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2 • THE MUSIC • 15TH JULY 2015
THE MUSIC 15TH JULY 2015 • 3
THE MUSIC QLD GOING FORTNIGHTLY After two years on the street as a weekly publication in South-East Queensland (SEQ) – 35 years on the street taking the history of the magazine’s predecessor Time Off into account – The Music is taking the significant step of going fortnightly in SEQ, while making dramatic improvements to the quality, layout and scope of coverage that we bring to the region’s many music lovers on a regular basis.
W
hile buoyed by the increasing success of our sister website theMusic.com.au, we still fervently believe that there is a place for free print publications in the ever-changing media landscape. When we rebranded to The Music two years ago to formalise our role in Street Press Australia’s national network we reiterated our commitment to bringing the best quality product we could to the music lovers of SEQ. That commitment has not wavered, but after much soul-searching we’ve decided that the best way we can continue to meet these objectives moving forward is to consolidate into a fortnightly street title with a focus on improving the magazine’s content across all facets of its existence. To this end, we will be increasing our focus on the local scene, offering more specific coverage of what is happening in our backyard. This will manifest in both the print title and with more dedicated coverage of Brisbane artists and happenings on theMusic.com.au, reflecting the continued excellence of the music being created and shared all around Queensland on a weekly basis. Rest assured, this is not a decision that has been made lightly. As a continuation of the Time Off masthead, The Music print title in Brisbane represents Australia’s longest standing free weekly street press title and, while it is extremely sad to see this prestigious honour confined to the history books, tradition cannot stand in the way of progress (especially in this age of incessant technological flux).
4 • THE MUSIC • 15TH JULY 2015
The Music will still be offering the same top-level music coverage of not only everything happening in SEQ but also the rest of Australia and the world beyond; only the manner of access and distribution will be altered slightly in the quest to provide a better end product for our readers. That is, after all, our raison d’être – at the end of the day we need to keep you, the reader, happy otherwise our existence is futile. Moving forward The Music will still be free of charge and still doing what we’ve done for 35 years – our utmost to inform the music lovers of SEQ and document this amazing scene we have at our fingertips – only now we have half the deadlines (which can only be a good thing). As we close in on 100 issues as The Music in Queensland we hope that these significant improvements will be the foundation of many more years of bringing you the best that music has to offer. Thank you wholeheartedly for your continued support and keep your eyes out for the new-look The Music in two weeks’ time at the same places you’ve always picked it up. Keep rocking and keep supporting local music (and remember to vote with your feet), Steve Bell Editor The Music Queensland
JONSON STREET BYRONBAY FRI 17 JULY
THE LAZYS SAT 18 JULY
FAMILY JORDAN, SACRED SHRINES, MAGIC AMERICA THURS 23 JULY
SPLENDOUR PRE PARTY WITH FLIGHT FACILITIES, TKAY MAIDZA, ELLIPHANT, VALLIS ALPS, L.K.MCKAY FRI 7 AUG
THE LAURELS, NICHOLAS ALLBROOK FRI 14 AUG
DEMON PARADE SAT 15 AUG
MOSES GUNN COLLECTIVE SUN 16 AUG
TRAIL OF DEAD FRI 21 AUG
MAR HAZE SAT 22 AUG
TIJUANA CARTEL FRI 28 AUG
IMMIGRANT UNION SAT 29 AUG
UPSKIRTS THURS 1 OCT
JUNGLE GIANTS FRI 2 OCT
THE SMITH STREET BAND TICKETS AVAILABLE ONLINE WWW.THENORTHERN.COM.AU
THE MUSIC 15TH JULY 2015 • 5
CREDITS PUBLISHER
Street Press Australia Pty Ltd
GROUP MANAGING EDITOR Andrew Mast
NATIONAL EDITOR MAGAZINES Mark Neilsen
EDITOR Steve Bell
ARTS EDITOR Hannah Story
EAT/DRINK EDITOR Stephanie Liew
GIG GUIDE EDITOR Justine Lynch gigs@themusic.com.au
CONTRIBUTING EDITOR Bryget Chrisfield
CONTRIBUTORS Alice Bopf, Anthony Carew, Baz McAlister, Ben Marnane, Ben Preece, Benny Doyle, Bradley Armstrong, Brendan Telford, Brie Jorgensen, Carley Hall, Chris Yates, Cyclone, Dan Condon, Daniel Johnson, Dave Drayton, Guy Davis, Helen Stringer, Jake Sun, Jazmine O’Sullivan, Lochlan Watt, Madeleine Laing, Mandy McAlister, Michael Smith, Mitch Knox, Paul Mulkearns, Roshan Clerke, Sam Hobson, Sky Kirkham, Sophie Blackhall-Cain, Tessa Fox, Tom Hersey, Tony McMahon, Tyler McLoughlan
THIS WEEK THINGS TO DO THIS WEEK • 15 JUL - 21 JUL 2015
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ART DIRECTOR Brendon Wellwood
ART DEPT Ben Nicol
You’ll never walk alone when one of the world’s largest sporting clubs, Liverpool FC, hit town this week to take on the mighty Brisbane Roar. It all happens Friday night at Suncorp – talk about David versus Goliath!
It’s time to think local and act local as this week marks the start of Queensland Music Festival, the 17-day bash bringing music to every nook and cranny in our great state. Support our amazing talent and have fun while you’re at it.
ADMIN AND ACCOUNTS Jarrod Kendall, Leanne Simpson, Loretta Zoppos, Niall McCabe accounts@themusic.com.au
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BRISBANE
Premiering today is ABC’s latest comedic venture How Not To Behave, presented by Matt Okine and Gretel Killeen. Pic: Simon Cardwell.
THE MUSIC 15TH JULY 2015 • 7
news news@themusic.com.au
FRONTLASH 52-6
Well we certainly didn’t see that Origin result coming either, but sure was a lot of fun! Almost worth losing bragging rights for that one year so we could smash them and break records while winning back the trophy...
HE’S BACK! Hallelujah, Ned’s not dead! Harry Shearer signed on for two more seasons of The Simpsons with an option for two more!
SCOOBY SNACKS? Shaggy has purportedly sorted our Middle Eastern terrorism problems – he reckons all ISIS needs is some weed and some of his sweet music and peace is a monty. We reckon he should test the water with a live tour and get back to us...
SPEAKING BIGSOUND
Jessica Hopper, Senior Editor/ Journalist with Pitchfork, and Mark Geiger, Head of Music at US company WWE Entertainment, have joined the ranks of international guest speakers at this year’s BIGSOUND, 9–11 Sep, each presenting keynote addresses. Among other international guests newly announced are fellow Americans Adam Bauer of Flaming Artists and Andy Lewis of The Planetary Group, and, from the UK, Andy Farrow of Northern Music Co.
BRINGING THE HEAT
Fifty years on, and Canned Heat are making their long-awaited return to Australian shores this year. The band make their way to The Tivoli, Brisbane, 22 Oct; The Basement, Sydney, 25 Oct; Canberra Theatre Playhouse, 26 Oct; Brass Monkey, Sydney, 27 Oct; Factory Theatre, Sydney, 28 Oct; and Corner Hotel, Melbourne, 29 Oct.
STILL SICK QUEENSLANDERS!
BACKLASH 0-1
Well we probably weren’t expecting the wheels to fall off the Aussie team one Test into the Ashes, but that’s life. Plenty of cricket left.
LOVE ALL? Our next generation of tennis stars seem a bit bratty, but the feud with nice guy Pat Rafter seems generational as much as anything. Why the expectation that sportsmen be role models when they essentially hit things with other things for a crust?
BAD BRICK Hilarious to see Clive Palmer apologising to Queensland voters for the performance of Glenn Lazarus in the Senate, as if electing a former rugby league front rower to parliament was ever going to be anything but a fucking debacle... 8 • THE MUSIC • 15TH JULY 2015
They’ve been around since 1986, but Sick Of It All, just a year shy of their 30th anniversary, are still ready to rock like there’s no tomorrow. The New Yorkers are returning to Australia, playing 9 Oct at Corner Hotel, Melbourne; 10 Oct at Manning Bar, Sydney; and 11 Oct at The Brightside, Brisbane.
PROGS ON THE RUN
Prog-rock acts, Melbourne’s Gatherer and Brisbane’s Guards Of May, have teamed up to take their music to the nation and showcase their respective albums, Heavy Hail and Future Eyes. Catch them 15 Aug at The Zoo in Brisbane, 21 Aug at Bald Faced Stag, Sydney; then 5 Sep it’s The Toff In Town in Melbourne.
ROCKWIZ
HALL OF ROCKWIZ
With the 13th series, RocKwiz Salutes The Decades, done and dusted, complete with book-tie-in, it’s time to take the whole shebang back out on the road, and this time, it’s RocKwiz Live! Salutes The ARIA Hall Of Fame. Over the past 27 years, 73 artists/acts have been inducted into the ARIA Hall Of Fame and RocKwiz – Julia Zemiro, Brian Nankervis, Dugald and the RocKwiz Orchestra will be celebrating it 30 Sep in Llewellyn Hall in Canberra; 1 & 2 Oct at Anita’s Theatre in Thirroul; 3 Oct at Civic Theatre in Newcastle; 9 Oct at Palais Theatre in Melbourne; 10 Oct in Costa Hall at Deakin University in Geelong; 16 Oct at Enmore Theatre in Sydney; 17 Oct in The Concourse in Chatswood; 22 Oct at Jupiters in Broadbeach; 24 Oct in QPAC Concert Hall in Brisbane; and 25 Oct at Empire Theatre in Toowoomba.
KERNAGHAN TELLS ALL
He released an album, Spirit Of The Anzacs, in April to celebrate the 100th anniversary of the Gallipoli landings. Now Lee Kernaghan is touring the album and the stories behind the songs in The Songs & The Stories In Concert, with special guests The Wolfe Brothers and Christie Lamb. Together, they play 12 Sep at Eatons Hill Hotel, Brisbane; 18 Sep at Empire Theatre, Toowoomba; 9 Oct at Shoalhaven Entertainment Centre; 10 Oct in Anita’s Theatre, Thirroul; 30 Oct in Canberra Theatre; 6 Nov at Ulumbarra Theatre, Bendigo; 7 Nov in The Palms At Crown, Melbourne; 13 Nov at the Evan Theatre, Penrith; and 14 Nov in Civic Theatre, Newcastle.
CELTIC PAIR
They made their name in Celtic Thunder, but Neil Byrne and Ryan Kelly are singersongwriters in their own right. As Byrne & Kelly, they’re heading here to play tracks from their albums Acoustically Irish and Live In Australia. 19 Oct, Cellar Bar, Melbourne; 21 & 22 Oct, The Vanguard, Sydney; 24 Oct, Street Theatre, Canberra; 25 Oct, Black Bear Lodge, Brisbane.
DEVIN THE DUDE
DUDE: THE DEBUT
Houston rapper Devin The Dude makes his very first trip Down Under in September to introduce his latest album, One For The Road, and play some faves. Catch him 23 Sep at Transit Bar, Canberra; 24 Sep at Woolly Mammoth, Brisbane; 25 Sep at Laundry Bar, Melbourne; and 26 Sep, OutsideIn Festival in Sydney.
news news@themusic.com.au
BURIED IN VERONA
MEG MAC
MEG RETURNS
She’s been busy over in the US most of the year so far, working on her new album and touring coast to coast, but Meg Mac is heading home with the first single off that album, Never Be, and she’s heading to your town to play it in person. Catch her 11 Sep at Metro Theatre in Sydney, 26 & 27 Sep at Corner Hotel in Melbourne and 2 Oct at Max Watt’s in Brisbane.
IT’S TUKA TIME
Touring with a full band, the one third of Thudamentals who travels as Tuka is showcasing his third solo album, Life Death Time Eternal, in concert right around the country. Catch him 29 Oct at Cambridge Hotel, Newcastle; 30 Oct at Oxford Art Factory, Sydney; 31 Oct at Transit Bar, Canberra; 6 Nov at Corner Hotel, Melbourne; and 7 Nov at Woolly Mammoth, Brisbane.
BURIED, NOT DEAD
At the end of last year, things looked pretty bad for Buried In Verona, but they regrouped, recruited fresh blood and cut a new album, Vultures Above, Lions Below, and they’re taking it out to show the world. Joined by Hands Of Mercy and Polaris, the revivified Buried In Verona play 18 & 19 Sep at Evelyn Hotel in Melbourne; 20 Sep at Belconnen Magpies; 23 Sep at Cambridge Hotel in Newcastle; 24 & 25 Sep at Bald Faced Stag in Sydney; 26 Sep at The Brightside in Brisbane; and an all ager 27 Sep at The Lab in Brisbane.
1975 ALL OVER AGAIN
You might’ve noticed that The 1975 disappeared from social media last month and wondered if it meant the end for them. Then they came back with a new look neon pink logo and an open letter revealing a ‘new chapter’, with details of a new album and more intimate shows in mind. On that note, the UK rockers will be back in Oz next year, performing once more: 17 Jan, The Tivoli, Brisbane; 19 Jan, Hordern Pavilion, Sydney; 20 Jan, Festival Hall, Melbourne.
I STILL TYPE WWW AT THE START OF EVERY WEB ADDRESS, WHICH IS THE MODERN EQUIVALENT OF CALLING EVERY VIDEO GAME SYSTEM A NINTENDO. WELL, AT LEAST YOU’RE AWARE, TODD VANDERWERFF (@TVOTI).
ANGUS MCDONALD, ROMANTICIDE – PORTRAIT OF ABBE MAY
ARCHIBALD PACKERS PICK
A portrait of actor Michael Caton by Bruno Jean Grasswell has taken out this year’s $1500 Archibald Prize Packing Room Prize. The portrait of course remains in contention for the official Prize alongside 46 other finalists which include portraits of musician Daniel Johns, fashion designer Jenny Kee, Federal MP Bob Katter, Mark Donaldson VC and Jiawei Shen’s amusingly titled How To Explain Art With A White Rabbit. The Art Gallery Of NSW will announce the winner of the Archibald as well as the Wynne, Sulman and Young Archie Prizes 17 Jul. 10 • THE MUSIC • 15TH JULY 2015
L’ETAPE AUSTRALIA
Held under the banner of the Tour de France, L’Etape Australia is a premier amateur road cycling event and the first such event to be run this country. Taking place over three days in December in Jindabyne, Perisher and Thredbo, deputising for the Alps and Pyrenees, the route has been designed to replicate the infamous mountain stages of the Tour de France, and the waitlist is now open at the official L’Etape Australia website to riders to register and reserve their place on the start line.
SO-CAL SURVIVORS
Celebrating the 20th anniversary of the release of their breakthrough album, About Time, SoCal melodic hardcore veterans Pennywise are returning to Australia, and they’re bring along their buddies AntiFlag to double the fun. Catch them 23 Sep at The Tivoli in Brisbane; 24 Sep at The Coolangatta Hotel on the Gold Coast; 25 Sep at Newcastle Panthers; 26 Sep at UNSW Roundhouse in Sydney; and 28 Sep at 170 Russell in Melbourne.
national news news@themusic.com.au CLOWNS
TIJUANA CARTEL
SUPPORT ACT
Chicago punk four-piece Rise Against are heading back to Australia towards the end of the year and will this time be joined by special guests Clowns and Outright. Catch them 4 Dec on the Riverside stage.
LAUGH YOUR PANTS OFF
ONE MORE FOR BOND
The final Live At Bond for the year sees Tijuana Cartel headlining the 25 Jul free concert series, closing out Bond University’s twilight-themed Open Day. As it happens, the band are also launching their new single, Lost My Head, and accompanying video. Joining them on the night are the Gold Coast Youth Orchestra Big Band, the Emmanuel College Big Band, Varsity College Secondary School Stage Band and more.
JOSH TIED
Stepping out of his band Cherrywood for the moment, Melbourne’s Joshua Seymour has cut a debut solo album, Rope Tied Hope, in Texas, released on US label Lucky Buck. He brings that album to Brisbane to play 30 Jul at Junk Bar.
SPLENDID PARTY
What better way to get into the spirit of Splendour In The Grass than to go to an official pre-party? That’s exactly what’s happening 23 Jul as the Triffid hosts the most splendid pre-party in town with The Dandy Warhols, Last Dinosaurs, Dune Rats and Circa Waves. If you’re already in Byron Bay that night, head to The Northern for Flight Facilities (live), Tkay Maidza, Elliphant, Valis Alps and LK McKay.
BRUTAL WORK
All about the pop, Brisbane singersongwriter Paul Donoghue, under his ironic moniker Big Strong Brute, is calling in the band and launching his new EP, Good Work, 17 Jul and 7 Aug at Black Bear Lodge, and will also be appearing 26 Sep at QPAC Green.
EXTRA SAFIA
Tom Gleeson and Cal Wilson will be headlining the next instalment of Laugh Your Pants Off 18 Sep at Jupiter’s Hotel & Casino. They’ll be joined on the night by Hannah Gadsby, Ronny Chieng, Elbow Skin, Rhys Nicholson, Desh, Michael Bennett and Greg Larson.
WELCOME BACK
It’s been far too long since a Brisbane stage hosted a performance by one of its favourite sons, but 7 Aug, will you please make most welcome former co-frontperson with george, Tyrone Noonan, who, with fellow supporting act Street Pieces, will be opening for Riverside, California’s funkmeisters The BellRays at The Zoo. Proudly presented by The Music.
To their very pleasant surprise Canberra three-piece SAFIA have been selling out shows across the country on their current tour promoting latest single, Embracing Me. To that end, they’ve added a second Woolly Mammoth show 2 Sep, the 3 Sep show having sold out.
THANK YOU FOR WAKING UP AND READING THIS I NEED YOU TO KEEP BREATHING THANK YOU AND I LOVE YOU - LIL B BECAUSE WE ALL NEED A LITTLE POSITIVITY FROM @LILBTHEBASEDGOD EVERY NOW AND THEN
THE ANCHORS
UP ANCHOR
It’s been a few years between drinks for Greg Brady’s band, The Anchors, but a year or so ago they reconvened and eventually cut an EP, Surface Mail, which they’re releasing on 7” vinyl and digitally. They’re also launching it in person 31 Jul at Junk Bar, with guest Trent McNamara. THE MUSIC 15TH JULY 2015 • 11
music
THE VIEW FROM ABOVE With already released tracks understandably converting Tame Impala fence-sitters into devotees, the band’s third album is shaping up to be their best and most universally enjoyed record yet. Kane Sutton grabs a beer with Kevin Parker and discovers quite the perfectionist.
I
n previous interviews, Kevin Parker has mentioned that he took over 1000 takes to get the vocals for ‘Cause I’m A Man right. Listen to the end product though and everyone would say they were glad he went through with it. Does it ever get to a stage where it’s time to call it and abandon a song altogether? “I can’t [do that], I’m
you use so many dials and stuff that can’t be called back on a computer; he has to go around the room and mark all the settings.” Parker believes that brings out a bit of a perfectionist attitude in him. “That used to make me have a panic attack, because if you’re working on a song in the mix it’s like, ‘I think it’s ready, but... is this perfect, could this be better?’” Deciding to take on the mixing himself “in order for it to be less of a headfuck” made Parker realise he’d probably leave it up to someone else from now on, despite the
always keep going back to it. So yeah, I did it so I could have the time to mix each song as long as I needed, but it just made me draw it out even longer, so I’m not sure I’ll do it next time.” Amidst working on his own material, Parker was also collaborating with Mark Ronson on what became a hugely popular record in itself, Uptown Special, which sees Parker featuring on two tracks. It was a partnership Parker knew was coming. “It was inevitable, really. We’ve been pretty good pals recently. We hardly ever hang out obviously because he’s always jetsetting around wherever he is, and I’m always in Perth or touring. But he wanted to get me to sing on a couple of songs on his album, songs he’d already written with a guy called Jeff Bhasker but then there was this other song. I just sent him the demo of it randomly one day, I don’t even know why I did, because I’d done it that day and I was emailing him and I was like, ‘Oh, by the way, we’ve done this little thing in the studio,’ not for any intention for him to use it or to give it to him or anything, I was just showing him a mix I’d done for shits and giggles, and he asked me if he could use it on his album, if he could develop the song into making it a proper song. Obviously I was delighted.”
“IT’S INSPIRING TO WATCH SOMEONE ELSE’S ALBUM COMING TOGETHER.”
stuck; that’s where the insanity happens!” Parker enthuses. “You want to walk away from it, because it’s actually making you crazy, and then you realise that you’ve only got a couple of weeks to finish the album, or even that day – before I left Perth to go to New York to master the album, I was doing vocal takes that day, the day of the flight. Usually I’ll get up and walk out and go and get drunk and forget about it or something, but there was no escaping it that day, so it was like ‘arrgghhh!’ you know? But that’s the kind of situation I end up in every time and every time I promise myself I’m not going to end up in that situation, I’m not going to end up in a pressured time restraint, I’m just gonna lay down the tracks and not care about it, but I just end up fully invested in it, and I wouldn’t have it any other way.” Currents, the title of the third album by Tame Impala, marks the first record on which Parker decided to do the mixing for all the tracks himself, having previously worked with Dave Fridmann. “The way [Fridmann] does it, because he uses so much outboard gear, he does a song a day, and once he does that, you can’t go back to it because 12 • THE MUSIC • 15TH JULY 2015
fantastic end product. “I love the option to go back to things, and the way [Fridmann] did it, at the time I didn’t realise it was a blessing in disguise, because once you’ve locked it in, you locked it in because you’re happy with it at that point; you may as well just lock it in. I think it’s better. What I’m realising now is that it’s better to just lock it in and move on and just accept the way it is than have the option to keep going back to it, because to have the option to keep going back to it will make you
At some points, Currents certainly has elements of disco-funk, but Parker assures the songs he helped put together for Ronson wouldn’t have been in contention for a place on the album. “The reason it wasn’t a Tame Impala song was because it sounded so different. It wasn’t that I’d consciously decided to do something different; it was just that I’d made this kind of sassy discofunk song, and it was probably outside the realms of Tame Impala. [They] didn’t have the emotive side of things, it was more strutty.” Working with Ronson definitely inspired Parker with his own album-making, despite usually being relatively closed off about what normally inspires his work. “It’s inspiring to watch someone else’s album coming together, especially an album that turns out so good. It’s inspiring for me and I imagine anyone to see an album that comes out that is so successful, to see that he does it in the same kind of honest way that me and my friends do it, and he has the same doubts about it, and the same ups and downs that me and everyone I know personally, just around Perth, it makes you inspired because it makes you realise that albums
STAYING FOCUSED It was only weeks ago that allegations had been made against Modular Recordings founder Stephen Pavlovic regarding missing royalties, speculated to be dangerously close to the million-dollar mark. Parker admitted he was surprised when he discovered German multinational music company BMG had taken legal action. While Parker was “surprised”, he also claimed that he chose not to focus on the case, a large factor in his decision being that it was stifling his creative abilities. “I didn’t think too much of it [the case] because as soon as I did, as soon as I started getting interested and excited and wanting to know where [the missing money was], it kind of fucked, it kind of changed... Because I was right in the middle of working the album and it just distracted me, it was a distraction to think about all that kind of stuff.
that are massive, they’re not done by people that have this other level of confidence or other level of ability, or whatever; this blessed circumstance where they’re in studios that are intrinsically different to yours. Everyone does it the same way in the end.” Since Tame Impala released their breakthrough debut album, Innerspeaker, back in May 2010, the band have matured considerably, and incredibly, Currents is going to propel them even further into fame, just when it seemed they couldn’t go any higher. External expectations affect most people, but Parker pays little mind – his own internal pressure is what keeps him motivated. “Pressure from other people is just, you know, people want an album they can enjoy and turn the songs up and put it on while doing whatever they do, but internal pressure is, you know – it’s gotta be this, it’s gotta be a step above, it’s gotta be different to what I did before, it’s got to be better, it’s got to be this. For me, the pressure I put on myself and the expectations I have are far greater than those I feel from other people.” Is it important, then, to set goals, or take things as they come? “With the kind of world that I’m in, to have any kind of goal is, you know, the music world
isn’t the kind of world where things happen as you expect them, so to have goals is kind of like setting up a basket to fly a paper plane into. Paper planes go everywhere; they go all around the room. There’s no point in aiming anywhere with a paper plane. It’s like trying to get a paper plane into the bin, there’s no point. You could aim anywhere and have the same chance of getting it in. I just do what I do because I have to do it, and just see what happens. So far, I’ve been lucky.”
WHAT: Currents (Interscope/ Universal) WHEN & WHERE: 26 Jul, Splendour In The Grass, North Byron Parklands
“As soon as I realised it was distracting me and changing what I was thinking about making music, you know, thinking about music as being worth something, or making money from it directly, it kind of altered my creativity, I guess. I kinda just ignored it, and have done since then.”
THE MUSIC 15TH JULY 2015 • 13
music
DANCE DANCE BABY Spending two-and-a-half years touring, MS MR have gone from absolute beginners to an accomplished big-stage pop act. Producer Max Hershenow is still surprised he tells Anthony Carew.
M
S MR’s upcoming shows at Splendour In The Grass have a lot to live up to. When the New York electro duo played Splendour in 2013, it “was one of the greatest experiences of my life”, enthuses producer Max Hershenow. “We came out, playing in front of 10,000 people, and it seemed like everyone knew all the words. We looked at each other and were like, ‘I feel like Beyoncé!’”
music
Through the release of their debut EP, 2012’s Candy Bar Creep Show and 2013 LP, Secondhand Rapture, MS MR – Hershenow and vocalist Lizzy Plapinger – went from being barely capable beginners to international artists. And, Hershenow admits, they “realised how much [they] like to dance on stage”. This meant that, for their second LP, How Does It Feel, that remained the goal. “The big thing, on this record, was wanting to make people move. To force them to move! Not dance music in an EDM way, but pop songs that make
you want to grind and groove, feel sensual and sexy – more that side of dancing to music. Monument by Robyn & Royksöpp is the ultimate song for me in that regard. It’s so emotional that every time I hear it I feel like I’m going to cry, but it’s also this amazing pop song that makes you want to dance and have sex. That was what we kept coming back to in the studio: does this song make us want to dance? Does it make you feel good? Does it make you feel something both emotionally and physically?” The duo has even considered creating choreographed dance routines for stage. Born and raised in Idaho, when he was a teenager, his parents – who work in “international health development” – moved the family to Honduras, then Ecuador. There, Hershenow discovered an interest in the development of cities. Yet, when studying urban planning at university in New York, he discovered modern dance, and ended up intent on becoming a choreographer. “Then pop music saved me.” When he and Plapinger, who was running the NYC label Neon Gold, started MS MR, they were total beginners. “Lizzy had never sung, I had never produced, we had no idea what we were doing.” How Does It Feel finds MS MR truly stepping out. Though recorded in a “shitty little studio without a window” in Brooklyn’s Bushwick, it’s not a record inhabiting dark spaces. “The theme is stepping into the light at the end of the tunnel,” Hershenow says. “We liked the feelings of perseverance and overcoming, this idea of emotional evolution. That’s the theme that, to us, emerged.” WHAT: How Does It Feel (Columbia/Sony)
REGAL CONFIDENCE UK-bred blues-rock duo Royal Blood are a dichotomy in practically every sense of the word – self-assured yet self-aware, a sonic force of two passing for a horde. But, as Mike Kerr and Ben Thatcher tell Mitch Knox, there’s always room to be better – and better than everyone else.
R
oyal Blood are getting pretty used to this whole ‘international touring’ thing. It’s been about two years since things really kicked into gear for the buzzworthy British blues-rockers, and when The Music catches up with Mike Kerr and Ben Thatcher at Bonnaroo Music & Arts Festival ahead of their trip to Australia to perform at Splendour In The Grass, despite having already been away from home for nine weeks, both musicians are relaxed and showing no signs of stress. Then again, if you’ve been enjoying the band’s acclaimed self-titled album and are jazzed to see them play, it’s probably a good thing they’re spending so much time on the road. “I guess the kind of ethos of touring, for us, is really to get better at playing live,” Kerr says. “To us, there’s two options: you either grit your teeth and get on with it and get to the end of the tour, or you can try to get something out of it, and to us, that seems like the most fun thing to achieve, to try and improve our live show, and amongst that as well we want to be writing more, so I guess, yeah, I think the two come hand-in-hand as well: I think the more creative we get with our live show, the more creative we’ll become on the road.” 14 • THE MUSIC • 15TH JULY 2015
In at least one regard, they’ve been tangibly successful; they have been writing, starting to put pen to paper on their eagerly awaited second full-length – but it’s too early in the process – which, according to Kerr, is presently “like tethering lightning” in terms of being struck by inspiration – for either he or Thatcher to offer much to report. “It’s a bit of an abstract question at the moment, but it will be great, I assure you,” Kerr laughs, while Thatcher adds that things are coming along “really well”. However, on
the live front, the band is definitely putting in the hard yards for their stage performances. “We find room to improve every single show.” Kerr says. “There’s room for… well, improvisation’s the wrong word, but there’s definitely room for, like, sporadic moments and extended sections and things we can do on stage that can make the show more exciting. It just happens in the moment – I didn’t know Ben was gonna do this certain thing, and he did, and I was like, ‘That was really cool,’ so we’ll do that today… we’re forever trying to push it and improve in that way.” One hopes that, by the time they take the stage for their slot at the North Byron Parklands, they’ve achieved at least some of their performance goals, because, like pretty much everything else Kerr and Thatcher do, the game they talk is pretty big. “Come watch us at Splendour,” Kerr concludes, “‘cause we’ll be better than all the other bands there!” WHEN & WHERE: 26 Jul, Splendour In The Grass, North Byron Parklands
FOOD FOR THOUGHT Arish Ahmed Khan and Mark Sultan of The King Khan & BBQ Show talk to Steve Bell about the enduring power of friendship (and absinthe).
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he King Khan & BBQ Show is something of a garage-rock supergroup, despite only having two members. The King Khan half of proceedings is Arish Ahmed Khan, while the BBQ part of the equation is Mark Sultan. The Montrealbred pair have a long musical history, having played together in Spaceshits in the late ‘90s, but it was in the early ‘00s that they started writing for a two-man project and The King Khan & BBQ Show was born. It hasn’t all been plain sailing, however; they actually had a messy split following their last Australian trip in 2010, when a show at Vivid LIVE turned sour. A
couple of years later the pair reconciled and have just released a fourth album, Bad News Boys, as if nothing untoward had ever happened. “For something that we hadn’t done in years I think that we tapped into an old energy,” Sultan offers. “We really found this energy and tapped into it, it was cool.” “We did most of it in Mark’s basement in Berlin, in the ‘Sultan’s Cave’, then some of the guitar stuff was done later in my studio,” Khan recalls. “But we did it all pretty naturally and pretty intoxicated – there was a lot of absinthe involved. We revisited the Green Fairies – they’re the nice fairies.”
“We were basically laughing like giddy school girls,” Sultan chuckles.
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“We had a mix of everything,” Khan continues. “We had songs that we’d written separately that made sense for the project, and then when we got together we just made stuff up because we were in this great mood, and everything just kinda fell into place.” Bad News Boys continues the band’s penchant for funpacked garage-rock with flourishes of punk, soul and doo wop, and has apparently been going over well on the live front. “We just played the Burger Boogaloo with The Mummies and John Waters and The Gories, and we did a bunch of other shows since the record came out,” Khan enthuses. “We’ve been playing four or five songs from the new one and they’ve been fun.” “But people like the old stuff too so we can’t play too much new stuff,” Sultan interjects. “If I went to see the Ramones back in the day I’d want to hear all the classics, not all songs from their new album Pet Sematary. Or whatever, that never happened.” And the pair are even looking forward to their Australian return, despite their last sojourn not going entirely to plan. “We have one day off at Ayers Rock,” Sultan deadpans. “We’re going to stand on it – it’s called ‘King Khan & BBQ Take A Stand’, and it’s a protest against the internet.” “We’re protesting against the beds that burned,” Khan rejoins. “I’m shaving off all my body hair; it’s next level.” WHAT: Bad News Boys (In The Red/Rocket) WHEN & WHERE: 25 Jul, Splendour In The Grass, North Byron Parklands
THE WONDER IS GONE
music
Rising comedy star Michael Workman talks to Baz McAlister about love, loss, depression and turning all that into an hour of laughs.
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ormer Raw Comedy winner Michael Workman has evolved in the space of five years into one of those rare comedians who prefers to take his audience on an emotional journey rather than feed them gag after gag – so when The Music asks for the lowdown on his new festival show We Have Fun Don’t We., we’re not expecting to be told it’ll be a parade of dick jokes. “It’s about how the loss of love can turn you into an asshole,” Workman says. “It’s about a relationship I had seven years ago, and during the course of the story the girl gets replaced by an enormous black bird. It’s about how when we attempt to settle down, we actually become boring. About how excitement in life dies as you get older, and how you realise the wonder is gone.” On the face of it, the show sounds thematically similar to something Englishman Daniel Kitson – widely regarded as ‘the comedian’s comedian’ – would do, and indeed Workman cites Kitson, along with Irishman Dylan Moran and American Bill Burr as comedy influences – but he forges his own path. “When I started writing festival shows, Kitson was the paragon I looked to, but as the years went by I discovered I had my own very different things to say and I think that what I’m doing has verged away from that. I’m a lot angrier than him. He has these
very sweet narratives about human frailty and the unexamined life and I’m just more of an angry old man. I’m more noir.” Indeed, Workman’s first foray into comedy was born of a rather dark place. Once a gigging musician, the Perthborn comic gave that up, and found himself falling into alcoholism and depression. “I was looking for a new way to get on stage and get my ideas across so I started doing comedy. I think that having a background in music performance really helped because I didn’t have as much nervousness getting on stage – but doing comedy, you’re not
able to hide behind a musical instrument with all your friends, and no one is obligated to clap when you finish the thing that you’re doing. It’s a more scary and immediate art form.” And while Workman can craft a punchy oneliner that will kill in the comedy club circuit with the best of them, he says he is drawn more towards letting a show breathe and settle, getting to know an audience, and drawing them in on the festival circuit. “A festival show is a great opportunity to do something more and have a bigger impact on people, so it would be remiss of me not to put a story or a message in there and if that resonates with people, great,” he says. WHAT: Sydney Comedy Festival Showcase WHEN & WHERE: 22 Jul, Powerhouse Theatre, Brisbane Powerhouse THE MUSIC 15TH JULY 2015 • 15
film
SOBERING EXPERIENCE Brendan Cowell chats to Danielle O’Donohue about cautionary tales and ‘drink porn’.
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here’s a character, Peter, in Brendan Cowell’s directorial debut feature film, Ruben Guthrie, who can’t imagine why anyone would want to give up the booze. Played by Jack Thompson with a contrarian twinkle in his eye, Peter’s response to son and title character Ruben Guthrie’s drying out is, “So we’ll just be drinking white wine from now on then?” While he based Guthrie, played by Patrick Brammall, on his own attempt to go a year without drinking, Cowell can understand Peter’s refusal to acknowledge Guthrie’s party tendencies as a problem. “He just looks at Ruben like he’s a walrus
BRENDAN COWELL AND PATRICK BRAMMALL. PIC: MARK ROGERS
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or an alien. ‘If you don’t want a drink, let’s just have a drink and talk about it.’ I think the world’s changing very fast and [people like Peter] think, ‘How do I use my iPhone and what are people talking about?’ I think for a lot of those old blokes it’s, ‘I’ve lived this way my whole life, why do I have to change it now?’ That’s what’s wonderful about that character. He’s pretty much the same at the end as he is at the start.” The film is an adaption of a hit play Cowell wrote and directed eight years ago capturing the difficulties of going sober when you’re a young, successful advertising executive
living large in the Harbour City. “I feel the play was a lot more of a cautionary tale. Plays are so much about ideas and arguments in a room. Whereas a film is very much about what you see and feel. Most people who see this film want to go and get smashed straight after it. But that’s because of all the drink porn. It has an overwhelmingly visceral effect on the film. Maybe that’s the brilliant trick, or maybe that’s the absolute failure of the film.” An experienced theatre director, stage and screen writer and acclaimed actor himself, Cowell has worked with a lot of Australian acting talent over the years but says when it’s time to walk onto set as a director you have to put aside previously-built relationships. “It’s kind of like running onto a football field. You’ve still got to tackle the bloke into the sideline whether you had dinner with him and his wife last night. It’s nice to have a high five between takes if you nailed it but I’m still going to push a friend as hard as someone I’m not friends with.” Though Ruben Guthrie is set in the world of advertising largesse, pool parties and Eastern European model girlfriends, Cowell believes it’s a story that a lot of Australians can relate to. “It’s about alcohol but for me it’s about a guy trying to change. I was at Marrickville Council the other day and they watched the trailer and someone said, ‘It looks like Friday night at Marrickville Council,’ and I thought, ‘God, Marrickville Council is getting wild.’ I think everyone is a little prone to excess in Australia. True balance to me is an ever elusive thing.” WHAT: Ruben Guthrie In cinemas 16 Jul
CAN’T FIGHT IT After one of rock’s messier break-ups – the period apart now referred to in band lore as “the heinous hiatus” – Veruca Salt’s original line-up has reconvened, guitarist/ vocalist Louise Post telling Steve Bell their broken bones have knitted and healed even stronger than before.
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hicago rockers Veruca Salt burst onto the global scene like a hurricane in the early-‘90s, taking their sonic cues from the grunge and alt-rock explosion that was so all-pervasive at the time. Formed around the core creative partnership of co-frontwomen Louise Post and Nina Gordon the band’s radiofriendly blend of distortion and anthemic altpop found them hitting the ground running frenetically, with both their 1994 debut album, American Thighs, and its runaway single, Seether, proving massive hits all around the world. Yet despite these rampant early wins they struggled to replicate their initial success, and 1997 follow-up, Eight Arms To Hold You, didn’t make anywhere near the same impact as its predecessor. By early-1998 Gordon had quit the band for a solo career, whilst Post kept the Veruca Salt moniker and assembled a completely new line-up to carry on alone. Stunningly, they’ve now let bygones be bygones and returned with new album Ghost Notes – Veruca Salt’s fifth album, but third with the “classic line-up”. “We weren’t intending on making a new record necessarily, we just got back together and thought 16 • THE MUSIC • 15TH JULY 2015
that we’d play a couple of reunion shows or something,” Post explains happily. “So Nina and I got together with guitars and played a couple of songs from American Thighs just to start with, and it was such an incredible experience just to hear our voices together again. I think we probably both cried a little bit and wished that we’d sung together a little sooner and not let so much time pass – and then we got back down to work. “We were really chomping at the bit to write new material almost
right away. It was like history repeating itself, because when we first met we met on a musical blind date. Someone set us up to play music together, so we never really sat around and chatted aimlessly or just hung out or went to parties – we always had music as the core of our friendship, and the same thing applies this time around.” Post explains that the innate chemistry didn’t even need fuel to reignite. “It turns out that it never even went away,” she smiles. “The same magic that was there before is there now – it’s an incredibly charged atmosphere and creative dynamic between the four of us that seems to have only grown in intensity over time.” WHAT: Ghost Notes (El Camino/Warner) To read full interview head to theMusic.com.au
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BARE FACTS
dancer before heading to Hollywood] that that would enable us to shift tone and introduce new characters and that was something very interesting to me.”
Shadowing Steven Soderbergh as a producer on 2012 box office hit, Magic Mike, director Greg Jacobs knew he wanted to make a sequel and so did lead actor and Hollywood star Channing Tatum, as Jacobs tells Neil Griffiths.
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reg Jacobs has had a close working relationship with acclaimed filmmaker Steven Soderbergh for over 20 years, working for instance as producer on Magic Mike. “[Soderbergh] said that he didn’t want to direct the sequel when we started talking about it and I very much did and Channing was very supportive of that,” Jacobs explains. “Stephen wanted to stay involved but he let [producer and writer Reid Carolin] and I sort of go off and develop this and figure out what it was going to be.”
CHANNING TATUM AND GREG JACOBS
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Film sequels are often taken over by filmmakers new to the project, however, since Jacobs had been involved in the project since the very beginning, he knew exactly what kind of film he wanted to make. “I knew very clearly that I didn’t want to make the same movie as the first, I didn’t want to watch the same movie – I’d want it to be different. We knew what sort of themes we wanted to explore and I also wanted there to be a tonal shift and knew that by taking this different journey and making a road trip picture which was based on a real experience that Chan had [the actor actually was a male
The sequel, set three years on from the first film, revolves around the title character, played by Tatum, who, after leaving the stripper world behind, decides to do one last show with his group, which includes recurring characters played by Joe Manganiello, Matt Bomer and wrestler Kevin Nash: “It’s great because they know these characters so well – we have this great script and these guys bring individual qualities to each of the roles.” Many initially questioned Jacobs’ desire to be involved in the comedy-drama, since his previous projects have been much more serious in tone, producing, among others, Contagion, Edge Of Tomorrow, Side Effects and current TV series, The Knick, and while admitting the nature of the film may seem left-field, it was the story that drew Jacobs in. “When Channing talked to me about the first movie, immediately I thought it was a great idea. Even though on the surface it may feel like an overtly comedic movie or something that’s not fertile ground for an interesting story, as soon as we started talking to Reid and Chan about it, it provided exactly what I immediately thought it could be. “So I knew when it came time to do a second movie that, yeah, it’s a movie about strippers on a road trip, but there could also be interesting undercurrents that we could bring to it – a journey that these guys are on, trying to figure out what their life is going to be, discussions between men and women about sexuality and a movie about friendship.”
WHAT: Magic Mike XXL In cinemas
COPING MECHANISMS “Sex can help bring you back a sense of control and power.” Strangerland director Kim Farrant talks to Anthony Carew.
K
im Farrant’s debut narrative feature, Strangerland, marks Nicole Kidman’s first leading role in an independent Australian movie since 1989’s Dead Calm, the Phillip Noyce film that took her to global stardom. “It was amazing to have her come on board, and be so supportive of me and the script,” Farrant says. “And when you have an Academy Award-winning actor in your film, it undoubtedly takes it to a much higher level profile on the world stage.” The film premiered at Sundance in January, and then locally at the Sydney Film Festival. In it, Kidman and Joseph Fiennes play parents whose two children disappear into the Australian outback, and whose differing responses to the trauma reflect “how we act out in times of crises”. Screening it, then, has resulted in a run of responses bordering on therapeutic. “Showing it to people, having conversations with people, seeing how it triggers things in them, and brings up their shit, it’s been great,” Farrant laughs. The idea for Strangerland was born in a time of trauma. Following the death of her father in 1993, Farrant moved to New York, where she knew no one, and felt compelled to “act out sexually” as a way of processing her grief. “There was this real sex and death connection, wanting to feel alive in the face of death. There was also a hope for a connection, however fleeting, with another person, although I probably just
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needed a hug as much as anything else. But, also, there’s also a sense that sex can help bring you back a sense of control and power where you’re feeling quite powerless, lost in the throes of grief. When I looked back at that time, it was fascinating to me, and it sat with me for a long time.” Working with screenwriter Fiona Seres, Farrant transposed these ideas into a screenplay; Strangerland chronicling fucking as coping mechanism. “The ideas intrigued people, but there was definitely a confronting nature to it. It’s definitely more common – or at least more acceptable – in our society for men to act out sexually. [And] sexuality brings
NICOLE KIDMAN AND KIM FARRANT
up so much stuff for people, not just culturally but physically… That’s where we had to go and keep rewriting, to get to the point where people could stomach the challenge that we were throwing at them. Because, at times, it’s quite a stark mirror we’re presenting to people, it very clearly puts under the microscope the ways in which we avoid feelings.” This psychodrama plays out against Australian cinema’s eternal backdrop, the outback. “We were interested in tapping into a white mythology, a white anxiety, about the bush. From colonials through subsequent generations, there’s been this repeated history of not honouring the land... then, when the white children would go missing, it would trigger this white guilt, about living on stolen land, that the land was somehow punishing us by taking our children.” WHAT: Strangerland On DVD
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tv
IT WAS JUSTIFIED Chemistry is key when it comes to long-running TV, and Justif ied creator Graham Yost tells Daniel Cribb how he sculpted the hit show to last six seasons.
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fter five years on the air, the final episode of Justified aired in April this year, and although famed director, producer and the show’s creator, Graham Yost, went through the motions in terms of putting together the final scenes, it doesn’t quite feel like a reality yet. “Walton Goggins, who plays Boyd Crowder, has been on The Shield for FX and that ran seven years, and he said the odd part was not so much the end of the show, but when you didn’t get back together the following season,” Yost begins, on the line from San Francisco. While reading Elmore Leonard’s classic short story, Fire In The Hole, on which the show is based,
something sparked. “It was a couple things, but first and foremost it was Raylan Givens,” Yost recalls of the lead character played by Timothy Olyphant. “I loved the way Raylan would resolve things in the coolest possible manner. And there was one scene in the first episode, in the pilot where Dewey Crowe is outside of Ava’s house and he’s got a shotgun pointed at Raylan. And most cops and marshals you’d see on television or in a movie would yell at him to put the gun down or they would kill him, and then draw their gun. “But there’s Raylan with his hand on his gun, saying, ‘Here’s how it’s gonna go: I pull my gun
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to shoot and I shoot to kill ‘cause that’s its purpose,’ and he just lays it out and he talks Dewey down. And I thought, ‘Well, that’s just about the coolest thing I’ve ever read, so if we can put that kind of cool character on television we might really have something.’” Only intended to be a short-lived asset, Dewey Crow was played by Aussie actor Damon Herriman, and the crew and audience fell in love with both the actor and character, which saw his tenure extend until season six. “Man, I can’t believe I talked to another Australian reporter and we didn’t talk about Damon. So let’s just talk about Damon from here on out. I love Damon. Damon is just a terrific human being and so much fun to just hang around with.” Justified’s success is proof that Yost’s instinct was on point when it came to putting Leonard’s work on screen, and so it was important the final season went out in style, to honour the memory of the writer who passed away in 2013. “He got a kick out of Justified, and that was pretty much the best review we ever got – the fact that Elmore Leonard liked the show.” “Every character dies,” Yost jokes about the finale. “Our whole goal was to really bring the story back to the way it started, and focus down in the final season on Raylan and Boyd and Ava… I feel like we resolved it well. And we resolved it in the way that we felt was in keeping with the spirit of the show, and was in keeping with how we believe Elmore would’ve ended it.” WHAT: Justified On DVD and Blu-ray 16 Jul To read the full interview head to theMusic.com.au.
STEPPIN’ UP With the release of their third LP, Kitty, Daisy & Lewis continue what was initially an unlikely rise, but is now as natural as day. Lewis Durham speaks with Samuel J. Fell.
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ince the release of their eponymous debut in 2009, the UK’s Kitty, Daisy & Lewis have gone from strength to strength. Initially, this would have seemed unlikely, and yet today, looking back, the trio has sold over a quarter million albums, have supported the likes of Coldplay and Mark Ronson, and have taken their music all around the globe, including Australia, where they seem to have a strong connection with audiences, something that will be renewed when they head this way for Splendour and a slew of sideshows. “Yeah, musically, since the first time we’ve come, we’ve always done pretty well [in Australia],” Lewis Durham admits. “Compared to how we thought we would have done, anyway. I don’t know why that is, really.” You might not have thought it initially, but their music has proven infectious, fun, something real and earthy in amongst the slew of ‘same’ being regurgitated around them. This has been captured to a tee on latest album, their third long-player, aptly titled The Third, released earlier this year. It sees the siblings expand on their original MO, investigating new avenues down with a slightly more muscular sound in evidence. This was aided in large part by friend and ex-The Clash guitarist Mick Jones, who helmed production for The Third. “Mick we’ve known for a while. He was a fan of 20 • THE MUSIC • 15TH JULY 2015
the group. We’d actually met with another guy to produce the record… but that didn’t happen and we were just gonna go ahead with it anyway without a producer, but I just asked Mick, I said, ‘Do you want to come and sit in on the record, produce it? Not all of it, just a few songs.’ But he ended up just coming around every day with his guitar, just jamming all the songs and we couldn’t get rid of him.” Jones was no doubt responsible for the slightly bigger sound, his guitar-playing also featuring on a few tracks. Durham mentions how long a pre-production process the album went through, a good five months rehearsing prior to recording, in
large part to the group’s ‘home’ studio still being under construction in an old Indian restaurant in Camden. “Yeah, it took quite a while to do. We added [in] a sixteen-track too – our last two albums were recorded on eight-track. So it wasn’t ready when Mick came on board, so we were still rehearsing with him at my mum’s house. “I think the songwriting has changed,” Durham expands on the evolution from their debut and its follow-up, 2011’s Smoking In Heaven. “I think the production and the way it was recorded allowed for a different sound. And obviously, working on the sixteen-track, you can layer things up more. So it’s a lot more of a traditional studio album, the way it was recorded in a kind of post-1960s way.” It’s been a long steady build for these three siblings, something which will no doubt continue, as Kitty, Daisy & Lewis continue their now not-so-unlikely rise.
WHEN & WHERE: 26 Jul, Splendour In The Grass, North Byron Parklands;
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★★★★
album/ep reviews
TAME IMPALA Currents Universal Tame Impala finally put to rest the gargantuan guitar riffs and extended organ solos they plagiarised from their dads’ record collections. Now that they’ve finished rewriting Smoke On The Water, the Perth psych-rock band are ready to move to the next astral plane, where a glittering disco ball sets over the horizon every night.
ALBUM OF THE WEEK
ART OF SLEEPING
Currents rocks and sways with a whole new swagger for the band. It sounds less like a drug-fuelled exploration of inner visions than an electronic interpretation of Stevie Wonder’s Innervisions. Leader and singer Kevin Parker has said that the album’s direction was inspired by the Bee Gees’ Staying Alive, and while he was supremely high on cocaine and mushrooms at the time, he’s managed to transform the melancholy he felt in that classic into a suite of songs that have surprising complexity and depth. The record is written from the perspective of someone
Shake Shiver
Dew Process/Universal
drifting away from a relationship, as song titles like Yes I’m Changing suggest. There’s a maturity to Parker’s writing that was hinted at on the standout song from their last album, Feels Like We Only Go Backwards. The regretful longing continues in full force on Currents, as he sings lines like “Wish I could turn you back into a stranger” on Eventually. Tame Impala have transformed themselves into the kind of group that writes introspective anthems where the music is the focus, as well as finally finding a way for Parker to lose those John Lennon comparisons. Roshan Clerke
THE CHEMICAL BROTHERS
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more would be to miss the point – this is an enjoyable album! The production is handsome and clean, while the boys get an A for colouring between the lines (and they are bright, summery colours, much like their 2012 EP, Like A Thief). There’s a strong your-mumwould-love-this vibe which partially derails the goodwill the guys generate with their slick musicianship boasting lovely two-part harmonies and a strong, steady pace that ticks along like clockwork. It’s very unlikely Shake Shiver will make you do either, but as far as innocuous box-tickers go, it’s really quite charming. Matt MacMaster
Tunnel At The End Of The Light Dark Horse/Inertia
EMI
The opening trifecta is as solid as they’ve ever been. Get lost in Sometimes I Feel So Deserted’s classic rave-wave and Annie ‘St Vincent’ Clark flickering Under Neon Lights. Witness Q-Tip’s
There’s no denying that earworms like Win Your Heart and Voodoo are catchy as shit, and the feather-light ballad Burning Bright slips around your cynical defences with ruthless efficiency, but taken as a whole the album feels incredibly familiar and as such it evaporates when done. Zero risks are taken to stand out from the pack. Perhaps to expect
★★★
THE DARK HORSES
Born In The Echoes ‘Big Beat’ tragics are having a field day with Leftfield, The Prodigy, Paul Hartnoll (via 8:58) and now The Chemical Brothers all with new releases that sprinkle fresh magic onto old templates. Born In The Echoes represents a pivotal release for those who felt Tom ‘n’ Ed’s block-rockin’ beats had become flaccid. That Ed Simons had been focusing on academia in recent times meant live at least, Tom Rowlands has been working it out solo. The diversion appears to have reconnected The Brothers and much of this album does indeed appear to have been born of their own echoes.
Brisbane’s Art Of Sleeping play music that’s the indie rock equivalent of that hot lacrosse guy from American Pie: dumb as bricks with charisma to spare and a heart of pure gold. Shake Shiver, is full of glistening hooks and politely boisterous tales of love and heartache played over and over, with the thematic sophistication of an eighth grader’s secret diary. It’s a curious mixture of reckless emotional abandon and aggressive predictability.
★★★ lightning strike a second time on Go – impossible to stand still to, begging a Breakdance revival. Less can be said of Do It Again’s Ali Love returning on the unsettling EML Ritual or I’ll See You There’s bad-LSD tripping, trying to recapture The Private Psychedelic Reel’s maelstrom yet without a tune to carry it. However, if the most powerful facet of The Brothers’ template is smartly chosen collaborators, finishing with Beck on Wide Open is a masterstroke. It may sound ‘a bit Xx’, and Mr Hansen sounds more chipper he has in years, but it gives the album an elegant closer as satisfying as Alive Alone or Surface To Air. Mac McNaughton
It’s been easy to assume lately the man and the myth that is Tex Perkins might have been shifting down a gear or two. His recent acting-and-singing turns tributing Johnny Cash and Lee Hazlewood he’s made look typically easy, so it’s somewhat refreshing to find himself in the familiar surrounds of this truly cracking band and asking questions rather than channelling the words of others – no matter how well he’s been doing that. As the title suggests there are some musing on mortality hereon, at times typically sardonic and ironic, as on opener, Oh Lucky Me. Then raging against the dying of the light – albeit quietly but firmly – as The View South unfurls before the bonnet. He grumbles, muses, chuckles darkly. Ageing gracefully, if not completely graciously. The long-serving
★★★½ cohorts sit around on the veranda with him, becoming part of the conversation. The guitars of Murray Paterson, Joel Silbersher and the ever-present Charlie Owen are the spirals of smoke drifting up from the embers – or maybe from those jazz cigarettes they’re passing around. They know the ground and find their way between the words. It’s not quite blues, not quite country, not quite rock. But it does have that laconic and slightly piss-taking mood that’s possibly just a bit of bravado as the shadows lengthen. The album closes with the inaptly-titled Last Words. Don’t be too sure that they are. Ross Clelland
album/ep reviews
★★★★
★★★★
★★★½
FOXES
RATATAT
MS MR
Independent
XL/Remote Control
Columbia/Sony
Perth hardcore five-piece Foxes have made the most of the three years since their 2012 EP with a blistering debut album sounding more compelling than anything they’ve produced. Alex Shom continues to spew emotionally-driven verse over winding instrumentation that’s incredibly persuasive. Frenzied mixes Albino Bambino and Humungous Fungus would have fitted well on La Dispute’s Wildlife, while Stomp The Earthworm is a suitable lead single, pairing catchy guitar and a commanding drum beat. The Wind & The Wallow builds slowly from ethereal vocals and swirling guitars before chaotically drawling its way out.
Four years in the making, Ratatat finally reemerge with an album that’s simply Magnifique. The indie-dance duo get back to basics with mixes mainly comprised of bone-rattling bass, insistent beats and melodic guitar riffery, keeping the synth gimmickry to a minimum. The compressed aesthetic of this album washes over as somewhat Daft Punk-esque. Nonetheless they know how to ‘freak the funk’ and work a nasty groove that aggressively stomps all over the dancefloor to brilliant effect. An expansive and reverential cover of Springwater’s spaced-out I Will Return rounds off a fine comeback.
MS MR return with their second album and a quick tour around our nation. The duo work underground dance beats, giving them a glamorous pop makeover acting as the missing link between Florence + The Machine’s darker moments and the effervescent fizz of Marina & The Diamonds. Between the bounce of cuts like Criminals and Painted come slower, moodier tunes like Cruel and Wrong Victory that deal more introspective lyrical moments. The title track and the relentless gyrations of Reckless hit the dancefloor in anthemic proportions, exactly where MS MR want to be.
Kane Sutton
Guido Farnell
Guido Farnell
Organic Vessels
Magnif ique
How Does It Feel
★★★★
JASON ISBELL
Something More Than Free Southeastern/Spunk It was hard to know how now Nashville-settled Jason Isbell would follow the confessional candour of his breakthrough album, the aching and magnificent Southeastern. Here, he’s the man who’s come out the other side – the alcoholic struggle so bluntly addressed on the debut. Things are still raw, but brighter. Isbell can now quietly celebrate what he might achieve, as in the title track. Conversely, in The Life You Chose, the regrets of what he may have lost beforehand are clearer as well. Alt-country? Americana? Whatever, he’s made another utterly towering record. Ross Clelland
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themusic.com.au/music/album-reviews
★★★★
FULL TOTE ODDS
The Chosen Few Independent
★★★½
FLYING SAUCER ATTACK
Instrumentals 2015
★★★
GOOD OAK
Public Service Independent
It’s been a hefty gap between drinks for this Adelaide Hills foursome. Of similar ilk to fellow southerly brethren Hilltop Hoods and Funkoars, it’s a wonder 2012’s Place Your Bets didn’t push the veteran collective further into the limelight. This is more than capable of rectifying that. Bright beats contrast often to underline this fight-back attitude, like in Look To The Sky – “I got to work, carrying stress/but I won’t be controlled like a marionette” – and they mix in a Mex flavour (Waiting Games) and brassy motifs (Punt On This). A roundly enjoyable, production-savvy listen.
Domino/EMI Fifteen years have passed since David Pearce last released an album as Flying Saucer Attack but the passing of time has had little effect on the experimental guitar soundscapes he creates other than eschewing the vocals and percussion of the band’s early work. This instrumental collection drones, mesmerises and eviscerates with a sonic palette that requires it to be heard in a single session to really experience the peaks, valleys and open plains explored. The dynamics will attract fans of post-rock while the immersive textures will satiate both ambient and noise fetishists.
Queensland band Good Oak release a charming debut album built on the trio’s knack for affable melodies and their sense of well timed harmony. From the opening notes of the first track, it’s apparent the boys have honed their niche old-timey songwriting to a fine point. Lead singer Stephen Ryan matches his weary vocals with resigned themes. The backup vocals from Brett Gibson and Thomas Busby cushion his continual fall from grace with their angelic voices, and while they can’t save him all the time, they do create an intriguing and conversational dynamic.
Carley Hall
Chris Familton
Roshan Clerke
Ouch My Face – Bunyip Ezra Furman – Perpetual Motion People The Internet – Ego Death Alex G – Trick Owen Campbell – In The Shadow Of The Greats The Delvenes – Rex Alta – Awake For Days
THE MUSIC 15TH JULY 2015 • 25
live reviews
MARLON WILLIAMS & THE YARRA BENDERS, LAURA JEAN
Black Bear Lodge 7 Jul Laura Jean sets the scene with her brooding, atmospheric folksy tunes. Playing the numbers off her self-titled record, she uses her voice like a terrific storytelling instrument. Strip away the music and melody and the singer would still be able to enthrall you in the narrative of her songs. A vulnerable whisper can transform into a hopeful bellow before it becomes something else entirely
unaccompanied, Williams brings on two-thirds of his band to hit the harmonies on a rendition of the Stanley Brothers’ Your Selfish Heart that’s so good it could make the Soggy Bottom Boys stew their drawers. From there on in, it seems the band can do little wrong. Hello Miss Lonesome becomes a jagged murder ballad, while the quiet After All becomes a much noisier affair with Williams playing the electric guitar. Even in the midst of some of the night’s louder numbers, Williams’ voice soars over the mix. As Williams and the band continue to work through an oeuvre that feels a great dealer fuller than most artists with only one album released, you get the sense that they could probably go anywhere with their music. You get
MARLON WILLIAMS @ BLACK BEAR LODGE. PIC: BOBBY REIN
Up next are Brisbane’s own In Caves. At first, they seem happy to greet the growing audience and open with some intensive percussion marrying well with their light and airy sound. While they do hit all the marks and tick all the boxes of any set list – a soaring vocal here, a gradual guitar build there and some solo action in between – they seem to be playing it safe, unsure of their own direction. It’s clear these guys are technicallycapable musicians, but their
THE FAMILY JORDAN @ THE ZOO. PIC: AIMEE CATT
different as she tells her stories. Coupled with instrumentation that clearly benefits from an emphasis on minimalism, Laura Jean produces a set affecting in its slightness.
the sense that, on a whim, acoustic could become electric, a violin could finds its way into a song or the band could even do numbers a cappella. And that notion is exciting.
With his booming voice and charming raconteur’s smile, Marlon Williams was destined to enjoy a breakout year in 2015. Not only is he touring a boatload, but every time he rolls through town he’s got something new to offer, whether that be instrumentations, interpretations of country and bluegrass standards or ideas about what he’s going to do with that giant voice. Tonight the singer and his band The Yarra Benders strike a delightful balance between off-the-cuff spontaneity and the kind of well-rehearsed professionalism that seems indicative of a serious artist. After a couple of numbers
Tom Hersey
26 • THE MUSIC • 15TH JULY 2015
on stage a bit behind schedule and soon seem to find their groove. While their set is full of enthusiasm and obvious showmanship, it takes slow and understated rock too far, landing on a sound that is a bit too lacklustre to create a lasting impression.
THE FAMILY JORDAN, SACRED SHRINES, IN CAVES, HYPNOTIC BEDROOMS The Zoo 10 Jul The first act on the bill – Hypnotic Bedrooms, hailing from the Gold Coast – stumble
their dreamy strand of folksy psych a well-received change of pace. The live seven-piece fill the stage as their sound of violins and guitars a-plenty fill The Zoo and give audiences a new perspective on the genre. They’re charming, welcoming and thoroughly enjoying themselves as they glide from one track to the next. Some tracks are reminiscent of spaghetti western soundtracks, such as the strumming tune, Red Light, whereas others call to mind the big-song vibes of The Brian Jonestown Massacre – tunes from their latest release, such as Spirit Stand. Overall, a great collective of musicians who marry the unexpected to the familiar psych waves and howling tunes the audience knows and loves. Alice Bopf
THE FAMILY JORDAN @ THE ZOO. PIC: AIMEE CATT
performance appears to be just going through the motions. Local act Sacred Shrines follow, and impress from the start with their solid sound. Their velvety haze of reverberating psych sounds washes over the crowd and invites gig-goers to boogie in their places. Theirs is a classic psych sound with understated rock influences, a combination that’s a standout in the live setting. Phil Usher, accompanied by Beata Maglai, delivers at-ease vocals, seamlessly complementing the sometimes-slinky and often syncopated stylings of the rest of the band. One of the many stand-out tracks from an overall stellar set includes their latest release, The Badge And The Gun. Co-highlights of the evening and fellow Brisbanites The Family Jordan grace the stage to round out the evening,
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DEAD LETTER CIRCUS @ THE ZOO. PIC: MARKUS RAVIK
Black Cobra @ Crowbar
arts reviews
RUBEN GUTHRIE
RUBEN GUTHRIE Film
In cinemas 16 Jul
★★ ½ Brendan Cowell has worn many hats during his long and varied career – script writer, actor, playwright and theatre director – but until now feature film director has never appeared on his resume. Ruben Guthrie finally changes that. Adapted from the play he wrote and directed about a young Sydney partier’s attempt
to give up drinking for a year, this film rarely gets under the skin of any of its characters. Patrick Brammall as the trying-to-gostraight title character comes close several times, mostly when he’s playing opposite Guthrie’s no-nonsense AA buddy, Ken, thanks to Aaron Bertram’s quiet charm, but these characters are mostly clichés, from Harriet Dyer’s underdeveloped Virginia to the outrageously camp Alex Dimitriades – though the latter certainly provides the laughs. There are a lot of glamorous party shots filmed in Guthrie’s expensive waterfront apartment, where cocktails are flowing and the young and beautiful people are having the time of their lives. It’s obvious what audience Ruben Guthrie is aimed at – Guthrie’s nemesis is a young YouTube sensation who drops text speak like he’s reciting Shakespeare. Though the movie aims to speak profoundly about this country’s attitudes to drinking it doesn’t seem to look too far outside a certain brand of young Sydney money-makers. Danielle O’Donohue
X-MEN DAYS OF FUTURE PAST: THE ROGUE CUT Film
On DVD and Blu-ray 15 Jul
★★★★★ X-Men Days Of Future Past is one of the best superhero movies ever, maintaining the quality of X-Men First Class and reuniting the cast of the original films. With X-Men Apocalypse a year away, a new cut of the film dubbed The Rogue Cut, has arrived to tide over audiences. The Rogue Cut presents a future where mutants and humanity have been almost obliterated by Sentinels (mutant-hunting robots). As a final option, Wolverine (Hugh Jackman) is back in time to 1973, in order to stop the creation of the machines. The Rogue Cut adds 18 minutes of new/alternate scenes, which
enhances rather than detracts, adding scenes of humour (see mid-credits) and dramatic depth to characters. Mystique and Beast, in particular, are given more complex arcs with a new scene addressing their attraction. The biggest reinstatement is deleted/alternate material featuring mutant Rogue (Anna Paquin), once relegated to a silent cameo. Her restored scenes are small but important, adding greater stakes, weight and tension to the future scenes. It makes for a rewarding film experience for franchise fans. Sean Capel
X-MEN DAYS OF FUTURE PAST: THE ROGUE CUT
THE MUSIC 15TH JULY 2015 • 27
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Education Guide
SCHOOL OF ROCK City Calm Down frontman Jack Bourke, who also works full-time in a law firm, teaches Bryget Chrisfield why smart musos rock. ecent NME “Buzz Band Of The Week” City Calm Down’s frontman Jack Bourke works full-time at a law firm and graciously accepts our call during a weekday lunch break. On whether his bandmates tease him about having to don a suit for his day job, Bourke chuckles, “Sometimes. When they catch me in one.” The other three City Calm Down players all work as well, but in jobs for which more casual attire is tolerated. “Sam [Mullaly, synth/ sequencing] runs his own graphic design business,”
R
CITY CALM DOWN
Bourke enlightens. “Jez [Sonnenberg, bass], he works as a sales manager, or store manager, or something, and Lee [Armstrong] is a drum teacher and teaches music at a music school.” After “stuffing around” in various bands throughout high school, City Calm Down formed when all members were at uni. The entire band are tertiary-educated. Bourke says his parents never shut down their son’s sonic dreams and estimates it was “probably between the ages of 15 and say 21, 22” that being in a band was “pretty much all [he] wanted to do”.
“I was kicking through at uni just for sorta like a back-up you might say,” he adds. “I think when I got into about third or fourth year uni I started finding what I was doing interesting, which is surprising, and started studying a lot harder. And then, incidentally, became far more productive with music [laughs] and started getting more of that done as well. “I finished uni, it would’ve been in the middle of 2012, and then we signed with I Oh You probably like a month later; so essentially all that was happening while I was trying to get through finishing exams and we started recording that [Movements] EP maybe, like, pretty much just around the exact same time we signed with I Oh You.” When asked how he goes getting time off from his grown-up job for City Calm Down’s touring commitments, Bourke admits, “My bosses have been very good the past few years. Essentially I got this job offer when I finished uni and I asked to defer it for a year, then I asked to defer it for another year, and they were like, ‘Yeah, sure. No worries.’ I think when I deferred it, I didn’t really understand the economic reality of trying to, like, make a career in music... I still think that it’s impossible, it’s just that the logistical, I guess you call it ‘nightmare’, of trying to get a touring band to a point where each member can make a living off it; even if it’s only, you know, what you might get when you’re on Centrelink so you can at least maybe pay your rent and not eat rice for every meal. But it’s just exceptionally hard. “I don’t wanna be in a position where in order for me [to fulfil] financial commitments I have to try and force out music, ‘cause sometimes it’s just not there.”
IMMERSE YOURSELF He started out as a guitar tech, and now he’s Head of Artist Management at Unified. Nick Yates tells us how he got there.
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riefly describe what you do. I work as the Head of Artist Management for Unified. I oversee all the functions of the management side of the company and provide support to our artist managers as well as working directly on artists Illy, Violent Soho, The Kite String Tangle, Nina Las Vegas and Montgomery. What did you study? I studied at JMC Academy in South Melbourne for two years (2005–2006) to attain an Advanced Diploma in Music Business. In 2007 I went on to do a third year of study at RMIT Melbourne to attain a Bachelor of Arts (Music Business). What extra-curricular stuff did you do during study to give yourself an advantage? I just tried to immerse myself in the band scene as much as possible. One of my best friends was working as a stage technician for Kisschasy, who were just starting to have some commercial success at the time, so I put my hand up to help him whenever there was jobs to be done. This experience eventually led me to being a guitar tech myself, going out on national tours with bands such as Trial Kennedy, Horsell Common and Behind Crimson Eyes – through which I began to make my first significant contacts within the industry. Is higher education necessary if you want to work in the music industry? Higher education definitely isn’t
mandatory; I think you’d be hard-pressed to find anyone who would say otherwise. It’s also a very relationship-based industry – “It’s not what you know but who you know.” That said, studying does provide significant advantages. It gives students a basic understanding of the music industry; it’s impossible to get a true understanding of the music industry without practical experience, however courses such as the ones I studied are great in giving students a basic understanding of each of the different facets of the industry. Studying can give students the encouragement and drive they need to
go and actually obtain a job in the music industry. There was a work experience component attached to my third year of study at RMIT through which I was able to get my first job in the industry, working for a boutique artist management company in Melbourne. Without this component of the course actually pushing me to go out and get a job I don’t know if I would be where I am today. Any advice for someone who wants a job like yours? Studying is a good place to start if students are in the financial position to do so, but the best advice I can give is to just immerse yourself in the industry as much as possible. Go to gigs and introduce yourself to bands, their sound guy, the venue manager, whoever. Offer to tune their guitars, sell their merch or drive their van. If there’s a record label you like, offer to do data entry for them, answer their phones or buy them coffee for a year. Do whatever you can to get your name out there and build a rapport with people in the industry, and if you’re good at what you do, the rest should follow. THE MUSIC 15TH JULY 2015 • 29
Education Guide
JMC ACADEMY We catch up with Aaron Draplin, rock star in the graphic design world, ahead of his first visit to Australia.
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he eccentric designer has worked with countless cool brands and publications and masterminded accessories such as the Field Notes notebooks, among other things. It’s no surprise that he knew he wanted to be graphic designer early on – right out of high school, in fact. “You had to make a choice and I was an artist growing up, but fine art seemed a little too flighty; design was a sure thing, it was a trade, so pretty quick out of high school design offered this balance of creativity and pragmatism,” Aaron Draplin explains. He studied a Bachelor’s Degree in Graphic Design at Minneapolis College of Art and Design for two years.
AARON DRAPLIN
“I wish I would have gone longer as the two years were not enough. I was there to finish my degree… I got all the classes I needed to get out of the way and then I was done, before I knew it, so I would go back to take furniture or painting to do things I didn’t get a chance to touch while I was there. All in all it was incredible; it was a chance to breathe, to take stock of what I had taught myself, allowing me to parlay it into the momentum of going out and getting a job.” Back then, Draplin thought a degree was necessary to find work in graphic design, but he’s changed his tune, to an extent.
“These days kids are teaching themselves all this. Now I’m not saying don’t go – I would never tell a kid not to go, what an opportunity and a blessing to take the opportunity to take a breather and learn a bunch of stuff.” Draplin also stressed the importance of getting industry experience while you’re studying or starting out. “If you have an opportunity, you have to do it – it’s going to give you an opportunity to get out into the real world. That’s crucial. What you are going to see is the hierarchy, how you get kicked around etc. and it’s a good thing to see that before you go out and get that paycheck. My first internship was at Chuck Anderson CSA Archive in Minnesota, and he was a hero so every day was like candy to me ‘cause it was great to just be in there.” All this career advice gets dispensed through lectures and talks Draplin delivers – he’s even done a TEDx talk. Now he comes to Australia for the first time to speak at JMC Academy as part of their master series workshops. “I am looking forward to going somewhere weird and wild, doing it fast and furious, the idea of jumping on a plane, getting to Australia, telling my stories for three days; I’m thankful! I never thought I’d be able to go to Alabama, let alone Australia. It seems progressive, it seems hot. There seems like there is magic in the outback to be found if you have respect and can tap into that. The Indigenous culture of Australia fascinates me; I look forward to learning about it.” WHAT: Workshop with Aaron Draplin WHEN & WHERE: 30 Jul, JMC Academy
JAZZ MUSIC INSTITUTE If you just love to perform music, or have a passion for music events, CEO Nick Quigley tells you why Jazz Music Institute is the place for you.
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hat kind of courses do you offer? Cert III & IV in Music ( Jazz Performance), Cert III & IV in Music Business, Diploma of Music in ( Jazz Performance), Diploma of Music Business, Bachelor of Music in Jazz Performance. What kind of people would these courses suit? Cert II & IV in Music Performance are excellent courses for students who wish to enjoy performing music. It will provide thorough knowledge for advancement to tertiary courses. Cert III & IV in Music Business are excellent courses for students who have a passion for music, the music industry and events. Diploma of Music Performance is a one-year full-time course focusing on the fundamental development of musical skills and theoretical knowledge. Diploma of Music Business is an excellent course for students who have a passion for music, the music industry and events. Bachelor of Music in Jazz Performance is suited for musicians from high school leavers to mature-age learners wishing to hone their performance skills to a high professional level through jazz performance. What have your more well known alumni gone on to do? Performing professionally in many genres of music as well as jazz. Also postgraduate studies to become music teachers. 30 • THE MUSIC • 15TH JULY 2015
Do you offer practical on-site learning or more of a theoretical base? All courses are fully hands-on practical courses with a strong logical theoretical content delivered at our Bowen Hills Campus. What makes you different to other universities? Our class sizes are smaller with an average of eight to ten per class. Our student cohort is much smaller meaning a stronger personal approach. What kind of social activities do you offer? Jam sessions outside of class times.
Do you offer job opportunities, internships, or other ways to help students get ahead? Performances outside of the campus. What’s a typical day like for a student at your institution? Ninety per cent of the time is in performance mode. When and where is your next Info Day/ Open Day? Saturday 19 September, at JMI campus, 47 Brookes Street, Bowen Hills. Website link for more info? jazz.qld.edu.au
Education Guide
MUSIC INDUSTRY COLLEGE Principal Brett Wood says you’ll never ask the question “when will I ever use this?” if you’re studying at Music Industry College.
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hat kind of courses do you offer? We offer senior secondary Queensland Certificate of Education and OP courses. Our courses are all contextualised to the music industry; as an example our Year 11 Maths students will learn how to budget for an international tour with a fourpiece band. They’ll need to understand all the costs associated with that tour: passports, visas, airfares, ground transport, per diems, accommodation, venue
hire, taxes, excess baggage and incidentals. Do you offer practical on-site learning or more of a theoretical base? Within the prescribed QCAA syllabi there are theoretical aspects to the course and students will need to fulfil those requirements; however we encourage a hands-on and practical approach to all subjects. Students have opportunities to work (book, promote, audio engineer, stage manage, operate lighting console) our live music venue 38 Berwick Street, write for our music blog starvingkids. org.au, script, score,
film and produce our school musicals, produce weekly zines, produce short films, documentaries and music videos, record and produce singles and EPs, produce their own live music and art events. What makes you different to other institutions? In terms of how we differ from other high schools we make the curriculum relevant for any Year 11 or 12 student who wants a career in the music industry. We focus on what will help them carve out a sustainable career in music. We also focus on the individual student and their goals and desires and match learning experiences to the outcomes they are seeking. We connect with the local industry to provide opportunities for students to get their foot in the door. We seek out internships, school-based traineeships and work experience for our students. There is also no rule book at MIC, we operate on four pillars: respect, trust, participation and community. Do you offer job opportunities, internships, or other ways to help students get ahead? We offer various work experience opportunities to students throughout their studies, such as backstage and front of house experience at our 38 Berwick venue, recording studios and event management activities. Our students also undertake work placements, school-based traineeships and internships at places like 4ZZZ, Footstomp Music, SGC Media, The Old Museum and Music Media Inside Out. When and where is your next Info Day/Open Day? Saturday 22 August, 10am–12pm, Music Industry College campus, 38 Berwick Street, Fortitude Valley. For an expression of interest form visitmic.org.au/enrol/ or call 07 3852 3074. Website link for more info? mic.org.au
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the guide
Member answering/role: Danny Kenneally (guitar) How long have you been together? We’ve been together approximately five years with a couple of years where we had a break to find members etc. The past year-and-a-half is when we’ve been hitting it hard with new members. How did you all meet? I met Ravi back at the start through a show he was putting on, my vocalist bailed on us so Ravi jumped in and that’s when APF started. We met Jon, Glen and Christian through bands we’d played with along the way. Their bands didn’t work out so they ended up joining APF. You’re on tour in the van – which band or artist is going to keep the most people happy if we throw them on the stereo? I’d probably say a safe pre-show band would be something like Attila, Emmure or Chelsea Grin. After the show I’d say something like Eminem or Fronzilla to change the sound from heavy music for a bit. Which Brisbane bands before you have been an inspiration (musically or otherwise)? Funnily enough we used to really love The Dawn Addicts, which was Jon’s old band and we loved Ashes Of December too which was Glen’s old band. Currently Aversions Crown are a Brisbane band that we all enjoy. What part do you think Brisbane plays in the music you make? Brisbane is a very tight and small ‘scene’ for heavy music. Everyone sort of knows everyone so anything that happens gets around fast. This has always been a big drive for us to expand and show people there’s more than just Brisbane and more than just Australia, etc. We like to push boundaries and aim high. What’s in the pipeline for the band in the short term? This year we’ll be doing another Aussie tour, then in early 2016 we’ll be heading off to USA to do a couple of tours there as well as getting in the studio. At the moment we’re mid way through writing our album which is coming along really well. As Paradise Falls play Dead Of Winter Festival at the Jubilee Hotel on Saturday 25 Jul.
PIC: Terry Soo THE MUSIC 15TH JULY 2015 • 25
eat/drink steph@themusic.com.au
SPECIAL DELIVERY
HOT SPOT URBAN LUNG CAFE 421 BRUNSWICK ST, FORTITUDE VALLEY
Why go in search of food when it can just come to you?
BIG CAKE BAKE
WHOLESOMENESS
Wholesomeness Fresh paleo-style meals (dairy- and glutenfree) made from locally sourced ingredients. Some of the options on offer include balsamicbraised beef with roast pumpkin, beetroot and greens; coconut cashew curry with cauliflower ‘rice’; Spanish chickpeas and kale with polenta cake; raw cacao chia berry pudding; protein bliss balls; and cold pressed juices. Delivers to Brisbane, Gold Coast, Ipswich and Sunshine Coast, Mondays, Tuesdays and Wednesdays. wholesomeness.com.au Caveman Kitchen The menu changes every week but you can be sure that it’ll always consist of healthy, tasty meals that are gluten-, grain- and (mostly) dairy-free, like Jamaican jerk chicken, Thai fish cakes with Asian greens, Indian beef balti, Spanish 34 • THE MUSIC • 15TH JULY 2015
chorizo frittata and slow-cooked beef stew. You have to order in five- or ten-meal packs but hey, grab a mate or two to split it with and you’re all sorted. Delivers to Brisbane, Mondays. cavemankitchen.com.au Spruce Kitchen It’s simple: choose a salad or a sanga, with one side or three. The menu changes every day but as an example they’ve offered roasted pumpkin and quinoa salad; roasted cauliflower and eggplant tabouleh; harissa roasted chicken on Turkish bread; corned beef brisket on light rye with pickles, raclette, watercress and sour cream mayonnaise; and sides such as smoothies, brownies, and watermelon and mint salad. Delivers to Brisbane, Tuesdays to Thursdays. sprucekitchen.com.au
Who doesn’t love Anzac biscuits? The first Aussie recipe for Anzac biscuits appeared in the early 1920s, and over the years there have been countless adaptations and reinventions. As part of the Red Cross Big Cake Bake this year you can indulge in that cookie love while also remembering the work of Red Cross volunteers. The official Red Cross Big Cake Day is 31 August but Anzac biscuit bake-offs can be organised anywhere, any time during August. We’re letting you know early so you can lock in a time! You can register and donate at bigcakebake.org.au. Pic: Pfctdayelise
Fresh to the valley, Brisbane’s latest must visit café has opened its doors. With fresh, homemade treats, a killer, non-negotiable $10 all day breakfast sandwich and locally produced coffee, Urban Lung is worth the visit. With a clever twist from the Armenian-cross-Italian owners, the food menu is unique yet familiar for all regular coffee drinkers and food lovers. It is said that you haven’t experienced the real love of focaccias until you try one from Urban Lung and the salted caramel ANZAC cookies are in high demand. This hole-in-thewall cafe is set to be a huge hit for Valley goers. Words: Kim Everson
GOURMET TAKEAWAY
Well, not really. From boutique, made-to-order breakfast, lunch and dinner delivery services and freshly made meals as part of a subscription or plan, a new kind of food delivery is rising to prominence. Most of these have a focus on the healthy, too, whether they’re vegan, paleo or just health and sustainability-focused. We haven’t tried them all but our guess is that they’re all miles ahead of the frozen ‘healthy’ meals that are associated with weight loss. And they’re fun! Go ahead and try all of our suggestions and anything else you can find out there.
the guide qld.live@themusic.com.au
INDIE NEWS
CHART WRAP
TURN THE PAGE
NO WORRIES
YOUR OWN WAY
Gold Coast five-piece Paging Jimi are just fining their debut album tracks from they’re sure to play 17 Jul at Currumbin Creek Tavern, with Bad Virtue, Cornerstone, Sorry Not Sorry and Brad Kennedy.
Brisbane blues singer Jake Whittaker flew all the way to Tennessee to record his new single Worry No More, which is the first taste of his upcoming EP. He launches the song 10 Jul, Winter In The Vale; 7 Aug, City Sounds, and 21 Aug, QPAC.
The Triffid presents Go Your Own Way: A Tribute To Fleetwood Mac on Saturday, featuring Brisbane’s finest including Mosman Alder, pictured, Avaberee, Born Joy Dead, Jackie Marshall and Melissa Fraser, and Greg Chiapello.
HOW AND WHY
WE MAJOR
SOME TEA?
HOWQUA brings his captivating vocals to The Bearded Lady on Thursday, as part of his solo Her tour in support of the song of the same name. On support duty will be Mike Waters. HOWQUA also plays Solbar on Friday.
Major Leagues are set to perform at Black Bear Lodge on Thursday, as part of their Someone Sometime east coast tour, which precedes the release of their second EP. Get your dose of garage-pop.
Saturday at Solbar sees local five-piece Tea Society showcasing their unique sound which incorporates reggae and jazz. It’s nothin’ but funky bass lines, folks. Support from Bearfoot and Yamini.
LLOYD SPIEGEL
Electro duo Hermitude’s latest album, Dark Night Sweet Light, has reigned supreme on the Carlton Dry Indie Music Charts since it debuted seven weeks ago. Dethroned from the top spot in recent weeks by Aussie hip hop star Seth Sentry, the NSW Blue Mountains group have reclaimed the #1 position this week, knocking Sentry’s Strange New Past back down to the #2 position. It will be welcome news for Hermitude, who have also yet again topped the Singles Chart with their smash hit, The Buzz. The Albums Chart looks mostly unchanged from its standings last week, with the only movement being San Cisco’s Gracetown jumping up from #8 into #5. The only debut making the charts this week is blues artist Lloyd Spiegel with Double Live Set coming in at #14.
SIBLING LOVE
HIGH TENNO
ED’S NOSTALGIA
Sibling alt-folk duo The Acfields have a new single titled The Years, a story which they’re aching to tell in a live setting. Catch them when they stop by The Milk Factory, 24 Jul; Pizza Paradiso, 31 Jul.
Fun-filled yet also kickarse four-piece High Tension launch their new album Bully at Crowbar this Friday, with supports from Lizzard Wizzard, 100% and Pissed On. Watch them go nuts on stage in the best way.
You know him from The Saints, The Laughing Clowns and Electrical Storm, Today Wonder, Frontierland and more… now, fans can experience all there is to Ed Kuepper when the man himself brings his show to Black Bear Lodge on Tuesday.
JAW OF THE TIGER
FUGITIVE FUN
THREE FIRST NAMES
Wednesday at Crowbar, Tigers Jaw take to the stage, bringing with them shimmering organ, chunk guitar, power-pop melodies and driving rhythms, plus male/female harmonies, which always go down well.
At The Zoo on Thursday, say hi to newcomers Fugitive Hotel, a local rock act making dark and melodic rock music. They’ll be supporting Indigo Daze and Forty Thieves.
Junk Bar hosts Michael David Thomas on Thursday. The former lawyer turned musician has been described as a cross between Bob Dylan, Leonard Cohen, Paul Simon and James Taylor so head down and have a squiz.
Similarly on the Singles Chart, few changes have occurred with only notable movement being Flume’s latest track Some Minds climbing back into the #2 spot, while pop star Sia holds the #3 and #4 spots with her tracks, Big Girls Cry and Elastic Heart respectively.
FOR MORE HEAD TO THEMUSIC.COM.AU THE MUSIC 15TH JULY 2015 • 35
the guide qld.live@themusic.com.au
EP FOCUS
ALBUM FOCUS How long did it take to write/ record? The album was about a year and half in the making, although we spaced out the recording to fit in some touring late last year.
Skin. After playing them live in July my opinion on this may change though! We’ll like this EP if we like... I think this release is super accessible in the fact you can pick up vibes from ‘90s/ early 2000s nu-metal to grunge to alternative rap style projects such as Gorillaz.
OCEAN GROVE Answered by: Luke Holmes EP title? Black Label How many releases do you have now? This is our second release. Our first EP Outsider was released independently in 2013. Was anything in particular inspiring you during the making? We draw influence from a range of musical styles and other forms of artistic expression. Namely, on this release it was the music that first piqued our interest in heavy music at a young age.
When and where is your launch/ next gig? We have a tour in July that visits Adelaide, Melbourne, Newcastle, Brisbane and Sydney. We are treating these as our launch shows and will play the record in full! 23 Jul, The Brightside; 24 Jul, The Lab; 27 Sep, Solbar, Maroochydore. Website link for more info? facebook.com/ oceangrovemelbourne
Was anything in particular inspiring you during the making? The way in which we write has evolved dramatically over the years. In terms of my own musicianship, trialling different song forms and styles was particularly liberating, often leading to something new and unplanned.
BREAKING ORBIT Answered by: Mark Tyson Album title? Transcension Where did the title of your new album come from? Transcension expands on the concept and knowledge of The Time Traveller, sharing the same technicality, tied together with powerful melody and movement, lyrically reinforcing a positive message of inner strength and unity.
What’s your favourite song on it? My favourite track would have to be Eternity... as a drummer the rhythms and flow hold an unbelievable attraction to me. When and where is your launch/next gig? 18 Jul, New Globe Theatre.
How many releases do you have now? This is our second studio album, with our first record (The Time Traveller) preceeded by a couple of EPs.
What’s your favourite song on it? I’d have to say Cold
SINGLE FOCUS
HAVE YOU HEARD If you could only listen to one album forevermore, what would it be and why? Relationship Of Command by At The Drive In. I remember the first time I heard this album and I was so gobsmacked and impressed. I love it so much still.
KILL THE APPRENTICE Answered by: Kris Kill When did you start making music and why? Making music just happened when I was given an acoustic guitar; thanks, dad. My love for punk rock and my drive to front a band grew when I met Sid KTA. It’s our passion. Sum up your musical sound in four words? Raw, fast, intense, fun. If you could support any band in the world – past or present – who would it be? Fugazi or The Clash... or At The Drive In... I can’t decide! 36 • THE MUSIC • 15TH JULY 2015
Greatest rock’n’roll moment of your career to date? For me it was supporting Strung Out in our hometown. I’m a fan of theirs. We played a bad ass set and they did too. They are such a tight band and down to earth people. Why should people come and see your band? We put on a high energy show, party hard and have a lot of fun on stage. When and where for your next gig? We are playing at the Dead Of Winter Festival at Jubilee Hotel on Saturday 25 July. Mad line-up. Website link for more info? facebook.com/killtheapprentice
S U P P O R T I N G
What was inspiring you during the song’s writing and recording? Jack Daniels and night terrors. Also our inspirational producer: “Do it like that, just not as shit.” We’ll like this song if we like... Going down the rabbit hole and checking out something new. Hard enough to mosh to, groovy enough to dance to.
HORRORWOOD MANNEQUINS
Do you play it differently live? Depends on what is in our roadie’s pocket.
Answered by: Audri Medicate Single title? Nightmares
When and where is your launch/ next gig? 25 Jul, The Dead Of Winter Festival, Jubilee Hotel.
What’s the song about? The eerie time when you close your peepers... and realise your head is full of creepers.
Website link for more info? facebook.com/ horrorwood.mannequins
How long did it take to write/ record? Years... We could give you a better idea if we hadn’t ripped the calendar off the fucking wall... woosah. Is this track from a forthcoming release/existing release? Indeed it is. Mr Magazine the album will be released on Halloween. Surely no one has ever done that. I N D E P E N D E N T
A U S S I E
M U S I C
the guide qld.gigguide@themusic.com.au
THE MUSIC PRESENTS Ben Salter: The Spotted Cow 16 Jul, Black Bear Lodge 17 Jul High Tension: Crowbar 17 Jul The Dead Of Winter Festival 2015: Jubilee Hotel 25 Jul Rubber Soul Revolver: QPAC Concert Hall 30 Jul The Bellrays: The Zoo 7 Aug Oh Mercy: Woolly Mammoth 4 Sep
WED 15
Tigers Jaw + Lulu & The Cutthroats + Deafcult: Crowbar, Fortitude Valley Betty Smokes & the Forgetaboudits: Lefty’s Old Time Music Hall, Brisbane Denville + Jhindu-Pedro: Ric’s Bar, Fortitude Valley Loosen Up Wednesdays: Royal Exchange Hotel, Toowong Jaywah: Sonny’s House of Blues, Brisbane Be Rad: The Bearded Lady, West End Urban Sounds: The Beer Garden, Surfers Paradise
THU 16
Major Leagues: Black Bear Lodge, Fortitude Valley Brisbane Contemporary Jazz Orchestra: Brisbane Jazz Club, Kangaroo Point Stand Up Comedy Open Mic Night: Dog and Parrot Tavern, Robina
The Cactus Channel: Motor Room 4 Sep Brisbane Festival 2015: Brisbane 5-26 Sep An Evening With Kevin Smith: The Tivoli 19 Sep Red Deer Festival: Mt Samson 3 Oct Bad//Dreems: Woolly Mammoth 16 Oct, Miami Shark Bar 17 Oct Laura Marling: The Tivoli 21 Oct Mumford & Sons: Brisbane Riverstage 7 Nov
HOWQUA + Ella Fence + Sleepy Tea: The Bearded Lady, West End Fresh Thursday with DJ Brett Allen + James Toddman: The Beer Garden, Surfers Paradise Dana Gehrman: The End, West End La Mont + Brother Fox + Maddy McDonald: The Milk Factory Kitchen & Bar, South Brisbane Ben Salter + Zac Gunthorpe: The Spotted Cow, Toowoomba Forty Thieves + Indigo Daze + Fugitive Hotel: The Zoo, Fortitude Valley
GIG OF THE WEEK BEN SALTER: 17 JUL, BLACK BEAR LODGE
High Tension + Lizzard Wizzard + 100% + Pissed On: Crowbar, Fortitude Valley Paging Jimi + Bad Virtue + Cornerstone + Sorry Not Sorry + Brad Kennedy: Currumbin Creek Tavern, Currumbin Waters BNS + Styli$$h: Deception Bay Tavern (Public Bar), Deception Bay Tea Society: Eat Street Markets, Hamilton DJ Panda + Dru K: Forest Lake Tavern (Sports Bar), Forest Lake
Bonka + Various DJs: Victory Hotel, Brisbane
Mark Lowndes: Habitat Restaurant & Bar, South Brisbane
Bag Raiders: Wharf Tavern (The Helm), Mooloolaba
Cattleprod: Lefty’s Old Time Music Hall, Brisbane
FRI 17
Midnight Riot + Lure + Vaguely Human + Euphony: Beetle Bar, Brisbane
Brother Fox: Lock ‘n’ Load Bistro, West End Absolutely 80s feat. Brian Mannix + Scott Carne + Dale Ryder: Lonestar Tavern, Mermaid Waters Booster Trio: Newmarket Hotel, Newmarket
Steve Newcomb + Good Bait Trio: JMI Live, Bowen Hills
Ben Salter + Seja + Machine Age + Big Strong Brute: Black Bear Lodge, Fortitude Valley
Michael David Thomas: Junk Bar, Ashgrove
James Johnston: Breakfast Creek Hotel, Albion
Mankunion: Pub Mooloolaba, Mooloolaba
Des Reid: Loving Hut, Mount Gravatt
Mojo Webb Band: Brisbane Jazz Club, Kangaroo Point
Tigers Jaw: Mount Gravatt PCYC, Upper Mt Gravatt
Simon Meola: Burleigh Heads Hotel, Burleigh Heads
Onesie Party feat. Where’s Wendy: Racehorse Hotel, Booval
Mooncoin + Alan Kelly Trio: Noosa Reef Hotel (Flanagan’s), Noosa Heads Danny Widdicombe: Oxford 152, Bulimba The Brodie Graham Band: Solbar (Lounge Bar), Maroochydore Rockaoke: Sonny’s House of Blues, Brisbane
Fridays Classics RNB Gold feat. DJ Chrispi + Marty James + BennyK: Captain Cook Tavern, Kippa-Ring DJ Robbie Rob: Club Tavern, Caboolture Sarenda: Coolum Beach Hotel, Coolum
Double Vision: Prince of Wales Hotel, Nundah
Russ Walker: Redland Bay Hotel, Redland Bay HOWQUA: Solbar (Front Bar), Maroochydore A Little Province + All Strings Attached + Pretty//Visitors: Solbar, Maroochydore Kniki & Mike Beale: Sonny’s House of Blues, Brisbane
S U P P O R T I N G
Ed Kuepper: Soundlounge, Currumbin
Two Way Street: Breakfast Creek Hotel, Albion
Dan Munn: Story Bridge Hotel (The Corner Bar), Kangaroo Point
Shannon Marshall & the Soul Almighty: Brisbane Jazz Club, Kangaroo Point
DJ Graham Fisher: Story Bridge Hotel (Shelter Bar), Kangaroo Point
Christian Argenti: Burleigh Heads Hotel, Burleigh Heads
Donny Love + Magic America + The Goon Sax + Jordan Rochfort: The Bearded Lady, West End
Up The Aussie Punx feat. Hanny J + Laura O’Brien + Instrumenstrals + The Black Market + The Scam + Psychoibis + Those Rat Bastards + Plan Of Attack + Remember This: Chardons Corner Hotel, Annerley
TGI Fridays with Jonny Laytex: The Four Mile Creek Hotel, Strathpine Ingrid James Duo + John Reeves: The Lido Cafe & Restaurant, Ascot Music For The Girls feat. Rowen + Fieu + Astrid: The Milk Factory Kitchen & Bar, South Brisbane The Valery Trails + Suicide Swans: The Spotted Cow, Toowoomba Dan Stoneman: The Statler & Waldorf, Brisbane Good Oak + Josh RennieHynes + Sahara Beck: The Triffid, Newstead Faleepo Francisco + Jacket + Jouk Mistrow + The Bassethounds: The Zoo, Fortitude Valley
Malakyte + The Dead + Kaerulean + Decapitated Mum: Crowbar, Fortitude Valley Good Oak + Josh RennieHynes + Sahara Beck: Currumbin Creek Tavern, Currumbin Waters Phil Barlow & The Wolf: Eat Street Markets, Hamilton Trainspotters feat. Youth Allowance + Superkaleida + Looking Through Glass + Alpha Pi: Grand Central Hotel, Brisbane The Green Sinatras + Stewart Fairhurst: Hamilton Hotel, Hamilton
The Lazy Valentines: Victory Hotel, Brisbane
Ed Kuepper: Imperial Hotel (Green Room), Eumundi
Juice with DJ J-Tok + DJ Blitz: Wynnum Tavern, Wynnum West
The Manfreds: Jupiters, Broadbeach
SAT 18
Across The Ditch: Alderley Arms Hotel, Alderley Faux Bandit + Black As Blue + Junior Danger + The Con & The Liar: Beetle Bar, Brisbane
I N D E P E N D E N T
A U S S I E
Big Kitty + The Scaredy Cats + The Baton Jukes: Lefty’s Old Time Music Hall, Brisbane PureVelour: Lock ‘n’ Load Bistro, West End The Biscuit Factory feat. Antiserum + Mayhem + Phaseone + Truth: Max Watt’s (formerly The Hi-Fi), West End
M U S I C
the guide qld.gigguide@themusic.com.au Tyrone Noonan: Melbourne Hotel, Bundaberg South
Triffid Roots feat. Little Georgia + Creature Kind: The Triffid (2pm), Newstead
Burn Antares: Miami Marketta, Miami
BUDD: Tym Guitars, Fortitude Valley
Irish Sessions with Ger Fennelly: Mick O’Malley’s, Brisbane
Good Oak + Josh RennieHynes + Sahara Beck: Woombye Pub, Woombye
Breaking Orbit + Bellusira + Weightless In Orbit: New Globe Theatre, Fortitude Valley
MON 20
Open Mic Comedy Night: Newmarket Hotel, Newmarket
Odd Mob: Noosa Reef Hotel, Noosa Heads Chisel Revived - Cold Chisel Tribute: Nudgee Beach Hotel, Nudgee Guns ‘N’ Roses Show: Pacific Pines Tavern, Pacific Pines Fat Pigs: Prince of Wales Hotel, Nundah An Italian Odyssey feat. I Musici: QPAC Concert Hall, South Brisbane Wayne Ranson: Redland Bay Hotel, Redland Bay Tea Society + Bearfoot + Yamini: Solbar, Maroochydore Khan: Solbar (Lounge Bar), Maroochydore Anonymous Heroes: Sonny’s House of Blues, Brisbane
Quazi-Smith + Electric Suede + Luna Sands + Folklore: The Zoo, Fortitude Valley Caillin Malley + Acoustic Moose + DJ Mikey: Victory Hotel (Beer Garden), Brisbane
SUN 19
Sunday Session: Anglers Arms Hotel, Southport
Jabba: Springwood Hotel, Springwood
Mouse: Burleigh Heads Hotel, Burleigh Heads
Tackleberrys: Story Bridge Hotel (The Corner Bar), Kangaroo Point
Sunday Session: Capalaba Tavern, Capalaba
Last Chaos + Frown + Shacides + Heavy Breather: The Bearded Lady, West End Ben Salter + Zac Gunthorpe: The Bison Bar, Nambour The Great Disruption + Alex Smith + Ellie Jane: The Milk Factory Kitchen & Bar, South Brisbane Jimmy Watts: The Statler & Waldorf, Brisbane Go Your Own Way: A Tribute to Fleetwood Mac feat. Mosman Alder + Avaberee + Born Joy Dead + Jackie Marshall + Melissa Fraser + Greg Chiapello: The Triffid, Newstead The Bear Hunt: The Underdog Pub Co, Fortitude Valley
Decked Out Sundays: Royal Exchange Hotel, Toowong Jesse Morris + Funk Majestic: Solbar (Lounge Bar), Maroochydore Open Mic Jam Session: Springwood Hotel, Springwood
TUE 21
Sunday Comedy Night: Stones Corner Hotel, Greenslopes
Ed Kuepper: Black Bear Lodge, Fortitude Valley
DJ Jamez Brown: Story Bridge Hotel (Shelter Bar/3pm), Kangaroo Point
Mark Sheils: Samford Valley Hotel, Samford Village
The Manfreds: The Events Centre, Caloundra
Brazilian-BackpackerUni Night: The Beer Garden, Surfers Paradise
Not A Lemur + Sarah Koppen: The Milk Factory Kitchen & Bar, South Brisbane
Out Of Abingdon: Brisbane Jazz Club, Kangaroo Point Sounds of Sunday: Broadbeach Tavern, Broadbeach
Bag Raiders: TBC Club (The Bowler Club), Fortitude Valley
Raku O’Gaia: Redland Bay Hotel, Redland Bay
Dagsville: Breakfast Creek Hotel, Albion
Kings of Country Rock: Souths Sports Club, Acacia Ridge
DJ Panda: Story Bridge Hotel (Shelter Bar), Kangaroo Point
Psych Out! feat. Will Zodiac + Finn: The Bearded Lady, West End
ED KUEPPER: 21 JUL, BLACK BEAR LODGE
Crowned Kings + The Struggle + Boston Blackout + Valhalla Mist: Crowbar, Fortitude Valley Sunday Sessions with One Eyed Pilots: Dublin Docks Tavern (2pm), Biggera Waters The Front: Hamilton Hotel, Hamilton Anonymous Heroes: Lefty’s Old Time Music Hall, Brisbane Som De Calcada: Lock ‘n’ Load Bistro, West End Irish Sessions with Ger Fennelly: Mick O’Malley’s, Brisbane Blues Jam with Mark D’s Big 3: Morrison Hotel, Woolloongabba Sunday Sets: Noosa Reef Hotel (Irish Garden), Noosa Heads Sunday Sessions: Oxford 152, Bulimba BrizBand: Prince of Wales Hotel, Nundah
S U P P O R T I N G
I N D E P E N D E N T
A U S S I E
M U S I C
THE MUSIC 15TH JULY 2015 • 39