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F ROM T H E F RO N T WOM A N O F T H E Y E A H Y E A H Y E A H S
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KAREN O
IN
STOP THE VIRGENS
AN EPIC MU MUSIC THEATRE EVENT FEATURING OVER 50 ARTISTS TS ONSTAGE. NSTA TAGE.
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WEDNESDAY 18TH APRIL
DEAD ALBATROSS + THE ASTHMATICS + THE TALL STORIES 8pm $5
THURSDAY 19TH APRIL
PHIL LYDDY TRIO 8:30pm TOM RICHARDSON AND BENNY WALKER 6pm $10
FRIDAY 20TH APRIL
THE TEN IN ONE 5pm MAJOR CHORD + DAN WATERS 8:30pm $10 SATURDAY 21ST APRIL
YEO & LUKE
5pm
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FRANKE ANDREW
4:30pm
Open...MON - THU...from 4pm ‘til late FRI...from 2pm ‘til late SAT - SUN...from 12pm ‘til late
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6 • INPRESS
INVITATIONAL
The PALACE THEATRE 9.30 - 11.00
3 VENUES 4 STAGES ANZAC DAY 1 til 11.00pm
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SPLEEN BAR
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4.55 - 5.40
5.15 - 5.45
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3.40 - 4.25
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Plus DJ’S MiKEY YOUNG (EDDY CURRENT) PER BYSTROM (GiMME SHELTER) and more!
ROYAL HEADACHE
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BEACHES
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DAVE O’NEiL
THE LOVETONES
ALT. COMEDY
FROWNiNG CLOUDS
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ALL TIMES SUBJECT TO CHANGE. PLEASE CHECK THE FINAL SCHEDULE ON SHOW DAY @ DIGITUP.NET.AU
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INPRESS • 9
WEDNESDAY 25TH APRIL
DIG IT UP! THE HOODOO GURUS
– CELEBRATING 30 YEARS OF RECORDED HISTOR PERFORMING STONEAGE ROMEOS + MORE. ALSO THE SONICS (USA), DIED PRETTY, REDD KROSS (USA), THE 5.6.7.8’S (JAPAN), THE FLESHTONES (USA), HARD-ONS, THE LOVETONES + MORE TO FOLLOW. TICKETEK.COM.AU, PH 132849 & OUTLETS ALSO AT OZTIX OUTLETS POLYESTER CITY & FITZROY, GREVILLE, ESPY, NATIONAL HOTEL, OZTIX.COM.AU, PH 1300 762 545
FRIDAY 4TH MAY
ORBITAL
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TUESDAY 8TH MAY
THE DARKNESS WEDNESDAY 9TH MAY
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WEDNESDAY 23RD MAY
S CLUB & BIG BROVAZ
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TUESDAY 5TH JUNE
AMON TOBIN ISAM
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FRIDAY 14TH SEPTEMBER
HANSON
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THURSDAY 20TH SEPT
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69 Yarra Street, Geelong Phone: (03) 5229 4477 www.bendedelbow.com.au
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INPRESS • 11
ISSUE 1220
W E D N E S D AY 1 8 A P R I L 2 0 1 2
Week 4 Melbourne Comedy Festival Polash Larsen & Nic Velissaris - East Meets West, Sean Ryan & Craig McLeod - 2 Dudes 1 Show, Alistair Bates, Dain Hedgpeth & Damian Smith - 20,30,40, Charlie Ranger & Nicholas Waxman A Sunburnt History - Loop site for details Fri 20. 10pm - Friday Night Crabfight with saca la mois DJ!! ambassador of Nueva Cumbia & Lewis CanCut w world beats, percussive house & tropical disco Live visuals by Phaic VJ Sat 21. 10pm - Prognosis Progressive propoganda from Danny Bonnici, Dave Juric, J-Slyde, Simon Murphy, Aaron Static & VJ Pied Piper Mon 23. 6pm 'Off The Record' screening presented by Fitzroy Legal Service Tue 24. 7:30pm - Loopdeloop An Animation Challenge
AUGUST BURNS RED INPRESS 14 The Front Line brings you the hottest industry news 14 This week’s best and worst in Backlash/Frontlash 16 Foreword Line brings you all the latest tour announcements 20 Bleeding Knees Club never get a rider 21 Big Scary confuse in a comforting way 22 Ron Peno put to the Taste Test 23 N’fa Jones is all about baby love 24 Passenger is all about songs that connect 25 August Burns Red have moved out of their box 25 Meet the heavily hyped Chet Faker 25 The Herd are back, fighting fit 26 Iowa never thought they’d make an album 26 The Feelers are massive in NZ 27 The Maple Trail is full to the brim 27 Roger Sanchez’s daughter is a chip off the old block 27 Saint Jude bonded over music with harmonies 27 Kevin Griffiths says the best tunes are on wax 28 On The Record rates new releases from Children Collide and Jack White
FRONT ROW 30 This Week In Arts plans your week ahead 30 Comedians The Pajama Men return to Melbourne 30 Film Carew takes on Footnote and Romantics Anonymous 31 We preview the Roy Lichtenstein exhibition at Mornington
BRUNSWICK
SATURDAY 21 April
Coral Lee & the Silver Scream Rock ‘n’ roll, R&B and blues – dust off your swing dancing moves. 5pm
The Miserable Little Bastards Crystal clear vocals and emotive guitar by this excellent singer/ songwriter, playing folk-pop songs that touch on fado, jazz, blues and country. 9pm
Perch Creek Family Jug Band Three high-vibe, hootenanny Sundays of bluegrass, old-time jazz and country blues by this awesome homegrown jug band. Five-part harmonies, and multiinstrumental madness will ensue. 5pm
THE UNION HOTEL
BRUNSWICK 109 UNION ST, BRUNSWICK UHBBOOKINGS@YAHOO.COM.AU
9388 2235
12 • INPRESS
BACK TO INPRESS 35 Gig Of The Week parties with the 5.6.7.8’s 35 LIVE:Reviews gets Sublime With Rome 41 Sarah Petchell will Wake The Dead with her punk and hardcore talk 41 Andrew Haug takes us to the dark side in The Racket 41 Dan Condon blues and roots in Roots Down 41 London Fields comes home 42 Pop culture therapy with The Breakdown 42 Hip hop news with Intelligible Flow 42 The freshest in urban news with OG Flavas 42 Hyper Music trawls the net 43 Fill your dance card with our Club Guide 44 If you haven’t appeared in Fred Negro’s Pub, your mother probably still speaks to you 44 Jeff Jenkins gets down and local in Howzat! 45 Record store owners on the challenges of selling music in 2012 45 Artists tell us what record stores mean to them 46 Our Record Store Day special looks at Melbourne’s best music outlets 50 Our Gig Guide fills your diary for the weekend 54 Gear and studio reviews with our Australian Musician special 62 Find your new band and just about everything else in our classy Classifieds
This week we have double passes to August Burns Red’s Billboard show and The Maple Trail’s album launch, Iowa prize packs, and an enormous Inertia Record Store Day prize pack. Head to our facebook page for all the particulars.
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31 Steve St Reich R i h looks l k bbackk over hhs career 32 Comedy veteran Robert Grayson talks about his school 32 Cultural Cringe looks at arts protests
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INPRESS • 13
THE
FRONT LINE
INDUSTRY NEWS WITH SCOTT FITZSIMONS frontline@streetpress.com.au
PRINCE PROMOTER ADMITS: ‘THERE’S NO LAW TO STOP SCALPING’
Gary Van Egmond, co-promoter with Michael Chugg of the upcoming Prince tour, has admitted that there is little they can do about stopping people scalping tickets to the upcoming shows given the lack of federal legislation for scalping. Speaking to Your Daily SPA Van Egmond said, “Any [scalped tickets] we see on Facebook, we pull down straight away. But really, there’s no law – that’s what the problem is. If there was a law [against scalping], that’d be great. Naturally we try and stop it if we can but it’s not that easy, [as] what Michael [Chugg] went through with Radiohead for instance.” In that instance in late February this year, Radiohead’s arena shows sold out in minutes and scalped tickets appeared on online auction websites for inflated prices shortly after. Chugg told theMusic.com.au’s daily newsletter Your Daily SPA then that, “The response to these Radiohead shows is a perfect example of the ongoing issues with ticket scalping and Chugg Entertainment hopes that the voices of impassioned Radiohead fans will be heard,” he said, adding that he “implores the forum to continue so that both the federal government and state governments will pay attention and introduce enforceable anti-scalping legislation throughout Australia. On a higher level, concert promoters across the country, along with LPA [Live Performance Australia] need to be involved in driving a change.” The LPA have repeatedly rejected calls from promoters including Chugg and Michael Gudinski for federal anti-scalping legislation
FRESHLY INKED
Sydney shoegaze-y four-piece The Laurels released their debut EP Mesozoic to acclaim last year and will look to follow it up with their debut album, to drop in the second half of 2012. Last week the band announced a deal with indie label Rice Is Nice, to release the record, which is being produced by Liam Judson of Belles Will Ring (responsible for Cloud Control’s Bliss Release). The Rice Is Nice stable includes Seekae, Richard In Your Mind and Straight Arrows. Perth’s criminally underrated Eleventh He Reaches London have signed to Hobbledehoy Records, with a view to releasing their third album in 2013. The band’s most recent work Hollow Be My Name (2009) was a visceral and unrelenting take on the Australian identity. Announced via the label’s website, they say that reissues of the band’s earlier material (their debut album The Good Fight For Harmony was released in 2005) are in the works. They describe the band’s sound as “an orchestra of unease, an anti-manifesto of poetry and personal history”.
SELECT SIGNINGS AND RESTRUCTURE
Select Music has undergone changes recently, with a swag of new artists added to the agency’s roster and staff shuffles in an office restructure. Bob Evans (the solo moniker of Jebediah frontman Kevin Mitchell), Seth Sentry, Step-Panther, The Preachers and Argentina have all joined the roster. They join existing artists like Lior, Ball Park Music, San Cisco, Bluejuice, Don Walker, DZ Deathrays and more. In the office Sean Cullen has joined the Select team as Venue Consultant/Booking Assistant. There have also been promotions for Katie Rynne and Casey O’Shaughnessy, who add Junior Agent to their titles.
VIDEO GIANT VEVO LAUNCHES IN AUS
Most recognisable through its channels on YouTube for major label artists, Universal Music Group and Sony Music Entertainment’s video streaming service VEVO has launched in Australia. The website (vevo.com) houses 45,000 music videos and original content and claims to generate 3.3 billion streams around the world, per month. A joint venture between Universal and Sony, it was created to keep control of music videos online and launches in Australia via a partnership with MCM Media and VEVO. The free content is available online, on XBox and on mobile and includes built-in social media integration. MCM Media’s CEO Simon Joyce said, “From both a music and technology perspective, VEVO has been a huge success internationally. It’s also playing a
the original took off there and has spent 16 weeks climbing toward number one. It reaches the top spot just weeks after fellow Australian Sia held the top spot in Canada with her Flo Rida collaboration Wild Ones. In the US, Gotye and Kimbra’s single has climbed from three to two in its 14th week in the Hot 100 there. The song also remains number one in France and on the US Rock Songs chart. It has also taken off in the US Dance/Club Play chart, this week jumping from 21 to 13.
TRIAL KENNEDY SPLIT
Trial Kennedy announced their split on their Facebook on Monday 16 April. The Melbourne band released two albums, New Manic Art in 2008 and Living Undesigned last year. After a number of EPs that garnered them major supports and festival appearances the band were picked up by Sony for their first album, which cracked the top 25 on the ARIA Album Chart. Following that album cycle they went independent for Living Undesigned, which snuck into the top 50. The band’s statement read, “Friends, lovers and all people who have supported Trial Kennedy over the years. We come bearing some news… Some news that the band has decided to call it a day. For a number of reasons all of us in the band have chosen to close down the project that is Trial Kennedy.” They announced a farewell tour for June. to theMusic.com.au. Most recently, following the Radiohead incident Suzanne Daley, LPA’s Director Policy And Programs told theMusic.com.au, “We are not convinced that legislation is the answer to this problem and continue to focus on consumer education. Consumers don’t always understand that if they buy a ticket from a scalper they risk the tickets not arriving, having their tickets cancelled at the venue, or not getting the seats they ordered.” key role in changing the way audiences consume music, as we move from the traditional model of owning to streaming – accessing all the music videos we want, wherever we are, on whatever device we choose. Australian audiences now have video access to their favourite artist like never before.” VEVO’s International Senior VP added, “Australia has everything you need to make VEVO work – a technology savvy country, audiences renowned worldwide for their music passion and a vibrant and diverse music scene.”
NEW YORK TIMES CALL BLEEDING KNEES CLUB ‘BRATTY WHINERS’
Young Queensland garage-surf-punk band Bleeding Knees Club have had their debut album Nothing To Do previewed on the New York Times’ website, in which they sing the praises of their “elemental attitudes and poses”. Describing them as ‘brats’, and singer/drummer Alex Wall’s style as ‘whining’, they write that despite coming a couple of years after the low-fi wave the album stands as a highlight of the genre. Other locals to be featured by the influential New York Times this year include Gotye, Grace Woodroofe and Oren Ambarchi.
COLD CHISEL PIPPED BY BOY BAND
Cold Chisel’s second comeback album No Plans has debuted in the ARIA album chart at number two, as Australian music buyers remain in the grip of One Direction fever. The No Plans set is the Australian pub rock icons’ first studio album since 1998’s reformation release The Last Wave Of Summer. Chisel have previously had four number one albums, including The Last Wave Of Summer. But while the album was held from number one by One Direction’s Up All Night, No Plans did debut at number one on the Digital albums sales chart, knocking the UK boy band to the second spot. The new album also fired up back catalogue sales for Chisel, with The Best Of Cold Chisel – All For You moving from 39 to 26 and singer Jimmy Barnes’ solo best-of Hits also back in at 49. The Best Of Cold Chisel – Vision set also re-entered the Music DVD Chart at 34.
GOTYE TOPS NORTH AMERICAN CHARTS
Gotye’s international smash Somebody That I Used To Know, featuring Kimbra, has taken over the upper reaches of the North American charts. The Australian-based singer’s hit has knocked Justin Beiber’s Boyfriend off the top of the Canadian Hot 100, where the song initially had failed to stir record buyers in the same way it had in other territories. However when Canadian band Walk Off The Earth‘s cover of Somebody That I Used To Know became a viral sensation,
SUGAR ARMY: NEW LABEL, NEW ALBUM, MEMBER WOES
Perth rockers Sugar Army have signed with Shock’s new imprint Permanent Records for the release of their new album, Summertime Heavy, which was revealed exclusively on theMusic.com.au last week. In conversation with Danielle O’Donohue, the band’s frontman Patrick McLaughlin admits that the departure of bassist Ian Berney, who left the band to join Birds Of Tokyo in April of last year, severely hindered the way the band operated. Instead of opting for a straight replacement, the band enlisted two session players to fill out their live sound. “Everyone has input into the sound and adds their ideas. Taking Ian out of that meant the sound was going to change quite a bit,” McLaughlin said. “I think bringing in one person was going to be like, ‘There’s the replacement guy.’ We figured if it’s going to be different let’s make it quite different, a new phase if you like.” The new phase hasn’t necessarily meant the band is completely gelling as a five-piece, though. “When we’re rehearsing and getting ready for the live thing – we’ve had two new guys in our band now for about six months – it’s really starting to feel like a proper band again. But it definitely still feels like a three [piece].” Though one thing is for certain, there was never any danger of the band ceasing to exist after Berney’s departure. “No – that never crossed anyone’s mind,” McLaughlin said. “It was bizarre. When it initially happened it was such a shock. It was totally out of leftfield. We were like, ‘Alright, well, what are we going to do now?’ We had a meeting the day after and said, ‘Do you want to keep doing this?’ and everyone was like, ‘Yeah’. There was never a doubt really.” McLaughlin admits that tensions were running pretty high immediately after Berney left the band, but said that things have settled now. “Yeah – we’re fine now,” he said. “At first it was kind of weird. We weren’t in a very good place with Ian, but I’ve caught up with him a few times. We’re over it now. It was kind of hard at the time but what’s the point. “I don’t know if we’ll be really close but he’s living over [on the east coast] now anyway, so it’s pretty hard on opposite sides of the country, but if we see each other we’ll still catch up and have beers and talk shit. I don’t hate him
MELBOURNE BAND WIN RED BULL’S SECOND ROUND
Melbourne’s Masketta Fall have won round two of the Red Bull Bedroom Jam’s online competition with track Without You. The guitar-pop outfit take their dues from the likes of Story Of The Year and Good Charlotte. The competition encourages unsigned bands to upload tracks to the Red Bull Bedroom Jam website, the tracks are then ranked via a ‘buzz’ chart which is determined through social media interaction and shares. A winner is announced each fortnight, with winners advancing to the next stage of the competition – a live show. Eventual winners will be given the opportunity to perform at a major music festival as well as record at Red Bull’s Sydney studios. Entries for bands to enter are open from now until September.
SONG SUMMIT’S SCHOOL PROGRAM
Song Summit have announced they will be giving eight lucky songwriters the chance to pick the music brains of Gotye and Adalita at the upcoming conference through a competition being run by triple j Unearthed. Applicants who want to win the opportunity have to register through Unearthed and upload their tracks by Sunday 6 May. The event has also announced its Backstage Pass program. This initiative is aimed at primary and secondary students and will give them the opportunity to hone their songwriting skills with the likes of Josh Pyke, Jake Stone, Rai Thistlethwayte and Tim Levinson (Urthboy). Tickets are available to the program now. Song Summit takes place at the Sydney Convention & Exhibition Centre on Saturday 26 – Monday 28 May.
MUSIC VICTORIA ANNOUNCES PRIZES FOR MEMBER DRIVE
Victoria’s peak music industry body Music Victoria has announced prizes for its upcoming membership drive, which will run from Monday 18 to Monday 30 April. The first ever drive of its type by the body, the not-forprofit Music Victoria, which is part of the Australian Music Industry Network with bodies from other states, represents contemporary music. In recent times they’ve been involved with baggage allowances for musicians on Qantas and Virgin flights as well as the live entertainment prior to Australian Rules games in the AFL. Membership fees range from $22 as a student price to $550 for the Gold category, one of which was recently taken out by Melbourne promoter Michael Gudinski. By signing up during the drive you go into the draw for a range of prizes which include coffee and biscotti with Henry Wagons, development workshops with Jen Cloher, Michael Parisi and Karen Conrad, a Toff In Town membership, tickets to the Blues Train, Frontier Touring gigs, gigs at the Northcote Social Club and Corner Hotel as well as various books and CDs. Ambassador Mick Harvey said, “The more people that get on board the Music Victoria membership campaign, the stronger it will become and the sooner it will be able to benefit everyone.”
FRONTLASH
BACKLASH
Don’t forget it’s Record Store Day this Saturday. We know you support independent music sellers 365 days a year, but with loads of discounts and special releases planned there’s no better time to drop some cash in your local store.
Hamish Blake winning the Gold Logie? ? It’s debatable whether he’s even the best personality on his own TV show, let alone all of Australian television.
LIGHT FANTASTIC
With the new batch of singing/dancing shows stretching the ‘talent’ pool (on both sides of the judging desk), the latest crop have all the appeal of an hour-long episode of Red Faces.
WHAT’S IN STORE?
We hear Logies producers were frantically trying to get the Tupac holographic technology completed before their telecast, with plans to regenerate Bert Newton’s hair, Fatso the wombat and Daryl Somers.
HIS ROYAL HIGHNESS Prince tickets secured. Bring it on, short stuff!
music 14 • INPRESS
or anything. It’s just… yeah.” The album saw the band hit Sydney’s Big Jesus Burger Studios with American Eric J (who engineered Weezer’s Red Album) and local lad Scott Horscroft and, according to the press release, it “sounds like a band that has matured with age, with a continued focus on developing their own world around them”.
themusic.com.au
ALL THAT GLITTERS
GONG ‘EM RED
BETS ARE OFF When Australia’s gambling problem starts making news O/S (ie. the main yarn on UK’s Guardian) it’s probably a sign it’s time to do something, eh PM…?
INPRESS • 15
FOREWORD LINE
NEWS FROM THE FRONT
HENRY WAGONS
WEDNESDAY 18 APRIL
PURE POP AIMS TO RAISE THE ROOF
RESIDENCY
KIM BOEKBINDER (USA) MATT KELLY DJ K.B ENTRY $10, 8.30PM
THURSDAY 19 APRIL
SINGLE LAUNCH
ENNIS TOLA QUIET CHILD
APPLE TIME DANIEL CARISON ENTRY $15, $12 PRESALE THRU MOSHTIX, 8:30PM
FRIDAY 20 APRIL
PRINCE PERFORMS AT ROD LAVER
Prince, one of music’s most iconic superstars and true rock’n’roll royalty, will tour Australia in May, performing his greatest hits. This will be only the third time Prince has toured Australia; he last performed here in 2003. Singles such as Purple Rain, 1999, Controversy, When Doves Cry, Diamonds & Pearls, Nothing Compares 2 U, Kiss and Little Red Corvette are songs deeply etched into the hearts of a generation and seamlessly tie together pop, funk, folk and rock. But what propels him into the upper echelons of greatness are his legendary stage shows. His concerts are flamboyant and thrilling, and he matches brilliant musicianship with cutting edge presentation. Prince will be bring his huge full scale arena production to the Rod Laver Arena on Monday 14, Tuesday 15 and Wednesday 30 May.
MISSFIRE DRAMA J & DOT1WO7
LOVE CONNECTION LAUNCH SECOND ALBUM
MIDNIGHT DRIVE MATTHEW CARDILE ENTRY $15 DOOR, $10 PRESALE THRU MOSHTIX, 9PM
Love Connection launch their second album, Euphoria, Friday 25 May at the Northcote Social Club. The launch of Euphoria will be one of the final Love Connection shows before they relocate to New York in July. Special guests on the night will be Montero and Angel Eyes. Grab your tickets from the venue to avoid disappointment!
SATURDAY 21 APRIL
SINGLE LAUNCH
AGILITY THE PRETTY LITTLES WANDERING SPIRIT FIELD TRIP ENTRY $7, 9PM
MATINEE
RADIO VERTIGO SAM & F ENTRY $10, 1PM
UNDERCOLOURS HARTS HOT ENGLISH ENTRY $8, 9PM
MONDAY 23 APRIL
RESIDENCY
SCOTDRAKULA RAYON MOON FLYYING COLOURS DJ THE WILD RIPPING HAIL FREE ENTRY, 8PM $10 JUGS!
TUESDAY 24 APRIL
RESIDENCY - FINAL NIGHT
EL MOTH SPECIAL GUESTS
INPRESS PRESENTS
ANDREW WK SUPPORTS ANNOUNCED
SUNDAY 22 APRIL
MINI-RESIDENCY
Pure Pop Records in Barkly Street, St Kilda has hosted many a famous gig in its beer garden, with locals including Conway Savage, Charles Jenkins, Tim Rogers, The Gin Club, Halfway, Steve Kilbey and Kate Miller-Heidke and internationals Barry Adamson, Academy Award winners The Swell Season, Charlie Parr and Dean & Britta (Luna/Galaxie 500) gracing its small stage over the past six years. However, in the recent past, noise restrictions and an early curfew have beeen imposed, making it almost impossible for the venue to stage gigs. In order to pay for sound-proofing and enclosing the courtyard, the venue is staging a benefit gig at the Prince Bandroom on Friday 11 May. Artists playing include Ron S Peno & The Superstitions, Henry Wagons, Underground Lovers, Charles Jenkins, Davey Lane, Alex Lashlie, Pony Face, Hamish Cowan and Chris Russell’s Chicken Walk, with a special guest headline band and more to be announced. Tickets to the show, dubbed Raise The Roof, are available from Pure Pop, purepop. com.au and princebandroom.com.au for $50+BF.
NINE SONS OF DAN LAUNCH NEW EP
Gold Coast-based band Nine Sons Of Dan have just released their highly-anticipated new single Diamond Skin – the follow-up to hit single She’s So Fine from their debut EP and the first single to be lifted from the band’s forthcoming EP The New Kids, set to be released at the end of June. Thriving on living the dream, NSOD will join the Rock The Schools tour beginning in April before hitting the road for their national headlining tour. Catch them at Revolver on Saturday 28 July and at an underage afternoon show at Spensers Live on Sunday 29. Support comes from Daylight Hours and Have You Seen This Boy for both shows, as well as While The City Sleeps at Revolver and Way With Words at Spensers.
ENTRY BY DONATION, 9PM $10 JUGS!
Following his much celebrated national tour in January last year around Big Day Out, Manhattanbased Andrew WK returns with his one-man-party band this May and has just announced supports for each city. Joining Andrew at the Corner on Friday 4 May and at Pier Live Wednesday 2, alongside WK’s labelmate Aleister X, will be Bitter Sweet Kicks with their raw, splintering riffs, belting drums and howling vocals. Fans will also have a chance to get up close and personal with the man during a Q&A session at Polyester Records on Thursday 3 May at 5.30pm.
THE OCEAN’S FIRST AUSTRALIAN TOUR The Ocean are a progressive musical collective based in Berlin (Germany) that strives on an open door policy of creative output and diverse productivity. With a sound that weaves through post-hardcore, progressive rock, metal, doom, post-rock, and ambient experimentations, it’s next to impossible to label The Ocean to one specific genre. For the first time ever in their 12-year existence, The Ocean are finally gracing Australian shores. You can catch their cosmic progressive metal at the National Hotel (Geelong) on Sunday 20 May and at the Hi-Fi on Saturday 26 with guests Lo!.
LIFE’S A GAS
To coincide with the release of their new single Shock, Gasoline Inc have announced a string of dates around the country that will take in capital cities and some regional shows. Shock, taken from the band’s new five track EP, The Wanted One, again demonstrates the band’s ability to write straight-up, feel-good rock songs. It’s been a hectic few months for the Melbourne-via-Perth rock band. Following the EP’s release, the band hit the streets and filmed a series of monthly webisodes (Cooking With Gas) for their fans. They’ve also just kicked off a string of East Coast dates with one of New Zealand’s biggest bands, The Feelers. Catch Gasoline Inc at Geelong’s Bended Elbow on Thursday 10 May, the Torquay Hotel on Saturday 12, the Astor Hotel in Albury on Saturday 19 and Revolver on Friday 25.
SPECIALS:
On Sale At Moshtix:
MONDAY $8 BURGERS TILL 8PM TUE - SUN 4-7PM HAPPY HOUR
Mimi Velevska 05/05 COMING UP - TIX AVAILABLE THRU MOSHTIX: SCOTDRAKULA (MON IN APR) KIM BOEKBINDER (USA) (WED IN APR) UNDERCOLOURS (SUN IN APR) SECRETIVE GEORGE – FINAL SHOW (26 APR) THE SMART (BRIS) - SINGLE LAUNCH (27 APR) REAL HOT BITCHES 80S DANCE PARTY - FUNDRAISER (28 APR) ESC (MON IN MAY) KUMAR SHOME & THE PUNKAWALLAHS (TUES IN MAY) HIATUS KAIYOTE (3 MAY) THESE HANDS - ALBUM LAUNCH (4 MAY) MURDER BY DEATH (USA) (17 MAY) SELLING FAST
WEDNESDAY 18TH APRIL
SATURDAY 28TH APRIL
Pecha Kucha Night Vol 19
Conway Savage & Suzie Higgie w/ Starling
$10/$7
$20
THURSDAY 19TH APRIL
No Art
SUNDAY 22ND APRIL
Hayden Calnin
ANZAC Day CLOSED
Exotica EP Launch - w/ ASPS, Interzone w Yeo Doors 4pm $10 $10
SUNDAY 29TH APRIL
SYN Approved w/ The Death Rattles, The Magic Bones, Merri Creek Pickers
$5
FRIDAY 20TH APRIL
MONDAY 23RD APRIL
THURSDAY 26TH APRIL
MONDAY 30TH APRIL
Jimmy & The Mirrors (SA), The Pretty Littles
$10
w/ Private Life Doors 6pm $2
w/ Gatherer $15
w/ Albert Salt $2
SATURDAY 21ST APRIL
TUESDAY 24TH APRIL
FRIDAY 27TH APRIL
TUESDAY 1ST MAY
Them Thrupence, Diamond $12
(Single Launch) w/ Kyowa, Hound $12
Weekends & DJ Johnny O’ Hara (Black Night Crash)
w/ Le Fox $5
Celadore Bakery Single Launch - w/ Animaux
Argentina All The Colours,
16 • INPRESS
WEDNESDAY 25TH APRIL
Cold Hiker
themusic.com.au
Cairo Knife Fight (NZ)
Neon Knights (EP Launch) w/ Lost $12
Animaux
Viceroyalty Showcase
FRI 20TH
SAN SALVADOR
W THE DUB CAPTAINS AND ECHO DRAMA
SAT 21ST
ADMIT ONE
W TWISTED EFFECTION (WA) MEET ME IN COGNITO AND CRUEL TO BE KIND
ANZAC DAY EVE
SAL & THE ROLLING WHEEL W JACK ON FIRE AND THE EASTERN (NZ)
FRI 27TH
PLANET LOVE SOUND SINGLE LAUNCH TOUR
SAT 28TH
MY LASTING REPLY
W BABY GRAND (NSW) OUR BEST LAID PLANS AND WE SAVED THE PARTY TIX FROM: JOHNCURTINHOTEL.COM OR AT THE DOOR
MELBOURNE INTERNATIONAL COMEDY FESTIVAL AND CURTIN COMEDY PRESENTS... ADAM KNOX + LADY BONER SHOWS
- MARCH 29TH, 30TH & 31ST APRIL 2ND, 3RD, 5TH, 6TH, 7TH, 9TH, 10TH, 12TH, 13TH, 14TH, 16TH, 17TH, 19, 20TH & 21ST SATURDAY 21ST
8.30PM
ADAM ASKEW 10.30PM
LUKE BOWDITCH 12.30PM
SILVERFOX SUNDAY 22ND
WEDNESDAY 18TH
6PM
COSMIC PIZZA WITH NHJ & GUESTS THURSDAY 19TH
PHATO AMANO 8.30PM
8PM
AGENT 86
T’FUNK - LIVE MR. MOONSHINE JUICY
AYNA / AGENT 86 / FLAGRANT / TOM BOOZE
WEDNESDAY 18
“COQ ROQ”
BLABERUNNER, AGENT86
THURSDAY 19
FRIDAY 20
“PANORMA”
THOM MEAGHER, MR GEORGE, MATT RAD
SATURDAY 21
“TEXTILE” DOWN
JAY READING, PAK MAN, CHIEF UP
KODIAK KID, MR MOONSHINE, DJ B-TWO
ANDREW O’NEIL ‘ THE OTHER ALTERNATIVE ‘ - APRIL 14TH
TIGERFUNK MONDAY 23RD
IBIMBO TUESDAY 24TH
ANZAC DAY EVE
LEXIS / BRYCE LAWRENCE / MY FRIEND SAMUEL / UONE / NIKO SCHWIND
“SOUTH SIDE HUSSLE”
ADAM ASKEW, GOLDEN FLEECE, BOOSHANK
MONDAY 23
“STRUGGLE”
“FREE RANGE FUNK”
DJ WHO, LEWIS CANCUT, TIGER FUNK
- MARCH 29TH APRIL 5TH, 12TH & 19TH
11PM
10.30PM
FRIDAY 20TH
POP UP PLAYGROUND + LATE NIGHT LETTERS AND NUMBERS SHOWS
TUESDAY 24
TIGER FUNK, DAMON
“FIGHT FOR YOUR RIGHT TO PARTY” “ANZAC DAY EVE PARTY”
MONDAY: PALE ALE FISH AND HAND CUT CHIPS $13 TUESDAY: KANGAROO FILLET W MASH, VEG & RED WINE JUS $14 WEDNESDAY CHICKEN SCHNITZEL AND HAND CUT CHIPS $13 THURSDAY: 280G GRAIN FED ANGUS PORTERHOUSE STEAK $14 FRIDAY: CHICKEN OR EGGPLANT PARMA $14/$13 SATURDAY: CURTIN BURGER AND HAND CUT CHIPS $14
DOWN
M PHAZES FLAGRANT AYNA (ANZAC DAY EVE PARTY) UP
AGENT86 THOM SHOWTIME CITIZEN.COM EDDIE MAC
TRADING HOURS MON - WED 3PM - LATE THURS & FRI 11:30AM - LATE SATURDAY 4PM - LATE LATE KITCHEN HOURS THURS & FRI 12:00PM - 2:30PM & 5PM - 9:30PM SATURDAY 6PM - 9:30PM
SUNDAY 22
“ROOF TOP PARTEY”
BAND ZEVON
INPRESS • 17
FOREWORD LINE
NEWS FROM THE FRONT
INPRESS PRESENTS
MATT SONIC
CHERRY BAR IN EXILE
JAMES JAMS
The “glistening sonics” of electronic music enticed a grunge-loving 16-year-old James Zabiela to his first set of belt-drive turntables. Fast forward to 2012 and Zabiela is one of the most prolific DJs and producers on the planet. His style spans house, tech-house, techno, melodic soundscapes and breaks, and while he still cites Depeche Mode as one of his major influences, he also finds time for the likes of Extrawelt, Modeselektor, Paul Woolford, Apparat and Phil K amongst others. He plays at Billboard on Friday 4 May.
The Cherry Bar in AC/DC Lane celebrates the exact 40th anniversary of the release of The Rolling Stones’ classic LP Exile On Main Street with a tribute weekend on Saturday 12 and Sunday 13 May, featuring a one-off gettogether of some of Melbourne’s most revered local musicians performing Exile track-for-track on two intimate nights. The Cherry Exile band will feature Jack Howard, Carl Treasure, Bruce Haymes, Ryan Brown, Ben Curnow and Simon Aarons with vocalists The Wolfgramm Sisters, Ash Naylor, Spencer P Jones, Dave Larkin, Matt Sonic, Nick Barker and special guests. Tickets are $20 and available at cherryrock.com.au.
HARMONIC GENERATOR’S LAST MELBOURNE SHOW Harmonic Generator will perform one more Melbourne show before returning to France. The fiery French rockers perform Sunday 6 May at the Cherry Bar with their favourite Sydney band, punk rockers Bonney Read, and Melbourne’s break through rockers The Deep End. Driving a rock’n’roll projectile into the audience, these Euro gutter rockers pile on the energy with firebrand guitars, body shaking rhythms and implode the stage with a volatile injection of vocals.
BAHAMAS ANNOUNCE HEADLINE SHOW
Already confirmed to support City & Colour on their national tour this coming May, Bahamas have announced a headline show on Tuesday 1 May at the Northcote Social Club. Bahamas is the pseudonym of Toronto-based singer/songwriter/guitarist Afie Jurvanen, whose disarmingly forthright, captivatingly melodic songs have already earned him both a devoted fan base and a significant amount of critical acclaim. On the second Bahamas album Barchords, the determined, down-to-earth tunesmith delivers a beautifully bittersweet, infectiously uplifting record with insightful lyrics, rousing melodies and raw, intimate performances.
HEIRS PLAY THE CURTIN BANDROOM
After the success of their co-headline tour with Alcest Le Secret Australian tour in October 2011, Heirs are set to tour the East Coast of Australia in May to support their latest release, Hunter. Heirs’ live show is renowned for its captivating focus and oppressive atmosphere. Their dark artistic noisescapes and gothic aesthetic is heightened through lighting installations and live video projection, culminating in an unsettling and unforgettable experience. This is Heirs’ final headlining tour of Australia before embarking on their third European tour in September. Catch them on Friday 11 May at the Curtin Bandroom with support from The Process, A Dead Forest Index and Cocks Arquette.
ONE DIRECTION TO RETURN IN 2013
Boy band of the moment, One Direction, have just confirmed that they will be back in Australia next year for a full arena tour after playing to sold-out crowds last week. It seems that they can do no wrong in the eyes of thei predominantly teenage girl fanbase, with their 2012 Australia/New Zealand tour selling out in a matter of three minutes. They’ve come a long way from The X Factor UK, that’s for sure.
THE BUTTERFLY EFFECT’S SECOND MELBOURNE SHOW
Due to popular demand, Brisbane’s The Butterfly Effect are pleased to announce a second and final Melbourne show on their Effected tour at the Hi-Fi Bar on Friday 8 June after their Friday 25 May Palace show sold out this week. The band have had a huge couple of months since announcing that singer Clint Boge will leave the band at the end of their next tour, ending this chapter of the band’s history with an 18-track retrospective album. Fans have reacted in huge numbers, showing their support for a band that has been part of the Australian hard rock scene for over 10 years. You can also see them at the Bended Elbow on Friday 18 May, Inferno (Traralgon) on Saturday 19 and Pier Live on Sunday 20. 18 • INPRESS
RED BULL BEAT SUITE FEATURING ALOE BLACC
Red Bull Beat Suite is set to smash every conceived musical boundary – creating an entirely original, neverbefore-heard musical exploration, mixing together the nation’s best beat makers, musicians from the Australian Youth Orchestra as well as special guest vocalists including US soul singer Aloe Blacc who will all feature on the same stage for two shows only on Saturday 12 May at the Melbourne Recital Centre. This very special event will be an orchestral exploration of the last 20 years of electronic and beat music combining two diverse musical worlds, setting a musical precedent by bringing the contemporary and classical worlds together on the one stage.
DANIEL CHAMPAGNE TO TOUR NEW EP
Last year was action-packed for singer-songwriter and guitarist Daniel Champagne. With the release of his debut album Pint Of Mystery, accompanied with hundreds of shows both here and internationally, he was on the road for most of the year. Champagne heads out on the road again from April through to July, touring nationally to support his latest EP, Real Live. Catch him this Thursday at the loft (Warrnambool), Mondays in May at the Espy, Tuesdays in May at the Toff, and launching the EP on Saturday 23 June at the Caravan Music Club,
MONIQUE BRUMBY
GRAPE GRAZING
ARIA Award-winning musician Monique Brumby heads the line-up at this year’s 21st annual Grampians Grape Escape at Halls Gap on Saturday 5 and Sunday 6 May. Brumby and her band will be joined by original performers Bree-arne Chamley of Geelong and Hamilton bands The Still Trees and Buddha In A Chocolate Box. With brooding, emotive pop/rock songs filled with melodic hooks and lyrical substance, Brumby will release her fifth studio album, Half Moon Half Everything, later this year. She will take to the main stage at Grampians Grape Escape on the Sunday from 2.30pm. A popular headliner around Victoria’s coastal music festivals, Chamley is an outstanding guitar player and singer known for her rich, soulful vocals. She’ll perform both days from 10.30am. Indie/roots band The Still Trees take to the main stage both days from noon, while Buddha In A Chocolate Box will perform on Saturday from 2pm and Sunday from noon. All live entertainment is included in admission ticket prices. To purchase tickets go to grampiansgrapeescape.com.au.
TRAIN PERFORM AT THE PALAIS Multi-platinum US rockers Train (who brought us hit singles such as Drops Of Jupiter and Hey, Soul Sister) are thrilled to announce a series of Australian shows this June, in celebration of their newly-released sixth album California 37. Joining the band on tour will be special guest Matt Nathanson. Train will perform at the Palais on Saturday 9 June. Tickets are available from Ticketmaster this Monday.
ELIZA HULL LAUNCHES DEBUT EP Dawn, the debut EP of Melbourne singer Eliza Hull, heralds the emergence of a passionate creation. Three years of dedicated crafting give rise to a heatladen solo musical career as Eliza’s seven-track EP embodies true stories. Recording the EP in home studios, garages, and churches has added depth to the already lush and textured tracks which feature string and horn arrangements, and give a nod to ‘90s electronica. An eclectic approach to sound has supported the intensity, emotion, and lyrical storytelling which characterise Eliza’s music and compels listeners to enter her world. Hull launches the EP at the Toff with guest Sophie Koh on Thursday 31 May.
themusic.com.au
TIJUANA CARTEL
TIJUANA CARTEL AT NSC
Tijuana Cartel spent the front end of 2011 riding high on the wings of their breakthrough single White Dove and its follow-up Letting It Go. The Gold Coast collective then set off on an audacious 32-date national road odyssey to promote their epic third album M1. After a well-earned break, Tijuana Cartel are back, prepping a new live show, sporting a new single and ensuring that their passports are sea worthy. A disarming psychedelic charmer, new single Offer Yourself – with its uplifting ‘60s vibe and a Jekyll-&-Hyde/ subtle-but-thumping ending – will serve as both theme song and swan song to Tijuana Cartel’s last Australian tour before succumbing to the call of the international siren. Bid Tijuana Cartel adieu at the Northcote Social Club on Thursday 24 May.
NEWS FROM THE FRONT
FOREWORD LINE
IN THE FLESH
Formed in 1976 in Queens, New York by vocalist Peter Zaremba and guitarist Keith Streng, The Fleshtones combine fuzzed guitar and Farfisa organ with ‘50s rockabilly and ‘60s R&B into a potent retro stew they called “Super Rock”. Contemporaries of Suicide and The Cramps on the late-’70s NY scene, the group became a huge influence on early ‘80s garage rock. One of the bands influenced by The Fleshtones are the Hoodoo Gurus, who have invited the group to play their Dig It Up! invitational at the Palace on Anzac Day, alongside the Gurus, The Sonics, Redd Kross and more. The band have now announced a headline show of their own, at Yah Yah’s on Friday 27 April.
MILLER ABOUT
Kate Miller-Heidke’s third album, Nightflight, was released last week. Following double-platinum sales of her last album, 2008’s Curiouser, Nightflight sees Miller-Heidke meditate on homesickness, mortality, love and surrender. To celebrate Nightflight’s release Miller-Heidke will take her full band around the country in August with The Beards in support. The tour hits the Corner Hotel on Tuesday 14 August.
THE MOUNTAIN GOATS’ AUSTRALIAN TOUR
COMINGS AND GOINGS
After releasing All Eternals Deck to critical acclaim last year, The Mountain Goats are bringing their unique brand of American indie storytelling to Australian audiences once again in May. The first Melbourne show at the Corner has sold out, but don’t fret, because a second Melbourne show has been announced for the Toff In Town on Wednesday 9 May. All Eternals Deck is an eclectic mix of inspirations ranging from century-old painting to ‘70s cult films.
CASH CONVERTS
If you missed Cash Savage head up her finetuned Last Drinks at the Spiegeltent in March, you missed another milestone in the inevitable rise to glory of one of Melbourne’s best acts. Cash spent 2011 grooming a tight-knit tour bus of local talent into an impeccably unpredictable blues country outfit. The result is a well-oiled assemblage of sizzling performers, capable of delivering the rousing live experience for which Cash is so widely acclaimed. A night with Cash Savage promises an encounter of passion, honesty and heartfelt musicianship. Savage and her Last Drinks play the Phoenix Public House this Friday 20 April and the Caravan Music Club on Saturday 21.
INPRESS PRESENTS
MASSY FERGUSON RETURN TO AUSTRALIA
Massy Ferguson, a four piece roots-rock band from Seattle, are embarking on their second visit to Australia, playing festivals, clubs and wineries. In 2009 the band travelled to Australia guerrilla-style, spurred by radio airplay on RRR and PBS as well as from independent DJ Colin Fielding (INR fm). The band are off the floor in 2012 and on to better stages, including the Apollo Bay Festival this weekend, Hepburn Springs Palais this Tuesday and Cherry Bar on Saturday 28 April.
LET THE SUNSHINE IN
It’s been some time between metaphorical drinks for Brisbane’s avant-garde musician Edward Guglielmino, but he’s back with a brand new album. Sunshine State is G’s second record and follows the highly acclaimed debut, Late At Night. The album will be released on 19 May with a tour, which hits Pure Pop Records on Saturday 26 May and the Empress on Sunday 27.
TAKE IT OR LEITH IT
TRIAL’S OVER
Trial Kennedy are calling it quits, and have announced a final tour to ensure they go out with a bang. In a statement, they wrote: “Friends, lovers and all people who have supported Trial Kennedy over the years. We come bearing some news… Some news that the band has decided to call it a day. For a number of reasons all of us in the band have chosen to close down the project that is Trial Kennedy. We are calling it a day with our heads held high for we have had the most incredible time as Trial Kennedy. We’ve had the amazing pleasure of writing and recording two albums that we loved, two EPs and a split EP, and have had the upmost pleasure of touring Australia literally hundreds of times.” With support from My Echo, they play the Corner Hotel on Saturday 23 June.
Now & Then is Damien Leith’s sixth album and the follow-up to last year’s massively successful Roy – A Tribute To Roy Orbison. The album is spearheaded by a new version of Leith’s Beautiful, co-written with Alex Lloyd, which originally appeared on his debut studio album, Where We Land. This remake of Beautiful is already being heard around the world as the theme song for the new global campaign by perfume giant Estée Lauder. Now & Then is a mix of Leith’s own selfpenned songs, set alongside a tribute to the members of supergroup The Traveling Wilburys. See Leith on Thursday 20 September at the Wangaratta Performing Arts Centre and on Friday 21 at Palms At Crown.
GOOD LUCK, CHUCK
Charles Jenkins will play a special show at the Empress on Wednesday 18 April, performing a solo set of his new songs to be followed by a second solo set of his old songs as determined by you, the listener. Send your song requests directly to Jenkins via the magic of Facebook ASAP! First in best dressed, by request only. Entry is $5.
INSTRUMENTAL AS EVERYTHING
Local instrumental behemoth Laura have never toured the West Coast. true story. They plan to rectify this in June, but before they head across the Nullabor they play a rare local show at the Evelyn with Meniscus, This Is Your Captain Speaking and Lunaire.
Adele Pickvance and Glenn Thompson have been playing music together for an awful long time. Probably best known together as members of The Go-Betweens in their final incarnation, these two musicians are also both very skilled songwriters, so it makes sense that they would come together to make some music of their own and Adele & Glenn allows them to do just that. They have their debut album, Carrington St, all recorded and ready for release and they’re setting out on a quick tour of the East Coast to share these songs with their patiently waiting fans. See them at the Standard on Wednesday 23 May.
FIGURE IT OUT The already enormous Creamfields bill has just gotten a little bigger with the announcement of Indiana-bred DJ and producer Figure just a few weeks before the first date of the festival. Figure has had a number of top ten tracks on Beatport in recent years and is widely considered to be one of the most exciting artists in the world of dubstep today. His name adds a solid dose of cred to a bill that already features the likes of David Guetta, Above & Beyond, Dirty South, Alesso, Excision, W&W, Giuseppe Ottaviani and many more. The festival also announced set times for each festival date – you can grab them at creamfields.com.au.
FEEL ZEN WITH ZHEN The debut record from singer/songwriter Sui Zhen, Two Seas, is said to reflect the experiences that the artist (whose real name is Becky Freeman) has had travelling the world over the past couple of years and features equal parts soaring and delicate vocals. It will be released on Friday 4 May and not long after that she is getting out on the road, performing a bagful of shows around the country in support of the record. She plays solo shows alongside Carry Nation this Thursday 19 April at Dexter Bar in Clifton Hill, on Saturday 28 April at Pure Pop Records and with her full band on Wednesday 30 May at the Grace Darling Hotel with support from Fanny Lumsden & Elva (Jessica Says and Emma Russack).
PLANET OF SOUND Having spent much of the past two years living in their adopted second home of Berlin, Germany, busy self-producing two EPs amongst supporting many international acts such as Warpaint, Karen Elson and Holy Fuck, Planet Love Sound have returned home to Australia for the official release of their EP, Part 1. The Melbourne-based psychedelic/experimental pop act will now be launching their second single, My Shadow, off their EP with a run of shows. They’ll be playing the John Curtin on Friday 27 April.
WALTZ WITH POLTZ Southern California’s Steve Poltz is one of the most beloved songwriters of his generation and is now on tour around Australia. The tour follows his recent album release, Noineen Noiny Noin, and he’ll be hitting up a bunch of venues to share his new material. He plays the Northcote Social Club on Thursday 3 May.
themusic.com.au
INPRESS • 19
HEART BREAKERS
AS BLEEDING KNEES CLUB’S FRONTMAN ALEX WALL AND GUITARIST JORDAN MALANE CHAT FREELY ABOUT KICKING OUT THEIR PREVIOUS DRUMMER, ESCAPING THE CLUTCHES OF OBSESSED FANS, ABUSING BOUNCERS (AND THE RIDER OF AN UNNAMED “LAME DJ ACT”), BRYGET CHRISFIELD GETS WHIPLASH TRYING TO KEEP UP. COVER AND FEATURE PICS BY KANE HIBBERD.
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leeding Knees Club are one member down as we wander from Mushroom HQ to a nearby café. The brunette founding half of the band (vocalist/drummer Alex Wall) and new recruit drummer Brett Jansch (Wall: “He had a good moustache and that’s all that really matters”) are accounted for, but where’s blondey? A car pulls up and delivers Bleeding Knees Club’s guitarist, Jordan Malane, who apologises for his tardiness while polishing off a sandwich. The trio are all tousled hair, skinny legs, cheeky smiles and unbridled enthusiasm. After finding a suitable table, Wall and Malane sit across from this interviewer while their recently inducted bandmate quietly occupies himself at a nearby table. “We had another drummer but we kicked him out,” Wall explains. Malane says something under his breath about “bongs” but then offers a more PC reason for publication: “He just didn’t fit.” “He deleted me on Facebook,” Wall adds. So there’s only two musicians in the band’s press shots, but three onstage these days and random stage invaders are always welcome. “I like the shows when it’s really small and packed and everyone’s on stage and, like, in my face,” Wall enthuses. Malane concurs: “Last night it happened and Alex’s guitar cut out and then, like, people just would grab our mics and take over the singing. And, like, the only music that was being played was my bass, and [Jansch’s] drums, and we were just standing back – it was so fun.” Do bouncers ever go crazy and try to stop the onslaught of punters? “Yeah, I’m really bad,” Wall admits. “I always end up paying out the bouncers and last night, after a show, they like came up around me and like dragged me up into the back room and like threw me onto a chair and started abusing me.” “He called ‘em ‘gay’,” Malane chuckles. Wall jumps in, “I’m not homophobic at all. I’ve got heaps of gay friends.” Such playful ribbing and completing of each other’s sentences is typical of childhood friends, the pair having known each other since kindergarten. “We always knew each other and we always lived close to each other,” Malane confirms. The blonde then orders a mixed juice: orange, pineapple, watermelon, ginger and mint, to be specific. Was there anything left on the list that he didn’t order? “Yea-eah!” the guitarist insists, referring back to the menu. “I could’ve got beetroot, celery or apple.” The brunette orders a banana and mango smoothie. On what a Bleeding Knees Club rider usually comprises, Wall informs, “We never get a rider.” Which surely translates as sharing (read: stealing) the liquid refreshments of other bands on the bill. “Yeah,” Malane agrees with a chuckle. “We did once. We did to – um, what was that DJ act?”
“They were some crap DJs,” Wall opines while Malane searches his brainbox: “Oh, they’re like big.” But then Wall stresses, “Yeah, but they’re not cool.” Where are they from? “They’re from Australia,” Malane verifies. Is it a duo? Affirmative, says Wall before Malane thinks out loud, “It’s not Flight Facility, but it’s something, like, that level. But more boganish.” Wall concludes, “I dunno. Anyway, I think they were too scared to go in the band room because we were gonna be there.” “And we drank their whole rider. It was super fun,” Malane recalls with a laugh. “Oh, they’ve got the worst name as well. I can’t think of it! Haha, I was just gonna Google ‘gay DJ act’.” “It’s something – not Stafford Brothers,” Wall ponders. Turns out the frontman took to Twitter to bag out this unidentified DJ duo before the gig: “I was just like, ‘Unfortunately have to play with this lame DJ act tonight, but everyone can come anyway.’ And they saw it and they went, ‘Why are we lame?’ And I went, ‘You are’.”
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When asked whether they have met anyone awesome backstage at festivals, Wall hesitates, “I’m trying to think. I don’t know. I really don’t know,” before Malane has a lightbulb moment: “I was gonna say that we met Angus Stone, but, like, that’s not really cool.” Wall counters, “I think he’s cool. He asked me if I had a harmonica holder.” (If you’ve ever seen or heard Bleeding Knees Club, you’ll understand how unlikely it would be for them to carry such an item.) “Um,” Malane’s still thinking. “We saw Mike Myers when we were in New York. He was playing hockey.” “Mmm, yeah that was good,” Wall commends. Just a random sighting? “Well, like, our friend who was the guy who engineered our album plays hockey,” Malane tells, “and so we were like, ‘Well let’s just go watch him play on the weekend.’ And it turns out that, like, Mike Myers is in his grass hockey team.” It seems unlikely that this duo will ever get starstruck. Have they always harboured dreams of being in a rock’n’roll band? “Nuh,” Wall answers without hesitation. “I still don’t wanna be in a band… The band just kinda happened.” “‘Cause we both didn’t have jobs so, like, we’d just hang out and play stuff,” Malane finishes. Have Bleeding Knees Club had any weird experiences with their fans? “There was one last night,” Malane replies and then Hall gets involved, “I get weird stuff all
the time. I get emails from people just saying strange stuff.” Back to Malane: “I got one the other day.” “Did you?” Hall enquires. “To the Bleeding Knees, at the gmail address, it was like, ‘To the guy with the blonde hair. I think you’re the best,’ or something like that,” he laughs. Hall adds, “The other one I get’s like, ‘This might sound silly, but I think I’m in love with you’.” They both chuckle wholeheartedly. “There was a girl last night and she was like, ‘You might have got an email from me,’ and I’m like, ‘You. YOU!’ And it was, like, this long [makes exaggerated hand gesture]. Like, it was a big page and it was embarrassing. We have heaps of them. “I hate groupies. I hate them so much. I’ve had the worst experiences.” Malane is losing it in a fit of hysterics at this point and Wall turns to him to present supporting evidence: “Remember that show in Perth when we played? And she took my drumstick and shoved it up her dress in front of everyone? She just snatched my drumstick.” “You were just, like, shocked,” Malane remembers. “It was pretty funny at the time, though.” The pair start speaking in hushed tones recalling yet another freaky fan encounter. Come on, tell the readers! Malane’s game: “He just went home with a girl and she like got him all the way there, and she really liked him, but then she just started crying.” “She had a boyfriend and she was like, ‘Do you love me as much as my boyfriend?’ and I was like, ‘No,’ and I just left,” Wall clarifies. “It was the worst experience of my life. I was like an hour out of town. I didn’t know where we were.” So Wall was obviously playing an away game. “Fuck, yeah! I got fooled. And the cab driver was laughing at me the whole time.” “Was he?” Malane marvels. “So you told him the story?” “No, I was like, ‘Where the heck are we going?’ And he was just laughing at me. He was like, ‘Do you know how far away you are?’ But she had a pool house and I felt like Ryan from The OC.” Malane is impressed, “Sick. And you met the mum, didn’t you?” “Yeah, I met her mum and she was like, ‘What’re you doing?’ And I’m like, ‘This is so weird. Cool house.’ And then I just left. It was the worst day of my life.” WHO: Bleeding Knees Club WHAT: Nothing To Do (I OH YOU!/Liberation) WHEN & WHERE: Thursday 19 April, National Hotel; Friday 20, Karova Lounge; Saturday 21, Northcote Social Club
BODY TALK
SINCE THE KNEE BONE’S CONNECTED TO THE THIGHBONE, CHATTING WITH BLEEDING KNEES CLUB GOT BRYGET CHRISFIELD OBSESSING OVER OTHER BODY PART-INCORPORATING BAND NAMES – FROM HEAD TO TOE.
HEAD SPACE Bands across a wide variety of musical genres clearly favour getting inside your noggin: Ian Dury & The Blockheads, Lemonheads, Machine Head, Motörhead, Radiohead and Talking Heads. Facial features (and faces themselves) also factor in: Face To Face, Faces and Small Faces. Visual receptors get a look in too: Beady Eye, Bright Eyes, EagleEye Cherry and Third Eye Blind. Surprisingly, The Ears are the only aural moniker band we can think of, whereas smackers fare way better: Black Lips, Chicken Lips and The Flaming Lips.
TORSO TIME This seems to be a largely neglected area of the body to draw inspiration from which to name your band: The Necks, Bodyjar, Nickelback and Back Street Boys (told ya it was a struggle).
CALL TO ARMS The arms (and respective appendages) score heaps better than their lower counterparts in the limbs category: Elbow, Cut Off Your Hands (formerly Shaky Hands), Clap Your Hands Say Yeah, Icecream Hands, Powderfinger, Badfinger and Nine Inch Nails.
DIRTY BITS Unsurprisingly, bands love a bit of a sex organ reference in their branding for added “Ooer” appeal. Ladies first: Kate Bush, Reckless Vagina and Pussy Galore. And now for the dangly bits: Buzzcocks, Crazy Penis (who have since reverted to the flaccid Crazy P), Dick Diver and Revolting Cocks (what a drawcard, huh?)
SHAKE A LEG Another underutilised body zone, the lower limbs are ripe for the new band name picking: The Shins, Chickenfoot and Toe (Google them, for rea1! An instrumental, math rock band from Japan that’s well worth a listen).
STOP MAKING SENSE BIG SCARY’S SOUND STRETCHES FROM PIANO BALLADS THROUGH TO PUNK-ROCK FREAK-OUTS. AS THE MELBOURNE TWO-PIECE GIVE THEIR TYPICALLY ECLECTIC DEBUT ALBUM VACATION ITS LONG-DESERVED LAUNCH TOUR, MATT O’NEILL CATCHES UP WITH DRUMMER JO SYME TO DISCUSS THEIR BACK-CATALOGUE.
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ig Scary confuse in an oddly comforting way. Australian musicians have of late showcased an uncanny knack for branding. Even our most minor successes have learnt to arrive with specific sound and aesthetic; sharply pre-packaged for apprehensive audiences. Big Scary haven’t grasped it yet. The Melbourne two-piece confound expectations with almost alarming frequency; from distorted live shows on the back of folksy EPs to simply surprising hip hop influences. “Lately, we’ve both been listening to a lot of Jay Z and Kanye West’s Watch The Throne,” drummer Jo Syme explains. “It’s funny because, when we were making the album, we were trying to explain how we wanted our drums to sound and, in my head, I confused myself because I wanted them to sound hip hop – but I also wanted them to sound like John Bonham. I didn’t actually realise until later that they sound quite similar.” The pair effectively began as an acoustic act. Formed in 2006 by Syme and multi-instrumentalist/vocalist Tom Iansek, Big Scary were initially a folk-driven act; idly writing and rehearsing songs in Syme’s parents’ loungeroom. By 2008, however, their work had become unpredictable. Their debut recorded efforts – six increasingly eclectic EPs released across 2009 and 2010 – showcased a band seemingly opposed to the idea of a specific sound.
“Going overseas was incredible. We’d obviously never been before and it was just a huge, eye-opening experience,” Syme gushes. “It was actually really good that we had that between the release and the tour because it allowed us to really kind of find our feet with the new material before doing a really big tour. Having been overseas, I’m now really excited to hit up all the venues across the country and really get stuck back into it.” WHO: Big Scary WHEN & WHERE: Tuesday 24 and Wednesday 25 April, Corner Hotel
“When we first started jamming, it was a totally different band,” Syme says. “It was a totally folk band. It wasn’t for quite some time that Tom even brought an electric guitar to the rehearsal room. Neither of us took it very seriously at the start. I think, when we made our first demo, we started to realise that we could make songs we were proud of together and that we had something that was kind of worth pursuing. It’s always changing, though. “With genre, I wish people would actually tell me what we sound like because I find it to be the hardest question to answer – ‘oh, what kind of music do you play?’ – I have no idea how to answer it. I mean, even pop has a whole set of connotations attached to it,” the drummer reflects. “I think we have all different attitudes to genres and so we end up kind of flitting between them all the time. I think the only constant, really, is Tom’s voice.” Even the band’s live shows have proven to be shock affairs. Having secured their reputation through quieter efforts like 2010’s Four Seasons (four EPs themed around the four seasons, later released as a single compilation), Big Scary’s blistering, garage-rock live performances supporting acts like Hungry Kids Of Hungary and Florence & The Machine took audiences more accustomed to their lush studio eclecticism by considerable surprise. “I think we mostly got that kind of reaction after Four Seasons. You know, that compilation was quite folky and we don’t really touch a lot of it when we play live. We still haven’t really figured out how to play our quieter songs live,” Syme explains. “And back then, whenever we were a support band, we just wanted to bring the party. We’d just play all the rock songs. There was definitely a big distance between what we were releasing and what we were playing on stage. “We were actually thinking quite seriously about expanding our line-up for our live show around last year – but we just never got around to it. We’ve been too lazy to go out and look for someone and, even if we did find someone, we’d have to write a part for them. We’ve adapted all our songs to be played live by a two-piece. Still, every time we talk about expanding the line-up, we have a lot of people tell us not to – people seem to have embraced us as a two-piece.” Still, their chaos is a genuine comfort. In a strange way, Big Scary’s inability to make sense of their own music makes more sense than their peers’ precocious flair for marketing and branding. Big Scary are as a young band should be – excitable, ambitious and vaguely clueless. Be it professionally or artistically, they don’t actually know what they’re doing. Even their acclaimed 2011 debut album Vacationer seems more a collage of inspiration than a concentrated work. “We had so many songs. We really just wanted to get stuff out there. Tom’s just a really prolific writer,” Syme says of the pair’s ambitions for the album. “I think we also thought we were making a more consistent genre album – but obviously that didn’t happen. I think we just didn’t want to keep sitting on songs. We’re already kind of working on our next album because we just don’t want to have to sit on the songs for too long – but we are trying to make it a more concise record. “I mean, it’s not something we do deliberately. I think life would be way easier for us if we could just stick to one genre. Or, at least, less confusing for listeners. As Tom writes, we don’t try and fight what’s coming. We just try and let the song be what it is – when it comes to recording, we try to surround each song with appropriate sounds, but we’ve never sat down and gone ‘oh, let’s write a hip hop song’ or whatever.” Particularly inspiring is Big Scary’s success. Cursed with scattered musical interests and a marked disinterest in industry, Big Scary have nevertheless secured both national and international success over the course of their brief career – aside from their alreadyrespectable list of supports and considerable critical acclaim from mainstream publications, their tour in support of their debut album had to be postponed until now on account of overseas commitments.
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INPRESS • 21
TASTE TEST: RON PENO THE FIRST ALBUM I BOUGHT WITH MY OWN MONEY I don’t know [groans.] It could be… probably an Alice Cooper album. Maybe School’s Out or something like that. But in high school it was either Janis Joplin’s Cheap Thrills or Hendrix’s Are You Experienced?. But y’know, with my own money, when I first got a job, it was Alice Cooper… I used to get paid $21 a week and I paid $10 board; so I used to go and get an album each week. They were about three or four bucks or something like that.
THE ALBUM I’M LOVING RIGHT NOW
Ah fuck [another groan.] I’m sure there is one… Actually at the moment I’m playing a lot of Roxy Music. Either For Your Pleasure or Stranded. Roxy Music are one of my all-time favourite bands and they were a big influence on Died Pretty. Also I’m listening to a lot of Bowie. Y’know, Young Americans, Diamond Dogs, that sorta stuff. I know that’s hardly hip so I’m just trying to think if there’s anything current I’m listening to… Um, I’m loving that Dick Diver song New Start Again. I absolutely adore it.
MY FAVOURITE PARTY ALBUM
Hang on, I’ll grab this here. What is it? Ah, Hitsville USA, The Motown Singles Collection, 1959-1971. There you go. How fucking cool is that? I was listening to it the other night and obviously every song is brilliant. It’s a six-CD set. It’s got a booklet and everything. It’s one of the greatest things I’ve got in my collection actually.
MY FAVOURITE COMEDOWN ALBUM
Not Black Sabbath [laughs.] You mean comedown as in chilled rather than depressing? I’d have to say something like Joni Mitchell’s Blue. It’s just a beautiful, beautiful album. The arrangements, the lyrics, the music; and to top it all off, that voice. Just amazing. Shivers down the spine stuff.
THE MOST SURPRISING RECORD IN MY COLLECTION
Could be anything really. I like to think I have a vast musical taste that covers lots of styles and genres. So yeah, it could be anything from Blue Oyster Cult to The Carpenters or The Archies or Vivaldi’s Four Fucking Seasons… How about a little Peggy Lee? Ooh la-la. I lurve Peggy.
THE FIRST GIG I EVER ATTENDED
Something in high school, probably. I remember one time in school I saw Sherbet. They played a high school dance or something. It was around the time of Free The People, which was one of their early singles. They were just starting out and they were doing the regions. I went to school in the country, so yeah, it was a country thang.
THE WEIRDEST GIG EXPERIENCE I’VE HAD
I’m sure there were plenty but whether I can remember them or not is another thing. Jeez, I don’t know. I mean, I’m sure I’ll [conjure] something after I put the phone down and think, ‘Why didn’t I say that?’ Plenty of weird backstage stuff but I don’t wanna go there. That’s sort of unprintable. I’d end up in court. I’d have to leave the country.
MY BIGGEST NON-MUSICAL INFLUENCES
My family was always very supportive when I was growing up. They always allowed me to play 45s and stuff like that. I was given plenty of creative space as a child and, y’know, when you were raised in the country in the ‘60s that could be a bit confronting for people. So yeah, my family, corny as it sounds, because I was always surrounded by music as a child.
THE COOLEST PERSON I’VE EVER MET
I’m still waiting. I don’t consider people cool. I consider people either inspirational or creative or loving or emotional but not cool. So yeah, I’m still waiting for that.
THE BIGGEST CELEBRITY CRUSH I’VE HAD
DIED PRETTY, RON PENO SECOND FROM RIGHT
IF I COULD HANG OUT IN ANY TIME AND PLACE IN HISTORY
Mmm, that’s a bit personal. Does it have to be a girl? Touring with REM was sorta fun and ‘crushy’. Y’know, we shared a lot of fun times, just hangin’ out and stuff. I remember giving Peter Buck a big hug and his wife going, ‘Stop hugging my husband, Ron’. God, surely I can do better than Peter Buck, much as I love him. Chrissy Amphlett’s pretty good. Never had a crush on her though. God, she would’ve ripped me to pieces if I had. Anyway, I’m too old to have a crush.
I love anything to do with the Wild West, anything to do with American Indians. I love reading about it. I’ve read Bury My Heart At Wounded Knee and everything I can about native American tribes. There’s just something about them. I feel I have this connection with them; maybe in a previous life or something. It would have been tough times though; y’know, living on the plains in dirty fucking tepees and getting slaughtered by the American cavalry.
IF I WASN’T MAKING MUSIC
I’d be in archaeology or something like that. I’ve always liked history. Something to do with the Battle Of Little Big Horn perhaps. Yeah, that’d be great. If I wasn’t doing music I’d like to be standing in the middle of a battlefield with thousands of dead bodies strewn around me. Beautiful. Interview by Paul Ransom WHO: Died Pretty WHEN & WHERE: Wednesday 25 April, Dig It Up!, Palace
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MARCHING ORDERS “MUSIC’S GREAT, BUT IT’S JUST A THING AND MY SON’S REAL.” N’FA JONES DOESN’T KNOW THE MEANING OF MARKING TIME, BUT WHEN THE NEW DAD/ITINERANT RAPPER/SOMETIME BARISTA ADMITS HE’S “READY ACTUALLY JUST TO CHILL OUT”, BRYGET CHRISFIELD FEELS ANXIOUS.
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ne spin of Babylondon, the latest EP by N’fa Jones, provides further evidence that the masterful rapper/singer/songwriter/ producer belongs on the world stage. But when you ask him what the highlight of his past year was, he mentions another of his babies. “My son,” he answers in a heartbeat. “I had a son – well, that’s why I was based in France and Switzerland – and he’s just come out, just arrived in Australia now. So I’ve been pretty happy for the last few days. I was pretty miserable for a few months, but I was just trying to look at it like, ‘Well, if I was in the army I’d have to go off and do things,’ or, you know, ‘if I was an offshore rigger or something I’d have to go off for a month’, so let’s just deal with the pain and set up shop. So, yeah, my son’s pretty much the highlight. Music’s great, but it’s just a thing and my son’s real,” he laughs fondly as if calling up a mental picture of bubs. “He’s pretty awesome.” Unsurprisingly, the wordsmith has to spell out his son’s name: “A.Y.O, hyphen, S.O.L.E.I.L… ‘Ayo’ in the West African language means, like, ‘dealing with joy’ and ‘soleil’ in French is the sun. So the combination of that feeling of peace, just forgetting everything when you’re lying in the sun – that kind of feeling is what his name means.”
about the building, forget about how nice the couch is and think about what the actual work would be, and what’s gonna happen, and just make sure you enjoy the music you’re making and that you like it, whether or not you end up with a major and on a big sort of push, because you’ve gotta just love what you’re doin’ to work on that level.’ And that’s kind of the whole view of everything everyone’s doing [in RFYL] is: whether this music blows up or not, we’re all happy anyway.” WHO: N’fa Jones WHAT: Babylondon EP (Rubber Records) WHEN & WHERE: Thursday 19 April, Grace Darling
Before he spent time based in France and Switzerland, Jones was in London for “just over two years”. Souvenirs include a habit of sporadically dropping ‘t’s and the playful observation on England’s capital he’s used as EP title. “I lived with my bro down towards Wimbledon,” the rapper elaborates. “It’s a bit boring out there, but it’s a pretty good thing for my bro. My father’s there and my cousin’s there and my aunties, and they kinda wanted some family time… I had a great music [project] called No Fixed Abode, which was pretty crankin’. It’s a pity we were there when there was such a financial crisis in the music industry, because there was a lot of interest but people weren’t able to financially get behind it… At the end of the day I was broke, so I missed out on a bit. But all around London we gigged a lot, a lot – played loads of really great parties with a pretty intense band with a guy called Son Of Kick, who’s pretty famous in his own right now.” No Fixed Adobe also comprised Paul Stanley McKenzie (aka PSM), the drummer from Gorillaz Sound System, and Gibbs King, who was Roots Manuva’s keyboard player. “Son Of Kick he was – actually whenever I see ANY of them, they’re all always like, ‘I don’t get it. Why didn’t that shit blow up? That was insane!’ I’m like, ‘Yeah, I dunno. Whatever. Everyone’s doin’ all right now,’ and he’s like, ‘Yeah, but that was AMAZING!’ [laughs] And I go, ‘You know, I dunno, it’s just timing, man. It’s timing’.” If it’s all in the timing, Jones must be on a conveyor belt of ill-timed career moves. His previous (criminally overlooked) Cause An Effect set didn’t blow up either. The title track’s rhyme, “Throw your hands in the sky with me/Put ‘em up like a dirty cop told you to freeze,” remains one of this scribe’s all-time fave chorus demands. Once this opinion is shared, Jones sounds floored: “Oh, wow! Wicked.” On why this 2006 solo debut didn’t make Jones a star, the flow-master reflects, “I guess I didn’t do enough of the online sort of stuff. I needed to get my 360 on, you know? And I just wasn’t really – I’m not really developed in that side of things… But I’ve improved now. I dunno, I don’t think about shifts anymore. I used to, I think that was the problem. I just get on with it. If people get into it, they do, if they don’t, it doesn’t matter to me so much anymore.” Provided he’s still able to do what he loves? “Yeah, and even if I’m not. Well, that’s all right,” he confesses. “I’m ready actually just to chill out. I was gonna open a café in Switzerland for the rest of my days before I got called about doing this EP.” It was during a brief stint back here in December last year when Jones had a conversation with Dave Vodicka from Rubber Records that the opportunity to work on an EP knocked and, “it felt right”. The rapper’s relationship with the label dates back to his former creative life as frontman with 1200 Techniques. Jones was fresh out of high school when he met DJ Peril, who went on to become the group’s turntablist/percussionist. Jones remembers the band was signed “almost by accident” although they’d “been working hard for years”. “There’s always a goal of wanting to get somewhere but, the thing is, I think with us back then it was like that bridge that hadn’t really been built yet, you know? Although a bunch of crew were working really hard, no one was giving anyone a chance to move forward – no radio, it was all new. So we just didn’t expect that we’d end up getting to cross that river and be that new sort of musical life that could exist, I guess. People like Hilltops and Drapht and Sixty have, like, just gone beyond where we were. The chance to do that was amazing ‘cause it didn’t exist before.” You’ll also clock Jones’s credit within the collective of “creatives” known as Run For Your Life – recent recipients of the 2012 Hilltop Hoods Initiative. Featuring production team J Smith & The Dutch, the rotating roster of artists showcases 20-year-old Melbourne MC Remi Kolawole, who will support Jones at his upcoming show. The resulting $10,000 grant has allowed RFYL to shoot some videos and Jones is mega enthusiastic about this material, particularly a song called The People, which he describes as “one of the greatest songs in the world right now”. The MC is certainly taking an interest in Kolawole’s career path, establishing himself as a mentor of sorts just as his 1200 Techniques bandmates did during Jones’s formative years. “I was lucky with 1200 that I had Peril and Kem [Kemstar, 1200 guitarist] around, because they were older and a lot more like, ‘Nah, fuck that! They want this from us’. And I was younger, so I’d be like, ‘Oh, really? I couldn’t see that!’ When you’re coming up, you don’t know because it’s like a new language you’re still figuring out. You assume everybody has the best interests, you don’t really think about, ‘Oh, this person’s done this a thousand times. It’s really about them getting an extension on their house, it’s not about me in my career doing well, you know?’ “Remi’s had some interest from a couple of majors and I told him, ‘You’re gonna go to this meeting in this amazing office and you’re gonna wanna be a part of it, but just remember, right: you’re doing fine without that and you’ve gotta work out what you want and, if they’re gonna team up with you, what do you want from it? Forget
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INPRESS • 23
POCKETFUL OF SONGS FOR BRIGHTON, UK-BORN MIKE ROSENBERG, AKA PASSENGER, IT’S STILL ALL ABOUT SONGS THAT CONNECT, BEST TESTED BUSKING AND BEST RECORDED RIGHT HERE IN AUSTRALIA, AS HE TELLS MICHAEL SMITH.
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AND I THINK THAT’S WHAT PEOPLE CONNECT TO BECAUSE THAT’S WHAT PEOPLE KNOW ABOUT.”
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e’s your archetypal ‘have guitar and a backpack full of songs, will travel’ musical troubadour, is Michael Rosenberg, who has been travelling solo under the moniker Passenger since he released an album called Wide Eyes Blind Love back in 2009. The travelling inevitably brought him to Australia and the opportunity to not only live and work here for a year or so, but also to record an album, Flight Of The Crow, with a few of the musical friends he made along the way, which he toured throughout 2010. Before he returned to the UK last year, he got stuck into recording another album, this time without the guests but again with a core band. After a year or so back in the UK touring Flight Of The Crow, Rosenberg is back in Australia to launch that latest album, All The Little Lights. “I guess Flight Of The Crow was such a different thing, you know, with all the collaborations and everything else,” Rosenberg explains. “This album’s the first one which has actually been a Passenger album and been a proper release. You know, a few of my records in the past have just been soft releases through my website, and this one feels really proper, so… I dunno, it feels good at the moment. “I’m really happy with the sound of it, man. It’s funny you know, whenever I make an album, I go through a real rollercoaster with it; one minute I love it, the next minute I hate it and don’t wanna release it,” he laughs. “I know a lot of my mates go through the same thing and I think it’s a fairly natural process, but I’m really happy with it now and just can’t wait to get out there and actually start working it, you know? “Going in, I didn’t just want to sit in a room with my guitar and make a folk record, I wanted it to be something that was a bit more challenging. I wanted it to sound a bit more bright and poppy in a way. Not in a naff way but in a sort of Regina Spektor-y kind of way – you know, just something new and different and interesting – and something I hadn’t done before, and I think we’ve really achieved that in moments on the record. I think it’s quite an ambitious album sound-wise.” Of course, like any self-respecting singer/songwriter, Rosenberg, who this time is touring with a band, has already written a whole new album in the time it’s taken to get All The Little Lights mixed and mastered, the artwork sorted and so on. “I’ve got so many new songs, but they’re not going anywhere and it’s a nice problem to have. I’d rather be in that situation than scraping around for songs in a couple of years to try and make a new record.” Recorded again in Sydney, as had Flight Of The Crow, for All The Little Lights Rosenberg was joined by a core band that included Boy & Bear drummer Tim Hart, jazz bassist Cameron Undy (who also played on Flight Of The Crow), plus keyboard player Stu Hunter from Katie Noonan & The Captains, along with two female backing singers, horns and string sections. If there’s a theme to be drawn from the album, it’s not just the usual stock-in-trade of the travelling troubadour – love – but the love of life itself.
There’s more to this story on the iPad Rosenberg’s musical journey has been a very different one in some ways. Invited to join a pop band called Passenger, he opted to keep working under that name after that band fell apart in 2007, supplementing the regular gigs and tours around the UK with a bit of busking. It was the busking that proved the perfect vehicle for Rosenberg to continue developing his music, taking him first to America and then Australia. It could have turned out very differently. “I think it’s happened for me at a much more natural pace for me,” he suggests. “In fact, at the time I felt it was pretty slow, but looking back on it I’m kind of pleased it happened in this way because it kind of allows you to adapt and grow and not freak out. I’ve learnt so much and I’m sort of grateful for all the mistakes and all the wrong turns that I did take early on, although there have been days where I’ve cursed it. You know, it’s been frustrating, but I kind of think now that this life that I’ve got now – busking and travelling and everything else – okay, it’s not amazingly well paid, it’s not ‘fame and fortune’ or whatever, but it’s totally fascinating and actually… I dunno, I feel very blessed to be living this life.” That’s why the busking side of things remains a cornerstone of Rosenberg’s touring life – just before performing at the Adelaide Fringe at the time of this conversation, he’d been “busking and putting on these small sorts of shows for people who have pre-ordered the record, just as a sort of thankyou, really” – because not only can he roadtest the songs in a way that gets him instant feedback, but he also gathers the stories that eventually become songs. “Absolutely,” he confirms, “and they’re so real, you know? They’re about real people that you’re meeting in hostels and town centres and pubs all around the world. And I think that’s what people connect to, because that’s what people know about.
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“I think Let Her Go is a big song on this record. I think it’s typically Passenger in the way that it’s about love lost and, you know, all those fun things. That’s the track that we kind of got excited about and maybe built the rest of the record around. But I dunno man, I think it’s just a body of work that kind of sits well together and hopefully works together as a set of songs. I mean, I hope all the songs have kind of earnt their place. We took a few off and added a few and changed things about a bit to try to make sure there weren’t any fillers, and that each song kind of made its mark. “And I’ve been travelling around playing solo shows, and people may be buying this album expecting just to hear that, so I’ve actually made it like a double CD. We’ve done, like, an acoustic CD to go along with the record, so hopefully it doesn’t alienate those people who just love that really pure sound of just the guitar.” WHO: Passenger WHAT: All The Little Lights (Inertia)
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WHEN & WHERE: Friday 20 April, Corner Hotel
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BATLA’S BACK, ALRIGHT MC OZI BATLA OF SYDNEY’S THE HERD SPENT CHRISTMAS IN HOSPITAL UNDERGOING EMERGENCY SURGERY. HE SPEAKS TO ALEKSIA BARRON ABOUT FIGHTING BACK, FIGHTING FIT AND FIGHTING FOR HIS FAVOURITE ALBUM TRACKS.
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ll of a sudden, it seemed like music icons everywhere were falling off stuff. Just nine days after Molly Meldrum fell from a ladder while putting up Christmas decorations, Shannon Kennedy, also known as MC Ozi Batla of The Herd, was admitted to hospital after a horrific cycling accident. His injuries included a punctured bladder and a dislocated jaw. The accident spawned a Twitter hashtag – #batladown – and raised a number of questions. Would Kennedy pull through okay? Would The Herd be able to keep touring? Could they even play their upcoming New Year’s Eve festival slots at Woodford and Pyramid? Remarkably, the answer to all three of the above questions was, ‘Yes’. Kennedy, now 100% recovered, can even joke about the accident. “Molly stole my thunder a bit,” he laments. “I thought I’d have national news coverage, then Molly fell off a ladder, so I guess that takes precedence. I did berate him when we met for our weekly tea and scones.”
There’s more to this story
on the iPad
Still, he concedes that it was strange for The Herd – one of the largest and most enduring groups in Australian hip hop – to take the stage without him. “It was probably weirder for them, actually,” says Kennedy. “I was completely out of it at that point. I was high on all the best drugs the hospital could offer. That week passed me by in a blur.” It was a shame to miss the festivals, though. “Woodford’s probably my favourite festival to play, so I was pretty disappointed but… they pulled it off. It’s good to know that if anything does happen in the future, we’ve got each other’s backs, and we’re able to do the show still.” It is something of a relief to know that The Herd can stand strong even with a key member missing. The Sydney band have been one of the most beloved acts in Australian hip hop since emerging as pioneers of the scene in 2001. Since then, they’ve regularly graced the Triple J Hottest 100 with hits like I Was Only 19 and The King Is Dead, toured relentlessly, and founded the Elefant Traks label. In 2011, they released their fifth studio album Future Shade, which recently found its way back into the iTunes charts after being featured by Apple for the second time. “Bizarre, isn’t it?” says Kennedy. “It’s kind of funny as well, because we’d launched an EP for the tour, so we kind of cannibalised ourselves a bit, but it’s all good.” The EP in question is the Better Alive, and for Kennedy, it’s a particularly welcome release. “One of my favourite tracks that didn’t make the cut for the album is on the EP,” he explains. The song is Darkened Paradise: “It’s kind of got the real Cuban flavor, which I like, and it’s got the nice guitar from Toe-Fu, and a cool story as well.” Part of working with such a large group of people is that decisions have to be made as a group – such as cutting Darkened Paradise from the Future Shade track list. “I would have liked it there, but it comes down to a democratic process at that point of the album. More people wanted it off there than did – that’s just how it works. You get these conundrums when you’ve got such a big group of people.” Still, he’s willing to concede that it may have all been for the best: “It didn’t really seem to hang with any of the other tracks.” “These days with digital, it’s not like anything is ever gone or forever disappears,” he says, reflecting on tracks that don’t make the final cut. “If you want to, you can put everything out, or just give it away. I’m just glad that people will get to hear them now.” WHO: The Herd WHAT: Better Alive (Elefant Traks) WHEN & WHERE: Saturday 21 April, Corner Hotel
THINK OUTSIDE THE SQUARE AUGUST BURNS RED MOVE OUT OF THEIR BOX AND BE AS MAD AND AS CRAZY AS THEY PLEASE, IN A MUSICAL SENSE AT LEAST, AS VOCALIST JAKE LUHRS TELLS STUART EVANS.
been easy to retain the status quo. But that’s not how August Burns Red move. Leveler was not a game-changer, just a leap forward and a tiny stride backwards. “We have a dedicated and supportive group of listeners who are generally supportive of us trying new things. Our music is progressive and our lyrics are positive. We deliver a message of hope.”
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hey are no longer the new boys of metal. Back in 2003, Pennsylvania’s metal scene was blossoming and the boys of August Burns Red were still in school. As they worked and studied, they found that music got in the way. It was not a bad interruption from hitting the books. “I’m from South Carolina so I can’t speak for the rest of the band, but I did quit college to focus on music, which is probably a similar story for the rest,” laughs August Burns Red vocalist Jake Luhrs.
Since the release of their 2009 breakthrough album, Constellations, a record that earned them a number 24 placement on the Billboard 200, the band has found itself in strange territory. Guitarist JB Brubaker previously said it was time to break some rules. “You’ll have to ask JB exactly what he meant by that,” Luhrs admits. “I think he was referring to us in general and breaking the rules regarding metalcore as we really wanted to step outside of the metalcore sound. It’s really us thinking outside of the square and showing how much we’ve grown as a band.” Doing the unexpected and thinking outside the proverbial is their norm. After numerous tours, the band recorded two covers of popular songs: an instrumental version of the Christmas classic, Carol Of The Bells and, of all things, a cover of Britney Spears’ Baby One More Time, for the Punk Goes Pop 2 compilation. The band’s musical memorandum contains copious riffs and breakdowns and, in true metal/thrash metal/metalcore style, it is all nicely rounded with frank, thunderous vocals. So when it came to record their fourth album, Leveler, they decided to break some more rules. “We could have played it safe and just made another record like Constellations, but we all felt it was time to move out of the metalcore box. We made Leveler as mad and as crazy as we wanted. We wanted to try different things and take the band and sound in different directions.” Luhrs makes a salient point. After around eight years and a quarter of a million albums sold, it would have
Positivity and messages of hope? Is this a metalcore band? He laughs, “We’re not scary and don’t wear dark or black makeup. We’re just normal-looking dudes who love music.” Luhrs speaks of the band’s different direction, or point of difference, particularly on Leveler. In theory anyway, the points of difference are thus – the drums patterns are faster, the heavy parts are heavier. Of course, shifting direction – albeit slightly – carries risk. Alienating the fanbase is one. “We wanted to keep the characteristics that made the band a success. None of us are really inspired by other metal bands as we just like different things and different sounds. I’m certainly not inspired by metal,” reveals a candid Luhrs. Like many bands, there are hidden stories of triumph and adversity whereby personal addiction and demonfighting are prevalent. Luhrs has battled his own inner monsters, including substance abuse, to take the reins and deliver poignant and emotive performances: “In the past I’ve had problems with alcohol and even with porn. Being on the road and on tour does not help as it exposes you to everything. As a band, we’re one big family which is one big support network.” Luhrs is honest in what keeps him strong. “I put a lot of things down to my relationship with God. If I’m struggling or not right with a situation, I seek His guidance. I also surround myself with good people and a good support network.” Christianity runs deep throughout. They may thrash, pound and belt out ear-exploding lyrics delivered with maximum penetration, yet listen attentively and the lyrics are indeed heartening and optimistic. They do not preach but persuade. Not that everyone has endorsed the band’s lyrics. “I’ve had a few Christians come up to me and tell me that they don’t like my vocals and that God would not approve of a metal band because of the way it sounds. I normally reply by saying that music is a way to express and some people should really listen to the lyrics.” For a proclaimed Christian band, the name August Burns Red has roots in anger. He laughs, “Yeah, apparently the name came from an encounter that our first lead singer
[Jon Hershey] had with his ex-girlfriend. Her name was August and after he broke up with her, she went over to his house one night and burned down his doghouse. Inside the doghouse was his dog, Red. The dog died in the fire and the newspaper headline said ‘August Burns Red’. When the band first started, they all went with the name.” It hasn’t all been brotherly love between band members either. “Yeah, we have our tiffs now and again. We just work through the issues by talking things through. We have a system where we discuss things and everybody can say what’s on their mind.” Luhrs adds that collaboration is also evident during the songwriting process. “JB is our main songwriter. He’ll write lyrics and a basic drum pattern and will then email it to everyone so they can familiarise themselves with the track and prepare comments and feedback when we meet. We talk about what we like and what we don’t like. It’s all very open and transparent.” Over the past eight years, they have also had three different vocalists – each one’s name coincidentally started with the initial J. Luhrs promises it is not a prerequisite to join the band. Regardless of the band’s recruitment policy, it’s been a big few years for the American rockers. Success, praise and goodwill have followed, seemingly wherever they’ve toured. “We’ve toured with a variety of bands and never thought that I’d get to travel the world. It’s all been such a blessing.” WHO: August Burns Red WHEN & WHERE: Saturday 21 and Sunday 22 April, Billboard
MAKING A NAME AIDED BY A HYPED BLACKSTREET COVER, 23-YEAR-OLD MELBURNIAN NICK MURPHY – KNOWN TO FANS AS CHET FAKER – IS CAUSING A STIR HERE AND ABROAD, WRITES ANTHONY CAREW.ha
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s he bubbled up through the blogosphere in 2011, Melburnian beatmaker Chet Faker was known only by his big beard, but offered no real revelations. It was a case of semi-anonymity for the local bro-made-good on the back of his inspired cover of Blackstreet’s killer 1996 new jack swing jam No Diggity. “I’m a bit old-school in my way of thinking, sometimes,” says said Chet Faker. “Because people see music as such a personal thing, when you sell your music, these days, you’re actually selling a personality; you’re selling yourself. I think, because of that, a lot of musicians get confused and think that because a lot of people like their music it means a lot of people like them. That’s not the case, and I don’t want to ever think that way myself.” Thus, Chet Faker is Chet Faker. Except he’s also Nick Murphy, a 23-year-old with a hometown history, here, playing solo acousticky jams as Atlas Murphy and in the questionable rock’n’roll band Sunday Kicks. Who plays shows as Chet Faker, now. And tweets. And handles promotional conversations. “I’m not completely devoted to anonymity: obviously I’m doing this interview with you right now,” Murphy offers. “But I prefer to keep my head down and focus on the music; I’m in no rush to let everyone know everything about me. I don’t want to put my personal life at the forefront of my music.” The release of the debut Chet Faker record, Thinking In Textures, means that the music is very publicly out there; but, in turn, the songs shed a light back on their creator. “They’re all personal experiences,” Murphy says, of said songs, “there is a lot of information about me in every song. I’m not going out of my way to let everyone know, but I’m not trying to hold back either; in interviews, if people pose those questions, I’ll answer them.” Of course, answering questions, Murphy is more philosophical than confessional. “[My songs are] about all these different situations, but about my mental reaction to those situations,” he offers, “[like] my initial negative
reactions to something, then me convincing myself I should be thinking or feeling a different way. Often I can’t think that clearly in my own head, but when I put thoughts through music it makes things a lot clear to me.” What does Murphy mean that he can’t think clearly? “You can get stuck in your own head,” Murphy offers. “Everyone thinks a certain way, and sometimes problems that pop up in your head can be solved just by thinking. But when you’re putting it down in a song, you’re putting it through a different process, and so, as a result, you start to think about these things in a different light, and it can be really elucidating.” Further elucidation for those seeking the man behind the jams: Murphy began making music as a 15-year-old; first on the piano at his grandparents’ house, then by picking up guitar, then, soon after, on cracked computer software. It was a sudden rush from never playing music to playing it nearly all the time. “Fifteen years old is the perfect time to start,” eulogises Murphy. “That’s right when you’re beginning to realise that the world isn’t fair, and you’ve suddenly got this inner turmoil. And because you’ve got all this energy and these thoughts you need to find an outlet. I just fell upon music.” Over time, Murphy would flip-flop between modes of music-making, from focusing on beatmaking to devoting himself to making earnest acoustic tunes. He’d play out with Sunday Kicks or, occasionally, as Atlas Murphy; but electronic music was always something he’d do at home, or in file-swapping collaboration with friends, never a performative thing. “I was swapping between them so much over time; I suppose it was inevitable that I’d eventually meld those two parts together,” Murphy shrugs. Thus, Chet Faker, where Murphy’s smooth croon and fondness for analogue keyboards is set against beats cut like head-noddin’ hip hop, delivered with an earnestness that has James Blake a routine fallback for comparisons. It’s a sound that’s earned him countless online clicks, starting with that cover of No Diggity. “I got home after a late night, and I’d had way too many Red Bulls so I wasn’t going to sleep,” begins Murphy, telling a genesis story that feels well-rehearsed already. “So I was working on this beat. I finished the whole instrumental really quickly, and it was always going to be an original song. I’d never thought of doing someone else’s song; I was never a huge fan of doing covers. But I was trying to do a vocal and it just wasn’t working. No Diggity was stuck
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in my head – I’d heard it out at the bar that night – so I just sung that over the top, and finally went to bed.” Listening the next day, Murphy “was defeated by the fact that it would have to be a cover.” Defeated? “Not defeated,” he clarifies, “I was happy to leave it that way, it sounded great, but all of a sudden I had this song that was mine become this song that was someone else’s. It’s pretty funny: it could’ve very easily been an original song, and maybe things would’ve been totally different.” Though he’d been working in a Chet Faker style in the months leading up to that fated eve, this pseudo-cover felt like the first time Murphy had “comfortably got the style [he] was trying to get”, so, it being 2011, he put it online, first on YouTube, back last February. By June it was all over blogs, inching up the Hype Machine charts. “That’s when I started getting all these emails,” Murphy recalls, “and when I had to start thinking about getting a live show together.” “It was a very tense time. I’d wake up in the morning with software patching ideas running through my head. I found it hard to concentrate on anything else... This project was never designed to be done live; it was only ever supposed to be a bedroom/studio project. I never anticipated that I’d be playing Chet Faker shows with a whole band, but here I am.” WHO: Chet Faker WHAT: Thinking In Textures (Opulent/Remote Control) WHEN & WHERE: Thursday 19, Saturday 21 and Sunday 22 April, Toff In Town INPRESS • 25
HOME COOKING
THEY CAME, THEY SAW
HAMISH GEE – DRUMMER FOR KIWI CHART-TOPPERS THE FEELERS – EXPLAINS TO NIC TOUPEE WHY WE MIGHT YET BE SEEING MORE OF THEM ON THIS SIDE OF THE DITCH.
LOCAL TRIO IOWA NEVER THOUGHT THEY’D SEE THE DAY THEY’D HAVE AN ALBUM OF THEIR OWN IN THE SHOPS, WRITES IZZY TOLHURST.
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f a t-shirt existed sporting the amusing slogan ‘I’m Big In New Zealand’, Christchurch band The Feelers should rightfully have one each to sport as they walk to the milk bar for some tasty NZ foodstuff. Because they are – and for the last 20 years have been – consistently massive at home. With a track record that would cause many fellow Long White Clouders to Covet Their Neighbour’s Chart Positions, The Feelers have had three #1 Albums, seven #1 singles, and more radio airplay than any other NZ band in the last decade.
Melbourne three-piece Iowa are regularly commended for their musical sincerity and honest live performances. According to bass player Jordan Barczak, it’s something they’ve always strived for.
Gee and the band are optimistic that their show will not only appeal to existing Australian fans and expat Kiwis, but also that their eclecticism may earn them some new fans. Gee believes the beauty of their indie sound is that there’s something for pretty much everyone.
“That’s the main focus of the band. We all grew up on all the ‘90s bands, and they were great live performers and they wrote great songs. And that’s the thing; we’re just playing true to all our influences. We’re not trying to fit into a particular sound or genre, we’re just doing what comes out and what we all feel comfortable and happy with.”
“We have such a great variety in what we’ve released that we have a really broad audience,” he tells. “It’s common for us to play here in NZ to have 18-yearolds moshing alongside old age pensioners (moshing slightly more gingerly) – that’s our demographic. Quite often the pensioners get into it just as much,” he laughs. “We released our first album in 1997 and it went straight to number one, and were suddenly playing sports stadiums. Now those teenagers have grown up with us, and many have families now and bring them along to our shows. ”
The Feelers admit that having continued demand for albums and tours at home has made them a little complacent about extending their profile further afield. However, with their latest album Hope Nature Forgives they’ve decided to test the waters in Australia, and drummer Hamish Gee explains why The Feelers have dusted off their binoculars. “We released the album in August and have just released our second single Didn’t Want To Fall In Love in Australia, so we’re coming over to promote that, but also just to promote the band in general. It’s been a long time since we’ve been to Australia” he admits ruefully. “Our singles have been played on radio in Australia and we’ve wanted to come, but we’ve been doing a lot of work in NZ, which makes it harder – to be honest, we’ve become complacent.”
For the musically naïve enquiring about the trio’s ability to make such rich, loud music with but three humble components, Barczak chuckles, and puts to rest any concerns on the matter. “I think we recently handed out earplugs to make it a little easier for the punters to digest. But it’s not loud for the sake of sheer numbers, with heaps of amps and stuff; it’s rich dynamically, and dynamically loud. It’s all based around big drums, big guitar and big bass, and everyone knows their role. We’re describing our sound as big, wide-pounding drums with bass cutting through, and almost acting as a rhythm guitar at times. And then Dylan’s wall-of-sound of guitar. And I guess that’s how we achieve the volume. At the end of the day, breaking down all the songs has always been a focus for us.”
“We set out some goals when we first started, about what we wanted to achieve with the band… to do little things like record live and release the two seveninches and move towards an album. So it’s been good that we’ve been able to stick to those goals, and push the band forward. For all of us, this has been the most enjoyable band we’ve been in, and there’s no conflict of interest when it comes to the style or direction.”
“Our new manager is an Australian, and he lit a fire under us and said, ‘Go to Australia!’ I think maybe he wants to move back there, so has an ulterior motive” Gee chuckles. “We decided that if we want to try to really crack Australia, it might make sense to move there: we’ve thought about it before but, you know, life just crept up on us and we put it off. Now might just be the right time – it’s not out of the question that we’ll make a permanent move.”
It’s also a recollection that’s reflected in the album title, Never Saw It Coming, not to mention a tribute to some particular indie rockers.
Their name, however, required a little less dynamism. “I was flying home from a long-haul trip, and I saw it in this list of independent record stores in America. So when we were brainstorming band names I looked through my phone and that one just stood out. That was it really. And there are names like Kansas, Phoenix, and Boston that are already gone, so Iowa was the next one!”
“The title came about from a Deerhunter track that really stood out to us, and I think when we were just brainstorming a list of ideas that one seemed particularly relevant. Mostly because we never envisaged getting to the point of making an album. We always said that we wanted to, but it was quite a journey from being selffunded and being able to afford the studio time and putting all the extra hours in to put the album together. So I guess why we like that title is because we were kicking all these little goals, but we never thought we’d get to that point.”
WHO: The Feelers
“We have no real reason why we haven’t included Australia – maybe because it is so easy. But recently we’ve found ourselves working way too hard here, so we have decided it’s time for a ‘working holiday’ in Australia and catch up with family and friends.”
“The two days were a budgetary constraint, but the whole goal of the album was to have a really live, raw sounding album, and we thought the best way of doing that would be to record it at once. We were able to knock out the majority of songs in one or two takes, and I think it comes across on the album.”
With their debut album, Never Saw It Coming, set to be dropped at the end of April, Barczak recalls the band’s earlier days (the line-up is completed by drummer Matt Rooney and guitarist Dylan Stewart), and the creation of goals which are now – apparently unexpectedly – coming well and truly to fruition.
They’re hoping Australia not only forgives their long absence, but welcomes them warmly enough that the band are tempted to stick around. Gee believes there’s a chance that if all goes well we might see a lot more of The Feelers.
It’s not as though they keep their passports entirely stamp-free, in fact the band make regular trips to Europe to satisfy their rabid fans in both Switzerland and the Czech Republic, as well as the odd swing by Swinging London. But just as many Australians pick look North rather than east on the map, The Feelers have slacked on their close-to-home visitations.
financial limitations of a self-funded band, provided a sense of urgency under which Iowa work best.
WHAT: Hope Nature Forgives (Border) WHEN & WHERE: Thursday 19 April, Northcote Social Club
WHO: Iowa WHAT: Never Saw It Coming (Aerial Mines Records) WHEN & WHERE: Saturday 21 April, Phoenix Public House
According to the band’s bio, the debut was “recorded over two frenetic days,” which, beyond being the
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26 • INPRESS
themusic.com.au
PITTER PATTER
STATELY SOUNDS
ROGER SANCHEZ’S “JOCK” SON MAY NOT BE FOLLOWING IN HIS DAD’S DJ FOOTSTEPS BUT HE TELLS CYCLONE THAT HIS DAUGHTER MAY BE ON TRACK.
NICK ARGYRIOU WRAPS HIS HEAD AROUND THE MUSICAL MOODS OF AIDAN ROBERTS, AKA THE MAPLE TRAIL.
A
idan Roberts is on his way home to the Blue Mountains via train when we connect, then disconnect and then connect again. He’s just come off, and is about to launch back into more shows, on the latest Lanie Lane tour. The man’s third solo release under The Maple Trail moniker has just been freed and his production workload is as hectic as always. Then there’s Tubular Bells For Two, the musical project Roberts shares with Daniel Holdsworth. Through Tubular Bells For Two the pair interpret the classic ’70s Mike Oldfield record, Tubular Bells, in a multi-layered sonic spectacular that finds two men playing over 20 instruments to realise its sound. He’s clearly got a bit on has Roberts, so downtime is crucial. “I’m really looking forward to getting back home tonight because I feel like I’m always running off somewhere,” he laughs. “I mean between Lanie’s stuff [Roberts plays guitar], Tubular Bells, Belles Will Ring [his original band] and The Maple Trail, I’m pretty much full to the brim these days.” Pulling together all of this incredibly assorted back-catalogue of genre and melodic activity has placed Roberts in good stead, with his creativity now flourishing more than ever. Cable Mount Warning is a wonderfully textured, dreamboat of a release that recalls the works of Nick Drake and Oldfield to name a couple and, as Roberts explains, the effort expended crafting the album was as graceful as the resonances we hear on the finished product. Time spent writing the album spanned some 18 months and took Roberts to New Zealand, the Blue Mountains with Belles Will Ring bandmate Liam Judson who mixed Cable Mount Warning, as well as to Roberts’ urban home-studio in Stanmore in suburban Sydney. “I remember hiking a lot through New Zealand and because I find remote places really inspiring – it gives my brain room to be creative – ideas and words started coming together,” he says. Carrying his notebook around the abundant NZ landscape, Roberts would pace himself mentally before heading back to New South Wales to begin piecing the puzzle together.
“Cable Mount Warning came from all of these thoughts I had that were bubbling away from the other bands I’m in and from all the travel,” he explains. Old songs have resurfaced and been re-written, new songs have evolved and now The Maple Trail headspace is clear again. “I was constantly committed to things every night and living in a loud area and I felt like I needed to get back to a quieter existence I once had when living in the hills [Blue Mountains],” he informs. That said, the actual recording took place in Stanmore, yet Roberts still managed to streamline the sound of the record into a calmer mode. Writing in the restful mountains before laying down the tracks in urban Sydney, planes buzzing overhead, would be Roberts’ principal challenge, but he made it work in his favour. “In the record you can sometimes hear aeroplanes so I decided to embrace it; like doing an acoustic-guitar take then a gigantic jumbo [jet] would come over, but I liked it because it gave the record a sense of place,” he says. Moving back to the Blue Mountains in the middle of 2011 allowed Roberts to complete the recording in the “nice timber house” he rents from his mother. Finding whatever acoustic instruments were strewn about the place at the time, Roberts was all of a sudden shaping an almost entirely barebones soundscape. “I hadn’t planned it that way but acoustic parts were coming through more and more: pots and pans, distorted acoustic guitars, the violin bow,” he explains. Intimate, wintery, sparse and stately, Roberts has no doubt generated 2012’s most intellectual Australian folk album thus far. Get on board. WHO: The Maple Trail WHAT: Cable Mount Warning (Broken Stone) WHEN & WHERE: Tuesday 24 April, Gasometer
PERFECT HARMONY
Saint Jude are a relatively new entity too, the story beginning a couple of years ago when vocalist and rhythm guitarist Brooke Penrose and drummer Bill Deeble – who also act as the rhythm section for fellow Melbourne alt.country purveyors, Little John – were on the lookout for something new. “We actually met through our exes, we were both dating architects,” laughs Penrose on the origins of the group. “We both had a shared interest of music with harmonies, of music with, well, it’s kinda hard to describe, but we had a shared interest in music,” he goes on. “So we started playing together a couple of years ago and started doing some home recording and started to build it up, which was when we both joined Little John. So we’ve been honing our skills through that, and then we started recruiting [for Saint Jude].” As a duo, Penrose and Deeble released what’s become known as The Mountain EP (officially unnamed, but so known because, “it has a mountain on the front cover,” laughs Penrose) in 2009, before recruiting, as he says, a crack band around them, all five of these players coming together in the studio over the past year. “We were a recording band before we were a
Last year the Stealth Records’ boss experienced a second crossover hit in the B-52s-sampling electro-hop anthem 2Gether, featuring Far East Movement. “I had a lotta fun working with them,” he says of the Like A G6 stars. Sanchez is now cutting his first album since 2006’s Come With Me, as well as assembling a new Release Yourself brand mix compilation ahead of his Ibiza season. “It’s definitely house, and definitely danceorientated,” he says of the material. Yet Sanchez, who’s dabbled in everything from hip hop to electro to rock, is bound to introduce other elements. He’s already lined up
The DJ, just returned from Miami’s Winter Music Conference, is excited that dance music should be so “massive” in the US. At the same time, Sanchez welcomes the resurgence of deep house in the underground – and its merging with techno. In fact, he did much to break the ‘Dirty Dutch’ tech-house sound globally, mentoring Laidback Luke. More recently, Sanchez has teamed with Sidney Samson for Flashing Lights (remixed by Australia’s Stafford Brothers). Nevertheless, some – among them Santigold – claim that, on a mainstream level, today’s EDM is depressingly homogenous. Sanchez foresees a change. “It’d be lovely to see [more diversity] – and I think that eventually you will see more. You just need the breakthrough artist. But I do think that the scene itself has developed to such a point that diversity is almost inevitable.” The jetsetter is back in Melbourne to play a rare intimate club show – another microtrend (international DJs typically join epic festival bills). “A smaller venue means I’m closer up with the crowd and I’m really being able to feel their vibe,” Sanchez enthuses. Sanchez, a Dad himself, would be chuffed if his offspring follow him into the DJ world – but there’s no pressure. His older son loves music, but is primarily “a jock”, playing basketball. And Sanchez’s youngest? “I’ve got a little daughter,” he reveals. “She hasn’t followed me in the DJ thing yet, but she has her own little Hello Kitty headphones, so it may not be that long... [But] I’d love them to do whatever makes them happy.” WHO: Roger Sanchez WHEN & WHERE: Saturday 21 April, Pretty Please
A SELF-CONFESSED VINYL JUNKIE, DJ/PRODUCER/TSUBA RECORDS BOSS KEVIN GRIFFITHS TELLS CYCLONE THE BEST MUSIC IS ALWAYS FOUND ON WAX.
I
Born of southern-fried rock’n’soul, Saint Jude harks back to a time when the power of a band behind some good old-fashioned country rock harmonising was the key – think The Band, Little Feat, perhaps a dash of Drive-By Truckers in there (minus a guitar or two) and you’ve got what these cats have been cooking for the past 12 months, a record which sees the light of day this week.
Growing up in eclectic Queens, the DominicanAmerican gravitated towards hip hop. (He cameo-ed in the cult flick Breakin’!) As a teen Sanchez first spontaneously jumped behind the decks at a private party, catching the DJ bug. He’d then embrace America’s new countercultural club music: house. Before long, Sanchez was spinning professionally. In 1990 The S-Man unleashed his first hit, Luv Dancin’, as The Underground Solution on Strictly Rhythm. He’d enjoy his biggest record in 2001 with the filtered house Another Chance – a UK number one. That same year Sanchez finally presented his debut album, First Contact, via Defected. The in-demand remixer scored a Grammy for his reworking of No Doubt’s Hella Good (Sanchez is looking at the statuette in his studio as he speaks). Did the band congratulate him? “The funny thing is that I heard more from Nellee Hooper, who was the guy who actually suggested me for the remix – ‘cause he produced the song. He was like, ‘I’m so glad you won it – I really wanted you to remix it and I’m glad they listened to me.’”
collaborators like Afrika Bambaataa and Christina Milian, the R&B starlet best known for Dip It Low. Milian, who’s signed to Lil Wayne’s Young Money for her comeback, sought out Sanchez on the recommendation of a mutual acquaintance. “She really wanted to get into dance music – specifically house music,” he says. Sanchez intends to lay down Milian’s vocals for one track in Los Angeles prior to his upcoming Australian tour.
WAX WORKS
LOCAL BAND SAINT JUDE BONDED OVER MUSIC WITH HARMONIES, BROOKE PENROSE TELLS SAMUEL J FELL. t’s not too often a record drops that grabs you just right, doesn’t require any growing time, ticks all the right boxes and has you hankering for more as soon as the last notes have died away. Melbourne quintet Saint Jude, after a gestation period of more than a year, have released one such album for me, their self-titled debut no less, and this is one which is destined to stick around in the ol’ CD player for quite some time to come.
N
ew York’s Roger Sanchez chucked in his architectural studies to become a superstar DJ – fortunately with the support of his engineer Dad. But, like that wannabe architect Brad Pitt, he still dabbles in construction. “I’ve actually always been involved in design – be it graphic, be it architectural,” Sanchez admits. “I design quite a few DJ booths. I’ve always been involved with the design of my houses or spaces. It’s something that is part of me, so I find different ways of expressing it.”
N live band,” says Penrose, and what a recording band – it seems they locked in tight almost straight away. “It was over the recording process [that we locked in],” he concurs. “Bill and I had laid down a couple of tracks and then Ryan [McCarthy, lead guitar] came on board and started making it a bit more jangly and a bit more riff-driven. And then Bern [McMahon, keys] came on board, he’s just the most fantastic keyboard player, he added these tones and things that just really lifted the whole thing. And then Mick [Stylianou, bass] has just got this great vibe and a great kinda boppy bass playing style. So as we were recording, it all just started to come together, and then we started rehearsing it, it was like, this is easy, this is just what we wanted it to sound like.” The results are, as I’ve alluded to, a great effort for a band who had not played live together prior to recording, everything gelling into this big-sounding, four-part harmonising, country-tinged rockin’ beast – just how Penrose and Deeble originally pictured it. “I had this sound in my head, this kinda country/ rock’n’roll sorta soul sound, and it developed from there with the addition of [the guys], but it’s definitely what we had in mind, that kinda Faces thing where you’ve got the perfect band of guitar, keys, bass and drums and vocals,” he says. “And I always think of this band as a pop band, we’re making pop music… sing-along music, it’s about the song and the way that we play it.” WHO: Saint Jude WHAT: Saint Jude (Independent) WHEN & WHERE: Friday 20 April, Tote
owadays a credible DJ/producer needs a credible boutique label. Brit Kevin Griffiths has an especially cool one in Tsuba Records, specialising in deep house and soulful techno, at a time when running labels is no longer a money-spinner. “Yes, it’s definitely a labour of love – and also an addiction,” Griffiths says freely. “My friend Nick [Harris] at NRK [Sound Division] summed it up rather well when he said that these days running and owning a label is more of a lifestyle choice.” Regardless, Griffiths is less a ‘DJ’ than an ambassador for Tsuba – and the underground. Most dance types go through a series of phases before settling on a direction. Some are old heavy metallers, others b-boys. Griffiths was an indie kid. “I was heavily into the whole ‘Madchester’ thing,” he divulges, reminiscing about the many iconic bands he caught live, including Happy Mondays. “I had the dodgy indie haircut, flares and generally a baggy vibe going on! At that time dance music producers like [Andrew] Weatherall and [Paul] Oakenfold started working with bands. So [for me] it was a gradual move from being an indie kid to a raver.” The DJ loves his warehousey sounds to this day. “I recently found a mix I did from 2002 and, actually, I still have the same vibe now as I did then – quite deep and musical with the odd classic thrown in. My tastes do ebb and flow, to a degree, but it’s always at the deeper end of the spectrum, with emphasis on great melodies and a strong groove. There’s such a huge volume of music released these days – I spend a lot of time searching for the gems, which invariably are on vinyl. Anyone can start a digital label but, if you’re doing vinyl, the music must be of a certain standard or it won’t sell at all – so a lot of the best tracks are on wax.” Griffiths worked in music distribution and minded labels prior to founding Tsuba in early 2006. “I’ve always been an avid collector of vinyl, but it was when I started Tsuba that I began to take DJing a bit more seriously.” Knowing today’s indies can’t rely on music sales, Griffiths has ensured that Tsuba remains viable by throwing label parties – and touring solidly. (He’s played such exotic destinations as the Canary Islands!) Griffiths lately relaunched Tsuba’s
themusic.com.au
website, with a shop selling vinyl and downloads. “I was pleasantly surprised by how many people want to buy direct and support the label.” Griffiths’ efforts have paid off. Tsuba is among Resident Advisor’s most charted labels. The company has recently issued its first ‘artist’ album – by Montreal’s Tazz. Tsuba even has a Melbourne signing in Mic Newman. “Mic has huge talent and really stands out for his musicality,” Griffiths enthuses. “Mic’s latest track for Tsuba, Knickerbocker, is a future classic in my opinion!” Tsuba also exists as an outlet for Griffiths’ own music – with his 2009 Cantona Kung Fu number two on Beatport’s Deep House Chart for a month. The Tunbridge Wells man admits to being “a slow producer” because of his label commitments. However, he’s just completed an EP with mate (and Clive Henry’s sometime Peace Division cohort) Justin Drake. Though Griffiths champions underground music, he does have his guilty pop pleasures. “My daughter is five and is hugely into pop music, so I listen to a lot of it. Cee-Lo Green is a fave and [The Lady Killer] is a great album. Just don’t get me started on One Direction!” Indeed. Griffiths, a fan of Coopers beer, is now a regular visitor to Australia. “I’ve been a few times and it gets better each time. There’s always great enthusiasm from the crowd and smiling faces and, musically, the sound of the label seems to work really well down under.” He’ll guest at Friday’s Fluidlife Lunar with Newman. Expect to hear fresh Tsuba tracks from artists like Frankfurt’s Sascha Dive – plus hot remixes. Says Griffiths, “I’m fortunate enough to have an arsenal of tracks no one else has – which is important these days as a DJ.” WHO: Kevin Griffiths WHEN & WHERE: Friday 20 April, Fluidlife Lunar, Onesixone INPRESS • 27
SINGLED OUT WITH BRYGET CHRISFIELD
ON THE RECORD
T-REK
Creep On The Dancefloor
Freakshow Disco Productions/Rubber Records
LIVE
Gotta love a press release that reflects a finely tuned sense of humour: “Here it finally is, in all of its mildly retarded glory.” Admired this track as my first dancefloor moment upon arrival at this year’s Big Day Out and wish to hear it again many times over in dingy nightclubs. That is one helluva dirty riff and all can relate to this amusing subject matter: “Well I’m the creep on the dancefloor/And I’m the reason that you’re leaving for.” The breakdown would mix superbly into Marilyn Manson’s The Beautiful People (but do not mash up! Hate them!) Be sure to check out the accompanying video and meet a plethora of dancefloor creeps. Attention DJs: What could be more fun than initiating two of the best things in life – dancing and laughing – simultaneously? Get this in your box of tricks.
CHET FAKER
DIRT FARMER
“Well, if you can get past the silly name then we’re left with some pretty straight-up crooning,” suggests Maiden ruefully, “jazzy folk tunes with an at times emotive cracked voice over gentle house breaks.”
This gently rollicking, summery track sounds like what’s playing while you gaze longingly at your first crush. Or the feeling you get inside when you hear the slowly amplifying sounds of an approaching gelati van (why do they always play Greensleeves?). There’s shades of Mystery Jets, which is a-okay – Dirt Farmer (Kick It): “I can’t wait to see you in the middle of the night”; Mystery Jets (After Dark): “Come 2am and you whisper in my ear.” Overall verdict? Four shovels out of five.
EUGENE MCGUINESS Shotgun Domino
Opulent/Remote Control
Island/Universal
Victory/Riot!
Ivan Maiden and Joy Orbison walk into a bar. They’re joined by Jeff Leppard and Roy George. The mood is tense. One of their own has outed themselves, bringing undue attention to their group. “He doesn’t even sound like Chet Baker,” begins Leppard, breaking the ice. “That’s why he’s Faker,” offers Maiden, “and anyway if Baker came back do you think he’d still be playing smooth West Coast jazz or would he kick out some folk-influenced jazzy electro R&B amalgam like Faker’s doing?“
Gin Wigmore is a sultry songstress from New Zealand whose second record, Gravel & Wine, sees the free-spirited singer embrace her wild side. With a greater sense of direction than 2009 debut, Holy Smoke, the theme throughout Gravel & Wine revolves around an uncompromising and defiant protagonist who’s just as likely to set your heart on fire, literally as well as figuratively.
Stuck Mojo were once dubbed ‘90s metal’s perennial B-teamers and God Forbid are essentially the equivalent in recent years. The American crew’s run of bad luck – predominantly witnessing bands that once opened for them become major players while their own career floundered – culminated with the 2009 departure of founding guitarist/clean vocalist/songwriter Dallas Coyle. Having also signed with a new label, there’s plenty riding on this new album. A home run isn’t a favourable outcome, it’s damn near a necessity.
Gravel & Wine
Thinking In Textures
D
VD
VD
Independent
GOD FORBID
D
Kick It
GIN WIGMORE
“It’s 2012 after all,” chimes in Orbison, “everything’s been done before. Hell, mainstream is the new indie.”
“Yeah, it’s all about the vocals,” agrees George, “a kind of subdued multi-tracked soul; they’re mixed high, so your attention is drawn to them.” “But it all sounds so new, and hints at so much from the past,” laughs Leppard, “everything from fractured hip hop to electro folk. Wait! Is that even a genre?” “Not to mention you can sing along,” begins Orbison. ”He sounds smoky and thoughtful; the tunes are quite beautiful.” They all sip on their coffees for a few moments, lost in thought about the enigma that is Chet Faker. “He’s a little bit of a modern lover too,” offers George, “songs about lust, sex and the ladies, but he does do it with style. I’ll give him that.“
Opening track, Black Sheep, sets the tone for the entire record, not necessarily in the sense of musical energy but with regards to Wigmore’s mindset. The lyrics, “Everybody’s doing it so why the hell should I?”, sum up Wigmore’s rebellious attitude, while “Once you go black, You never go back” twists the popular adage from a physical expression to a state of mind, indicating Wigmore’s intoxication with her newfound state of unruliness. Yet it’s not the words on the page that sell this persona but the raspy delivery of Wigmore’s voice that conveys a genuine, and at times, complex character. The armour is stripped away momentarily on power ballads such as Saturday Smile, where a yearning for connectivity in an emotionally reckless world opens up an underlying vulnerability. “I’ve stolen all the stars to make a wish we can fly” is a hopelessly romantic line and yet still shows a willingness by Wigmore to take what she wants, when she wants it. Musically, Gravel & Wine mostly delivers a honky tonk saloon style of rock’n’roll that helps elevate Wigmore’s sass. Of course one can expect this kind of thing when recording in the US Deep South. Gravel & Wine plays as reckless, joyful and heartfelt. With western themes and southern charm, this may be the record that sees Gin Wigmore adopted as our own.
Equilibrium
Despite significant personnel changes, Equilibrium very much sounds like the same band who unleashed under-appreciated, metalcore-tinged melodic thrash gems like 2004’s Gone Forever. Ex-Himsa guitarist Matt Wicklund adds a few new flavours, while fellow axeman Doc Coyle attempts to compensate for his brother’s absence, via less-than-stellar, albeit enthusiastic clean parts. Doc and his sibling had an undeniable musical connection, but he also has chemistry with Wicklund. Furiously heavy rhythms lay the foundation for Overcome’s emotionally-charged leads, evoking classic metal sensibilities. Is the record the unqualified success they so desperately required? No, but it’s another solid effort. Kicking off in typical fashion, the hook-laden aggression of Don’t Tell Me What To Dream and My Rebirth still pack a sizeable punch. Closer, Where We Come From, offers many visceral thrills, and Scraping The Walls an anthemic chorus. Although the arrangements are more concise, the greater reliance on formula (especially cleanly sung choruses) can wear a tad thin. After a few uncertain years, perhaps the album title is a message that they’ve regained their sense of balance. Equilibrium is more than a mere transitional record, but likely won’t boost God Forbid’s profile too much.
Ready for a noodle-smoking fact? This track features a sample within a sample: Tricky’s Murder Weapon sampled Henry Mancini’s Peter Gunn and said Tricky tweaking is sampled herein. Ouch, my head! Basically, anything that references Peter Gunn (see: Grandmaster Flash’s Style or The Art Of Noise masterpiece, to name a few others) gets a head start. Slamming drumbeats and brass (lifted directly from Murder Weapon) fire you through Shotgun and the verse melody sure is catchy. There’s awesome lyrics – “Every time I dance/Every time I dance with you/I stagger out the nightclub black and blue, battered and bruised” – but there’s also something coitus interruptus about this tune. SO wanted it to blow my head off, but it relies WAY too heavily on that killer (sampled-sample) hook. Close, but no cigar.
The others agree, staring into their coffees. They’re happy for the discussion. But ultimately nothing feels resolved.
USHER
CHILDREN COLLIDE
HOODLUM SHOUTS
JACK WHITE
Universal
Poison City Records/HelloSquare
Sony Music
These four ruffians from the nation’s capital remain territorial to the sounds of their countrymen, particularly The Nation Blue. Leasing the guitar sound and the astute imagery of isolation, their Taswegian allies surface as clear artistic muses. The symmetry of the two extends beyond the surface, however, with both bands imprinting their mark on the cultural identity of Australian punk rock. Young Man Old Man is the band’s first entry, but nonetheless one of significance.
Jack White himself busts out the Rhodes piano scale that so startlingly launches us into opener Missing Pieces. “I was in the shower so I could not tell my nose was bleeding.” This is the first phrase White croons on his debut solo outing and it serves as a reminder that to miss a single lyric would be considered a serious blunder. Sixteen Saltines incorporates an urgent intro as memorable as that of Beds Are Burning by the Oils. Love Interruption was love at first listen and each subsequent airing further romances your lobes – it’s lascivious enough to leave a hickey. There’s something visceral about White’s vocal affectations and imitators are destined to fail. Hypocritical Kiss is perfectly complemented by Brooke Waggoner’s lilting piano – bewitchingly deadly. Piano is the instrumental thread that resounds throughout this release, luring you into the saloon for some moonshine during Prohibition. Little Willie John cover I’m Shakin’ sounds like Little Richard’s ghost visited White in the studio to embody this tremblin’ tune that’s simultaneously nostalgic and new: White’s is a more up-tempo take, but the female BVs retain authenticity. The way he pronounces “noivous” is bound to bring you to your knees. Acerbic jam Trash Tongue Talker follows to continue the brilliance.
Climax (Kascade Remix) Sony Music
Was this remixer chosen to complement the song title? Usher probably climaxes every time he looks in the mirror after finishing a set of 1,000 ab crunches. Climax starts off sounding like a tortured electronic donkey and then Usher’s unmistakable vocal kicks in – boyfriend sure can sing! And dance as well. As such, surely Usher doesn’t need Kascade’s drum machines and trancey keys to get him over the line. Okay, now he’s on about “…love each other separately.” Told ya he’s a frequent (solo) flyer!
MADONNA
Girl Gone Wild Universal
Newsflash, Madonna: you can no longer get away with referring to yourself as a “girl”, you’re over 50 and, as such, more than a woman. MDNA calls it herself: “I know, I know, I know I shouldn’t act this way.” The queen of reinvention has played it safe here with yet another mardi gras anthem or aerobics soundtrack. Would still go see her live, though.
MACHINE
Deckard (Live) Independent
Soothing yet heartbreaking, Deckard is a slow build – time-lapse photography for your mind. Wrenching, metallic guitar sounds, a whispering backbeat and escalating-riff undercurrent make for six-plus minutes you’ll wish to relive immediately. Music to soften your elegantly wasted comedown. More of this, please. 28 •INPRESS
Bob Baker Fish
Marc Zanotti
Monument
Young Man Old Man
From the opening capo-adjusted EQ pedal-effected bassline of The Flat Earth to the closing tremolo picking of Tired Eyes, Children Collide’s third record, Monument, is a sprawling voyage of psychedelic eeriness and galactic motifs. Singles, Sword To A Gunfight and Cherries, provide a strong dose of rock to get things started and help fans become reacquainted with Children Collide’s more radio-friendly music. But it’s on less overtly assertive tracks that Monument really finds its stride. Ripe and somewhat mellow songs, Black Lemon and Praying For Sunshine, really open up the record, creating a spacious environment and allowing the guitar effects and singer Jason Mackay’s voice to have a richer impact. The vigorous Prussian Blue pays homage to both Nick Cave’s Shivers and Phil Collins Sussudio via its opening line, “I’ve been contemplating su-susussudio”, a nice touch considering frontman Mackay’s involvement in Triple J’s Straight To You tribute to Nick Cave. Meanwhile, Summer Assassin sounds almost Kasabian-like during the softer moments of Velociraptor. Ultimately, Monument develops on the band’s now established rock-a-delic sound. Mackay’s lyrics invoke otherworldly imagery, exploring cosmic concepts while the outer atmospheric music floats through the void of space, bouncing its signal off distant planets and echoing back through your speakers.
Lyrically the album follows a thematic discourse focused on the historical rather than political. A fragility echoes upon Sam Leyshon’s vocal cords as his dark narrative remains nonchalant throughout. Young Man, the mid-album sojourn, brings his storytelling to the forefront, with nothing to hide behind except a solitary electric guitar. Pushing Squares begins with a guitar twang reminiscent of Billy Bragg, before breaking into a Jello Biafra-like high-pitched amble. A muddy rock’n’roll number, complete with a whammy bar emphasised bridge, it’s the closest thing the band will get to a pop song. As the guitar’s headstock is hammered into submission and an undulating bassline enters, the next track immediately follows.
Children Collide have created a record that is deeply embedded in their identity while also expanding the possibilities of their music. Monument is sure to grip existing fans while also causing new listeners to gravitate towards them.
Recorded live, engineer Matt Voight’s prior work with artists including Paul Kelly, Midnight Oil and again The Nation Blue provide more than a reference point. Visceral, brooding and urgent, it offers a counterpart to the imagery alluded to in Leyshon’s storytelling. All elements working in cohesion, A Man Called Possum is the album’s showpiece. Just like the album, it’s haunting but strangely idyllic.
Marc Zanotti
Brendan Hitchens
themusic.com.au
Brendan Crabb
Blunderbuss
“Who’s jealous, who’s jealous, who’s jealous, who’s jealous of who?” Every musician who’s ever existed (or is yet to exist) is jealous of you, sir! Who else could get away with dressing up like a mourning widow for their album cover and still look universally doable? Blunderbuss wrestles with Elephant (The White Stripes) for supremacy within White’s astonishing body of work. Bryget Chrisfield
HIGH ON FIRE
De Vermis Mysteriis Entertainment One/Shock High On Fire may have been the gods of sludge metal over the past decade, and may have created a killer album in 2005’s Blessed Black Wings, but things change. Bands such as Baroness and Kylesa have taken their blueprint for bone-crunching riffs, crashing drums, bowelclenching bass and guttural vocals, all tied together in a jaw-dropping compositional double-helix of execution, and used it like the Biblical Ten Commandments, etched in stone tablets and brandished at the height of an electrical storm. These bands are at their height of their game, and so it could be surmised that High On Fire are at the end of theirs. De Vermis Mysteriis proves that the Oakland power trio are undeniably the kings of the game. From the opening seconds of Serums Of Liao, High On Fire announce their return to their devastating mores. Aided by the relentless production values applied by Kurt Ballou (Torche/Converge), De Vermis Mysteriis offers a sound that is cavernous, yet manages to balance their incendiary live shows with the fluid instrumentation their compositions showcase. The truly impressive nature of the album though is how seamless the tonal shifts are. Where other bands’ attempts at changing the modus operandi could sound trite, here it is organic. The most notable track in this vein is Madness Of An Architect, slowing things down to a doom-metal dirge with an insane guitar solo at its core. Instrumental Samsara also segues into a grinding groove, yet it complements the pummelling that emanates from Bloody Knuckles and its ilk. The virtuoso brutality on display on De Vermis Mysteriis is something that has rarely been touched upon. Brendan Telford
THE BRIAN JONESTOWN MASSACRE
BLOOD RED SHOES
THE FUTUREHEADS
V2/Co-Operative
Nul/Liberator
A Records/Inertia
There is a large demographic of music listeners that are going to adore Brighton duo Blood Red Shoes’ third longplayer In Time To Voices – hey, many “reputable” UK music press outlets are in the same boat. But the contrived angst on display is not enough to proclaim the advent of the new age of rock. In fact, if anything, it spells its demise.
The Futureheads came to prominence at a time in the early-2000s when everyone was rediscovering Gang Of Four and feverish disco. Yet whilst the quartet have proven they were above such trite pigeonholing, their progress has gone relatively unnoticed in Australia. Nevertheless, creating an entirely a capella album as your fifth stint in the long form is something of a strange play. Rant has no new material, instead offering reworked Futureheads standards alongside covers as disparate as Sparks, 13th Century traditional folk standards and Black Eyed Peas. Yet one of the band’s ultimate strengths has been their harmonies, and it is to their eternal credit that Rant elevates beyond being merely a stunt piece and becomes something worthy, not just of repeat listens, but as an album shirking novelty status and claiming its place alongside the highs of their career thus far.
Aufheben
The title for the new album from Anton Newcombe and his band is one of those German words that’s hard to translate into English, but it means something like destroying things in order to make it possible for them to be rebuilt. This might suggest that we’re gonna get something completely different from the BJM, but what would that even be? He’s pretty much done it all over the last 20 years. If anything, Aufheben plays it kind of safe by Newcombe’s standards. The songs are all built from the ground up, with layers of droning noise being placed almost delicately on top of solid, driving drum rhythms. The beats don’t deviate too much from track to track, but it’s the subtle differences with instrumentation and arrangement that provide some pleasant surprises. Panic In Babylon fades in with the beginning of the big beats, with a drone of Middle Eastern sounds thickening out the instrumental, and ends with the sound of sampled and looped kookaburras. Similar exotic sounds patter around on the folky Face Down On The Moon, another instrumental with a lead fluteline carrying the tune. A distorted guitar riff handles the foreground of Stairway To The Best Party – it’s one of only a few occasions where the guitar is not primarily acoustic. One of the strongest tracks on the record, Waking Up To Hand Grenades, could almost pass as The Stone Roses; at nearly ten minutes long, it starts as a medieval lute number which descends into a slow party shuffle. A solid album which reveals itself slowly, Aufheben is a successful exercise in BJM’s typical tuneful weirdness.
In Time To Voices
Blood Red Shoes – Laura-Mary Carter and Steven Ansell – have carved out their craft by balancing on the knife-edge of aggression and tension, which has led to some uneasy moments on stage and reckless abandon on record. The problem with the new record is that whilst certain tracks, such as single Cold, offer a darker edge to their vitriolic indie rock, there is a glut of sounds that refuse to break anything resembling new ground. The title track rings off every other single that has come forth from their oeuvre, Night Light plods along as the “quintessential acoustic number”, and 7 Years fits the obligatory elongated quiet/loud closing track. The nihilistic Je Me Perds is a salicious blast to the head, but also works to showcase what is missing – soul. The production values are silky, the instrumentation is still spiky and competent, yet the melodies generally fall flat, replete of hooks and therefore no repeat value. For a band that have stood on their own fiery soapbox flipping the bird at mediocrity and fangless rock pretenders, In Time To Voices is surprisingly mediocre and fangless. Let’s hope they have the strength to wipe the slate clean and find their inner rebel once more. Brendan Telford
Chris Yates
themusic.com.au
Rant
Meet Me Half Way is the perfect example of how Rant works. The backing vocals swing like a pendulum, a warped barbershop vignette that backs up Barry Hyde’s iconic voice as it jovially echoes, “I want you so badly/ it’s my only wish”. This should be an abomination, yet is more than just a fun misnomer – it gains credence. The skeletal nature of voices as sole instruments could be scary – tapping shoes and handclaps are clearly evident in Beeswing – but the confidence and innate interplay here blows such apprehensions out of the water. Elsewhere, traditional numbers like Sumer Is Icumen In and the rambunctious alcoholic rally-cry The Old Dun Cow soar, their incongruities overshadowed by the ingenuity of the structure and the strength of the melodies. A brave and bold venture, Rant is an unexpected triumph. Brendan Telford
INPRESS • 29
FRONTROW@INPRESS.COM.AU
THIS WEEK IN
ARTS
WEDNESDAY 18 Alma Mater – a new piece from Fish & Game, who have been dubbed “Glasgow’s Live Art supergroup”. This interdisciplinary duo will make their Melbourne debut with a work that straddles forms and invites a completely new view of the world. A filmic tour-for-one (20-minute run-time) it weaves a complex, handheld fairytale for the 21st Century. Opening Day. Arts House until 13 May. Dixie’s Tupperware Party – America’s southern fried answer to Dame Edna, Dixie Longate is a fasttalkin’ Tupperware queen and she will be throwing one of her legendary parties tonight. The Spiegeltent at Arts House, 7.30pm. This Must Be The Place – Sean Penn plays Cheyenne, a bored, retired American goth rock star living in Dublin with his down-toearth wife of 35 years, Jane, played by Frances McDormand. Directed by Paolo Sorrentino, with music from Talking Heads. Cinema Nova, 7.10pm and 9.30pm. Titanic 3D – Jack, Rose, the ocean, a car (and a boat), all amplified on IMAX. Director James Cameron said on the film its point was “to capture the beauty, exuberance, optimism, and hope of Titanic, her passengers and crew, and in the process of baring the dark side of humanity”. IMAX Melbourne, 8.15pm.
THURSDAY 19 Bellowing Echoes – a creative exchange that involves an exhibition, a publication, and a live event. Hosted by Gertrude Contemporary, the project aims to expand perceptions of time while experimenting with community engagement. Curated by Bronwyn Bailey-Charteris and Marcel Cooper. Opening night, 6pm. Gertrude Contemporary Gallery until 27 May.
FRIDAY 20 Hamishi: Nothing Special – a new exhibition from installation artist Hamishi, one of Melbourne’s most exciting young artists. The exhibition aims to explore our glorified hyper reality to prove the world shouldn’t/ doesn’t exist as he builds it. Opening night, 6pm. Paradise Hills Gallery until 5 May.
SATURDAY 21 Collide – two new dance works presented by Collaboration The Project. Introducing Freya List in her debut work Half Full and Paul Malek presents his ninth concept, Evolve. Closing night, 8pm. TheatreWorks. Australia Day – Directed by Richard Cottrell and Jonathan Biggins, a world premiere about the day we all get off work. Is it just an excuse to fire up the barbie or is it a celebration of our national identity? Drawing on his own experiences as an Australia Day Ambassador, Jonathan Biggins takes aim at our national day with fearless wit and good Aussie humour. Opening night, 8pm. Playhouse, Arts Centre until 26 May.
SUNDAY 22 Befrdfgth – an hour of cult clowning, oddity, and low level
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menace. Nominated for a Barry Award this Melbourne International Comedy Festival. Closing night, 9.15pm. The Tuxedo Cat. The Cautionary Tale Of Barry Von Peabody & The Scarlet St Theatre – a miniature world of puppets play out a curious tale of unrequited love, ambition, revenge, and redemption. There are whales, arson, escapes from Nazi Germany, love, and death. Performed and created by the award-winning puppeteer Jacob Williams. Closing night La Mama Theatre Courtyard. Mia & The Migoo – created from 500,000 hand-painted frames of animation, this film itself is a work of art, with backgrounds invoking Van Gogh, Monet, and Cezanne. It tells the fable-like story of a young girl who must overcome her fears on a quest to find her father and save the world from destruction. ACMI Cinemas, 10.30am. Nichaud Fitzgibbon & The Blue Sky Philosophy – listen to jazz with high tea for the final time this Spiegeltent season. Lounge suits, long dresses, and the musical styling’s of Nichaud Fitzgibbon & The Blue Sky Philosophy. Closing today, 11am and 3pm. The Spiegeltent at Arts Centre. Truth – a collection of hyperbolic characters, second-hand costumes, and professional dance moves, all strung together with a true story. The brand new show from the makers of Angus, Ecstatic (Winner: Best Comedy, Melbourne Fringe and Auckland Fringe). Closing night, part of Melbourne Comedy Festival, the Tuxedo Cat 8pm.
MONDAY 23 Baraka – without words, cameras show us the world, with an emphasis not on where, but on what’s there. A film from Ron Fricke, which explores the destruction of nature, images of poverty, rapid urban life, and factories give way to war, concentration camps and mass graves. Astor Theatre, 7.30pm.
TUESDAY 24 Irvine Welsh’s Ecstasy – a new film based on Welsh’s controversial novel, followed by a panel discussion on the book-tofilm adaptation. Like Trainspotting, Ecstasy combines Welsh’s provocative characters and black humour. Cinema Nova, 6.30pm. Loop de Loop – an animation challenge. Each month, animators from around the world create looping animations based on a given topic – this month it’s ‘ROCK’. Loop, 7.30pm.
ONGOING The Plague Dances – written by Marcel Dorney, created by Four Larks (Malthouse Company in Residence 2012). An exploration in dance, the riot of motion and mayhem that spans from medieval rites to modern day marathons of mass movement. “Those who were seen dancing were thought to be insane by those who could not hear the music”– Nietzsche. Tower Theatre, Malthouse until 6 May.
SWEET DREAMS COMEDY DUO THE PAJAMA MEN RETURN TO AUSTRALIA WITH THEIR HIT SHOW IN THE MIDDLE OF NO ONE. MEMBER MARK CHAVEZ SPEAKS TO ALEKSIA BARRON. “I am truly stoked to be coming back to Melbourne.” The warm, effusive voice of Mark Chavez drifts down the phone line from Los Angeles. Chavez and his partner in comic crime Shenoah Allen make up The Pajama Men, a theatrical comedy duo who have, year after year, taken the Melbourne International Comedy Festival by storm. The Pajama Men made their MICF debut in 2009 with their show Versus vs Versus and left with a rather prestigious souvenir – the Barry Award. Since then, they’ve regularly sold out their festival appearances around Australia. In fact, their 2011 show In The Middle Of No One was so well received, they’re bringing it back to the Princess Theatre for a week. Performing at MICF was a longcherished dream for Chavez, who became interested in coming to the festival when he first teamed up with Allen back in 2000. “I was looking at the Comedy Festival for as long as I knew about it,” he says. “To be perfectly honest, we could never afford to do it because it was too much of a gamble.” As The
FILM
Pajama Men built their reputation and following, Chavez kept revisiting the idea of touring to Melbourne, but the cost was simply too high. “Travelling to Australia, especially with an unknown theatre show, is not the best business plan,” he laughs. “Actually, if you get into theatrical comedy, you’re not really a businessman anyway. We looked at going to the Comedy Festival many times, but we could just never make it work.” The Pajama Men were lucky enough to secure a producer who was willing to bring them out to MICF 2009. It wasn’t looking like a particularly lucrative option for Chavez and Allen, but they jumped at it anyway. “Even then, it was never about making money,” says Chavez. “The producer really just covers us not losing our shirts. It was the opportunity to perform on that side of the planet, which was exciting.” Fortunately, the gamble paid off – big time. “We really were shocked and very excited when we won the Barry,” says Chavez. “It was really a hard year personally for me, and
[winning the Barry] was like, ‘Keep trying!’ We were able to go back [to MICF] the next year, it was great.” Since those heady days, The Pajama Men have regularly appeared at the festival, but they never stop evolving – this year will see them perform at the rather large Princess Theatre. Hard as it may be to believe now, there was a time when Chavez couldn’t even contemplate playing to a fraction of his current audience. “We always thought that we wouldn’t work in a room bigger than 200 people, because really, the idea of performing in front of 200 people wasn’t something I could even comprehend as a possibility,” he admits bashfully. “As we got less
green and started performing in front of bigger audiences and became less afraid, we just learned that it’s a different type of audience, and it’s really a lot of fun. We’ve performed in front of large crowds many times, but we haven’t really done that many full-length shows in front of audiences as large as this at the Princess.” Still, given the love that Melbourne has shown The Pajama Men in the past, Chavez is confident that it’ll all work out beautifully. “I’m glad that we’re back.” WHO: The Pajama Men WHAT: In The Middle Of No One WHEN & WHERE: Until 21 April, Princess Theatre
CAREW
WITH ANTHONY CAREW In its journey towards feted status – nominated for an Oscar, winning a best screenplay prize at Cannes, sweeping the Israeli Film Awards – Joseph Cedar’s Footnote has been praised for making a seemingly-small drama play big, but that condescending ‘praise’ comes close to completely missing the point. The familial drama depicts twin Talmudic scholars who happen to be both father/son and conniving rivals; a seemingly niche subject turned into taut cinematic drama then amplified to crowdpleasing extremes via grandiose orchestral stings, dramatic lighting, and many moments of montagey visual flourish. Yet, Cedar employs these stylised techniques without the earnestness that a ‘straight’ critical reading suggests; instead, there’s undoubted irony at play, a mocking quality to how, within any isolated pursuit, the minutia of politics carries a wildly-distorted sense of importance; as if academic philology is not just a closed world, but the very world itself. Which is, of course, the suggestive point: Cedar’s film is about how smallminded men can see their petty politicking and individual crusades as of being of earth-shattering importance; in how the grudges, sledges, and power-plays of those enabling the deaf machine of bureaucracy can have repercussions that ripple outwards. And, most of all, its an unflattering portrait of the unwavering self-righteousness of the masculine ego. Though
ROMANTICS ANONYMOUS there’s a simple universality to its drama – the ancient, eternal battle between disproving father and angry son; time’s cruel march writ along the lines of progeny succeeding progenitor, generation unto generation, for all eternity – there is, undoubtedly, something culturally specific to Cedar’s story. And when I say ‘something’ culturally specific, I mean a whole philosophical undercurrent that pushes the picture towards parable. Footnote is, after all, a study in the pettiness and small-mindedness of a political system; in which mighty men of letters, self-anointed in their own greatness, make decisions that advance only their individual agendas, seek to further only their ideas, their causes, their careers. It’s a film in which men zealously defend their staked-out beliefs with dogmatic dismissiveness. In which human-beings, in all their pettiness and jealousy and envy and blackmailery, conspire to demean peers, defraud the public,
and play the game of spin. And once its dramatic device kicks in – father/son effectively vying for the same state-presented prize for philological study; though in a pleasingly convoluted, corrupted, confused fashion, in which a clerical error soon snowballs into drama far greater – Footnote’s most powerful motif begins to rise up. It transforms into a teasing take on moral scruples, in which the forward narrative of state message takes men hostage and forces them to sign-off on their beliefs and conform to a singular script. As it abruptly ends – pitched part-way between narrative ‘reality’ and nightmaresequence in a brilliantly stylised climax – the film finds one of its twin rivals standing on the precipice of hollow success; basking in ill-gotten glory, a ceremonial sham. The question, left profoundly lingering, is whether to act out, to upset the apple-cart, cause public scandal, and become a reviled figure; whether to stop the show,
out the truth, and take a principled stand. Or whether to silently submit, swallow your pride, silence your conscience, repress your morals, and go along with the public pantomime that suggests all is right in Jerusalem. Romantics Anonymous dabbles in that darkest of genres: the twee rom-com. In it, Isabelle Carré is the hyper-nervous, over-romantic chocolatier, who is so paralysed by social interaction – with, like, anyone – that she keeps her transcendent gifts with cacao a sad secret. Cue: wacky ruses, zany lies, a heroine comically fainting et al. Benoît Poelvoorde plays her similarly-shy new boss, whose gripped in the throes of terror whenever a dame crosses his path. They’re fated to be together from the first frame, and JeanPierre Améris doesn’t keep them apart for long; and that swiftlyswiftly spirit holds for the whole. In all its pleasing whimsy, bright colours, and sweetly sentiment, Romantics Anonymous clocks in at just 74 minor-trifle minutes, never outstaying its tenuous welcome. In a world of callow rom-coms that graft undeserved ‘drama’ onto proceedings or milk out proscriptive conflicts well beyond any will-they-or-won’t-they pale (it’s a frickin’ rom-com, of course they will), it’s actually charming to see a picture get in and get out with such send-‘em-home-happy haste. If that reads like faint praise, it sure is: this is a picture for those seeking a cinematic confection the equivalent of a fluffy chocolate truffle.
EVERYBODY TALK ABOUT POP ART JAKE MILLAR TAKES A LOOK AT POP ARTIST ROY LICHTENSTEIN, THE SUBJECT OF A MAJOR TOURING EXHIBITION THAT OPENS IN MORNINGTON THIS WEEK. Of the figures that sprang from the New York art scene of the 1960s and ’70s, few are as instantly recognisable as Roy Lichtenstein. His trademark ‘dotted’ aesthetic has become a shorthand for the Pop Art movement itself; as identifiable as Warhol’s soup cans or Jasper Johns’ American flags. Perhaps even more so. But while some of the era’s superstar artists fell into a rut, replaying the same tired old imagery like long-broken records, one of the surprising things about Lichtenstein revealed by Roy Lichtenstein: Pop Remix is not simply the artist’s longevity, but also his diversity. With over 100 works on show, plus recently digitised film and photographic images, this nationally touring exhibition is a comprehensive overview of the artist’s work. Fans of Lichtenstein are unlikely to be disappointed, thanks to plenty of his familiar, dotted images of girls adapted from war and romance comics, but
ROY LICHTENSTEIN - ROOMMATES 1994 the show will also include some unexpected gems – from restrained monochromatic prints to striking, geometric sculptures. There are also a number of series, such as his Bull, Haystack, and Reflections pieces that reveal his artistic range. The show is impressive not simply in size, but also in scope. In displaying more than half a century of the artist’s print projects, from the 1950s through to the 1990s, it shows that while Lichtenstein might be forever associated with his impact on the ’60s and ’70s, he was still turning out work (and good work, at that) well into his final years. Many pieces in the exhibition
highlight Lichtenstein’s natural gifts as an artist. For instance, the six images that constitute the Bull series provide viewers with a fascinating look at Lichtenstein’s creative process, the way he adapts and interprets an image in various styles – from a literal representation through to an entirely abstract, graphic representation. Like a comic strip illustrating an image’s artistic reduction to its elements. It’s pieces like these that prove the artist was not simply a sponge for popular culture, but also the work and techniques of his fellow artists, from Claude Monet, through to Salvador Dalí, Picasso, and Jackson Pollock.
IN THE LOOP
KLOSE LIVING Gertrude Contemporary present I Can’t Stop Living, a solo exhibition of new work by Australian artist Anastasia Klose, bringing together a new video with a site-specific wall drawing and a suite of drawings, Klose’s commingling of satirical, nostalgic, and candid commentary imbued in video, sculptural work, and a drawing practice, has received critical acclaim throughout Australia. The exhibition opens Thursday and runs to 26 May.
Many of Lichtenstein’s works are witty (and often just downright funny), but part of his appeal lies in the fact you can take from his works what you like. If all you’re looking for is a nice image or a comical scene then it’s there to be seen. If, however, you want to draw thoughtful interpretations on everything from popular culture to politics, then you can certainly find that, too. The layers are all there; it’s up to you how deep you go. Much of the exhibition comes thanks to the Kenneth Tyler Print Collection. Boasting some 7,000 art, film, and photographic works, it is the most comprehensive collection of 20th Century American art outside of the United States. Printing expert Ken Tyler worked with Lichtenstein from the late ’60s until 1994, all the time testing and exploring different printing techniques. Included in the mix is Lichtenstein’s Nudes series, which was the final collaboration between the two, before Lichtenstein’s death in 1997. Despite being produced in the final years of Lichtenstein’s life, they’re still among the most thought-provoking (and perhaps also just plain provocative) of the artist’s work. As this exhibition reveals, Lichtenstein was an artist pushing himself – and the boundaries – right until the very end. WHAT: Roy Lichtenstein: Pop Remix WHEN & WHERE: Thursday, to 11 June, Mornington Peninsula Regional Gallery
SHERLOCK DVD BOX SETS The multi award-winning super series is back with three gripping feature-length adaptations of Arthur Conan Doyle’s thrilling stories. Co-created by Steven Moffat (Doctor Who, Jekyll) and Mark Gatiss (Doctor Who, The League Of Gentlemen), Sherlock: Complete Series Two stars Benedict Cumberbatch and Martin Freeman as the detective duo Sherlock Holmes and Doctor John Watson, facing the ultimate test in three of their most famous cases; A Scandal In Belgravia, The Hounds Of Baskerville, and The Reichenbach Fall. Thanks to BBC and Roadshow Home Entertainment we’ve three copies of the Sherlock: Complete Series One & Two DVD box set to give away. For your chance to win one, head to facebook.com/ inpressmag.
piece Music For 18 Musicians or even using much longer melodies such as in 1981’s Tehillim. That’s the beauty of rounds, they’re open to anything.
BOB BAKER FISH TALKS TO ONE OF THE MOST IMPORTANT COMPOSERS OF THE 20TH CENTURY, STEVE REICH, WHO WILL PERFORM AND SPEAK AT MSO’S METROPOLIS NEW MUSIC FESTIVAL. In 1965 Steve Reich, then a young newly graduated US composer, created a tape piece entitled Come Out from a recording he had made of a black preacher in San Francisco. He then spliced it up to create a short loop and ran it simultaneously on two different tape recorders. At first the loops remained in time yet gradually over the course of the next 13-odd minutes the second player ran faster, revealing gradually increasing reverb as the piece fell out of phase with itself. This technique, which he dubbed phasing, launched his much lauded career, in which he has continued to experiment with sound, musicians and structure over the last five decades.
GIVEAWAYS
“At the age of 14 in rapid succession I heard The Rite Of Spring [Stravinsky], the fifth Brandenburg Concerto [Bach], and bebop: Charlie Parker, Miles Davis, and the drummer Kenny Parks,” says Steve Reich over the phone from his native New York. “It was as if someone said, ‘Well, you’ve lived in this house for 14 years and there’s this one room you haven’t seen.’ And I went in that room and I’m still living in that room today.” These days Reich is keen to play down the importance of phasing in his work, seeming slightly annoyed that some 50 years on he’s still being asked to reflect upon it. “You know, everyone talks about
NGV’S UNEXPECTED PLEASURES Unexpected Pleasures, a touring exhibition from London’s Design Museum, looks at what we mean by jewellery from a number of different perspectives. Taking as its starting point the radical experiments of the Contemporary Jewellery Movement, and looking instead at the essential meanings of jewellery, the exhibition brings together important work from around the world, and looks at it from the point of view of the wearer
phasing,” he offers in exasperation. “Forty-one years ago was the last time I used phasing and I have no plans to ever use it again. So lets talk about what’s really going on. Phasing is just a technocrat word used to hide the real word, which is canon, or round, as in Frère Jacques or Row, Row, Row Your Boat. Only instead of a certain point coming in with the second voice the two parts start together and they slide out of phase. Well after Drumming [1971] I said, ‘Enough of this, I’m not going to do this.’ But I still used canon or round in most of the pieces I’ve ever written. Basically my music is filled with canons.” You can hear this technique using quite short patterns in his in 1976 as well as the maker. Curated by Dr Susan Cohn for the Design Museum, London with exhibition design by Ab Rogers Design and graphics by Barnbrook. Exhibition opens at NGV International Friday and runs to 26 August.
RON WHITE DOING SYDNEY EXCLUSIVE US Comedian Ron “Tater Salad” White is coming to Australia. He’s best known as the cigar smoking, scotch drinking funnyman from the “Blue Collar Comedy” phenomenon.
“A lot of the techniques of the middle ages are like empty vessels, they’re like a glass you’ve got in front of you,” he says. “Well, what are you going to pour into the glass? You can pour water into the glass, you can pour gin into the glass, you can put in whatever you like. It’s an empty vessel. What does a canon sound like? Well I have no idea. A canon is simply a sound, followed by itself at some rhythmic interval. That sound could be a recorded voice. That sound could be a piano, that sound can be whatever you like. So in other words it’s a very open vessel into which I can put very personal content.”
INBETWEENERS MOVIE BLU-RAY/DIGITAL DOUBLE PLAYS
WHEN & WHERE: Monday 30 April, Elisabeth Murdoch Hall, Arts Centre
Bringing The Inbetweeners back together in their first feature film, Will, Simon, Neil, and Jay set off for two weeks in Malia with no parents and no teachers, armed with impossibly high hopes for the “clunge-fest” and not much else! From holiday accommodation resembling a Soviet prison block, to Jay falling asleep, face-first, in an ants nest and Simon’s run-ins with a love rival and island bully; this is one holiday to remember... Or quickly forget. The Blu-ray edition features the writer’s cut of the film, deemed too rude for cinemas, and both DVD and Blu-ray formats boast extensive bonus content that ensures the laughs keep going long after the final credits roll! Thanks to Roadshow Home Entertainment we’ve five copies of The Inbetweeners Movie on Blu-ray/digital Double Play to give away. For your chance to win one, head to facebook.com/inpressmag.
But with two Grammy nominations, a Gold record, three of the top rated one-hour TV specials in Comedy Central history, a book that appeared on the New York Times bestseller list, and CD and DVD sales of over 10 million units, Ron has established himself as a star in his own right. Over the past five years he has been one of the top three grossing comedians on tour in the United States. Catch his only Australian show Saturday 18 August exclusively at Metro Theatre, Sydney.
SLiDE tells the outrageous and explosive story of five Brisbane teenagers smashing their way from school to adulthood. Tammy and Ed have been friends since they were five, Ed knows Luke from scouts and school, but he moves in a different crowd, and Eva is at school with them but she keeps to herself. When Scarlett arrives from Melbourne she is the catalyst that brings them all together in an unlikely friendship, as they spend their weekends at gigs in the Valley, going to parties and stealing experiences they’re not yet
Despite his myriad of techniques and approaches, Reich, unlike his contemporaries, isn’t interested demonstrating process at the expense of the music. “I don’t ever try to demonstrate anything,” he states. “I try to write good music. I try to write the best music I possibly can. But the final principle is very simple: if I love it maybe you will too.” WHAT: Music By Steve Reich: A Conversation + Concert
SLIDE DVDS
entitled to. Thanks to Roadshow Home Entertainment we’ve five copies of SLiDE on DVD to give away. For your chance to win one, head to facebook.com/inpressmag.
OUTLAND: SERIES ONE DVDS Outland is a six-part comedy series about a gay science fiction fan club and the lives, loves and neverending dramas of its five members. There’s Max, insecure and looking for love; the sexually-adventurous, muffin-baking Andy; Rae, the moral centre and unofficial head of the group; the high-camp, highmaintenance Fab; and the wealthy but socially-inept Toby. It’s an odd and often precarious combination of personalities. Thanks to ABC DVD and Roadshow Home Entertainment we’ve five copies of Outland: Series One to give away. For your chance to win one, head to facebook.com/ inpressmag.
RESTLESS BLU-RAYS & DVDS A powerful and emotional coming of age story, told with honesty and originality that will leave audiences moved. In Restless, two outsiders, both shaped by the circumstances that have brought them together, forge a deep and lasting love. From director Gus van Sant, one of the most astute observers of people living life on the edge, comes a take on friendship and young love as engaging and true as it is provocative and stirring. Stars Mia Wasikowska and Henry Hooper. Thanks to Sony Pictures Home Entertainment we’ve five copies of Restless on DVD and five copies on Blu-ray to give away. For your chance to win one, head to facebook.com/inpressmag. INPRESS • 31
GETTING SCHOOLED
C U LT U R A L
COMEDY VETERAN ROBERT GRAYSON THINKS EVERYONE HAS A STAND-UP ROUTINE INSIDE THEM – AND HE LIKES TO GET IT OUT. ALEKSIA BARRON SPEAKS TO THE TEACHER OF THE UNTEACHABLE ART. If there’s one thing you’d think couldn’t be taught, it’s the art of stand-up comedy. However, New York-born, New South Walesdwelling comedian Robert Grayson does exactly that. He’s shared stages with the likes of Akmal Saleh and Peter Berner, as well as scoring an ARIA nomination for his comedy record (I Turn Four) Tomorrow, a Silverchair parody performed under the name Silverpram. These days, however, he’s focussing on spreading the gift of laughter – by teaching and encouraging those with an interest in stand-up comedy. His courses, which include lengthy six-week options and one-week intensives, have accumulated a hefty swag of positive testimonials, and launched the comedy careers of Raw Comedy state finalists in four states. Grayson accepts that his You Stand Up comedy workshops seem like a strange concept, but he’s adamant that there’s a place for his work, particularly in the tall-poppy obsessed Australia. “I think we have a fairly detractive mentality around creativity in our society, a ‘don’t give up your day job’ type concept,” he explains. “If you take a society like Ireland… everybody can sing, because they hold that in their mind that everyone can sing.” He’s also acutely aware that many potential comedic talents can fall by the wayside if they get the wrong kind of start. “We’re a very comparative society – ‘if you crack a joke at a party and you’re not as good as Carl
32 • INPRESS
how to lessen the effect of fear, how to be present on stage and giving to the audience,” he says. “Over the course, they get to desensitise any fears they have by performing in front of the group.” Where things get really interesting, according to Grayson, is on the last night of the course, when his students get up on stage and perform to a real audience. “As the course goes on, I spend less time teaching and more time giving them tips to finding their comic voice. And of course, the performance at the end is a key part of the whole experience,” he explains. “They’re actually under pressure to come up with the goods, and that’s the magical thing – I’ve never had anyone not get a good response from the audience.”
Barron, then shut up’ type thing. I don’t hold that in my mind as a teacher.” Wannabe comedians aren’t the only people who benefit from Grayson’s work – his graduates include business people, lawyers, and DJs. Basically, anyone seeking to improve their personal communication and public speaking can benefit from tapping into their comedic persona. “I think that you can’t teach talent, but you can
teach some of the basic skills,” says Grayson. “Everybody’s got something to say, and if they just relax and talk from the heart… then getting their stories funny is actually [easier] – there are certain little tricks that you use to tell your stories or your observations of the world.” An important part of the process, Grayson explains, is teaching his pupils to overcome the jitters of getting up on stage. “I look at fear –
Grayson is particularly heartened that many of the people who have gotten the most out of his classes didn’t necessarily feel that they had much comic potential going in. “Some people are born to be comedians and are really cut out for the lifestyle and the craft and everything, but everybody has the potential to be playful, which is the start of comedy – making people smile and making people laugh.” WHAT: You Stand Up: The Stand-Up Comedy Experience WHEN & WHERE: Gala performance at Last Laugh Comedy Club Monday 23 April/ Next course begins 1 May
CRINGE
WITH REBECCA COOK The general public got right in the nurses’ corner – honking horns and cheering on protestors – when it came to wage negotiations with the Baillieu Government a couple of months ago, with the threat of strikes causing concern across the whole city. Cringe wonders if the warning of walkouts and industrial action at the state’s top cultural institutions including the National Gallery of Victoria, Museum Victoria, the Arts Centre, and ACMI will stir similar levels of public support and trepidation. The Community and Public Sector Union wants more than the 2.5% wage increase the government is currently offering up to public sector staff. If these cultural institutions had to shut their doors due to a lack of operating staff, would anyone notice? Care even? Would it cause major public outrage? No, not likely, on the surface it seems innocuous enough. In fact, on the surface it sounds a wee bit reminiscent of The Art Strike, which called upon all artists to cease their artistic work between 1 January 1990 and 1 January 1993 and for all galleries and museums to cease operating for the same period. The purpose was to apparently encourage critical debate around art. Needless to say, it was no Hollywood Writers Strike; no venues and virtually no artists complied. But on closer thought I realised the ace in the CPSU’s hand – well, two aces actually; tourists and school-holiday frayed parents. The impact on tourism is clear. NGV and Melbourne Museum have hosted some blockbuster exhibitions of late, and imagine the
online rage of travellers unable to tick the boxes on their carefully organised itineraries. I would have been gutted if I turned up at the Guggenheim in Bilboa and the gallery was shut for the day. Or if I got the ferry over to MONA in Tassie and a novelty penis sign told me to ‘bugger off, we’re revolting’. The wrath of Victorian parents comes into it if you happen to schedule your strike action on a rainy day towards the end of the school holidays. Everyone’s been stuck inside for a couple of weeks all together, after an enormous amount of shouting and heavy lifting everyone is in the car, factor in some circular parking issues and then when they arrive at the doors, they’re shut. I’m talking Alan Joyce grounding Qantas-style backlash. One person who can’t go on strike because he doesn’t have a job, just a hobby (‘learning videomaker’), is Luis from Lessons With Luis who, together with his little brother and dad, took out the RAW Comedy title on Sunday night. The Victorian daggy family trio battled finalists from other states to win the biggest open mic comedy competition in the nation. In explaining his win the in-character, dead-pan Luis said he hoped he made everyone “smile in their hearts” and put his win down to the number of props in his family’s show. “People like props, that’s why TV is more popular than radio.” The family are off to celebrate their win by sharing a lamington with their neighbour Mr Bianchi.
! NLY sO HOW 3S
Short Film Competition REC
04 : 38 : 05 : 23
30 SECS
HD F4.5 ODB
closing date
All entries m ust be received by 19 October 2 012 and be accom panied by an entr y fo rm
ALC
The National Cannabis Prevention and Information Centre (NCPIC) Short Film Competition gives young people between the ages of 15 and 25 years the opportunity to showcase their creative talent and express their thoughts and ideas around cannabis issues. BRIEF The film can be in any style or genre (i.e. drama, comedy, documentary, science-fiction, etc) but must be a 30 second TVC (i.e. in the style of a TV commercial) and creatively explore the benefits of deciding not to use cannabis. PRIZE MONEY There will be one national winner selected, with prize money offered of $5,000 for the producer of the winning entry. There will be two runnerup prizes of $2,000 each. To download the entry form and for more information, please go to: http://ncpic.org.au/ go/film2012 or call (02) 9385 0208 INPRESS • 33
‘Enthralling’ the new york times
The definitive career retrospective of the world-renowned artist and filmmaker ACMI Federation Square Melbourne www.acmi.net.au/kentridge
This exhibition is organised by the San Francisco Museum of Modern Art and the Norton Museum of Art.
William Kentridge, Invisible Mending (stills), from 7 Fragments for Georges Méliès, 2003; Collection of the artist, courtesy Marian Goodman Gallery, New York, and Goodman Gallery, Johannesburg; © 2012 William Kentridge.
Sing Your Song Official Selection for Sundance, Berlin and Tribeca Film Festivals. “Inspirational” – LA Times Harry Belafonte stood tall against racism alongside Dr King and helped bring the civil rights struggle into the American consciousness. Screening for an extended run, Sing Your Song examines the art and activisim of legendary singer Harry Belafonte.
Film Season > ACMI Cinemas Saturday 14 April - Sunday 29 April ACMI, Federation Square, Melbourne www.acmi.net.au/film
Mature themes
34 • INPRESS
GIG OF THE WEEK
TOUR GUIDE THIS WEEK
PRESENTS
INTERNATIONAL DJ MASEO: Saturday 21 April, Espy
LOU BARLOW: April 18 Northcote Social Club THE FEELERS: April 19 Northcote Social Club JIM BRUER: April 20, 22 Capitol Theatre AUGUST BURNS RED: April 21 Billboard DJ MASEO: April 21 Espy THE 5.6.7.8’S: April 24 Tote MASSY FERGUSON: April 24 Palais Hepburn Springs
NATIONAL
HOODLUM SHOUTS: April 18 Old Bar LAST DINOSAURS: April 18 National Hotel (Geelong); 19 Karova Lounge (Ballarat); 20 Northcote Social Club JAM XPRESS: April 19 Room 680 N’FA JONES: April 19 Grace Darling HUSKY: April 19 Corner; April 20 Barwon Club GREENTHIEF: April 19 Onesixone TWISTED AFFECTION: April 19 Bendigo Hotel; 20 Royal Melbourne Hotel; 21 John Curtin Hotel; 22 National Hotel (Geelong); 24 Newmarket Hotel (Bendigo) BLEEDING KNEES CLUB: April 19 National Hotel; 20 Karova Lounge; 21 Northcote Social Club CHET FAKER: April 19, 21, 22 Toff THE SIDETRACKED FIASCO: April 20 Brunswick Hotel SAINT JUDE: April 20 Tote KISSCHASY: April 20 Inferno (Traralgon); 24 Ferntree Gully Hotel CASH SAVAGE & THE LAST DRINKS: April 20 Phoenix Public House; 21 Caravan Music Club THE HERD, THUNDAMENTALS: April 21 Corner TIN SPARROW: April 21,22 Grace Darling IOWA: April 21 Phoenix Public House POND: April 22, 23 Northcote Social Club BIG SCARY: April 24 Corner JOHN BUTLER: April 24 Hi-Fi THE MAPLE TRAIL: April 24 Gasometer THE FUNKOARS: April 24 Espy STONEFIELD: April 24 Northcote Social Club
X
THE 5.6.7.8’S TUESDAY, TOTE
Anybody who knows anything about anything knows that everything cool comes out of Japan. Sushi is cool, Yamahas is cool, tsunamis isn’t cool but is pretty badass, futons is cool, Kawaii is pretty cool – but The 5.6.7.8’s are motherfuckin’ off the scale cool as shit. This all-killer all-girl three-piece garage punk band are so cool they had parts in Tarantino’s Kill Bill, and not the second one but the bloody first one! They’ve been being cool since 1986 (maybe even before that) and now they’re bringing their stylings to our capital of cool, the Tote, on Anzac eve. Along for the ride are The Exotics and The Bluebottles in what is guaranteed to be the funnest, and coolest, show in town.
sdfsdfsdfdsf Beautiful Girls songwriter Mat McHugh performs solo tonight, assisted by heavy bass sounds and drum tracks coming from his laptop. His use of a loop pedal adds another dimension to his guitar playing and proves that being a one-man band isn’t a hindrance. McHugh’s inclusion of covers is intelligent and engages an otherwise unfamiliar crowd early. Favourites of Bob Marley and Madonna are interjected amongst his own songs, but the cleverest, be it intentional or not, is his homage to 1980s hip hop in NWA. He plays Fuck The Police, soon followed by Roxanne, a song made famous, of course, by The Police. His sound is a tranquil take on Jamaican music and eases the audience into the headliner.
SUBLIME WITH ROME PIC BY HEIDI TAKLA
Sublime With Rome are opportunistic, if not ambitious. Their moniker draws more attention to who is in the band rather than who isn’t, which, from a promoter’s perspective, is cunningly astute. Only one third of the line-up that saw Sublime infiltrate the mainstream in the ‘90s is present – bass player Eric Wilson. Singer/guitarist Bradley Nowell passed away in 1996 from a heroin overdose and drummer Bud Gaugh justifiably departed the current incarnation after just two years. Tonight, it seems the crowd doesn’t care what the line-up is.
FESTIVALS
APOLLO BAY MUSIC FESTIVAL: April 20-22 Apollo Bay
UPCOMING
A buzz of anticipation fills the air, as too a constant draft of marijuana, before the band walk on stage and fittingly begin with Smoke Two Joints. They slowly ease into their set, but halt momentum by playing songs from their 2011 album Yours Truly and an odd Bad Brains cover. The audience is here for ‘90s nostalgia and a greatesthits set, and the band rarely cooperate. Wilson, the only legitimate Sublime member, barely interacts with the capacity crowd, let alone talks to them. They play Bad Fish, Date Rape and Garden Grove and discreetly walk off stage, knowing full well Sublime’s back catalogue has rarely been touched.
INTERNATIONAL
CAIRO KNIFE FIGHT: April 26 Workers Club MARK LANEGAN BAND: April 26 Forum DMX: April 27 Trak SIX60: April 27 Hi-Fi REDD KROSS: April 27 Northcote Social Club, THE SONICS: April 27 Caravan Music Club THE EXPLOITED: April 28 Corner ANDREW WK: May 2 Pier Live; 4 Corner Hotel CITY & COLOUR: May 2, 3 Palais Theatre MOUNT KIMBIE: May 3 Hi-Fi ORBITAL: May 4 Palace Theatre DIGITALISM: May 4 Forum JAMES ZABIELA: May 4 Billbaord DEVILDRIVER, DARKEST HOUR: May 6 Billboard FRANK TURNER: May 6 Espy HARMONIC GENERATOR: May 6 Cherry Bar THE DARKNESS: May 8, 9 Palace WAVVES: May 9 Corner RALPH MCTELL: May 10 Cube; May 11 Corner THE MOUNTAIN GOATS: May 9 Toff; 10 Corner ATMOSPHERE, EVIDENCE: May 10 Hi-Fi MORGAN PAGE: May 10 Alumbra
LAST DINOSAURS: April 18 National Hotel (Geelong); 19 Karova Lounge (Ballarat); 20 Northcote Social Club BLEEDING KNEES CLUB: April 19 National Hotel (Geelong); 20 Karova Lounge (Ballarat); 21 Northcote Social Club PASSENGER: April 20 Corner Hotel BIG SCARY: April 24 Corner Hotel DIG IT UP! FEAT HOODOO GURUS, THE SONICS, THE FLESHTONES: April 25 Palace JAY & SILENT BOB: April 26 Palais BLUEJUICE: April 26 Eureka Hotel (Geelong); 27 Pier Liver (Frankston); 28 Hi-Fi (U18 arvo, 18+ evening) BLACK COBRA: April 30 Tote; May 1 National Hotel (Geelong) BIC RUNGA: May 1 Wellers, Kangaroo Ground; 2 Geelong Performing Arts Centre; 4 Athenaeum Theatre ANDREW WK: May 2 Pier Live (Frankston); 4 Corner Hotel MOUNT KIMBIE: May 3 Hi-Fi PIGEON: May 3 Laundry; 4 Revolver; 5 Espy GROOVIN’ THE MOO: May 5 Prince Of Wales Showground (Bendigo) GOSSLING: May 5 Thornbury Theatre FU MANCHU, BLACK COBRA: May 6 Hi-Fi GASOLINE INC: May 10 Bended Elbow (Geelong); 12 Torquay Hotel; 19 Astor Hotel (Albury); 25 Revolver KIM CHURCHILL: May 11 Baha Tacos (Rye); 12 Northcote Social Club EXILE ON MAIN ST 40TH ANNIVERSARY: May 12, 13 Cherry Bar
SUBLIME WITH ROME MAT MCHUGH
PALACE 9/04/2012
It becomes a fait accompli that the singles have been reserved for the encore as the band amble in the darkness for just shy of four minutes. They return with Santeria, Wrong Way and What I Got for what becomes a glorified karaoke set. “Rest in peace Bradley”, sings the band’s new frontman Rome Ramírez, as the final song comes to an end. The crowd cheer in agreement. The irony is palpable. Brendan Hitchens
themusic.com.au
INPRESS • 35
show prog-rock dedication by clinging to their last remaining wisps of silvery, rockstar-length hair.
TOUR GUIDE
Legendary guitarist Steve Howe relies on emphatic facial expressions to play his instrument as much as he does those rapidfire phalanges. Tempus Fugit is an early highlight with its “Yes” visuals emphasising lyrics. Not content to settle for just the one axe, Howe alternates playing his strapped-on instrument with another on a stand before him throughout Life On A Film Set. Bassist Chris Squire advises we’ll be hearing a lot more from the band’s recent album (Fly From Here) later on tonight and then Howe is left alone on stage for a two-song solo: Solitaire and (fittingly) Australia. All return to the stage for And You & I, another natureexulting Yes song: “And you and I climb over the sea to the valley.” Before breaking for interval, the band score their first standing ovation of the evening.
GREENTHIEF: Thursday 19 April, Onesixone
KIM CHURCHILL: May 11 Baha Tacos (Rye); 12 Northcote Social Club DEUS: May 12 Corner Hotel PAUL COLLINS: May 12 Tote; 13 Caravan Music Club PRINCE: May 14, 15, 30 Rod Laver Arena MUTEMATH: May 14, 17 Corner PUBLIC ENEMY: May 15 Palace KAISER CHIEFS: May 16 Palace THE MACCABEES: May 16 Hi-Fi MURDER BY DEATH: May 17 Evelyn; 18 National Hotel NICKI MINAJ: May 18 Hisense Arena THE BRIAN JONESTOWN MASSACRE: May 19 Forum NEW KIDS ON THE BLOCK, BACKSTREET BOYS: May 19 Rod Laver FLORENCE & THE MACHINE: May 20 Rod Laver THE OCEAN: May 20 National Hotel; 26 Hi-Fi S CLUB, BIG BROVAS: May 23 Palace Theatre BARRY ADAMSON: May 23 Corner DANNY BROWN, MED: May 24 Prince MICKEY AVALON: May 25 Espy SHOWTEK: May 25 Chasers NATURALLY 7: May 26 Palais Theatre ANTI-FLAG: May 27 Hi-Fi MY BRIGHTEST DIAMOND: May 28 Northcote Social Club YOUNG GUNS: May 30 Hi-Fi RAY LUGO: June 1 Scatter Scatter LIGHT ASYLUM: June 1 Phoenix Public House; 2 Toff SIMPLE PLAN: June 2 Festival Hall ZOLA JESUS: June 3 Toff AMON TOBIN: June 5 Palace REEF: June 8 Billboard DAVID MYLES: June 8 Wesley Anne; 9 Caravan Music Club TRAIN: June 9 Palais SILVERSTEIN: June 9 Bang; 10 Pelly Bar (Frankston) MARK KOZELEK: June 9 Toff, 11 Phoenix Public House MACABRE: June 26 Bendigo Hotel; 30 Corner; July 1 National Hotel LADY GAGA: June 27, 28, 30, July 1 Rod Laver FLIGHT OF THE CONCHORDS: July 14 Plenary MELISSA ETHERIDGE: July 15 Plenary THE BLACK SEEDS: July 15 Corner LADYHAWKE: July 17 Billboard BELL BIV DEVOE, GINUWINE: August 10, 14 Trak Live Lounge HANSON: September 14 Palace SUBHUMANS: September 15 Bendigo Hotel RADIOHEAD: November 16, 17 Rod Laver Arena
NATIONAL
BIG SCARY: April 25 Corner JOHN BUTLER: April 25 Hi-Fi STONEFIELD: April 25 Northcote Social Club HOODOO GURUS: April 25 Palace DZ DEATHRAYS: April 25 National Hotel; 26 Karova Lounge; 27 Tote EMMY BRICE, KATE VIGO: April 26 Thornbury Theatre AN HORSE: April 27 Corner HOPE ADDICTS: April 27 Old Bar NEON KNIGHTS: April 27 Workers Club CLAIRY BROWNE & THE BANGIN’ RACKETTES: April 27 Prince Bandroom GANGA GIRI: April 27 Phoenix Public House; 28 Theatre Royal BLUEJUICE: April 28 Hi-Fi (U18) BEN SALTER, JOE MCKEE: April 28 Gasometer; 29 Pure Pop Records KING GIZZARD & THE LIZARD WIZARD: April 29 Bar Open; May 4 National Hotel SAN CISCO: May 1, 2 Corner LAST DINOSAURS: May 2 Northcote Social Club JOHN WATERS, STEWART D’ARRIETTA: May 2-6 Chapel Off Chapel THE GETAWAY PLAN: May 3 Corner 36 • INPRESS
PIGEON: May 3 Laundry Bar; 4 Revolver Upstairs; 5 the Espy AYA LARKIN: May 4 Wesley Anne THE TOOT TOOT TOOTS: May 4 Hi-Fi DAPPLED CITIES: May 4 Northcote Social Club ELIZA HULL: May 4 Toff LANIE LANE: May 4 Karova Lounge; 25 May Meeniyan Town Hall; 26 May Corner Hotel CHANCE WATERS: May 5 First Floor HOODLUM SHOUTS: May 5 Gasometer GOSSLING: May 5 Thornbury Theatre EMILY BARKER: May 5 Pure Pop Records; 6 Wesley Anne WE ALL WANT TO, HALFWAY: May 5 Empress; 6 Pure Pop Records, Kew RSL SIX FEET UNDER: May 6 Billboard HUSKY: May 6 Corner KIMBRA: May 9 Palais Theatre (AA) CALLING ALL CARS: May 10 Kay Street (Traralgon); 11 Hi-Fi JAM XPRESS: May 10 HomeHouse (Geelong); 18 Prince Bandroom; 26 Billboard THE FUNKOARS: May 10 Wheelers Hill Hotel; 11 Pier Live SPLIT SECONDS, UNDERLIGHTS: May 10 Northcote Social Club; 12 Karova Lounge, Ballarat JOSH PYKE: May 11 Forum HEIRS: May 11 Curtin Bandroom MICK THOMAS: May 11 Regal Ballroom CATCALL: May 12 Toff BOY & BEAR: May 16, 18 Forum; 19 Deakin’s Costa Hall (Geelong); 20 Hi-Fi (U18) DEAD LETTER CIRCUS: May 17 Ferntree Gully Hotel; 18 Hi-Fi TIM FREEDMAN: May 17 Beav’s Bar (Geelong); 19 Spirit Bar & Lounge (Traralgon); August 10, 11 Bennetts Lane MADRE MONTE: May 18 Northcote Social Club THE BUTTERFLY EFFECT: May 18 Bended Elbow (Geelong); 19 Inferno (Traralgon); 20 Pier Live (Frankston); 25 Palace Theatre; June 8 Hi-Fi AUSTRALIAN POPS ORCHESTRA, TODD MCKENNEY, JOHN FOREMAN: May 18, 19 Palms At Crown EMPERORS: May 19 Fist2Face, Phoenix Public House LEADER CHEETAH: May 19 Northcote Social Club CAM BUTLER: May 19 Northcote Uniting Church THE BOMBAY ROYALE: May 19 Hi-Fi BUCKLEY WARD: May 19 Toff; 27 Pure Pop Records KIMBA & RYAN: May 19 Bennetts Lane OWL EYES: May 20 Toff TIJUANA CARTEL: May 24 Northcote Social Club LOVE CONNECTION: May 25 Northcote Social Club TUMBLEWEED: May 25, 26 Tote LANIE LANE: May 26, 27, 28 Corner Hotel ROYSTON VASIE: May 28 Northcote Social Club THE TEMPER TRAP: May 29, 30 Forum TZU: June 1 Corner; 2 Karova Lounge (Ballarat) THE JEZABELS: June 1 Festival Hall THE MISSION IN MOTION: June 2 Tote DEF FX, INSURGE: June 2 Corner MATT CORBY: June 6 Forum THE HARD-ONS: June 7 National Hotel; 8 Karova Lounge (Geelong); 9 Tote BONJAH: June 8 Corner LISA MITCHELL: June 13 St Michael’s Church 360: June 14, 15, 17 (U18) Hi-Fi BURIED IN VERONA: June 21 Next; 22 Ringwood OLP DANIEL CHAMPAGNE: June 23 Caravan Music Club KARNIVOOL: July 5 Hi-Fi; 8 Bended Elbow (Geelong) MCALISTER KEMP: July 21 Hallam Hotel NINE SONS OF DAN: July 28 Revolver; 29 Spensers live (under-18) TINA ARENA: July 28, 29, August 5 Hamer Hall
FESTIVALS SUPAFEST: April 21 Melbourne Showgrounds CHERRYROCK012: April 29 Cherry Bar GROOVIN’ THE MOO: May 5 Prince of Wales Showground
THE PEEP TEMPEL PIC BY TONY PROUDFOOT
THE PEEP TEMPEL, MESA COSA, JACKALS, THE KREMLINGS TOTE 13/04/12
The snap of noisy distortion pounds through the beer garden, signalling the arrival of heavy-rockers The Kremlings. With four acts on the bill, it’s no wonder they kick off the Tote’s Friday 13th celebration at the civil hour of 8.50pm. Lead singer Andre Merino is wildly animated as he swaggers, prances and frenetically attempts to jostle his static bandmates. With only a mic cord to fidget with, it’s a shame the poor guy doesn’t have a guitar to smash. The Jackals thrill through dark and heavy reverb, with hints of Nick Cave/Tom Waits peppered throughout. Mesa Cosa however, continue to reign the support slots in Melbourne. Their exciting, demonic stage presence isn’t lost on the growing crowd as they howl and tumble about the stage, coaxing the killjoys sitting on the floor to their feet. Fists are pumped and jackets are peeled in the nowpacked room for the headlining act The Peep Tempel. Originally forming as a two-piece in 2009, the band recorded two 7” vinyl singles before officially adding bass to the line-up. Released in February, their debut LP is packed with addictive, anthemic, grunge-rock tunes, earning them a fierce allegiance. Lance, a rock number rich in its hasty tempo, gets the crowd buzzing with feverish intensity. The pit momentarily slows down for Mission Floyd, a measured rock tune with an underlying funk flavour warranting the raised glasses exhibited. By default, singer/guitarist Blake Scott crowns ‘Charlie’ the night’s mascot, continually wishing the merch-clad fan a happy birthday in-between songs. The set continues to intensify as Thank You Machiavelli swells around a walloping beat and choppy vocals à la Chris Cheney before Scott provides a moment of relief with, “I can barely speak I’m so unfit!” Potent in its ‘90s pop-punk nostalgia, Do What You Want has the eager crowd charging their arms in the air in time with each chorus lyric, an act that has the band smiling in gratitude. The set propels beyond constraint with the crowd uniting to chant, “…you won’t sleep at the Peep Temp-EL!” from Down At The Peep Tempel before ending the set. Despite previous releases, they prune their set of any old recordings until a throng of devotees scream for Boots On The Bed as an encore, to which they happily oblige. Is Friday 13th really a night of bad omens? I beg to differ. Madeleine O’Gorman
YES
PALAIS THEATRE 11/04/12 There always seems to be a record amount of lost people requiring usher assistance at this venue, due to the double alphabet – Stalls or Orchestra (better) – seating on the floor. Old-school geekazoids stand in the aisles at the front of the stage and check out the instruments we are gagging to hear played. It’s ageing stoner central and a couple of hypercolour t-shirts have even been dug out for the occasion. Opening with Yours Is No Disgrace, the band immediately hit their stop-start stride while chin strokers prove they know their shit by nodding along with every haphazard beat. “Yesterday a morning came/A smile upon your face” – new singer Jon Davison (who also fronts Glass Hammer plus Yes tribute band, Roundabout) looks like the physical embodiment of Yes in his white flares, open, collarless batik-print shirt and centreparted, shoulder length, coppery locks. Davison’s still in his 40s and his senior bandmates/mentors all
themusic.com.au
The entire theatre empties for smoke-o while the band members probably also indulge backstage. A string of newies (the first six Fly From Here tracks consecutively) kick off part two, accentuated by a short film sequence: Constant shifts in the space/time continuum follow a pilot who apparently killed a Hollywood starlet in her prime due to what is deemed as “pilot error” in a news article (there’s repeated close-ups of this pull quote in the clip). Squire indulges in a meandering bass solo to open Heart Of The Sunrise (“How can the wind with its arms all around me”) and Davison’s pure vocal tones perfectly suit this classic song. Not so this scribe’s favourite, Owner Of A Lonely Heart, however. Davison struggles with the upper register and also overenunciates the ‘t’ in every “heart”, the smash hit saved by keyboardist Geoff Downes’ shattering FX. Downes makes a welcome return to Yes and, enclosed by three walls of keys, often attacks two consoles simultaneously – one in front of and one behind him. Bet he could play blindfolded. The keys player breaks out a splendiferous white keytar for main set finale Starship Trooper as Squire gets carried away with a ridiculous, side-travelling slip-step across the front of the stage. The band take their bows. The audience is upstanding once more, applauding madly. “Excuse me. Excuse me,” a gentleman says as he squeezes past to make his exit. “You’ll miss Roundabout!” a neighbour in the crowd cautions. “I don’t care,” is the reply. He should care, since Roundabout – together with various animated visuals, one looking like psychedelic turds, float across the screen – could only be described as everyone’s favourite, overused prog-rock term: “epic”. “We appreciate your loyalty over the years,” praises Squire. “See you next time.” A magical mystery tour well worth revisiting. Bryget Chrisfield
JUSTIN TOWNES EARLE, ARCHER, THE RECHORDS PRINCE BANDROOM 12/04/12
It’s that time of year when it’s still warm enough outside that jackets aren’t quite a necessity yet, but inside the Prince Bandroom, the air conditioner seems a little too cool, and it’s no surprise that most of the crowd is clustered towards the back half of the room. It might be only slightly after 8pm, but there’s a relatively healthy smattering here to enjoy local three-piece The ReChords as they take to the stage. Channelling Roy Orbison and Elvis Presley, the irony of lead singer Leo Francis singing about Facebook while playing such nostalgic music is not lost on most of the crowd. Despite this, their halfhour set is inspired and as the crowd pours in, smiles and the odd dancing foot can be seen around the room. Up next is the artist known only as Archer. Trying to find anything about this guy online is like pulling teeth, but the way he sings and plays his three-quarter-size guitar is hauntingly beautiful and, with the Prince nearbursting with punters, it doesn’t matter right now. His songs are field songs, he sings like a 90-year-old slave in the cotton fields of the Deep South, but, like William Elliot Whitmore, his young, white, 21st Century crowd laps up every minute. And even if the novelty wears off slightly by set’s end, Archer is a name to watch. Just after 10pm, Justin Townes Earle takes to the stage on his own. Dressed in a dapper check jacket and golden tie, as he takes to songs like Wanderin’– an ode to “the great Woody Guthrie” – his crowd gets its money’s worth within ten minutes. After performing a couple of songs solo, Earle is joined on stage by a couple of pals, on double bass and guitar/mandolin, and they kick into several songs off his latest album Nothing’s Gonna Change The Way You Feel About Me Now, namely Passing Through Memphis In The Rain, Unfortunately Anna and Mama I’m Hurting. On stage, Earle’s songs are freer and looser than they appear on disc, offering an extra dimension to his brilliant songwriting. As he plays crowd favourites such as Harlem River Blues, Mama’s Eyes and One More Night In Brooklyn, there’s a sense of something special in the room tonight, and (after the shortest encore break in the history of live performances) They Killed John Henry is the perfect way to finish. It’s a touching set, and everyone here tonight has experienced something truly memorable with one of Americana’s modern-day folk heroes. Dylan Stewart
WAR ENSEMBLE
PSYDE PROJECTS
HMAS VENDETTA ARE EDUCATIONAL AND ENTERTAINING. WILLIAM SMITH CHATS WITH SAMUEL J FELL ABOUT HOW ANZACS ARE TOUGHER THAN VIKINGS. part show comprised of specifically composed songs about the Australian involvement in WWI – specifically Gallipoli and the Western Front.
8 BALL AITKEN ALIVE AT THE LOMOND
“I had the idea when I was living in Britain and was getting terrifically homesick,” Smith says. “I thought I’d moved over there for good… I had blamed Australia for the fact I hadn’t succeeded and so fled to Europe thinking, ‘They’re so much more artistic, they’ll so appreciate me over there’. Of course no one out there gave a shit whether I lived or died. So I kinda learnt the hard way Australia is a pretty amazing place.
It’s not often you find a band who list amongst their major influences Iron Maiden, Tchaikovsky and Banjo Patterson. Meet Melbourne quartet HMAS Vendetta. Fronted by selfconfessed Australian war history buff William Smith, this group have mastered the art of melding the hard with the orchestral with the Australianly poetic. And this is no mean feat. “Yeah, I think that’s pretty unique,” laughs Smith, and he’s surely right. “It turns out that if you rip off the metre of certain Banjo Patterson poems, like Clancy Of The Overflow… if you put that metre to music, it’s actually quite a good, rockin’ track.” The reason Inpress is chatting with Smith is because of his and the band’s latest project, The Anzac Spirit – Australians In The Great War. Now, this is no ordinary rock‘n’roll show, certainly don’t head down expecting your run-of-the-mill drums/bass/guitars, for that would be folly. What you can expect is a two-
Catch the swamp-blues excitement of Far North Queensland musician 8 Ball Aitken, when he performs at the Lomond Hotel in Brunswick East on Thursday 26 April, from 9pm. Entry to the show is free. Aitken is on tour launching his new live album Alive In Tamworth and he is set to get the people rocking with his wild slide guitar.
“So while I was over there, I was seeing a lot of what they call battle metal bands, in particular one called Turisas. They were crazy, they had an accordion and a violin… so I thought, ‘If these guys can sing about their warrior ancestors the Vikings, why can’t I sing about that? The Anzacs will kick the Vikings’ arse any day of the week!’”
EATEN BY DOGS MONDAY NIGHT RESIDENCY
The band recorded an EP, The Lighthorsemen, released last year, and have spent the past six months putting together this new show, which will debut on Anzac Day, with proceeds going to Legacy. “Some of the songs go back to the formation of the band,” Smith says. “Like Going Home (Forever Free), that’s a big power ballad, as all bands should have… that’ll be in there. But in earnest, the idea for this show, dedicated to World War I, is only about six months old… It sorta fell into place once we had the idea [of having the two parts].” WHO: HMAS Vendetta WHEN & WHERE: Wednesday 25 April, Evelyn
DESERTERS’ FIRST SHOW FOR 2012
INTRODUCING THE ELECTRIQUE BIRDS
Deserters play their first show for 2012 at the Retreat Hotel this Friday, with very special guest Ashley Naylor. The past few months have seen them putting the final touches to their second album, due to be released mid-year, and they will also be performing new tracks from it. Their most recent double A-side EP, Lemon Kicks/Stars Burn, among other releases, will be available at the show. Entry is free!
ANZAC DAY EVE AT THE OLD BAR
SIMON ASTLEY’S ALBUM TOUR Melbourne singer/songwriter Simon Astley is on a high at the moment due to the release of his new album City Lights, which was released at the end of March. To celebrate, Astley is touring Australia in April and May, stopping to play in Melbourne on Wednesday 25 April at the Espy and Monday 14 May at the Empress Hotel.
La Bastard return to the Retreat this Saturday night, following their triumphant debut album launch in February. This will be La Bastard’s last gig before they return to the studio to record their new album at the beginning of May, so help make this a huge one. Joining them will be the fabulous Mesa Cosa, also fresh from the release of their debut 10” Infernal Cakewalk. It’s bound to be a night of absolute mayhem, chaos, and dancing. It all starts at 10pm and entry is free.
THE SMITH STREET BAND RESIDENCY With a swag of new material ready to road test ahead of album number two, The Smith Street Band have been playing a series of intimate shows at the Old Bar, performing every Wednesday during April, joined by a host of great local and interstate supports. Entry is free for tonight’s show and a lazy $5 will get you in the door for the fourth and final Anzac Day spectacular.
SLY GROG IN THE AFTERNOON
There is a new band in town, described as “art nouveau rock”, The Electrique Birds. Consisting of four talented ladies, they produce an international sound with a beat that will force you to get up and move. They are playing this Friday at the Penny Black Hotel from 9.30pm. Entry is free and support comes from The Emma Wall Band.
Anzac Day eve is set to be massive at the Old Bar. Harry Howard & His NDE will perform, following up their fantastic debut album, and it’s one hell of a line-up that’s on with them. High Tea will be main support and then Mystic Eyes play a rare show with Ollie Olsen. Opening the night will be the now transplanted ex-Ouch My Face bassist HUF. Then New War DJs will be playing platters until the early hours. Tuesday night at The Old Bar.
SKYSCRAPER STAN & THE COMMISSION FLATS RESIDENCY
YOU BASTARDS
Work getting you down? Lost all your money at the casino? Your woman or man knocking boots with another woman or man? Life getting so difficult that jumping off a reasonably high bridge and swimming with actual sharks seems better than maintaining your existence with the actual scum you know? If this sounds like you then see Eaten By Dogs, who play alternative country music that should and can be the soundtrack to your impending death and/ or next summer road trip. They’re on every Monday night at the Old Bar from 8pm and it’s free entry.
Skyscraper Stan & The Commission Flats oozed onto the Melbourne music scene in early 2010. Born in the dusty recesses of a Collingwood warehouse, the original four-piece hit the ground running with a sound sitting somewhere between troubadour and dirty swamp blues. Then, after a string of successful shows around Melbourne, Stan broke the band up and disappeared. When he returned, infected by the big bands of New Orleans and carrying a notebook of fresh songs, he put the group back together to chase a far hornier sound. Now Skyscraper Stan & The Commission Flats are taking to the Old Bar stage every Sunday in April; some weeks as a four-piece, others as a brassfueled, nine-member strong, hip-shaking wall of sound.
THURSDAY AT THE OLD BAR This Thursday night at the Old Bar, Ana Nicole will blast out original New Wave-influenced electronic noise guitar brilliance; Jane Dust & The Giant Hoopoes will dig a space groove that nobody can roll out of without the aid of a jetpack; and Ally Oop & The Hoopsters will hit you over the head with souful garage trance beats. Physically, you will still be at the Old Bar drinking beer, but your spirit will most likely be rolling around and jiving in distant places.
Every Saturday arvo in April, the Retreat Hotel will be featuring the boozy tunes of long ago; real ‘old time’ music by a genuine string band. Get down to the beer garden between 4-6pm and enjoy the banjos, guitars, mandolin, fiddles, harmonicas, harmonies and all the rest of Sly Grog.
MASTER GUNFIGHTERS AT THE RETREAT This Sunday, Master Gunfighters will be bringing their brand of alt.country pop pock to the Retreat Hotel. Joining them will be folk-psych troubadour Jacky Winter (of Bowers and Dynamo). Master Gunfighters (featuring members of The Thod, The Polites and Mass Cult to name a few) have been kicking around for roughly a year, formed out of a joint love of American blues/country music. Their sound is bittersweet and melancholy at times, rompy and chugging like a steam train at others. Entry is free, doors at 6.30pm.
THE F100S IN THE FRONT BAR The twangin’ sound of The F100s is catching on fast with fans of roadhouse honky-tonk, boogie and rockabilly. Over the past couple of years, The F100s have been burning dance floors and establishing themselves as a fine live act. Influenced by the stylings of Buck Owens, George Jones, Merle Haggard and so on, The F100s also have a sackful of original toe tappers spread through their repertoire. They’re performing an exclusive show this Saturday in the Retreat Hotel front bar at 7.30pm.
THE BOWERS PLAY ANZAC DAY EVE The Bowers have had a stellar six months since the release of their second LP, Odds Or Evens. They’ve received support slots for You Am I, Urge Overkill, Even, Tex Perkins, Dan Sultan and Spain’s Los Chicos, and top reviews all over the place. In May, The Bowers head to the UK to showcase at Liverpool Sound City Music Conference, followed by a 17-date tour that will include club shows in London, Paris, Madrid and Barcelona. Before they head off, catch them play a free show on Anzac Day eve at the Retreat, with support from The Harlots then DJ Sean Simmons on the wheels of steel until 3am.
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CHARITY JAM
Home Made Jam brings together our wonderfully diverse community and showcases the best in grass roots talent that our fine city has to offer. Melbourne’s amazing golden-era hip hop crew The Psyde Projects have teamed up with local powerhouse producer Tom Showtime and will be launching their new 7-inch single Funk Pants on Groove Penguin Records which also has a wicked remix by Mr Moonshine. They’ll be joined by The Putbacks and quality Melbourne hip hop/soul outfit Renovators Dream. Also, there will be market stalls provided by the Charles Street Artist Market crew, break dancers, local street artists providing live art for a silent auction, some fine bmx riders on display, a BBQ and a fully licensed bar. Wooah! A percentage of the door proceeds go to Prahran Mission. ANZAC Day at A Warehouse (corner Johnston and Hoddle Streets Abbotsford), $15.
CHRIS WILSON PERFORMS AT THE RETREAT
Chris Wilson has been an essential part of blues and rock music in Australia since taking the stage with the Sole Twisters 20 years ago. Stints with Harum Scarum and Paul Kelly & The Coloured Girls followed, and the end of the ‘80s saw Wilson as one of our finest vocalists, harmonica players and songwriters, fronting the superb Crown Of Thorns. Wilson has appeared at every major Australian festival and his performances – filled with his own brand of sensuality and the dynamic power that leaves his audiences so satisfied – are always a highlight. Wilson and his band perform at the Retreat Hotel on Anzac Day from 7pm. Free entry.
LITTLE MURDERS AT THE TOWNIE
Legendary Melbourne power pop band Little Murders will playing rocking tunes at the equally legendary Town Hall Hotel this Saturday. Channelling the ghosts of The Jam, The Kinks and The Clash, and playing songs from their first single Things Will Be Different (released in 1979) right up to their latest release Dig For Plenty, the group still has enough energy to power a small town. It kicks off at 10pm and entry is free.
LOKI LAUNCH NEW SINGLE
Melbourne five-piece Loki have announced the autumn release of their single Disappear. The song, along with three previously unreleased accompanying tunes, demonstrates Loki’s evocative and somewhat cinematic take on folk music. The release has an undeniable personal touch, from its recording roots in the singer’s loungeroom right down to hand-sewn and printed CD sleeves. To mark the release, Loki will be playing at the Toff In Town this Monday. Joining them will be fellow Melburnian folksters Language Of The Birds and Hiding With Bears. Entry’s $10 and doors open from 7.30pm.
VAN SHE RETURN WITH SECOND ALBUM
Van She are back with a cosmic-tropo bang as they invite you to enjoy their sophomore record, Idea Of Happiness, out this July. So uplifting it’s practically levitational, Idea Of Happiness is Van She’s most focused, joyous musical excursion to date; an album stirred by sunbaked travels and fleeting truths, and shaken with the sands of time. Their self-sufficient approach to the record allowed them the time and space to not only fine tune to the nth degree each cymbal splash and crashing wave sample, but also left them free to give ideas the time and space to hang loose. They may have walked a slow, deliberate path to realising album number two but the result is all the better for it. They play at the Toff this Tuesday.
FROGFEST 2012
Frog is the amalgamation of folk and progressive styles, and FrogFest is a celebration of this genre. With beginnings in 2011 as a single event in Sydney, the festival returns in 2012 as a seven-date tour through three states. The Melbourne leg of FrogFest will be held at Gertrude’s Brown Couch on Friday 18 May and features BOB (featuring Ben Hauptmann), Mr Fibby and Dave Carr’s Fabulous Contraption. INPRESS • 37
NEON KNIGHTS LAUNCH NEW SINGLE Since their debut onto Melbourne’s electro scene in 2007, Neon Knights have been making a name for themselves, wowing audiences with their staggering live performances. Cutting their teeth alongside the likes of Midnight Juggernauts, Neon Knights released their debut EP Hoods in 2010 and are now making a return to the scene with new single In With The Romance, a track high on emotion with unquestionable dancefloor magnetism. Stronger, more mature and polished in their approach, herein lies the new Neon Knights. They launch In With the Romance on Friday 27 April at the Workers Club, in the first of many shows to come in 2012.
THE MERCURY THEATRE LAUNCH EP The Mercury Theatre launch their debut five-track EP Immurare this Friday at Revolver. This comes after months of hard work from the band alongside Melbourne-based engineer Matt Voigt to create a taste of what’s to come. With a line-up consisting of other great Melbourne outfits including William Blaxland and Dear Stalker, the night is sure to entertain with a one-of-a-kind special surprise guest. The doors open at 8.30pm with entry $10 on the door.
DJ BOOTH
LUNARS AT THE EMPRESS
JAMES D SMITH ON TOUR
LOST & FOUND RELAUNCH Revolver has announced the relaunch of Lost & Found, its weekly rock night. Kicking off tonight, every Wednesday Revolver brings you the coolest rock bands in the band room, free rock’n’roll DJs all night in the back bar and Colonel Tan’s will be running Lost & Found giveaways every week. For the relaunch a huge line-up has been brought in including the bands Dangerous!, Damn Terran, Cavalcade and The Latonas plus rock DJs Spidey, Shakey Memorial and Affends.
ROBOT CHILD AT REVOLVER UPSTAIRS Robot Child uses music, creativity and social action to put an end to boredom. They can be seen tomorrow night (Thursday) at Revolver. Robot Child and the other bands on the bill, Saving Cleopatra and Clock Towers, are planning something special to ensure this concert will be exciting and memorable. The doors will open at 8.30pm with entry $10.
MELODY BLACK RETURN JAMES FAVA PLAYS THE HOME MADE JAM WAREHOUSE PARTY ON ANZAC DAY, WEDNESDAY 25 APRIL. What inspired your DJ name? My birth certificate. In a nutshell, describe what you play. Ghetto, edit, Baltimore, house. What track turns you on right now? Rob Pix – Beng!. What made you start DJing? Was having a hard time getting girls and my saxophone was too heavy to carry on the school bus. Discovered Technics 1200 turntables and never looked back. Still working on the girls bit, and stuck wheels on my saxophone case. What’s the weirdest thing you’ve seen in a nightclub? Heath Renata trying to stand still whilst DJing. The most idiotic request you’ve had as a DJ? One Direction, seriously it was 4am.
TRACY MCNEIL ON ANZAC DAY
Catch twisted pop stars Lunars playing one of their last shows before they lock themselves away to record their debut EP this month. Joining them this Friday at the Empress will be noise addicts Grand Prismatic and Psalm Beach, guaranteeing one hell of a crazed night. Doors open at 9pm.
Melody Black make their long awaited return to Melbourne to play a show at Revolver this Saturday. Following the release of their debut album Love Your Demons and video exposure on MTV and Rage, Melody Black will hit Revolver for a huge show with support from The Mercy Kills and Hatchet Dawn making it a powerhouse bill of electric, intense, loud rock. The doors open at 9pm with entry price $15.
O’CONNOR AND DESSERT
From the hit musical Wicked, Australian singersongwriter James D Smith is set to tour his new album Invite Me Places on The Green Light Tour. Smith is a storyteller with versatility and passion. Experience the sound of his remarkable voice, with a full live band, in an intimate show at the Evelyn Hotel on Sunday 13 May.
HUMANS PLAY THE GASO
Tomorrow (Thursday) at the Gasometer come four local bands. There are four letters that best describe Humans. Those letters are PRTY. Reviews on their Unearthed page don’t make much sense but the music is belting. Sheriff play a unique blend of southernpsychedelic-horror-blues-rock. The Sinking Teeth are a good-time party band with a local flavour – all members are from previous and current bands Left Feels Right, The Analyte, Brokers and The Hawaiian Islands. Dan & Dan will kick off the night with a bang.
STATE OF INTEGRITY THIS THURSDAY
State Of Integrity are a Brisbane metal band who play a blend of thrash, groove and melodic death metal. After several Australian and New Zealand tours and supporting the likes of Unearth, All Shall Perish, Testament and Obituary, they are heading upstairs at the Gasometer tomorrow night (Thursday) with friends Maniaxe, Diprous and Broozer.
MARATHON LAUNCH NEW ALBUM
Sweet Easy is a series of intimate dessert nights paying tribute to an iconic song. The first Sweet Easy at the Gasometer this Friday honors 1977 punk ballad Whole Wide World by Wreckless Eric. Experience unlimited visits to an all-you-can-eat tropical dessert buffet, inspired by the song, plus a very special performance from Geoffrey O’Connor this Friday at the Gasometer.
Hardcore heavyweights Marathon are back with a new album they are launching upstairs at the Gasometer this Sunday. Joining them are Outright, with their socially conscious hardcore. Also on the bill are the well-dressed and moustached screamo band Palisades and the Albini-esque angst of Carbs. The gig starts at 7pm with a $10 entry charge.
CAULDRON BLACK RAM UPSTAIRS
HARDCORE AT GASO
Cauldron Black Ram will plunder, punish, and despoil the Gasometer this Friday. The CBR legion emerged from belching tar pits, mid-1996, bringing with them the heaviest, most foreboding metal to inspire the hearts and ears of the parched underground scene. Joining them upstairs at the Gasometer will be Mongrels Cross and Spire.
The same senseless violence that characterises war will occur upstairs at the Gasometer this Anzac Day eve this Tuesday when some of Melbourne’s finest punk and hardcore bands including Rort, Debacle, Old Skin and Shit Weather get hold of some guitars and bayonets. The first shot will be fired at 8pm with entry for $7.
W N E N IO IT D E
Tracy McNeil moved to Melbourne in 2007 with only her suitcase and her acclaimed debut album Room Where She Lives. Recorded in Toronto, the album proved a classic debut, brimming with authentic country and roots songs born of a nation that has a long and distinguished history of producing such talented artists. Melbourne was something of a risk, but it paid off almost immediately. McNeil worked hard, playing solo shows all across the formidable musical city that is Melbourne, gaining the respect of her peers and critics alike, along with an ever-growing fan base. She quickly became an integral part of the Melbourne music scene. This Anzac Day, she’ll play two sets in the Retreat front bar, from 4-6pm. Free entry.
DEAD JOE EP RELEASE Adelaide boys Dead Joe head to the Gasometer this Sunday with the release of their much anticipated EP 6. Joining them is fellow crow-eater Ben David following up on his status as Adelaide’s favourite dirty little, folkpunk, love child, David has finally coerced his lifelong mates Sam DeBruin, Dan Raw and Alex Upton into a full band, performing as The Banned. Their own brand of unconventional country and punk rock garnered them a spot on the Adelaide leg of the 2012 Big Day Out, and should not be missed. Rounding out the line-up are local boys Strathmore, strutting their stuff off the back of their self-produced debut EP Everynight Tonight.
RECORD STORE DAY AT THE GASOMETER Radio Valerie will be partying at the Gasometer on Record Store Day this Saturday to celebrate local music, local DJs and all the wonderful record shops around town that fuel our scene and make it happen. Appearing will be Sir Kevinwulf, Callum Flack and James Pianta from Round & Round Records, DJ Dick Fuckler from Polyester Records, Inkswel, Benny Badge, Hamburger Lady, Cade, Ignatious and Japanese Sweat Noise.
UNCOMFORTABLE BEATS TONIGHT Uncomfortable Beats this time around boasts new supergroup Carte Blanche, comprised of the creamiest Melbourne has to offer: Candice Monique, Motley, RuCL and Dizz1 on the decks for their debut performance. In support will be local five-piece band Allganiks, who play really soulful hip hop that’s bound to set your head to nod. On top of that well-respected residents Able8, ShiKung and Ghostsoul will be testing their latest wares and offering up the freshest of the beats world. Tonight (Wednesday) Uncomfortable Beats returns once again to Bar Open to showcase the latest and greatest in Australian beat music.
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DECEMBER
2011 #47
Order your copy of AMID now! VISIT WWW.THEMUSIC.COM.AU/STORE 38 • INPRESS
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ORD ER NOW
CAPITAL TIMES FUNKOARS RECENTLY BROKE THEIR LIVE DROUGHT WITH SHOWS IN TASSIE AND THE NATION’S CAPITAL. KEEPING AN EXCLUSIVE TOUR DIARY FOR US, THE GROUP ENCOUNTER SHIT AIRLINE FOOD, SHADOWY FIGURES AND FLYING THONGS.
THE DEATH RATTLES LAUNCH NEW VINYL
The Death Rattles have announced the release of their new 7” double A-side, Born Wolf/In The Morning, and will be launching it this Saturday at the Old Bar. It is the band’s first release since 2010’s The Tales Of Dogs And Men EP and is the result of months of hard work and shows played all over Melbourne with many great bands. Supporting them on the night are two of their favourite artists and friends: Heel Toe Express and Brendan Welch. They’ll be selling the record for just $10, which includes a complimentary digital download.
UMBILICAL TENTACLE UPSTAIRS THIS SATURDAY
Upstairs at the Gasometer this Saturday has been described as sonic displacement. Grim. Noise. Dust. Space. Like being in a Russian field, seeing nothing but power lines, and you can’t stop thinking about grandpa. The bands to put you in your place are Umbilical Tentacle, Warpigs, Ghost Gums and Penguins.
MISERABLE LITTLE BASTARDS’ UPCOMING DATES
The Miserable Little Bastards will be performing three shows at Apollo Bay Music Festival from this Friday to Sunday. Then they’re back home for a gig at the Union Hotel on Saturday 28 April. Other shows will be announced soon and the Miserable Little Bastards’ new album is still available from Basement Records, Polyester, Northside Records, through Bandcamp and from their website themiserablelittlebastards.com
MESSED UP AT THE TOTE
Washed up onto the shores of Melbourne’s music scene, Messed Up are trashing out some lo-fi beachy garage tunes, free of charge, tonight (Wednesday). Thrown in the deep end, Messed Up have already supported Bob Log III, drawn in many punters and have a tsunami of gigs throughout May, which includes a Tuesday residency at the Tote. Joining Messed Up for their residency will be Valleygirls, Mole House and more to be announced. Tonight is free entry with doors opening at 8pm.
SHIPS PIANO FRONT BAR RESIDENCY
Ships Piano are back at the Tote. They will be road-testing new songs for their debut album every Saturday in April from 5pm. Supported this week by fine local band Pageants. They’ve supported Wavves at the Corner. They’ve been to Sydney and backed over a guitar in Woolongong. Now they’re bringing their scrappy indie-rock tunes to the Tote. Come get some of it in your ears. Ships Piano are playing for free in the front bar from 5pm to 7pm
CLASSIC CATCH
SEVENTH ZEVON
Swinging into the upstairs of Lucky Coq for the last two Sundays in April is Zevon. He will be joined by bass player Evan Tweedy and NY drummer Paul Buschman. There’s a free BBQ from 4 to 6pm, drink specials and the band kicking out the jams from 5pm to 7pm.
RECORD STORE DAY AT THE TOTE
Wooly Bully and Polyester Records present a truly Sick Record Store Day Party this Saturday at the Tote. New War play their first headline gig of 2012 and their last show before their long awaited debut album. Legendary experimental post-punks Scattered Order make their first trip to Melbourne in more than six months which should more than thrill local rock fans. Zond need no introduction, your ears are probably still ringing since the last time they played. They emerge from the studio to play their first gig in 2012. Opening up the night are some new comers, expect some damaged kosmischey jazz from Jusgo Mosh in their Melbourne debut.
SMOKE SIGNALS
Currently enjoying significant airplay for his latest single Rings Of Smoke, local indie/art-rock singer/ songwriter Michael Plater will be playing a special fullband set at the Retreat on Wednesday. Playing songs from his forthcoming album Exit Keys alongside a few choice Dylan and Velvet Underground covers, he will be joined on the night by Pete Azzopardi (The Coves, The Happy Lonesome), playing a rare solo acoustic set. The show will kick off at 8.30pm and entry is free.
LA MAUVAISE RÉPUTATION LAUNCH DEBUT
Melbourne jazz manouche and French chanson trio La Mauvaise Réputation launch their début album Tours Eiffel En Plastique at the Paris Cat Jazz Club on Friday 4 May at 9pm. The band takes their inspiration from the greats of the French Chanson tradition – Edith Piaf, Charles Trenet, Jean Sablon and Serge Gainsbourg. They faithfully recreate the beautiful French standards of the early 20th century, in their original French, and in the jazz manouche style of legendary guitarist Django Reinhardt and his followers.
GIVE IT A RUB
The mighty 12-piece pop reggae powerhouse The Dub Captains returning to Bar Open. Those who have witnessed the big band perform live, know they’ll be treated to yet another fun night of reverb-drenched guitars, catchy horns, melodic bass and amazing harmonies. This special Anzac Day eve event will see the band performing two sets of new unreleased material, possibly a couple of covers and all the favourites from their debut album Big Boomin’ Sci-Fi Unit.
SHOW ONE
LAUNCESTON – BREATH OF LIFE FESTIVAL By Hons The trip to the Breath Of Life Fesitival started with the hard decision of whether to wear the newly purchased GoPro camera into the shower. Deciding not to bless the world yet again with full frontal nudity I strapped the camera to my head postshower and started my journey to Launceston, filming POV from my bedroom all the way to Tassie. I thought I’d treat myself to a mini-holiday with my better half and her friends by camping for a few days before the festival. Two days of relaxing beers and fishing in the beautiful but freezing rivers of Tasmania was exactly what I needed before my body was reintroduced to jumping around like a dickhead on stage for an hour. Before I knew it it was Sunday morning and once again I strapped the GoPro onto my head and jumped into a cab towards the festival. With only just enough time to have a shoe pelted directly into my face at close range in the crowd during Illy’s set, it was time to meet up with the rest of the guys backstage for a sneaky last-minute rehersal in the tour van. The crowd was nuts; so much footwear was thrown onto the stage during the set I had the sudden thought that we should have been selling shoes in the merch tent. Wore the GoPro throughout the set and got some amazing footage of the crowd and a thong catch that would make my SAPSASA cricket coach proud. After the set we were privileged to share the main stage with our friend Drapht for a track and then watch the Hoods set the bar just that little bit higher for every other hip hop act in the country!
SHOW TWO
CANBERRA – TRADIES CLUB By Sesta A crisp gentle breeze, a distinct lack of smog for a capital city, an unusually large force of customs officers and high-tech security equipment for a domestic arrival area. We must be in Canberra… The show could not have gone better, the venue sold out, the sound was great, the vibe, even greater. After the show consisted of us hanging and chatting with what seemed like everyone who came to the show and having to politely refuse countless offers of personal house parties consisting of “anything we want”.
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Upon returning to the hotel, Trials and I as usual realised we had none of the on-the-road supplies that demanding and flustered divas such as ourselves need at 4am so we took some sort of miraculous moving infinity tunnel to the ground floor in search of the 24-hour servo the man at the bottle shop made reference to earlier that day. Canberra is a cold and eerie place at 4am; it’s a place that will get the conspiracy juices of even the most hardened sceptic such as myself flowing all over the place but that being said… looking the way we do nobody bothered us. After gathering the necessary supplies we made our way back to the hotel. A short cut we had made on the way to the servo was now blocked by a shadowy figure gently repeating the word “hello” outside of what looked like a derelict business front. The long way home was looking rather attractive.
SHOW THREE
BATEAU BAY – LEAGUES CLUB By Trials On the way to beautiful Bataeu Bay the only sustenance I had managed to scrounge was courtesy of our favourite airline, Virgin. Although they had repeatedly made it clear to me that I hadn’t ‘achieved’ enough points to use the most convenient bathrooms (although I did, quickly) there was no warning that today’s snack would be something conjured up by literally throwing food scraps in the air and seeing what stuck together. A piece of almost genuine shit in my belly later and we had arrived. We had never played here before so fingers were crossed all night between taking turns in the pokie syndicate between me, X and Hons, waiting for tonight’s proceedings to jump off. Our good friends from Sydney, Drakezilla and Swarmy, came down to give us a hand and absolutely belted the guts out of it. The set was classic, we hung around and got half in the bag with the locals, ruined some t-shirts and retired back to the backpackers. In the three to four hours we had gone the local network seemed to switch from regular viewing to what really goes down around here. The channel had turned into a seedy chat room costing about $5 a message but free for girls. I quickly noticed there were other people that rode performance horses and liked big butts so I charged my telephone and settled in for the night. WHO: Funkoars WHEN & WHERE: Tuesday 24 April, Raise The Roof, Espy; Thursday 10 May, Wheelers Hill Hotel; Friday 11, Pier Live
INPRESS • 39
HELLO MONDAYS
NUCLEAR FAMILY
Enjoy a new soundtrack to your $10 parma night (arguably the biggest in Melbourne) as DJ Kiti takes you all on a journey of musical explorations in all things rock’n’roll at Hello Kiti. You’ll hear everything from ‘60s garage and indie to post-punk and synth pop to new wave and new romantic. Old or new, Kiti will leave no tune uncovered. Music from 8pm, Mondays at Lounge.
Atomic Bliss are in the process of finishing shooting a video clip for their third single Caroline and have been busy finalising the mastering for their debut album release, due out in June. At their Espy show this Thursday the Bliss will be joined on stage by three great supports. Original Taxiride member Dan Hall showcases his new outfit and two of Melbourne’s finest indie guitar bands, The Latonas and The Wells, complete the line-up.
KEEPIN’ IT NORTHSIDE Join Northside Records this Anzac Day eve as they deliver the fonk at Lounge. Kylie Auldist will be performing live and Northside Records’ DJs Chris Gill, Lewis CanCut, Johnnie Topper, Manchild, and Ms Butt will be selecting the right kinda cuts to bring the fonk! It’s only $15 entry from 11pm this Tuesday.
HAVE YOU HEARD?
Melbourne songwriter and recording artist Victor Stranges is returning to St Kilda for a one off show as a part of the Grocery Bar’s Sunday showcase performances. His most recent album, Hello Me To You, was named one of the Best Albums of 2009 by Pop Underground. The album subsequently caught the ear of the head of Not Lame Records, Bruce Brodeen. A distribution deal with the label ensured the album received exposure to the worldwide powerpop community. Stranges is currently writing and recording a new album and he will be performing solo from 3pm this Sunday at the Grocery Bar.
EP FOCUS DAMN TERRAN PLAY LOST & FOUND AT REVOLVER TONIGHT (WEDNESDAY).
COMIN’ AT YA
How did you get together? We got together roughly 22 years ago when I was born. Leigh assumes he is my brother but we are still waiting on DNA tests. The Damn Terran you know today started gigging in 2010. Have you recorded anything or do you prefer to tool around in your bedroom? In 2010 we recorded our first EP, Pet Hate. We recently released our new single, Rebels, which will be launched late April. We’re hoping to go back into the studio around June to work on the album. Can you sum up your band’s sound in four words? Raw, sweaty, blood-garage.
COURTNEY BARNETT - I’VE GOT A FRIEND CALLED EMILY FERRIS How many releases do you have now? This is my first release. How long did it take to write/record? The whole process took about one year. Each song took 30 minutes to write. We recorded it in one day, plus a few extra nights of me sitting in my room doing overdubs. We mixed it in a few days. Then the other 350 days were procrastination. What was inspiring you during the making of the EP? Curb Your Enthusiasm. What’s your favourite song on it? Scotty Says. I tried to write an anti-chorus but somehow it ended up the catchiest song. Plus I dig the squeak of the hi-hat pedal that no amount of WD40 would stop. We’ll like the EP if we like… Pinball. Will you be launching it? Fuckin’ yeah. At the Tote on Thursday 19 April with Ali E and The Lost Volvos supporting.
40 • INPRESS
If you could support any band in the world, who would it be and why? Future Of The Left would be a good start. They’re such a great band and really good soccer players. If a higher power smites your house and you can only save one record from the fire, what would it be? It would have to be one of the following: Sonic Youth – Daydream Nation; Future Of The Left – Travels With Myself And Another; or Nirvana – Nevermind. Do you have a lucky item of clothing you wear for gigs and what is it? I have a friend Tony who usually tries to spit beer in my face when we play. Does beer count as a lucky item of clothing? If you invited someone awesome round for dinner what would you cook? First I’d have to get cooking lessons from Udays Tiger (they are amazing cooks and a great band). I’d cook some sort of roast. What’s your favourite place to drink in Melbourne? We all really love the Old Bar in Fitzroy. We’ve all had some messy nights there and the vibe is always great.
VICTOR STRANGES TO PLAY GROCERY BAR
Iowa’s debut album Never Saw It Coming is here. Fast gaining a reputation as the leaders of the new generation of sonic terrorists, Iowa have delivered the masterpiece that their live shows have promised. All the staples of seeing them live are here, the swathes of swirling, fuzzed-out guitars, the roomshaking bass and intense drums combine over 12 tracks to create an amazingly coherent album. They launch the beast on Saturday at Phoenix Public House with Baptism Of Uzi and Tape.
METAL METAL METAL Rising from the ashes of Melbourne’s dormant metal scene, Decimatus formed with one intention: to make the music they love that no one else is playing. They’re returning to Pony this Friday for a night of brutal fun with Orpheus, Sewercide and Brisbane’s State Of Integrity. So get down to Pony for a big night of metal.
FILTHY ANIMALS Enter the middle of the week; for some it’s the beginning of the weekend, for others it’s a break from study, for those of us who are travelling, it probably has no real significance (unless you’re wanting to party with the hot European girls from the hostel). Humpday Animals is your mid-week stomping ground, featuring DJs Danny Silver, Manchild and Mu-Gen at Lounge on Wednesdays for free.
STABLE MATES Join one of Melbourne’s premier deep house labels for a night of carefully selected and blended house tunes as Stable Music, Freeform Collective and Knee Deep deliver the right kinda late night flavour for your Friday night. Their DJs have years of experience both locally and internationally, and have put on and been a part of many tours. This Friday at Lounge, entry $10 from midnight.
themusic.com.au
CAM BUTLER PRESENTS SAVE MY SOUL
Save My Soul (Symphony No 3) is the new album from Cam Butler. It features a true symphonic line-up of a 23-piece string section orchestral harp, timpani and percussion, drums, acoustic guitars and solo electric guitar, The result is the finest example yet of Butler’s orchestral vision to combine modern electric guitar techniques and sound with string orchestras. Not slipping into any easy categories, Save My Soul exists in its own world of cinematic orchestral music, modern classical and Australian underground guitar music. In order to present Save My Soul live, Butler has enlisted the help of four filmmakers (plus himself) to make a video to accompany each of the five tracks on the album. Catch the amazing debut performance at the Northcote Uniting Church on Saturday 19 May.
IN THE EYEM
Eyem at Lounge features residents Boogs and Who, and will host Melbourne’s top purveyors of club music, showcasing both local and international DJs playing the most upfront club music. This week’s special guests are Inkswel, Jobin and Weekend Express. Expect nothing but excellent house music all night long. And remember, clubbing happens in the Eyem. Entry is $10 from midnight.
DIRT FARMER DEBUT EP
After spending the last six months supporting the likes of Husky, Alpine, The Gin Club and The Rubens, Melbourne band Dirt Farmer are beating the imminent winter blues and unleashing their summer-laden selftitled EP with their third single Kick It. The EP was recorded by Leadbetter Productions and Timothy West, mixed by Leadbetter Productions and Steve Schram, and mastered by Exchange Mastering UK. The band are excited and they are bringing this energy to their live shows. Dirt Farmer’s debut EP will be launched this Friday at Yah Yah’s with supports from friends and colleagues The Messengers, Dan Davey (Sister Jane), Them Swoops and Alpine DJs.
FANGS AND CARDIES
Lounge presents live bands every Thursday night in April. Expect gaffer tape, long cords, unkept hair, amps, butt cracks, beer stains, soundchecks, and Dickies shorts. Plus of course, there’s the talented bands themselves! This week features Street Fangs and Kashmere Club. Live music from 10pm and the best part is, it’s free.
ROOTS DOWN
THE RACKET
WAKE THE DEAD
BLUES ‘N’ ROOTS WITH DAN CONDON ROOTSDOWN@INPRESS.COM.AU
METAL, HEAVY ROCK AND DARK ALTERNATIVE WITH ANDREW HAUG
HARDCORE AND PUNK WITH SARAH PETCHELL
point and I’ve never been more proud of anything in my life and this album will definitely live up to its name.” Virginia-based melodic death metallers Arsis have recruited Shawn Priest as the full-time replacement for recently departed drummer Mike Van Dyne.
JOHN FOGERTY So this is the last you’ll hear from me about Bluesfest for at least six months, I promise. But I couldn’t let the festival go by without basically gushing uncontrollably about how damn good it was. To start off on something of a negative note, numbers were down. They were down a lot. It was quite strange seeing so much open space as you drove through the gates, where last year the fields were lined with tents and just about no room to move. This is massively unfortunate for the organisers, but they can take some solace in the fact that festival attendance seems to be down almost entirely across the board at the moment, so they’re not the only ones in that boat. That meant there was as bit more space available for us as we watched some of the world’s best go at it. And many artists really did prove to us why they are held in such high regard. A top five is awfully hard to do, but I only have so many column inches so here goes…
THE POGUES
Standing outside the Crossroads tent in the dying stages of a great Weddings, Parties, Anything set, (who were playing before the legendary Pogues) I had the singular “holy shit” moment that tends to happen once a year at Bluesfest. Last year it was for Dylan, the year before it was Crowded House. It’s that thrill at knowing you’ll be seeing one of your absolute favourite artists of all time for the very first time, an artist you, at some stage in your life, swore you’d never have the chance to see. This feeling was exacerbated enormously by the fact that there was a chance The Pogues wouldn’t actually be all that good. Thankfully they well and truly surpassed all expectations I had for them; an amazing setlist, a band who were entirely on point and – most astonishingly – Shane MacGowan, the band’s legendary and infamous frontman, was in fantastic form. His voice was great, you could understand what he was singing (fuck knows what he was saying though) and he actually looked really happy to be there. Magic moment.
IN THIS MOMENT Southern California’s In This Moment have set Blood as the title of their fourth album, due this summer via Century Media Records. The CD was once again produced by Kevin Churko (Five Finger Death Punch). Comments frontwoman Maria Brink: “There are no words to describe how excited we are… We are on fire with this record. It’s by far the most powerful material we have ever written. In This Moment has gone through some big changes. I admit sometimes change is scary, especially when facing the unknown, but in this case everything has been perfectly meant to be. It’s a brave, dark, hard-hitting album that will make you feel dirty inside, but still wanting more.” Former Dragonforce singer ZP Theart has revealed his new band in the form of I Am I. The debut album, Event Horizon, will be the first-ever heavy metal album to be released solely on USB. The stick will be packaged in a CD case and will include full artwork and all the usual content you would expect on a disc and more. Due on 26 May, the effort will be available to pre-order next week from the official I Am I website. Comments ZP: “Event Horizon is an album of message. It’s about past meeting future and everything in between. It’s about warnings for the current generation not to go down the same road in the future as we are doing now as that will surely secure our demise. To see and not to perceive, to hear and not to listen, is the downfall of all… It’s a new age of enlightenment and there are a lot of messages in the songs that will hopefully kickstart a few people who are slow on the uptake. My whole career has been leading up to this
JUSTIN TOWNES EARLE
This guy just keeps getting better. This year he was joined by a bassist and guitarist and together they ran through a set that was awfully heavy on material from his incredible new record Nothing’s Gonna Change The Way You Feel About Me Now. The songs on that album are so good that there was no complaints from anyone about him delving into it so deeply and the silence of the sizeable audience was proof enough that he’s truly one of the world’s best in the game right now.
MACEO PARKER
Okay, Parker was incredibly slick, but he was one of few artists bringing the funk this year (after last year’s cavalcade) and he didn’t disappoint. Such a well put together set with some of the most talented musicians you’re ever likely to see, including Funkadelic bassist Rodney ‘Skeet’ Curtis.
COLD CHISEL/JOHN FOGERTY
These two come together because I knew exactly what to expect from them. They both put together sets of truly classic hits that may not have been the most impressive musically (though they were certainly pretty damn good!) but were a whole lot of fun to watch. Both Chisel and Fogerty might be getting on in year, but they both have their shit together in a big way and are delivering genuinely stunning performances. And how about those sing-alongs…
California metallers Bonded By Blood have set The Aftermath as the title of their third studio album, due on 3 July via Earache Records. The CD was tracked at Darth Mader Music in Los Angeles with producer and Logan Mader (Devildriver). Comments Bonded By Blood drummer Carlos Regalado: “We worked so hard on this album for a solid year and we accomplished what we were aiming for. The album title has got a simple meaning behind it – the aftermath of all the shit we’ve been through in the past couple years: member changes, unexpected problems on the road, personal issues, a lot of obstacles that almost ended Bonded By Blood. This is what we love, this band is everything to us, we weren’t going to let other people dictate and destroy our aspirations and dreams.” Swedish extreme metal veterans Hypocrisy are writing material for their 13th studio album, which they plan to record later this year for an early 2013 release via Nuclear Blast Records. Comments the band: “We’re now focusing on writing new songs for the next album. We’ve already some new material and it sounds killer! The plan is to record the new album in the autumn this year and release it in the first half of 2013. So far everything is working out as planned and we’re really excited to bring out the new release.”
LONDON FIELDS THE VIEW FROM EC4 WITH JAMES MCGALLIARD
BETTYE LAVETTE
I didn’t really dig LaVette’s most recent record, 2010’s Interpretations: The British Rock Songbook, so that kind of dulled my expectations for her set at this year’s festival. In hindsight it’s probably a great thing that it did because she absolutely blew me away with one of the most powerful soul performances I’ve seen since the great Solomon Burke all those years ago. She was awfully cheeky, complaining of a hangover the second day, and her band had just the right amount of grit and class to carry her well worn voice perfectly.
Austrian blackened death metal outfit Belphegor will enter Mana Recording Studios in St Petersburg, Florida shortly with producer Erik Rutan (Hate Eternal) to begin recording their as-yet-untitled new album for a late 2012 release via Nuclear Blast Records. Comments guitarist/vocalist Helmuth Lehner: ”To record chapter X with Erik is perfect, since he exactly knows what we need and how we get this shit done. The thing is, the new compositions are full of intensity and pure aggression. The combination of European metal coldness, atmosphere and sickest elements crossed with an American brutal sound is the masterplan. This experiment is going to be ultra-sick!
LONDON FIELDS TAKES OFF “Why don’t you write about how Australia looks from a British viewpoint?” asks the editor when he hears that I will be spending nearly a month back in Australia. This feels like a weird reversal as when Inpress first approached me to do a monthly column back in 2003, its aim was to give an Australian slant on life, music and culture in the British capital. In this switch of viewpoint an old question arises – does travel really broaden the mind, or just allow us to condense the world into a vision that it’s possible to analyse? Certainly if someone mentions Camberwell, I’ll think of both the well-to-do inner east of Melbourne as well as the grimy southern reaches of London. But perhaps the biggest contrast between my two adult worlds came within an hour of landing at Tullamarine. A friend kindly offered to pick me up from the airport, and somehow between the payment machine and the exit gate the parking ticket she’d just paid $20 for was mislaid. A thorough search of the car proved fruitless – there was no option but to go back to the payment office. I thought we’d need to drive back; I mean it wouldn’t be safe to leave anything in a parked car (even by a staffed exit). In less than the five minutes we would be away from the car its windows would have been smashed and its contents cleaned out – if we were in London I said. “This isn’t London” I was gently reminded; she said it would be fine, and she was right. It took a while to realise that while this was nowhere near a world where you could leave your doors unlocked, it was also somewhere where nasty things were perhaps less likely perhaps to happen. One where actually daring to meet someone’s eyes isn’t necessarily taken as a challenge (“What are you looking at?”). Then again, I had also forgotten the great Aussie welcome – yelling out abuse at passers-by from car
windows (“You pooftah!”). Other customs may be even more baffling to an outsider, like how the price of a beer seems to vary depending of the time of day, or even the day of the week. And while what’s considered normal lighting on an Australian suburban side street would be so dark as to be considered a risk in London, it was so nice to be able to see stars again. I suppose from that ‘British viewpoint’, the most shocking aspect of Australia in 2012 is the cost of living, particularly food and drink. It’s not helped by the relative strength of the Aussie dollar, which by now must really be beginning to hurt the local tourism industry. If Australia is indeed heading into a recession, it’s certainly hard to spot. One only had to look at the teeming life of its cafés and bars, and the sometimes near-frivolous spending patterns that have vanished from Britain are still booming in Australia. Some shop closures may be a worrying foreshadowing, but the overall picture is pretty positive. Sadly my holiday didn’t quite pan out as I’d hoped. Sitting on the tenth floor of a Melbourne hospital, the beauty of my home city shone through as never before; and I wished that I was seeing it under other circumstances. As the wings are currently being pulled off the NHS, I was extremely pleased to see the brilliant and dedicated nursing care provided in an Australian public hospital. Taking a break in a local bar, another friend tells me that London Fields could be described as a well-written but continuous whinge. This reminded me of an old Aussie joke about Brits. It goes something like: Q: How can you tell your flight is full of Poms? A: When the engines stop, the whining doesn’t. This is the 100th London Fields column in print and it feels that there are changes in the air beyond this month’s viewpoint reversal. Although my return to London coincided with my favourite time of the year – the garden was already full of early flowing tulips, and the hawthorn tree went from bare branches to lush foliage in a mere three days – for the first time in many years, I’m wondering if the scales of where I’d rather live haven’t tipped ever-so-slightly southwards. londonfieldscolumn.blogspot.com
themusic.com.au
PARKWAY DRIVE One of my favourite releases and favourite new bands of 2011 was Basement. Their debut fulllength I Wish I Could Stay Here had a definite place in my top ten of the year, with their solid blend of everything I love about punk, hardcore and ‘90s emo. The UK band are heading to Australia for the very first time this June/July and trailing along with them will be Sydney up-andcomers, Endless Heights. Their debut EP Dream Strong saw them start to turn heads across the country, and a strong work ethic has seen their fanbase grow. On Saturday 7 July there is an 18+ show at the Northcote Social Club. Then on Sunday 8 July, Basement and Endless Heights will play an all-ages show at Phoenix Youth Centre. Tickets are on sale now. It has been talked about for a while, but Parkway Drive are releasing a new DVD in the next few months, and last week a sneaky trailer was posted online giving fans and all other interested parties a peek at what it’s going to be all about. Called Home Is For The Heartless, the 75-minute DVD is part band bio, part travelogue and an in-depth look at PWD both on the stage and off. If you think about what Parkway Drive have been up to over the last couple of years, then you know how special this DVD is going to be. They’ve toured at least 42 countries, played some of the most remote places for a band to tour (I mean, they played Calcutta in India!) and have also played some of the most mental shows they’ve ever played. In the last issue of No Heroes, Winston McCall talked in a bit more detail about some of these experiences, so check out the interview if you want a bit more information. But in the meantime, there isn’t a solid release date but as soon as I have that information, I’ll let all you guys know. Melbourne five-piece House Vs Hurricane are currently in New Jersey recording the follow-up to their debut album Perspectives, which was released back in 2010. This time around they are recording with Machine (who I believe is also doing The Amity Affliction’s new one, but is also known for his work with Every Time I Die and Four Year Strong). It’s been a tumultuous couple of years for the band, who weren’t entirely happy with their debut and in the meantime have suffered a number of crucial line-up changes, including losing keyboardist Joey Fragione and vocalist Chris Dicker. In the meantime, the new album – the first with new vocalist Dan Casey – is to be called Crooked Teeth and will be released via UNFD on 29 June. Keep an ear out, as the first track from the album will be premiered on Short. Fast.Loud on Wednesday 29 May. The other big announcement for this week (but it will involve travel) is that Resist Records and Trial & Error Records have revived the annual hardcore festival that usually takes place in Sydney every July (with the exception of 2011). Yes, you have to go to Sydney for it, but TRUST ME YOU WANT TO! Not only are there two amazing internationals playing in Terror and Ceremony, but this is the last opportunity that the East Coast will get to see Break Even, as these will be their last shows (besides a hometown show). So here are the lineups, and prepare to book your flights/annual leave/ whatever you need to. On Saturday 7 July there is the 18+ evening show with Terror, Mindsnare, Ceremony, Break Even, Miles Away and I Exist. Then on Sunday, there is an all-day all-ages show with Terror, Ceremony, Break Even, Miles Away, Extortion, Iron Mind, Warbrain, Vigilante, Survival and Civil War. Both shows will take place at the Hi-Fi. INPRESS • 41
THE BREAKDOWN
OG FLAVAS
INTELLIGIBLE FLOW
POP CULTURE THERAPY WITH ADAM CURLEY
URBAN AND R&B NEWS BY CYCLONE
HIP HOP NEWS AND COMMENTARY WITH ALEKSIA BARRON
lambast Odd Future for fetishising violence against women, Madonna has been let off the hook for her gang banging dudes – ‘tongue-in-cheek’ or not. And is it really empowering for a woman to call a man a “bitch”? Minaj reappears on I Don’t Give A, proclaiming, “There’s only one queen – and that’s Madonna, bitch!” It’s clearly a Lady Gaga diss. SANTIGOLD MADONNA Compromise is often a given when it comes to pop music. We don’t really expect Madonna to release an album that says much about real life or her own personal beliefs. We don’t expect anything truly exciting to happen at the ARIA Awards or the Grammys or the Super Bowl. We don’t expect anyone to say anything that hasn’t been passed through a PR machine seeking to wash off anything likely to cause offence to anyone. We hope they will. We do. But our hope has limitations. We hope that Madonna might impress within the boundaries of ‘mainstream’ pop music; that she might incorporate something half interesting into a song that is otherwise a canvas of vague slogans or that she might have a visual message to convey while enacting a relatively bland choreographed dance sequence in a video clip, as Lady Gaga has learned to do. We hope that someone might give an interesting performance at an awards show, but we find ourselves discussing Nicki Minaj’s exorcism or MIA’s middle finger with the unspoken knowledge that the discussions are only relevant within the walls of what society expects from ‘mainstream’ entertainment. These are not honest discussions about music or things that affect our lives; they are discussions about compromise. In many ways it would appear as if compromise is inherent in a genre named after an end goal to be popular. The structure of a song that is deemed a ‘pop song’ was formed long ago, based on arrangement and mood, and so anyone desiring to work within the genre, to create something that is accessible to many people, must adhere to its boundaries. But in reality, the definition of ‘pop music’ is changing constantly. When we talk about acts such as Madonna or Nicki Minaj or Lady Gaga, we aren’t discussing the whole of what we mean by ‘pop’, merely acts backed by big money that, as a result, have access to the lives of many people. The ‘mainstream’ of pop. We can also talk about the pop music made by a band on an independent label, or a bedroom producer, or an act that gets national noncommercial airplay and can play music festivals and sell out large venues. We understand that pop music can be many things. We use the ‘feel test’ to decide whether what we are hearing is pop music: if it feels like pop, then it is pop. That we feel the urge to categorise by genre is perhaps another discussion altogether – however that urge is also what has led to our current acceptance of compromise in ‘mainstream’ pop music. It has only been in the past decade that we’ve talked about the end of ‘pop’ as a ‘dirty word’, as others have appropriated the sounds and structures of pop music and done interesting things with them. Critical appreciation of pop as an ‘art form’ has increased. Nostalgia might also be at work for those who grew up with the emotional manipulation of ubiquitous media in a time of bigmoney pop acts. For whatever reason, there is no longer the same ‘us and them’ divide between ‘mainstream’ pop music and those looking for something more meaningful with their melody. But if the ‘us’ has become ‘we’, at one with those who rule the airwaves and the upper echelons of the charts, shouldn’t we expect more of them? It isn’t unreasonable to expect a singer in ‘mainstream’ pop to say something interesting or affecting or simply not downright insulting in her or his song. It isn’t unreasonable to expect that something more meaningful than a middle finger happens at a concert watched by millions of people, or that a pop singer might say something that has some basis in real-life thinking in an interview. It isn’t unreasonable, but we have to start thinking it’s possible and we have to stop accepting that a compromise must be made. PS. Listen to Catcall. 42 • INPRESS
Santigold has declared war on the homogeneity of contemporary pop. “I hate LMFAO and David Guetta,” she rails in NME. This month the Afro-punkster will drop her long-delayed comeback, Master Of My Make Believe, led by the Ricky Blaze-helmed protest song Disparate Youth. Santigold was originally signed to the indie Downtown Records, which released 2008’s Santogold, but the label was then absorbed into Warner. The new regime pressured her to make an album of club anthems to attract radio. It was actually suggested that she work with… RedZone. Santigold resisted bigtime. Luckily, she now has Jay-Z’s Roc Nation managing (read: defending) her. But others are simply buckling to the Euro-dance hegemony. Madonna’s twelfth outing, MDNA, couldn’t be more generic. It’s hydrangea music! Alas, it has flopped – and dramatically. Unfortunately, any failure will be attributed to Madonna’s age – ironic when she’s currently directing her rebelliousness towards an ageist media culture. Yet Madonna trivialises herself with songs like Give Me All Your Luvin’, Nicki Minaj and MIA playing her cheerleaders. Guetta isn’t onboard, but ‘Veronica Electronica’ has hired Martin Solveig – and Benny Benassi produced Girl Gone Wild. It’s as if Madge’s teen daughter Lourdes A&Red MDNA. Somewhat disturbing is the sound effects-laden, dubsteppy minimalism of Gang Bang, Madonna’s answer to Rihanna’s (possibly justified) ‘revenge song’ Man Down – both are manifestations of a vigilante feminism (or inverted sexism). A gun-toting Madonna is presumably out to get her ex, director Guy Ritchie, whose forte, admittedly, lies in macho gangster flicks. “Die bitch!,” she shrieks. While many rightly
Madonna is still a confused Catholic girl. But, again, going on about being a ‘sinner’ sounds quaint after RiRi’s modernised Good Girl Gone Bad. The Material Girl, isolated by fame, is oblivious to the Occupy movement (homeless brother ‘n’ all). Listen to the cynical ABBA-meets-disco-meets-folk Love Spent. Madonna redeems herself with ballads like William Orbit’s ambient Falling Free and the flamenco Masterpiece – recycled from her directorial debut, WE, an attempt to reinvent (Hitler pal) Wallis Simpson. The fact is that Gaga really does Madonna better than Madonna now – and she has more heart. Madonna’s manufactured ‘beef’ is backfiring. Madge can take comfort from Minaj, whose Pink Friday: Roman Reloaded is much worse than MDNA. At least Madonna has hooks. The New York femcee told MTV News that this sequel to 2010’s Pink Friday sophomore would “be important for hip hop and pop culture.” Hmmm. The album opens promisingly with the eccentric rumble of Roman Holiday. Minaj, aka Roman Zolanski, sounds like the offspring of Liza Minnelli and John Lydon. Cool. What follows is a succession of minimal hip hop grinders like Come On A Cone, on which Minaj proves how formidable an MC she is. But, by time you reach track six, the mono Roman Reloaded, Minaj’s hardcore synth rap has become very wearing. Sadly, apart from Roman Holiday, the only worthwhile tune comes from Canadian illwaver T-Minus – the supernaturally synthesised Champion (featuring Nas, Drake and Young Jeezy). Pink Friday... is like an urban United States Of Tara – confusingly overpopulated by Minaj’s many selves. However, as with Madonna, Minaj is ultimately all about the brand: she’ll shortly launch a perfume.
HYPER MUSIC TRAWLING THE NET WITH DCR
CHROMATICS Johnny Jewel knows how to use Soundcloud. While it’s incredibly easy to simply upload 30- or 60-second snippets of upcoming songs (which is what a lot of DJs do in fear of people ripping their songs to drop 96 KBPS samples mid-set), some artists offer a much more personalised collection of material. Jewel – a musician/producer best known for his projects Glass Candy, Chromatics and Desire – has been uploading different track mixings, instrumentals, and demos for quite some time, allowing them all to be downloaded (the majority of them high quality WAV files). The instrumental version of Kate Bush’s Running Up That Hill is a particular highlight, as is Symmetry, a mix that may or may not be made up of offcuts from his rejected Drive soundtrack. The guy has outdone himself this time, though, by putting up the new Chromatics album Kill For Love in its entirety for free streaming. At time of writing it’s been up for seven days and is just shy of 90,000 plays. It’s incredibly evocative stuff once again, all warm synths and guitars with the echo effect set to “Ryan Gosling Making Love To My Face”. The album opens with Into The Black, their take on Neil Young’s Hey Hey, My My, acting as prologue/epilogue depending on whether you like linear storytelling or not, and what you take away from the album. For those coming to Chromatics via Tick Of The Clock, which featured in the opening scene of that totally badarse 2011 film Drive, as per their 2007 album Night Drive, the majority of Kill For Love is not at all sparse – Jewel’s gone all out on dense new wave songs (although These Streets Will Never Look The Same
has a similar sense of urgency, and Broken Mirrors is built on a never-ending sense of huge anticipation). The Page sounds like Duran Duran at their peak. It’s a long, long way from the band’s early days as a scratchy post-punk/disco group a la Out Of The Races-era The Rapture. The sultry Lady makes a surprising (but very welcome) return five tracks in. As one of their strongest songs it’s great to see it available outside of 2010’s EP In The City. After more than an hour’s worth of moody pop bliss, album closer No Escape is as all-consuming as its title suggests; the suffocating emptiness of space, the horror of finding yourself alone in an unknown universe; a 14-minute ambient masterpiece littered with splashes of David Lynchian moments that rouse your soul – it’d make a great companion to Badalamenti’s Mulholland Drive score – adding further fuel to the argument that Jewel’s Drive score would’ve been the definitive one. Kill For Love is released through Italians Do It Better. Briefly, R&S Records – a British label home to many chin-stroker approved producers such as James Blake – has released the debut 12-inch from Airhead (a member of James Blake’s live band). Titled Wait/ South Congress, the former seems to be some sort of ode to Yeah Yeah Yeahs’ frontwoman Karen O, taking snippets from Maps (hence the track’s title) and splicing them into something that’s at once unrecognisable but also distinctly Karen O. It’s an interesting listen not too far removed from some of Blake’s stuff, resulting in something that sounds like a late-night bedroom recording. However it’s the B-side, South Congress, which is bound to get Airhead the attention he clearly (judging from these two tracks alone) deserves. Fitting somewhere between Burial and Salem, this is a song that’ll end the year in many top-ten lists. You can listen to snippets (ha!) on the R&S Soundcloud page, or head to randsrecords.com and grab it on vinyl. Whilst you’re there you’ll find links to a recent Airhead RA podcast, as well as a mix that’s freely available to download that features the likes of The xx, Mount Kimbie, Grouper, and plenty of Airhead himself.
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CHASM One of the most addictive tracks I’ve heard in a while is Hyjak’s Bad Things, featuring Two Tokez and P Smurf. I can’t leave it alone – the verses are all impeccable, the production is solid and I love the sneaky touches in the sampling, which include snippets of Cat Stevens’ Wild World and Anne Hathaway’s whispered speech about “batten[ing] down the hatches” from the Dark Knight Rises trailer. Now, this track is part of Hyjak’s free 12-track download Straight Jak (the Mediafire link is a bit unwieldy, but you’ll find it easily at facebook. com/hyjak). The fact that the likes of Hyjak, who’s achieved such acclaim as one half of the Obesesigned group Hyjak N Torcha, are releasing music for free continues to be a point of intrigue within the hip hop community. The chief argument for the practice is that releasing music for free is a great way to get new sounds out there, particularly for up-and-coming artists still building a name, or people like Hyjak who are using free releases as a way to build a solo career outside their better-known group. Breaking down the pros and cons of free releases for us is Drakezilla. The Sydney artist released his free album Redhead Redemption earlier this year (available from drakezilla.com) and as he explains, there are some pretty compelling reasons for going down this particular route. “The pros are pretty selfexplanatory. You reach a lot more people a lot easier than trying to get them to part with their hard-earned cash. Just make sure the product doesn’t reflect the price. The cons are also simple, no profit. When you’re not making music to get money though it only makes sense to cut that out altogether and just give it to the fans. On the other hand, sometimes people don’t initially take something seriously when you don’t attach any monetary value to it… But hopefully the music can speak for itself.” The point about the “seriousness” attached with free verses paid releases is particularly resonant. Even though digital music is more ubiquitous than ever, there’s still a lingering sense that only releases available in stores are the “real deal”. In some ways, that’s fair – retailers, distributors and labels all work on the premise that people will happily pay to purchase good music. High quality free releases would erode that premise, which would further decrease the likelihood of music becoming a sustainable career for aspiring artists. Maybe it’s best to view free releases as the generous gift that they are, not a replacement for purchasing music. Another song I haven’t been able to leave alone lately is Chasm’s The Truth, featuring Hau, The Tongue and Dazastah. It’s been causing some excitement on the airwaves, with its cruisey beat and funky brass sounds in the mix. The Sydney producer’s upcoming album This Is How We Never Die is building anticipation around the traps, particularly in the obvious care that has been taken with putting it together. Chasm’s reached beyond the usual suspects to provide the voices on his record – he’s brought in artists from the USA (AG and Fashawn, to name a couple), the UK (Blak Twang) and New Zealand (Dave Dallas). There are plenty of Australian MCs contributing as well, including Solo, Dialectrix and Brad Strut. The Truth is available for purchase as a single from iTunes, and the album drops 27 April through Obese Records. Also, someone finally managed to do something interesting with Gotye’s earworm Somebody That I Used To Know (and no, Glee, I am not talking about your “cover”. What even was that?!). Our very own M-Phazes and DJ Flagrant have teamed up not only to remix the track, but its infamous music video as well. The result is alluring, with less of a pop feel and a more ethereal, Air-like quality. Flagrant’s manipulation of the visuals ties in beautifully to boot. Check it out at youtube.com/MPHAZESTV.
WED 18 Coq Roq: Lucky Coq Cosmic Pizza: NHJ: Bimbo Deluxe Halfways: Workshop Inner City Trash: Lounge Loaded Wednesdays: Revolver Upstairs Lost and Found: Spidey, Gupstar & Dan, Shaky Memorial: Revolver Upstairs Lounge Wednesdays: Matty Raovich, PCP, Adelle: Lounge Wednesday Night Special: Post Percy: New Guernica Wednesdays @ Co: Petar Tolich, Scotty E: Co. Nightclub Whisky Wednesday: Strange Wolf
THURS 19 3181 Thursdays: Hans DC, Nikki Sarafian, Jake Judd, Sam Gudge, Sean Rault, Jesse Young, John Doe: Revolver Upstairs Billboard Thursdays: Billboard
CLUB GUIDE Bottom End Thursdays: Bottom End Dirty Bit Thursdays: Co. Nightclub Do Drop In: Kiti, Lady Noir, DJ Foo: Carlton Club Dubstep: Eurotrash First Stop Thursdays: Urban Bar Free Range Thursdays: Lucky Coq Free Trash: Eurotrash Heartbreaker: Revolver Bandroom Inner City Sounds: Workshop Lounge Thursdays: Citizen.com, Ghetto Filth: Lounge Love Story: 1928: The Toff Midnight Express: The Toff Carriage Room New Guernica Thursdays: Post Percy, Awesome Wales: New Guernica Night Skool: Eurotrash Noizy Neighbours: Room 680 Pennies: Laundry Rhythm-al-ism: Fusion Safari Thursdays: Pretty Please
Shake Some Action: Street Party, Samaritan, Polyavalanche: OneSixOne Soul in the Basement: Cherry Bar Switch: EVE The Factory: G-Money & Sammy Prosser: Trak Tigerfunk: Bimbo Deluxe Trinity Thursdays: La Di Da Unlucky: Seven Nightclub Wah Wah Thursdays: Wah Wah Lounge
FRI 20 393 Fridays: First Floor 393 Bass Cartel: Workshop Bass Station: 3D Block Party Fridays: Marrakech Bottom End Fridays: Bottom End Breakfast Club: Midland: New Guernica Crab Fight: Loop Danceteria: Laundry Destination: La Di Da Electric Empire: Prince Bandroom Fake Tits: Tramp Freedom Pass Fridays: Co. Nightclub, Fusion
Freeplay Fridays: Amber Lounge Fridays at Eurotrash: Eurotrash Indecent Fridays: Syn Bar HotShot: Kane Glenister, Thad Lester, Shaun Rowland, Sekkt: La Di Da Juicy: Bimbo Deluxe Kevin Griffiths: OneSixOne Lounge Friday: Citizen. com, DJ Who, Tahl, Dave Pham: Lounge Midnight Massacre: New Guernica Mu-Gen, Token: Eurotrash OneSixOne Fridays: OneSixOne Outrageous Fridays: Wah Wah Lounge Panorama: Lucky Coq PopRocks: Dr Phil Smith: Toff Retro Fridays: Club Retro Revolver Fridays: Revolver Upstairs Roxy Fridays: The Roxy Sounds of Fusion: Fusion
Vice Versa: Dave Pham, Bryce Lawrence, Unfettered, Lou-is, Glyn Hill, Caine Sinclair: Lounge WOW Fridays: Neverland When The Smoke Clears: Brown Alley
SAT 21 4th Birthday: My Aeon All City Bass: Brown Alley Alumbra Saturdays: Alumbra Amber Saturdays: Amber Lounge Audioporn: Dr. Zok, James Ware, China Hoops, Rowie: OneSixOne Billboard Saturdays: Billboard Bottom End Saturdays: Bottom End Envy: Zoe Baldwi: Co. Nightclub Forbidden Saturdays: Amber Lounge Houseparty: Eurotrash Hotstep: Bimbo Deluxe House De Frost: The Toff
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Kurtis Blow: Laundry Upstairs Laundry Saturdays: Laundry Lounge Saturdays:, Darren Coburn, Luke McD, Boogs, DJ Who: Lounge Majik Saturdays: Room680 Mashouse Saturdays: 577 Lt Collins Pash: The Roxy Playground: Seven Nightclub Poison Apple: La Di Da Prognosis: Loop Re.Play Saturdays: Jody McLeod: Fusion Saturdays at First Floor: First Floor 393 Strut Saturdays: Trak Survivor: Bottom End Textile: Lucky Coq TFU Saturdays: Two Floors Up Under Suspicion: Brown Alley Wah Wah Saturdays: Wah Wah Lounge Why Not?: Roger Sanchez: Pretty Please
SUN 22 4AM Sunday Mornings: Wah Wah Lounge Be.: Co. Nightclub Get Wet: Word Bar Guilty Pleasure Sundays: Pretty Please New Guernica Sundays: New Guernica Revolver Sundays: Revolver Upstairs Soul Be In It: Workshop South Side Hustle: Lucky Coq Spit Roast Sundays: Cushion Star Bar Sundays: Star Bar Sundae Shake: Bimbo Deluxe Sunday Sessions: Lucky Coq Sunday Sound System Jammin’ Reggae: Mango The Sunday Set: AndyBlack, Haggis: The Toff
MON 23
IBimbo: Bimbo Deluxe Monday Struggle: Lucky Coq Toasted: Laundry Bar
TUES 24 Almost Famous: Co. Nightclub All That Tuesday: Berlin Bar Anzac Day Eve: Grey Ghost, M-Phazes: Laundry Bimbo Tuesday: Niko Schwind: Bimbo Deluxe Cosmic Pizza: Lucky Coq Choose Tuesdays: Post Percy: New Guernica Derrick May: TBA Dumplings: Eurotrash Espionage vs Racket: Clark: Revolt Art Space Fourplay Tuesdays: Cushion MSG Tuesdays: Laundry Oasis: Tramp RL: Red Bennies
Gear Shift: Horse Bazaar Hair Of The Dog: Revolver Upstairs
INPRESS • 43
HOWZAT! LOCAL MUSIC NEWS BY JEFF JENKINS JULITHA RYAN
It showcases a vibrant voice that reminds Howzat! of Renee Geyer, which is high praise, indeed. “Renee Geyer, eh,” Julitha smiles, “well, I guess you will get that if you like to give it a bit. When I was a little jazz singer, everyone told me I sounded like Blossom Dearie. What a career arc!” Despite Howzat!’s ignorance, Julitha has always sung. “I have never stopped singing, which my poor neighbours will attest to. I completed a degree in voice at the Conservatorium a few years back, though I was never capable of living the lifestyle required to be a good classical singer.” The Lucky Girl opens with a stunning gospel piece, The Preacher. When the song came to her, Julitha was “in such a hurry to write it down that all I could find was a huge texta. It made me feel almost instantaneously happy.” Though Julitha sings, “My life is not for the faint of heart”, she says there is “no irony whatsoever” in the title The Lucky Girl. “I am not a fan of irony,” she says. Well, if she feels lucky, has she got any superstitions? “I went commando at every single Silver Ray gig.”
JULITHA GETS LUCKY
Who knew Julitha Ryan was such a great singer? After a decade playing piano with instrumental band Silver Ray, Julitha has unleashed her debut album, The Lucky Girl (available now on iTunes). 44 • INPRESS
Asked for her favourite Australian songwriters, Julitha lists Hap Hayward and Justin Ryda from The Dead Salesmen, and Gregory Day. Gregory, who has a wonderful Triffids-like voice, does a duet on The Lucky Girl called Run Out The Door. “Gregory Day has been one of my dearest friends for almost 30 years,” Julitha explains, “and we’ve made a lot of music together. We met over a piano and The Beatles. He really came to the party for Run Out The Door. I wanted a duet that was between equal parties in outrage, rather than a man and some simpering girl.” When Julitha recently sent Howzat! an email, her spellchecker changed her name to “Juliana”. What are the
origins of her name? “It’s a name my mum found in the 1950s, and she told me it was an Aboriginal name from Western Australia, which I have always been very proud of.” Sadly, Julitha’s mum died during the making of The Lucky Girl. A solo album has been a long time coming – Julitha’s first recording experience was with a group called Neo-Penguin in 1986. “I have no empirical evidence, but you could probably find a solo album buried inside every musician,” she claims. And as she sings on the album: “No time to waste now.” “I’ve written a lot of songs, and have come very close a couple of times to recording, but until now it has never been good enough, simple as that. Also, ‘you can’t ride two horses with one arse.’”
EVERYBODY WANTS TO… DANCE
Why did it take the producers of Dancing With The Stars so long to get Brian Mannix on the show? As everyone who saw him host Countdown knows, Brian was born to be on TV, even if judge Todd McKenney reckons he looks like “the pygmy lovechild of Rod Stewart”. Of course, Brian is also a throwback to a less politically-correct time. Witness his YouTube interview promoting Dancing With The Stars, where he jokes that there’s a fine line between dancing and sexual assault. While dancing with his “hot” partner, Melanie Hooper, Brian says he has to “think about the footy, think about the footy, think about the footy… and while I’m thinking about the footy, it means I’ve forgotten what the next step is.”
HAPPY RECORD STORE DAY
Times change. Ron S Peno once vowed he’d never buy a CD player. Now he’s done a vinyl release of his debut solo album Future Universe and he doesn’t own a record player. These here are crazy times. When Howzat! started in journalism 25 years ago, the future seemed bright. Lucky, I’m not a gambler – I don’t have a knack for picking winners. I grew up in a coal-mining town and I chose to work in newspapers and music, two industries in terminal decline. But enough about me. This Saturday is Record Store Day. Get out and
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support your local indie store. They need it. And we need them.
CHART WATCH
Timomatic spends a second week in the Top 10. And Gotye’s blockbuster returns to the Top 40. If Looks Could Kill TIMOMATIC (number nine) Into The Flame EP MATT CORBY (14) Boys Like You 360 & GOSSLING (22) Set It Off TIMOMATIC (24) Music Won’t Break Your Heart STAN WALKER (34) Somebody That I Used To Know GOTYE (36) 100% No Modern Talking EP KNIFE PARTY (38) Jimmy Barnes tweeted: “Man band beaten by boy band. Oh well.” One Direction mania relegates Cold Chisel’s first album in 14 years to a number two debut. No Plans COLD CHISEL (number two, debut) Drinking From The Sun HILLTOP HOODS (four) Falling & Flying 360 (14) All For You COLD CHISEL (26) Best Of SIA (27) Moonfire BOY & BEAR (34) Vows KIMBRA (35) Making Mirrors GOTYE (36)
HOWZAT! PLAYLIST The Preacher JULITHA RYAN Underwater BUCKLEY WARD Glutton LIZ STRINGER Good Clean Fun JAMES REYNE Bad Reality STONEFIELD
PERMANENT RECORDS AHEAD OF INTERNATIONAL RECORD STORE DAY, CHRIS YATES TALKS TO FOUR VERY DIFFERENT INDEPENDENT STORES ABOUT WHY THEY STARTED THEIR SHOPS AND HOW INCORPORATING IDEAS OUTSIDE THE NORM ARE HELPING THEM KEEP THE DREAM ALIVE. Surprisingly, Brennan says that the record side of the business is actually keeping them afloat, and in a town with an ever-dwindling amount of live venues, he’s stoked with the gig he has planned for Record Store Day. “It’s my dream line-up!” he laughs. “I don’t even have to go to gigs any more, I just get them to play in my shop.”
BONNIE PRINCE BILLY AT MUSIC FARMERS
W
hen Tim Brennan moved his humble guitar shop Tym Guitars to a bigger store in Brisbane’s Fortitude Valley eight months ago, he decided to indulge a lifelong dream of also making it a record store. The way he acquired stock might seem heartbreaking – he used his own personal record collection to kick things off. “I actually got Luke [Henery] and James [Tidswell] from Violent Soho to come around and take them all to put in the shop,” he explains. “James was like, ‘Man, are you sure you don’t wanna look through this?’ but I knew if I started looking through it I would start taking stuff out and all the good stuff’s gonna come out and then there’s no point to this.” Tym Guitars has become the primary venue for bands to play all-ages instores and make appearances in Brisbane and Brennan is still overwhelmed when it comes to who he has managed to lure into the store to play. “I got to stand in my shop and watch Future Of The Left play Lightsabre Cocksucking Blues! It was like a dream come true.”
In another example of combining multiple business ideas, Jeb Taylor’s Music Farmers in Wollongong is part of a large warehouse space which is used as both a gallery and a venue. The gallery space is currently hosting an exhibition of works by Deniz Tek from Radio Birdman. The stage was recently graced by Bonnie Prince Billy during a stopover on his Australian tour. Taylor says he never really set out to start a record store. “When it started it wasn’t really intentional. It started in a small little space just down the road from where we are now, and I’ve always booked venues and looked after bands, and at the time we leased a space which was really just for that. It had a shopfront so we just started selling stuff from friends’ labels and stuff we had an association with. It just sort of grew organically into a store from there.” After trying out Record Store Day for the first time last year and having a massive time of it, Music Farmers have booked a stack of local bands for a free, all-ages gig and BBQ. Closer to home, Record Paradise in St Kilda started life very differently. Current owners Renae Maxwell and Paul Allen took over a business that had been running since 1955. “Warren Warburton is his name,” Maxwell says of the previous owner, “and he is a bitter, twisted sadist and I don’t think he’ll mind you printing that,” she laughs. “It would be hard to prove defamation because it’s a pretty
SHOP TALK
accurate description! He loved his records and had this amazing archive of vinyl – probably about 50,000 records.” Allen holds down a day job as a hairdresser, and Maxwell says that job basically subsidises the store but, despite this, they are reluctant to diversify the business into incorporating other elements in fear that it may dilute what Record Paradise is all about. Still, she’s also realistic about their options. “We’re 40 years old and this is our life now. We’ll do everything possible to keep it alive. If it comes to it we could incorporate the hair-cutting; that’s something we are having to think about for next year, but it does water it down and changes the emphasis of what we’re about. “Record Store Day allows us to bring a whole bunch of capital in for one day which helps us out over quieter times. We’ve got live bands playing out the back in the car park [including a secret band they’re not revealing until the day]. We’re live streaming our shop for one hour via the internet. We’re gonna get some coverage of the shop as well as broadcasting the secret band from 4pm to 5pm.” Maxwell says that the resurgence in locally-produced vinyl has been vital for Record Paradise’s survival. “Labels like RIP Society, who have released bands like Woollen Kits and Royal Headache, and the Dick Diver and The Twerps albums all on vinyl has been amazing for our shop and for vinyl culture.” Based in a prominent high street location in Sydney’s Inner West, Repressed Records is a vital part of the local scene. The store doubles as the unofficial headquarters for Nic Warnock’s label, the aforementioned RIP Society. He started the label to release the first Circle Pit 7”, Total Waste, when no one else was interested.
CHET FAKER
TYM GUITARS “All these people that were apparently interested in releasing it were flaking out on them so I was like, ‘I’ll do it,’” he says. “So RIP Society started out of that; it was basically a necessity. I saw all these great bands that no one in the established music industry was willing to touch in Australia and release them in a way that I as a fan or the bands would find appealing.” So how important to the label’s success has been having the base of Repressed Records to operate from? “It’s pivotal,” he says with conviction. “I don’t think the record label would exist without it. I just think having that musical hub of a record store is kind of like a visual summary of what’s gone on. It also helps link new releases into the lineage of what’s happened in the past. I’m sure that for labels like Bedroom Suck in Brisbane, who I kinda see as like a brother label, I’m sure that they would agree that Repressed Records is a pretty pivotal part of their existence.” Warnock will be launching some records on Record Store Day at Repressed, which obviously mean a great deal to him on a personal level. “Brendon Annesley, who ran a record label in Brisbane called Negative Guestlist, passed away a few months ago. Between his girlfriend and myself and a couple of other people, we have taken on the task of making sure all the records he had planned get released. There’s been some hurdles but the first three will be in for Record Store Day. It feels really good to be able to do it because I respected him and his vision so much and his record label was very important to the shop.” For a longer version of this story and more info on Record Store Day, visit themusic.com.au.
ILLY
RECORD STORES ARE MUCH MORE THAN JUST ANOTHER PLACE TO BUY TUNES. WE ASK A FEW FRIENDS WHAT MUSIC OUTLETS HAVE MEANT TO THEM OVER THE YEARS.
CHRIS COWBURN, THE SMITH STREET BAND What’s been the most important record store in your life and why? This one’s dead easy – Poison City Records. Brunswick Street, Fitzroy. I started going in there as a shy, nervous 20-year-old when I was first getting properly into local music and specifically the bands on the Poison City label. I remember trying to get copies of an EP I’d “released” into the store on consignment and having no fucking idea what I was talking about! Since then, Andy [Hayden, owner] and the family he has created through his label and store have taught me plenty about music and records. Now I go in there and lose entire afternoons hanging out with Andy and perusing records that I usually can’t afford to buy (but will anyway). What do record stores mean to you? These days a good record store is paramount, and in my opinion the smaller and more localised it is the better. I love that you can go into Blackwire Records in Sydney, play a show, drink in their beer garden, pat a dog AND find heaps of underground records local to the area that you mightn’t get anywhere else. What do you have to say to people who illegally download music? So what do I have to say to myself? I download music “illegally” every single day, and I’m cool with people wanting to download our music as well. I’d way prefer someone download our album on the sly and like it than never hear it. When you relate that back to the point of the question, ie. record stores, I think it can still be beneficial. There’s no way you’re going to stop people downloading or sharing music, so why not utilise the awesome power that it has by letting someone get so amped on a band or a local scene that they want to have a physical copy of your album or find out more about the community that exists in local record stores.
JOEL BYRNE, WOLF & CUB What’s been the most important record store in your life and why? Porthole Records in Port Adelaide, South Australia. It’s important to me for two reasons: because it’s a great record store and I’ve bought some nice stuff there, and because it’s where my older brother shops for vinyl, and it’s an important store for him. He’s had a strong influence on my life so I guess him talking about how amazing it is all the time has informed my appreciation of it and its sentimental value. What do record stores mean to you? Hope, I s’pose. I mean CDs are dead, that’s sad, but I’m coming to terms with it, but vinyl seems to have survived so every record store I’m in fills me with hope. What do you have to say to people who illegally download music? Nothing, really. It’s the way of the world; you’re not going to stop it, so why fight it? I’d love to make money from record sales but it’s unrealistic – art isn’t valued in monetary terms these days, it’s valued in time and opportunity costs. It’s all about whether it’s worth your time and effort because there is so much to choose from. In a way downloading undervalues the efforts of the artist that made it, sure, but it’s all subjective. It doesn’t mean I value it less or it means less to me. I’d hope that people doing it would return the favour every now and again by buying a t-shirt or a ticket to a show or making a purchase on Bandcamp or some other site that makes music available.
CHET FAKER What’s been the most important record store in your life and why? Alley Tunes. I used to work in a small secondhand bookstore next door and got to know the guys who ran the record joint. They introduced me to vinyl and sold me my first record!
What do record stores mean to you? Personally they’re a place to go and relax, to actually completely forget where you are and what time it is and dig through crates. On a larger scale they represent hope that people still have taste in this world and are willing to share it. What do you have to say to people who illegally download music? For me the difference between listening to an mp3 on an iPod and listening to a spinning record is the difference between sitting around an open fire and sitting around a heater. They both serve the same purpose, but one of them involves you in the process.
STEVE CROSS, REMOTE CONTROL RECORDS What’s been the most important record store in your life and why? As a teenager the best record store in the town I lived in was called Renaissance. It was at the dark end of a dead back street, dimly lit, perfumed by petiole oil, and filled with an exotic selection of albums that I would paw over but could only occasionally afford to buy. It was run by a guy a few years older than us who we considered to be amazingly cool. He had the shop, the records, the hair, the beard and the most beautiful, unattainable girlfriend. We also admired that he had no cash register, just a wooden box. However, after maybe five years he shut the shop down which broke our little hearts and killed our already sadly empty Friday nights. But we were even more distraught when he and his girlfriend opened a women’s clothing boutique right in the middle of the really crap pedestrian mall in the city centre. Worse still he was rocking a whole new look: shaggy cut, trimmed beard, body shirt and high wasted pants. He went from looking like Tony Iommi to now resembling a member of Supertramp! We went from loving him to mocking him. We did, however, manage to maintain our teenage lust for his girlfriend. What do record stores mean to you? The most valuable thing about a record store is
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the relationship you can have with the person behind the counter. They should be able to know what you’re in to, make great suggestions and turn you on to music you’ve never heard before. What do you have to say to people who illegally download music? Can the broke local musicians we work with come round your place and steal your stuff?
ILLY What’s been the most important record store in your life and why? Obviously Obese Records on Izett Street, Prahran. Grew up listening to the artists, making the trip into town on the train to go in and play my demos and get advice. Then years later wound up actually being a part of the label. Quite an honour, and a trip! What do record stores mean to you? A physical embodiment of the phrase, “you don’t know what you’ve got ‘til it’s gone”. Usually full of people who really give a shit about the same thing I do. Can’t go wrong really. What do you have to say to people who illegally download music? As an artist, it’s a double-edged sword. Obviously it takes money out of your pocket, but it also exposes your music to a wider audience. I’d prefer if people didn’t, but I’m not naive enough to think that situation is ever going to happen for artists again. So I think to a degree you have to accept it, if not embrace it. If people support you by coming to shows, which my people do, you can’t complain. However, no question it ruins the livelihoods of a LOT of good people involved in the music industry, record stores in particular. I would say to people, think about how people outside of the big, mean, multinational conglomerates are being affected by it, before you pirate shit. A lot of little guys get kicked in the arse before major labels do. For more artist Record Store Day Q&As, head to themusic.com.au. INPRESS • 45
Mon-Thu and Sat: 9.30am-6pm Fri: 9.30am-9pm Sun: 11am-5pm
THE QUESTIONS
1. What does your store specialise in?
156 Walker Street, Dandenong 9794 6899
2. What’s getting a flogging on the store sound system at the moment? 3. How is your store celebrating Record Store Day? 4. Are you stocking any exclusive Record Store Day releases?
Mon-Fri: 9.30am-6pm Sat: 9am-5pm Sun: 12pm-5pm
something here for you. There’s no reason you can’t walk out with a big bag of stuff.
CDs and t-shirts with old-school skateboard products and plenty of other goodies in between!
6. Staying open is a good start. It’s generally assumed that most people are happy with downloads, but this isn’t the case – people want a choice. It’s important to us that we stock a range of items that you’re just not going to find elsewhere. People like to browse, and the joy of finding something special for themselves for a good price.
2. Ceremony – Zoo; Infinite Void – Infinite Void; Let Me Down Jungleman – Let Me Down Jungleman; Restorations – Restorations.
414 Brunswick Street, Fitzroy 9416 2272
5. We walk in to your shop with $150 to spend – what do you recommend we buy? 6. The way people consume music has changed remarkably over the past ten years – what do record stores have to do to remain relevant?
Mon-Wed: 9.30am-6pm Thu-Fri: 9.30am-9pm Sat: 10am-6pm Sun: 11am-6pm
DIXONS
DOUGLAS WALSH – BLACKBURN MANAGER
dixons.com.au
1. Anything and everything!
100 Railway Road, Blackburn 9894 1844
2. This very second, it’s the new Killing Joke CD, and it rocks!
Mon-Thu: 9am-5.30pm Fri: 9am-9pm Sat: 9am-5pm Sun:12pm-5pm
3. Live performances at Blackburn and Dandenong, plus 15% off all stock‌
736 Burke Road, Camberwell 9882 3345
5. Anything you want – we’ve got a massive range of all sorts of items. There has to be
3. Our focus this year is really making RSD a celebration of Poison City’s local music community and NOT just celebrating how many obscure vinyl variations we can fit on the racks! I know there’s quite a few indie stores starting to feel like the concept of Record Store Day is being exploited and hijacked by certain facets of the music industry, so I guess we’re aiming to keep the day as much of a social gathering and organic event as possible. 4. As Poison City also operates as a record label, we’re actually doing our own RSD release this year. It’s a limited edition LP called Shuffle & Scrape: A Tribute To Blueline Medic and features tracks from The Nation Blue, A Death In The Family, The Smith Street Band, Harmony, Jen Buxton and more! It’ll be available in the shop from this Saturday, along with other RSD releases from Resist, Revelation, Side One Dummy, etc. 5. Hßsker Dß – Zen Arcade double-LP; Fugazi – Repeater LP; Spermbirds – Something To Prove LP; Royal Headache – Royal Headache LP; Rites Of Spring – Rites Of Spring LP; The Smith Street Band – No One Gets Lost Anymore LP. Or you could just buy six Poison City t-shirts!
4. Nope.
POISON CITY RECORDS poisoncityrecords.com 400 Brunswick Street, Fitzroy 9077 0563 Wed-Mon: 11am-5.30pm ANDY HAYDEN – STORE OWNER 1. Poison City combines a big range of local and overseas punk/hardcore/indie rock/garage vinyl,
CD’S 3 DVD’S VINYL T-SHIRTS & MERCHANDISE
6. I think independent record stores in any part of the world must keep engaging with and contributing to their local music scene/ community to remain relevant in the future. In my opinion if your business is selling underground music, wholesale or retail, you need to be giving back to that same music community (ie. putting on shows, tours, events, stocking/ promoting local releases, etc). Without that passion and level of involvement in local music that an indie record store should have, there’s no valid reason why a customer shouldn’t just buy their music online or at bigger chain stores.
REA
LM ’ TUEKAOS S SDA 1 YS OFF
!!
154 PEEL ST, MELBOURNE (NEAR VIC MARKET)
PH: 9329 7447
%
GLAM - THRASH - VIKING - BLACK - GOTHIC - DEATH - POWER - PROG - HARD ROCK
Order your copy of AMID now!
W NE ION IT ED
% ! %
55.00
DECEMBER
2011
ORD ER NOW
VISIT WWW.THEMUSIC.COM.AU/STORE
20 OFF ALL OUR VINYL %
That’s 20% of all vinyl at Readings’ Carlton, St Kilda, and Hawthorn shops, until April 30, 2012. Part of our celebrations for Record Store Day Australia, Saturday 21 April. ( Not valid online or for special orders, lay-bys or with any other offer.)
46 • INPRESS
themusic.com.au
THE QUESTIONS
1. What does your store specialise in? 2. What’s getting a flogging on the store sound system at the moment? 3. How is your store celebrating Record Store Day? 4. Are you stocking any exclusive Record Store Day releases? 5. We walk in to your shop with $150 to spend – what do you recommend we buy? 6. The way people consume music has changed remarkably over the past ten years – what do record stores have to do to remain relevant?
POLYESTER RECORDS 387 Brunswick Street, Fitzroy 9419 5137 288 Flinders Lane, Melbourne 9663 8696 polyesterrecords.com Mon-Thu and Sat: 10am-6pm Fri: 10am-8pm Sun: 11am-5pm
NATE NOTT – CO-OWNER
with 20% off vinyl LPs (not valid for online orders, special orders, or in conjunction with any other promotions) plus we’ll have live gigs instore at our Readings St Kilda and Carlton shops on Saturday 21 April. See readings.com.au for gig details.
1. Vinyl and lots of it, local bands and any other records we can find that we like. 2. Thee Satisfaction, Margins, Max Crumbs, Lambchop, Love Connection… We flog a lot of things.
4. Yes, whatever we can get our hands on. Get down to check it out!
3. We’ve got a 20% sale all day, guest DJs coming in, Max Crumbs playing live in the city store and a whole swag of Record Store Day releases.
5. Hannah Cohen’s debut CD, Child Bride ($10); Nas – Illmatic LP ($15); Nick Hornby – High Fidelity Popular Penguin ($10); Billy Bragg & Wilco – Mermaid Sessions deluxe three-CD and one-DVD set ($35); Leonard Cohen – Live In London DVD ($15). Norwegian Wood DVD – Haruki Murakami’s novel adapted to film ($30); and PJ Harvey – Let England Shake on LP ($30).
4. We’ve managed to get our hands on a number of releases from Arcade Fire, Animal Collective, Shabazz Palaces, Lee Hazlewood, Battles, Morrissey and many more. 5. The latest Dirty Three album, Thee Satisfaction, Burial 12”, new Damien Jurado and the Moe Tucker three-LP anthology that’s just come out (all on vinyl of course!). 6. As always they need to do their research, they need to know what’s going on and listen to what their customers recommend too. Having the stock on hand is really important too when you think you’re competing against mail order as well as iTunes, etc. There are a lot of challenges facing record stores and new ones happening every week but a lot of it is sticking to your guns of providing music you believe in and not throwing the model out the window when a new challenge arises.
READINGS readings.com.au 309 Lygon Street, Carlton 9347 6633
6. It is getting harder and harder to sell music the old-fashioned way. We are always adding to our vinyl section, stocking classic CDs for under $15 and all our new releases are at competitive prices. Plus all of our staff are very good looking and we offer free shipping to anywhere in Australia for online orders atreadings.com.au.
Also shops in St Kilda, Hawthorn, Malvern and in Palmer Hall at the State Library Of Victoria Mon-Fri: 9am-11pm Sun: 10am-9pm DAVE CLARKE – MUSIC & DVD MANAGER 1. Everything books, music and film from the latest releases to rare and hard-to-find stuff. We have an extensive jazz, classical, blues, folk and world section plus lots of indie and homegrown music. The great thing about Readings is that each store has its own personality so if we don’t have what you’re after at one shop and it’s in stock at our other stores we can generally have it for you the next day. If not, we’ll do our best to order it in. 2. Grimes – Visions; Justin Townes Earle – Nothing’s Gonna Change The Way You Feel About Me Now; and The Shins – Port of Morrow. 3. Until 30 April we’re celebrating all kinds of music
themusic.com.au
REALM OF KAOS realmofkaos.com 154 Peel Street, Melbourne 9329 7447 Mon-Sat: 10.30am-5.30pm Open every second Sunday
INPRESS • 47
Or Evens; ECSR 12”, Walking In Unison.
THE QUESTIONS
6. Exist. Stock good records. Connect with music makers and lovers.
1. What does your store specialise in?
TITLE
2. What’s getting a flogging on the store sound system at the moment?
titlespace.com
3. How is your store celebrating Record Store Day?
183 Gertrude Street, Fitzroy 9417 4477
4. Are you stocking any exclusive Record Store Day releases? 5. We walk in to your shop with $150 to spend – what do you recommend we buy?
341 Sydney Road, Brunswick 9380 4488
6. The way people consume music has changed remarkably over the past ten years – what do record stores have to do to remain relevant?
384 High Street, Northcote 9481 1315 10am-6pm STEVE KULAK – TITLE CEO
SASH – STORE OWNER 1. We specialise in all things heavy metal. CDs, vinyl, t-shrits, DVDs, merch. We stock black, death, goth, power/prog, viking metal, hard rock and some glam and AOR. 2. Flogging on the store sound system at the moment is Psycroptic – The Inherited Repression. Killer death metal from Tassie! 3. Realm Of Kaos will be celebrating Record Store Day with a 15%-off sale store-wide. 4. I would recommed you buy Coffins – Ancient Torture LP box set. 5. To remain relevant in this digital age stores need to have great old school service and competitive prices. Product knowledge does help; passion for the music and a positive attitude goes a long way…
RECORD PARADISE recordparadise.com 100 Chapel Street, St Kilda 9534 9344 Wed-Sat: 11am-7pm
48 • INPRESS
RENAE MAXWELL AND PAUL ALLEN – OWNER/OPERATORS 1. Vinyl, new and recycled vinyl. Featuring local releases, indie pop and a huge selection of soundtracks… 2. Black Lips, Black Keys (anything black), Total Control, Wooden Shjips. 3. Record Paradise is celebrating Record Store Day with live music from Even, The Bowers, Money For Rope and Rosie Haden, guest DJs, a lucky 7” dip, Paradise Bar and for those who can’t make it to the store, a live stream of the day from 4pm via tonedeaf.com.au 4. There will be a couple of RSD 7” singles in the lucky 7” dip. Whatever we can get hold of. For us it is more about connecting with our community and selling the amazing records we have in-store! 5. Sonic Youth four-LP reissue of Goo or Dirty; Iggy Pop, Kill City or Raw Power; Barry Humphries, Sound Of Edna second-hand LP; 7” singles from Even, Money For Rope; The Bowers’ LP, Odds
1. Title is unique – we specialise in music, film, books and cultural must-haves, a rapidly growing space with more momentum than Peter Fonda on Route 66. Bon Iver’s Justin Vernon called it the “best record store in Sydney” and David Fricke, Roky Erickson, Duran Duran and Baz Lurhmann have shopped here with frenzy. On the music front, specialist reissue labels such as Ace, Repertoire, Omni, Cherry Red, Water, 4 Men With Beards, Smithsonian Folkways and Sundazed have found a welcome home on our shelves as well as cult contemporary labels like Jack White’s Third Man Records, Stones Throw, Honest Jon’s, Hyperdub, Tru Thoughts and Soundway. Australian indie explosions Sensory Projects, RIP Society and Chapter Music sit beside the worldly likes of World Circuit, Now Again and Cumbancha and we stock the most comprehensive selection of new vinyl and 7” in Australia. 2. We’ve got the killer new Quakers record on repeat from Stones Throw; the second volume of the Jeffrey Lee Pierce Sessions Project – The Journey Is Long; The Fame Studios Story from Ace; the reissue of Perth punk rockers The Victims with Sleeping Dogs Lie; the new Wedding Present record Valentina; and every David Lynch film ever. Sure, that’s not on the sound system but it’s getting a flogging.
themusic.com.au
3. Across our seven stores we’ve got 20% off vinyl, 20% off music book titles, $10 LPs, $10 CDs, 20% off music DVDs, plus giveaways and free 7” records slipped mysteriously in your bag while you peruse the trestles. 4. Are we ever. We’ve got Lee ‘Scratch’ Perry’s Blackboard Jungle Dub three-10” coloured vinyl; Tomahawk’s Eponymous To Anonymous three-LP from Ipecac; PIL’s One Drop 12”; LPs of the Rough Guide To Psychedelic Africa and New Orleans, both on 180 gram vinyl and download card; Ugly Custard on LP from Strut Records; Quantic & Alice Russell’s Look Around The Corner & I’ll Keep A Light In My Window live 7” direct to disc; Hiss Golden Messenger Jesus Shot Me In The Head 7” from Tompkins Square. 5. A Syl Johnson box set and a hug telling you everything’s going to be okay. 6. Think different.
RECORD PARADISE CELEBRATES
11AM-7PM FREE ENTRY
HADEN WITH ROSIE THE BOWERS
MONEY FOR ROPE BAR LUCKY PARADISE BEER 7"DIP COLD EVEN PLAYING LIVE
1 0 0 C H A P E L S T R E E T, S A I N T K I L D A recordparadise.com
SUPPORT RECORD STORE DAY
YOUR KIDS WILL THANK YOU. INPRESS • 49
WED 18 Adrian Cunningham The Brunswick Green Agent 86, Lady Noir, Joybot, Kitkit, Mr Thom Lucky Coq August Burns Red, Bless The Fall The Hi-Fi Battle Of The Bands, Of Stolen Moments, Black Mayday, State Of Silence, Orange, Parenthia Musicland (Fawkner) Bonniwells, Bits of Shit, Cuntz Grace Darling Hotel Bopstretch Uptown Jazz Café Charles Jenkins Empress Hotel Daryl Roberts Clifton Hill Hotel Dave Havea Band Veludo Dead Albatross, The Asthmatics, The Tall Stories Wesley Anne Dizzy’s Big Band Dizzy’s Jazz Club Eran James, Ruth Kateleros Gertrude’s Brown Couch Four in One Bennetts Lane Fraser A Gorman, Sam Cooper The Standard Hotel Goodbye Motel, Kicking Beyond Matter, The Wells, Fenian Esplanade Lounge Gustavo Moreno Edinburgh Castle Hotel Henry Rollins National Theatre James Hart Cruzao Arepa Bar John Butler, Felicity Groom The Capital, Bendigo Performing Arts Centre Julien Wilson Quartet, Ben Carr Trio 303 Kim Boekbinder, Matt Kelly Evelyn Hotel Last Dinosaurs National Hotel Lost & Found DJ’s, Dangerous, Damn Terran, Cavalcade, The Latonas, DJ Spidey, Shaky Memorial Revolver Upstairs Lou Barlow, Laura Macfarlane (99) Northcote Social Club Matt Sonic & The High Times, Dave Wright & the Midnight Electric, Rocket Queen Cherry Bar Messed Up The Tote Miguel & Ash Bebida Bar Noemi Liba Paris Cat Jazz Club Open Mic Dancing Dog Café Open Mic Elwood Lounge Open Mic Grind ‘n’ Groove Bar Open Mic The Thornbury Local Peter Azzopardi, Michael Plater Retreat Hotel The Smith Street Band, Palisades, Hoodlum Shouts The Old Bar Tully Sumner Kent St Uncomfortable Beats Bar Open Wine, Whiskey, Women, Nat Allison, Marilla Homes The Drunken Poet Winston, Flying Saucer Terror, Mild Sparrow, Migration Horse Bazaar
50 • INPRESS
THU 19 Acoustic Night, Tim Braun 29th Apartment Adrian Cunningham plus strings Paris Cat Jazz Club Agent 86, Lewis Can Cut, WHO Lucky Coq Ally Oop And The Hoopsters, Jane Dust, Ana Nicole The Old Bar Atomic Bliss, The Latonas, The Wells, The Deserters Esplanade Lounge Battle Of The Bands Baha Tacos Beats ‘n’ Pieces, DJ Tumbl, DJ Secret Stash, DJ Dunst Comfortable Chair Bleeding Knees Club, Dune Rats National Hotel Chet Faker, I’lls’ The Toff In Town Chocolate Starfish Bended Elbow, Geelong Cold Chisel, King of the North Festival Hall Conductors, James Kane, Negative Magick, Nu Balance, Post Percy New Guernica Courtney Barrnett, Ali E, The Lost Volvos The Tote Cyclone Warning Bluestone Lounge Dakara Dirt The Prague Dan Parsons, Luke Brennan Rice Queen Daniel Champagne The Loft, Warrnambool Danny Hotep, Claudette Justice-Allen, La Nouvelle, Dan Trakell Idgaff Bar and Venue Dave Pham, Uone Bimbo Deluxe David Bass, James Hurt, Same O, The Amazing Leonard Noise Bar David Cosma Bar Nancy DJ Kiti, Lady Noir The Carlton Ennis Tola, Matt Kelly Evelyn Hotel Faye Blais, Freya Hanly, Rosie Burgess Trio, The April Maze Transit Lounge Granston Display, Blood Orange, Wide of the Mark, Easter of the Sky Brunswick Hotel Greenthief 161 Henry Rollins National Theatre Humans, Sherrif, The Sinking Teeth, Dan & Dan The Gasometer Hotel Husky, The Trouble With Templeton Corner Hotel Jayne Lane Veludo Jess Heiser, Jack Griffin, Rachel By The Stream Rainbow Hotel John Lillis Elwood Lounge John Perris’ Incredible Jazz Quartet Musicland (Fawkner) Joshua Seymour Labour In Vain Lands, Her, Lift Off, Noceans, Winterplan, Geek Pie Pony Last Dinosaurs Karova Lounge, Ballarat Matt Glass Edinburgh Castle Hotel Melody Moon Bebida Bar Mick Hazelman, Elephant Eyes Lomond Hotel
N’fa, Tom Showtime, Rem i Kolawole Grace Darling Hotel Nicole Thorne Trio 303 No Art Workers Club Open Mic Acoustic Café Open Mic Arcadia Hotel Robot Child, Saving Cleopatra, Clock Towers, Heartbreaker, 3181 Thursdays Revolver Upstairs Roller One, Television Sky, Scarlett Cook Bar Open Sam McAullife Quartet Gertrude’s Brown Couch Sammy Owen Blues Band Horse Bazaar Saskwatch Cherry Bar Simmer Bertha Brown State of Integrity, Maniaxe, Diprosus, Broozer The Gasometer Hotel (Upstairs) Stomp Box, King of the North Retreat Hotel Sui Zhen Dexter Bar Tango Rubino Cruzao Arepa Bar Tehachapi, High Society, Wildcat General Strike Red Bennies The Anti Fall Movement, Whitaker, Steve Clifford, The Hello Morning Esplanade Gershwin Room The Feelers, Gasoline Inc. Northcote Social Club The Putbacks Uptown Jazz Café The Wild Comforts, Kinch Kinski Great Britain Hotel The Wild Comforts, Kinch Kinski The Great Britain Hotel Tom Richardson, Benny Walker Wesley Anne Twisted Affection, Fahrenheit 43, Second Chance Exit, the spinset, Up and Atom Bendigo Hotel
FRI 20 Absolutely 80s, Brian Mannix, Scott Carne, Dale Ryder, David Sterry Shoppingtown Hotel Alex & Michael Bar Betty Angela Librandi, DJ Arlen, DJ Silva The Max Hotel Anytime Workshop Austin Busch Rice Queen Bad Aches, Deep Heat, The Stevens, White Walls Cornish Arms Hotel Belle Havens, Glorified, In Motions Musicland (Fawkner) BJ Morriszonkle Tago Mago Bleeding Knees Club, Dune Rats Karova Lounge Boof Lomond Hotel Breaks Horse Bazaar Cash Savage & The Last Drinks, Eddie James & The Prowl, Hounds Hounds Hounds Phoenix Public House Cauldron Black Ram, Mongrels Cross, Spire The Gasometer Hotel (Upstairs) Celadore Workers Club Centre & The South, Sophie Officer, The Sons of May The Scarlett Lounge
Chairman Meow, Coburg Market, Mr Fox, Tigerfunk, WHO Bimbo Deluxe Chocolate Starfish York on Lilydale Clowns, Inedia, Big Face, The Boogie Woogie Boogie Board Boys, The Diprosis Esplanade Deadly Are The Naked, Caladonia Robot, Mugabe Gertrude’s Brown Couch Decimatus, Orpheus, State of Integrity, Sewercide, Greenthief, White Rabbit Pony Dirt Farmer, The Messengers, Dan Davey, Them Swoops, Alpine DJ’s Yah Yah’s Eagle and the Worm!, Animaux, Sunny Leunig The Old Bar Electric Empire Prince Bandroom Fats Wah Wah Rainbow Hotel Fem Belling with Roger Clark Quartet Dizzy’s Jazz Club Grand Prismatic, Lunars, Psalm Beach Empress Hotel Great Western Band Dancing Dog Café Holliava, Dear Plastic, Giants under the Sun, Waverly Noise Bar Husky, The Trouble With Templeton Barwon Club Jed Rowe Band, Marshall O’Kell, DJ Shaky Memorial Retreat Hotel Jimi Hocking Mt Dandenong Hotel JK Ruff Baha Tacos John Bacon Blues Scarab Bar Juan Luis Guerra Melbourne Convention & Exhibition Centre Judge Pino & the Ruling Motions Bar Open Last Dinosaurs, Millions, Gung Ho Northcote Social Club Lewie Day, Mike Callander, Code Luke, Hey Sam, Jane Daffy, John Doe, Nick Coleman, Silversix Revolver Upstairs Liz Stringer Apollo Bay Music Festival Major Chord, Dan Waters Wesley Anne Marcus Knight, DJ Xander James Temperance Hotel Masks, Between The Wars Edinburgh Castle Hotel Matt Rad, Mr George, Phato A Mano, Tom Meagher Lucky Coq Missfire, Drama J, Dot1two7, Midnight Drive, Matthew Cardile Evelyn Hotel My Secret Circus, Tread, Freaks of the Deep, Stars of Addiction Esplanade Lounge Nichaud Fitzgibbon Quartet Paris Cat Jazz Club Pandorum, Sleepa, Before Days End, Husk, Written in Ruins Esplanade Gershwin Room Passenger, Daniel Lee Kendall, Lakynn Heperi Corner Hotel
Red Rockets Of Borneo, Lunaire, Charm, Let Them Eat Cake, Little Foot Ruby’s Lounge Reflejos Cruzao Arepa Bar Roger Manins Trio Uptown Jazz Café Saint Jude, Eaten By Dogs, Rich Davies & The Devils Union The Tote Sammy Sax, Mark John, Jesus Veludo San Salvador, The Dub Captains, Echo Drama John Curtin Hotel Six60, Saskwatch, The Mank The Hi-Fi Sons Of Lee Marvin The Gem Sweet Easy, Geoff O’Connor The Gasometer Hotel Tape/Off, Ivy St Victoria Hotel The Bennies, Foxtrot, Lburn Trill, Lewis/ Carrot, The Operators Bendigo Hotel The Electrique Birds, The Emma Wall Band Penny Black The Escapades, The Plains, Dom Dommys, The Sleepdreamers Idgaff Bar and Venue The Faux Fighters Pier Live The Magic Bones, The Murlocs, Fraser A Gorman, Dj Max Crawdaddy Cherry Bar The Murderchords, Preston Skate Massive, Digani Gaciga 303 The Orbweavers, Sailor Days Caravan Music Club The Rebecca Mendoza Quartet Bennetts Lane The Savages, DJ Richie 1250, The Demons LuWOW The Side Tracked Fiasco, Mr Whoo, Grant Bucket, Earl, The Atlantic Fall Brunswick Hotel The Simpson Three Open Studio The U.V Race, Woollen Kits, Hamhock Grace Darling Hotel Victor Pender Cape Café
SAT 21 Absolutely 80s, Brian Mannix, Scott Carne, Dale Ryder, David Sterry Gateway Hotel Action Sam, DJ Rowie European Bier Café Admit One Twisted Affection, Meet Me In Cognito, Cruel Tobekino John Curtin Hotel Agility, The Pretty Littles, Wandering Spirit, Field Trip Evelyn Hotel Argentina Workers Club August Burns Red, Bless The Fall, Northlane Billboard Battle Axe Howlers, System of Venus, The Art of Later, The Underhanded Esplanade Basement Bellusira Laundry Bar Bem Brazil Tago Mago Benny Btwo, Brooklyn Queenz, Nice Guy Eddie, Nick Arcade, Perplex Laundry Bar Bleeding Knees Club, Dune Rats, Drunk Mums Northcote Social Club
themusic.com.au
British Steel, Iron Madness, Pegazus Musicland (Fawkner) Brothers Grim Great Ocean Hotel Cash Savage, The Last Drinks, The Nymphs Caravan Music Club Celia Church Bebida Bar Charles Jenkins, Chris Wilson, Jeff Lang, Lisa Miller, Shane O’Mara, Alison Ferrier, Davey Lane, Mikelangelo Basement Discs Chet Faker, I’lls’ The Toff In Town Chocolate Starfish Chelsea Heights Hotel Clampdown Rochester Castle Hotel Cold Red Mute, Officer Parrot, David Knight, The Quolls Noise Bar Coral Lee & the Silver Scream, Leticia Maher Union Hotel Brunswick Crystal Thomas, Harry Howard & the NDE, Penny Ikinger and the Evolution St Kilda Bowls Club Damion De Silva, K-Dee, Jay-Sin Khokolat Bar Daniel Gassin Sextet Uptown Jazz Café Daryl Roberts Speak Easy Cellars DJ Maseo, The Psyde Projects, Low Budget Esplanade Lounge Emma Kelly, Nowra, Susan Lily The Chandelier Room Goodbye Galaxy, The Cause Barwon Club Gypsy Punk, The Barons Of Tang, The Crooked Fiddle Band The Famous Spiegeltent Heavy Mag Launch, Segression, Elm Street, Death by Six, Bury the Fallen Esplanade Gershwin Hiding with Bears, Y4, State Of Silence, Rory Dwyer Ruby’s Lounge Insomnia, Chev Rise, Hot Air Baboon Idgaff Bar and Venue Iowa, Baptism of Uzi, Tape/Off Phoenix Public House Jacket Off Veludo Jaspora, DJ Donny Disco LuWOW Jaspora, Agent Lynch Burlesque The LuWow Julie O’Hara, Ultrafox Bennetts Lane Kromosom, Debacle, Leprosy, Useless Children Bendigo Hotel Leigh Barker & The New Sheiks Paris Cat Jazz Club Little Murders Town Hall Hotel Marcus Knight, DJ Xander James Temperance Hotel Marshall & The Fro Baha Tacos Matt Doll, Carolyn Bryers Bar Betty Mayweather, Between The Wars, Cash No!, Chk! Chk! Boom! Yah Yah’s Melody Black, The Mercy Kills, Hatchet Dawn, Virgina Cater, Oliver $ Revolver Upstairs Moonee Valley Drifters Ringwood RSL
Natalie Carolan, Fly South, The Weeping Willows Edinburgh Castle Hotel New Dub City Sound, Sk Simeon, Shabba Kofi Bar Open Nicky Del Rey & The Slowtown Social Club, Lonesome, The Slowtown Social Club Victoria Hotel Nowra, Emma Kelly, Susan Lily Chandelier Room Pacman, Jean Paul, Moonshine, Tahl Lucky Coq Plum Crazy, DJ Bodz Bended Elbow, Geelong Poison Fish, Damn that River, Push to Twist, Superjuice, Mr Sharp Pony Roger Sanchez Pretty Please Santiago Son Cruzao Arepa Bar Ships Piano, Pageants, New War, Scattered Order, Zond, Jusgo Mosh The Tote Sly Grog, the F100’s, Mesa Cosa, LA Bastard, DJ Xander Retreat Hotel Son of Rut, Johnny Gibson & The Dirty Dozen Rainbow Hotel Supafest, Naughty By Nature, Trey Songz, Lupe Fiasco, Kelly Rowland, Chris Brown Melbourne Showgrounds Synthetic Breed The Prague The Death Rattles, Heel Toe Express, Brendan Welch, DJ Sean Spoils The Old Bar The Funkadelic Side Tony Starr’s Kitten Club The Herd, Thundamentals, Sky High Corner Hotel The Modern Age, The Latonas, The Peeks, DJ Billy Walsh Cherry Bar The Murderchords, Ben David and the Banned, The Bennies, The Tearaways Cornish Arms Hotel The Pheasant Pluckers Labour In Vain The Vibraphonic Orchestra, Wire Byrd Horse Bazaar Thee Wylde Oscars Great Britain Hotel Three Wild Oscars The Great Britain Hotel Tim Guy The Palais, Hepburn Springs Tin Sparrow, Buckley Ward, Jack McCloskey Grace Darling Hotel Tom Milek The Loft, Warrnambool Tony Pantano & That Soul Band Wyndham Events Centre, Hoppers Crossing Tracy Bartram Dizzy’s Jazz Club Umbilical Tentacle, War Pigs, Ghost Gums, Penguins The Gasometer Hotel (Upstairs) Victor Pender Cape Café Wendy Rule 303 Wilderbeast, The Battery Kids, Bullets In Berlin, Dark Globes, Slacquer, B & Bugg Brunswick Hotel World Record Store Day Party, Sir Kevinwulf, Callum Flack, James Pianta, Inkswel, Benny Badge,
Cade The Gasometer Hotel Yolanda, Music for Lovers Lomond Hotel
SUN 22 Agent 86, Phato A Mano, Tigerfunk Bimbo Deluxe Anthony Young, Mary Webb, Open Mic The Chandelier Room Askew, Booshank, Disco Harry, Junji, Miss Butt, Paz, Peter Baker Lucky Coq August Burns Red, Bless The Fall, Northlane Billboard Ben David and the Banned, Dead Joe, Strathmore The Gasometer Hotel Cherrywood Labour In Vain Chotto Matte, Vodnik, We’re All Frankies Gertrude’s Brown Couch Chris Wilson Rainbow Hotel Dale Ryder, The Phil Cerebano Band, Bad Boys Batucada Esplanade Lounge Dan Dinnen Great Britain Hotel Dan Dinnen The Great Britain Hotel Decameron, DJ Cult 45 Mango Lounge Bar DJ Andy Black, Haggis, Chet Faker, Ills The Toff In Town DJ Xander Allan, Michael Monroe Cherry Bar Doctor Sloth, Goofy Footer, Picked Up D Pieces, DJ Monkey balls, Lachlan Cross, Aurora Noise Bar Essay Edwards, Half Moon Town Hall Hotel George Hysteric, Rohan Bell Towers The Carlton Haus Party The Hi-Fi Hayden Calnin Workers Club Hogbelly Morton’s Country Revue The Standard Hotel Honkytonk’s Boogie Band Mitcham RSL Ian Bland & Lamington Drive Orchestra, Marty Kelly, Aubury Maher Lomond Hotel Jacky Winter, Master Gun Fighters Retreat Hotel Jimi Hocking Bay Hotel Jimi Hocking The Bay Hotel Mornington Jimmy Daniel Rice Queen John Butler, Felicity Groom Meeniyan Hall Jose Nieto Cruzao Arepa Bar Lily and King Elwood Lounge Luke Legs Apollo Bay Hotel Maddy Serong Carringbush Hotel Mandy Connell Edinburgh Castle Hotel Mango Straights, Mantis and the Prayer, This White Line 303 Marissa Quigley The Bay Mordialloc Mike Pipes Idgaff Bar and Venue
W N E N IO IT D E
Order your copy of AMID now!
ORD ER NOW
VISIT WWW.THEMUSIC.COM.AU/STORE INPRESS • 51
MJ Halloran & The Sinners, James McCann, Helen Buckley Duo Grumpys Green Outright, Marathon, Palisades, Carbs The Gasometer Hotel (Upstairs) Phoebe Linder Trio, Malia & Matt Wesley Anne POND, The Laurels Northcote Social Club Radio Vertigo, Sam & F, Harts Evelyn Hotel Radio Vertigo, Sam & F Evelyn Hotel, Arvo Show Shaun Feeley, Luke Sinclair, Davy Simony Bar Nancy Simon Wright Trio Veludo Skyscraper Stan, The Commission Flats, Lonesome, Ben Wright Smith The Old Bar Sleepy Dreamers, Danielle and Julia, Longyard Brunswick Hotel Snake Face, Eater of the Sky The Tote Steve Purcell’s Pearly Shells Mentone Hotel Tempus Tago Mago The Dukes of Despair Penny Black The Murderchords, Lindsey Bush Victoria Hotel The Never Ever Spensers Live The Perch Creek Family Jugband Union Hotel Brunswick The ReChords Gem Bar The ReChords The Gem Tin Sparrow, Scattered Order, Matthew Brown, Buckley Ward, Cellar, Monolith Grace Darling Hotel Undercolours, Hot English Evelyn Hotel Victor Stranges Grocery Bar Welcome Stranger Bennetts Lane Wild Dog Creek, These Patterns, Jusgo Mosh Bar Open
MON 23 Ainslee Willis, Eaten By Dogs, Ainslie Wills Esplanade Lounge Animaux Workers Club Claudy Knight, Kathryn Kelly Veludo Eaten By Dogs, The Taylor Project The Old Bar Hilarious Cherry Bar John Patrick & the Keepers 1000 Pound Bend Lady Noir, Kiti Bimbo Deluxe Loki, Language of the Birds, Hiding with Bears The Toff In Town Moonlighting Phoenix Public House Ms Butt, Mu-Gen, MZ Rizk Laundry Open Mic Night Bertha Brown POND Northcote Social Club Prince Albert, The Jokers 303 Scotdrakula, Rayon Moon, Flying Colours, The Wild Ripping Hail Evelyn Hotel
52 • INPRESS
VENUE GUIDE
VCA Contemporary Music Performance Bennetts Lane
TUE 24
28 Days, The Bride, Masketta Fall, Hometown, Hatchet Dawn, Delaware Wolves, In Motions PLASTIC @ Brown Alley 5.6.7.8.’S, The Exotics, The Bluebottles The Tote Adam Askew Bimbo Deluxe Alex & Eve, Project Puzzle, Direct Influence, Dj D’Fro Veludo Big Scary, Geoffrey O’Connor, Mosman Alder Corner Hotel Cold Hiker Workers Club David Ades Bennetts Lane Funkoars, Lowrider, Vents, Def Wish Cast, MC Reason, DJ Flagrant, Briggs Esplanade Gershwin Room Harry Howard & the NDE, High Tea, Mystic Eyes, Ollie Olsen, Huf, New War DJ’s The Old Bar I Love Dancehall, Jesse I, Troublemaker, Jumpdred, Paz, Top Ranking, Shikung, Ezu, Sofire The Liberty Social Irish Session Lomond Hotel James Reyne Wellers of Kangaroo Ground JayyFresh Billboard John Butler The Hi-Fi JVG Guitar Method, The Harlots, The Bowers, DJ Sean Simmons Retreat Hotel Kiss Chasey, Anchors Away, Jekhyl & Pinwheel, Strange Attraction Ferntree Gully Hotel Maple Trail, Packwood The Gasometer Hotel Massy Ferguson The Palais, Hepburn Springs Matt K Von, Generik Prince Bandroom Melbourne Horror Film Society 303 Mid Youth Crisis, Rise of the Rat, Camp David, The Hard Targets Bendigo Hotel Moonee Valley Drifters Rainbow Hotel Pat Farrell Group Dizzy’s Jazz Club Patron Saints Cherry Bar Rort, Debacle, Old Skin, Shit Weather The Gasometer Hotel (Upstairs) Sal Kimber, The Rollin Wheel, Jack On Fire, The Eastern John Curtin Hotel Stonefield, The Delta Riggs, Kingswood Northcote Social Club System of Venus, 4tress, Black Fuel, Dan Swan Ruby’s Lounge The Twoks, Mike Elrington, Dom Cooley, The Revenant Esplanade Basement The Vagrants, Diana’s Bow, The Pass Outs Brunswick Hotel Van She, Forces, Otologic The Toff In Town
BAHA TACOS Thursday Battle Of The Bands Friday JK Ruff Saturday Marshall & The Fro
BAR OPEN Wednesday Uncomfortable Beats Thursday Roller One, Television Sky, Scarlett Cook Friday Judge Pino & the Ruling Motions Saturday New Dub City Sound, Sk Simeon, Shabba Kofi Sunday Wild Dog Creek, These Patterns, Jusgo Mosh
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THE OLD BAR Wednesday The Smith Street Band, Palisades, Hoodlum Shouts Thursday Ally Oop And The Hoopsters, Jane Dust, Ana Nicole Friday Eagle and the Worm!, Animaux, Sunny Leunig Saturday The Death Rattles, Heel Toe Express, Brendan Welch, DJ Sean Spoils Sunday Skyscraper Stan, The Commission Flats, Lonesome, Ben Wright Smith Monday Eaten By Dogs, The Taylor Project Tuesday Harry Howard & the NDE, High Tea, Mystic Eyes, Ollie Olsen, Huf, New War DJ’s
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Monday Loki, Language of the Birds, Hiding with Bears Tuesday Van She, Forces, Otologic
THE TOTE Wednesday Messed Up
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WESLEY ANNE Wednesday Dead Albatross, The Asthmatics, The Tall Stories Thursday Tom Richardson, Benny Walker Friday Major Chord, Dan Waters Sunday Phoebe Linder Trio, Malia & Matt
WORKERS CLUB Thursday No Art Friday Celadore Saturday Argentina Sunday Hayden Calnin Monday Animaux Tuesday Cold Hiker
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INPRESS â&#x20AC;¢ 53
A CC E S S O R I E S
E DI TI ON
BLUEJUICE’S JERRY CRAIB ACCESSORISES
A
ccessory ak’ses(ə)rē (also accessary)noun (pl.-ries) 1. a thing that can be added to something else in order to make it more useful, versatile or attractive. Bluejuice released their third album, Company, late last year, but it’s taken them until April this year to officially launch the disc with a national tour. Bluejuice’s musical director Jerry Craib was kind enough to take some time out from their tour schedule to fill us in on the incidental items that help to make a Bluejuice show come together. It’s time to discuss the glamourous side of music-making and touring... accessories. We’ve all got our favourites. Maybe yours is a mic stand that your older brother’s friend left in your garage in 1998. Maybe it’s a little ‘50s suitcase with brass latches that you keep your cables and spare 9-volt power supply in. Here are three of mine. Wooden keyboard case - Firstly a wooden keyboard case, painted black, covered in stickers and held together by gaff. It’s the only rock and roll thing I own. It’s lined on the inside with red velvet. It has brass latches. It’s falling apart. In fact it has always been falling apart. It will continue to fall apart, slowly. That is its beauty. It will outlive me. Why so? Gaff! More on gaff later. Guitarists and bassists carry ‘axes’. Drummers hit the skins. Frontmen belt out the hits. Keyboard players … play the keyboards… just not that cool. However, for those solitary few moments when I’m unpacking my keys from its case, I’m Eddie Van Halen playing Jump, kinda cool. Keith Richards would be proud to be buried in my keys case. Modern digital keyboards, unlike guitars and
54 • INPRESS
PICKS, CABLES, STANDS, TOOLS, ROAD CASES, CAPOS, GAFFA TAPE … COLLECTIVELY KNOWN IN A MUSICIAN’S WORLD AS ACCESSORIES… WHICH HAPPENS TO BE THE THEME OF THIS MONTH’S AUSTRALIAN MUSICIAN FEATURE. WE’RE TALKING THE SMALL BUT ESSENTIAL ITEMS A GIG JUST COULDN’T DO WITHOUT. WHO BETTER TO TELL US ABOUT THE IMPORTANCE OF ACCESSORIES THAN A WORKING MUSICIAN.
Jake could not put on a show. Gaff has held his microphone to the cable for many years now. Frontman cable swinging wouldn’t be possible without you, gaff. From the bottom of my cold cold pop music heart, I salute you, gaff. www.bluejuice.com.au/
basses are not really customisable. My keyboard is identical to thousands of others. No one has my case though. Not one other stinking muso. I should also mention that the handle on the case is now a wee three-cable-tie gaffpadded jobbie, thanks to the elite handle-breaking skills of our bass player, Jamie. Don’t touch my stuff man. Instrument cable - Second on my accessory super list, is whatever instrument cable I’m currently calling my favourite. You may know what I’m talking about. When you get a cable that rolls perfectly, clicks into the input jack with a reliable clack, never crackles, never fails you. And most importantly, a cable that you can brag (lie) to your mates about and say that you’ve had since Year 10 band practice. With such a cable, inner peace on the stage is reached. A great cable is a badge of honour that you hold dear to your heart. Knowing that you have taken care of something longer than the last seven relationships you’ve had. My current “15 year old” favourite cable I got custom made by Richard from Sydney Sound Cables, a couple of years ago. The cable is Canare, imported from Japan. The connectors are Neutrik, imported from Liechtenstein. Can one tell the difference in sound quality? Not me. Why do I bother buying it? Reliability… maybe. Keeping up with the Jones’… probably. Having something to talk about on the road… most definitely. Us musicians are proud of our custom gear. Each of us wants the best thing, and for no one else (except the bass player on that 1972 Miles Davis album) to own the same thing. It’s the little (ludicrous) things. Finally the king of music industry accessories: Gaff - Gaff is stronger than love and more resilient than custom aluminium road cases. Gaff will laugh in the face of airport baggage handlers. Gaff will bandage your wounds and hold up your banner. Gaff doesn’t require careful handling. Gaff won’t hit on your girlfriend back at the hotel. Gaff is solid. Everything I use has gaff on it. Bluejuice’s current stage show uses fluorescent gaff to decorate all the instruments, stands, amps and hardware. We then get our friend and lighting guru, Eamon, to shine UV light on all of it. Gaff can get pretty when you need it to be. I have an expensive keyboard stand that looks like a Star Trek vessel, but is made like a cheap pair of shoes. Great concept, terrible execution in construction. I’d love a new one as the job it does is irreplaceable. However I just can’t afford a new one every three months. Enter Gaff. Gaff has held this rubbish contraption together way too many times than I care to admit. Thank you gaff. Gaff will tear us apart. Without gaff, our singer
themusic.com.au
Jerry’s Gear • Symphony Upright Piano • Nord Electro 2 • Nord Electro 3 • MicroKorg • Korg R3 • Korg MS2000 • Hohner Pianet T • Casio SA-20 • HG Palmer Chord Organ • Fender Telecaster 72 Thinline Guitar • Martin Traveller acoustic guitar • Yamaha classical guitar • Tobias Growler bass • Mac with Reason • Akai MPK 49
STRUNG OUT!
What have you used in the past? Elixir strings on my acoustic (13 gauge on the 6, and 10 gauge on the 12 string) because they’ve kept their tone the longest. I learned a trick from a Romanian gypsy of repairing broken strings if they break at the saddle. I got quite good at it, so I could change a string in under a minute on a good night. It kind of became part of the show. Sometimes recycling four or five times each string, I’d see just how many gigs I could do on one set. I think my record was 17 in a row.
STUART FRENCH What kind of strings do you use and why? Fender electric guitar strings because I like the tension and they seem to last me well. String gauge? 10/46 on a Tele and 11/49 on a Gretsch. Worst string stage nightmare? I’ve rarely broken a string but with the odd guitar, if I pick too hard on my high E string, it goes down and gets caught under a fret or the front pickup without my knowing until I go to play that string. And it’s usually in the middle of a solo. Camille and Stuart French’s new album, Big Days & Little Years, available now. www.camilleandstuie.com
are my favorites and open to suggestions. I tend to go for heavy strings, as it’s all about the tone for me. But electric is a whole new world. I keep a Taylor acoustic with old strings on it in the studio. It has a beautiful rich dull tone... You never know when the perfect musical moment will arise. I also have an old Gibson L50 with a P90 in it - it needs a wound ‘G’ which you don’t find in mum and dad music shops in rural Australia. Worth the hunt though - it has a stage presence all its own.
again by recommendation. However, I just found the Slinky strings not to be as vibrant as the Elixir Worst string stage nightmare? I was performing on a very cold night at the Canberra Country Music Festival 2009 and trying to keep my strings in tune in below zero weather proved to be absolutely disastrous. I don’t think we had a single string on stage in tune.
STEPHANIE JANSEN What strings do you use and why? Elixir Custom Light strings, mainly because they last so much longer than regular ones. They have a deep and bright tonal quality I really like and they tend to break much less frequently.
Craig Morrison’s self-titled debut album out now.
Any on stage string nightmare stories? I was playing a gig at the Nambour Entertainment Centre and broke 4 strings at once on my 12-string, having already broken two on my 6. So I finished off the set with harmonica and a stomp box. Luckily I’ve a few written for this format. Paul’s new album, Behind The Stars, out now. www.paul-greene.com
What used in the past? I’ve used Elixir strings since I was about 11 years old. My dad, who taught me to play guitar, has always used them and swears by them. I’ve used other brands on rare occasions out of necessity, but feel they’ve never stacked up to Elixirs, so now I always make sure I carry spare sets.
www.craigmorrisonmusic.com
Worst string stage nightmare? I once broke a string during the first song of a major gig, with no spare guitar. Terrible! Fortunately a stage tech came to the rescue whilst I engaged the crowd with some light-hearted banter. Stephanie’s EP, risky, out now. www.stephaniejansen.com.au
LUKE YEOWARD (King Cannons) What strings do you use and why? Fender Super Bullet strings on my Fender Esquires and Telecasters. I hit my guitar pretty hard as a rhythm guitarist, but I also do some lead work from time to time, so the heavy bottom, light top .010.052 gauge works best for me. These strings have a bullet end, nickel-plated steel for a brighter tone and longer sustain. Pretty simple, I love the tone and the feel of them. I have used other strings in the past, but these ones are the best for me. King Cannons new album due mid year. www.kingcannons.com
CRAIG MORRISON What strings do you use and why? I use Elixir. A good musician friend put me onto them a while ago and I’ve never looked back. They have a beautiful sound and Elixir strings seem to really last. I used Slinkys by Ernie Ball in the past,
TRISTAN GOODALL (The Audreys) Type of strings he uses and why? It’s a little pedestrian but for my main electric guitar on stage I use good old D’Addarios. I play a Gibson ES-135 that has a trapeze tailpiece and some other brands just aren’t long enough. I favour the light top/ heavy bottom custom gauge for a thick, warm sound.
BLACK FOX
What have you used in the past? As a youngster in the ‘80s I favoured the Dean Markley Blue Steel cryogenically-frozen strings but soon grew out of that little gimmick! Any on stage string nightmare stories? Oh yeah, way too many to recount here and mostly involving my ‘60s banjo or Taasha’s delightful but temperamental ukulele. The Audreys new album, Collected, out now. www.theaudreys.com.au
PAUL GREENE What strings do you use and why? I’ve recently changed from being an acoustic player to electric on my new album (6 and 12 string - separately obviously). So I’m back to the drawing board on what
themusic.com.au
As a band, we’ve always used D’Addario XL Nickel Wound strings. Initially, it wasn’t a conscious decision. The studio we rehearse at only sold those strings, so that’s what we played. They were always super cheap too. I must say, however, the D’Addarios have served us well over the years. We all have really different playing styles too. Leigh likes to play really hard, so needs a guitar string that’s willing to cop a flogging in the name of a good time. Daniel, Andrei and I are quite lazy when it comes to changing strings so if we can slap on a set and still have them sounding good in six months, we’re happy. www.weareblackfox.com
INPRESS • 55
A CASE FOR QUALITY
F
or a musician, your gear is your most important asset and consequently needs to be protected from the hardships of baggage handlers, over-enthusiastic roadies and constant gigging. It’s important to transport your instruments in cases that will guarantee their survival. So, rather than just accept the traditional case options on the market, why not consider something unique to your needs and appealing to your eye?
T
he Guitar Jack 2 from Sonoma Wire Works is basically a device used to connect an instrument, mic or any other audio hardware (such as a mixer) to your iPad or iPad 2, iPhone 4 or iPod Touch. The fun and games commence once you’re connected and can access the apps to create your music. In reviewing the Gear Jack 2, we really only need to know a couple of key things: is the construction solid and is the signal it emits clear and strong? The answer to both is a resounding yes!
Brisbane-based roadcase manufacturer www.cases.com. au is not a large company but that’s the way they like it. It means they can provide high-quality products and personalised service. The guys at www.cases.com.au have been in the case business for a long time, boast a combined experience of over 50 years and are acutely aware what their customers want. www.cases.com. au was established with the merger of two distinctly different companies: Blue Cat Case company, which was a manufacturer of custom cases, and Go Case, which was an importer of racks, packing cases and briefcases. Having both custom fabrication and off the shelf imports has been a winning combination for them as they roll into their tenth year of operations. Their cases are produced using a mix of cuttingedge technology and good old-fashioned blood, sweat and tears, constructed partly by hand and partly by robotics-based machinery. The best aspect of what www.cases.com.au do is they can custom design cases to your specific needs. Their innovative design team can create a case for you that is not only durable, but cleverly constructed using only the best quality components. Cases may feature drawers, compartments, shelves and shaped foam. Whatever you need, they can include. www.cases.com.au work with a wide variety of companies developing product for stage, computer industry, audio and broadcast industries. Cases can be constructed for any musical situation, catering for guitars, amps, racks, pedal boards, amp heads and combos, keyboards, synths, drums, mixers and DJ gear. In fact, if it hasn’t been made and you need it, then www.cases.com.
REVIEW: SONOMA WIRE WORKS GEAR JACK 2
au will look forward to the challenge of helping you. Handles and castors can be attached to make these cases as user-friendly as possible. Not only are the cases as sturdy as they should be, but also innovative in design. You may add logos or artwork of your choice to sync in with your company/band image. The purchase of a roadcase is an important investment, so why not take the time to chat with the guys at www.cases. com.au, discuss your needs and give them the opportunity put forward some no obligation options.
A solidly built aluminium unit quite weighty for its size, its features include a 1/4” instrument input with configurable Pad, Lo-Z and Hi-Z modes, and a 1/8” stereo output with increased drive for your headphone and a 1/8” stereo mic/ line input with Pad, Normal and Boost modes. Each input offers 60dB of continuous level control. The unit has four rubber pads on the bottom so it can sit tight and flush with a table surface. Probably one of the only negatives is the only thing holding the Gear Jack 2 to your IOS device is the docking connector itself. You need to be mindful of knocking the unit while in use, as movement may result in loss of signal connection. Perhaps any future mods to the Gear Jack could include some kind of clip device to hold it secure or even a wide rubber band would do the trick. However if the unit is placed out of harm’s way, there shouldn’t be any issues. Cables snap snuggly into the metal inputs without a hitch and the unit docks into your IOS device quite easily too. Design-wise, the polished metal unit looks like an extension of your iPhone.
“N
However, it’s not just the venue where your gear can come under fire; airports can be a place of much grief for many musicians. Melbourne-based roadie Alex Saad explains. “I used to see cases thrown out of aeroplanes. This is going back to the ‘80s but it wouldn’t have mattered what sort of case it was or what was in them, they would have been damaged. I think today though people are more aware of getting the correct case for their instrument.” Airlines such as Virgin and Qantas have recently relaxed luggage fees for musicians so that it isn’t as expensive to travel 56 • INPRESS
www.innovativemusic.com.au
Four Guitar Jack enhanced apps are recommended for use but don’t come automatically; you’ll need to download them. These include Guitar Tone (a free app featuring amps and effects), Taylor EQ (a free Taylor
soon as something goes wrong, it makes the fault finding so much harder,” says Pedlar. “As long as they are rolled up correctly, under and over, they don’t get the twists.” Alex Saad has a more technical view of the significance of a properly wound cable. “Cables are interesting because not many people know how to wind a cable properly. A cable is made from the male end to the female end. For example, a 240 volt cable, like a normal extension cable, they’re made with the wires all going anti clockwise. When you wire them into a plug you wire them anti-clockwise. When you wind up a cable, you are meant to go over and under, to stop it from twisting. You should wind from the male end always and always over and under, not around your elbow. Elbows are for ropes!” Bennett suggests that you not only purchase quality cables, but also look after them: “Keep them clean. Make sure you take any labelling tape off them. Coil them correctly. Don’t tie them in knots, use a bit of insulation tape to secure them.”
ow roll them cases out and lift them amps/ Haul them trusses down and get’em up them ramps/ ‘Cause when it comes to moving me/ You guys are the champs,” wrote Jackson Browne in his song dedication to his road crew The Load Out from his 1977 album, Running On Empty. Anyone who has witnessed the set-up of a major concert or even local pub gig would realise how much work is involved in show’s production. With so much going on, and usually in a hurry, you would also realise the potential for error and the importance of good quality gear to withstand the rigours of a show’s preparation. Noel Bennett has worked in the industry since the early ‘70s, loading in and out artists such as Max Merritt, Brian Cadd and Grace Knight and was the front of house sound guy for the Little River Band for eight years. Bennett believes one of the most important accessories a musician needs to consider is the roadcase in which your gear travels. “I’ve seen necks snapped off guitars because they have been put into soft cases and put into the back of a truck. I’ve seen a two-inch alloy pole gone through a Roland digital piano. Roadcases are essential,” says Bennett. Well-travelled guitar tech Joe Yammouni recalls a 1973 Gibson Goldtop Deluxe arriving at a gig in Asia with a broken headstock and damage to all the controls. It was packed in a standard guitar case rather than a sturdy flight case; hence the damage. While even a flight case is not a guarantee of a damage-free trip, it certainly increases your chances of your gear remaining intact. Colin Pedlar is another roadie with a fine rock pedigree, having worked with The Screaming Jets, The Angels and Jimi Hocking. He’s seen plenty of amplifiers take some hard falls off the back of trucks, but if they’ve been secured in a good case, the damage has been minimal. “Most of the cases I have dealt with are custom-made and they do what they’re supposed to do,” says Pedlar. Bennett agrees. “The ones with foam lining, ply and good quality outer casing, whether hardened plastic or there was a period where they made them with thin metal and vinyl… as long as they are rigid and the items inside don’t move around, you should be right.”
guitar brand-specific app), Four Track (a multitrack recording app which is not free) and Studio Track (multitrack recording software you’ll also have to pay for). You can also use other music apps. To begin, you need to plug the Guitar Jack 2 in before launching an app. The Guitar jack control panel can be found under Song Tools in the Four Track app. Once connecting an instrument or microphone to the unit, the sound quality is faultless with no dropouts, hiss or interference of any kind noticeable. Guitar Jack 2 is one of many IOS connectors available on the market now, but this one just seems to be more solid and rates high on sound quality too, producing true, realistic tones. You won’t find a product manual with the unit, merely a few beginner instructions on the packaging; however, it really doesn’t warrant one. There’s not much to know before you’re connected and creating music. At $199, it’s more expensive than some, but you get what you pay for; solid construction and perfect sound reproduction.
THE GEAR SHIFT NOBODY KNOWS MORE ABOUT STAGE GEAR THAN AN EXPERIENCED ROADIE. THEY’RE THE ONES WHO TRANSPORT IT, PLACE IT ON STAGE AND THEN REMOVE IT NIGHT AFTER NIGHT. WHEN AUSTRALIAN MUSICIAN WANTED TO KNOW A THING OR TWO ABOUT MUSIC ACCESSORIES, WE WENT STRAIGHT TO THE SOURCE AND SPOKE WITH SOME OF AUSTRALIA’S BUSIEST ROADIES ABOUT CASES, STANDS, CABLES AND GAFFA. now with your gear. However this obviously still does’t ensure its safety. A couple of international musicians had such bad experiences with airlines and their belongings that they took revenge in song. Travelling on an airline from Sydney to Byron Bay, American roots guitarist Dale Watson was so frustrated at losing a box of CDs that he’d paid more than $600 in excess baggage fees to transport, that he penned a song called ‘We Don’t Careways’. The YouTube clip received over 17,000 hits and the airline paid Watson over $2,500 in compensation within hours of the clip going live. Canadian musician Dave Carroll aimed his anger at United Airlines with his none too subtle song, ‘United Breaks Guitars’, after witnesses had seen airline ground staff flinging guitar cases recklessly around the tarmac. The overriding theme in much of what these roadies had to say is the importance of quality accessories, particularly your cables. “The last thing you want is a bad cable letting down some part of the signal chain. If you know your cables are top quality, then it’s easier to do the fault finding. If you have a bunch of cheap cables in the system, as
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Of all the accessories we got to speak about with our road gents, the item they got most excited about was gaffa tape! Bennett recalls, “I remember the days when we didn’t use gaffa and the stages were very messy. People would get caught up in them. It can be used for so many things. I’ve seen situations where if there weren’t enough ratchett straps, the gaffa would hold the PA together or hold mic stands together.” Saad suggests gaffa now has some competition. “Gaffa is good for holding down cables but I think electrical tape use is almost as popular as gaffa for keeping stuff tidy. Gaffa is good for stuff on the floor. Electrical tape holds stuff on trusses and holds audio cables together.” However despite its foibles, Pedlar’s allegiance remains with the trusted gaffa tape. “Gaffa can fix just about anything. It can solve problems but it can also cause problems. I’ve seen it tear paint off walls and lift carpet off the floor when it’s not supposed to.” Pedlar has also seen some unorthodox use of the tape. “Twenty years ago, a support band did the wrong thing by the main act I was working for. Some members of the main band went backstage and dismantled a guy’s bass… took the neck and machine heads off, undid the pickups. They took everything out and wrapped it up in one giant ball of gaffa. It was a bit of a lesson to the support band. A gig’s road crew has enough to think about without musicians adding to their grief with problems which they really should have sorted out themselves.” Our roadies were keen to share some final gems of advice - don’t forget to pack your strings and batteries for a gig. Bring your own power leads. Don’t tap on your microphone. Don’t lean on the mic stand and certainly don’t twirl it above your head. You’ve been told!
ARE YOU THE NEXT
RØDE ROCKER? THE SEARCH IS ON. Think you’ve got what it takes to make it big? RØDE is looking for the very best unsigned artists around the world in the ‘RØDE Rocks’ talent search.
WIN
A 3-DAY STUDIO RECORDING SESSION AT RECORD PLANT HOLLYWOOD, OR AN AMAZING STUDIO PRIZE PACK!
Visit roderocks.com and you could be on your way to Record Plant in Hollywood to record with all-star producer Alain Johnnes (Chris Cornell, Queens of the Stone Age, Arctic Monkeys, Them Crooked Vultures)!
M O .C S K C O R E D RO
The M.I.P.A. 2012 winning H2n features our best microphones yet and is the only portable recorder with five mic capsules onboard. The H2n offers four unique recording modes: Mid-Side (MS) stereo, 90° X/Y stereo, 2-channel and 4-channel surround sound. Pictured actual size. Newly designed user interface. Bigger and brighter LCD screen. Five new mic capsules. USB 2.0 interface. Analog Mic Gain for precision volume control. Edit audio onboard. Onboard reference speaker and stereo output. New data recovery function. 20 hours of battery life. Create stunning 360° surround sound recordings. Linear PCM recording at up to 24bit/96kHz quality. Broadcast Wave Format support. 32GB SDHC card support. WaveLab LE software included for editing and mastering. Two Year Warranty when purchased from Authorised Australian dealers
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The first portable Mid-Side recorder INPRESS • 57
NEOTECH WIRELESS POUCHES
Ideal for concealing wireless transmitters on performing artists – under clothes or attached to guitar strap. Attaches easily & securely to most straps. Protects wireless transmitter from impact, dust & moisture 3 models available
$22.95ea
MIGHTY BRIGHT LIGHTS
NEOTECH GUITAR STRAPS
Neotech's patented internal control-stretch system offers weight reduction comfort that is unmatched by any other strap. It effectively disperses the weight while absorbing the shock of your movements. The SUPER & MEGA GUITAR & BASS straps feature top grade leather attachments for a secure hold. Neoprene pad design with patented internal control-stretch system. Easy to attach Fully adjustable. Check out the other Neotech Guitar straps at www.grevillea.com.au prices start at $42.95
STAGE / PEDAL BOARD LIGHTS USB LIGHTS. Bright White energy efficient LEDs. Durable LEDs last 100,000 hours precisely engineered lens spreads light evenly flexible gooseneck. No batteries required. Available in 3 models from $13.95ea
CARABINER
Bright white, energy-efficient LED. LED lasts 100,000 hours. Carabiner clip. Convenient constant-on switch. Beam visible up to one mile. Strong, lightweight polycarbonate Fits belt loop, pocket. 24 hours of battery life 2 lithium batteries (included). 63mm x 6.4mm x 38mm (Length x Height x Width)
$7.95ea
Eight light level combinations: two white LEDs, two red LEDs. LED lasts 100,000 hours. Two separate, flexible goosenecks Two tap-on sensor switches. Precisely engineered optical grade lens spreads light evenly. Arms fold into compact storage position. Red LEDs allow eyes to adjust more rapidly to dark lighting environments. 20 hours of battery life. 3 AAA batteries (included). Optional AC Adapter (not included). Optional cradle base (not included)
$44.95ea
GREVILLEA DISTRIBUTION 26 Wallace Street, ALBION 4010 BRISBANE AUSTRALIA For more information call 07 3262 8655 or email us at s a l e s @ g r e v i l l e a . c o m . a u ; W e b : w w w. g r e v i l l e a . c o m . a u "Available at all good music stores"
THE BANDS THE INDUSTRY THE LOCALS THE ENCORES THE DJS THE GIGS THE PRODUCERS THE CLUBS
THE ARTISTS THE FESTIVALS THE GROUPIES THE ALBUMS THE TOURS THE FANS
LIVE NOW!
58 • INPRESS
BEHIND THE LINES WITH MICHAEL SMITH
DAYNE LAWLESS AND ZILDJIAN GEN 16 Dayne Lawless, a Melbourne-based drummer and self-confessed “beat addict”, is presenting a couple of free clinics focusing on the latest Zildjian cymbal technology and particularly the Gen 16 Acoustic Electric Cymbal System, recognised by Electronic Musician magazine as “the biggest drum innovation in 400 years”. Always at the cutting edge of technology, Lawless incorporates triggers, loops, samples, and audio software with his acoustic drums and Zildjian cymbals to sonically recreate the rhythmic textures of recordings in live performance. His clinics are running from 2pm Saturday 5 May at Allans Music & Billy Hyde on Mt Alexander Road, Flemington, and 2pm on Saturday 12 May at Allans Music & Billy Hyde, Whitehorse Road, Blackburn. Usual deal – limited space, register your interest through the Allans Music website.
BC RICH COFFIN CASES B.C. Rich, a name synonymous with metal guitars, is thrilled to have an association with the legendary Coffin cases. These cases have been especially designed in conjunction with Coffin cases to give you the most features possible for storing and transporting your B.C. Rich instruments. The Coffin-shaped cases have the B.C. Rich logo in white on the outside with very rugged hard vinyl. There is contrasting red and black velvet interior emblazoned with the B.C. Rich logo. Other features include raised neck support, versatile Velcro block for a custom-tight fit of any B.C. Rich model, a roomy storage compartment, two supportive neck rests and a raised fingerboard padding in the top of the case. Available in three sizes.
INTERNATIONAL RØDE ROCKS COMP
DEAN MARKLEY’S LOVE POTION #9
Australian-owned microphone manufacturing company RØDE has announced an international band competition, RØDE Rocks, designed to discover and showcase the best in independent, unsigned talent around the world and reward them with an all-expenses paid recording session in Hollywood with renowned producer Alain Johannes, as well as studio prize packs consisting of microphones and speakers. To enter, you need to record an original composition of more than two minutes in length and then create an accompanying video that features at least one RØDE microphone. After uploading the video to YouTube, you simply visit the RØDE Rocks website and submit your details along with a link to the video. On Saturday 30 June, a star-studded panel of judges will pick ten finalists to be showcased on the RØDE website for two weeks during which time visitors will be invited to vote for their favourite performance.
Dean Markley recently announced the reintroduction of their original guitar care polish, Love Potion #9. The polish is available from music retailers worldwide.
First prize is return flights to Los Angeles to record at The Record Plant studios in Hollywood, with producer Alain Johannes (Chris Cornell, Queens of the Stone Age, Arctic Monkeys, Mark Lanegan, Them Crooked Vultures). Additionally the winners will receive vocal training throughout the sessions from instructor Robert Stevenson (Kelly Rowland, Justin Timberlake, Rihanna, Jennifer Hudson, The Singing Office), and the resulting recording will be professionally mixed and mastered. Second and third prize winners will each receive a studio prize pack of a number of studio and live performance microphones and studio monitors from RØDE affiliate, Event, worth more than US$15,000 each.
www.cmi.com.au
www.promusicaustralia.com
GHS BASS FLEA SIGNATURE
Gentle enough for daily use, Love Potion #9 is a simple, efficient way to care for all wood-crafted instruments. Applied daily, the concentrated formula provides streak-free lustre and shine and extends the life of the instrument. www.cmi.com.au
RESEALABLE MULTI-PACKS GHS Strings continues its innovative approach to packaging with the world’s first resealable guitar string package. GHS Strings “Multi” 5-Packs and 2-Packs are sealed at the factory for freshness in a tamper-proof package. The exclusive package design includes built-in zipper lock which allows the user to remove only the packs required at a given time and then reseal the package to maintain freshness. The GHS facility is 100 per cent humidity controlled with state-of-the-art equipment and highly skilled technicians ensure factory freshness in every airtight Fresh Pack produced. Each Electric Guitar Boomers and Acoustic Phosphor Bronze Multi-Pack of guitar strings has two extra High E strings, free. Bass Boomers Multi-Packs include two complete sets of bass strings. These packs easily fit into any guitar case and are available in a variety of gauges. www.dynamicmusic.com.au
GHS strings are now proudly endorsing The Chili Peppers’ Flea. He uses the tried and true formula of GHS Bass Boomers. GHS Bass Boomers are a Nickel-Plated Steel wrap wire with a special combination of Stainless Steel and Nickel Plate on the low E string. The unique Boomer hex core gives this string added strength. The Red Hot Chili Peppers count on Flea to provide that hard-driving bottom end and these strings are a crucial part of that signature sound. www.dynamicmusic.com.au
ESP STOOL AND STRINGS OFFER Anyone purchasing an ESP or LTD 100 series guitar, can now also acquire a quality ESP guitar stool and set of Dean Markley Helix strings, valued at $138, for just $19.95. Offer is open until June 30, 2012. The guitars themselves are on special too, with discounts of up to 40 per cent off.
GRABAXE
K&M IPAD HOLDER RANGE More and more people are using their iPads for use on stage, whether it’s for set lists, lyrics or score chord charts. But where do you put them on stage? K&M have come up with a range of holders that either attach to the thread of your mic stand or clamp onto the upright of your mic or music stand www.trc.com.au
Released back in 2008, GrabAxe provides excellent protection for your guitars on stage. The only safer place is in your guitar case! GrabAxe can be used in conjunction with your guitar stand, acting as a safety belt, or replace your stand for more stage room. GrabAxe is small and lightweight. Fits in your pocket, gig gag or case, and can be left on your amp! GrabAxe can secure up to four guitars to your amp at one time (one per package)! GrabAxe comes with the main strap, side mount adapter and deck pad.
K&M 16150 GUITAR HOLDER
www.eastgatemusic.com
www.trc.com.au
One of the biggest problems when performing live is lack of stage space. The KM 16150 allows you to hang your guitar from your mic stand. There’s even a space for two picks in the rubber ring that protects the back of your guitar from the stand.
GUITAR GEAR GGT301 HEADSTOCK GUITAR TUNER The Guitar Gear GGT301 Headstock Guitar Tuner is a new fully-featured headstock tuner for guitar, with an amazingly bright and easy-to-read display that makes it so much easier for you to get into tune quickly. The GGT301 is chromatc, so you can tune to whatever you like, and is sure to be an essential part of your guitar gear arsenal from now on! Just add one of our 25 pick mega packs and it will also ship free! RRP $29 www.guitar-gear.com.au
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INPRESS • 59
VIC FIRTH ESSENTIALS STICK BAG Cleverly designed to hold four or five implements, a hook-and-strap system allows for secure suspension from the floor tom or snare. An internal pocket and elastic drum key loop make the bag complete! www.musiclink.com.au
HISCOX HARDCASES ERNIE BALL COBALT STRINGS Ernie Ball’s Cobalt strings are a significant new product for guitarists and bass players. As soon as you string up a guitar or bass with Cobalts – before even plugging it in - you can feel the difference (smoother, more buttery feel). Once you plug in, you immediately hear added punch and extended frequency response. Ernie Ball Cobalt Strings are a new spin on Ernie Ball’s best-selling set of strings, which have been played by the likes of Eric Clapton, John Mayer, Steve Vai and many more. Engineered to maximize output and clarity, Ernie Ball Cobalt Slinky Guitar Strings are the latest innovation in string technology. Seeking to provide guitarists and bassists with a new voice, Cobalt strings provide an extended dynamic range, incredible harmonic response, increased low end and crisp, clear highs. Cobalt provides a stronger magnetic relationship between pickups and strings than any other alloy previously available. Cobalt Slinkys are also soft and silky to the touch, making string bending a breeze.
GALACTIC GL004 MUSIC DUAL LED LIGHT With the Galactic Music clip-on LED, you can perform everywhere from concert halls to jazz clubs with some extra light to see what you’re playing. It features dual goosenecks and multi-directional beams for adjustability over a wide variety of applications. Simply press one of the buttons on each individual LED light head to turn on a single or dual LED light. The Music LED runs on the three AAA batteries included or can be connected via the USB adaptor to a laptop or computer. RRP $20
Established in 1985, Hiscox Cases Ltd. is the brainchild of Brynn Hiscox, a professional guitar maker. Being acutely aware of the lack of quality cases on the market, he used his engineering background to design a case that stood up to his exacting requirements. Brynn’s customers demanded cases that had higher protection but with less weight. Pro Music, Hiscox’s Australian distributor, imports a wide range of their gear including a variety of cases for guitar, mandolin, sax and other horns, violin and cello. Guitar cases are custom-made to fit specific brands too including Fender and Gibson, and Hiscox even get as specific as a case for the the Brian May model electric.
GROOVETECH JACK AND POT WRENCH Instrument and amp jacks are notorious for coming loose, and with a shallow nut and recessed cavity, access can be challenging. However, the GrooveTech Jack and Pot Wrench provides three thin-wall sockets - 1/2”, 7/16” and 12mm - in a compact 4” tool to handle the most common sizes of jacks and pots on instruments, amps and other audio gear. Add a dab of threadlocker and you’ll probably never have to deal with that loose jack again. Sockets are pro-grade with a dazzling polished chrome finish. GTJPT1 www.trc.com.au
www.promusicaustralia.com
www.galacticmusic.com.au
www.cmcmusic.com.au
BESPECO CABLES Made in Italy, Bespeco produce a quality range of cables and stands, all thanks to their professional and technological research and development, the selection of components and the rigorous quality control at each productive stage. Bespeco offer two options of supply with their cables, either on a reel/roll or factory assembled. This applies to microphone/instrument cable, multicore, speaker cables and electrical mains cable. Assembled cables are neatly presented for effective selling and display, either in an eye-catching cardboard sleeve or in a bag. Either way, these are available in different colours and lengths. Another great feature of Bespeco cables is that they are now equipped with a strap-band, neatly holding the cable in place once folded! The strap-band and (if fitted) the rubber jack, may be personalised with your own name/company logo. www.dynamicmusic.com.au
GUITAR GEAR UGRIP FA10 HAND EXERCISER The uGrip green is light tension. Exercise with caution and be sure not to overextend yourself at first. This is a great hand exerciser for players of any instrument!
VOX ACOUSTIC AMPLUG
Finger-span can be extended by shifting the fourth button. Price? $19.99 RRP
The headphone guitar amp that lets you enjoy serious guitar sound, fast. Jamming late at night? Dont want to wake the neighbours? Maybe you want to work out a lick with your MP3 player without taking the time to set up your amp. You want to play guitar right now. amPlug is the answer. Simply plug this palm-sized headphone guitar amp directly into your guitar and enjoy serious guitar sound anywhere, anytime. Now available in six styles: Lead, Bass, VOX AC30, Classic Rock, Metal and Acoustic. AUX in jack lets you jam along with your CD/MP3 player.
www.kosmic.com.au
http://au.yamaha.com/
Use it to warm up before playing and to strengthen/stretch the fingers. It features unique ergonomic design that allows you to exercise the fingers, wrists and forearms while practising the correct action. Increases finger speed, strength and independence.
GUITAR GEAR UGIG INTERFACE FOR IPHONE IPAD The uGig is an iPhone/iPad interface that allows you to make use of a variety of great guitar apps. There are some great free apps to choose from and the uGig is an affordable way for you to try them all out, have a bit of fun and rock out. The uGig can also plug into your guitar amp, which means you can get your great guitar tones through an amp, or even a PA system if you need a back-up should your amp go down! Just plug the uGig into the device’s headphone jack, your instrument into the uGig and connect the output of the uGig to an amplifier or other device that has line input capability. Then you’re ready to rock! RRP $21 www.guitar-gear.com.au
Don’t do more time than you have to. It takes just two years to complete a Criminal Justice Degree at the Navitas College of Public Safety. With flexible selection criteria, small class sizes and a convenient inner city location, it’s a great way to prepare for a career in law enforcement, the courts and corrections.
Apply now for Term 2 - Classes starting end of May!
ncps.edu.au | 1800 783 661
College of Public Safety
NCPS is part of the Navitas group. CRICOS provider code: 01945J 60 • INPRESS
2119-0312
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EMPLOYMENT ADMINISTRATION 15year old bass player looking to join metal or punk band. influences include metallica, slayer, megadeth, anthrax, pantera, ozzy osbourne/black sabbath and many more. email space1996@hotmail.com
DJ EQUIPMENT
AMAZING MASTERING OFFER
DJ/BAND SOUND SYSTEM!!!
Audio Mastering, mixing, recording. CD-R music & data duplication, cover artwork, colour disc printing, online global distribution. Full studio package deal for EP or full album projects. Enquiries ph: 02 98905578
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DJ AVAILABLE- ANYTIME
iFlogID: 16089 Learn to record pro sounding tracks rock tracks,mixing secrets,mastering made easy and all taught by the pros visit - www.toneartist.com
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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) 98073137 or eMail: nadipa1@yahoo.com.au
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FILM & STAGE PRODUCTION Experienced film director. Client list including 360, King Canons, The Drones, Melbourne City Council, EMI, Mushroom Marketing. Contact Agostino Soldati to produce your music video, epk, promo reel, gig. agostinosoldati@hotmail.com www.vimeo.com/agosoldati
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SOUND & MUSIC RemmosK live in acoustic mode @ The Town & Country Hotel, St Peters - 26-04-12 with special guests Aunty Hu Hu and the Big Lazy
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FOR SALE 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
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Credited on over 250 million CDs! Many international artists. Get your CD mastered by legendary British engineer Paul Gomersall. Immaculately crafted for just $69 a song! Why? answers@ www.gomersall.com
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= iFlogID: 16863 At STRINGS ‘N’ SKINS: You will find tuition for- Guitar, Bass, Drums, Didjeridu, 5 String Banjo. Rock, Blues, Country, Jazz, Slide, Finger Picking, Music Theory. Sutherland Shire. Terry 0402 993 268
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
MASTERING
2 x Cdj-200 Pioneer and American audio QD6 (Professional preamp mixer), 2 x Professional power amplifier SL 1100 Super x pro high precision 2 way crossover, model cx2310, 2 x Australian technology professional speakers, Fro 1-v2 impedance 8 ohms -800 watts RMS and Hf dispersion, 2 x Stenberg speakers 150 watts, Subwoofer At technologies SB03, Impedance 4 ohms and power 1600 watts RMS All for only $5100 ONO Call Tony 0410118141
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DRUMS WANTED VINTAGE DRUM KIT, old Ludwig, Gretsch etc. Also want vintage snare drums etc. Sydney based but will pay top $ and arrange courier. Ph 0419760940
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++ play more chinese music - love, tenzenmen ++ www.tenzenmen.com
iFlogID: 14468 Get your Band or Business Online Cost effectively and PROFESSIONALLY - from $299 including Hosting and email addresses! Contact info@bizwebsites.com.au or see www. bizwebsites.com.au
iFlogID: 15452 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!
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PA / AUDIO / ENGINEERING Sydney PA Hire: Best quality equipment, small to large 2, 3 and 4 way systems, packages for all occasions, competitive prices servicing Sydney and environs. Details; http://www.sydneypa.biz, Chris 0432 513 479
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OTHER PEDALS - Brand new T-Rex - Distortion / T-Rex Alberta - $195 each. Fulltone - Choralflange - $195. Elect case Humidifier - $35. Acous case Humidifier & Hygrometer - $75. Mob - 0415285004
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MUSIC SERVICES DUPLICATION/ MASTERING CD MANUFACTURING:Acme is Australias best price CD manufacturer. 500 CD package = $765.05: 1000 CD package = $1320.00 Short run also available. www.AcmeMusic.com.au KevinW@AcmeMusic.com.au
iFlogID: 13117
HIRE SERVICES For as low as $100, you get a professional sound/ pa mixer system with operator for the evening. Suitable for weddings, pub/clubs band gigs, private parties etc. Infovision@yayabings.com.au. Contact Chris 0419272196
iFlogID: 15173
PHOTOGRAPHY Image is everything! If you have a band wanting to get ahead let me capture the next gig. High quality pictures say everything. http://roybarnesphotography.com/ 0414 243 811
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PHOTOGRAPHER- FILM & DIGITAL Promo, covers, gigs, launch/opening nights, music, stage, stills, events, anything. 8 years exp. 35mm and 120mm FILM and DIGITALRates neg. All areas. Will tavel. P. Gracie 0432 609 739 g.lolicato@live.com
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RECORDING STUDIO $30ph
iFlogID: 17084 Recording Studio, Parramatta, $30hr casual rate. No kits! Singers, songwriters, instrumentalists for acoustic, world, classical genres specialist. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days.
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SOUNDPARK RECORDING
Fantastic studio complete with large tracking room, 3 booths and large control room. 24 track tools/studer tape, Tons of vintage gear, over 20 classic pre amps (neve, api, telefunken), over 40 of the best mics (neumanns, schoeps, coles, rca, akg), loads of compressors/eqs (emi/chandlers), la2a/1176 and vintage effects (plate reverb, space echos). complete with ludwig drums, grand and upright pianos, wurlitzer, gtr amps (ac30, twin) ampeg svt, wurlitzer, hammond and more. Bands with own Engineer - hire studio for $450 a day, or with studio owner engineer $650 a day, Northcote
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TUITION Drummer, Lessons Drum Lessons avaliable in Gladesville Teach all Levels,ages & experience.16 years experience. I studied at The Billy Hydes Drumcraft ,Obtained Dipolma in Drummming Mob: 0402 663 469 Michael
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ATTENTION: MUSIC CREATORS
Contact me for your free chapter of my book “ Chord Voicing for Composers, Arrangers, Songwriters and Pianists”. The complete guide to advance harmony. jdmuspub@gmail.com
GOLD COAST BYRON BAY NORTHERN NSW Poster distribution for touring artists & bands. Fast, efficient & reliable service at a competitive price www.thatposterguy.com.au
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RECORDING STUDIOS Incubator Recording and Mastering. “Where the grooves are hatched”. Record your next demo or release in a relaxed creative enviroment with experienced engineer. Affordable check it out online at www.incubatorstudio.com.au
In vocal trouble? Want to sing in tune? Bella Musica’s Foundation Technique Course is now open for new pupils. The course covers basic vocal technique and will personally guide you to your goals, amateur or professional. Vocal Coach Meera Belle is an experienced artist and teacher working across all genres from opera to contemporary. Visit www.meerabelle.com to see what singers say about her teaching. Phone 0406 512 162.
iFlogID: 17102 Vox Music Academy, a premier music singing academy has VOCAL, GUITAR, KEYBOARD & DRUM TUITION available at our Dandenong, Bayswater & Brunswick studios. For Info and Bookings: 1300 183 732 www.voxmusic.com.au
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VIDEO / PRODUCTION D7 STUDIO MUSIC VID FROM $250 music vid $250. Live gig edits, multi angles, fr $125 a set, 1 live track $100. All shot in full HD. d7studio@iinet.net.au 0404716770
iFlogID: 13368 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
MUSIC PRODUCER
Professional, seasoned music producer available for creative and commercial work. Low price, high quality, many genres both organic and electronic. Email for obligation free quote billygreenmusic@gmail.com
iFlogID: 18084
iFlogID: 17964 Music tuition, classical / flamenco guitar, celtic harp, theory & harmony, arranging. 9am - 9pm, 7 days. Parramatta area. $40 hr, $30 half hr. Mature & patient. Harps for hire. Ph: 02 98905578
iFlogID: 15158
DRUMMER A1 PRO DRUMMER AVAILABLE for freelance gigs, tours etc. Extensive touring experience, gret time/tempo/groove, great drum gear and pro attitude. Sydney based but will travel. More info, ph 0419760940. www.mikehague.com
iFlogID: 13230 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 18 year old guitar player looking to form Rock N’ Roll band. Influences: Guns N’ Roses, Aerosmith, Led Zeppelin, New York Dolls. Preferably in South. Call Tom on 0401722767.
iFlogID: 13358 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
iFlogID: 15177
MUSICIANS WANTED BANDS MUSIC VIDEOS offer a great way to gain exposure. Immersion Imagery has worked with over 30 artists and strives to offer creative quality Music Videos. Visit www.immersionimagery.com or email info@immersionimagery.com for a no obligation quote
iFlogID: 18088
MUSICIANS AVAILABLE BASS PLAYER 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
First 2012 Sydney SoundClouders Meetup featuring live performances from RemmosK and Richard Lawson and DJ sets from MC Swanson to showcase songs, sounds and collaborations.
iFlogID: 18226
KEYBOARD PLAYER REQUIRED
Keyboard player (female preferred) 20s-30s own gear / transport wanted for indie rock band. Backing vocals ideal. Rehearse Brunswick. Recording album now. Info/sounds @ www.noescapefortheking.com. Interested? Call 0414524422.
iFlogID: 17844 New fresh artists, creatives & musicians wanted for tri annual event, great exposure/networking - must have own equipment, get your name out thereemail chicpetiteevents@hotmail.com
iFlogID: 18100
iFlogID: 16159
iFlogID: 13892
Pro singer wanted for established 5 piece band Newcastle band Newcastle area. Covers , originals hard rock,blues,pop,rocknroll exp band gigged with Angels,paid gigs booked Peter 4984 4731
iFlogID: 17882 Up & coming bands wanted for gigs-get yourself some exposure in front of small/med size crowd-send band details & contacts to soundbar@bigpond.com
iFlogID: 15385 Young guitar player looking to start metal, punk band. influences include metallica, ozzy, black sabbath megadeth, trivium, bullet, anthrax, slayer slipknot and many many more. email space1996@hotmail.com if interested
iFlogID: 17027
BASS PLAYER BASSIST WANTED!
You MUST be an outstanding male bassist! Rehearsing at Wetherill Park, New South Wales. Drummer is forming a fast paced original rock band to get signed to a 360 deal. Must be ambitious, self-motivated, committed, reliable and have a lot of drive. Musical direction: Muse, The Killers, Michael Jackson and AC/DC. Age: 18-30. Only contact me if you want to get signed to a 360 deal! Contact Will: cooleywill2@hotmail.com
iFlogID: 18133
DRUMMER Experienced drummer with a commitment to practice and regular rehearsals required for Melbourne-based alternative rock band. Influences QOTSA, Foo Fighters, Nirvana… www.myspace.com/mollydredd 0411 372 469
iFlogID: 16936 Yo Fuckers! Royal Ace needs a new drummer, were an established rock band wanting you to come bang shit. Check us out and shoot us a message facebook.com/royalaceband PEACE!
iFlogID: 17858
Guitarist and drummer looking for established Singer/ band with agency backing for working. Originals or covers. All Genres kindjohn@hotmail.com
We are a friendly jazz band playing music to any style for romantic situations, weddings, anniversaries, small cozy clubs - very affordable. contact Chris 0419 272 196 ventura@yayabings.com.au
iFlogID: 16430
MUSIC CLASSES - Tuition for Piano, Guitar, Singing, Drums and Bass. 7 years of experience. Great rates for classes. For info call 9530 0984/ 0425 788 252 or visit www.katzmusic.com.au
iFlogID: 16661
iFlogID: 18058
Beginners to Advanced Easy and Effective Singing lessong workshops include -Vocal scales - pitch and breathing excercises -singing and learning songs of choice -performance techniques -songwriting 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
DJ Dj available Dubstep to Drum&bass. Willing & able to adapt to your event. Low hourly rates. Everything negotiable. Easygoing, flexible entertainment. Call for a quote today. KN!VZ Entertainment Group Ph:0415680575
iFlogID: 17958 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: 16950
iFlogID: 16690
POSTERS
VOCAL TUITION AND COACHING
GUITARIST 18 year old guitar player looking for another guitar player. Influences: GN’R, Aerosmith, Zeppelin, New York Dolls. Preferrably someone in the south (Shire). Call Tom on 0401722767
iFlogID: 13407
RHYTHM GUITARIST WANTED!
You MUST be an outstanding male rhythm guitarist! Rehearsing at Wetherill Park, New South Wales. Drummer is forming a fast paced original rock band to get signed to a 360 deal. Must be ambitious, selfmotivated, committed, reliable and have a lot of drive. Musical direction: Muse, The Killers, Michael Jackson and AC/DC. Age: 18-30. Only contact me if you want to get signed to a 360 deal! Contact Will: cooleywill2@hotmail.com
iFlogID: 18135
SINGER GOSPEL SINGERS WANTED for non-denominational music ministry to record triple-CD in Perth. Worldclass, passionate and devotional vocalists sought. View www.THE001Music.com for details. Jesus is KIng! Reverend Eslam. God Bless You!
iFlogID: 13088 Indie Pop singer wanted for recording of already written songs, for album release and small tour (acoustic duo) .Contact jonathan@thesongshop.com.au
iFlogID: 18054
SINGER-SONGWRITER WANTED!
You MUST be an outstanding male singer-songwriter! Rehearsing at Wetherill Park, New South Wales. Drummer is forming a fast paced original rock band to get signed to a 360 deal. Must be ambitious, selfmotivated, committed, reliable and have a lot of drive. Musical direction: Muse, The Killers, Michael Jackson and AC/DC. Age: 18-30. Only contact me if you want to get signed to a 360 deal! Contact Will: cooleywill2@hotmail.com
iFlogID: 18137
$25 $50 $40 $40
$80
RECORDING PROJECT ROOM FROM $100
$35 $60 $50 $50 $15 $20
VOCALIST/GUITARIST WANTED Australian Nickelback Tribute Band seeking mature vocalist/guitarist to complete lineup. 30+ band, Melbourne western suburbs, jam weekends, must have own equipment/transport and ROCK like CHAD! Email Dom: whereisdomee@hotmail.com
iFlogID: 18188
SONG WRITER SINGER-SONGWRITER WANTED!
You MUST be an outstanding male singer-songwriter! Rehearsing at Wetherill Park, New South Wales. Drummer is forming a fast paced original rock band to get signed to a 360 deal. Must be ambitious, selfmotivated, committed, reliable and have a lot of drive. Musical direction: Muse, The Killers, Michael Jackson and AC/DC. Age: 18-30. Only contact me if you want to get signed to a 360 deal! Contact Will: cooleywill2@hotmail.com
SERVICES BEAUTY SERVICES Experienced Graphic Designer available for freelance work. - Branding - Packaging - Layout - Web Interface - Illustration For examples of my work see www.bobbycashman. com or you are welcome to call me: 0478593710
iFlogID: 18039 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
GRAPHIC DESIGN 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: 15450 Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $399 including UNLIMITED pages, Logos, Hosting and 5xemail addresses and much more! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au
iFlogID: 13864 Limited Edition mens tees and hoodies with a sense of humour. All hand-screened and numbered. monstrositystore.com
iFlogID: 13611 Your Album Cover?! It’ll look killer with the help of the award winning Wealth & Hellbeing Creative team! Turn your local look into an international standard release: www.wealthandhellbeing.com Call Lix 0405809066
iFlogID: 18086
OTHER 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: 15454 Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $399 including UNLIMITED pages, Hosting and 5xemail addresses and much more! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au.
iFlogID: 13862 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
iFlogID: 16217 Need to promote your restaurant, club and make it the place to go? Contact us now, because providing good entertainment is a personal skill. Chris 0419 272 196 ventura@yayabings.com.au
iFlogID: 15175 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 ZUMBA FITNESS CLASSES - Get Fit, Have Fun, Feel Fantastic! Introductory Offer 6 classes for $36. Classes in Elsternwick. Call 0425 788 252 or visit www. dancekatz.com.au for times and locations.
iFlogID: 17966
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: 17637
iFlogID: 18139
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