old Enough – and navigate beyond the DVD’s title page, you’d better have a spare eight hours. And it’d be interesting to find out whether the series has had an impact on Vaseline (aka “vaso”) sales. Bryget Chrisfield
the bricks and mortar of this filthy existence. It is an acute visual representation of their flattened and trapped lives, the forced glee and the shame of unhappiness, of negative emotion. Massacred and flawed toys lay, sorry-looking, in the soil. Maree Freeman’s script is littered with beautifully bleak poetry; a series of childish rhymes - about animals and their characteristics – are drilled in and drawled out, a frayed attempt at keeping or achieving sanity in the dusty prison. As attempts to dehumanize Delta – the latest prisoner – in a plan hatched by Bravo unfold there are hints of Lord Of The Flies in this primitive and psychologically intense drama. Dave Drayton
HAIL FILM It’s taken a while for Hail to get a proper theatrical release since premiering at the Adelaide Film Festival early last year, and just as well. In a tepid year for Australian cinema, this debut fictional feature from Melbourne’s Amiel CourtinWilson - befitting its title - obliterates its competition, local or otherwise, through sheer primal force. The origins warrant mention: the film’s star, Daniel P Jones, was discovered by Courtin-Wilson as a member of a theatre company working with prison inmates. Courtin-Wilson built Hail around Jones and his life’s stories, giving a documentary quality that’s further enhanced by the naturalism of his non-professional actors and the filmmaking style, evoking the work of independent film pioneer John
Cassavetes. The first half of the film depicts Jones re-entering society and reuniting with his girlfriend (played by his real-life lover, Leanne Campbell). It’s when tragedy strikes that the film’s style becomes more fractured and expressionistic, not to mention ambitious. If Hail is flawed, it’s not for lack of trying; rather, it’s the result of daring to fail, with its often-experimental engagement with, and portrayal of, its alternately brutish but intensely loving subject character. It’s a film that approaches society as marginalised without a trace of condescension, challenges conventional modes of narrative and representation and, more importantly – lest the aforementioned sounds overly academic and carefully phrased – is a fucking staggering gut-punch of a movie. Ian Barr In cinemas Thursday 25 October
ART S TA R T E R
Five minutes with JACQUELINE LARCOMBE What interests you about the concept of the artist as a celebrity? I’m interested in the mass popularity and appeal of big blockbuster modernist artists. Artists like Monet, Gauguin, Picasso and of course Frida Kahlo, whose retrospective exhibitions generate substantial income for galleries and private business in the reproduction of prints, and all types of merchandise from socks to umbrellas. I don’t necessarily see this negatively; just as an interesting
phenomenon when once high art becomes another part of the all-encompassing realm of popular culture and human consumption. How was it doing a residency in Berlin? It was an escape from real life and a great opportunity to live with other artists. Berlin was quite the distraction from the art-making process, but having the liberty to spend three months looking at and making art helped reaffirm my practice and since returning I feel a greater sense of certainty regarding my work and what I’d like to achieve. What’s the art scene like there?
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WITH JAMELLE WELLS Belvoir St Theatre has been forced to put the final scene of Arthur Miller’s Death Of A Salesman back into its current production after someone probably dobbed to the US agent who handles the rights. The company has the rights for a second season of the show now playing in Sydney and touring to Victoria in November. Belvoir general manager Brenna Hobson says the agent wasn’t told, due to a “miscommunication”, when rights were first negotiated, but it’s now been sorted. Director Simon Stone has also changed the nature of the main character’s death from the original text where it isn’t clear if he crashes his car on purpose to suicide by gassing. Four Australian documentaries have been picked for next month’s 25th International Documentary Film Festival Amsterdam. Miss Nikki And The Tiger Girls, which follows the first all-girl band from Burma in 50 years of military dictatorship, and Missing In The Land Of Gods, about an Aussie family who lose their son, will compete for Best Feature-Length Documentary. Blush Of Fruit, which is about an orphanage, will compete in the Best Debut Filmmaker category and The Block: Stories From A Meeting Place, an SBS Online production set in Redfern, will appear in the DocLab section. The Australian Ballet’s 50th birthday celebrations will feature live sites, regional cinema events and broadcasts on free-to-air television. A gala performance filmed in Melbourne on 2 November
TRAILER
Running at the Old Fitzroy Hotel until Saturday 3 November
The art on the streets and in the small galleries has stayed with its roots and remains very grunge. However, there are a lot of artist-run spaces showcasing a lot of slick and challenging work. Local galleries and government also seem really supportive and embracing of the large international art community that lives in Berlin, so the diversity you see is pretty amazing. What excites you about the Surry Hills Festival? I think it’s great that it’s the initiative of the Surry Hills Neighborhood Centre. It just shows that community initiatives can yield big results and appeal to thousands of Sydneysiders.
What can audiences expect stepping inside Frida Kahlo Tent City? A whole lot of colour, monobrows, flowers, tents and confused messages. WHAT: Surry Hills Festival WHEN & WHERE: Saturday 27 October, Prince Alfred Park
CRINGE will be streamed to cinemas in Katherine in the Northern Territory, Port Augusta in South Australia, Devonport in Tasmania, Hervey Bay in Queensland and Orange in New South Wales among other places. Live sites will operate at Federation Square in Melbourne, Martin Place in Sydney and Northbridge Piazza in Perth. Kaldor Public Art Projects is preparing its most ambitious project in its 40-year history – a major international contemporary art exhibition curated by two of the world’s most respected museum directors. From April 2013, Kaldor Public Art Project #27, titled 13 Rooms, brings together 13 artists and 70 performers to present a Sydney group exhibition of living sculpture within 13 purpose-built rooms. The event has been curated by Hans Ulrich Obrist, co-director of London’s Serpentine Gallery, and Klaus Biesenbach, director of MoMA PS1 in New York. A bizarre project recently supported by the City Of Sydney Council featured 150 works by people who created digital artworks, films, paintings and stories about the human brain. Mother-daughter duo Silvia and Relmi Damiano started the BrainArt project to try to bridge the gap between science, business and art communities. The Opera House stage where Dame Joan Sutherland gave some of her best performances has been renamed in her honour. The Opera Theatre will now be called the Joan Sutherland Theatre in honour of the singer who died two years ago.
TRASH
WITH GUY DAVIS If one is to believe the crimson gush of praise coming out of the recent New York Comic Con (and why wouldn’t one believe it – those guys are scrupulously honest!), the upcoming Evil Dead remake isn’t quite the hell-spawned demon seed of a craven cash-in horror fans were anticipating at best, dreading at worst. In fact, the general consensus is that it looks... well, kinda cool. Simply titled Evil Dead – pedantic types and people who’ve watched Sam Raimi’s 1981 original way too many times (I’m in both categories!) will know that the actual title of ‘The Ultimate Experience in Gruelling Horror’ is The Evil Dead – it’s been dubbed “a new entry” rather than a remake or a reboot, which is actually pretty savvy marketing-speak from whoever coined the phrase. It allows the makers of this new incarnation to borrow as many of Raimi’s stylistic tricks as they like while updating or innovating anything they feel needs a polish. Clever. Having checked out a bootleg clip of the trailer some sneaky NYCC patron caught on their phone, I have to confess I’m pleased with how bloody balls-out director Fede Alvarez – apparently hand-picked by Raimi to helm this new movie – has gone. There were fears, after all, that he was planning on scaling back the scarlet in favour of spooky jump scares in the Paranormal Activity vein. But gleeful gruesomeness was a hallmark of the original and its sequel (although Evil Dead 2 is positively playful compared to its predecessor), and the moment some poor possessed-by-a-demon teen looked to be taking a rusty blade to their tongue I started counting down the days until this one arrived at my
local multiplex. (I have problems, yes.) Look for this one around next February or March, kids. The 2013 take on Evil Dead will undoubtedly be preceded by a hefty marketing push, and there’s nothing necessarily wrong with hawking one’s wares, but there’s something appealing about an underdog that slowly, surely becomes part of the canon via word-of-mouth or what have you. I don’t think it stems from any misguided sense of exclusionary coolness – you know, liking the obscure old stuff rather than the crowd-pleasing new stuff – but more a feeling that that sense of discovery, and sharing it with like-minded types, is such a marvellous feeling. I’m long enough in my one remaining tooth that I recall being around when Raimi’s Evil Dead hit the video stores (granted, I was way too young to be watching an R-rated movie... not that that stopped me), and nothing beat the thrill of introducing new members to the fold. And that brings us to another ‘cabin in the woods’ kind of movie – The Cabin In The Woods, funnily enough. Despite marquee names like Joss Whedon and Chris Hemsworth (who admittedly collaborated on this before joining forces for The Avengers), this was never gonna be a mainstream blockbuster – knowing deconstructions of the horror genre, even those like this one that don’t skimp on Joe Bob Briggs’ three Bs (blood, breasts and beasts!) aren’t automatically gonna leap to the top of the box-office charts. But movies that combine wit, cleverness and depth with a genuine love of the genre and its trappings are always going to find loving homes. Now that it’s out on DVD and Blu-ray, I highly recommend you: A) find a place for it on your shelf and B) start spreading the news that this movie will rattle a horror buff’s cage in the most delightful way.
FRONTROW@DRUMMEDIA.COM.AU
MATCH MADE IN HEAVEN
LANTHIMO’S REVOLUTION Anthony ntthony Carew was up all night wat tching what the Greek Film Festival watching program has to offer audiences this year.
“Inn its nature, dance is and has always been a collaborative process,” Sydney Dance Company artistic director Rafael Bonachela tells Dave Drayton about Project Rameau. Pairing two of Australia’s most renowned arts companies, Project Rameau is the culmination of a collaboration that many believe to be long overdue between the Australian Chamber Orchestra and Sydney Dance Company. Both have extensive résumés when it comes to collaboration; the ACO with everyone from the Hilliard Ensemble to photographer Jon Frank in recent memory, and SDC/ Bonachela with the likes of video artist Daniel Askill, composer Ezio Bosso and designer Tony Assness. “When I was a young dancer that was something that I felt connected with, the fact that two or three artists could come together and be part of something,” says Bonachela. “When it comes to choreographing, there’s so much that you can learn from other artists, and there’s so much insight that other people can bring into what you want to do, so whenever I have an idea of a dance that I want to make, I like to think of who’s going to help me to convey that idea even better and to explore that idea even better. And also who’s going to excite me!” As they met over dinner, the ACO’s artistic director Richard Tognetti proved to be one such individual for Bonachela, who was eager to meet with the violin-wielding tour de force almost immediately after his relocation to Australia. “He was really adventurous, really daring, and could speak his own mind in a way that makes a lot of sense. A lot of that energy – let’s translate it to energy and passion and determination and belief in music and the arts – it was like, ‘Yes, we can do it together’; it captivated me,” Bonachela recalls,
sounding as inspired by the thought now as he insists he was then.
The Greek Film Festival used to be one of the least-anticipated ethnic festivals on the local cinema calendar, reflecting, entirely, the atrocious state of Greek national cinema, which for years was so bad that it made you feel okay about Australian film. But, oh, how things have changed: Greek cinema, circa 2012, is alive and vital; with Yorgos Lanthimos, one of the third millennium’s greatest new auteurs, almost singlehandedly rewriting
the country’s cinematic identity. Lanthimos’s third film, Alps – the follow-up to his 2009 masterwork, Dogtooth – is another brilliant broadside of deadpan absurdism, rife with profound parable as it stages a meditation on cinema, the method acting of modern existence and people’s happy acceptance of facsimiles of reality. The Greek Weird Wave (of which Lanthimos is the patron saint) continues apace in Babis Makridis’s L, a
“We don’t remember who mentioned it first,” Bonachela jokes. “It was one of the things where it just happened and we thought we should do something together. I can’t remember if it was me, or it was him – it doesn’t really matter; we planted that seed and within two years we got it together.” That seed has grown into Project Rameau, an extensive production that will see Tognetti leading 22 of the country’s best musicians through a programme of 19 movements taken from eight of Jean-Philippe Rameau’s 18th century operas (alongside interludes from Vivaldi and Bach), as 17 dancers move around them onstage, guided by Bonachela’s choreography. “For me, the centre of the inspiration, the trigger for the dance and for my decisions, was going to be the music. It wasn’t about the weather, or global warming, or anything like that; we decided to go with Rameau. I don’t think dance has to serve anything, I think dance can be dance, and I’ve always thought that. Dance for the sake of dance, in this case, that was what it was about: me pushing my own craft choreographically, because the music is so amazing anyway – I love hearing Richard talk about Rameau!” Bonachela himself interjects, the strength of the collaboration immediately apparent, before proceeding, “And this is not just music, any music.” WHAT: Project Rameau WHERE & WHEN: Monday 29 October to Saturday 3 November, Sydney Theatre
ridiculous slice of deadpan quirk in which lives are lived entirely inside automobiles and perfunctory daily routines are performed over and over, as if rehearsing lines. As great as those twin Weird wonders are, neither quite matches the fest’s true highlight, Ektoras Lygizos’ debut feature, Boy Eating The Bird’s Food. A piece of downand-out domestic socio-realism openly inspired by the Dardenne brothers, it follows a 20-something loner scraping out any means of subsistence, going hungry to the point where it ‘fries his brain’. In the flick’s most defiant gesture, lead Yiannis Papadopolous ejaculates into his hand and eats it, the porny moment symbolising a descent into depravity and a hunger that demands our anti-hero eat anything. Tungsten takes its cues from Italian post-war neo-realism and Mathieu Kassovitz’s La Haine: all stark blackand-white imagery, concrete streets and simmering rage, its ensemble of struggling figures centred around a pair of angry teenagers killing time between humiliating job interviews. The economic climate of Greece is palpable throughout much of the program, but the rage blows up in Children Of The Riots, a three-years-on TV documentary chronicling the peers of 15-year-old Alexandros Grigoropoulos, who saw him shot by police in 2008, then took to the streets for three weeks of feverish protests, effectively the dawning of social tumult that persists to this day. That climate is the spur behind Wasted Youth, a part-verite/
A gypsy discovers the importance of place - Kate Cherry talks to Dave Drayton about directing Signs Of Life.
HOMESICKNESS In the dried-up and dying West Australian world of Tim Winton’s Signs Of Life – the author’s second play, which revisits the place and character’s of his 2001 Booker Prize short-listed novel, Dirt Music – a white woman is greeted by two Indigenous guests, Bender and his sister Mona, who arrive on the doorstep uninvited as all three grapple with ideas of place and belonging.
and Technology Policy Professor Glenn Albrecht. “It’s a type of homesickness or melancholia that you feel when you’re at home and your home environment is changing around you in ways that you feel are profoundly negative,” he said in a 2004 paper. This melancholic meditation on place is what first inspired director Kate Cherry to get on board the project – she liked the challenge.
The story’s heroine Georgie, played by Heather Mitchell, is haunted by her past and suffering from solastalgia, a condition coined by Murdoch University’s Director of the Institute of Sustainability
“I’ve travelled so much, I’ve been such a gypsy, that that was part of the play that properly spoke to my heart, that sense of looking for somewhere where you belong,” Cherry says, her
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wandering ways a world apart from the site-specific love of the land that so strongly affects the three characters in Signs Of Life. “I feel that I’m at home whenever I’m looking at the Pacific. Whether I’m in California or somewhere on the East Coast here, I look out at that particular ocean and feel a sense of belonging. I think that it’s because over the years, no matter what country I was in, that was a link, and it linked the two countries I love the most.” Winton is known for his environmental bent, and his novels have long been regarded for the distinct sense of place – truly
part-skate-video tale of the titular Athenian teens whose life is adolescence’s rebellion incarnate, their very beings burning with a rage both incandescent and directionless, living in a city offering them no future. Similar sentiments pop up in the less-interesting Jerks, giving cultural heft to one of those standard tales of dude-ish 20-something dudes yearning to escape the trappings of adulthood and not get saddled down with wives; these bros at least are yearning for a sense of autonomy in a society that offers none. And Dead Europe features footage on the streets shot amidst actual recent riots, offering a sideline sociological commentary on Tony Krawitz’s uneven, unenviable adaptation of Christos Tsiolkas’ Leviathan descent into rough trade, racism and old-world superstition, Dead Europe. Forgetting the shitty commercial trash herein, or the unimpressive other films I’ve seen (like the hysterical crazy-brother/ Georgian-folkloric melodrama, Burning Heads, an awful pregnancythemed interrelated-characters movie The City Of Children, and a wonky autobiography, Fortunate Son, the Greek FF offers a particular, potent portrait of the country’s contemporary climate, and an unexpected cinematic evolution drawing direct inspiration from harsh economic times. WHAT: Greek Film Festival WHEN & WHERE: Wednesday 17 October to Sunday 4 November, Palace Norton Street Cinemas
Australian – that he imbues in them. Gypsy or not, like the character’s in Signs Of Life, Cherry wanted to understand the power of that connection, and was inspired by Winton’s skill in inscribing landscapes with broader meaning. “Tim is brilliant, so lyrical, and has such a claim to creating and mythologising our landscape for us in a new way,” she says. “So you look at it, and you think, ‘I’ve seen it a million times, but I’ve never seen it that way before.’ I love walking around a place with Tim and listening to him describe the place and seeing it through his eyes with such a sense of warmth and love of where he is. And yet also he is, at the same time, mythologising it and endowing it and theatricalising it.” Looking to her own life once again, her own nomadic concept of belonging, Cherry found the way to stage Winton’s natural landscape, and pay homage to the more complex psychic landscape that plays atop it. “I love looking at the horizon from both places,” Cherry reflects once more on the Pacific Ocean and what it offers her. “That was something Zoe [Atkinson, designer] and I both felt keenly too; that the horizon of Tim’s space should give both a sense of belonging and a sense of absolute expanse; sanctuary, an island, and yet it is endless at the same time.” WHAT: Signs Of Life WHERE & WHEN: Friday 2 November to Saturday 22 December, Drama Theatre, Sydney Opera House
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FEATURE TOUR
BALL PARK MUSIC With their brand-spanking new second album, Museum, recently released, Ball Park Music are on their biggest and most ambitious tour to date, and joining them on this latest adventure are Melbourne five-piece Loon Lake. You can catch them both on Wednesday 24 October at UniBar Wollongong, Thursday 25 and Saturday 27 at the Metro Theatre and Friday 26 at Newcastle University.
FRONTLASH GENTLEMEN OF THE ROAD
A festival in a regional area headlined by Mumford & Sons and featuring some of their mates? Yes please, let’s do it again sometime.
SYDNEY FC Willy Mason @ Gentlemen Of The Road. Pic by Mat Lee.
Whoever came up with the idea of recruiting Alessandro del Piero, the move is already starting to pay off judging by his first couple of performances.
JULIA GILLARD Her spray at Tony Abbott renders any negative side-effects from falling over in India as null and void.
BACKLASH THE CHARTS
Really people? You’re still buying P!nk and Psy in bucketloads, despite all manner of amazing new releases coming out?
Sarah Blasko @ Gentlemen Of The Road. Pic by Mat Lee.
CHANNEL NINE Came back from the brink of bankruptcy, but seriously, will they continue on just to show repeats of Big Bang Theory and Two And A Half Men for the umpteenth time? Let’s hope this leads to a new outlook on programming.
MAD SEASON We’re mighty sick of how, in the course of a couple of weeks, it can go from snowing to hottest October day in however long, freezing again, back to unexpected stinkers and now torrential, chilly rain. Seriously Spring, make up yer fucken mind.
Edward Sharpe & The Magnetic Zeros @ Gentlemen Of The Road. Pic by Mat Lee.
Mumford & Sons @ Gentlemen Of The Road. Pic by Mat Lee.
GENTLEMEN OF THE ROAD DUNGOG SHOWGROUND: 20/10/12
The usually tranquil country town of Dungog was perhaps the best place to witness Mumford & Sons, forerunners in the recent roots revival movement, pull off something amazing. The plan sounds simple enough: six acts and 12,000 fans descend on a tiny country town and hold a music festival. Melbourne folk band Husky opened proceedings, all smiles and camaraderie, with humble thanks to Mumford & Sons for putting together this show. With breathtaking vocal harmonies, cloying acoustic melodies and delicate, intricate arrangements, this band
has developed an incredible sound. Yet there is also a kind of sinister, spooky undertone to many of their tracks induced, perhaps, by the careful pace of Dark Sea or the lyrical content of History’s Door. Whatever the case, Husky have developed a kind of duplicity within their music: a number of moods and tones operating at different levels. This band is incredibly skilled.
back to him, applauding and generally having the time of their lives, this reviewer must surely be in the minority. It was kind of endearing when Corby’s shy smile broke through his tortured artist expression, as the entire crowd bellowed the lyrics of Brother louder than he could have hoped to contend with.
Willy Mason, who came to Dungog by way of Massachusetts, is a veteran of dirty, gritty folk and blues sounds. Assisted by a couple of The Delta Riggs, Mason brought to life his blues/rock poetry. Listening to Mason is like stepping back in time, like visiting the folk festivals of the 1960s. His lyricism marries social awareness with slow, steady guitar lines: “I want to see through all the lies of society” or “Look around to all the people you see/ How many of them are happy and free?”
Sarah Blasko opened her set with the remark: “I’m very pleased to be a gentlewoman of the road… I’m sure you saw that joke coming a mile off.” Though her opening track seemed a little flat and dull, the second track was incredible. Blasko seems in possession of an endless store of articulate, sophisticated, elegant, mature angst – it sits just below the surface of her eloquent songs, driving the rich beats of what she describes as “angry love songs”. It’s mature and well-spoken, but angsty nonetheless.
This reviewer never really bought into Matt Corby’s indie-folk mythology. His lyrics always seemed a minefield of clichés, his arrangements feel repetitive and his angsty, moody onstage persona never seemed particularly appealing. However, judging by the sheer number of audience members shouting Corby’s lyrics
Edward Sharpe & The Magnetic Zeros have quickly become this reviewer’s favourite live band. In their male-female harmonies, they are a living, breathing reincarnation of ‘60s folk/pop outfits like The Mamas & The Papas; in their pure, improvisational approach to music, they are a return to the psychedelia of the ‘60s.
As lead vocalist Alex Ebert loomed over the audience, balancing on the barricade and backlit by golden spotlights, he seemed an embodiment of the fictional character the band is named after, the prophet sent to save the human race, but who keeps getting distracted. Mumford & Sons took to the stage in the same unassuming, unfazed way they’d been walking around Dungog for the past two days – like it is a totally normal and unremarkable thing to create music that means so much to people that they’d trek hours out of the city to hear it played. “How ya doin’, Dungog?” Marcus Mumford shouted over the excited cries of the audience as the band launched into their set. Paying equal attention to the their debut, Sigh No More, and their second release, Babel, they dispersed tracks like Sigh No More and Little Lion Man amongst their new songs like I Will Wait and Below My Feet. Mumford & Sons’ lyricism is full of a heady combination of religion and romance; their tracks are full of gorgeous love poetry as well as near-constant references to God. They are passionate, dramatic, possessed – as though a higher power drives their throbbing rhythms and delicate strings. But perhaps best of all, they have attracted a whole new generation to the incredible power and passion of folk music, which they did again at this show. Jessie Hunt
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arpeggios and repeated fractions of notes were clashed, melded and chained together. These carefully sliced cross-sections blended and twisted over a number of minutes, building in waves to a torrent. Suddenly, the stage was gushing with interlaced notes all flushed through with distortion and intricate drumming. Eight minutes in and a haunting, spectral note hovered in the air, hanging heavy over proceedings, which gripped our craniums and allowed every feedback-drenched chord full access to our unresisting ears. Like all great dynamic devices, it caught us unaware while offering comfort and satisfaction as it continued ever onwards. A mere 30 minutes later, and there was a huge gap needing to be filled somewhere between our ears and our hearts.
Mumford & Sons @ Sydney Entertainment Centre. Pic by Angela Padovan.
MUMFORD & SONS, EDWARD SHARPE & THE MAGNETIC ZEROS, WILLY MASON SYDNEY ENTERTAINMENT CENTRE: 18/10/12 Despite US singer-songwriter Willy Mason’s warm vocal probably being better suited to more intimate surroundings than offered by the Entertainment Centre, his mix of blues and country is full of deep textures that still manage to fill the hall. Oxygen rolls along with his shifting tones perfectly placed throughout. Edward Sharpe & The Magnetic Zeros crowd the stage with their 12 members who proceed to create a sound that resembles a contortion of a hippy Eurovision and folk on steroids. Janglin’ has all the feel of a New Year’s party and with some big sounds and trumpet blasts, they maintain a celebratory air in all their songs. Such is the respect shown to them by the headline act that Marcus Mumford even joins them during the softer and vocal-led Child. With the stage predominately backlit throughout, Mumford & Sons open with Lovers’ Eyes in virtual darkness. Their near two-hour set is composed fairly equally of tracks from their first and most recent album, and a good number of songs such as White Blank Page and Below My Feet follow their favoured set-up of a slow start, followed by the swell of a massive chorus. It is the songs outside this pattern, though, that were most effective, such as an intense Thistle And Weeds and the harmony-led Timshel. The resounding huge sounds of The Cave – which simmer perfectly – and Little Lion Man, complete with the illumination of industrial-sized fairy lights, are met with the largest response of the night. The biggest sound, however, is saved for the closing stomping cover of Fleetwood Mac’s The Chain, complete with the support acts on stage as well. Overall, it’s a well-managed performance that shows hints the band can deviate more than they sometimes seem willing to do. Folk has never been more indie. Paul Smith
THEESATISFACTION, HUWSTON GOODGOD 19/10/12 Sydney producer Huwston played to an almost empty room during the first half-hour of his opening set. The few folks that arrived early were welcomed by a sophisticated selection of hip hop with a heavy R&B bent. Basslines melted over a series of tricked-out vocal cues, like rum poured over ice. Friendly conversations sparked up around the room, encouraged by the music. A few dancers eventually found the floor and weren’t shy. A robust remix of How To Dress Well’s & It Was U was thrown down and bounced around in the intimate space. Nice choice. Great support selection – really wellmatched with the headline and talented in his own right. Stasia Irons and Catherine Harris-White from THEESatisfaction have an almost telepathic ability with each other. They slink on stage in perfect timing and it’s a friendly introduction to their remarkable synchronicity. It was a simple set-up (a laptop
70 • For more reviews go to themusic.com.au/reviews
and two mics) that focused our attention on their seductive vocal talent. Irons is an invigorating MC whose rhymes are challenging and warm, boasting clever, economical wordplay (“but I nigress…”). Harris-White’s voice is a beautiful example of modern black soul and the harmonies she set up with their backing tracks were rich and sweet.
Grails’ records are alternately severe and brooding, ambient and shape-shifting. Live, they turned out to be a jam band attempting to scrape the stratosphere. What disappointed most is the sense of drama they’re capable of stretching across old, decrepit bones, almost to the point of transparency. Burning Off Impurities, as an example, always sounded rather menacing with its sitar drones. Deep Politics from last year contained an absorbing churn, exemplified by show opener, Future Primitive. But the hints of disappointment are there in that record; slightly over-ebullient guitar licks between the lovely Morricone-like breaks and simplistic ambient meanderings. The intricacies and brutality that somehow exists, spilling through the speakers at home, were lost live in favour of duelling guitars. They worked together, not against each other, but the floundering around in clichés and long-practised guitar chops really left them drifting in an uninterested room. Conversation rose above interest and though Grails fought back with some more intriguing symphonies, it wasn’t enough to raise them above the initial disappointment. The void is still needing to be filled. Perhaps Grails in the earphones can help with that. Brad Barrett
XIU XIU, ABSOLUTE BOYS, RITES WILD GOODGOD: 17/10/12
Their production was nice, even if a few songs overpowered the speaker set-up. Short, clappinggame numbers such as Bitch punctuated longer, more languid numbers such as Sweat, while the tantric sexuality of Deeper was amazing. The playful complexity of QueenS was a highlight and the interplay between Irons and Harris-White was uncanny.
With some mildly unnervingly field recordings serenading GoodGod’s spinning mirror balls, Rites Wild took the floor and proceeded to weave intoxicating, pulsing kosmische musik like the soundtrack to a dystopian analogue future. Her long and spacious tracks delivered immersive and engaging results with dancing and droning synth lines over pseudo-industrial rhythms.
No one sounds quite like THEESatisfaction and the tiny club was a perfect venue.
The post-punk-imbued pop music of Absolute Boys was quite the revelation with creative and dub-heavy bass, an inventive drummer who played without crash cymbals and often one stick, while the guitarist coaxed soft billowing textures and slashing shards of echoing noise almost simultaneously. Heavily indebted to PiL, dub, post-rock and pop music akin to Wild Beasts, Absolute Boys were captivating.
Matt MacMaster
SUGAR ARMY, EMPERORS, FAIT ACCOMPLI GOODGOD: 18/10/12 Fait Accompli set a cracking pace as the opening act of this under-rated bill. The Sydney trio built rich, tonal undercurrents into the bang and crash of their post-punk. Drummer Skarlett Saramore seemed to build up reserves of power like a solar panel, launching into breathtakingly aggressive runs that would launch her counterparts at the front of the stage into increasingly epic sonic explorations. Emperors tipped their hat to a whole history of fuzzy, guitar indie bands from Pixies and Pavement to Ash and Jimmy Eat World, without sounding at all derivative. Though the group would’ve benefitted from Adam Livingston’s vocals sitting further back in the mix, there was a sugar-spun sweetness when Zoe Worall-Jones would step up to the mic to provide backing vocals. Sugar Army are now a five-piece and the extra layer that the keys and sometimes another guitar added to the band was ably demonstrated by this pitch-perfect set. Giving their old songs a whole new sound, either speeding them up or tightly packing them with a wash of instrumentation, placed them well within the newer songs from latest album, Summertime Heavy. More than just an arbitrary collection of songs, this was a set built to convey a very particular mood. Not a sound was wasted and singer Patrick McLaughlin’s vocals blended into the swirling indie rock. Tongues In Cheeks, when it came late in the set, was the moment when the band really let things open out and it was thrilling to watch a group so in synch. It would seem the band’s recent lineup changes have only enhanced their live set. Danielle O’Donohue
GRAILS, TANGLED THOUGHTS OF LEAVING OXFORD ART FACTORY: 19/10/12 Perth’s Tangled Thoughts Of Leaving are like clockwork gears slowly getting reacquainted. Skeletons of
By the time Jamie Stewart took the stage, the crowd numbered no more than 100 but made up for it by crowding in close on all sides, creating a womblike performance space for Stewart and his Xiu Xiu percussive partner Angela Seo. Amid a sea of pedals, synths, slingshots, guitar and drums, the duo played a set best described as avant-garde. At the centre of Stewart’s music lies a sense of catharsis, obsession and expunging of demons. He impressively switched from twinkling, delicate sounds to blood-curdling intensity (I Luv Abortion) with a necessary balance that avoided overkill of either extreme. Seo’s playing across a range of percussive instruments was essential and added many subtle layers to the duo’s sound. Though Xiu Xiu have shifted from a guitar-based approach to a more eclectic and detailed form, it was still Stewart’s intensity that drove the music but also gave the show a sense of detachment. The world of Xiu Xiu is fascinating to observe, but not one that you would want to be part of.
drummer Steve Shelley suggested that it might end up sounding like a Sonic Youth show sans the wild sounds and deconstructed noise aspects. To an extent this was true, but Ranaldo exceeds expectations by throwing in a few covers (Talking Heads’ Thank You For Sending Me An Angel and a brilliant rendition of Neil Young’s Revolution Blues) and a couple of older Sonic Youth tracks including Karenology. With Shelley in fine form, the quartet add a rough-hewn edge to the studio renditions of Ranaldo’s songs and it is the tension that comes from their interplay that makes it such a great set. They play pretty much all of Between The Times And The Tides, with Xtina As I Knew Her, the dynamic variations of Fire Island (Phases) and the dreamy drift of the rarely played Stranded particular highlights. The show strengthens the case for Ranaldo, not just as a guitarist but a fine songwriter too. Chris Familton
ALT-J, NEW GODS OXFORD ART FACTORY: 18/10/12 New Gods, the new project from ex-Little Red, Eagle & The Worm and Ground Components members, opened the evening with their new crop of indie-pop tunes. The Little Red influence has definitely rubbed off on these new tracks and, though the five-piece thoroughly entertained, they have a long way to go before they can be commended for a tight and pristine set. Playing to a sold-out crowd at the first of Alt-J’s two-show Australian showcase, the four-piece played it relatively safe, leaving this reviewer a little underwhelmed. The hypnotic vocals of Joe Newman are as exquisite live as in recorded form and, coupled with Gus Unger-Hamilton’s harmonies that weaved in and out of a cappella, fed the crowd with intensity. Their confidence and comfort onstage began to swell mid-set when they unleashed the epic mash-up cover of Kylie Minogue’s Slow and Dr. Dre’s Still D.R.E – a surprising slow jam that typifies their unique approach to musicmaking. Their genuine nature as artists and gratefulness shone through as Newman and Unger-Hamilton exchanged a number of smiles, shaking their heads in disbelief at the crowd’s wordfor-word singalongs. They were undeniably chuffed to be performing for us, even claiming, “I don’t think we’ve ever had a reaction like this before.” There were a number of charming elements to the Alt-J live show, but some of the stronger moments on the record sadly fell short. In particular, the percussive explosion heard on Bloodflood – which is such a pivotal moment in the song – fell a little behind the beat, losing its credibility as the backbone of the song. Thom Green is an exceptional drummer nonetheless, hitting every type of complex beat from the trip hop of Intro to the marching snare of Matilda. The rich strumming heard on Taro also started off a little weak and wobbly – losing that immediate connection with listeners – and lacked the depth we’ve grown to love the closer track for. The most fascinating aspect of the show, however, was the way Gwil Sainsbury recreated the sitar sound, by bouncing a roll of double-sided adhesive tape on the strings of an electric guitar. Genius. Alt-J are well on the way to stardom, but will hopefully learn not to hold back as much on stage, take the reins and deliver a more energetic live show to live up to their phenomenal debut. Celline Narinli
Chris Familton
LEE RANALDO BAND, PONY FACE OXFORD ART FACTORY: 20/10/12 Melbourne’s Pony Face open the evening and prove to be just as enigmatic and hard to pin down as they sound on record. The trio operate in the realm of dark atmospheric rock and show they have a great handle on space and dynamics with songs that work up often gentle and sometimes frantic moods. Their bassist is fascinating to watch as he ducks and bobs with mouth agape and eyes half drawn, while their set shows a real balance with each member indispensable to the music they are playing. Their closing track, Disco Cops, is a fantastic heavy groover that recalls the short-lived Mad Season from the ‘90s. Lee Ranaldo surprised a few people with the accessibility of his recent solo record, Between The Times And The Tides, such was the standard song form and lack of experimentalism. Taking those songs into the live format and including Sonic Youth
Alt-J @ Oxford Art Factory. Pic by Tori Pepper.
71
ROOTS DOWN
THE HEAVY SHIT
BLUES ‘N’ ROOTS WITH DAN CONDON ROOTS@DRUMMEDIA.COM.AU
METAL AND HARD ROCK WITH CHRIS MARIC
The Sword
Barbara Blue She’s known to many as the heart and soul of the iconic Beale Street in Memphis, but Barbara Blue is packing her bags and heading to Australia this week so we can witness the power of her live show down under. It has been 15 years since this great vocalist started playing the clubs along Beale and you can be sure that she keeping busy in that time has meant that her live skills are well and truly up to scratch. She brings Brisbane masters the Mojo Webb Band (seriously, they’re great) down to Sydney for two shows this week, hitting Notes on Friday night and then playing the Brass Monkey on Saturday night; hit up the venues for tickets and do it quickly! Sideshows for Bluesfest have already started rolling out and a couple of the ones run by the Bluesfest touring crew have got me very excited; firstly the amazing Bonnie Raitt will be gracing us with her presence for a big show at the Enmore Theatre on Wednesday 3 April 2013. If you’ve seen her perform before then you’ll know there’s an unspeakable allure to her live shows; sure, she is one hell of a guitarist and she has one of the greatest voices in blues music today, but there’s chemistry between her and her band, her and her guitar, and her and the songs that she plays that is just magic. As if Raitt herself isn’t enough, she will be supported on the night by none other than the completely magical Mavis Staples; one of the better soul and gospel singers doing the rounds today, who never fails to put on wonderful performances every damn time she hits a stage.
Evil Invaders V have released the final line-up for their June long weekend festival for next year which will happen at the Manning Bar. It’s a long way off but that just gives you more time to get into the bands you’re not familiar with on the bill! So they have Sadistic Intent and Midnight from the US of A, New Zealand’s Vassafor and Finland’s Archgoat as the internationals, down from Queensland are, Portal, Spire and Grave Upheaval. Victoria is coughing up Nocturnal Graves, Ignivomous, Black Jesus, Warhammer, Hordes Of The Black Cross, Whitehorse, and Inverloch. Kingdom Of Decay hail from the Northern Territory and Cauldron Black Ram are back over from SA. The local contingent comes from Sacriphyx, Erebus Enthonred, Bleakwood, Stand Alone, Crone and… the one and only Cruciform! MxPx will hit the Manning Bar on March 7 next year and for once it’s cheap! Just $44 bucks to see an international band! Unique French mind and genre altering French export Eryn Non Dae have signed on with local development agency, KillShot. Mixing the brutality of Meshuggah with the catchy off-time chorus lines of Periphery and early Cult Of Luna, you can add them to the ‘one to watch’ category. After a four year hiatus, the legendary good time stonerpunk-death-boogie-sex-rock showcase known as the Devil’s Kitchen Festival is back. It will take place in January and line-up announcements are coming soon. This week’s kick ass new albums include, The Sword’s newie Apocryphon, Ill Nino’s Epidema, the metal Queen herself, Doro is back with Raise Your Fist, Sister Sin’s Now And Forever who are a little like a Swedish Crue. The classic rock/Sabbath infused Graveyard have
I am, of course, beside myself with the news that one of the greatest bands of all-time - George Clinton Parliament-Funkadelic - have just been announced to perform at next year’s Golden Plains festival just outside of Melbourne. If you’ve seen the band on their past couple of tours, it will become obvious that the legend of ParliamentFunkadelic and their songs looms larger than the sum of its parts. Don’t get me wrong, the band that now plays the songs (which varies in size, age and membership) is always excellent, but George Clinton himself isn’t what he used to be so don’t go expecting the same guy who made those classic funk tunes what they are. No idea if there will be sideshows yet and no idea how big a band he will bring – last time he promised 27 members but it ended up something closer to 15. However I can promise that, if you free your mind, you arse will follow. I’m excited just thinking about it and it’s not for almost half a year! Cat Power is the only other artist announced for the festival thus far. roots@drummedia.com.au
72 • For more opinion go to themusic.com.au/blog
FRIDAY It’s fucking Whiplash. After tearing Sydney a new one, the festival winds its way up to the Cambridge Hotel in Newcastle this evening with Denmark’s Mnemic leading the charge and followed by Unearthly, Dawn Heist and Lynchmada. Over at the Manning Bar (since he sold out the Annandale and leveled up) you can have heaps of fun admiring the carefully crafted goth outfits the crowd will have painstakingly created for their night out with Wednesday 13. I know the guy takes over an hour to get dressed for the stage so he’d expect the same commitment from his legions! His new EP, Spooky And Destroy is pretty bad ass, too! Meanwhile, just a little bit back down City Road at The Lansdowne, you can catch a few bands who have not a single can of hairspray between them. Red Remedy, We Without, Gravity Takes Over and Ape BC will be dishing out some no fuss rock and metal.
SATURDAY Canberra, it’s your turn to bang your head against the stage like you never have before as the Whiplash Festival comes to you via the ANU Bar. It’s also that time of the year where Australian’s like to copy American’s who are copying Europeans celebrating Halloween. Who knows if there is anyone left who knows the pagan origins of the whole thing anymore, like Christmas. Anyway, Venom are getting into the spirit with Black Helloween being tonight’s theme. They’ll have Recoil VOR, Datura Curse, To The Grave and Enter Reality all playing live and giveaways via the Monster Energy Girls in those little black shorts and you can score
some cool shit from SRH Clothing. They are also launching the new album by Ill Nino, Epidemia. With prog being the absolutely enormous sub-genre it’s turned out to be here, there is no doubt tonight’s Progfest at the Annandale is going to be a huge event. Featuring bands of all styles and genres, from prog, post, psychedelic, art rock and metal and everything in between, the fest is about showcasing artists who have decided to challenge themselves musically and create music with depth and vision. Headlining the entire national tour are Melbourne’s progressive/extreme/violinladen maestros, Ne Obliviscaris who have, after many years of delays and setbacks, finally hit their stride upon the release of their critically acclaimed album Portal Of I in May this year. Their Australian album launch tour mid-year saw them play to packed venues all across the country, and they’ve since stepped it up further gracing a magazine cover in Europe, getting their own video game song level on Rock Band, stacking up endless rave reviews from every corner of the earth, and preparing for an all out assault on the international metal scene. The full line-up is as follows: Jericco (who are also launching their single), The Red Paintings, Circles, Branch Arterial, Chaos Divine (WA), Mushroom Giant, Quiet Child (SA), Glass Empire, A Lonely Crowd, This Is Your Captain Speaking, Okera, One, Teramaze, Toehider, Rainbird, Alithia, Jarek, Kettlespider, Bear The Mammoth, Glasfrosch and Harlequin. If you haven’t got a ticket yet, and if indeed there are any left, they are only 22 bucks plus booking fee. Get on it. Once you get home, you need to log on for a very special treat. Devin Townsend will be making one of his biggest accomplishments to date. The Retinal Circus will take place at the Roundhouse in London (which has been sold out for over a year now) and Devin has partnered up with LiveMusicStage.com to allow fans all over Earth to come to the show too. That’s right, sit at home and in between rounds of Call Of Duty you can look over and stream the gig as it happens! Tickets are available from the site for £7.99 which is about $13. The curtain drops at 7pm GMT which is 5am over here. Just in time for you to get home and log on. heavy@drummedia.com.au
WAKE THE DEAD
Also announcing a Bluesfest sideshow last week was the incomparable Blind Boys Of Alabama; their uplifting live performances are the thing of legend and it’s hard not to walk away from seeing them without feeling completely overjoyed and inspired. Their rich voices and incredible arrangements of a diverse range of songs will sound just fantastic at the Enmore Theatre when they play there on Monday 1 April 2013 and the deal is only sweetened with the news that female vocal group Sweet Honey In The Rock are going to be opening the show for these music legends. Lucy Desoto & The Handsome Devils have a couple of shows lined up for the weekend; if you haven’t had a chance to catch them yet they are a bluesy rock band that features former members of Rose Tattoo, Candy Harlots, Judge Mercy and The Pete Wells Band - pretty good lineage! You can catch them smashing it out at the Pendle Inn in Pendle Hill on Saturday night before they cruise through the Bald Faced Stag on Sunday afternoon from 4pm as a part of the last Sunday of the month residency that they have held at that venue for over a year now.
Lights Out and some straight to the point death metal from Pathology with The Time Of Great Purification. However, albums of the week come from Sydney band Shinobi who are fronted by league legend, Eric Grothe Jnr. Cross Grinspoon, Shihad and the Foo Fighters and you have one hell of a kick ass rock album, The Very Beast Of Dio Volume 2. 17 tracks from his latter years like Kill The Dragon, Push, Fever Dreams and Metal Will Never Die. Which if you go and buy it, helps fulfil that prophecy.
PUNK AND HARDCORE WITH SARAH PETCHELL
Unwritten Law What a week! There have been so many excellent tour announcements over the last week that I don’t know how I’m going to fit them all into this week’s column. Another mini fest, some ‘90s vegan metalcore, Christian pop-punk and gay hardcore… There literally is something for everyone. To start with, the best news to hit my radar was that one of my all-time favourite bands, A Wilhelm Scream, will be FINALLY heading back to Australia as a part of the Hits & Pits Festival. Set to take aim at Australia over March and April 2013, the event features many local and international punk rock, ska-punk, folk-punk and acoustic acts spread across one afternoon and two stages. The headliners for the event will be Mad Caddies, who will be fresh from the recording studio, as well as the recently reformed Good Riddance. As I said, A Wilhelm Scream will be back armed with some long overdue new material. Add to this Voodoo Glow Skulls, The Flatliners coming back after their successful tour earlier this year, Diesel Boy, One Dollar Short doing an acoustic set, Jamie Hay, Jen Buxton, Paper Arms and Totally Unicorn, and it’s shaping to be a pretty fun line-up, definitely with something to suit all punk-rock tastes. Early-bird tickets with no booking fee go on sale on Friday, with a general on-sale date of Friday 2 November. It
is an 18+ event and you can catch it when it hits the UNSW Roundhouse on Saturday 23 March.
and Glory Hole. You can catch them when they rip apart the Annandale Hotel Friday 4 January.
For the first time in over two years, the highly influential Earth Crisis have announced that they will be heading back to Australia this January and February, bringing a ‘Firestorm’ of their very own. For so many years, this band have ridden out numerous trends, staying true to their morals, ethics and message. They continue to spread the message of human and animal liberation, and drug free living while realising classic album after classic album. This was proven with the release of Neutralize The Threat, the band’s eighth album. Tickets for this tour go on sale on Friday, but you can catch the tour when it hits the Manning Bar in Sydney for an 18+ show on Friday 1 February.
I spoke a couple of months ago about how UK ‘90s emo-worship band Basement (I mean that description with much respect because they do it really well) are breaking up, after only two albums. Their second and final album Colourmeinkindness is out now through Run For Cover Records with the digital version of the album selling for $5 through the band’s Bandcamp page. The album really is remarkable, and takes their sound and style to the next logical level. As a person who lived through the ‘90s, it makes me really nostalgic. Anyway, definitely pick up the album and keep your eyes glued to YouTube for footage, as the band will play their final two (sold-out) shows in the UK next month.
While we’re on the topic of influential hardcore, this December will see Mike Muir and Suicidal Tendencies return to the country to kick off summer in a huge way. Joining them on this jaunt around the country will also be SoCal punk stalwarts Unwritten Law and the mental Finnish pranksters, The Dudesons. This line-up is actually crazy! I have no idea what these shows are going to be like or what to expect from the crazy mixed line-up, but it should be an interesting evening no matter which way you look at it. Anyway, Friday 14 December is the date that this tour will hit the UNSW Roundhouse for a licensed, all-ages show, with tickets on sale now.
To finish up this week, just a reminder that the Touche Amore and Make Do & Mend tour is hitting town next weekend with a couple of shows in Sydney and one in Canberra. If you caught Touche Amore when they toured with Title Fight last year, then you know how amazing a live band these guys are and if you didn’t then now is your chance to find out. Especially because Make Do & Mend are on the tour, for their second visit ever (their first was as a part of Counter Revolution). These guys will be touring on the back of their newest album, Everything You Ever Loved, which is shaping up to be one of my favourite albums of 2012. You can catch the tour on Friday 2 November at the Annandale Hotel for an 18+ night show where Sydney/Wollongong melodicpunk act Harbourer will be supporting (head down early and check them out, because they’re a great new band). On Saturday 3, there will be a daytime all-ages show at The Annandale supported by Vices. Then on Sunday 4, the tour heads to Canberra for an all-ages show at Tuggeranong Young Centre with Harbourer also supporting. Tickets to all three shows are still available.
Also on the touring agenda for 2013 (well technically the first show is New Year’s Eve) marks the return of depraved, homosexual hardcore band Limp Wrist for the first time since 2007. Having played extensively on a few continents as well as recording a second LP since their last tour, the band are back “to call out every hardcore freak, punk ass queen and genderbending crossdresser to come together for a night of in your face, queer hardcore punk that you’ll wish you could forget”. Sounds like a party to me… Especially when you have a look at the Sydney line-up, which includes Hard Ons, Shit Weather
wakethedead@drummedia.com.au
GET IT TOGETHER
OG FLAVAS
YOUNG & RESTLESS
HIP HOP WITH VIKTOR KRUM
URBAN AND R&B NEWS BY CYCLONE
ALL AGES WITH DAVE DRAYTON
Lupe Fiasco
Fraksha We’re in The Media, right? We count? Yeah, we count. It’s just rap music adored by people who like spinny dancing and spray cans, but we talk about it in print, so we count. We are in The Media. That means that we have the authority to tell you that there is this undercurrent in The Media (of which we are part) that disclosure is the new balance. Ten years ago a news producer might have proved his or her legitimacy by presenting stories in an equal, balanced way and showing both sides of any dispute. The new trend is much more convenient. It goes – rather than strive to present a balanced story, just disclose your own prejudice and make some more Media. If consumers are equipped with a grain of salt, then they are well enough informed to form their own views on what you’re doing. It’s a trend we are pleased to adopt. In chief we like it because we’re lazy; too lazy to do the work required for balance, lazy enough to simply accept disclosure. So, to disclosure – we like ozhiphop.com. We use it regularly. We consider it a valuable resource. We contribute to the forums under a pseudonym. We have friends who contribute to the forums under a pseudonym, and we have never met those friends face to face. On occasion we use that site as a source for this column. Disclosure done. Let’s talk about the tenth anniversary of ozhiphop.com. It’s a fairly momentous occasion, you guys! The site kicked off in 2002. On one view that’s the time when a small, tight subculture began to really break its boundaries and establish itself in the national consciousness. In 2004, Ozi Batla identified this issue in an interview with Dr Tony Mitchell, then of UTS; “I think the big challenge for Australian hip-hop is for it to expand on those 3000 people who will always buy the CD. The question people have to ask themselves is, who are the other 35,000 odd people who bought the Hilltop Hoods album?” It’s a question that has been answered, to an extent, in the years since. And that answer is one that ozhiphop.com has witnessed, endured, debated, and grown from. The site also has a surprisingly high contribution from actual, real life artists. A vigorous argument was underway about an Illy song a few months ago so Illy, an occasional contributor, weighed in and shared his thoughts. That sort of thing is not a one off. Plus, the site has the only annual music awards that we really concern ourselves with; the voters are well-informed fans, the best sort of voters you can get for art awards, we reckon. Bravo, ozhiphop.com. Cheers, and here’s to ten more! More disclosure – we also like Broken Tooth Entertainment. And your favourite slang-andtough-guys, longnecks-and-pieces rap label has signed a new artist – Fraksha. You know Fraksha as basically a grime emcee from Nine High. His appearance here is an exciting one. It shows that BTE are expanding their roster in bredth, as well as depth. There was a time when BTE could stand accused of producing consistent work – getting a similar sound made by similar artists out to the same fans. Snaring Fraksha shows the label taking a step into a new frontier. Fraksha’s debut My Way will be with us shortly. R Kelly’s Trapped In The Closet was legitimately amazing. Call it a ‘music video drama series’ if you’d like. Basically, its façade is entertainment for stoned R&B fans, but that façade conceals surprisingly excellent songs. There are twenty more silly, melodramatic and possibly excellent episodes on the way. Ominously, our hero said recently, “Trapped In The Closet is forever. I’ve got like a hundred chapters to come.” ?uestlove is going to teach an NYU course called Classic Albums. They are There’s A Riot Goin’ On, Lady Soul, IV, Dirty Mind, Off The Wall and Paul’s Boutique. I think we have to find a way to attend this course, you guys? getittogether@drummedia.com.au
Is socio-political rap back in vogue? It’s long permeated Australian hip hop – cue: The Herd – but today’s US culture is more hedonistic, the GFC and Occupy movement having little impact. This year London’s Plan B challenged the status quo with iLL Manors. Now Xzibit has dropped the hardcore Napalm, his first album since 2006’s Full Circle. Prompted by his travelling to Iraq, it’s far removed from Pimp My Ride. And Big Day Out regular Lupe Fiasco (AKA Wasalu Jaco) has unleashed Food & Liquor II: The Great American Rap Album Pt 1 (F&LII). Nas has company... Jaco, an authoritative, incisive and frequently brilliant lyricist, debuted in 2006 with Food & Liquor, executive produced by Jay-Z. He had a hit with the skateboardinspired Kick, Push. It’s an odd move for the Chi-towner to recycle an old concept for this ambitious comeback – a Part 2 is planned – but he’s never played the game. Indeed, Jaco has opted for all-black packaging for the album. There are not even any titles (spoiler alert: look under the CD tray). Jaco has often clashed with Atlantic Records, something his latest label bio acknowledges. The company delayed the release of 2011’s LASERS, with fans mounting a protest. Atlantic reportedly meddled in that album, accounting for its blatant commercialism – although the BoB-ish Words I Never Said, masterminded by Alex Da Kid and featuring Skylar Grey, showed Jaco to be as provocative as ever, dissing Obama. LASERS topped the US charts. On this fourth outing, Jaco, a Muslim, again confronts the contradictions of American democracy. A key influence is James Baldwin, the iconic gay AfricanAmerican writer who exiled himself to France. “I tried to find the great American experience and reflect on American phenomenon, American history, American mythology, American cultural movements...,” Jaco says in the press blurb.
Hip hop is guilty of misogyny. On the Audibles’ Vegas electro (and auto-tuned!) Bitch Bad, with John Legend sound-alike Poo Bear, Jaco considers how girls internalise degrading language. Bold, yes, but the MC risks coming off as patronising. “If he must target female ears, it’s not to seduce, [but] instead empower with the enlightening Bitch Bad,” his bio informs us. Would-be hip hop feminists may yet be more “enlightened” reading bell hooks’ sophisticated essays on the topic. However, Bitch Bad. is redeemed by Jaco’s choosing to open the album with his sister Ayesha’s spoken word poetry. Actions speaker louder... What ultimately derails F&LII is the soundtrack. It starts promisingly, with the dramatically propulsive Strange Fruition – helmed by Soundtrakk, who samples Percy Faith’s oldtime band music – only to lose traction midway. Around My Way (Freedom Ain’t Free), the lead single, is retro-nuevo boom bap, its backing a neat replay of Pete Rock & CL Smooth’s 1992 They Reminisce Over You (TROY). That Jaco selects obscure producers is admirable, but they’re limited. The MC tones down the electro-hop of LASERS, but he’s hardly avant, favouring sub-Kanye West beats – and swinging between generic soulful ‘90s hip hop and the contemporary synth-heavy incarnation. A radical rapper requires radical production. It’d be better if Jaco were to hook up with UNKLE’s James Lavelle and explore those alt-rock leanings. He comes close with Strange Fruition, the dark Put Em Up and epic Unforgivable Youth. Jaco enjoyed an Australian No. 1 in Battle Scars with Guy Sebastian. The song is included solely on international versions of F&LII. Otherwise the most high-profile guest here is the neo-soul Bilal on the wishy-washy How Dare You – nothing on Jaco’s earlier Jill Scott-led Daydreamin’. (There was meant to be a Jamiroquai cameo!) Of course, Jaco broke through after West, that post-backpacker and fellow nerd, and he’s invariably compared to him (he rapped on Touch The Sky). Jaco shares, too, West’s contradictions, being partial to Ferraris. Other ‘new Yeezys’ have fallen aside, Rhymefest taking up local politics in Chicago. Jaco is still a contender. He just might break free.
THE BREAKDOWN POP CULTURE THERAPY WITH ADAM CURLEY it’s also a pretty earnest take. It was a bit of fun but also a premeditated act when singer/guitarist Leroy Macqueen stripped to his undies, and then by some accounts to the nud (I tried to get a better view, believe me). And the already awesome set was better for it. Hunx & His Punx For the most part I’m embarrassed by how much I enjoy nudity at gigs. A band nudes up and I’m right there with them, no chance of breaking for the bar, even more likely to buy some merch when the set is done. This is a truth and it’s not one I admit readily. Not because I’m ashamed by sex thoughts about musicians. Everyone has those. We also have them about actors and writers and our cousins and each other, so it’s hardly odd or silly or anything that need be kept secret. And it’s only partially because it potentially makes me appear fickle in the eyes of other people who spend a significant portion of their time listening to and talking about music. But I know I’m no less likely to appreciate a band that keeps its pants on just because I melt for one that doesn’t. And I have nothing against ‘serious’ music, which is of course the scourge of a certain ‘scene’ that hangs around small inner-city clubs and online comment sections because heaven forbid anyone should care about their message and craft. It is possible to appreciate various approaches. I’m embarrassed because it’s been done to death. As a statement - artistic, political or otherwise it’s up there with swearing and playing electric guitars. It isn’t shocking. It isn’t original. In fact there’s probably nothing less original than a person displaying themselves the way they came out. Half the population has the ugly bits they have. What would ever make anyone think it was interesting? Yet I can’t deny the enjoyment I get out a pants-less show. The other week I caught The Gooch Palms, a duo from Newcastle who’ve been building a following the past couple of years with ratty guitar-and-drummachine garage rock. Their take on the sound is rough and filled with anti-clever humour (their new 7” is titled R U 4 Sirius, out through Anti Fade) but
The announcement that California’s Hunx & His Punx, led by former Gravy Train!!!! member Seth Bogart, will be finally touring Australia in January was made all the more thrilling by the knowledge that Bogart often de-dacks while playing his queer-angled punk ditties. Actually, Bogart nudes up all over the place, confirmed by the recent appearance of sethbogartisnaked.tumblr. com. I have better memories of The Slits’ set at Golden Plains in 2007 thanks to the two women who enacted the group’s Cut album cover and jumped around the stage and the audience covered only by mud. It doesn’t always appeal, and the reasons for this give some insight into why it usually does. I find men and women who resemble magazine models flashing at dance festivals more troubling than exciting, for instance. I was working behind the bar of a venue when the robust frontman of a hardcore band climbed onto the bar top in his undies and was subsequently stripped by an audience member. At first I thought it awesome until some research into the band showed that they didn’t stand for anything particularly progressive and neither did much of their audience, who had some sexist and homophobic things to say on the band’s social media.
In Hearts Wake October is drawing to a close, which means Halloween is near, which means it’s time to engage Pun Level: Dad Jokes. Want a Hip Hopoween? Here you go! Jay Sean, Justice Crew, and Young Men Society are playing an all ages gig on Friday at Enmore Theatre. This next one isn’t my own creation, but good lord is it funny – the Halloweener! As dubbed by the team at The Lucky Oz Tavern themselves, this monster (oh, it just won’t stop!) gig kicks off at midday on Sunday and features a massive lineup that includes Your Weight In Gold, Past Is Practice, Sunsets, Brutal Savage Violent, Final Frontier, Elegist, Break A Leg, Justice For The Damned, Above City Skies, Elanora Heights, Facebreaker, and At War. All for only ten bones! Lastly, In Hearts Wake, Sienna Skies, Shinto Katana and Hallower (‘s Eve – okay, that one was a bit of a stretch) are all on the road together for some huge hardcore shows, playing an all ages gig at Masonic Hall, Blacktown, on Friday and Sunday, with Hand Of Mercy and Outsider in support, at the Bald Face Stag from 2pm. Now, let’s get serious. Music Farmers in Wollongong are hosting a special forum titled State Of The Music Scene a week from today (that’s Tuesday 30 October folks) that is open to all ages. The National Music In Communities Network (MiCN) has partnered with Wollongong music scene advocates to produce the Forum, with the hope of establishing the state of the scene and strengthening venues and opportunities for young and up-and-coming musos in the area. We lined up co-organiser Rob Carr to find out more about the forum, and what it means for you. Get along next week and give your two cents! What talks/panels events have been lined up? “There will be a number of speakers including Alex Masso from the National Music In Communities Network (MiCN), local music fan and filmmaker Jessie Hunt, and a number of venue bookers and musicians from the local music scene. We are still accepting proposals for talks.” What do you think of the all ages music scene in Wollongong and surrounds at the moment? “The all ages scene is thriving. There is plenty of talent out there. A few months ago we had a huge all ages show in Albion Park organised by Haworths Music, who have a long track record of supporting young bands. The whole line-up was local and loud. Saying that, there used to be more touring bands playing at mid-range venues for all ages. The youth scene was also thriving in the city centre until the Good Jelly venue closed down, due to the impact of what seems to be confusion between the gallery venue owner, the Council DA they received and policing.” What do you hope the forum will add to that? “The forum will give young musicians an opportunity to air their views on these kinds of issues, and hopefully deliver a constructive way forward that will ensure venues remain open, get assistance where they can and for young people to have spaces to enjoy live music culture.”
So why does it appeal? Because while nuding up has been done by many provided with a stage, it’s perhaps more relevant an act now than ever before when performed by those with liberal minds. Seeing a regular body type proudly presented in the flesh is just as significant for men in this age as it has been for women for many decades. When it comes to sexuality, the act can be one of reclaiming sexuality publicly on one’s own terms in a time when sexuality has become so heavily politicised. Or reclaiming the body from commerce or from victim blamers or religion. It can be simply to say, “This is me.” And of course it can be sexy as hell.
What effects are the current struggles with licensing going to have on venues and a supportive network for the next generation of musicians? “The pop up and gallery phenomenon which has taken off in most major cities is still an emerging practice in Wollongong, and if we don’t sort out the DA and licensing issues sooner rather than later it will only become more frustrating for venues and their patrons, as week after week venues are fined and closed down. With aging city centre buildings where these kind of venues pop up, councils are keen to fill those spaces with creative types and galleries, and have often facilitated a ‘rent-free’ way of achieving this. If councils plan to continue to do this but the police insist on using modern regulations for venue planning and crowd safety, then there’s clearly a problem here that is confusing for musicians and expensive for the venues.”
breakdown@drummedia.com.au
allages@drummedia.com.au
For more opinion go to themusic.com.au/blog • 73
BLOW
DANCE MOVES
JAZZ/WORLD WITH MICHAEL SMITH
NEW CURRENTS WITH TIM FINNEY
Headlining Jazz In The Vines this year are Darren Percival, Grace Knight and Tom Burlinson, who will be joined not only by The Dixie Ticklers but also John Morrison’s Swing City Big Band featuring Jacki Cooper, Lisa Hunt and The Royal Australian Navy Band. It all kicks off 11am and runs ‘til 6pm. Gregory Porter Headlining the Wangaratta Jazz Festival this year is one of the finest male jazz vocal stars on the scene today, Gregory Porter. Drawing as much from Donny Hathaway as Kurt Elling, the New Yorker will showcase his latest album, Be Good, and more at Blue Beat in Double Bay, Monday 5 November. By the by, Monday 29 October, the 17-piece Sydney Jazz Orchestra returns to Blue Beat, with Andrew Worboys out front singing. Londoners The Dixie Ticklers formed in 2006, determined to combine old-style New Orleans with contemporary jazz styling. Now, three albums in, the sextet are coming to Sydney to play the Basement Circular Quay Wednesday 24 October, before heading north to join the festivities that are the annual Jazz In The Vines at Tyrell’s Vineyard in Pokolbin in the Hunter Valley Saturday 27, returning to Sydney Sunday 28 to play Cronulla RSL (afternoon) and Camelot Lounge in Marrickville (evening). Speaking of Camelot, Thursday 1 November, you can enjoy the sounds of our own Chasing The Moon, while Monsieur Camembert in ten-piece big band mode take over Saturday 3 and Sunday 4 in a tribute to the music of Harry Nilsson. Wednesday 31 October, 505 hosts an evening with another UK jazz phenomenon, The Lighthouse Trio, who are out here for the Wangaratta Jazz Festival. The trio – Tim Garland on bass clarinet and saxophones, Gwilym Simcock on piano and Asaf Sirkis on percussion – will be showcasing their latest album, Lighthouse, and more.
74 • For more opinion go to themusic.com.au/blog
Australia’s most original alto saxophonist, Bernie McGann, is celebrating his 75th year in 2012 and showing no signs of slowing down. Friday 26 October, McGann returns to the Sound Lounge with pianist and composer Paul Grabowski as The McGann/Grabowsky Quartet. They’ll also play Live at the Village in the Presbyterian Hall Springwood Saturday 26 and the Riverside Theatres Parramatta from 5pm Sunday 28. Saturday 27, the Sound Lounge hosts an evening with Melbourne pianist and composer Joe Chindamo. Joining him is classical violinist Zoe Black, as the pair showcase their latest collaboration, Reimaginings (Fuse). The Felas celebrate ten years together with a party at 505 in Surry Hills Wednesday 24. Also playing 505 over the next week or so are, Tuesday 23 The World According To James and Briana Cowlishaw; Thursday 25 the Kim Lawson Quartet; Friday 26 Phil Slater’s Sun Project; Saturday 25 Sonido; Monday 29 Emma Franz; Tuesday 30 the Andrew Gander Quartet and the Casey Golden Trio; Friday 2 November Slowpoke Rodriguez and Saturday 3 Victor Martinez and the Rosie Henshaw Band. The Paul Sun Trio play Jazushi Wednesday 24, Kirribilli Markets from 9.15am Saturday and the Ling George Park Rozelle leg of the 7 Bridges Walk 2012 from 10am Sunday 28, with Six Degrees playing the 7am slot at Bangaroo Village, Darling Harbour; Yuki Kumagai in trio mode plays the Square Waffle in Campbelltown Friday 26 October and in duo mode the Well Connected Café Leichhardt; and Bruce Mathiske plays Lizotte’s Kincumber Saturday 3 November. blow@drummedia.com.au
Funkystepz Last year I identified UK trio Funkystepz as one of two (erstwhile?) UK Funky acts likely to survive their parent genre’s inevitable decline. It’s fair to say that 2012 hath borne out this prediction, on both counts: UK Funky (circa 2008-09, almost the only thing happening in music that seriously warranted attention) has died faster and more catastrophically than I could have imagined, while Funkystepz have gone from strength to strength, growing bigger, bolder and better than any single dance outfit has any right to be in 2012. In fact, Funkystepz may lay claim to being one of a barest handful of truly modernist groups left in dance music. I don’t mean modernism in the sense of stealing ideas from Chicago’s footwork scene and appealing to earnest handwringers scouring FACT Magazine and The Quietus. Rather, modernism as typified by the great future-tilted dance scenes of the past twenty five years: not just techno, but also early house, hardcore, jungle and 2-step garage, not to mention rap and R&B. Funkystepz absorb from the tradition – rather than any specific sound – of these styles, offering a kind of futurism that is enthusiastic and overblown but unselfconscious; a vision of the future as the place where all the best parties are held.
In this regard Funkystepz enjoy some of their most remarkable successes with some of contemporary pop’s most inane tunes: their remix of Rihanna’s Birthday Cake turns the singer’s “cake cake cake” refrain into a mindless cyborg demand over a restlessly mutating bed of groaning bass, sickly synth drones and clattering percussion; for Drake’s The Motto they push Drake up-register into a sniveling gargoyle over dubbed-out keyboard vamps and a panther crawl beat. Perhaps best of all is their new remix of 2 Chainz’s Birthday, which sounds like all their previous remixes playing simultaneously. You can choose to focus on Funkystepz’ different stylistic strands separately – earlier this year they offered a collection of their more pop-minded remixes out for free under the title Loveshy vs Miami Bass – but to my mind these strands sound best all mixed and fluxed up. A recent DJ mix for Da Movelt Nasty show ties together these disparate threads into a glorious mess, rifling through about thirty tracks in as many minutes (which other contemporary producers could do this and maintain quality control?), ranging from the aforementioned apocalyptic 2 Chainz remix to the clubfooted stomp of Warrior, to two psychotic refixes of Fresh Prince and Jazzy Jeff tunes that posit a future fusion of Baltimore breaks and the UK’s jackin’ house scene. In its ruthless rifling through an endless succession of sonic shock tactics, it’s the most consistently exciting and startling DJ mix I’ve heard in living memory.
This year only British selector and sometime sonic compatriot DJ Q has explored similarly broad-minded territory, with his ever-expanding garage revivalist The basic Funkystepz sonic blueprint – stuttering sound. But Q has a broad range of tunes from different syncopated beats and spiraling synth melodies weaving sub-genres (and even eras) to draw on. The most in and out of one another in dense, counter-intuitive amazing aspect of Funkystepz’s show for Da Movelt grooves – has radically expanded this year, not just with Nasty – and 2012 output generally – is that it spews outré, aggressively pounding bangers such as Royal forth so many ideas, and inhabits so many styles and Rumble and Belter – tunes which have taken the group’s moods, and yet is undeniably and identifiably the work trademark disorienting syncopation to new levels of of single artist collective. In an era of so many barely ridiculousness – but also with a series of remixes of rap differentiated producers offering up successive everand R&B tunes that move into a kind of jittery amphetamine so-slight twists on this past or that, it’s relieving to pop territory, preserving the original tunes’ vocals within a have one group who sound so indifferent to the past; dense soundworld of ricochet effects and jittery rhythms. they’re having way too much fun in the present.
IT’S STILL JUST ROCK’N’ROLL ROCK PLATTER Perth based but with a dash of Bristol, UK, The DomNicks are coming across the continent to celebrate not only their debut album, but also the 30th anniversary of Citadel Records. Michael Smith checks in for the details.
If your passion is classic Aussie pub rock, Black Mustang reckon you’ve got to go vinyl, as bass player Dan Charlton tells Michael Smith. was already done. We just had to get it sequenced and put in the right order to go on the vinyl.”
about the music and the joy that we get out of playing it. There are no unreal expectations – we love the music we love and we just have a little outlet for it, which is this band. I love The Beatles, obviously, and bands that sprang out of those influences, but I still love all those other bands like The Stones and the Faces, and I guess it’s an opportunity in this band for me to kind of indulge myself in those kinds of sounds. It’s more R&B, I guess.
The DomNicks essentially came together after Dom Mariani, best know for his years with The Stems, Someloves and DM3, met English singer, guitarist and songwriter Nick Sheppard – who’d been in The Cortina and the last years of The Clash before relocating to Australia in 1993 – at a barbecue in Perth. Their mutual love of garage pop and soul, The Stones and the Faces saw them recruit bass player Howard Shawcross and drummer Mark Frisina. They’ve been gigging away happily between their respective other projects ever since, releasing a debut EP, Hey Rock ‘N’ Roller, in 2009, and now a debut album, Super Real. Their endearing sense of fun and camaraderie will see them stop off in Tokyo after their national gigs. “That’s the way we approach music,” Mariani explains of The DomNicks ethic. “It’s really
“Nick brought in quite a few tunes to begin with, and we’ve kind of stuck with that. I guess I have more of a guitar-playing role, which I really enjoy. I bring a few songs to the table but it’s mainly Nick’s tunes, and we’re basically into a lot of old Northern Soul and rock’n’roll, so we’ve played a few covers in the last five years.” Mariani released his first couple of singles, in The Stems, through Citadel Records, so the association has always been an important one for him. “[Citadel’s] John Needham also released the Someloves, and a side project, Stonefish, back then, and then DM3. It’s a credit that he’s survived this long, first through his mail order and now releasing stuff again.” WHO: The DomNicks WHAT: Super Real (Citadel) WHEN & WHERE: Saturday 27 October, Sandringham Hotel; Sunday 28, The Patch, Wollongong
119 VICTORIA ROAD CNR WELLINGTON ST ROZELLE (02) 9810 1260
“Bringing you the best in a big mix of rhythm and blues, rockin swamp, country, zydeco, jazz & pop from Australia & the world.”
The title track is the third lifted from the Loaded Gun album, last December’s Love, Lies, Bleeding also being included on the vinyl release along with two previously unreleased tracks, making it sort of a double A-side. “Loaded Gun was always a song we wanted to get out as a single, but it was too long for the industry, apparently. So we bit the bullet and did a radio edit and decided to go to vinyl because we thought that’s the way to get it out and using it to our advantage. I’m not aware of all the ins and outs, but we always get a lot of love from all the local and regional stations. As far as the bigger stations, I’m not sure where we stand at the moment. And at the end of the day, we’re a rock band – a lot of them are only looking at rock songs from 30 years ago, or are not really interested in rock anymore.”
Unashamedly committed to bringing the power of classic Aussie pub rock with a modern twist for contemporary audiences, Brisbane four-piece Black Mustang have always made the kind of music that would sound great on vinyl. As it happens, that’s exactly how they format it.
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“When we did the album,” the band’s laconic bass player Dan Charlton explains, talking about the approach to the recording of last year’s Loaded Gun, from which they’ve lifted the title track for release as a 7” vinyl EP, “we had everything mastered for vinyl, because we had the intention of putting stuff out in that format. That way we could pick and choose when we needed it. Then, when it came down to it we didn’t have to have it remastered – it
Not that lack of wider airplay is slowing Black Mustang. As with their 2008 debut album, Between The Devil And The Deep Blue Sea, their label has been getting tracks off Loaded Gun synced to a variety of TV shows here and overseas, so there’s money for the next album, due mid-next year. WHO: Black Mustang WHAT: Loaded Gun (+1/Shock) WHEN & WHERE: Thursday 25 October, Brighton Up Bar; Friday 26, Cambridge Hotel, Newcastle; Saturday 27, The Phoenix, Canberra
TUE
NICK VAN BREDA
SUN
SYDNEY BLUES SOCIETY
23 OCT
+ MO MAYHEM (HELL CITY GLAMOURS)
FRIDAY 26TH OCTOBER
A night of soulful, rootsy, blues drenched rock and roll.
CHASIN THE TRAIN
Kirk Lorange, Kevin Bennett, Mark Meyer, Ian Lees. Their only Sydney show Tickets on sale now - Moshtix & from the pub.
SATURDAY 27TH OCTOBER
Bob Dylan once called him his favourite aussie song writer.
DAVE WARNER’S FROM THE SUBURBS His only Sydney show. Tickets on sale now - Moshtix & from the pub
SUNDAY 28TH OCTOBER
Cheeky Sunday arvo sessions at The Bridge.
PETER NORTHCOTE’S DRIVE
28 OCT
with guest singer Danny Marx Young. From 3.30pm Only $10 Now into its 8th year!
COMING SOON
CREEDENCE CLEARWATER RECYCLED, RAY BEADLE, MEMPHIS FUNDRAISER EMAIL:WWW.BRIDGEHOTEL.COM WWW.FACEBOOK.COM/THEBRIDGEHOTEL
To check out the mags online go to themusic.com.au/mags • 75
BIRTHDAY BASH
DOWN THE ROAD THE STANDARD Answered by: Luke Della Santa – Booker How has the first year been for you? Fast, fun, hard, long inspirational, boozy, tiring and spectacular. It’s been all kinds of great! We have successfully achieved everything we hoped to and surprisingly we haven’t killed each other yet. What do you put the success of your venue down to? It couldn’t have happened without the local music community really giving us a shot and wanting to call a venue like ours their home. Of course, it doesn’t hurt to having such a hardworking, diverse team of misfits. Seriously, I am surprised that we are all still friends sometimes. We all come from such different places and have different ideas. I guess that’s why the venue is doing so many different things. Has anyone ever worn their birthday suit in your venue? The very sweaty and hairy Damian Abraham from Canadian hardcore band Fucked Up came pretty close. He stripped down to his undies, dived into the crowd and ran half naked like a madman through the venue over the bar and onto the second floor. A few punters definitely got an eye full of his junk. What’s the thing you’re most proud of that your venue’s contributed to the music scene in the last year? A new home – the venue has really become a hub for the local music community. For bands, punters and industry alike. I guess it’s just the fact that I can walk in there any night of the week to see familiar faces and know that all of them are working towards making our scene better. It makes me think we’re definitely doing something really worthwhile.
Owen Campbell has toured extensively for the better part of a decade. Performing in bars, clubs and festivals in Ireland, UK, USA, Denmark, Italy, Kathmandu and India, Campbell describes himself as “a wanderer”. With the help of an ARTS ACT grant in 2011, Owen brought together a band of his favourite musicians to collaborate with him on his latest studio album. With the help of Peter Luscombe (drums), Bruce Haymes (keys) and Mick Elderfield (sax, bass), Wright has created a soulful, earthy blues album titled Sunshine Road. He plays Friday night at Lizotte’s Dee Why, at Sydney Blues Festival this Saturday and then at Lizotte’s in Newcastle on Sunday.
ALL HAIL WE ALL WANT TO Brisbane’s We All Want To are heading south this week to play the Great Northern in Newcastle Wednesday, Yours & Owls in Wollongong Thursday, the Clarendon Guesthouse in Katoomba Friday and Brighton Up Bar in Surry Hills Saturday, and they’ll be joined throughout by our own Hailer, who are showcasing their new single, Spooky Clams.
THRICE UNGAS BE WITH YOU Why just be mere Ungas when you can be Ungas Ungas Ungas? That’s how the Sydney prog-funkgypsy-psych combo thought, and so it has been since they formed a couple of years ago. Bearing their second album, Time For Your Bath, in their collective hands, they’re delivering some pre-Halloween horrorfunk at the Sandringham Thursday night with a little help from Cam Raeburn & Friends and Sicaria.
MEANWHILE AT THE PBC Friday night, the Petersham Bowling Club will be hosting an evening with Atticus, who are reuniting in their original line-up from 1998, and they’ll joined by Worker Bees, three-quarters of whom were once Ups & Down while half are fellow Atticusans; and Restless Leg.
What sort of celebration is in order? A bloody big one! Live music courtesy of local legends Papa Vs Pretty, Fishing, Palms and Shady Lane, drunken ping-pong, an exclusive mural commissioned by Lo-Fi Collective to pay homage to musicians that have given us some of the greatest parties of the year, and birthday cake! Oh, and come down early and have some drinks on us! Thursday 25 October.
FINAL SOUND PAINTING Nat Col & The Kings are helping Dallas Frasca finish off the launch tour for her second album, Sound Painter, joining her at Live At The Wall at the Bald Faced Stag Friday night and the Cambridge in Newcastle Saturday.
THAT DEVILISH LUCY It’s the last Sunday of the month, so as they have for more than a year now, Lucy Desoto & The Handsome Devils, which features former Rose Tattoo bass player Steve King and Judge Mercy drummer Mick O’Shea, return to the Bald Faced Stag, for a 4pm start. Saturday sees them at the Pendle Inn in Pendle Hill.
FLOYD RETURNS It’s been a while between drinks but Floyd Vincent & The Childbrides are well and truly back and will be delivering another set of high-energy art party music at the Camelot Lounge Friday night, with Marshall Okell opening proceedings in duo mode.
BEAUTY IN SPIT
Melbourne duo Diafrix are celebrating their forthcoming album, Pocket Full Of Dreams, by releasing a series of videos detailing their history, and with a run of shows that sees the head north Friday to play the Great Northern in Newcastle and Saturday at GoodGod Small Club.
Canberra’s Transit Bar gets the first taste of the Beauty In The Bricks single tour from Sydney inner-west duo Spit Syndicate, lifted from their forthcoming third album, Sunday Gentlemen, Thursday night.
WORLD BAR WEEK
Everything is leading up to the Sydney Blues & Roots Festival in Windsor, but on the way, Hat Fitz & Cara are showcasing their new album, Wiley Ways, at Illawarra Builders Club in Wollongong Saturday night, before their 2pm slot at the festival Saturday, followed by an evening at Lizotte’s Kincumber.
It’s another big week at The World Bar with a Tuesday night Jam, featuring Conrad, Jonno, Cristof and Ali, setting the pace. Wednesday, The Wall delivers the art and the dubstep courtesy E-Cats, Pipemix and Skinny in the main bar, and Kovacs and Mitch Lowe bassing it up with Brown Bear in the back bar. Thursday, Propaganda upstairs and down, then Friday it’s Mum, with The Demon Parade, Willow Beats, The Darkened Seas and The Grease Arrestor doing it live for your pleasure.
WILEY FITZ & CARA
IT’S A FAMILY AFFAIR Sunday from 2pm, it’s episode five of It’s A Family Affair, the chance for music lovers with kids to enjoy both, this time with the Shout Brothers, Yea!Tiger, Knievel, Community Radio and Sticker Club, all delivering at the Petersham Bowling Club.
RED BEE LAUNCH The mighty Red Bee have finally finished their long-awaited debut album, Ictus (Green), and they’ll be launching it at the venue where they won the BLU-FM Battle Of The Bands a few years ago, the Hotel Gearin in Katoomba.
CHASIN’ THE TRAIN AGAIN From the late ‘80s into the early noughties, Chasin’ The Train would weekly take the Bridge Hotel stage in Balmain to a rabid band of punters who couldn’t get enough of the superb musicianship on display courtesy of singer and guitarist Kevin Bennett, now of The Flood, slide maestro Kirk Lorange, one of the country’s most in-demand session players, and the rest. Friday night, for one night only, they return to the Bridge.
NIGHTMARE HEAVIES Halloween is just around the corner so Sydney’s The Heavies are throwing a Nightmare On King Street party at The Vanguard Friday night, where you’re bound to hear their latest single, Boogie And Jayne, among other musical delights.
IT’S ALL THUNDAMENTAL REALLY Blue Mountains-come-Newtown hip hop three-piece Thundamentals are doing run of shows to celebrate the first anniversary of the release of their second album, Foreverlution, kicking off Saturday night at their original home turf, the Hotel Gearin in Katoomba.
MAYBE NOW
BLACK CHERRY HALLOWEEN The next Clack Cherry event is so big they’re having to take over the whole Factory Theatre complex. Fair enough too, as it’s an early sixth birthday party that allows them to also celebrate Halloween and the Mexican Day of the Dead! Saturday night, be there for the wildest in bands, burlesque and DJs, with Mikelangelo & The Tin Star, Los Capitanes, Captain Reckless & The Lost Souls, Neon Heart, Graveyard Rockstars and C.O.F.F.I.N. providing the live music, America’s Tank, Brisbane’s Mark Winmill and Kelly Ann Doll delivering the shimmer.
BRIGHTON GETS PURPLE They’ve been a bit of a moveable feast the past year or so but Purple Sneakers have finally found themselves a home in the city that gave them life, in the Brighton Up Bar. Their new life there starts Friday under the new banner Discovery, with the live music courtesy of StepPanther, Bad Dreems and Bored Nothing.
YOUNG, GIFTED & BROKE Featuring NZ’s #1 hip hop group Home Brew, @Peace, Team Dynamite, Louie Knuxx and Esther Stephens, with DJ Substance keeping things movin’ through the night, Civic Underground hosts another night of Young, Gifted & Broke.
EP FOCUS
Step-Panther have a new single, Maybe Later, they’ve been taking for a run up and down the East Coast, and that run finally brings them back to Sydney and the official launch Friday at Brighton Up Bar in Darlinghurst, followed by Saturday at Yours & Owls in Wollongong, supported both nights by Bad Dreems and Bored Nothing.
POINT BLKOUT
PROGFEST 2012 A celebration of musicians creating progressive music, Progfest comes to the Annandale Saturday with a cracker of a line-up that includes Ne Obliviscaris, Anubis, Quiet Child, Hemina, Glass Empire, Nobody Knew They Were Robots, Lander Configurations, Serious Beak, Forenzics, No Home For Heroes and more.
POCKETFUL OF DIAFRIX
BEARDS FOR BEARDS Those hirsute purveyors of Australia’s finest beardbased rock, The Beards, are heading back to drop hair wherever they please, or more specifically the Bar On The Hill in Newcastle Wednesday, Wollongong UniBar Thursday, the Baroque Bar in Katoomba Friday and the Beachcomber in Toukley Saturday. What are they celebrating? Why, beards and the end of the world, of course.
WA hardcore five-piece BLKOUT have a new album, Point Of No Return, they really need to play for you in person, loud and proud, and that’s just what they’ll do Friday night at The Gladstone Feeling in Chippendale, supported by Vigilante Sumeru (ex-No Apologies) and Hostile Objects.
DOWN AT THE BEACH Wednesday night, the Beach Road Hotel in Bondi hosts another Sideshow with Kingswood heading the bill, supported by The Walking Who and The Chitticks; Friday sees Van She DJs and Ariane, while Saturday night it’s Falcona night with Flagrant, Sufur and Shantan.
76 • For more news/announcements go to themusic.com.au/news
What’s the title of your new EP? Open Ears Open Minds How many releases do you have now? Chase the Sun, Hold the Night (LP) and this one. (there is another, but we don’t tell people about it.) How long did it take to write/record? The process has been going since January. Was anything in particular inspiring you during the making? This was part of our Audio Democracy Experiment, creating an audience-curated EP. It was inspiring to let it all go in the name of art.
ROCKIN’ FOR JESUS Thursday night sees the Vault in Tempe launch the first heat of the Immortal Band Competition, designed to provide exposure for local Christian bands and solo artists, the winners scoring recording time, a video clip and more. Get along, sign up for forthcoming heats if you’re artists or just dig the music. From next week though, it’ll be happening Wednesday nights.
TIN CAN RADIO
HAPPY BIRTHDAY PETE Scary how quickly it’s come around again but yes, guitar wiz Peter Northcote is celebrating his birthday in time-honoured style with a gaggle of his friends – musicians and singers all, including Brydon Stace, Barry Leef, Chris E Thomas and Bella Hunter – down at the Basement CIircular Quay Friday night, and you’re invited. Peter Northcote’s DRIVE, with guest singer Danny Marx Young, plays Sunday at the Bridge Hotel.
What’s your favourite song on it? It’s all good, although we did throw a sneaky (uncharacteristically) dubstep track on the end. Will you do anything differently next time? We will do an Audio Dictatorship Experiment, where we are fuckin’ in charge. Where will you be launching it? Saturday 27 October, Upstairs Beresford For more info see: www.tincanradio.com
SOUNDS LIKE CAFÉ
BARK IN THE PARK Saturday from 10am, the Phillip Precinct in The Domain hosts Bark In The Park, the doggie social event of the year, with a soundtrack provided by triple j Unearthed artists Toucan.
CATHY’S LIFE
Foghorn Records will be there at the Sydney Blues & Roots Festival in Windsor Friday night presenting the Sounds Like Café Stage, which, from 6pm, will showcase Calling Mayday, Blake Saban, Halfway Homebuoy and Mark Cashin & The Lil Hussys. Saturday from midday, it’ll be Bonez, Bob Pigott, Eli Wolfe, Alex Chudnovsky, Chris E Thomas, Lyall Moloney, Daxton Monaghan, Daniel Allars and Jesse Morris, and Sunday, it’s Chudnovsky, Brett O’Malley, Sam Buckingham, Bity Booker, Lake Nash, Dylan & Co and Michael Peter.
The beguiling Catherine Traicos has a new album, In Another Life, to share with us and she does just that in person Thursday night in The Green Room Lounge.
WAKE SUPPORTS
BABS GET SOME MOJO The Mojo Webb Band took on the best in the world in Memphis, Tennessee this year as Brisbane’s representatives at the 2012 International Blues Challenge, reaching the semi-finals and making a pretty good fist of their chance. That probably helped score them the support slot for Memphis-based soul/blues diva Barbara Blue, who plays Notes in Enmore Friday and The Brass monkey Saturday.
Joining visitors In Hearts Wake on their Divination Tour Friday night at the Blacktown Masonic Hall are Hearts Like Wolves, while Sunday at the Bald Faced Stag it’ll be Hands Of Mercy and Outsider.
QUEER JURASSIC With performances from The Stage Door Johnnies, Roller Derby Babes, live indie-pop/folk from Julia & The Deep Sea Sirens and Jack Colwell & The Owls, Queer burlesque star Diesel Darling, Drag King Memphis Mae and boylesque babe Jester Schrodinger Smilez and with special host MC Brendan Maclean, Queer culture comes to Jurassic Lounge at the Australian Museum tonight, Tuesday 23 October.
EP FOCUS
MORE RUBENS Black Lakes will be joining The Rubens on their run of shows this week promoting their debut album, taking to the Entrance Leagues Club stage Thursday, and the Cambridge Hotel in Newcastle Saturday.
THAT’S THE SITUATION Sometime Wilson Picker Andrew Morris is heading down from Brisbane to launch his new and sixth album, The Situationist, at the Oxford Art Factory Wednesday night.
THURSTON MOORE
GLOBAL SONGWRITERS
The first album I bought with my own money was… Alice Cooper – Killer
One of Australia’s finest singer-songwriters, Steve Balbi has been invited to join The Songwriters Circle Tour, featuring Canada’s Matthew Barber along with fellow Australians Nicholas Roy and Asa Broomhall, playing Thursday at the Vanguard in Newtown and Friday at The Brass Monkey in Cronulla, before it all moves to Windsor to become a part of the Sydney Blues & Roots Festival in Windsor Saturday and Sunday.
BEAST OF A SPARROW Local four-piece Tin Sparrow are heading out on tour to showcase their new single, The Beast, and Friday night, that brings them to The Standard, with special guests Jessica Cerro and Dirt Farmer.
TASTE TEST
THE STANDARD TURNS ONE Upstairs on Level 3, 383 Bourke Street, Surry Hills, Thursday night, The Standard will be celebrating its first birthday with the party music being provided by Papa Vs Pretty, Fishing, Palms, Shady Lane and the Falcona DJs, with artwork commissioned by Roachi and Clams decorating the walls.
THE FLOORS HIT Four frenzied days in the studio and Perth threepiece The Floors came out with their debut album, Dead Beat, which they’re bringing to the Red Rattler stage in person to launch Thursday night.
THOSE SNAKE EYES Armed with a brand new single, Snake Eyes, altfolk pop artist TAOS is taking over the Town Hall Hotel, Newtown, Friday night to celebrate.
The album I’m loving right now is… Big Nils – Sibling My favourite party album is… Lou Reed – Berlin My favourite comedown album is… Lisa Sluckdog – Drugs Are Nice
BLUE CABINS
The most surprising album in my collection is… Sylvia – Pillow Talk
Cabins are the featured band 1pm Wednesday for FBi Social’s Lunch Break, the perfect warm-up for the official launch of their new single, In Blue, at the Annandale Thursday night, supported by Hattie Carroll, The Upskirts and Train Robbers.
The first gig I ever attended was… Rick Wakeman.
GETTING BUSY Sydney hip-hop collective The Thundamentals exploded onto the national music scene recently with their cover of Matt Corby’s Brother. With two albums under their belt, the Thundamentals have spent some time honing their craft. Now, they’re embarking on an East Coast tour to ensure this year goes out with a bang. With the help of guest vocalists, visual effects and a full horn section, the band want to make this tour their biggest yet. They’ll be stopping in at Katoomba this Saturday night.
The weirdest gig experience i’ve ever had… Stiv Bators masturbating with a vibrator on stage during a Dead Boys gig (he was the lead singer) (and he came). The coolest person I’ve ever met… Roland S. Howard. If I could hang out in any time and place in history… 1972, St Marks Poetry Project, New York City. If I wasn’t making music, I would be… Writing experimental sonnets in a house in Lisbon, Portugal. WHEN & WHERE: Friday 26 October, The Hi-Fi
JAM IT OUT Once again this Wednesday night at the Bald Faced Stag in Leichhardt and Thursday night at the Carousel Hotel in Rooty Hill, Jim Finn and Al Britton are hosting the perennial Musos Club Jam Night, and you’re invited.
GETTING INTIMATE Neil Murray was a founding member of the groundbreaking Warumpi Band that during the 1980’s propelled contemporary Indigenous music into mainstream Australia, yielding such classic songs as My Island Home, Blackfella Whitefella, and Jailanguru Pakarnu. Murray has since become one of Australia’s most respected and influential singer/ songwriters and has enjoyed a solo career since 1989, garnering many awards and accolades along the way. He will be performing an intimate set at Yours & Owls Cafe this Friday night, alongside long-time collaborator and friend, Jim Moginie of Midnight Oil.
FIVE LANES WARD THE TREWS What’s the title of your new EP? ...Thank You And I’m Sorry. How many releases do you have now? 4 studio albums, two live records, 1 DVD and this new EP How long did it take to write/record? The songs were written over the past two years but recorded in just four days.
With their mini-album, Five Lanes, which peaked at #1 on the Australian Blues & Roots Chart’s Most Played list, still sitting in the Top 25, guitarist Ross Ward takes his band Ward’s Xpress into the Pyrmont Bridge Hotel Sunday night.
ROSIE AT THE HIBERNIAN Hitting the Hibernian House stage Thursday night with a string quartet for the final leg of her Pozible crowdfunding tour, singer-songwriter Rosie Catalano will be joined by local folk artists Damian Enemark and Packwood.
What’s your favourite song on it? Not Yours To Love Anymore
BE GONE, PLASTIC BAG
TURNING ON THE LIGHTS
HERE AND THERE
Will you do anything differently next time? We will most likely do a full-length album next time. Not sure what approach we’ll take to the recording itself just yet – we usually let the songs dictate the approach.
Where can punters get more info? www.thetrewsmusic.com
Moonshine at the Hotel Steyne in Manly presents the enigmatic Mojo Juju, currently touring her eponymous debut album, supported on the night by Big Blind Ray and his band. Sunday night at the Steyne, it’s Benjalu, who themselves also play Lizotte’s Kincumber Thursday and the Sydney Blues & Roots Festival Saturday.
This Thursday night, GoodGod Small Club will launch their brand new electronica night, Hi-Beams, this Thursday night. The event will be an attempt to document the incredible, insane electronic work of DJs and producers from all over the country. This week, Cliques, Garland and Prize will put together raw, half-hour sets of their innovative trademark sounds. The night will be completely free.
Was anything in particular inspiring you during the making? We tracked live off the floor, which was a nice challenge. We also had Rich Robinson from the Black Crowes there tracking with us which was definitely inspiring; he’s a great player and a huge influence.
Where will you be launching it? We’re coming back to Australia for the fourth time this October/November to promote it. Also, the single Leaps And Bounds – our cover of the Paul Kelly classic – is being played on radio stations across Australia. Here’s our gig list: Wednesday 24 October, The Brass Monkey, Cronulla; Thursday 25, Notes; Friday 26, Terrey Hills Tavern; Saturday 27 and Sunday 28, Blues & Roots Festival; Sunday 28 (night), Beaches, Thirrou.
SOME MOONSHINE
STORMY WEATHER
Bistu will be promoting the release of their third album titled, Hereafter...Thereafter, with a freeentry Halloween party. The event will take place this Saturday night at Bundeena Bowling Club. Special guests The Menaces will support her.
ALL STICKY Veteran melodic thrash band Sticky Fingers are kicking off a long-awaited tour at Wollongong Town Hall this Friday night. For a band who kicked off their career with a psychotic, insane set at Woodford Folk Festival, Sticky Fingers have certainly come a long way. The band will launch new material on this tour, including songs about “what Sticky Fingers do best—feeling low and getting high” as well as heartbreak and melancholy. The band will be supported by much-talked about local post-punk band Thomas Covenant.
The anticipated co-headline tour featuring Brisbane’s Tara Simmons and Sydney’s Pluto Jonze kicks off at FBi Social this Friday night. For Tara Simmons, this is her first tour in some time and comes on the back of the release of her critically acclaimed single, Be Gone, as well as recent support slots with School of Seven Bells and Elizabeth Rose. Sydney-based popster Pluto Jonze channels childhood influences Bowie, The Beatles and Beck into his eclectic mini-symphonies. Dressed with samples, lush vocals, his signature theremin and backed by an explosive three-piece band. Twisted altpop/electro band Rainbow Chan will be supporting.
DOING IT DIFFERENTLY A year on from its formation 12 months ago, the Sydney Jazz Orchestra, despite the rarity of performances is gaining a reputation for taking the large jazz ensemble out of the often predictable swing band category into another dimension. The orchestra retains all the long held traditional qualities of the quintessential big band - cohesion, teamwork, a highly trained lineup and bags of collective experience in its ranks. The band swings like crazy and crosses easily over jazz, rock, pop , and occasional hip arrangements of popular classical pieces. They’ll be playing at Blue Beat in Double Bay this Monday night.
Stormcellar will play at the Bells Hotel in Woolloomooloo this Saturday night. They’ll be playing songs from across all five albums, including their latest release Hired Guns & Borrowed Glory The band’s influences range from Chicago to the Appalachians to the Deep South, with a healthy mix of blues, roots and boogie.
BAD DREEMS OF PANTHERS This Friday night at the Brighton Up Bar in Sydney, a collection of wild, raucous, lo-fi garage rock bands will come together to celebrate all that is unstudied and wild and completely awesome. Sydney garage rock trio Step-Panther are embarking on an East Coast tour to celebrate their latest release, Paranoia. They will be backed up by Bad Dreems, an Adelaide band with plenty of attitude and distortion.
For more news/announcements go to themusic.com.au/news • 77
FEAR OF A BLACK PLANET Blacklevel Embassy’s guitarist Adam Cooper shows Brendan Telford the fine line between wry humour and brutal tension.
PUMP UP THE JAM In the lead up to the Red Bull Bedroom Jam Phase Two Final at The Hi-Fi on Sunday 28 October, we got each of the finalists to pick the brain of special guest headliner The Getaway Plan. Here are the results.
trivial, yet often lead to something introspective and dark. We aren’t writing to a crowd, we are writing to amuse ourselves, so everyone else can make their own interpretations.”
have to work a lot harder to sound good and get a vibe, but we find that just prepares us for the unpredictability of live shows on the road.
The heady mixture of humour and sweat-inducing tension brings to mind the sonic templates of The Jesus Lizard and Future Of The Left, bands Cooper openly admits are massive inspirations. That said, lyrics are often secondary to what is effectively the Blacklevel Embassy sound. Melbourne’s Blacklevel Embassy has always been a brutal band, their musical dexterity never overshadowing the harsh rhythms they wield with precision. Third longplayer, New Veteran, is the clearest indicator yet that the trio – Adam Cooper, Brett O’Reilly and Joel Ellis – are in the upper echelon of punishing rock acts in Australia. Yet the inadvertent belief in the band being a gloomy, overly solemn group is finally put out to pasture, in its place a darkly humorous band bent on skewering the banalities of everyday life. “In the past people have seen us play hard, brutal, heavy music and thought there is no room for humour there,” Cooper concedes. “But people who have liked the band always got that a lot of it is tongue-in-cheek. All the songs are true, are based on people we know or events that have happened, situations we have been in. The first record was more introspective on my part, but now I’ve stripped that away to look at more common things that happen around us, interesting stories or anecdotes. It can be cryptic and that is often deliberate; often the darkest lyrics are about something
“I have always been attracted to that juxtaposition and I would mention King Buzzo [Melvins]. Often his lyrics are just ridiculous. You could say the same about Kurt Cobain [Nirvana]. The lyrics often become secondary to the phrasing. I spoke to Falco [of Future Of The Left] and he said that when you’re screaming, no one cares what you’re saying anyway, just whether it sounds good. He clearly takes time and effort with his lyrics, but when playing live that doesn’t matter. That’s not the point for me; I want people to understand and interpret meanings from the lyrics as well. Brett works differently – he has that more flippant way of delivering lyrics, which is a good counterbalance to me. I liken us to Chuck D and Flava Flav; the straight guy and the ‘other’ guy.” WHO: Blacklevel Embassy WHAT: New Veteran (Battle Music) WHEN & WHERE: Saturday 27 October, Black Wire Records; Sunday 28, Metro Theatre
78 • To check out the mags online go to themusic.com.au/mags
EXIT: How have you guys gone about winning over audiences in new territories or when you’ve played support slots for other artists? We kind of pride ourselves on having a diverse repertoire. We usually find it pretty easy to change up the set to best appeal to whatever kind of crowd/market we are playing in front of (whilst still maintaining what makes us, us). More importantly, we just make the best out of every opportunity we are given and treat every show and crowd with as much respect and gratitude as the last. INDIAGO: Do you have anything unique or strange that no one would expect in your band room/ studio but you absolutely can’t let go of? I think our rehearsal studio is quite unique in itself. People may expect that we would practise in some kind of fancy, decked-out room, but we have found that we work best in small, dingy spaces. The room we usually rehearse in is tiny, the PA is constantly fucking up and it smells like piss and BO, but we hate being elsewhere. We
THE VANNS: Why did you guys call it a day in 2009? When we started TGP we were all quite young and fresh out of school. We had no idea what we were getting ourselves into. We were never given a chance to live any kind of normal life outside of the band and we had let a lot of really important things (families, relationships, friends etc) fall to the wayside. It just got to a point where everything was too overwhelming for us and we didn’t want to burn out, so we decided we had no choice but to break up. 50 IN THE CITY: What was the catalyst that prompted you to reform? We decided to get together to play a one-off show for charity in late 2010. Before that show we were still 100% broken up. I wouldn’t say that there was a catalyst as such for our reformation, but it was pretty damn obvious after that first show that we weren’t ready to stop playing music together. From there we decided to play a couple more shows and see how we felt. It wasn’t long before the reformation was official and at that point we had already begun writing our second LP, Requiem. THE PATRIOTS: From a professional’s perspective, should we change our image to fit in with that is popular at the moment? Absolutely not. From what I have seen over the years, people that do things based on what is ‘cool’ at the time will almost always find themselves unhappy in the end. Do what makes YOU happy and if people like it, that’s a bonus. If they don’t, at least you can say that you are being true to yourself.
For more news/announcements go to themusic.com.au/news • 79
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8 BALL AITKEN 9.15-10.15PM
TWO GIRLS WILL 9.30-10.30PM
DAVE TICE BAND 9.30-10.30PM
JIM CONWAY’S BIG WHEEL 7.30PM-8.30PM
MICROWAVE JENNY 6.00-6.45PM
CHASE THE SUN MASON RACK 10.15-11.30PM 10.30-11.30PM
GLEN CARDIER BACKSLIDERS 8.30PM-9.30PM & THE SIDESHOW 830-9.30PM
STRAY ROOTS BLIND LEMON 6.45-7.45PM 6.45-7.30PM
MALL STAGE 1 MALL STAGE 2 MAIN STAGE 1 G U Y S T U F F BENDIGO BANK RIVER MUSIC S TA G E STAGE STAGE
STRAY ROOTS 12.30–1.30AM
MASON RACK 10.45-11.45PM
MOJO BLUESMEN 8.00-8.45PM
BONES ATLAS 8.00-9.00 PM
WIDOW BIRDS 11.00-MIDNIGHT
RESTAURANT 2 2 FITZGERALD PRINTING STAGE
MACQUARIE ARMS HOTEL
JOANEL 8.30-9.30PM
TRENTINO’S
CALLING MAYDAY 6.00-6.40PM
MOJO BLUESMEN 6.00-6.40PM
SOUNDS LIKE RESTAURANT 22 FITZGERALD PRINTING CAFE STAGE
NAT COL & THE KINGS 9.30-10.15PM
MARK CASHIN & THE LIL HUSSYS 9.00-9.40PM LLOYD SPEIGEL 10.30-11.30PM
SHAUN KIRK 9.00-10.00 PM
TWO GIRLS WILL BLAKE SABAN LYALL MOLONEY 7.00-7.40PM ACOUSTIC 7.00-7.40PM 7.00-8.00PM CLAUDE HAY 7.45-8.30PM HALFWAY CHARLIE A’COURT (CANADA) HOMEBUOY 8.00-8.30PM 8.00-8.40PM MORGAN
MAIN STAGE 2 TROLLI STAGE
SUPERHEAVYWEIGHTS FROM 1.00AM-2.00AM AT THE MACQUARIE ARMS HOTEL
SEE BENJALU FROM 11.30PM- 12.30AMAT THE MACQUARIE ARMS HOTEL
THE MOJO BLUESMEN FROM 3.00-3.40PM AT THE MARKET PLACE
SEE TWO GIRLS WILL ACOUSTIC FROM 2.00-2.40PM AT THE MARKET PLACE
WINDSOR 25 - 28 OCTOBER 2012
www.sydneybluesfestival.com.au
THE 4TH ANNUAL
PROGRAM DETAILS CORRECT AT TIME OF GOING TO PRESS.
S POLICE
F E S T I VA L O F F I C E
THE RHYTHMS GARDEN
W I N D S O R M A R K E T P L A C E S TA G E
P R I N T I N G S TA G E
R E S TA U R A N T 2 2 – F I T Z G E R A L D
SOUNDS LIKE CAFE
TRENTINO’S
BLUES CRUISE
M A I N S TA G E 2 – T R O L L I S TA G E
M A I N S TA G E 1 – R I V E R M U S I C S TA G E
MACQUARIE ARMS HOTEL
M A L L S TA G E 2 – B E N D I G O B A N K S TA G E
M A L L S TA G E 1 – G U Y S T U F F S TA G E
Tickets on sale NOW www.oztix.com.au
More than 70 Australian & International acts playing over 4 days in 11 indoor & outdoor venues including the famous Blues Cruise on the Hawkesbury Paddlewheeler.
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GENEVIEVE CHADWICK 4.30-5.30PM
THE CHILDS 2.30-3.30PM
BILLY TK JUNIOR (NZ) 9.30-10.30PM BENJALU 10.30-11.30PM
MARSHALL OKELL 8.30-9.30PM
GLEN CARDIER & THE SIDESHOW LLOYD SPEIGEL 6.30-7.30PM 7.30-8.30PM
WIDOWBIRDS 5.30-6.30PM
THE LAZYS 3.30-4.30PM
PENNY & THE MYSTICS 1.30-2.30PM
FRANK SULTANA & THE SINISTER KIDS OWEN CAMPBELL 12.00-12.45PM 12.45-1.30PM
CHARLIE A’COURT 11.00 -11.45AM
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CHARLIE A’COURT (CANADA) 10.00-10.45AM
10.00
THE ANGELS 10.00-11.30PM
LANIE LANE 8.00-9.00PM
MIA DYSON 6.00-7.00PM
THE TREWS 4.15-5.15PM
DARREN JACK HAMMOND TRIO 2.30-3.30PM
DR DON’S DOUBLE DOSE 1.00-1.45PM
THE TREWS 9.00-10.00PM
JILL BARBER (CANADA) 7.00-8.00PM
CLAUDE HAY 5.15-6.00PM
MOJO JUJU 3.30-4.15PM
MATTHEW BARBER (CANADA) 1.45-2.30PM
MICROWAVE JENNY 12.15-1.00PM
MAIN STAGE 2 TROLLI STAGE
MINNIE MARKS 3.00-5.00PM
MINNIE MARKS 12.00-2.00PM
BLUES CRUISE
CHRIS E THOMAS 4.00-4.40PM
BOB PIGGOT 1.00-1.40PM
MAX 4.00-4.40PM
STEVE SMYTH 1.00-1.40PM
PETE CORNELIUS 10.30-11.30PM
JESSE MORRIS 8 BALL AITKEN 9.00-9.40PM 9.00-10.00PM
MATT LYONS 1.00-1.40PM
BLIND LEMON AIDEN ABBEY 12.00-12.40PM 12.00-12.40PM
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MAIN STAGE 2 TROLLI STAGE
BLUES CRUISE
RAY BEADLE 10.00 10.00-10.45AM 10.30 B R E A K FA S T S E T 11.00 RAY BEADLE 11.15-12.00PM MASON RACK 11.30 11.30-1215PM ASHLEIGH 12.00 STEVE BALBI DR DON’S MANNIX 12.30 12.15-1.00PM DOUBLE DOSE 12.00-12.45PM PETE 12.00-2.00PM PETULANT 1.00 CORNELIUS FRENZY PLAY 1.30 THE DARREN 12.45-1.30PM FRANK ZAPPA HAT FITZ & 2.00 JACK HAMMOND 1.00-2.00PM TRIO CARA ROBINSON THE TREWS 2.30 1.30-2.30 PM 2.00-2.45PM 2.30-3.30PM CAPTAIN 3.00 CHARLIE A’COURT MATCHBOX (CANADA) WHOOPEE BAND 3.30 MOJO WEBB 3.00-5.00PM 2.45-3.45PM DAVE TICE & 3.30-4.30PM 4.00 MARK EVANS BLIND LEMON RAY BEADLE 4.30 3.45-4.30PM 4.30-5.30PM 4.30-5.30PM 5.00 BARBARA BLUE JILL BARBER 5.30 CHARLIE (USA) (CANADA) MUSSELWHITE 6.00 5.30-6.30 PM 5.30-6.30PM (USA) CARAVANA SUN 6.30-7.45PM 6.30 6.30-7.30PM 7.00 7.30 JOE ROBINSON BILLY TK JUNIOR 7.30-8.30PM 8.00 (NZ) IAN MOSS 8.30 7.45-8.30PM 8.30-9.45PM 9.00 9.30 AFTER PARTY FROM 9.45PM - 12.00AM
GENEVIEVE CHADWICK 5.45-6.45PM
SONG WRITERS CIRCLE 4.15-5.15PM THE BAKERS DIGEST 6.00-6.40PM MICHAEL PETER 7.00-7.40PM PENNY & THE MYSTICS 7.15-8.15PM
DYLAN & CO 5.00-5.40PM
LAKE NASH 4.00-4.40PM
ALEX TYRAN HALL CHUDNOVSKY 12.00-12.40PM 12.00-12.40PM BENJALU BRETT 1.00-1.40PM O’MALLEY 1.00-1.40PM LACHY DOLEY SAM 2.00-2.40PM BUCKINGHAM 2.00-2.40PM TWO GIRLS WILL BITY BOOKER 3.00-3.40PM 3.00-3.40PM
CLAUDE HAY 11.00-11.40AM
B R E A K FA S T S E T
ELI WOLFE 10.00-10.40AM
THE BAKERS DIGEST 2.00-2.40PM
LAURA ZARB 1.00-1.40PM
OXFORD 12.00-12.40PM
5.50-6.10PM MORGAN JOANEL 6.30-7.15PM LYALL MOLONEY 7.30-8-15PM
INTERVIEW 5.25-5.40PM ARTIST INTERVIEW
ASHLEIGH MANNIX 4.15-5.05PM
TRENTINO’S
SOUNDS LIKE RESTAURANT 22 MARKET PLACE CAFE FITZGERALD PRINTING STAGE
INTERVIEW 3.35-3.55PM
MATTHEW BARBER (CANADA) 2.45-3.30PM
BARBARA BLUE INTERVIEW 12.05-12.25PM RAY BEADLE INTERVIEW 12.35-12.55PM DAVE TICE & MARK EVANS INTERVIEW 1.05-1.55PM STEVE BALBI INTERVIEW 2.05-2.55PM
WORKSHOP 11.00-12.00PM
WORKSHOP 10.00-11.00AM
ASA BROOMHALL 9.00-9.40PM
MOJO JUJU 8.00-8.40PM
ELI WOLFE 7.00-7.40PM
ARTIST INTERVIEW 6.20-6.40PM
ARTIST INTERVIEW 5.50-6.10PM
ARTIST INTERVIEW 4.05-4.25PM SHAUN KIRK INTERVIEW 4.45-5.30PM
THE RHYTHMS GARDEN
AT THE MACQUARIE ARMS HOTEL
LAURA ZARB 6.00-7.00PM
SHAUN KIRK 4.0-5.00PM
OXFORD 2.30-3.30PM
WORKSHOP 11.00-12.00PM
WORKSHOP 10.00-11.00AM
THE RHYTHMS GARDEN
BILLY TK JUNIOR INTERVIEW 12.35-12.55PM THE TREWS INTERVIEW 1.05-1.25PM SAM ELI WOLFE CROOKED SAINT JILL BARBER INTERVIEW 1.35-1.55PM BUCKINGHAM 2.00-2.40PM 2.00-2.40PM NICHOLAS ROY 2.00-2.40PM INTERVIEW ALEX THE BAKERS 2.10-2.55PM CHUDNOVSKY DIGEST SAM CUTLER INTERVIEW 3.00-3.40PM 3.00-3.40PM 3.05-3.55PM
BONEZ 12.00-12.40PM
ASHLEIGH MANNIX 11.00-11.40AM
B R E A K FA S T S E T
MINNIE MARKS 10.00-10.40AM
SOUNDS LIKE RESTAURANT 22 MARKET PLACE CAFE FITZGERALD PRINTING STAGE
MATTHEW BITY BOOKER BARBER 5.00-5.40PM CHARLIE A’COURT (CANADA) (CANADA) 5.00-5.40PM 5.30-6.30PM LYALL MOLONEY CASS EAGER & 6.00-6.40PM THE VELVET ROPE DAXTON NICHOLAS ROY 6.00-7.00PM MONAGHAN 7.00-8.00PM FRANK SULTANA 7.00-7.40PM & THE DANIEL ALLARS SINISTER KIDS 8.00-8.40PM 7.30-8.30PM
ASA BROOMHALL 4.00-5.00PM
AIDEN ABBEY 2.30-3.30PM
TRENTINO’S
SEE THE LAZYS FROM 11.30PM- 12.30AM & LACHY DOLEY FROM 1.00AM-2.00AM AT THE MACQUARIE ARMS HOTEL
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80 â&#x20AC;˘ For more news/announcements go to themusic.com.au/news
SURRY HILLS FESTIVAL FOCUS
CANYONS What’s been your most memorable moment while in Surry Hills? Signing our contract at the old Modular office on Hutchinson St and mixing our album at BJB. What’s the best thing you have ever found at the Surry Hills Market? A shirt with pictures of hang-gliders on it. What’s your favourite festival food? Hot chips Aside from the Festival of course, what are some of your favourite Surry Hills experiences? The S10 sandwich at City Edge café is an experience; ask them to add hot chilli - you won’t be disappointed. Surry Hills has a long history of great pubs – what’s the best watering hole? The Porterhouse. Cheap Guinness!
SURRY HILLS FESTIVAL FOCUS
NANTES What’s been your most memorable moment while in Surry Hills? Too many crazy nights to remember to be honest. What’s the best thing you have ever found at the Surry Hills Market? The best short shorts I’ve ever worn. What’s your favourite festival food? Pluto pups. Aside from the Festival of course, what are some of your favourite Surry Hills experiences? The great food and pubs around. Surry Hills has a long history of great pubs – what’s the best watering hole? There’s a few but I can’t go past the Shakespeare.
Surry Hills was recently named Australia’s most stylish suburb by American lifestyle magazine Complex. Why do you think it gained such a tag? Maybe the Pastizzis?
Surry Hills was recently named Australia’s most stylish suburb by American lifestyle magazine Complex. Why do you think it gained such a tag? The vibrant community and a great mix of pubs, bars and restaurants.
Where can we see you at Surry Hills Festival? The Garden Stage.
Where can we see you at Surry Hills Festival? The Main Stage.
SURRY HILLS FESTIVAL FOCUS
SURRY HILLS FESTIVAL FOCUS
TIJUANA CARTEL
TRUE VIBENATION
What’s been your most memorable moment while in Surry Hills? Partying at Surry Hills fest 2002 and then forgetting where I parked my car. It was in front of Cricketers Arms, a week later, somehow still not towed.
What’s been your most memorable moment while in Surry Hills? We’ve had a lot of great times at Hibernia House – Big Village HQ. They’ve all rolled into one over the years.
What’s the best thing you have ever found at the Surry Hills Market? A Paddington Bear styled coat.
What’s the best thing you have ever found at the Surry Hills Market? We’ve never hit up the Markets, but anything that helps the community raise money is good.
What’s your favourite festival food? Easily spring rolls. Aside from the Festival of course, what are some of your favourite Surry Hills experiences? Bar hopping around Surry Hills is the thing to do. Surry Hills has a long history of great pubs – what’s the best watering hole? When I lived in Surry Hills I usually ended up at the Cricketers Arms almost as a daily ritual. Surry Hills was recently named Australia’s most stylish suburb by American lifestyle magazine Complex. Why do you think it gained such a tag?
What’s your favourite festival food? Jamaican style curry with beans and rice. Aside from the Festival of course, what are some of your favourite Surry Hills experiences? I’m a huge kebab fan, so I usually get a little overexcited going to Fatima’s or Abdul’s. Surry Hills has a long history of great pubs – what’s the best watering hole? 505 always has great live bands and a nice vibe.
A good mix of restaurants, a little bit of city grit and with just enough yuppies.
Surry Hills was recently named Australia’s most stylish suburb by American lifestyle magazine Complex. Why do you think it gained such a tag? Probably because rent is so damn expensive!
Where can we see you at Surry Hills Festival? The Main Stage.
Where can we see you at Surry Hills Festival? The Main Stage.
For more news/announcements go to themusic.com.au/news • 81
HALLOWEEN COWBOYS
HALLOWEEN FOCUS
Melbourne’s Mikelangelo & The Tin Star are headin’ on up the Hume to help Black Cherry celebrate an early sixth birthday Halloween party. Michael Smith checks in to see what treats they’ll be bringing along. Joining Mikelangelo & The Tin Star is their regular guest singer, Saint Claire, but they’ll also be backing the “International King Of Burlesque”, Mark Winmill. Like Winmill, Mikelangelo recently played the Edinburgh Fringe Festival, which he describes as “a force of nature – hilarious and mindbendingly incredible acrobatics simultaneously. “What we’ve actually done for the set for the night is go with a spooky theme with both our own songs and a few incorporated covers,” Mikelangelo explains about the upcoming gig. “Saint Claire is going to perform a version of Little Red Riding Hood, that fantastic old Sam The Sham & The Pharaohs song, and I’ve been working on a version of Red Right Hand, which I’m looking forward to doing. So we thought we’d go with a ghoulish theme for the night, which’ll be fun.”
If you’re going to mix Halloween shenanigans with a celebration of both the gloriously overthe-top glamour and debauchery of Black Cherry turning six and the Mexican Day Of The Dead party, one of the essential musical elements just has to be Mikelangelo & The Tin Star. “The good thing about Black Cherry,” Mikelangelo explains, “is that they bring fun and good music together by having really great quality entertainment. I can be very suspicious
of the burlesque world but actually, when I was at a previous Black Cherry, the quality of the stuff I saw was amazing. I like the fact they bring together these different worlds – the burlesque, circus and rock world. In a way, I’ve always fallen between the rock world and the performing arts world. I’m one of those weird fish that you can’t really categorise very well, to my strength and detriment I suppose, so it’s nice to play Black Cherry. It’s a bit of a mongrel beast. Particularly when you throw Halloween and Day Of The Dead in there.”
Throw in Los Capitanes, featuring Pete Porker, Captain Reckless & The Lost Souls, Neon Heart, Graveyard Rockstars and C.O.F.F.I.N., as well as burlesque from America’s Tank and our own Kelly Ann Doll, and the night will be devilishly good, don’t you think? WHO: Mikelangelo & The Tin Star WHAT: Black Cherry Sixth Birthday Halloween Party WHEN & WHERE: Saturday 27 October, The Factory Theatre
THE HEAVIES Best Halloween memory? This one time, we stayed up way past midnight… What’s the best trick you’ve ever played on someone? The best trick we have played was that we filled Chris Medina’s car to the roof with rubber ducks. What’s the worst treat you’ve ever received? Jameel once got given a bag of powdered cocoa from an old man. He ate it and ended up in hospital for the next three days. Why are you suited to a night of Halloween celebrations? Because we are probably the most fun band in Sydney, wait, Austral… wait, the world! We like to Boogie. Halloween is a chance for us to Boogie. Who or what is the greatest evil being of all time? Rick Astley. Favourite zombie flick? Dead Snow. Nazi zombies – need we say anymore? You’ll know it’s been a good Halloween if…? You have a candy stomach ache, you have enjoyed a Slurpee and you have just watched The Heavies. Where will you be spending the night? We will be rocking out in our spookiest Halloween attire at The Vanguard, Friday 26 October.
GH STBUSTERS I
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HALLOWEEN FOCUS
HALLOWEEN FOCUS
CLOSURE IN MOSCOW
BELLE & THE BONE PEOPLE Best Halloween memory? Kern: When I was eight I was trick or treating and my full head Yoda mask got stuck and I couldn’t breathe.
Best Halloween memory? Watching some kids on bikes egg some other kids.
What’s the best trick you’ve ever played on someone? Regan: I caught a frog and my friends helped me put it in our group leader’s sleeping bag. There were screams.
What’s the best trick you’ve ever played on someone? I drew a swastika on my friend’s forehead once while he was sleeping and he went to the supermarket none the wiser.
What’s the worst treat you’ve ever received? Hamish: A cold chicken drumstick. Tops.
What’s the worst treat you’ve ever received? A shiv to the kidney.
Why are you suited to a night of Halloween celebrations? Isabella: It’s in our name!
Why are you suited to a night of Halloween celebrations? Offering little children lollies is my forte.
Who or what is the greatest evil being of all time? Isabella: My mother in the morning! Eden: Nickelback!
Who or what is the greatest evil being of all time? ph’nglui mglw’nafh Cthulhu R’lyeh wgah’nagl fhtagn.
Favourite zombie flick? Kern: Zombieland. Because you see Bill Murray gunned down by Jesse Eisenberg.
Favourite zombie flick? I really don’t care for zombie movies but my favourite zombie game is definitely Resident Evil 2.
You’ll know it’s been a good Halloween if…? You got a shitload of candy.
You’ll know it’s been a good Halloween if…? You live in America.
Where will you be spending the night? Come to the Vanguard and dress up! The best monster will get free drinks from us all night!
Where will you be spending the night? Ego tripping at the gates of hell. Then playing Fisher’s Gig Saturday 3 November, Bradbury Oval.
HALLOWEEN FOCUS
ALEX TEMESVARI – ORPHEUM
VENUS VAMP Best Halloween memory? One year I had to do a shop run on a busy road in full Day of the Dead outfit and makeup. Not one person batted an eyelid because it was Halloween.
Best Halloween memory? Going out on a pub crawl dressed as Batman. Possibly the greatest memory of my life.
What’s the best trick you’ve ever played on someone? Convincing people to buy tickets to my shows.
What’s the best trick you’ve ever played on someone? I did the old switch-a-roo on the sugar and salt once. My housemate’s morning coffee was hilarious! What’s the worst treat you’ve ever received? My mum once made me carrot cake as a kid but without the icing… clearly the icing is the best part! Why are you suited to a night of Halloween celebrations? I’m Batman! Who or what is the greatest evil being of all time? Justin Bieber…have you heard his music!? Favourite zombie flick? Sex And The City 2. You’ll know it’s been a good Halloween if…? They don’t greenlight Sex And The City 3! Where will you be spending the night? No plans for the actual night, but the Sunday before and after I’ll be celebrating in style at The Orpheum with like-minded fans of classic horror.
HALLOWEEN FOCUS
Why are you suited to a night of Halloween celebrations? In my world, every day is Halloween. It’s the one night of the year I actually blend in. Who or what is the greatest evil being of all time? Anyone involved with religion, contemporary pop music or wearing the colour ‘mustard’. Favourite zombie flick? Return Of The Living Dead. An ‘80’s horror flick with zombies and punk rockers – what more could you want? You’ll know it’s been a good Halloween if…? You’re still finding blood in your hair a week later… Where will you be spending the night? Probably in bed recovering from a whole weekend of Halloween celebrations, kicking off with Night of the Stripping Dead of course, happening Friday 26 October at the Sandringham Hotel.
WHAT’S ON @
MOUNTIES
HALLOWEEN MOVIE DOUBLE
‘The No.1 iTunes metal charting debut Album ‘Fallen Empires’ Produced by Christian Olde ‘Digital only EP ‘Wolves of Wolbers (Fear Factory) Perigord’ available now out now in all good record via iTunes and all stores via Riot! Entertainment/ digital retailers’ Warner Music, iTunes and all digital retailers’
Supporting Mnemic (Denmark) + Merauder (NY)
this October:
THE RING & THE RING TWO WEDNESDAY 31 OCTOBER 7PM
$5 MEMBERS & $10 GUESTS - 15 YEARS AND ABOVE PLUS BRING IN THIS ADVERT FOR A FREE POPCORN AND SCHOONER* VALID 31.10.12 IN THE SHOWROOM FOR ONE POPCORN AND ONE SCHOONER OF TAP BEER. LIMIT ONE PER PERSON AND MUST BE OVER 18 YEARS TO REDEEM.
Saturday 20th October - The Sandringham Hotel, Sydney, NSW Saturday 27th October - The Basement, Canberra, ACT
FOR FURTHER INFORMATION VISIT MOUNTIES.COM.AU OR CALL 02 9822 3555 101 MEADOWS RD, MT PRITCHARD
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FREE entr y
t h u r s day 2 5 O C T
TA R S L L A R E A S Y S TA
PE RF O RM IN G DU B SI DE o f TH
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E mo o n & mo re
+ THIS VERS ION Wednesday 24 october
GANG OF BROTHERS + TABITHA OMAJI
friday 26 october
MARK DA COSTA & THE BLACKLIST + DJ SMITHERS SATURDAY 27 october
THE NOXS + DJ URBY SUNDAY 28 october FROM 2 PM
CONTINENTAL ROBERT BLUES PARTY + KEVIN BENNETT FROM 8.30PM
SUITE AZ + DJ Kitsch78 NO cover charge
WED-SUN 5pm til late
The Star Pty Limited ABN 25 060 510 410. Think! About your choices. Call Gambling Help 1800 858 858 www.gamblinghelp.nsw.gov.au. The Star practises the responsible service of alcohol. Guests must be aged 18 years or over to enter the Casino.
85
HALLOWEEN FOCUS
HALLOWEEN FOCUS
PAUL DI’ANNO AND BLAZE BAYLEY Best Halloween memory? Paul Di’Anno: Being trashed off me tits in Brazil with Joey Ramone. Blaze Bayley: My first tour with Iron Maiden, when Eddie came out – pure gold! Now that’s a costume.
Why are you suited to a night of Halloween celebrations? PD: Because I bloody scare people most days, so this day I can get away with it, ha ha! BB: To look out for Paul.
What’s the best trick you’ve ever played on someone? PD: We set off a fire extinguisher under the door of one of our roadies on an early Maiden tour, but we didn’t know the bloody thing was one that sucked the oxygen out of the room - bloody near killed him, ha ha. He was passed out, we waited for a reaction, didn’t get one, opened door, he’s bloody out cold. BB: If I told u I’d have to kill you, ha!
Who or what is the greatest evil being of all time? PD: Eddie. BB: Eddie.
What’s the worst treat you’ve ever received? PD: A bloody bottle of cockbrush wine from my Aussie guitarist Doug Dalton. Don’t ask, let’s just say cock and brush, the bastard. BB: The one I got back from my mate who I played my best ever trick on - if I told you, he’d have to kill me.
Favourite zombie flick? PD: “Neighbours, everybody needs good neighbours.” BB: Night Of The Living Dead, can’t really go past that one. You’ll know it’s been a good Halloween if…? PD: I’m still alive. BB: I don’t remember it. Where will you be spending the night? PD: On bloody tour. BB: Hopefully at home. I think I have that day off, but no doubt I’ll be playing a show.
OUR LAST ENEMY Who or what is the greatest evil being of all time? The creatures from the Alien movies. They burst out of chests and have acid for blood.
Best Halloween memory? Oliver: This year actually! Halloween Fright Nights at Movie World. The Walking Dead Maze was insane! What’s the best trick you’ve ever played on someone? Jeff: I bought some Nutella and went to my friend’s workplace. I found his car and used the Nutella to smear the word “poo” on his window. I then put a big blob of it underneath the door handle. What’s the worst treat you’ve ever received? An apple. What kind of person does that? Why are you suited to a night of Halloween celebrations? It’s Halloween night every night for us, have you seen us?
I
Favourite zombie flick? Dawn Of The Dead. Can’t go past a classic. You’ll know it’s been a good Halloween if…? You’re covered in blood. Wait that’s most weekends. Where will you be spending the night? We have a show in Canberra with Mnemic that we can’t wait for.
RETRO!
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POLTERGEIST & THE THING $100 CASH PRIZE FOR BEST COSTUME
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87
TOUR GUIDE
PRESENTS
GYPSY & THE CAT: Nov 8 Metro
NATIONAL CROOKED SAINT: Oct 24 Lizotte’s Newcastle; 25 Old Manly Boatshed; 26 Beresford Hotel ANDREW MORRIS: Oct 24 Oxford Art Factory WE ALL WANT TO: Oct 24 Great Northern Hotel Newcastle; 25 Yours & Owls; 26 Clarendon Guesthouse; 27 Brighton Up Bar RAY BEADLE: Oct 24 Clarendon Guesthouse; 25 Brass Monkey; 26 Heritage Hotel; 31 The Basement Circular Quay; Nov 1 The Abbey BALL PARK MUSIC: Oct 24 Wollongong UniBar; 25 The Metro, 26 Newcastle University; 27 The Metro THE BEARDS: Oct 24 Bar On The Hill; 25 Wollongong UniBar; 26 Baroque Bar; 27 Beachcomber Hotel; Nov 2 The Metro THE PREATURES: Oct 25 The Phoenix; 26 Goodgod; Nov 1 Hotel Steyne; 2 Yours & Owls; 3 Cambridge Hotel THE RUBENS: Oct 25 Entrance Leagues Club; 27 Cambridge Hotel HATZ FITZ & CARA ROBINSON: Oct 25 Harmonie German Club; 27 Illawarra Builders Club; 28 Lizotte’s Kincumber STEVE BALBI: Oct 25 Vanguard; 26 Brass Monkey CATHERINE TRAICOS: Oct 25 Green Room CABINS: Oct 25 Annandale Hotel THE FLOORS: Oct 25 Red Rattler BENJALU: Oct 25 Lizotte’s Kincumber; 28 Moonshine Bar; Nov 21 34 Degrees South; 22 The Vanguard; 23 Heritage Hotel; 24 Cambridge Hotel BLACK MUSTANG: Oct 25 Brighton Up; Oct 26 Cambridge Hotel; Oct 27 The Phoenix IN HEARTS WAKE: Oct 25 Hot Damn; 26 Blacktown Masonic Hall; 27 Hot Damn Road Trip; 28 Bald Faced Stag DALLAS FRASCA: Oct 26 Bald Face Stag; 27 Cambridge Hotel KATIE NOONAN & KARIN SCHAUPP: Oct 26 Illawarra PAC; 27 City Recital Hall STEP-PANTHER: Oct 26 Brighton Up Bar; 27 Yours & Owls BRITISH INDIA: Oct 26 The Patch; 27 Fitzroy Hotel; Nov 2 Manly Fisho’s; 3 Standard DIAFRIX: Oct 26 Great Northern Newcastle; 27 Goodgod TIN SPARROW: Oct 26 Standard TARA SIMMONS, PLUTO JONZE: Oct 26 FBi Social BLKOUT: Oct 26 The Gladstone Feeling THE DEMON PARADE: Oct 26 World Bar JOE ROBINSON: Oct 27 The Vanguard; Dec 13 Street Theatre DOMNICKS: Oct 27 Sandringham Hotel; 28 The Patch THUNDAMENTALS: Oct 27 Hotel Gearin; Nov 9 Oxford Art Factory HAND OF MERCY: Oct 28; Nov 1 Hot Damn; 2 Yoyos Youth Centre; 3 Bridge Street Sports Centre CLAUDE HAY: Oct 28 Grand Junction; Nov 15 Heritage Hotel; 16 The Front; 22 Peachtree Hotel; 23 Oxford Art Factory Gallery; 24 Katoomba RSL; Dec 21 The Vanguard MAMA KIN: Oct 30 Camelot; 31 Clarendon Guesthouse ICEHOUSE: Oct 30 Southern Cross Club; 31 Rooty Hill RSL; Nov 2 Revesby Workers Club; 3 Enmore Theatre THE FAULTS: Oct 30 Jurassic Lounge; Nov 16 November Goodgod DELTA GOODREM: Oct 31 & Nov 2 State Theatre KASEY CHAMBERS & SHANE NICHOLSON: Oct 30 Civic Theatre; Nov 1 Shoalhaven Entertainment Centre; 2 Seymour Centre JEN CLOHER: Nov 1 Front Gallery; 2 Vanguard ANGUS STONE: Nov 1 Enmore Theatre; 2 Newcastle Leagues Club; 3 Waves HUNGRY KIDS OF HUNGARY: Nov 1 Standard; 2 Wollongong UniBar OCEANICS: Nov 1 Transit Bar; 2 FBi Social; 3 Great Northern Newcastle
ELECTRIC EMPIRE: Nov 1 Heritage Hotel; 2 Oxford Art Factory; 3 Gearin Hotel VOYAGER: Nov 1 Hamilton Station; 2 Sandringham Hotel; 3 The Patch; 10 The Basement Canberra THE SALVADORS: Nov 2 FBi Social; 3 Great Northern Newcastle ELIZABETH ROSE: Nov 2 Goodgod LITTLE SHADOW: Nov 2 Spaceport One; 3 Roxbury Hotel CHARLIE HORSE: Nov 3 Factory Floor ASH GRUNWALD: Nov 3 Coogee Diggers; 4 Maitland Gaol GOOD HEAVENS: Nov 3 Brighton Up Bar PURPLE SNEAKERS DJS: Nov 3 FBi Social TEXAS TEA: Nov 3 The Newsagency NANTES: Nov 3 Beresford GAY PARIS: Nov 3 Transit Bar; 7 Cambridge Hotel; 8 The Steyne; 9 Sandringham Hotel; 10 The Patch BUTTERFLY BOUCHER: Nov 6 Brass Monkey; 7 The Vanguard; 8 Heritage Hotel; 9 Cambridge Hotel MOJO JUJU: Nov 7 The Phoenix; 9 Red Rattler; 10 Lass O’Gowrie; 11 Heritage Hotel CITY CALM DOWN: Nov 8 Goodgod GYPSY & THE CAT: Nov 8 Metro MARK WILKINSON: Nov 8 Brass Monkey; 9 Mars Hill Cafe; 15 Lizotte’s Kincumber; 16 Clarendon Guesthouse PRINNIE STEVENS & MAHALIA BARNES: Nov 8 Wests; 9 Waves; 10 The Hi-Fi; 11 The Abbey BAND OF FREQUENCIES: Nov 8 Notes; 9 The Heritage; 10 The Mac HENRY WAGONS: Nov 8 Transit Bar; 9 Clarendon Guesthouse; 10 Annandale Hotel SUZANNAH ESPIE: Nov 8 Camelot Lounge; 9 Clarendon Guesthouse; 10 Royal Exchange; 11 Junkyard ROCK FOR RECOGNITION feat. DAN SULTAN: Nov 9 The Factory SARAH HUMPHREYS: Nov 9 Glass Onion Society; 16 Lass O’ Gowrie CHANCE WATERS: Nov 9 Goodgod; 10 Great Northern Newcastle ALUKA: Nov 9 Newsagency THE OWLS: Nov 9 Great Northern; 14 The Patch; 22 Transit Bar TEXTURE LIKE SUN: Nov 9 FBi Social LAST DINOSAURS: Nov 9 The Metro; 10 Zierholz ROBERT FORSTER: Nov 9 & 10 The Vanguard THE PIGS: Nov 10 Katoomba RSL; 16 Newcastle Leagues LOVE PARADE: Nov 10 FBi Social; Dec 20 The Union BOOMGATES: Nov 10 Goodgod DONNY BENÉT: Nov 10 Beach Road Hotel THE TIGER & ME: Nov 10 Red Rattler; 15 High Tea VIOLENT SOHO: Nov 15 Goodgod THE FUMES: Nov 15 Annandale Hotel;16 Cambridge Hotel; 18 Heritage Hotel SPIT SYNDICATE: Nov 16 Annandale Hotel MELODIE NELSON: Nov 16 The Ravel KYLIE AULDIST: Nov 17 Basement Circular Quay TUKA: Nov 17 Hotel Gearin; 22 Annandale Hotel DARREN PERCIVAL: Nov 18 The Studio; Dec 1 The Cube; 2 Southern Cross Club; 8 Smithfield RSL; 14 The Juniors; 15 Concourse Theatre MISSY HIGGINS: Nov 20 – 22 State Theatre; 23 Royal Theatre Canberra; 27 WIN Entertainment Centre THE LIVING END: Nov 21 – 27 The Hi-Fi JOE CAMILLERI & THE BLACK SORROWS: Nov 21 The Basement; 22 at Lizotte’s Dee Why; 23 Lizotte’s Kincumber; 24 Lizotte’s Newcastle; 25 The Abbey FISHING: Nov 22 Brighton Up Bar HIATUS KAIYOTE: Nov 22 FBi Social BOB EVANS: Nov 22 Camelot Lounge JORDIE LANE: Nov 22 Smith’s Bookstore; Dec 14 Great Northern Newcastle; 15 Notes; 16 Clarendon Guesthouse
88 • To check out the mags online go to themusic.com.au/mags
BILLY BRAGG: Oct 23 Canberra Theatre; 27 & 28 Enmore Theatre THE BEARDS: Oct 24 Bar On The Hill; 25 Wollongong UniBar; 26 Baroque Bar; 27 Beachcomber Hotel; Nov 2 The Metro BALL PARK MUSIC: Oct 24 Wollongong UniBar; 25 The Metro, 26 Newcastle University; 27 The Metro SYDNEY BLUES & ROOTS: Oct 25 – 28 Windsor THURSTON MOORE: Oct 26 The Hi-Fi MUMFORD & SONS: Oct 26 Canberra Royal Theatre GAY PARIS: Nov 3 Transit Bar; 7 The Cambridge; 8 The Steyne; 9 The Sando; 10 The Patch GYPSY & THE CAT: Nov 8 Metro BASTARDFEST: Nov 9 & 10 The Basement Canberra; 17 Sandringham Hotel BEIRUT: Nov 14 Enmore Theatre JEFF MARTIN: Nov 14 Clarendon Guesthouse; 15 The Abbey; 16 The Fitzroy; 17 Coogee Bay Diggers; 18 The Basement; Dec 10 Lizotte’s Newcastle; 11 Lizotte’s Kincumber; 12 Lizotte’s Dee Why; 14 The Factory; 15 The Heritage; 16 The Vanguard; 18 & 19 Brass Monkey 40 HOUR MUSIC MARATHON: Nov 16 - 18 Live At The Brewhouse JORDIE LANE: Nov 22 Smiths Bookstore; Dec 14 Great Northern Newcastle; 15 Notes; 16 Clarendon Guesthouse CITY RIOTS: Nov 22 The Terrace; 23 The Patch, 24 FBi Social; 29 Rock Lily MULLUM MUSIC FESTIVAL: Nov 22 – 25 Mullumbimby PIGEON: Nov 23 Brighton Up Bar; 24 Barcode REDCOATS: Nov 29 Great Northern Newcastle; 30 Annandale Hotel; 1 December Transit Bar DI’ANNO VS BLAZE: Nov 29 Cambridge Hotel; 30 Manning Bar; Dec 1 Waves PRIMAL SCREAM: Dec 5 Enmore Theatre HOMEBAKE: Dec 8 The Domain EVAN DANDO & JULIANA HATFIELD: Dec 20 The Metro PEATS RIDGE: Dec 29 – Jan 1 Glenworth Valley BEACH HOUSE: Jan 3 Enmore Theatre TWO DOOR CINEMA CLUB: Jan 3 Hordern Pavilion BLOOD RED SHOES: Jan 4 The Hi-Fi THE HIVES: Jan 7 The Metro HOT CHIP: Jan 8 Enmore Theatre GODSPEED YOU! BLACK EMPEROR: Feb 14 Enmore Theatre EINSTÜRZENDE NEUBAUTEN: Feb 22 Enmore Theatre SARAH BLASKO: Feb 27 Sydney Opera House Concert Hall THE CIVIL WARS: Mar 6 St Stephen’s Church FUTURE MUSIC: Mar 9 Randwick Racecourse BLUESFEST: Mar 28 – Apr 1 Tyagarah Tea Tree Farm BLIND BOYS OF ALABAMA: Apr 1 Enmore Theatre BONNIE RAITT & MAVIS STAPLES: Apr 3 Enmore Theatre ROGER HODGSON: Apr 3 State Theatre
TUE 23 CAROLYN WOODORTH, SAMANTHA JOHNSON, + GUESTS: Taverners Hill Hotel - Leichhardt JURASSIC LOUNGE feat, THE STAGE DOOR JOHNNIES, JULIA AND THE DEEP SEA SIRENS, JACK COLWELL & THE OWLS, + MORE: Australian Museum, Foyer - Sydney NICK VAN BREDA, MO MAYHEM: Botany View Hotel - Newtown RUSSELL NEAL, PETER WILLIAMS, PATRICK MCCARTHY: Harbour View Hotel - The Rocks THE BLACK KEYS, ROYAL HEADACHE: Sydney Entertainment Centre - Sydney THE DAHILAS: Scruffy Murphys - Sydney THE WORLD ACCORDING TO JAMES, BRIANA COWLISHAW: 505 - Surry Hills
HELMUT UHLMANN, LINCOLN DAVIS, + GUESTS: UTS Loft Bar, UTS - Broadway KASEY CHAMBERS, SHANE NICHOLSON: Lighthouse Theatre - Macquarie Park KINGSWOOD, THE WALKING WHO, THE CHITTICKS: Beach Road Hotel, Rex Room - Bondi NICK SAXON: Blue Beat Bar - Double Bay PAUL SUN, MONIQUE LYSIAK, HANNAH JAMES: Jazushi - Surry Hills RJ CHOPS, KATASTROPHY: Sandringham Hotel, downstairs - Newtown RUSSELL NEAL, STAFFORD SANDERS, + GUESTS: Cat & Fiddle Hotel - Balmain THE BEARDS, THE SNOWDROPPERS, KIM CHURCHILL: Bar on the Hill, Newcastle Uni - Newcastle THE DIXIE TICKLERS: The Basement Circular Quay THE FELAS 10TH ANNIVERSARY PARTY: 505 - Surry Hills THE REGULATORS: 3 Wise Monkeys - Sydney THE TREWS, ROSE OF YORK, Angel Awake: Brass Monkey - Cronulla TRICKFINGER: Artichoke Gallery Café - Manly WE ALL WANT TO, HAILER, BLOODY LOVELY AUDREY: Great Northern Hotel - Newcastle
THU 25 ARRESTED DEVELOPMENT: Cockatoo Island Sydney Harbour BALL PARK MUSIC, LOON LAKE: Metro Theatre - Sydney BENJALU, ANNABELLE KAY: Lizottes, Central Coast - Kincumber
EASY STAR ALL-STARS, THIS VERSION: Rock Lily, The Star - Pyrmont ELEVATE: Scruffy Murphys - Sydney EVIE DEAN: Sir Joseph Banks Hotel - Botany GREG AGAR: Greengate Hotel - Killara HAT FITZ & CARA: Harmonie German Club - Canberra, ACT HELMUT UHLMANN, PATRICK MCCARTHY, + GUESTS: Mars Hill Café - Parramatta HOME BREW, LUI T, LUCKY LANCE, + MORE: Civic Hotel, Underground - Sydney HOT DAMN! feat., IN HEARTS WAKE, SIENNA SKIES, SHINTO KATANA, HALLOWER: Spectrum - Darlinghurst JAMES VALENTINE QUARTET: The Basement - Circular Quay JUAN GONZALEZ: The Bells Hotel Woolloomooloo KIM LAWSON TRIO, BRENDAN CLARKE QUARTET: 505 - Surry Hills KIRK BURGESS DUO: Sackville Hotel - Rozelle MARK SEYMOUR: Clarendon Guest House - Katoomba MATT TOMS: Marlborough Hotel - Newtown MOJO JUJU, BIG BLIND RAY + BAND: Moonshine Cider & Rum Bar - Manly PAPA VS PRETTY, Fishing, PALMS, SHADY LANES: The Standard - Darlinghurst PURO INSTINCT, DAY RAVIES, BUZZ KULL: The Square - Haymarket RAY BEADLE & THE HIGHTONES, JILL BARBER: Brass Monkey - Cronulla
MUMFORD & SONS: Friday 26 October, Royal Theatre Canberra
WED 24 2 WAY SPLIT: Orient Hotel - The Rocks ANDY MAMMERS DUO: Maloneys Hotel - Sydney BAD VALLEY, WHEAT FIELDS, MYSTIC FLARE, THE NEWSOUTH: Valve Bar & Venue - Tempe BALL PARK MUSIC, LOON LAKE: UniBar University of Wollongong BRETT WINTERFOLD, NIC CASSEY, + SPECIAL GUESTS: The Newsagency - Marrickville DAN SPILLANE: Coogee Bay Hotel, Beach Bar - Coogee DEREB THE AMBASSADOR: The Mac - Surry Hills E-CATS, PIPEMIX, SKINNY BLOND: World Bar - Kings Cross FBI SOCIAL feat., CABINS: Kings Cross Hotel (afternoon) - Kings Cross GANG OF BROTHERS, TABITHA OMAJI: Rock Lily, The Star - Pyrmont
BLACK MUSTANG, MAIDS, SHE REX: Brighton Up Bar Darlinghurst CABINS, HATTIE CARROLL, THE UPSKIRTS, TRAIN ROBBERS: Annandale Hotel - Annandale CARMEN SMITH, DIANA ROUVAS: Lizottes, Sydney - Dee Why CATHERINE TRAICOS: Green Room Lounge - Enmore CHRIS MALLORY: Artichoke Gallery Café - Manly CROOKED SAINT, ASHLEIGH MANNIX: Old Manly Boatshed - Manly DANIEL HOPKINS, SEAN RENFORD, + GUESTS: Olympic Hotel - Paddington DENI HINES: Unity Hall Hotel - Balmain
RENAE STONE: Harbord Beach Hotel - Harbord SONGWRITERS CIRCLE feat, STEVE BALBI, MATTHEW BARBER, NICHOLAS ROY, ASA BROOMHALL: The Vanguard - Newtown STEVE TONGE: Observer Hotel - The Rocks THE BEARDS, THE SNOWDROPPERS, KIM CHURCHILL: Bar on the Hill, Newcastle Uni - Newcastle THE DESERT SEA, LANRAE, ADAM GEORGE, SABOTAGE DJs: The Forbes Hotel - Sydney THE FLOORS: Red Rattler - Marrickville THE GOOD STUFF: 3 Wise Monkeys - Sydney
THE PHONIES, BIG VILLAGE GUESTS: The Mac - Surry Hills THE TREWS, COLOUR CODING, FEEDING EDGAR: Notes Live - Enmore THE TREWS: Upstairs Beresford - Surry Hills UNGUS UNGUS UNGUS: Sandringham Hotel, downstairs - Newtown WE ALL WANT TO: Yours and Owls - Wollongong WHIPLASH FESTIVAL: Youth Arts Warehouse - Gosford
FRI 26 AMODUS, THE ZOO CITY LADS, EVIL UGLY, FATAL EFFECT, FOUNDRY ROAD: Valve Bar & Venue - Tempe ANDY MAMMERS & CRASH AVENUE: Australian Brewery Hotel - Annangrove ATTICUS: Petersham Bowling Club - Petersham BARBARA BLUE, MOJO WEBB: Notes Live - Enmore BIG NIGHT OUT: Marlborough Hotel - Newtown BLACK DIAMOND HEARTS: Crows Nest Hotel (late) - Crows Nest BORN JOVI: Ettamogah Hotel - Rouse Hill CARMEN SMITH, DIANA ROUVAS: Lizottes, Central Coast - Kincumber CAVAN TE, DJ SMITHERS: Rock Lily, The Star - Pyrmont CHARLIE MUSSELWHITE, HIP SISTER: Lizottes, Newcastle - New Lambton CHASIN THE TRAIN: Bridge Hotel - Rozelle CROOKED SAINT, ASHLEIGH MANNIX, SMOKE & SILVER: Upstairs Beresford - Surry Hills DALLAS FRASCA, NAT COLE AND THE KINGS, THIEVES: Bald Faced Stag - Leichhardt DIESEL: The Abbey - Canberra, ACT DOLLAR BAR, DISGUSTING PEOPLE, YARD DUTY, O FOR AWESOME: Black Wire Records - Annandale FBI SOCIAL feat., TARA SIMMONS, PLUTO JONZE, RAINBOW CHAN: Kings Cross Hotel - Kings Cross FLOYD VINCENT & THE CHILDBRIDES, MARSHALL OKELL: Camelot Lounge - Marrickville GANG OF BROTHERS: The Mac - Surry Hills GLOVECATS, POP THE HATCH, HYDRAULIX, KOMBAT, BRUXISM, + MORE: Chinese Laundry - Sydney GRABOWSKY/ MCGANN QUARTET: Sound Lounge, Seymour Centre - Chippendale GREG BYRNE DUO: Crows Nest Hotel (early) - Crows Nest IN HEARTS WAKE, HEARTS LIKE WOLVES: Masonic Hall - Blacktown JAY SEAN, JUSTICE CREW, YOUNG MEN SOCIETY, FAYDEE: Enmore Theatre - Enmore JOSH MCIVOR DUO: Coogee Bay Hotel, Beach Bar - Coogee
KEEPIN IT REAL: Customs House Bar - Circular Quay KID KENOBI: King Street Hotel - Newcastle LA FEMME: Annandale Hotel - Annandale MADLIB MEDICINE SHOW: Metro Theatre - Sydney MARK SEYMOUR, OLLIE BROWN: Rooty Hill RSL, Tivoli Showroom - Rooty Hill MERAUDER: The Loft - Newcastle Mall MICK BOOGAARD: Northumberland Hotel - Newcastle MIKE MATHIESON DUO, CHRIS ALEXANDER: Ramsgate RSL MUMFORD & SONS, EDWARD SHARPE & THE MAGNETIC ZEROS, WILLY MASON: Royal Theatre - Canberra ACT NEIL MURRAY, JIM MOGINIE: Yours and Owls - Wollongong ONE HIT WONDERS: Unity Hall Hotel - Balmain OUTLIER: Scruffy Murphys - Sydney OWEN CAMPBELL: Lizottes, Sydney - Dee Why PETER NORTHCOTE: The Basement - Circular Quay PHIL SLATER SUN PROJECT: 505 - Surry Hills RAY BEADLE, JILL BARBER: Heritage Hotel - Bulli SONG WRITERS CIRCLE: Brass Monkey - Cronulla SONS OF MERCURY, RATTLESNAKE, PAINTBOX CITY: City Hotel - Campbelltown SOPHIE JOY MADISON: Figtree Hotel - Wollongong STEP PANTHER, BAD DREEMS, BORED NOTHING: Brighton Up Bar - Darlinghurst STEVE EDMONDS BAND: Heathcote Hotel - Heathcote STICKY FINGERS: Wollongong Town Hall - Wollongong SWANKY TUNES: Marquee, The Star - Pyrmont TAOS, THE STOOLS, THROUGH A GLASS DARKLY, TERRY SERIO’S MINISTRY OF TRUTH: Town Hall Hotel - Newtown THE BEARDS, THE SNOWDROPPERS, KIM CHURCHILL: Baroque Bar - Katoomba THE BOOTY AFFAIR, + GUESTS: Blue Beat Bar - Double Bay THE BRODERICK, IN TRENCHES, CIVIL WAR, SNAKES GET BAD PRESS, SAFE HANDS: The Square - Haymarket THE DEMON PARADE, WILLOW BEATS, THE DARKENED SEAS, THE GREASE ARRESTOR, + MORE: World Bar - Kings Cross THE GENERATORS: Vineyard Hotel - Vineyard THE GRISWOLDS: Zierholz @ UC Canberra ACT THE HEAVIES, BAIN WOLFKIND, BANG BANG ROCK N ROLL, THE ELECTRIC VOGUES: The Vanguard - Newtown THE STAGE DOOR JOHNNIES, MINNIE TONKA, DARLINDA: Factory Theatre - Marrickville THE TREWS: Terrey Hills Tavern - Terrey Hills
THUNDERSTRUCK-AC/ DC SHOW, SHADOW BOXER- THE ANGELS TRIBUTE: Penrith RSL, Showroom - Penrith THURSTON MOORE: The Hi Fi, Entertainment Quarter - Moore Park TIN SPARROW: The Standard - Darlinghurst VAN SHE TECHNOLOGIC, PERFECT SNATCH: Beach Road Hotel, Valley - Bondi WEDNESDAY 13: Manning Bar, Sydney Uni - Camperdown WHIPLASH FESTIVAL: Cambridge Hotel - Newcastle
SAT 27 ALICE COOPER SHOW: Orana Hotel - Blacksmiths ANIMAL INSTINCT DRESS UP: The Spice Cellar - Sydney ARABESK: The Mac - Surry Hills BALL PARK MUSIC, LOON LAKE: Metro Theatre - Sydney
ENDLESS SUMMER BEACH PARTY, THE ALPINE WANDERERS: Coogee Bay Hotel, Beach Bar - Coogee FLAGRANT LIVE AV, SUFUR (RUFUS DJ SET), SHANTAN WANTAN ICHIBAN: Beach Road Hotel, Rex Room - Bondi FLOYD VINCENT & THE CHILDBRIDES: Oceanview Hotel - Dudley HARBOUR MASTER: Rose Bay Hotel - Rose Bay HAT FITZ & CARA: Illawarra Builders Club - Wollongong HAYLEY SALES: The Belvedere Hotel - Sydney JAZZ NOUVEAU: Fairfield RSL, Supper Club - Fairfield JOE CHINDAMO, ZOE BLACK: Sound Lounge, Seymour Centre - Chippendale JOE ROBINSON, MINNIE MARKS: The Vanguard - Newtown JON CLEARY: Hotel Gearin - Katoomba KEVIN BORICH EXPRESS: Penshurst RSL - Penshurst KURT WILLIAMS: Manly Leagues Club - Brookvale
BILLY BRAGG: Saturday 27 & Sunday 28 October, Enmore Theatre
BARBRA BLUE, MoJo Web: Brass Monkey - Cronulla BILLY BRAGG, JORDIE LANE: Enmore Theatre - Enmore BISTU, THE MENACES: Bundeena Bowling Club - Bundeena BLACK CHERRY’S HALLOWEEN: Factory Theatre - Marrickville BLACK MUSTANG, MAIDS, HENCE THE TESTBED: The Phoenix Pub - Canberra, ACT BRITISH INDIA, VEORA: Fitzroy Hotel - Windsor CARMEN SMITH, DIANA ROUVAS: Lizottes, Newcastle - New Lambton CHARLIE MUSSLWHITE, HIP SISTER: The Basement - Circular Quay CHICK FLICK, 2BUSY2KISS, NIGHTMARE, SMS: Candy’s Apartment - Potts Point CRAIG CALHOUN: Blue Beat Bar - Double Bay DAVE WARNER’S FROM THE SUBURBS: Bridge Hotel - Rozelle DAVID CAMPBELL: North Sydney Leagues Club - Cammeray DIAFRIX: GoodGod Small Club - Sydney DISTRICT 7 MUSIC FESTIVAL: The Hi Fi, Entertainment Quarter - Moore Park DOLLAR BAR, LITTLE LOVERS, BEEF JERK, THE WARM FEELINGS: Lansdowne Hotel - Chippendale EMOH INSTEAD, KRAYMER, VALENTINO, CHRIS ARNOTT, + MORE: World Bar - Kings Cross
LAB 64, NOT ANOTHER SEQUEL JUST ANOTHER PREQUEL, DOMINO, ATOMESQUAD, UPSIDE DOWN MISS JANE: Valve Bar & Venue (afternoon) - Tempe LIVE TONIGHT: Carousel Inn - Rooty Hill LUKE ROBINSON: Sir Joseph Banks Hotel - Botany MARK DA COSTA & THE BLACK LIST: Crows Nest Hotel (late) - Crows Nest MARK SEYMOUR, OLLIE BROWN: Wentworthville Leagues - Wentworthville MATRIX & FUTUREBOUND, SMOOTH, WALDEN, WHAT SO NOT, A-TONEZ, + MORE: Chinese Laundry - Sydney MAVERICKS IN WONDERLAND: Mars Hill Café - Parramatta MIKE MATHIESON DUO, CHRIS ALEXANDER: Parramatta RSL - Parramatta NE OBLIVISCARIS, ANUBIS, QUIET CHILD, GLASS EMPIRE, + MORE: Annandale Hotel - Annandale NICK RASCHKE DUO: Seven Seas Hotel - Carrington NUKEWOOD: Marquee, The Star - Pyrmont ON A WIM: Riverwood Inn -Riverwood RAPIDS, I AM APOLLO, TIN CAN RADIO: Upstairs Beresford - Surry Hills RED HOT NUMBERS: Crown Hotel - Sydney ROCK SOLID: Narrabeen Sands - Narrabeen ROLLING STONED: Oatley Hotel - Oatley
TOUR GUIDE PIGEON: Nov 23 Brighton Up Bar; 24 Barcode CITY RIOTS: Nov 22 The Terrace; 23 The Patch; 24 FBi Social; 29 Rock Lily BLEEDING KNEES CLUB: Nov 23 The Standard; 24 Transit Bar; 25 The Metro CHAPTER MUSIC BIRTHDAY PARTY: Nov 24 Goodgod YESYOU: Nov 27 Oxford Art Factory MAKE THEM SUFFER: Nov 28 The Basement; 29 Hot Damn; 30 Yoyos Youth Centre REDCOATS: Nov 29 Great Northern Newcastle; 30 Annandale Hotel; Dec 1 Transit Bar SARAH BLASKO: Feb 27 Sydney Opera House Concert Hall
BEIRUT: Nov 14 Enmore Theatre
INTERNATIONAL THE BLACK KEYS: Oct 23 Sydney Entertainment Centre BILLY BRAGG: Oct 23 Canberra Theatre; 27 & 28 Enmore Theatre THE DIXIE TICKLERS: Oct 24 The Basement; 27 Jazz In The Vines JILL BARBER: Oct 24 Clarendon Guesthouse; 25 Brass Monkey; 26 Heritage Hotel; 31 The Basement; Nov 1 The Abbey ARRESTED DEVELOPMENT: Oct 25 Cockatoo Island MATCHBOX TWENTY: Oct 25 AIS Arena; 30, 31 Sydney Entertainment Centre; Nov 3 Hope Estate; 6 WIN Entertainment Centre EASY STAR ALL STARS: Oct 25 Rock Lily PURO INSTINCT: Oct 25 The Square HOME BREW: Oct 25 Civic Underground MUMFORD & SONS: Oct 26 Canberra Royal Theatre JAY SEAN: Oct 26 Enmore Theatre HOT CHELLE RAE: Oct 28 Canberra Royal Theatre MADLIB: Oct 26 The Metro ELAINE PAIGE: Oct 26 State Theatre; 28 Canberra Theatre SWANKY TUNES: Oct 26 Marquee THURSTON MOORE: Oct 26 Hi-Fi WEDNESDAY 13: Oct 26 Manning Bar KID KENOBI: Oct 26 King Street Hotel; Nov 3 Chinese Laundry; 17 Plantation Hotel; 24 Clubhouse SHELLAC: Oct 28 The Metro KELLY JOE PHELPS: Oct 30 Blue Beat; 31 Camelot Lounge; Nov 1 Lizotte’s Kincumber; 2 Lizotte’s Newcastle CHARLIE A’COURT: Oct 30 Cafe Lounge; Nov 1 & 2 Brass Monkey; 3 Lizotte’s Dee Why LIGHTHOUSE TRIO: Oct 31 Venue 505 LIKNUTS: Oct 31 Metro Theatre CHERRY POPPIN’ DADDIES: Nov 1 The Factory ELECTRIC EMPIRE: Nov 1 The Heritage Hotel; 2 Oxford Art Factory; 3 Hotel Gearin AT THE GATES: Nov 1 The Metro GREGORY PAGE: Nov 1 The Vanguard; 2 The Garden; 3 McCrossin’s Mill; 9 Merry Muse; 11 The Front JON CLEARY: Nov 1 The Basement SAMPOLOGY: Nov 2 Trinity Bar; 4 King Street Hotel TOUCHE AMORE: Nov 2 & 3 Annandale Hotel; 4 Tuggeranong Youth Centre JOHN WAITE: Nov 2 Waves; 4 Enmore Theatre; 7 Newcastle Panthers; 11 Canberra Southern Cross Club DELANO SMITH: Nov 3 Goodgod USELESS EATERS: Nov 7 The Terrace Bar (Newcastle); 9 The Square CHELSEA WOLFE: Nov 8 Oxford Art Factory BEN HARPER: Nov 8 Canberra Theatre; Nov 12 – 14 Sydney Opera House SEUN KUTI: Nov 10 The Metro YOUSEF: Nov 10 Goldfish OMAR: Nov 10 Oxford Art Factory FAT FREDDY’S DROP: Nov 10 Sydney Opera House EMMYLOU HARRIS: Nov 12 Canberra Theatre; 15 State Theatre RADIOHEAD: Nov 12 & 13 Sydney Entertainment Centre REFUSED: Nov 13 Enmore Theatre BECK: Nov 14 State Theatre BEIRUT: Nov 14 Enmore Theatre JEFF MARTIN: Nov 14 Clarendon Guesthouse; 15 The Abbey; 16 The Fitzroy; 17 Coogee Bay Diggers; 18 The Basement; Dec 10 Lizotte’s Newcastle; 11 Lizotte’s Kincumber; 12 Lizotte’s Dee Why; 14 The Factory; 15 The Heritage; 16 The Vanguard; 18 & 19 Brass Monkey ELTON JOHN: Nov 14 Canberra Stadium; 15 & 16 Sydney Entertainment Centre
THE WAR ON DRUGS: Nov 15 Oxford Art Factory CAKE: Nov 15 The Metro DAVE DOBBYN: Nov 15 The Basement WILL & THE PEOPLE: Nov 15 Boatshed; 16 Great Northern Newcastle; 17 Beresford GRIZZLY BEAR: Nov 16 The Metro RON POPE: Nov 16 The Lair BEN SIMS: Nov 17 Chinese Laundry PILLOW TALK: Nov 17 Oxford Art Factory COLDPLAY: Nov 17 & 18 Allianz Stadium BETWEEN THE BURIED & ME: Nov 17 The Metro OWL CITY: Nov 20 The Metro THE PIERCES: Nov 20 Oxford Art Factory BOYZ II MEN: Nov 20 Newcastle Panthers; 24 Royal Theatre; 27 Penrith Panthers; 30 State Theatre RICK ASTLEY: Nov 21 Canberra Theatre; 23 Evan Theatre; 24 Rooty Hill RSL; 25 Enmore Theatre DI’ANNO VS BLAZE: Nov 29 Cambridge Hotel; 30 Manning Bar; Dec 1 Waves SPIRITUALIZED: Dec 2 Sydney Opera House Concert Hall PRIMAL SCREAM: Dec 5 Enmore Theatre EVAN DANDO & JULIANA HATFIELD: Dec 20 The Metro TWO DOOR CINEMA CLUB: Jan 3 Hordern Pavilion BEACH HOUSE: Jan 3 Enmore Theatre BLOOD RED SHOES: Jan 4 The Hi-Fi THE HIVES: Jan 7 The Metro HOT CHIP: Jan 8 Enmore Theatre GODSPEED YOU! BLACK EMPEROR: Feb 14 Enmore Theatre EINSTÜRZENDE NEUBAUTEN: Feb 22 Enmore Theatre THE CIVIL WARS: Mar 6 St Stephen’s Church
FESTIVALS SYDNEY BLUES & ROOTS: Oct 25 – 28 Windsor WHIPLASH: Oct 26 Cambridge Hotel; 27 ANU Bar STONE DAY: Oct 26 University of Canberra SURRY HILLS FESTIVAL: Oct 27 Prince Alfred Park PROGFEST: Oct 27 Annandale Hotel STEEL ASSASSINS: Nov 2 – 3 Sandringham Hotel PERPETUAL TIDES FESTIVAL: Nov 3 The Patch BASTARDFEST: Nov 9 & 10 The Basement Canberra; 17 Sandringham Hotel A DAY ON THE GREEN: Nov 10 Bimbadgen Winery RAZOR BLADE FESTIVAL: Nov 10 The Square GRAPHIC: Nov 10 & 11 Sydney Opera House OUTSIDEIN: Nov 10 Factory Theatre NEWTOWN FESTIVAL: Nov 11 Camperdown Memorial Rest Park HARVEST: Nov 17 Parramatta Park MULLUM MUSIC FESTIVAL: Nov 22 – 25 Mullumbimby FORESHORE FESTIVAL: Nov 24 Commonwealth Park Canberra STEREOSONIC: Nov 24 Sydney Showgrounds HARBOURLIFE: Dec 1 Fleet Steps HOMEBAKE: Dec 8 The Domain FESTIVAL OF THE SUN: Dec 14 & 15 Sundowner Breakwall Tourist Park PEATS RIDGE: Dec 29 – Jan 1 Glenworth Valley FIELD DAY: Jan 1 The Domain BIG DAY OUT: Jan 18 Sydney Showgrounds SOUNDWAVE: Feb 24 Sydney Olympic Park FUTURE MUSIC: Mar 9 Randwick Racecourse CMC ROCKS THE HUNTER: Mar 15 – 17 Hope Estate HITS & PITS: Mar 23 UNSW Roundhouse; 27 ANU Bar BLUESFEST: Mar 28 – Apr 1 Tyagarah Tea Tree Farm
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RUSSELL NEAL + GUESTS: Crown on McCredie - Guildford SINGLED OUT: Orient Hotel - The Rocks SNAP!, TEEN SPIRIT DJs, SOSUEME DJ’S, THE HUMP DAY PROJECT: The Standard - Darlinghurst SONIDO: 505 - Surry Hills SOPHIE JOY MADISON: Bexley RSL - Bexley STEP PANTHER, BAD DREEMS, BORED NOTHING: Yours and Owls - Wollongong STEVE EDMONDS BAND: Dicey Riley’s Hotel - Wollongong STONE PARADE, IS IT HER, SHED MUZAK: Lizottes, Sydney - Dee Why THE BEARDS, THE SNOWDROPPERS, KIM CHURCHILL: Beachcomber Hotel - Toukley THE DEEP: Gladstone Hotel - Chippendale THE FIGHTING LEAGUE, OILY BOYS, BLACK COFFEE, NS MAYHEM, SNOTTY BABIES: The Square - Haymarket THE GRISWOLDS: Great Northern Hotel - Newcastle THE LONELY BOYS: Mercantile Hotel - The Rocks THE NOXS, DJ URBY: Rock Lily, The Star - Pyrmont THE ORIGINAL FAUX PAS: Cat & Fiddle Hotel - Balmain
THE SWEET JELLY ROLLS: Katoomba RSL - Katoomba THE UPSKIRTS, CORPUS, GUNFACE, THE SI CLAROS: Kings Cross Hotel - Kings Cross THUNDERSTRUCK-AC/ DC SHOW, TATTOO FOR YOU - ROSE TATTOO TRIBUTE SHOW: Beach Palace Hotel - Coogee TILLEE MUSIC: Bar Petite - Newcastle TRANSITION: Club Engadine - Engadine VIP: Marlborough Hotel - Newtown WE ALL WANT TO: Brighton Up Bar - Darlinghurst WEDDING CAKE ISLAND BOARD RIDERS CLUB BAND: Coogee Diggers - Coogee WHIPLASH FESTVIAL: ANU Bar - Canberra ACT YUM: Brighton RSL Brighton-Le-Sands ZOLTAN: Stacks Taverna - Darling Harbour
SUN 28 ANDY MAMMERS: Woolloomooloo Bay Hotel - Woolloomooloo ANTHONY HUGHES: Oatley Hotel (afternoon) - Oatley AT WAR, FACEBREAKER, ABOVE CITY SKIES, JUSTICE FOR THE DAMNED, + MORE: Lucky Australian Tavern - St Marys
GIG OF THE WEEK
The Angels
SYDNEY BLUES & ROOTS FESTIVAL The annual Sydney Blues & Roots Festival is on this weekend and features the likes of Ian Moss, Lanie Lane, The Angels and Charlie Musselwhite headlining this year’s four-day event from Thursday 25 October to Sunday 28 in Windsor. The festival will also host the return of local roots performer Mia Dyson, after a long stint overseas, and the ongoing reformation of iconic Melbourne jug troupe Captain Matchbox Whoopee Band. International guests on the bill include Canada’s The Trews and Jill Barber, NZ’s Billy TK Junior and the UK’s Sam Cutler. Other locals include Ray Beadle, The Backsliders, Chase The Sun, The Darren Jack Hammond Trio, Dave Tice & Mark Evans, Microwave Jenny, 8 Ball Aitken, Benjalu, Lloyd Speigel, The Lazys, Ashleigh Mannix, Marshall Okell and many more.
BENJALU: Moonshine Cider & Rum Bar - Manly BILLY BRAGG, JORDIE LANE: Enmore Theatre - Enmore CONTINENTAL BLUES PARTY, KEVIN BENNETT: Rock Lily, The Star (afternoon) - Pyrmont CRAIG THOMMO: Oscars Hotel - Pyrmont DOIG BIG BAND: 505 - Surry Hills DOLLAR BAR, MATT BANHAM: Hollywood Hotel - Surry Hills ELEVATION - U2 ACOUSTIC: Orient Hotel - The Rocks (afternoon)
FLOYD VINCENT & THE CHILDBRIDES: Wickham Park Hotel - Newcastle HAT FITZ & CARA: Lizottes, Central Coast - Kincumber HELPFUL KITCHEN GODS, CAPTAINS OF INDUSTRY, BLACK HATZ, BROKEN HEART BAND: Gladstone Hotel - Chippendale ILUKA, WE ARE THE BIRDCAGE, ROSS HENRY: Annandale Hotel - Annandale
IN HEARTS WAKE, HAND OF MERCY, OUTSIDER: Bald Faced Stag - Leichhardt JASMINE BETH, + GUESTS: Cookies Lounge & Bar - North Strathfield JOHN VELLA: Moorebank Hotel - Moorebank KIRK BURGESS: Collingwood Hotel - Liverpool KIRSTY ELWELL, KANG, EVERYWHERE BUT HERE, JOEL, BELLIS: Cat & Fiddle Hotel - Balmain LAWRENCE LEUNG: Factory Theatre - Marrickville
Together in story
MARK HOPPER: Artichoke Gallery Café - Manly MARK SEYMOUR, OLLIE BROWN: The Vanguard - Newtown MASSONICS, MILKMAIDS, THE NICE FOLK, DARK CLOUDS: Valve Bar & Venue (afternoon) - Tempe OWEN CAMPBELL: Lizottes, Newcastle - New Lambton PETER NORTHCOTE, DANNY MARX YOUNG: Bridge Hotel - Rozelle
PURPLE DOVES, ROCCO, + MORE: Valve Bar & Venue - Tempe RACHEL ELDON: Waverley Bowling Club - Waverley RIZ HALLOWES: Bayview Tavern - Gladesville RUSSELL NEAL, PEACH MONTGOMERY, + GUESTS: Matraville Hotel - Matraville SAM WHITESIDE, HAPPY HOBO, AARON ROBINS, + MORE: World Bar - Kings Cross SHELLAC, BLACK LEVEL EMBASSY: Metro Theatre - Sydney SHERLOCK BONES, SMS, HOODLMZ: Candy’s Apartment - Potts Point SHOOT THE MOON: Salisbury Hotel - Stanmore STEVE EDMONDS, CHARLIE HARPER, BRAYDON DENMEADE: Corrimal Hotel - Corrimal STEVE TONGE: Coogee Bay Hotel, Beach Bar - Coogee SUITE AZ, DJ KITSCH78: Rock Lily, The Star - Pyrmont SYDNEY BLUES SOCIETY: Botany View Hotel - Newtown THE CONVICTS: The Bells Hotel Woolloomooloo THE DIXIE TICKLERS: Camelot Lounge - Marrickville THE DREAMCATCHERS: Bar Petite - Newcastle
THE GETAWAY PLAN, 50 IN THE CITY, THE VANNS, INDIAGO, THE PATRIOTS: The Hi Fi, Entertainment Quarter - Moore Park THE NEW IRISH DROVERS: Mean Fiddler Hotel - Rouse Hill THE POD BROTHERS: Paragon Hotel Circular Quay THE SHOUT BROS, YAE! TIGER, kNIEVEL, COMMUNITY RADIO, THE STICKER CLUB: Petersham Bowling Club (afternoon) - Petersham THE SLOWDOWNS: Sandringham Hotel, downstairs - Newtown THE TREWS: Beaches Hotel - Thirroul VAN HOORN: Brass Monkey - Cronulla WARDS XPRESS: Pyrmont Bridge Hotel - Pyrmont
MON 29 CAMBO: Observer Hotel - The Rocks EMMA FRANZ: 505 - Surry Hills RUSSELL NEAL, MASSIMO PRESTI, CHRIS BROOKES: Kellys on King - Newtown SYDNEY JAZZ ORCHESTRA, ANDREW WORBOYS: Blue Beat Bar Double Bay
Together through music
F E AT U R I N G :
JINJA SAFARI, PAUL KELLY, CHET FAKER, BROUS, LANIE LANE, KIM SALMON, CLUBFEET, DAVID BRIDIE, DICK DIVER AND MORE INCLUDES SILENCE OF THE GUN BY JINJA SAFARI & KINFE GESHU
ALL PROFITS DONATED TO LOCAL REFUGEE AND HUMAN RIGHTS ORGANISATIONS
OUT NOW ON CD AND DIGITAL
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EMPLOYMENT ADMINISTRATION AUDIO ENGINEERING INTERNSHIP
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FILM, EDITING, WEBSITES
Music Clips, Live Performances, Promos, Showreels. Let us help you to promote your work or shoot your next gig. $50 per hour for filming and editing. For DVD and online delivery. We also do websites and blogs. Sonic Fingerprint Studios are offering an internship. The successful applicant should have a Pro Tools rig, a car and be a “people person”. Email your interest with show-reel to: sonic.fingerprint.studios@gmail.com iFlogID: 20033 CHECK OUT finncut’s channel on Utube
A Edit Website Design Film or Make-up www.aeditwebsitedesignfilmor make-up.com.au wendynhislop@bigpond.com Phone: 0421 302 045 iFlogID: 20027
Music Videos produced by Matti finncut@gmail.com iFlogID: 19971 Dedicated/Versatile Singer & Guitarist (19yrs) available for any genre - from soul to alternative rock! Drummer 18-26yrs preferred. Also seeking Bassist and Keyboardist. Northern Beaches. Ph:0432872290 - Ziggy. iFlogID: 19151
SOUND & MUSIC RemmosK returns to “The Wall” in full throttle electric mode with special guests Blow @ The Wall, The Bald Faced Stag Hotel, Leichhardt, Sat 03-11-12 iFlogID: 19910
DJ AVAILABLE- ANYTIME www.djzokithefab.com -0416306340 for any dj service club or home or birthday call anytime-GET A REAL DJ NOT MP3 PLAYER OR CRAPPY DOWNLOAD.......VINYL DJ ROCKS iFlogID: 16083 Experienced Manager required for established Brisbane based artist. Must have industry contacts, previous and current experience and be ruthless. Contact Justin - info@earthgoat.com iFlogID: 19087 Experienced original rock band looking to play with other established gigging bands. Will return favour with dates in Sydney venues such as The Wall, Valve Bar, Town & Country. RemmosK@gmail.com Get your Band/ Business online with affordable website design. From $299 Services include Seo, Social network marketing Includes free 1000 Facebook likes, 22k twitter followers. Contact - info@earthgoat.com iFlogID: 19089
GUITAR LESSONS! In North Rocks, Marsfield, St Leonards. All styles and ability levels. Flatpicking, fingerstyle, extended techniques, acoustic and electric. Contact Dave Carr 0407 376 939. See www.myspace.com/dcarrmusic for more info. iFlogID: 20050
LEAD GUITARIST WANTED
BASS Fender Jazz bass as new, approx. 12 years old with metallic case. Midnight Blue finish. $1350 ono. 97590970 iFlogID: 19963 Mark Bass 2x10” speaker cab (two). As new, only used 3 times. 400 watts each box. Retail $1300 each, sell $600 each. Will separate. Ph. 97590970 iFlogID: 19965
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, anything considered. Also looking for vintage drum kit ludwig/ Gretsch etc , snare drums or cymbals, ph 0419760940 iFlogID: 18332
Hampton Rd, Fremantle, WA iFlogID: 18453
Prices start from $20 iFlogID: 19091
ENTERTAINMENT Lighting operator wanted for busy western Sydney nightclub Friday and Saturday nights. Experience with Martin Lightjockey and Oracle laser software preferable. Please send resumes to hire@lamba.com.au or call 02-9758-8888. www.lamba.com.au iFlogID: 19866
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
VOLUNTEER Full training provided by musicians/producer with 30 years plus industry experience in all facets of live music production. Must be keen, honest, reliable and have car. Contact RemmosK@gmail.com for details. iFlogID: 19530
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: 19284
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 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: 19286
LEGAL / ACCOUNTING WOOHOO IT’S TAX TIME!
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ZILDJIAN 16” DARK THIN K CRASH BRAND NEW $250. ZILDJIAN AVEDIS 18” FAST CRASH BRAND NEW,$250 16” FAST CRASH BRAND NEW,$230. ALL NEW IN PLASTIC BAGS, PH 0419760940 iFlogID: 18328 ZILDJIAN Drum Stick Clearance $10 PAIR!!: 5A, 5B, 7A, Wood / Nylon Tip – Plus Travis Barker, Brooks Wackerman, Ronnie Vannucci & Dennis Chambers Series. Lamba - 02-9758-8888 - www.lamba.com.au iFlogID: 19716
GUITARS Acoustic Yamaha Guitar, Solid Top, Great Sound and Condition, Comes with Carry Case, $420 ONO May Swap or Trade, 0421690000, jman0023@gmail.com, QLD iFlogID: 19700
ESP ECLIPSE STANDARD ESP Eclipse Standard, EMG active pickups, rosewood fingerboard, Gotoh locking tuners, fully set up in hard case ,suit new guitar buyer, RRP $3000, used in studio as a back up guitar , less than half a dozen times, $1450.00 iFlogID: 20068 Matts Vintage Guitars - Fender Gibson Martin Rickenbacker Guild Gretsch Vintage and USA Buy-Sell-Trade Ph.0413-139-108 www.mattsvintageguitars.com iFlogID: 19724
1.Doing Instrumental version of any song for $40 2. Mix your multi-tracks for $50 and produce personalized original instrumentals for $50. 3. Check lovenabstudio on soundclick.com email: vangelis2133@yahoo.com iFlogID: 18269 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 High Definition YouTube video demonstrations of cymbals. ZILDJIAN, SABIAN, PAISTE, UFIP, MEINL, WUHAN, STAGG, PEARL... www.youtube.com/user/sydneypollak iFlogID: 19834 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 RemmosK returns to “The Wall” in full throttle electric mode with special guests Blow @ The Wall, The Bald Faced Stag Hotel, Leichhardt, Sat 03-11-12 iFlogID: 19912
PA / AUDIO / ENGINEERING !! P.A SOUND SYSTEM FOR HIRE !! 2000W FRONT OF HOUSE, 650W FOLD BACK,
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AMP SCHOOL: VALVE AMP TRAINING Learn how to build, service, and modify valve amps. Saturday intensive classes in Annandale (Sydney) with one of Australia’s most respected audio engineers. For information, forward your contact info (including email) to Gary: 0411 044 448.Limited openings, commencing shortly. iFlogID: 20025
Even if you’ve never written a song before, YOU CAN BE A RECORDING ARTIST! Contact Australia’s no1 production house for the independent artist to find out how-MUSIC ENTOURAGE www.musicentourage.com studio@musicentourage.com iFlogID: 19278 Have you got a song in your head? Music Producer available to turn your imagination into reality. Professional results and affordable rates. iFlogID: 18131 Junior engineer looking for work. Based at western sydney with a protools HD, Marshall/Mesa amps available for hire. Niflheimmusic@gmail.com for info/prices. Reamping, midi or live drums, mix only/full production. iFlogID: 20055 Music Entourage Australia’s no1 production house for the independant artist! We’re not just a recording studio / We’ll help you get your music to the masses! www.musicentourage.com studio@musicentourage.com iFlogID: 19274
NEED A PRODUCER?
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TUITION ACOUSTIC GUITAR LESSONS FOR BEGINNERS. Learn how to play acoustic guitar including music theory if required from a patient, experienced teacher and contemporary musician. $40/hr. Stewart: 0405 727422 or stewart_nestel@hotmail.com iFlogID: 19980
ANYONE CAN PLAY GUITAR! A few lesson slots available with Chris Turner. ‘One on One’ guitar lessons. Lilyfield phone now 9552 6663 www.big-rock. com.au Starters to Pro. iFlogID: 19929
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CREATIVE GUITAR TUITION
$250 WITHOUT ENGINEER, PICK UP, $350 WITH ENGINEER SET UP & DELIVERED, PARTIES/DJ’S/SMALL BANDS CALL STEVE 0400606650 steveshifter@hotmail.com iFlogID: 19706 Experienced, energetic and proactive live audio engineer for $300/event + equipment hire (passed on directly from Lots of Watts). Free preproduction - call Helmut on 0433946982 to discuss your event. iFlogID: 18062 LIVE RECORDING. Available to gigs in Sydney/Metro area. Multitrack audio up to 24trk, Isolated signal splitters, Dedicated HD plus DAW backup, Focusrite preamps. Raw tracks for mixdown, $250 www.livelinegroup.com 0411342989 iFlogID: 20004 Need a mixer? Hire desks up to 32 channels – Dynacord, Allen & Heath, Yamaha, Soundcraft, Presonus. PA, Foldback, Microphones, processors also available. Hire the best gear from Lamba 9758-8888 www. lamba.com.au iFlogID: 19670 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: 18949
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iFlogID: 18316
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High Definition YouTube video demonstrations of cymbals. ZILDJIAN, SABIAN, PAISTE, UFIP, MEINL, WUHAN, STAGG, PEARL...
RADIO SYDNEY possibly the worlds largest digital Radio Station with 100 music channels is offering bands and solo artists their own feature promotional channel visit the Indie channel on www.radiosydney.com.au
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Shure SM58 vocal microphone – The industry standard. Get the genuine article for $129.00 with FREE DELIVERY AUSTRALIA WIDE from Lamba. Call us on 02-9758-8888 to get yours today. www. lamba.com.au iFlogID: 19712
BAND MERCHANDISE
Vintage Drum Kit Imports new and Custom Made kits for sale. Also cymbals, stands, pedals, guitars, accessories and much more.
Promote your business online with Seo services
PA EQUIPMENT
MUSIC SERVICES
High Energy Rock’n’roll, mostly originals + some covers, gigs waiting. call Paul 0411873761 iFlogID: 20070
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OTHER Sennheiser HD25-1 II Headphones – The industrys leading Studio, Monitoring and DJ headphones. Get the genuine article for $279.00 with FREE DELIVERY AUSTRALIA WIDE from Lamba - 02-9758-8888 - www. lamba.com.au iFlogID: 19714
FOR SALE Line 6 HD147 amp & FBVlongboard for sale. only 1 owner excellent condition. Ive never had a problem with this gear. lots of fun! iFlogID: 19978
iFlogID: 19270
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Award-winning Experienced, Qualified Music Producer:
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: 18951 PA Hire – Systems to 16000 Watts. Only the best: Dynacord, EV, Allen & Heath, DBX, Lexicon, Yamaha, Soundcraft, JBL, Shure, AKG. Speakers, Monitors, Mixers, Microphones. Professional Advice. Lamba 9758-8888 www.lamba.com.au iFlogID: 19672 Speaker re-cones (most models), hand built base-bins, guitar cabs, P.A. cabs and monitors, using all top quality components. Can also do custom road cases to suit any type of audio equipment. 0414355763. iFlogID: 18953
PHOTOGRAPHY Image is everything! If you have a band wanting to get ahead let me capture the next gig. High quality pictures say everything.
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 Complete Album & Demo Recording, Production, Instrumentation,CD Mastering. I’m committed to achieving for you the highest quality in a creative, friendly environment. ph 02 9654 8143, mob 0400 323 982, johnertler@gmail.com iFlogID: 19183
Beginners Welcome Children & Adults *Friendly mentoring approach
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
*Great Results Guaranteed Enquire Now Paddington Ph: 0416960673 E: nikolaidis@live.ie iFlogID: 19765 Music Lessons at Beat Industry Tuggerah. Guitar, Drums, Vocals, Keyboard, Bass. Certificate courses and AMEB available. Free introductory lesson. www.beatindustry.com Ph: (02)4353 4749 iFlogID: 19038 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: 15154
iFlogID: 15158 PICKS AND STICKS STUDIO. Private Guitar lessons from an experienced teacher. All levels, All ages, All styles. Improvising, Theory, Song Writing, Technique
Pro Tools, Logic Pro & Studio One Training. Advice on Home & Professional Studio Recording. Learn from a pro with over 30 years experience.
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.
or email davemormul@hotmail.com iFlogID: 16948
Petersham/ Sydney. Real guitar for committed students in a fully equipped music studio. Learn Jazz, Rock, Blues, Contemporary , Funk, Latin , Gypsy, Folk, Country and other popular styles. Learn at a pace and in a direction you want to go. Beginners to advanced, all aspects of guitar are supported. Comprehensive digital recording available. Ask about special introductory offer and gift vouchers. Contact Craig Corcoran: 0430344334 creativeguitar@hotmail.com www.creativeguitar.com.au iFlogID: 19344
Contact John Ertler 9654 8143, 0400 323 982, johnertler@gmail.com iFlogID: 19185
SINGING LESSONS THAT >>ROCK<<
***Every song Produced, Mixed & Mastered to Radio Release Quality*** studio@musicentourage.com www.musicentourage. com iFlogID: 17747
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REPAIRS 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: 19034
STUDIO HIRE Gold Coast ParallelHarmonyStudioRobina. 30 square metre live room, large vocal booth. Handsome range of range of topoftheline Neumann, Rode and Shure microphones. Call 0755808883 for details. www.parallelharmony.com.au iFlogID: 18640
TRANSPORT BUS HIRE SERVICE (with driver); 19-seater coaster-bus with wheelchair access available for airport-transit, festivals, functions and party-hire. Drive home safely with an experienced driver at the wheel. Please call Ray for a quote on 0414 355 763. iFlogID: 19850
MUSICIANS AVAILABLE BASS PLAYER BASS PLAYER AVAILABLE hey,my name is jake and am an intermediate,5 string bass player looking for progressive metal band to tour and record with.I have pro gear,live experience and full devotion.go to facebook,type in jake clyne,and have a listen to my demos.0423054360. iFlogID: 20020 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 I’m 47 been playing bass since I was 17, professionally for 15 years. I can play any style. Pro gear, reliable transport, good creative player. Email me on ww@wfinance.com.au, call 0405379345. Cheers iFlogID: 19836
DJ Dj available Dubstep to Drum&bass willing & able to adapt to your event. Low hourly rates.
iFlogID: 15160
You’ll never regret recording your songs... but we garuntee you’ll ALWAYS regret not doing it!
facebook.com/immersion.imagery iFlogID: 18477
Warren (Waz)
Ph: 02 98905578, 7 days. Recording? Hire the state of the art Presonus Studio Live 24.4.2 desk for your next project. A feature packed integrated hardware-software system. $200 weekly. Call Lamba 9758-8888 www.lamba.com. au iFlogID: 19807
info@immersionimagery.com
Ph: 02 98905578
studio@musicentourage.com iFlogID: 19276
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
QUALITY MUSIC VIDEO PRODUCTION Immersion Imagery strives to offer quality & creative music videos to suit your style & budget. Portfolio of over 30 artists. www. immersionimagery.com
$40 hr, $30 half hr. Mature & patient. Harps for hire.
Call Dave 0410 963 972
RECORDING STUDIO $30ph iFlogID: 17084
LIVE RECORDING.. Pro shot single cam video plus multitrack audio up to 24track. Mastered to DVD, HD youtube files, perfect for showreel, online promotion. $350 www. livelinegroup.com or 0411342989 iFlogID: 19797
Music tuition, classical / flamenco guitar, celtic harp, theory & harmony, arranging. 9am - 9pm, 7 days. Parramatta area.
Seven Hills, Sydney.
Everything negotiable.
DRUM LESSONS
Easygoing, flexible entertainment.
School Holiday Special!!!! PROFESSIONAL DRUM TEACHER WITH DRUMMING AND EDUCATION DEGREE. All styles and levels welcome Tips to make it in the industry provided. School Holiday Bargain Prices 10 percent off 5 lesson block 15 percent off 10 lesson block Drum Studio in Roselands & Mobile Service iFlogID: 19814 DRUM TUITION IN STANMORE Drum Tuition in Stanmore with a Billy Hyde trained Teacher. Dip Ed, Dip Drums. All levels and all styles taught. Beginners Welcome!.
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. Microphonerecording-technique, songwriting Newtown 0405-044-513 iFlogID: 20066
SINGING TEACHER
www.lee-carey.com
Graduate Diploma in Music Pedagogy (Voice) - University of Sydney.
iFlogID: 19984 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 Experienced and qualified electric bass and double bass tutor. Lessons tailored to exams or for leisure, expert to beginner. All ages, levels and styles welcome. Call Jeremy, 0452442022 for information. iFlogID: 19830 $99 Special Promo 5 week course
Contact: 0403 086 266 Free!
First Lesson is
I look forward to hearing from you. iFlogID: 19926 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
*Friendly mentoring approach *Great Results Guaranteed Paddington Ph: 0416960673 E: nikolaidis@live.ie iFlogID: 19683
iFlogID: 16661 DJ Gear Hire – CDJs, Turntables, Mixers, Speakers, Lights, Lasers. Only the best equipment. Delivery available. Pioneer consoles $70, Full Systems with 2x 625W speakers $120. Call Lamba 9758-8888 www.lamba.com.au iFlogID: 19801
DRUMMER Drummer available for paid work Influences funk jazz drum n bass prog rock. Rex_matthews@hotmail.com 0401237147 iFlogID: 19880 Drummer available for paid work Influences funk jazz drum n bass prog rock. Rex_matthews@hotmail.com 0401237147 iFlogID: 19882 A1 TOP PRO DRUMMER AVAILABLE FOR SESSION FREELANCE WORK, TOURS ETC. EXTENSIVE EXPERIENCE, TOP GEAR, GREAT GROOVE AND TIME.SYDNEY BASED, WILL TRAVEL. PH 0419760940. WEBSITE www. mikehague.com iFlogID: 18334 EXPERIENCE MALE DRUMMER Seeks orginals band/ fill in work Semi Acoustic music looking for easy going people with a positive outlook.
Rock & Blues
Age group 35 plus NO DRUGS ph Mark 0422 173 728 iFlogID: 19470
Wanted left handed electric guitar teacher Parramatta area, Contact John at... rodt1114@yahoo.com iFlogID: 16308
Enquire Now
Ph:0415680575
Tailored Tuition at your Pace... with Guitarist for Sydney Band ROCKMONSTER
iFlogID: 19650
Children & Adults
KN!VZ Entertainment Group
Want to play Guitar... but don’t know where to start?
PH: 0422 868 959
Beginners Welcome
Call for a quote today.
Qualifcations:
Bachelor of Arts (Performance Studies) University of Sydney.
Professional performer in the music industry for over twenty years.
Call Lee 0403307796.
GUITAR TUITION IN PADDINGTON iFlogID: 18648
VIDEO / PRODUCTION D7 STUDIO MUSIC VID FROM $250. Live gig edits, multi angles, fr $125 a set, 1 live track $100. All shot in full HD. d7studio@ iinet.net.au 0404716770 syd based iFlogID: 13368
5 week course
Recording a single, EP or Album at Radio Release quality isn’t as hard or expensive as you might think. Stop wasting time! www. musicentourage.com
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LEARN GUITAR $99 Special Promo
WWW. KALEIDOSCOPETUITION. COM.AU Learn to play the kaleidoscope way Unique colour coded method guitar or piano Teach yourself 0428335874
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Free online and print classifieds Book now, visit iflog.com.au
Experienced Soul Reggae R’N’B Blues Funk drummer (36yo) available for work preferably in Northern Beaches. Call Michael 0402 549423 email siczex@yahoo.com.au See me playing drums: www.youtube.com/user/sydneypollak iFlogID: 17324
PROFESSIONAL DRUMMER AVAILABLE
ENTHUSIASTIC PLAYERS NEEDED
Im currently seeking like minded musos/bands to collaborate with.
Musician/producer who’s recording an album. Need a French horn, baritone/tenor sax and a trombone player who loves to jam/improvise, friendly & collaborative, loves playin’ ska, rock, funk, classical.
I’ve studied under some of Australias leading drummers, have professional gear and my own studio. My style - Solid hard hitting grooves with progressive influences..
If this sounds creative and inspiring to you then contact me.
Think.. Helmet, Faith No More, Alice In Chains, Tool, COG, Karnivool.
0421 876 205
PROFESSIONAL MUSOS ONLY.
nmur029@gmail.com iFlogID: 19852
NO COVER BANDS. Scott 0400800875 marriott_scott@yahoo.com.au iFlogID: 19618
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: 16562 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
GUITARIST 19 year old guitar player looking to form Rock N’ Roll band. Influences: Guns N’ Roses, Aerosmith, The Sex Pistols. I live in Sydney-Cronulla. Call tom on 0401722767. iFlogID: 13358 Musician/Guitarist seeking fame. I play blues and have a good ear for melody and improvisation. Im looking for likeminded people who want to start touring. Go to peterbuckley.me iFlogID: 18014
OTHER Guitarist, Singer & temporary Drummer (19yrs) need to start band! We play anything Tool, Amy Winehouse, Evanescence, Michelle Shocked (rock/blues/altmetal/ funk/reggae/soul) Would like versatile bassist & keyboardist! 18-25yrs preferred! Northern Beaches. Ziggy: 0432872290! iFlogID: 19240
Experienced singer/songwriter/guitarist has created a new original project and has many Sydney gigs booked. Currently looking for other original acoustic duo’s/bands with a following to do shows together. RemmosK@gmail.com iFlogID: 19290 Guitarist, Singer & temporary Drummer (19yrs) need to start band! We play anything Tool, Amy Winehouse, Evanescence, Michelle Shocked (rock/blues/altmetal/ funk/reggae/soul) Would like versatile bassist & keyboardist! 18-25yrs preferred! Northern Beaches. Ziggy: 0432872290! iFlogID: 19248 guitarist/singer needs a guitarist, bass player & drummer to start a piss poor sydney rock band. louddirtyrocknrollbased musak with a touch of twang. 0403508102 iFlogID: 19654
MUSICIAN’S WANTED (PAID)
I am looking for musicians: LEAD GUITARIST - BASS PLAYER - DRUMMER and KEYBOARD PLAYER. Paid work will include: live cover gigs and maybe some studio recordings for album material and backing tracks. If you are interested, please send me your info and any links and/ or demos as well as work you’ve done to: bookings@chrisreadofficial.com. Also check out my website for style and my work done in the past at www.chrisreadofficial.com. If you want any more info or just want to touch base, I can also be contacted on 0421 977 965. Chris Read. iFlogID: 20036
PLEASURE OVERLOAD NEED DRUMMER
RemmosK returns to “The Wall” in full throttle electric mode with special guests Blow @ The Wall, The Bald Faced Stag Hotel, Leichhardt, Sat 03-11-12 iFlogID: 19914
SINGER Quirky singer, keyboard player, musician available. Lots of experience. Paid situations only please. Call Stephanie ph: 0403 250 560. iFlogID: 19884
MUSICIANS WANTED BANDS BASSPLAYER, DRUMMER & GUITARIST WANTED FOR ORIGINAL INNER WEST GARAGE/PUNK/ROCK BAND. Influenced by 50’s rock n roll with a punk attitude, Detroit Cobras, Otis Redding, Eddie Current Suppression Ring, Dead Kennedys, Jon Spencer Blues Explosion, Ramones, Easybeats. Experienced muso’s, backing vocals, females encouraged to apply. Check out www.myspace.com/therollindice for song demos. Call or message 0410296627 or therollindice@gmail.com iFlogID: 19856 Dead In Motion is looking for band members. Metal, with influences such as Disturbed, Evanescence, In This Moment, etc, and Japanese visual kei. Contact Dead_In_ Motion@hotmail.com for more details. iFlogID: 19629
ENGINE ROOM AND PULSE WANTED Original progressive rock band ‘TIME ARROW ‘ requires a Drummer and Bassplayer to add there creativeness and integrity to our collective call Dallas 0409830216 or Wendy 0431737927 iFlogID: 19906
Sydney Hard Rock band Pleasure Overload seek dedicated and versatile drummer to fill current position. Please visit www.pleasureoverload. com to find out more about the band. Contact the band at band@pleasureoverload.com or call/text 0416101529. Please “like” us on Facebook too. iFlogID: 20002
Seeking experienced lead & backing singers, bass, keyboard, sax & trumpet players for REGGAE band in Northern Beaches. Call Michael 0402 549 423 or email siczex@ yahoo.com.au iFlogID: 18612
BASS PLAYER Dead In Motion needs a bassist. 5-string preferred. Metal, with influences such as Disturbed, Evanescence, In This Moment, etc, and Japanese visual kei. Contact Dead_ In_Motion@hotmail.com for more details. iFlogID: 19822 bassist required to complete 3 piece line up for alt/pop /rock band. influences, beatles, powder finger, arcade fire. ph. mass on 0405450022. have over 20 melodic songs ready to gig. iFlogID: 19996
DEATH METAL BASSEY WANTED
DEATH-METAL BASS PLAYER WANTED- WE REHEARSE NEAR ST MARYS- BAND IS CALLED LOWER BACK PROBLEMS LOOK IT UP ONLINE- HEAVY AS SHIT VOCALS A PLUS! CALL JOSH- 0403-679-099 FAAA! iFlogID: 19621
Established Sydney Indie/Pop/Rock band need Bass Player, hopefully with multi instrumental talent. Maybe Keys & Backing Vox. Current JJJ Play, EP for January. Contact/SMS Sash 0409579688 and he will email music iFlogID: 20029
GUITARIST 19 year old guitar player looking to form Rock N’ Roll band. Influences: Guns N’ Roses, Aerosmith, The Sex Pistols. I live in Sydney-Cronulla Call tom on 0401722767. iFlogID: 13407
Guitarist, Singer & temporary Drummer (19yrs) need to start band! We play anything Tool, Amy Winehouse, Evanescence, Michelle Shocked (rock/blues/altmetal/ funk/reggae/soul) Would like versatile bassist & keyboardist! 18-25yrs preferred! Northern Beaches. Ziggy: 0432872290! iFlogID: 19242
Acoustic Guitarist interested in friendly jam on Friday evenings. Lower Blue Mountains Location Music Creedence, Beatles, Dylan, James Taylor etc, Contact David 0411 618 536. iFlogID: 19759
Looking for a reggae bass player for a Northern Beaches based band. Call Michael on 0402 549 423 or email siczex@yahoo. com.au. iFlogID: 19193
ALT ROCK/FUNK GUITARIST WANTED
NIGHT FLIGHT - LED ZEP TRIBUTE Night Flight - Led Zeppelin Tribute band require a bass player. You must have excellent playing ability, feel, tone & timing. Rehearsals are weekly at Northshore Music Studios Hornsby. For more information & a set list please contact scottm@y7mail.com iFlogID: 19601
DJ DJ Gear Hire – CDJs, Turntables, Mixers, Speakers, Lights, Lasers. Only the best equipment. Delivery available. Pioneer consoles $70, Full Systems with 2x 625W speakers $120. Call Lamba 9758-8888 www.lamba.com.au iFlogID: 19674
DRUMMER CAN YOU HIT STUFF GOOD?! Indie rock duo from Campbelltown looking for a dedicated drummer. Between 18 - 25, own gear and transport is required. Contact Anton: 0426822750 iFlogID: 18719 Dead In Motion needs a drummer who can double kick! Metal, with influences such as Disturbed, Evanescence, In This Moment, etc, and Japanese visual kei. Contact Dead_ In_Motion@hotmail.com for more details. iFlogID: 19818 Drummer & guitarist wanted to form new original band. Alt/grunge/groove band with dark edge. No beginners must be over 25. iFlogID: 19935 Drummer 18-25 needed to complete lineup. We like: My Bloody Valentine, Pavement, Joy Division/New Order, The Verve, Spiritualized, Blur, Pulp, Sonic Youth, Nick Cave/Grinderman, The Smiths, Ride, Fugazi. contact moonfieldmusic@gmail.com iFlogID: 19959
ELECTRO DRUMMER WANTED
NEEDED ASAP Main influences: Incubus, Red Hot Chili Peppers Experienced singer, bassist & drummer require talented guitarist with writing and performing experience. * Demos available & required. * Serious enquiries only. Will be writing/recording/giging/touring etc * Southern Sydney. * 18 - 25 years old Contact Evelyn - evelyn.mh@hotmail.com or call 0431956063 iFlogID: 20044
Australia’s Premier Guns and Roses Tribute Show are seeking a new Slash and Duff(Bass) Ability,Commitment and desire to embrace the role are essential.Firm gig base in Sydney and Central coast areas with management and agency backing.Transport and good attitude a must. Website for details www.australiangnrshow.com Ben 0438625750 Roger 0404044808 iFlogID: 19904 Dead In Motion needs another guitarist! Metal, with influences such as Disturbed, Evanescence, In This Moment, etc, and Japanese visual kei. Contact Dead_In_Motion@ hotmail.com for more details. iFlogID: 19820 Female singer/songwriter looking for guitarist/vocalist to form duo. Mainly covers with some originals. Willing to collaborate with some of my originals an advantage. Eastern Suburbs area. Phone Roni 0406610516 iFlogID: 20042
GUITARIST REQUIRED Lead guitarist required for 3 established tribute shows - Original Sin (INXS Show), Swingshift (COLD CHISEL Show), Pleasure & Pain (DIVINYLS Show). Experienced professionals only. Must be across all 3 shows. Lot’s of work if you’re keen & available. email Glenn -
Awesome drummer wanted for hot new electro-indie pop band. Our influences include Bjork, Florence and machine, Daft Punk and the Jezebels. Must be able to play with a click!!! We use tracks live, so experience with Ableton or triggering would be very useful. Most of all, we want someone who is dedicated and wants to be part of somethign really special. iFlogID: 19943
info@sevenyearitch.com.au iFlogID: 19967
Experienced drummer with a commitment to practice and regular rehearsals required for Melbourne-based alternative rock band.
to play original music at venues around
Influences QOTSA, Foo Fighters, Nirvana…
in their playing.
www.myspace.com/mollydredd
Email to Paul: promacca@gmail.com iFlogID: 20016
0411 372 469
Looking for an experienced reggae guitar player for a Northern Beaches based band. Call Michael on 0402 549 423 or email siczex@yahoo.com.au iFlogID: 19558 Singer/Songwriter/guitarist seeks acoustic and or/ lead guitarist Sydney. Must be passionate and have soul
iFlogID: 16936 Guitarist & Singer (19yrs) need to start band! We play anything Tool, Amy Winehouse, Evanescence, Michelle Shocked (rock/blues/altmetal/funk/reggae/soul) Would also like versatile bassist & keyboardist! 18-25yrs preferred! Northern Beaches. Ziggy: 0432872290! iFlogID: 19244 Need Drummer for Garage/ Classic Rock covers band, HAX!. Ages 35+ Own gear and good attitude essential. Contact Ken on 0414922402 for setlists etc. Macarthur/ Sth West Syd area. iFlogID: 20018
NIGHT FLIGHT - LED ZEP TRIBUTE Drummer wanted. You must have great timing, feel, pro kit & own transport. We are not a look-a-like band. Rehearsing weekly at Northshore Music Studios Hornsby. Gigs waiting. Age 30 - 50 m/f. Contact scottm@ y7mail.com iFlogID: 19702 Sydney Indie/Pop/Rock band seeks Drummer, with ability to play/program electronic beats. Fresh new sound, EP being recorded now. JJJ play current Single. Contact/ SMS Sash on 0409579688 to get emailed music. iFlogID: 20031 Thrash/Punk drummer..wtd for Sydney band..EP released...songs waiting & ready.. dont contact if you have never played thrash...we need POWER and SPEED like none other! Think Municipal Waste... Suicidal...Slayer..Poison Idea...D.R.I...http:// dsmb.bandcamp.com/ 0417041950 Thrash! iFlogID: 19846
HORN Looking for an experienced sax & trumpet players for a horn section for a Northern Beaches based REGGAE band. Call Michael 0402 549 423 or email siczex@yahoo. com.au. iFlogID: 19401
KEYBOARD Dead In Motion is looking to add a keyboard player! Metal, with influences such as Disturbed, Evanescence, In This Moment, etc, and Japanese visual kei. Contact Dead_ In_Motion@hotmail.com for more details. iFlogID: 19824 Guitarist, Singer & temporary Drummer (19yrs) need to start band! We play anything Tool, Amy Winehouse, Evanescence, Michelle Shocked (rock/blues/altmetal/ funk/reggae/soul) Would like versatile bassist & keyboardist! 18-25yrs preferred! Northern Beaches. Ziggy: 0432872290! iFlogID: 19246
KEYS PLAYER WANTED
SAXOPHONE Looking for an experienced sax player to form a horn section for a Northern Beaches based REGGAE band. Call Michael 0402 549 423 or email siczex@yahoo.com.au. iFlogID: 19219
SINGER
DRAG QUEEN SINGERS WANTED
The Frocks have been one of the most established and most sought after iconic all girl bands in the scene today! The Frocks go beyond your average cover band and after 10 years working the entertainment circuit they are stronger than ever and continue to travel down more and more avenues. Only this year The Frocks were nominated for a MO AWARD for Best Dance Band in Australia. Frocks entertainment are now looking for Drag Queen vocalists to form a new act.
Looking for female backing singers for a Northern Beaches based REGGAE band. Call Michael on 0402 549 423 or email siczex@ yahoo.com.au iFlogID: 19556 Looking for other original acoustic duo’s/ bands with a following to share the bill and do live gigs together. Contact RemmosK@ gmail.com iFlogID: 19528
ROCK COVERS BAND SEEKS SINGER
Please send some recent photo’s, and experience details. It would also be great if you could send a video (or a link to a video), SHOWCASING YOUR FANTASTIC VOCALS. Quality of video not important. If this is not possible, we will be holding vocal auditions where you will then have the opportunity to display your talents. Please send your interest and details to contact@thefrocks.com.au If you’d like to check out our web site log onto www.thefrocks.com.au
GRAPHIC DESIGN FULL COLOUR BAND GIG POSTERS @ AMAZING PRICES 100 A4 full colour on Gloss = $40 100 A3 full colour on Plain = $50 100 A3 full colour on Gloss = $80 100 SRA3(32 x 45cm) full colour on Gloss = $80 WWW.BLACKSTAR.COM.AU iFlogID: 16754
Classic and Modern Rock Covers Band “Riff” are looking for a lead singer with great vocal range and stage presence. Bands covered include Led Zeppelin, Deep Purple, Queen, Bon Jovi, ACDC and many more...call Louie 0433159408 iFlogID: 20009
from $299 including Hosting and email addresses! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au iFlogID: 15450 Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $299 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
OTHER
DREADLOCKS @NATURAL KNOTS
WE WANT: Confident, Crazy, Fun, Hot, Sweet, Talented Performers!!!!!!! Rock, Jazz, Funk, Groove, Pop, Soul, Hip Hop, R’n’B, Alternate, Acoustic, Heavy, Musical, and moreeeeee +++
Seeking an experienced lead & backing reggae singers for Northern Beaches based band. Call Michael 0402 549 423 or email siczex@yahoo.com.au iFlogID: 19195
SINGER NEEDED
Only serious enquiries iFlogID: 19872
Experienced Progressive Heavy Groove Band seeks, Strong Heavy/Melodic Vocalist. READY TO PLAY!!! Call Sven - 0421540972 iFlogID: 19361
Female Singer wanted to join male guitarist (36yrs) for rock covers duo. Playing songs from 70s/80s to current day, paid gigs, based in Hawkesbury area.
Why risk your vocal performance with substandard gear? Hire the industry standard Shure ULX wireless system + Beta58A microphone, lapel or headset. $60, 2 for $100. Call Lamba 9758-8888 www. lamba.com.au iFlogID: 19805
duovocal@tpg.com.au 0411342989 iFlogID: 19795
FEMALE SINGER WANTED
The Frocks have been one of the most established and most sought after iconic all girl bands in the scene today! The Frocks go beyond your average cover band and after 10 years working the entertainment circuit they are stronger than ever and continue to travel down more and more avenues. Only this year The Frocks were nominated for a MO AWARD for Best Dance Band in Australia. The lead singer and manager of the all girl band The Frocks is now forming a NEW “sister” band and we are looking for a FEMALE vocalist to be part of this new powerful female fronted band. You’ll do shows and events singing RnB, Funk, Pop, Dance, Motown, Rock, all the fun stuff etc as well as sharing Backing Vocals with other members. Ability to sing intricate and strong harmonies is a must. Serious singers need only apply. - weekly commitment to rehearsals is required - ideally, availability for 1-2 gigs per week
Must be able to handle bass parts as well as harmony and some lead playing. Backing vocals necessary.
Dynamic Vocal ability and exceptional stage presence is a must.
-must have own transport
The audition is open to 22-35 year olds. WE WANT:
Only professional or aspiring profession musicians to apply.
Confident, Crazy,Fun,Hot, Sweet, Talented Performers!
Perfomance experience necessary. Age 21-35
Apply now at contact@thefrocks. com.au with your contact details.
Email - cjwilsonmusic@gmail.com iFlogID: 19950
Check out our web page at www. thefrocks.com.au
Wollongong based band searching for Singer. We have enough original music ready to record an album and perform live and we and are looking for a singer (age 20-30) to add lyrics and melodies to complete the songs and front our band (the next Chris Cornell, Myles Kennedy, Steven Tyler, Steve Lee etc) Contact: jonathanrkennedy82@gmail. com or 0419978835 iFlogID: 19844
TRUMPET Looking for an experienced trumpet player to form a horn section for a Northern Beaches based REGGAE band. Call Michael 0402 549 423 or email siczex@yahoo. com.au. iFlogID: 19221
FREE HAIRCUTS AT COOL SALON! Free haircuts and blowdries Thurs mornings at cool salon in Surry Hills. Colours are charged at cost of product used. Please call Wednesday on 0420371161 to organise an appointment. iFlogID: 19109
iFlogID: 19367
PIANO LESSONS Piano and keyboard teacher. Creative and patient. All styles of music, plus theory and songwriting. Exams or pleasure. 20 years experience. Close to Broadway and Central. Paul 0417171993 iFlogID: 19056
No Chemicals No Interlocking 100% Natural Knots Fully Qualified with a Licence to Dread! For Availibility Call 0411349385 www.NaturalKnots.com.au Facebook.com/NaturalKnotsDreadlocks iFlogID: 20000
Get your Band or Business Online Cost effectively from $299 including Hosting, Shopping Cart and 5 email addresses! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au. iFlogID: 15454 If you want to use DRUGS, that’s your business If you want to STOP, we can help. Narcotics Anonymous 9519 6200 www.na.org.au
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 0450-406-201. www.schoolofrockinnerwest.com.au iFlogID: 19523
iFlogID: 16217 Learn massage! Thai massage shop jobs available $40/hr no experience necessary Central location 0450 758 399 iFlogID: 18957 What happens when you start paying attention? When you become an active member and start participating in this elusive thing we call life. WWW.WHATISTHEHAPS.COM iFlogID: 17980
SERVICES BEAUTY SERVICES
www.zenstudios.com.au 02-9950-3977
No Wax
Facebook.com/NaturalKnotsOz
WOLLONGONG BAND NEEDS SINGER
A comprehensive 2 day course that covers basic audio principles, the progression of technology, common audio components, terninology, signal flow, soldering 101, microphone and speaker placement, EQing and more. Handty reference booklet supplied. Optional third days training at a live music venue available.
SCHOOL OF ROCK - ZEN STUDIOS
Location: Sydney, Australia The audition is open to 22-35 year olds
LIVE SOUND COURSE, 2 DAYS
Get your Band or Business Online Cost effectively and PROFESSIONALLY -
BUS HIRE SERVICE (with driver); 19-seater coaster-bus with wheelchair access available for airport-transit, festivals, functions and party-hire. Drive home safely with an experienced driver at the wheel. Please call Ray for a quote on 0414 355 763. iFlogID: 19848
Dance skills an advantage but not essential.
- the ability to work in a team.
Looking for an experienced reggae keyboard player for a Northern Beaches based band. Call Michael 0402 549 423 or email siczex@yahoo.com.au iFlogID: 19197
for working Northern Beaches based covers band. Mainly Oz rock. We are serious about our music but we all have day jobs and do this for fun. No wankers or prima donnas here thanks. If you are experienced call 0414 413 989 to get a set list and more info. iFlogID: 20060
Dynamic Vocal ability and exceptional stage presence is a must.
Guitarist/Singer and Drummer looking for keys player to form Guitar Greats Show.
Weekly rehearsals in Sutherland Shire area, with aspirations for weekly performances.
FRONTMAN WANTED. CLASSIC ROCK
TUITION
STAND-UP COMEDY WORKSHOP Have fun learning invaluable communication, presentation and humour skills from ARIA nominated Robert Grayson. 15 years experience. “Amazing! Fantastic! Liberating!” Jess Capolupo, Hot-Tomato FM. www. youstandup.com / Robert@youstandup. com / 0401 834 361. iFlogID: 19948
DRUMMER AND DRUM LESSONS Avaliable in Gladesville Teach all Levels, ages and experience.16 years experience. I studied at The Billy Hydes Drumcraft Academy and Obtained a Diploma in Drummig. $60/HR Mob: 0402663469
We will contact you with further information regarding auditions. iFlogID: 19868
Free online and print classifieds Book now, visit iflog.com.au
OTHER Looking for music that is fresh and original??? Check out www.thesecretcity.com.au
Michael
Fully Qualified & 8yrs Experience, Thai Massage $49/hr or Sensual Balinese Aroma $69/hr. In/Out calls, Male/Female Welcome. www.takecaremassage.com.au - By Anson 0433646338 iFlogID: 17428
WANTED
iFlogID: 18762
iFlogID: 19736
RECEIVERS SALE!
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www.allansbillyhyde.com.au Find us on:
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Level 1, 197 Church St, Parramatta, NSW 2150 (02) 9374 3209
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