The Music (Melbourne) Issue #168 by TheMusic.com.au

07.12.16 Music / Arts / Lifestyle / Culture

Melbourne / Free / Incorporating

S EACHE ON P : R U TO CATI U D E : GUIDE R MA A W G A J TOUR:

Issue

168

2 • THE MUSIC • 7TH DECEMBER 2016

ALL BLUESFEST TOURING ARTISTS

ALSO APPEAR AT BLUESFEST

VISIT WWW.BLUESFEST.COM.AU

2 TIME GRA M M Y W IN N ER

Patti Smith and her band perform

ANDREW BIRD BOOKER T THE STAX REVUE GREGORY PORTER JAKE SHIMABUKURO JOAN OSBORNE LAURA MVULA THE LUMINEERS THE RECORD COMPANY RICKIE LEE JONES THE STRUMBELLAS TREVOR HALL TURIN BRAKES

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Horses

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“Giddens explores the frontiers of Americana.”

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THE GUARDIAN

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10 TIME GRAMMY WINNER

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www.bluesfesttouring.com.au THE MUSIC • 7TH DECEMBER 2016 • 3

XYLOURIS WHITE WITH SPECIAL GUESTS

TINY RUINS

The talents and sounds of George Xylouris and Jim White combine in a musical collaboration of Greek lute and Australian post-rock bringing together the best of their very disparate traditions into a new kind of universal music.

SAT 17 DECEMBER 8PM | TICKETS $45 ‘The chemistry between Xylouris and White makes for a thrilling musical foray into avant-garde folk.’ T H E G UA R D I A N

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4 • THE MUSIC • 7TH DECEMBER 2016

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Credits Publisher Street Press Australia Pty Ltd Group Managing Editor Andrew Mast National Editor – Magazines Mark Neilsen Editor Bryget Chrisfield Arts & Culture Editor Maxim Boon Gig Guide Justine Lynch gigs@themusic.com.au

Music Music / Arts / Lifestyle / Culture

Where and when? For more gig details go to theMusic.com.au

The Gooch Palms

Editorial Assistants Brynn Davies, Sam Wall Senior Contributor Jeff Jenkins Contributors Bradley Armstrong, Annelise Ball, Paul Barbieri, Sophie Blackhall-Cain, Emma Breheny, Sean Capel, Luke Carter, Anthony Carew, Uppy Chatterjee, Daniel Cribb, Cyclone, Guy Davis, Dave Drayton, Guido Farnell, Tim Finney, Bob Baker Fish, Cameron Grace, Neil Griffiths, Kate Kingsmill, Tim Kroenert, Pete Laurie, Chris Maric, Fred Negro, Danielle O’Donohue, Obliveus, Paz, Sarah Petchell, Michael Preberg, Paul Ransom, Dylan Stewart Senior Photographer Kane Hibberd Photographers Andrew Briscoe, Cole Bennetts, Jay Hynes, Lucinda Goodwin Advertising Dept Leigh Treweek, Antony Attridge, Braden Draper, Brad Summers sales@themusic.com.au

It’s A Sin

Art Dept Ben Nicol Felicity Case-Mejia vic.art@themusic.com.au

Melbourne’s Storm The Sky will bring their death pop to the major capital cities on their Sin Will Find You all ages tour throughout March.

Admin & Accounts Loretta Zoppos, Ajaz Durrani, Meg Burnham, Emma Clarke accounts@themusic.com.au Distro distro@themusic.com.au Subscriptions store@themusic.com.au

Storm The Sky

Contact Us Tel 03 9421 4499 Fax 03 9421 1011 info@themusic.com.au www.themusic.com.au Level 1, 221 Kerr Street Fitzroy Vic 3057 Locked Bag 2001 Clifton Hill VIC 3068

— Melbourne

6 • THE MUSIC • 7TH DECEMBER 2016

Dorsal Fins

Signs Of The Zodiac After recently releasing their new album Digital Zodiac, Dorsal Fins have announced an album tour across the country in March and April.

c / Arts / Music / Arts / Lifestyle / Culture

More Gooch

Young Out

The Gooch Palms have announced their most extensive headline tour yet, which will see them play multiple spots around the country from January to March, as well as a couple of festival appearances.

Bluesfest has announced that Neil Young has cancelled his appearance at the festival over Easter. They are working on getting a new headliner for the Friday night.

Neil Young

Ty Dolla $ign

On The Money Ty Dolla $ign has announced a national tour off the back of his latest long player, Campaign. You can catch his hip hop stylings throughout January.

Extra DD DD Dumbo has been added to all Australian dates of the Laneway Festival, except for Adelaide, so you can hear just what won him triple j’s Australian Album Of The Year recently.

DD Dumbo

18.38 MILLION

The number of tickets issued to live performance events in Australia in 2015 according to Live Performance Australia’s recently released Ticket Attendance And Revenue Survey on 2015.

THE MUSIC • 7TH DECEMBER 2016 • 7

Music / Music / Arts / Lifestyle / Culture

Get Pierced

Here And Now

The Pierce Brothers

Fractures is releasing his new album Still Here in February and the multi-instrumentalist will hit the road around the same time for a series of east coast launch shows.

After supporting at the mammoth Ben Harper & The Innocent Criminals tour, The Pierce Brothers have announced a run of their own summer shows in December and January.

Fractures

Katie Noonan & Karin Schuapp

Reach For The Skies Katie Noonan & Karin Schuapp are re-uniting for a new album Songs Of The Latin Skies, a journey through the South American songbook of bossa nova, samba, salsa and tango. Speaking of journeys, they will take the cut on tour in March, May and June.

Reader Between

Starbucks’ Howard Schultz is to step down as CEO to focus on his real passion: Organizing his EXTENSIVE collection of Norah Jones CDs.

The Lines Already a cornerstone of the Port Fairy and Blue Mountains festivals in March, Scottish singer Eddi Reader has expanded her itinerary to include her own shows across the country.

@midnight Eddi Reader

8 • THE MUSIC • 7TH DECEMBER 2016

Arts / Li Music / Arts / Lifestyle / Culture

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For a regular hit of news sign up to our daily newsletter at theMusic.com.au

Mad Max: Fury Road

â&#x20AC;&#x153;Ride Eternal, Shiny And Chromeâ&#x20AC;? Get your Furiosa on with the new Mad Max: Fury Road Black & Chrome Edition. Director George Millerâ&#x20AC;&#x2122;s original vision for his dystopian thrill ride was to shoot in black and white. Now you can see this modern masterpiece as it was intended.

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Yearning For Helen Even though it was released in 1993, Things Of Stone & Wood have never played their album The Yearning live in full. This will change in March and April when they head out to do just that on a national tour.

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Music / Music / Arts / Lifestyle / Culture

Garden Life

Boy & Bear

The Botanic Gardens have announced a new concert event, A WEEKEND In The Gardens. The inaugural event takes place over the three days of the March long weekend with a line-up featuring John Farnham, Boy & Bear, Icehouse and more.

Culture Vultures From hip hop to flocking, post-disaster investigations to interactive bondage, Arts House first season of 2017 will captivate, provoke and connect audiences to the world, and each other.

Midsumma Festival

Summer Lovin’ Melbourne’s annual celebration of the vibrant diversity of queer culture, Midsumma Festival, has unveiled 2017’s offerings. At one of the fest’s three hubs, catch a wealth of wild and wonderful performances, installations and exhibitions, 15 Jan – 5 Feb.

Arts House

16 The percentage increase in attendance at live performance events in Australia between 2008 - 2015, from Live Performance Australia’s recently released Ticket Attendance And Revenue Survey on 2015.

10 • THE MUSIC • 7TH DECEMBER 2016

Carus Thompson

On The Beach Carus Thompson returns with his first new track in five years, Beach Fires, and is heading out on the road to spread the word about it and his new album Island, due out early 2017, with shows in February and March.

Arts / Li Music / Arts / Lifestyle / Culture

Road Movie

Backlot Rooftop Drive-in

Fancy a night at pictures? Mix it up with a trip to the Backlot Rooftop Drive-In. You’ll find all the blockbuster movies you’re hankering for but with a 360-degree panoramic view of Melbourne’s glittering skyline. Drive up from 26 Dec.

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Laugh Riot The 2017 Melbourne Comedy Festival won’t drop in until February, but there’s a few exciting early announcements already out there, including appearances by Jason Byrne, Nazeem Hussain, Joel Creasey, Des Bishop and Urzila Carlson.

SAT 10TH DECEMBER

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For all gig and event details check out theMusic.com.au.

FRIENDS

Ngaiire AFTER WORK HAPPY HOUR FROM 5PM

It’s Finally Time For Pleasure With the Pleasure Garden Festival about to hit this Saturday at Catani Gardens, they’ve announced that Ngaiire and DJ Sovereign Trax have joined the line-up alongside The Cat Empire, Blue King Brown, Tash Sultana and more.

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THE MUSIC • 7TH DECEMBER 2016 • 11

Music

Cyclone catches up with Toni Di Blasi of The Avalanches to find out why they’ve dwindled away to a duo. Cover and feature pic by Steve Gullick.

fter countless false proclamations, not even diehard fans imagined that The Avalanches would ever follow 2000’s cult album Since I Left You. But, in July, Melbourne’s now duo of Tony Di Blasi and Robbie Chater unveiled the wistfully beguiling Wildflower. It could be the ‘event’ album of 2016. The hyper-scrutiny hasn’t stopped, however. The Avalanches’ live comeback at Splendour In The Grass, trailing European DJ dates, was dissected minutely. The eccentric party faves will be better prepared for this summer’s Falls Festival appearances and hot-ticket headlining shows. Di Blasi makes it hard to ask the tough questions by being so endearing. He laughs merrily, cracking self-effacing jokes about the ridiculously epic wait for Wildflower. Still, he’s surprisingly candid. Since Splendour, The Avalanches have been developing their tour act — which, in its current incarnation, features Baltimore rapper Spank Rock, divette Eliza Wolfgramm and drummer Paris Jeffree. They’re also lining up “special guests”, with Mercury Rev’s Jonathan Donahue, who sings Wildflower’s woozy Colours, confirmed. The Avalanches will retain their hybrid format — with Di Blasi behind the decks and the peroxide blond Chater on guitar. “Because there’s so many samples in all the music that we do, it’s really, really hard to play traditionally live,” Di Blasi explains. “I guess it’s kinda the only way we know.” Punters will hear more Wildflower songs.

12 • THE MUSIC • 7TH DECEMBER 2016

The Avalanches enterprise was conceived by Di Blasi and Chater, school pals from regional Victoria, with Darren Seltmann in the late ‘90s. They’d eventually expand into a six-man collective. Signed to Steve Pavlovic’s Modular Recordings, The Avalanches presented Since I Left You, a plunderphonics — or mash-up — classic with reputedly 3,500 samples (Madonna’s Holiday!). The Avalanches scooped ARIAs. More significant was their international success. The Avalanches preempted Australia’s dance and hip-hop boom, post-pub-rock. They enraptured a cynical UK media. Nonetheless, Since... was followed by years of pedantic ambition, complicated sample clearances, and stress. Chater privately battled debilitating autoimmune disorders. And, then, Modular imploded. The Avalanches summarised it as “seven shades of shit”. But the outfit, and Modular, periodically hyped up a second album, which, in turn, became an ‘in’ joke. In 2013 The Avalanches intriguingly remixed Hunters & Collectors’ Talking To A Stranger (their version cleverly titled Stalking To A Stranger) for the Crucible tribute project. Over time, too, The Avalanches disintegrated — today Di Blasi quips that they’re “dwindling away” — leaving him and Chater as the principal DJ/producer/musos. The Avalanches’ champion turntablist Dexter Fabay quit early, launching Grrilla Step. The most momentous desertion was that of Seltmann — belatedly revealed by his singer/songwriter wife Sally in 2014. It didn’t radically alter the dynamic, Di Blasi maintains. “I

think it was just like a slow kind of departure. I don’t think his head was in the game anymore. It took a few years for that to work out. It was slowly more about Robbie and I doing stuff together. Then we just woke up one day and went, ‘Where’s Darren?’ So we had a big talk and, in the end, he just didn’t really feel like doing it anymore. We were cool, like, ‘Yeah, no worries — you could have told us,’” he laughs. Seltmann’s new domesticity was a factor. “He went one way and we were still living ‘the broke musician life’ that perhaps doesn’t work with a family, I presume.” Alas, that distance has widened. “I don’t have much contact with him — and, by ‘much’, I mean ‘any’ contact,” Di Blasi laughs. Another member, James Dela Cruz, briefly returned. Although the DJ wasn’t involved in creating Wildflower, he began hanging out with The Avalanches. They invited him to rejoin the live ensemble. Dela Cruz posed with them for the Wildflower promo shots. Says Di Blasi, “We were like, ‘Oh, cool — it feels like more of a band than just a duo.’” Unfortunately, they hadn’t yet discussed monies. “When it came to working out the finances of the situation, we were taken aback by what he wanted,” Di Blasi laughs. “We weren’t able to afford to have him in the band, for what he wanted.” The genius of Wildflower lies in its meta-nostalgia; The Avalanches mythologising themselves as much as any epoch. The album navigates a sonic (road)trip through ‘60s psychedelia and ‘90s breakbeat, discohouse and Balearic. Thematically, it manifests an impossible dream of carefree countercultural romance. For the first time, The Avalanches collaborated with other ‘stars’. The ubiquitous lead single Frankie Sinatra epitomises The Avalanches’ novel charm with its calypso swing, and The Sound Of Music flip, but adds cameos by mavericks Danny Brown and MF DOOM. The Noisy Eater is a big-beat cartoon with MC Biz Markie and a snatch of The Beatles’ Come Together — as sung by high school kids (and “personally approved by Paul McCartney and Yoko Ono”). Crucially, Wildflower is idiosyncratic. Di Blasi is at a loss as to how to position it in contemporary pop. Indeed, in 2016 The Avalanches constitute their own micro scene — existing outside of time and space. “I feel like Since... was more of its time than Wildflower is of now.” With impossibly high expectations, Wildflower received wildly divergent reviews — from OTT to underwhelmed. Di Blasi is happy with

the response overall — as far as he can ascertain. “I think it’s been quite positive, to be honest. I haven’t really paid a lot of attention to social media or anything like that. Robbie does it a bit more than I, but I just feel like it gets a bit weird when you start reading all this stuff. But every now and then I have a look.” In Australia, Wildflower debuted at #1. Shockingly, The Avalanches were overlooked at this year’s ARIAs in favour of Flume. The music industry has changed dramatically since 2000. Prior to Wildflower’s issue, The Avalanches arranged an exclusive week-long stream via Apple Music (excluding Europe) and were granted a TV ad campaign in Oz using Subways. But, Di Blasi says, that might have adversely impacted the UK roll-out. “There was some little argy-bargy over there about that.” Mind, Wildflower reached the UK Top 10. Mid-year, The Avalanches were compelled to cancel European bookings because Di Blasi had “a medical condition requiring treatment”. He’s adamant that neither this “temporary thing” nor Chater’s health concerns will affect 2017’s global tour plans. “I think it was just burn-out,” Di Blasi admits. “We kind of thought we’d finish the record and you could put your feet up and sit back and relax — I don’t know why we thought that. Probably ‘cause we hadn’t had a release for 16 years! We didn’t realise how hectic that was gonna be.” They simply “needed a break”. The Avalanches have described the completion of Wildflower as a “quasi-magical quest”. Yet recently the pair have suggested that a third album may surface as soon as 2018. “My friends say that we live on Avalanche time, which is, ‘I’ll send it Tuesday’, and it ends up being Sunday,” a blithe Di Blasi teases. “So 2018 might end up being a little bit later. But, in all honesty, I’d love to do something really, really quick... So I think, yeah, 2018, ‘19 — hopefully.”

We weren’t able to afford to have him in the band, for what he wanted.

When & Where: 30 Dec, Falls Festival, Marion Bay; 31 Jan, Falls Festival, Lorne; 3 & 4 Jan, Melbourne Town Hall

THE LEFTOVERS The Avalanches have something in common with both Prince and 2Pac — they’ve accumulated outtakes, if not quite a vault. While slowly progressing on the wonky mixtape supreme that is Wildflower, the combo even cut a “really cool” spokenword track with August Darnell — the iconic frontman of the ‘80s tropical-funk band Kid Creole & The Coconuts. Says Tony Di Blasi, “We had it as the intro for the record there for a while.”

The big guest vocalists on Wildflower are American: Danny Brown, Toro Y Moi, Father John Misty. Yet, early on, The Avalanches experimented with Perth’s Luke Steele — preEmpire Of The Sun. Sadly, such numbers did not “match” the other material and so were shelved. Will The Avalanches save them for another album? “It’s a tricky situation because it would be really great to already have five or six songs of a new record done and kinda go, ‘Oh, shit — all we need is five

more and then we can do it all again,’” Di Blasi ponders. “But, then, it’s also like the baggage of still working with the songs from this time. Just the journey and everything of this record was so long, and was a tough process — you almost wanna put it all to bed.” Instead, the pair may “throw out a little EP of extras”. “We’ll definitely do something with all those songs.”

THE MUSIC • 7TH DECEMBER 2016 • 13

Music

Peaches Does Jesus Transgressive electro-pop icon Peaches tells Anthony Carew that she has played live shows under police guard in oppressed states, but Peaches Christ Superstar is the “most terrifying thing” she’s ever done.

hen Peaches arrived in Australia early in 2002, it wasn’t just the start of a lifelong love-affair between locals and the Berlin-based, Canadianborn electroclash icon. Sure, it was her first tour here, but it was also her first international tour, with her Big Day Out shows her first-ever festival appearances. In the years since, Peaches — 47-year-old Merrill Nisker — has toured Australia eight times, “seen a lot of places, experienced a lot of communities, and made a lot of friends all around the world”.

A mother complained that I was masturbating on the stage.

Peaches makes for quite the cultural export: her songs full of salacious lyrics and genderqueer themes, selling progressive sexuality and body positivity. Which means that when she takes her show on the road — into Eastern Europe or Asia — she can be seen as a transgressive pop-cultural presence. “Those are the more exciting shows, because people can’t believe that I’m doing what I’m doing,” says Nisker. “I never felt afraid, maybe naively. I played a festival in Belarus where the whole backstage was lined with police guards just in case something went wrong. But, luckily, [the police] didn’t understand the English lyrics. I’ve played in China, at festivals and in clubs. I’ve played a couple of shows in Singapore. One was in a private club, because everyone was worried; the laws in Singapore state that there can 14 • THE MUSIC • 7TH DECEMBER 2016

be no scantily clad clothing, no physical interaction with the audience, and no revolutionary comments about the government. That show was great, it was like every transgressive person in the country filed into one room, and they locked the doors and had a party. I also played in Jakarta and there were girls in burqas there to see me play, which was tremendously surprising and really exciting; it made me re-examine my own ideas of what girls in burqas want to listen to. “I played in Moscow soon after the Pussy Riot jailing, and the other members of Pussy Riot were there, hidden in my backstage. That show had a line of security guards at the front of stage intimidating people so they [didn’t] go crazy. They didn’t stop the show or anything. The only time I’ve ever been asked to leave was when I played my first-ever show in New York. It was at Coney Island. The rides and the kids were on one side, and then on the other side they were having a festival. I was one of the first people on, so it was, like, three in the afternoon, and then a mother complained that I was masturbating on the stage. At that point I wasn’t masturbating, I was just singing. But the festival kicked me off.” In her latest trip to Australia, Peaches will be performing her one-woman show, Peaches Christ Superstar, at Mofo at MONA. It finds her performing the musical — once considered sacrilegious, now nostalgic — entirely on her own. “It’s the most terrifying thing I’ve ever done,” Nisker says. “Firstly, it’s not my lyrics, so I can’t screw ‘em up. If it’s my own track, I can do what the fuck I want; fuck it up, stop it in the middle, change it up. But, with this, I really want to honour it, I want to do it p properly, really tell the story. Some people find that really kitschy, some people take it really seriously. I’m doing it earnestly. I loved the album when I was young; I used to t sing it in my bedroom when I was 15... I wanted to embrace em the challenge of honouring it as an album, as music music, in the power of its words, not as a production.” As well as performing Peaches Christ Superstar, in 201 2012 Peaches turned her career into the “electro rock-o rock-opera” Peaches Does Herself, fashioning a jukebox music musical from her back catalogue, then directing a film versio version. While it seems like Nisker growing in ambition, there’s also a sense of coming full circle. When she went tto Toronto’s York University to study theatre, “it was w with the intention of making musicals cool,” Nisker offers. “Which wasn’t a very popular directorial choice. Especially when you’re first in university, and everyone is so serious. It was a three-year program, but I dropped out after a year and a half. I figured I would’ve had a heart attack by the time I was 30, having to work with actors, having to deal with all the bureaucracies. Pretty soon thereafter, I found music and realised I could be my own director and actor, create any universe I wanted to.”

When & Where: 10 Dec, Meredith Music Festival; 11 & 13 Dec, 170 Russell

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PLUS HE A PS MORE AT W W W.NORTHCOTESOCIA LCLUB.COM THE MUSIC • 7TH DECEMBER 2016 • 15

Music

Frontlash Seasonal Cameo After Chris Martin started performing Crowded House’s Four Seasons In One Day during Coldplay’s Auckland concert, Neil Finn sauntered up to join him! Choice!

Life Blood

Jingle Bell (Robot) Rock Even the biggest Grinch on the planet would want Daft Punk’s limited edition white and gold robot helmet ornament set decorating their Christmas tree. But we actually want them to hang from our rear-view mirror!

Lashes

Young Talent Time Have you seen the “When Someone New Starts At Work” YouTube video that was doing the rounds last week featuring a clip of the Emu’s Pink Windmill Kids introducing themselves from back in the ‘80s? It’s our new obsession and there are plenty more YouTube clips available for your viewing pleasure online.

You Can’t Stop Emu-sic

Backlash

Vale Wayne Duncan The Daddy Cool bassist passed away over the weekend, adding to the long list of legends we’ve had to farewell in 2016.

Word Up

Melbourne used as a verb. Make it stop.

Gonna Sydney The Shit Out Of This Hannibal Buress delivered some very funny truths about Sydney’s lockouts at Hamer Hall this weekend. It kinda made us embarrassed to be Australian, but sure as shit happy to be in Melbourne. 16 • THE MUSIC • 7TH DECEMBER 2016

Jagwar Ma’s Gabriel Winterfield chats to Roshan Clerke about how the singer’s change of scenery to London lead to a new outlook on music.

t’s early morning when Gabriel Winterfield from Jagwar Ma calls to talk about life overseas, and the process of writing the band’s latest album. The phone line crackles slightly as the Sydneysider speaks from London, which is just heading into winter. “It’s starting to get a little colder here,” he says. Winterfield has been living in London for the last few months, and is still feeling new to the city. “I definitely think there is a different vibe here. There’s different groups of people here that have an impact on what you hear. It’s amazing how when you walk around or drive around London in a cab there’s always couriers and stuff, and they’re always blasting their music as they drive around London. We call them the red blood cells of the city because they’re pumping musical oxygen throughout it. I love the fact that you can experience the juxtaposition of hearing dub in a cold environment. Just masses of Jamaican rhythms pushing through the grey climate. It’s very London.” Every Now & Then is the Sydney band’s second full-length release, and while there’s no obvious reggae influence on the album, the three-piece have taken a broad thematic approach to its songwriting. “Well, I think the title sort of encompasses the record itself,”

Winterfield says. “In retrospect the album has a weird sort of self-awareness to it, where it’s almost that the album is actually about writing the album itself. I like the idea of people using the expression, and it standing on its own as a reflection of life. Because life is every now and then.” Winterfield sees the sound of the album as somewhat of a sequel to the band’s debut album, Howlin’. “I don’t think it’s a grand departure, but there’s a few curveballs in there as well that people wouldn’t expect. There’s some tracks that if you can imagine subbing them in or out for a Howlin’ track it would seem like almost a different band. There’s probably more of a soul element to this record, and perhaps a slight departure away from some of the British-sounding influences. But I would rather leave that reflection up to someone else’s interpretation.” Ultimately, Winterfield says the group aim for a balance of physical and cerebral qualities in their music. “Dance music is entirely related to the physical. Repetition invites participation. Songwriting is very different. I often say that a song tells the story. It’s inviting someone to listen to a story, or some sense of journey. And then dance music itself is the story. You’re part of the story, and you’re part of the journey. It takes you on the story and you’re actually participating. But with singer-songwriter stuff, you don’t need to. It’s not as important. They’re both beautiful things, and both beautiful aspects of music and ways that people appreciate things, but they’re very different. There is no priority for us. We like both, and try to incorporate both into the record.”

When & Where: 10 Dec, Meredith Music Festival; 28 Jan, Laneway Festival, Footscray Community Arts Centre; 29 Jan, 170 Russell

thurs 2/2

fri 9/12

BARONESS

TARRUS RILEY

thur 15/12

HELP WILL FLIP THE BIRD TO 2016 All ages event 2pm to 6pm

MINISTRY OF SOUND REUNION TOUR THE ANNUAL 2001-2004, FEAT. JOHN COURSE & MARK DYNAMIX SAT 31/12

fri 23/12

SUNSHINE’S MIDNIGHT MASS ALL NIGHTER PRINCE PUBLIC BAR NOW AN OZTIX RETAILER

free live entertainment every week!

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THE MUSIC • 7TH DECEMBER 2016 • 17

Music

Maple Beef Stream Dreams

Spotify has released its annual countdown of the most listened to artists and tracks of the year. Here are 2016’s highlights.

Top Five Played Artists In Australia 1. 2. 3. 4. 5.

Drake Justin Bieber Flume Kanye West Rihanna

Top Fived Tracks In Australia 1. 2. 3. 4. 5.

One Dance (feat. WizKid and Kyla) – Drake Never Be Like You – Flume Don’t Let Me Down – The Chainsmokers Closer – The Chainsmokers I Took A Pill In Ibiza (Seeb Remix) – Mike Posner

Top Five Albums In Australia 1. 2. 3. 4. 5.

Views – Drake Purpose – Justin Bieber ANTI – Rihanna Blurryface – Twenty One Pilots Dangerous Woman – Ariana Grande

18 • THE MUSIC • 7TH DECEMBER 2016

Canadian producer Ryan Hemsworth chats to Cyclone about territorial music collectives and maintaining a signature sound.

he cutting-edge Canadian DJ/ producer Ryan Hemsworth is a regular visitor to Australia. One wild rumour is that he’s secretly related to those famous actor brothers Chris and Liam. Hemsworth, in London on tour, chuckles when probed for the truth. “Well - I’ll have to keep it secret.” Last here for 2015’s Listen Out fest, Hemsworth is returning to headline Beyond The Valley alongside the likes of Chance The Rapper, Hudson Mohawke and Phantogram. “I’ve always wanted to do Australia for New Year’s,” he enthuses. “I’ve always heard great stuff about it.” Hemsworth came up in Halifax playing guitar and singing in bands. But, exploring hip hop and electronic music online, he developed into a bedroom producer. Hemsworth - who studied journalism at college - was among the first beatmakers to blend hip hop, R&B, electronica and indie, describing his music as “all over the place”. In 2011 he dropped a collab album, Distorted, with Oakland rapper Shady Blaze. The alt-urban hybrid is now pervasive. And Hemsworth believes that it’s because the old “stigma” of listening to disparate genres has gone. “You’re supposed to enjoy discovering new music and different styles every day and stuff like that - and that’s what keeps it fun.”

In 2012 Hemsworth remixed Boss for rising R&B star Tinashe. She subsequently performed on the illwave single One For Me from his acclaimed solo debut, Guilt Trips. They’ve remained in touch, Hemsworth contributing to Tinashe’s Amethyst mixtape - and he was a special guest on her Joyride Tour. “There’s certain people who you find that musically you just connect [with] and you don’t need to stress too much about going back and forth and making the perfect song. Sometimes it kinda just comes together on its own. When you find those people, you hold on to ‘em.” These days Hemsworth is based in Toronto. He admits to having had the “romantic idea” of trying to join Drake’s local OVO Sound posse - “’cause for music they sort of run the city and they keep it on lock.” But this does mean that it’s “a click”. “They’re territorial, which is cool in its own way, ‘cause Toronto has never really been on the map like that.” Hemsworth may not fit in, anyway. “There’s an interest there, but I think I’ve also gotten more and more comfortable with my own sound and what I’m doing.” Recently Hemsworth has been working on “a rap album”, setting up camp in Atlanta. “It’s been a really different, fun experience for me. I’ve been producing for singers and rappers for at least six years now, but this [project] is really just [about me] spending weeks at a time in the city - going to the studio every day, having different people come in... So it’s been like this kind of a push to really make new music every day - [you] look forward to who is coming in, what are you gonna make, really working on your toes, which is something I’ve been wanting to do for a while. Be a bit instinctive with it, I guess.”

When & Where: 30 Dec, Beyond The Valley, Lardner

WED 7 DEC

CHILDREN OF THE SUN (SINGLE LAUNCH) SUGAR TEETH ELECTRIC EXILES 8.30PM

THU 8 DEC

DIANAS

BODY TYPE POPPONGENE FULL FLOWER MOON BAND 8.30PM

FRI 9 DEC

THE LOST FRIDAYS NORTH CITY IMMORTAL HORNS

www.themillhouse.com.au

8.30PM

SAT 10 DEC

COLD MEAT RED RED KROVVY SPOTTING SHIV 8.30PM

PUGSLEY BUZZARD 5.00PM / DOWNSTAIRS

SUN 11 DEC

PLEBS

LOOKS LIKE RAIN MYSTERY TRAM JACKSON PHELAN

Live music at the Mill House

8.00PM

MON 12 DEC

every Wednesday from 6pm

SCREEN SECT 7.00PM

$12 burgers all night

TUE 13 DEC

MAKE IT UP CLUB 8.30PM

Book a booth! /TheMillhousemelbourne @TheMillhousemelbourne (03) 9662 4002

info@themillhouse.com.au

THE MUSIC • 7TH DECEMBER 2016 • 19

Music

The Manniversary As they prepare for the ten-year anniversary of their doublebill shows, Josh Pyke and Bob Evans admit to Carley Hall that there’s a fair bit of man love between the duo.

music industry meet-up, adult sleepovers in a childhood home, sage words of wisdom, a bevvy of beverages — these are the ties that bound two of the country’s most loved troubadours a decade ago and set them off on a well-received national tour. And now, ten years on, Josh Pyke and Bob Evans are packing their bags to do it all again. Off the back of a busy year — new albums and associated touring for each of them — Pyke and Evans, aka Kevin Mitchell, have found time to line up a commemoration of sorts to mark their first outing as a duo with Another Evening With Josh Pyke and Bob Evans. They even found an uncanny way to work out who got top billing.

“Josh was still pulling fucking Jebediah posters off his bedroom walls!

“It was like one of those traditional Turkish oil wrestling matches,” Mitchell deadpans. “Josh just overpowered me and he got the top billing, once again. Twice out of two tours.””It’s just how I roll,” Pyke admits. And at the suggestion of a compromise, a fusion of the two names into a Brangelina-like moniker — ‘Bosh’ or ‘Job’ are proffered suggestions- tongues remain firmly planted in cheeks. “The last thing I need in my life is another fucking band name, or any name at all,” Mitchell laughs. “That’s true, isn’t it? At least they’re all one syllable — Bob, Kev, Jeb,” Pyke offers.

20 • THE MUSIC • 7TH DECEMBER 2016

Meeting ten years ago when Pyke’s star was on the rise and Mitchell’s transition from Jebediah frontman to Bob Evans was well on its way with a celebrated second album just released, the pair found a cohort in each other. With Pyke a massive Jebediah fan and with an insight into the offbeat way in which this union kicked off, it’s clear from the start there were no egos but plenty of good times. “My parents were overseas and Kev came and lived there as well,” Pyke explains. “I had to slowly admit to him that I was a huge Jebediah fan in a way that wouldn’t make him feel like I was a creepy stalker who was trying to manipulate the situation to have him stay in my childhood home!” “Josh was still pulling fucking Jebediah posters off his bedroom walls!” Mitchell interjects. “So we were literally living together for the first five days before the tour doing our final rehearsals.” Fan love aside, for Mitchell the tour was a chance to keep the momentum of something positive rolling along, as the duo were both at the time pushing their respective projects into the then growing indie dandy-man scene. “I’d been overseas for six months and was away when Josh was becoming this musical icon,” Mitchell recalls. “So we were doing this tour and everyone was singing along to Josh’s songs and he had this really great thing going on. I think I was just happy to be rolling along and to be part of something that’s so positive.” And if it allowed Mitchell a chance to play the ‘Dad’ card and offer some advice to an up and coming Pyke, so be it. “He really did say this to me and he’s always denied it,” Pyke explains. “I was stressing about something and he literally said to me ‘less thinking more drinking’.” There’s no doubt the drinks will be flowing when the pair reunite for their double billing. While there’s collectively now a bunch more albums to pluck set list songs from, Mitchell said the fundamentals of the pair’s chemistry remain. “Josh and I are almost exactly the same age, we’ve shared the same generational experiences, we’ve both gone through loss, changes, at very similar times,” Mitchell explains. “It’s pretty rare. I don’t have any other friends that I have that broad amount of things in com common with.””I think both of us are ambitious people but I’m not particularly competitive,” Pyke adds. “That’s the o only time I could see things being bad, but that’s not how either of us roll.” With an equal amount of admiration, similarities and genuine enjoyment of each other’s company, the door is wide open for yet another Josh Pyke and Bob Evans evening down the track — like, way down the track. “We’ll be doing a tour of old people homes in 2026,” Mitchell confirms. “No that’s too soon, 2036 maybe, 2026 will just be hitting up the RSLs.” “Aw dude, can you imagine when we’re like 65 or 70 you and I just get in our golf buggy and just hit the RSLs and the nursing homes, playing our songs and like Harpoon?” Pyke enthuses.”Yeah people would literally be rolling in the aisles!” Mitchell agrees. “They would have to have some fucking extra meds to keep the crowd under control.”

When & Where: 15 Dec, Sooki Lounge; 16 Dec, Corner Hotel

THE MUSIC â&#x20AC;¢ 7TH DECEMBER 2016 â&#x20AC;¢ 21

Eat / Drink Fire Eat/Drink

Starter

Hernan Palacio

dinburgh Castle Hotel’s weekly cross-cultural knees-up, Let Them Eat Baklava, is turning the Brunswick watering hole into a hub of international beats and South American meats. With a red-hot roll call of DJ talent on offer every Sunday, curated by DJ Mondo Loco (aka Serhan Ali), as well as chargrilled deliciousness courtesy of Argentinian meat masters Senor BBQ, it’s the perfect place to round out your weekend. We caught up with Senor BBQ owner Hernan Palacio to learn the secrets of the smoke. What’s the difference between your common or garden backyard barbie and the Argentinian BBQ? There’s a big difference! We are famous for the way we cook the meat and the secret of that is that we use charcoal and time. You need patience to get the meat just right — it’s no good trying to rush it. The cuts that we use that are best for cooking slowly — it has to be butchered in a very particular way to get the full flavour of the meat out. Particularly when you’re cooking meat with bones, like ribs. They are cut so the marrow can come out and add an extra richness to the flavour. You’re obviously very passionate about this kind of cooking... Well, I love fire — you really have to like fire to work with a BBQ! I think there’s something very significant about fire. Lighting a fire and gathering around it is like an ancient ritual. Our ancestors did that, that was how they developed their culture, their community, and it’s the same when we cook on the BBQ. It takes a couple of hours for the meat to cook and so the BBQ becomes a focal point for people to meet and share — it is an event in itself. So, loving fire is key, but having a good relationship with your butcher must be important too? It’s fundamental! I have been in business for ten years and from the beginning I’ve always worked with the same butcher. They are from an Italian and Greek background but have family in Argentina, so they understand what we need; they give us the best cuts for an authentic Argentinian taste. They are also a family business like Senor BBQ, so they understand how much pride we take in what we do and how important quality and consistency are. Australia has its own BBQ culture, but what does the BBQ mean to Argentinians? To give you an example, the word “asado”: it’s the name of the traditional fire pit, but you can also be invited to an asado, and the most popular cut of meat is also called asado. All these things use the same word because the food, and the way it’s cooked and the event of cooking it, are all connected and part of this culture of gathering around a fire. For me and my team, the opportunity to share cultures and bring something authentically Argentinian to Let Them Eat Baklava is the main reason why I’m there.

22 • THE MUSIC • 7TH DECEMBER 2016

The Gender Agenda With the comedy troupe about to release their debut TV program, Skit Box’s Adele Vuko chats to Guy Davis about finding her comedy contemporaries and pushing for change.

It could be funny but if it didn’t strike a chord we tended to stay away from it.

t began as so many creative endeavours do, with a bit of observation and a bit of alcohol. Stand-up comedian Greta Lee Jackson and actors Sarah Bishop and Adele Vuko knew each other through their different circles of friends and their intersecting circles of the Australian entertainment scene — a bit of freelancing at a production company here, a collaboration on a short film there. And one night, back in 2012, they all found themselves at an event where projects were being announced and cocktails were being poured. “We were a little bit tipsy,” laughed Vuko. “And we were seeing all these people, mainly guys, doing all this great comedy and we felt really inspired. We turned to each other and said ‘Maybe we should do this!’” Not just your regular old sketch comedy, however. The trio resolved to “work together to make some great girl comedy” — after all, says Vuko, while the online sketchcomedy scene in Australia is thriving now, four years ago it was difficult to name one all-female outfit cracking jokes and getting laughs on the internet. And so Skit Box was born, and the troupe quickly started turning out web series, short films and musical-comedy sketches, including their most popular to date, ‘Activewear’ (more than 4.5 million views on YouTube so far), which lampoons the myriad activities one can do in a sporty outfit — getting coffee, waiting for the bus, buying a different activewear ensemble, not exercising. Their “twisted, female-driven comedy” caught the eye of the ABC, which commissioned six episodes of Skit Box’s sketch series Wham Bam Thank You Ma’am as part of the Fresh Blood initiative (Melbourne comedy troupe Fancy Boy also got the call-up). But just what is Skit Box and who are these women? “The three of us have different backgrounds and different tastes,” Vuko says of her Skit Box comrades. “Greta is an encyclopaedia of weird, absurd comedy — she loves Tim and Eric — and she could have a PhD in true crime — serial killers are her passion. But she also a My Little Pony collection, so there you go. Sarah has this incredible depth and breadth of filmmaking knowledge — she’s across everything from indie film to what’s happening on Netflix. And I’m somewhere in the middle — I love Australia’s Next Top Model as much as I love Black Mirror.” When the three women started working together, however, they found a common voice.

“Our first popular sketch had women harassing construction workers with inappropriate relationship catcalls. And that became the basis of what we did going forward — we’d flip various situations and circumstances to show that what women have to put up with is not always OK.” Creatively Jackson, Bishop and Vuko were simpatico, but it also helped that their behind-the-scenes skills were equally complementary. “We had this triangle of expertise,” smiles Vuko. “It can be hard to organise a shoot or edit material or do the marketing if you don’t have that background. But I have a background in production coordination, Greta was an editor and Sarah came from marketing so she handled all of that.” Being that kind of self-contained, self-sufficient unit with the ability to put together their own material has helped a lot of artists get their foot in the door, so to speak. “In Australia, I know the ABC and SBS scour YouTube looking for new talent,” says Vuko. “You can be an overnight sensation, have people here and overseas contacting you to ask what kind of show you want to make.” And nailing exactly what kind of show Skit Box wanted Wham Bam Thank You Ma’am to be was of paramount importance to Vuko, Bishop and Jackson when they were commissioned to make their ABC series, which will air on ABC 2 and the iview platform. “When we were in the writers’ room figuring out what we wanted from this series, that was when it was important to figure out what we want to really say,” says Vuko. “The sketch comedy format can be hit and miss, and we didn’t want arbitrarily chosen sketches — ‘Let’s do something about this!’ — that weren’t meaningful. We made a conscious decision in the early stages to make this show for women — it’s written by women, directed by women, starring women...well, mostly, and it’s targeted at women.”

What: Wham Bam Thank You Ma’am When & Where: 9.30pm 8 Dec on ABC2 and ABC iView

THE MUSIC • 7TH DECEMBER 2016 • 23

Indie Indie

Messy Mammals

Golden Age Of Ballooning

Broken River

Album Focus

Single Focus

Have You Heard

Answered by: Asha Trips

Answered by: Chris Boardman

Answered by: Ben Stolz

Album title: Rewind Zodiac

Single title: So They Say

Where did the title of your new album come from? The name came to us out of nowhere about a year ago. It ties all of our experiences — and all we were trying to convey with this music — into one big, multilayered idea!

What’s the song about? So They Say explores the push and pull of remaining love in a doomed relationship.

When did you start making music and why? l started trying to teach myself guitar around 10 years of age. It seemed to remove me from whatever was going on around me at the time.

How many releases do you have now? We have released one EP before this. So this is our second release, but first album! How long did it take to write/record? It’s hard to pinpoint. I guess one and a half years, but so much happened within that time that it feels longer. Time is a weird concept normally, but especially for us in relation to this album. Was anything in particular inspiring you during the making? Life, everything! The last few years were pretty intense and the album was like an outlet for us — we poured everything into it. Heartbreak, our own experiences, our friends’ experiences, time/ space, different universes, everything. What’s your favourite song on it? Moon Falls. Not to blow trumpets, ha ha, but it’s big/groovy to me! I also know Rewind is important for Fionn. Will you do anything differently next time? Oh yes, we already are! We’re working on new songs already and structurally they are very different, more cohesive and crystallised. In this crazy world we’re feeling a clarity tip. When and where is your launch/next gig? Sunday 11 Dec baby, arvo gig at The Workers Club. It kicks off at 1pm. We are super lucky to have the amazing Walla C and Cocoa Noire playing too. Website link for more info? www. messymammals.com

24 • THE MUSIC • 7TH DECEMBER 2016

How long did it take to write/record? Super quick for us! The first verse had been floating around for a couple of years but the band only started working on it in two months ago. Our last single took years! Is this track from a forthcoming release/ existing release? Golden Age Of Ballooning had planned to release four singles in 2016! We’re running behind as we scrapped one, feeling we’d missed the mark. We’ll put them on vinyl when finished, then start work on our debut album. What was inspiring you during the song’s writing and recording? The verse was written upon moving to Berlin with a band and after breaking up with my girlfriend to do so. Although not so much about that event, it’s definitely an epic break-up song.

Sum up your musical sound in four words? Deep. Dark. Whiny. Loser. If you could only listen to one album forevermore, what would it be and why? Talking Heads — 77. Such a young band. Their first record. It’s outrageous how good it is. l was going to say Faith by The Cure, but l’d kill myself listening to that forever. Greatest rock’n’roll moment of your career to date? l saw the Cosmic Psychos at an all age show when l was 14. l left the show a different kid. Then I did some shows with them in a previous band l played in. It’s hard to top that. Why should people come and see your band? Come have a beer with us to help celebrate our release. It’s a lot of bloody work.

We’ll like this song if we like... Do you dig uptempo-drama-rock maybe? Is that even a thing? There’s a bunch of harmony guitars. Do you like those?

When and where are your next gigs? 14 Dec, The Tote. We’ve got a lot of tentative releases planned for the first half of 2017. Nothing penned in just yet.

Do you play it differently live? Yes, mostly not as good! It’s a very complex song and it’s also kinda new for us. That said it works very well live, when we nail it, it stays nailed.

Website link for more info? www.facebook. com/brokenrivermusic

When and where is your launch/next gig? 8 Dec, The Old Bar Website link for more info? www.facebook. com/GAOBband/

In Focus Briefs

Get ready for a night out with the outrageously rude and deliciously lude dudes of the Briefs boylesque revue. This gender-bending cast of jaw-dropping acrobats and eye-popping entertainers has delighted audiences all over the world, performing in Berlin, London, Paris and Glastonbury. Now the sequin-clad Australian troupe are back Down Under to titillate Melburnians with their naughty shenanigans. Arts Centre Melbourne, 13 – 18 Dec.

THE MUSIC • 7TH DECEMBER 2016 • 25

Music

Different Goats

ROCK YOUR The upbeat music of Xylouris White may represent a fusion of different worlds and cultures, but drummer Jim White tells Steve Bell that no one will take their new genre ‘goatish’ seriously.

CHRISTMAS It’s that time of year again, so get ready to chuck excessive amounts of your hard-earned cash into black hole of Christmas. If the thought of forking out for a bunch of seasonal greetings cards that will be read once, put on the mantle for a couple weeks, then binned without a second glance is making your heart shrink three sizes, these muso themed Crimbo cards might lessen the sting. Made by The Fidorium, all your rock and pop favs are on hand to amp-up the holiday cheer, including Debbie Harry, Noel Gallagher, Mariah Carey, and our personal favourite, Nick Cave as Dr Zeus’ Grinch!

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auded Cretan lute player George Xylouris first crossed paths with indie-rock drummer extraordinaire Jim White (Dirty Three, Cat Power, Nina Nastasia) decades back during a stint living in Melbourne, but it was only recently that the pair joined their considerable talents to form their avant-leaning but joyous vehicle Xylouris White. Having first laid down their distinctive blend of Cretan music and intuitive improvisation on 2014 debut Goats, they’ve now expanded their aesthetic and tapped into the more raucous nature of their live show on new album Black Peak (both albums being produced by former Fugazi mainstay Guy Picciotto). “It’s based on some Cretan forms and stuff for sure, but it’s also coming from Crete and coming from Australia so it’s from both of those places,” White explains of the pair’s distinctive sound. “I feel like it’s very rooted in Crete in dances and melody in many ways, but they’re all our own compositions except for one, which is really old world - I think it’s 500 years old - called Erotokritos (Opening). It’s like an epic poem and we just did a little excerpt out of it. But it’s Cretan and it’s ‘goatish’ - ‘goatish’ is our chosen genre.

We tried using it officially but iTunes wouldn’t let us call it that.” They even took Xylouris White to Crete recently where Xylouris is part of a dynasty of revered folk musicians - and their hybrid stylings apparently went down a treat - even though traditional Cretan music doesn’t feature drums at all. “I went there for the first time about three years ago when we first started this, and now I’ve been there so many times I can’t even remember how many,” he chuckles. “And they’ve embraced it wholeheartedly actually, it’s been quite amazing. I was quite nervous about that and how they were going to react to the drums and everything. “The first show we did in Greece was in Athens at a festival and there were quite a few Cretans there, and all of the people that I met through George - who were supposedly really opinionated about music - really embraced it. And now we’ve actually played in Crete itself a number of times this year and it was just incredible: we did six shows and people came along and they loved it. I think they were also excited to see George moving in different worlds as well, and bringing new music home. “But it’s a pretty fun and pretty joyous band - we did a tour in the States earlier this year with Kurt Vile and were accepted by people everywhere there as well. I just think that Cretan music and rhythms are totally accessible and a lot of fun to experience as well as to play.”

What: Black Peak (Caroline) When & Where: 17 Dec, Melbourne Recital Centre

THE MUSIC • 7TH DECEMBER 2016 • 27

Education Feature

SAE

reaking into the music industry is an intimidating task for any young creative, and having the skills and experience to wow prospective employees and clients is a must. Luke Cincotta graduated from SAE Melbourne with a Bachelor of Audio under his belt, and has since worked with some of the country’s leading artists, from The Amity Affliction, Dead Letter Circus and Karnivool to Matt Corby, Katie Noonan and even Tina Arena, as well as alongside some of the world’s best Producers from Mike Fraser (Metallica, AC/DC, Slipknot) to Bob Marlette. He is currently loving his position as a Producer and Engineer at Sing Sing Studios, and he reflects on the learning curve that lead to his current role.

Luke Cincotta

“As I grew older, I became more aware of the cultural and social influences music could have, and the way different approaches to music production could influence listeners in different ways,” he explains. “I was constantly experimenting with different ideas in my spare time, so the course seemed like a great way to satisfy that curiosity and get some hands on studio experience at the same time. Initially, my intent was to simply learn, but from early on I had become hooked on the whole studio experience, and I quickly shifted my focus from ‘This is something I’m interested in’ to ‘This is absolutely what I want to do,’” he enthuses. Cincotta “really enjoyed” the open and creative environment at SAE. “The opportunity to openly discuss ideas, and concepts with lecturers who are active in the industry and have real world experience - not to mention are also more than willing to devote their personal time to help out - is absolutely invaluable. Having such a large 28 • THE MUSIC • 7TH DECEMBER 2016

pool of creative people, staff and students alike meant there was always something to learn from any given conversation, and having multiple perspectives to draw from is such a useful resource when studying an industry in which there really is no ‘right’ way to do anything.” From enrolling “out of curiosity” to becoming hooked on the culture, Cincotta remembers the defining moment during his studies that set him on his current path. He met one of his long-time favourite producers face to face following a guest lecture, which led to a work experience opportunity. “That opportunity led to an Assistant Engineer position at his studio, and then onto a position at Sing Sing, and ultimately to where I am today,” Cincotta reveals. “Having real-world industry professionals come and give guest lectures, advice, answer questions and generally give aspiring students an idea of what to expect of the industry was extremely valuable to me.” Deciding whether or not to continue study after leaving school is a difficult choice, but for Cincotta his experience at SAE was “an incredibly important resource of not only valuable information, but hands on experience and time to experiment in studios that featured the same equipment I’d be later using in professional studios. This practical experience combined with the theoretical studies within the course meant that when I was able to get real-world studio experience, I was immediately familiar with many of the practices, equipment and, perhaps most importantly, concepts being used and was therefore far more useful to those I was working for, and essentially allowed me to progress faster and which more confidence than if I had not had that background knowledge and experience.” For the next generation of students, he leaves us with some words of advice: “You make your own opportunities, so work hard, make the most of every situation and just never give up. Reach out to people who inspire you, use any and all of the resources available to you, set some goals and spend every spare minute working towards them. It’s certainly not easy, and nobody will hand you anything, but hard work, commitment and a good attitude can take you a long way!”

ZO670235

THE MUSIC • 7TH DECEMBER 2016 • 29

Education Feature

Melbourne Polytechnic School of Creative Arts Answered by: Andrew Gannon, Manager Performing Arts What kind of courses do you offer? The Bachelor of Songwriting & Music Production - an artist’s degree for emerging songwriters and music producers; Bachelor of Music - a performance-centred degree to develop skills and awareness of the global spectrum of music; Certificate IV, Diploma & Advanced Diploma of Music Industry - caters to anyone pursuing a career in music. Do you offer practical on-site learning or more of a theoretical base? Our learning is practical and include: one to one lessons, band rehearsals, composing, songwriting, recording, mixing, mastering, performing

Kangan Institute Answered By: Behrang Mansoorian, Marketing Portfolio Consultant What kind of courses do you offer? We offer courses in Music Performance and Sound Production ranging from the Certificate II in Music Industry all the way to the Diploma of Music Industry Do you offer practical on-site learning or more of a theoretical base? We offer a blend of theory and on-site practical learning with a heavy focus on hands on skill and instrument development. Our students spend extensive amounts of time performing with other students and honing their skills on their chosen instruments while playing in a band or working on solo performances.

and creating events. At least half the hours in class are related to performing and music practice. There are also theoretical components to understand music, sound and our culture. What makes you different to other educational institutions? Our staff are well known and active within contemporary music scenes, and who release records, win awards and undertake international tours. Our facilities are music specialist and available for use after hours, including excellent performance spaces with industry standard lighting and sound. Over 300 students ensures students collaborate and create vast networks. What kind of social activities do you offer? Courses are regularly involved in performances and events around Melbourne. Student Life & Media run student activities throughout the year such as mini workshops, product tastings and promo activities, breakfast and lunches, live music, market stalls and plenty of free giveaways. There are cafeterias and student lounges on each campus. Do you offer job opportunities, internships, or other ways to help students get ahead? Students perform in venues such as the

What makes you different to other educational institutions? We provide the Certificate II in Music. We also ensure our students get maximum exposure by providing them with the opportunity to play at various institute events and exposing them to schools in the area. We also have an annual album launch where the students release and album and perform. What kind of social activities do you offer? We have a range of support services for students available on campus which include student recreation. Activities are decided and planned on a year on year basis. Do you offer job opportunities, internships, or other ways to help students get ahead? We provide our students with the opportunity to network with industry specialist through their course and also when we hold the annual album launch. When and where is your next Info Day/Open Day? To be confirmed. Please contact us for tours at any time during the year. Website link for more info: www.kangan.edu. au/creative-industries/music

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Stonnington Jazz Festival and Stonnington Glow Festival. Also, you will perform at a variety of venues around Melbourne including the Elsternwick Hotel, Revolver, Bennett’s Lane, Bar 303 and Wesley Anne. Students complete industry related activities as work placement often selecting an industry mentor. When and where is your next Info Day/Open Day? Come along to one of our information sessions. Register now and we’ll give you an in-depth look at your chosen area of study and a tour of our facilities.www. melbournepolytechnic.edu.au/informationenrolment-sessions If you are unsure which session to attend give us a call on 9269 8400. Website link for more info: www. melbournepolytechnic.edu.au

From day one, you’ll start creating in world-class facilities, on the latest software and equipment, under the guidance of expert teachers – because at SAE, we believe to be job ready, you need to know the job.

ENROL TODAY sae.edu.au INFO NIGHT . MELBOURNE CAMPUS . THURS 15 DEC 6:00PM - 8:00PM.

THE MUSIC • 7TH DECEMBER 2016 • 31

Education Feature

Monash Universi Answered by: Georgina Gibson, Student Recruitment Coordinator What kind of courses do you offer? We offer a Bachelor of Music plus double degrees. We are the only music course to offer double degrees with Law, Science, Commerce, Education or Arts. We even have the option of studying electives from other disciplines, so you could do a language or an elective from science alongside your music studies. The wide-ranging undergraduate program has specialisations in classical performance, jazz and popular music, ethnomusicology and musicology, composition and creative music technology (CMT).

What makes you different to other educational institutions? Our international study opportunities are exceptional. You can take an intensive in Prato, Italy or New York, or study abroad at one of our many international partners as part of your degree. We provide extraordinary performance opportunities through events, concerts, festivals and collaborations. We are well known for our supportive culture where you’ll be inspired to take your talent to new heights. What kind of social activities do you offer? Monash has over 110 clubs and societies that are open to all students. Music students are part of the Faculty of Arts which runs a Peers Ambassadors Leaders (PAL) program, designed to facilitate a smooth transition to university and opportunities to develop leadership skills. Within the music school there are numerous opportunities to be involved in competitions, collaborations, events, festivals, album launches and a variety of social activities. Do you offer job opportunities, internships, or other ways to help students get ahead? The course is designed to ensure that our graduates are intellectually informed, creatively equipped and professionally geared to engage with the musical challenges of the globalised world of the 21st century. Through internships, overseas study intensives and exceptional performance opportunities our students are exposed to a wide range of experiences so that by the time they graduate they are well prepared for careers in the industry. The success of graduates is testimony to this.

Do you offer practical on-site learning or more of a theoretical base? You will have weekly individual tuition on your principal instrument, weekly workshops and concert practice classes. All lessons are on-site using our excellent facilities. You’ll be learning from practicing artists with stellar reputations and have the opportunity to perform with leading international musicians through workshops and public performances. In scholarship, composition and performance our aim is to develop the musician of tomorrow through a progressive, holistic and culturally diverse approach.

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When and where is your next Info Day/Open Day? Come along to the Monash Change of Preference Expo on Wednesday 14 Dec at Monash Caulfield Campus, we’d love to talk to you. We will have expert staff on hand to answer your questions. If you can’t make it to the expo you can call us directly to discuss your options on: (03) 9902 0344 or email us at arts-future@monash.edu Website link for more info: Find out more: artsonline. monash.edu.au/music

www.melbournepolytechnic.edu.au/performing-arts

THE MUSIC • 7TH DECEMBER 2016 • 33

Education Feature

Abbey Road Institute Tell us about the curriculum that you currently have on offer: Abbey Road Institute offers an intensive 12-month, Advanced Diploma of Sound Production designed in the hallowed halls of Abbey Road Studios London. How does the teaching regime operate? How are classes and units broken up throughout the year? Students undertake an intensive 12-month program consisting of three study periods and a massive 42 contact weeks. Abbey Road Institute’s philosophy is that technical mastery in music production can only be achieved through intensive practical training — this is why every student has access to a fully equipped digital audio workstation for every lecture throughout their course. What do you offer, which cannot be found anywhere else? Abbey Road Institute’s program is not just an audio engineering course, but rather an intensive mentorship

William Angliss Institute

f you enjoy music festivals, have you ever thought about organising one as an events professional? With event diplomas and degrees at William Angliss Institute you can learn how to plan, fund, market and manage successful events. The award-winning programs will equip you with skills and knowledge in a range of subjects, from on-site event management to project scheduling and supplier management. Throughout the courses there are opportunities to work across a variety of specialties and events — everything from international sporting events to festivals and conferences. Events programs at William Angliss Institute are strengthened by affiliations with industry and a curriculum that includes

34 • THE MUSIC • 7TH DECEMBER 2016

in music production. The program itself has been designed and constructed by the production staff at Abbey Road Studios London and is based on the in-house training that Abbey Road has been providing to it’s own staff for over 80 years. How do you strive to make students ready to seek out opportunities once they’ve graduated? Students receive not just the very best of education in music production, but extensive exposure to current industry leaders in Australia and around the globe. By imbuing students with a world view of the 21st century music production industry, we position them to lead from the forefront of the sector by forging their own reputation and brand. How important is networking within the music industry? And do you think this should be taught at an early stage of a students learning experience? Despite the prevalence of digital technology, the music industry remains very much a people based business. The success of a producer rests not just in his or her ability to elicit the very best performance from an artist, but to inspire confidence that their inclusion on a project brings value to the finished product. For this reason, Abbey Road Institute ensures that all students have

involvement at a number of international events. Alex Rixon-Booth graduated with an Advanced Diploma of Event Management in 2013 at the Institute and now runs his own business, I Need Helpers. I Need Helpers has established a strong reputation in volunteer management with service aimed at providing impeccable assistance to events throughout Australia, while ensuring best practices for the growth of the industry. “We provide staff and volunteer management consulting, on-site management and coordination and a custom built rostering platform to ensure an event runs smoothly. We contribute to students’ education and smooth event planning for our clients,” Rixon-Booth says. When asked what aspect of his course he has found to be most valuable, RixonBooth says the industry opportunities helped him the most. “The teachers’ networks and experience were a real eye-opener to the industry and sparked the idea of my current business, which now sees me managing a full-time team. The idea was to create a centralised platform for students wanting to gain additional experience and to solidify course content outside the classroom

the chance to spend time with professional producers and current industry identities throughout their course so as to start the foundations of their personal network while still a student. Professional industry PR staff will work with each student individually to mentor them through the creation of their brand and the launch of their career. Do you any upcoming events that people might not be aware about? Abbey Road Institute’s next Open Day is 21 Jan. To register your interest or to book a free VIP Tour, please call 1800 274 338 or email your enquiry through to melbourne@ abbeyroadinstitute.com or visit our blog, blog.abbeyroadinstitute.com.au

environment. We have also implemented a number of volunteer management practices which are now utilised by the industry including St Kilda Festival and Melbourne Food & Wine Festival. “It was also the support and encouragement provided by the teachers at the Institute that had me actively involved with the industry early on. Without their flexibility and industry contacts, I wouldn’t have built my networks as early as I have,” Rixon-Booth says.

For more information visit angliss.edu.au

THE MUSIC • 7TH DECEMBER 2016 • 35

OPINION Opinion

Punk And Hardcore With Sarah Petchell

n the tradition of everyone everywhere, 2016 has been an absolute shit of a year. We should have recognised the signs when Lemmy died in the absolute dying stages of 2015 but, like the possibility of a Trump Presidency, we just didn’t think it would be this bad. Then David Bowie died. My life crumbled a little and, to paraphrase a meme I’m fond of, it’s possible that he was the glue holding the universe together because it all went downhill from there, gathering all the shit as it went. The Trump election victory? Well that was just the grilled-cheese topping on the shit sandwich, really. But there has been some positivity in a horrific year. We were graced with astonishingly good records from Nails, Trap Them, Architects, Modern Baseball and Thrice (possibly the comeback of the year). Not to mention Bowie’s final masterpiece.

Jorun Bombay – It’s Still Great To Be Here

The Get Down Funky Shit

The events of this year have all made us a little bit more aware of the world in which we live and the people in it. This makes me hopeful that, while we’re being forced to eat the aforementioned shit sandwich, the result will be some powerful, political and pissed-off punk and hardcore. It makes me hopeful that we will be able to be a little more understanding and treat our fellow human beings better. Yes, 2016 has been shit. But I have to believe that 2017 will be better. At the very least there will be new albums from Code Orange, AFI, Pissed Jeans and, just maybe, that Converge record I’ve been waiting for.

Wa ke The Dea d

David Bowie

taying positive to the end, my With Obliveus goal for my last piece of 2016 is to celebrate some great music that’s been released on my favourite format: the 45. On the upcoming Jorun Bombay double A-side bomb, he’s covered The Jackson 5 classics with a stripped-back, hip-hop version of It’s Great To Be Here that will get everyone way down and he’s taken New Edition’s Candy Girl and layered it perfectly over the top of I Want 36 • THE MUSIC • 7TH DECEMBER 2016

You Back on the flip. This is straight up fire! Also on fire is the latest 45 from DJ Suspect. A-side Boogaloo Flu (feat. Clyde Kingrap) is a throwback (or forward) to the golden era that will have fans of J5 salivating. The flip, That’ll Never Happen (feat. Emskee) and is an upbeat, good-times foray into funkytown. Get on this quick and, while you’re on it, get the latest 45 from the Fort Knox Five camp, Don’t Go featuring long-time Washington DC native and ‘70s Blaxploitation-era superstar soul singer Joe Quarterman. This one is funkier than three-day old porridge and will have dancefloors going nuts. Sneaking in to round this one out is the latest Nick Bike sure-fire hit, Chosen Spokes Vol 5. He’s b-boy’ed out James Brown’s I Got You (I Feel Good) in a way to make ya’ll go crazy and has taken Marvin Gaye out (seriously) of I Heard It Through The Grapevine and it’s still prime-time crazy. With that, get stuffed 2016 (you killed too many great ones).

Suicide Squad

Trailer Trash

o paraphrase Jane Austen, it is Screens a truth universally acknowledged that And Idiot Boxes the year 2016 has With Guy Davis sucked on multiple levels. From the death of Prince to the election of Donald Trump to that regular writing gig I’d had for 15 years which was unceremoniously yanked from my grasp with one “yeah, soz” phone

Dives Into Your

OPINION Opinion

call, the last 12 months have been, by and large, a shitshow. Hell, if you believe the hot takes heating up various movie sites, 2016 even marked The Death Of Cinema As We Know It (various causes of the medium’s demise: China, online piracy, Television Is Good Now, those pesky millennials). Is cinema dead? No, don’t be an idiot. It is simply adjusting to the times, as most everything has done throughout history and will continue to do into the future. Sure, there are fears that the mid-budget movie is an endangered-verging-on-extinct species, leaving a vast gap between big-budget blockbusters and bargain-basement indies. But those types of stories are still being told, and often told well — the next edition of Trailer Trash, which will run through my favourite screen stuff of the year, will focus on a fair few of them. But before we get to that, let’s talk a bit about salvage operations and rescue attempts. In an artistic sense, of course. You see, some of 2016’s most high profile releases were met with... well, you could call the reaction tepid at best, scathing at worst. Hopes were high for big-ticket items like Batman V Superman: Dawn Of Justice and Suicide Squad, and while they actually did pretty good business at the box office (taking in close to $800 million worldwide, Suicide Squad is Will Smith’s second most successful release to date), they still had the lingering stench of disappointment about them. Luckily, they get a shot at redemption via the director’s cut or extended edition. As I’ve written here previously, Zack Snyder’s ‘ultimate edition’ of Dawn Of Justice restored a bit of connective tissue to the story, bringing a little narrative coherence to something that initially came off as disjointed and bloated. It still has issues — many, many issues — but the new cut is an improvement on what came before. And with Suicide Squad being the subject of rumours regarding reshoots and re-edits for a long while before its release, and the theatrical version being something of a critical dud, one would naturally hope the ‘Extended Cut’ is similarly better. It isn’t, really. But the problems with Suicide Squad weren’t going to be solved by the restoration of missing scenes,

especially scenes featuring Jared Leto’s preening Joker (who’s not terrible, just inconsequential). This movie was poorly put together from the get-go, sloppily assembled and tonally askew, so fixing it required a top-down overhaul — removing those obvious soundtrack cues would be a good place to begin. Still, Margot Robbie fans will be pleased to know that the Aussie actress is the biggest beneficiary of Suicide Squad’s recut, with her Harley Quinn character getting a fair bit more screen time. It’s only two minutes or so in total but it does flesh out the character and Robbie’s performance to some degree.

THE MUSIC • 7TH DECEMBER 2016 • 37

Album / E Album/EP Reviews

Album OF THE Week

Neil Young Peace Trail Warner

★★★★

Despite having already given us Earth this year — an ecologyconscious live marathon — and having performed to gazillions of fans at Desert Trip only recently, Young has somehow found time to release Peace Trail, his 37th studio album. Unsurprisingly, track two is called Can’t Stop Workin’, and goes on to detail his indefeasible work ethic and lack of retirement plans. As per usual, Young has worked fast here; recording everything in four days, with most tracks nailed on the first or second take. But, from the outset, it’s clear that while the usual acoustic/electric hallmarks are present, a new sense of purpose has taken hold. “I see the same old signs, but something new is growing,” he sings on the opening title track — with an unexpected sense of cautious optimism over some dry rattling drums and a searing solo. John Oaks proves that Young can still crack a yarn with the best of them, and there’s evidence that he’s still willing to take creative risks in the surreal, dismembered vocals of My Pledge. In a year when venerated elders have released major works restaking their claims to greatness (Cohen, Cave, Iggy, A Tribe Called Quest etc...), Peace Trail stands out as one of Young’s most lucid, inspired works since his return to prominence in the ‘90s. Christopher H James

The Colorist & Emiliana Torrini

Raf Rundell The Adventures Of Selfie Boy, Pt. 1

The Colorist & Emiliana Torrini

1965 Records/[PIAS] Australia

★★★½

Rough Trade/Remote Control

★★★★ Hers is an unmistakable voice. Theirs is a unique take on the use of instruments both traditional and self-made. Together, they have created a record that seats the listener in the front row, watching in awe. Here, Icelandic singer Emiliana Torrini teams up with Belgian collective The Colorist, a backing band with a successful and unorthodox history of teaming up with some of the world’s most memorable vocalists like Cibelle (Brazil) and Sumie Nagano (Sweden) to perform and record each singer’s songs. They use a hotchpotch of instruments, including some that the band members themselves created, to reinterpret the original songs and present them in a truly unique way.

38 • THE MUSIC • 7TH DECEMBER 2016

Over this record, nine of Torrini’s songs are brought to life in a way never before heard, with two new tracks thrown in for good measure. It was recorded live in response to the fantastic reception The Colorist & Emiliana Torrini received during a run of 2015 European shows, but the audio is so precisely recorded that it almost feels like the applause at the end of most tracks has been added in post-production. The Colorist & Emiliana Torrini is a fascinating, captivating record, one that may challenge but that also comes with a huge pay-off. Dylan Stewart

As one-half of indie-dance duo The 2 Bears, Raf Rundell is partly responsible for one of the best club albums of the past ten years in the form of 2012’s Be Strong. Conversely, he’s also partly responsible for one of the more underwhelming followups of the same period in the form of the pair’s rambling and unfocused The Night Is Young. Rundell’s debut solo album The Adventures Of Selfie Boy, Pt 1 plays as an even looser — but surprisingly more enjoyable — version of the latter. Rundell’s focus has definitely migrated away from the dancefloor. While there are hints of The 2 Bears’ playful retrorave in the diva-like vocals and burbling synth lines of closer Llama Farmer and flourishes of dorky hip hop in Poor Bitch, the overwhelming feel of the

album is cut-and-paste sonic experimentation in the vein of early Pink Floyd or certain eras of The Beatles. The trilling keys and sleepy vocals of Shoppin’ For A Shaman deteriorate into pure-noise collage. It’s a rough-hewn, strange little record. But, there’s so much charm to it that, even as hooks deteriorate and slip from the mind or lyrics turn to total nonsense, there is a consistent draw back to the odd collage of hypnotic rhythms, silliness and psychedelia. Definitely not for everyone, but definitely worth a look. Matt O’Neill

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THE MUSIC • 7TH DECEMBER 2016 • 39

Live Re Live Reviews

Caligula’s Horse @ Corner Hotel. Pic: Clinton Hatfield

Progfest

Corner Hotel 3 Dec

Dyssidia @ Corner Hotel. Pic: Clinton Hatfield

Chaos Divine @ Corner Hotel. Pic: Clinton Hatfield

Figures @ Corner Hotel. Pic: Clinton Hatfield

Alithia @ Corner Hotel. Pic: Clinton Hatfield

Circles @ Corner Hotel. Pic: Clinton Hatfield

40 • THE MUSIC • 7TH DECEMBER 2016

The resilience of the Australian rock scene, and especially the alt/heavy/progressive rock scene, is nothing short of astounding. In the face of massive indifference, even resistance, from radio programmers, mainstream media, the general public, property developers and our godawful government, the scene continues to survive, and survive well, and provide immense enjoyment for the small-butridiculously committed group of fans who follow this scene. The people just keep showing up and this occasion provides further proof. Picture this: it’s 3.30pm on a Saturday afternoon. Melbourne’s weather is, by some strange miracle, absolutely glorious. You would think people would be at the beach, at the park, hiking in the mountains, playing cricket or kicking a footy in the backyard or some other such outside pursuit. But Corner Hotel’s bandroom, with a capacity of 900, is two thirds full already for a very young, up-and-coming band called Enlight, whose soulful, femalefronted take on progressive rock warms the building crowd very nicely indeed. Progfest is back, baby — after a year off — and this is a wonderful thing. Qlaye Face (pronounced Clay Face) are quite melancholic in approach. There’s not a great deal in the way of rise and fall dynamics in their sound, they take what several other bands in this scene are doing and switch it back a cog or two (pun intended), and they do it rather effectively. Their music swoons, caresses and seduces rather than bludgeons the listener, and obviously the intention here is to soothe people back into the

swing of Progfest with the first couple of bands, and this works an absolute treat. Things step up, subtly, in the form of Bear The Mammoth on the side stage, and the first ‘turn on a dime’, neck-snapping musical contrast is upon us. This band’s version of instrumental post-rock is relentless, but ambient and cerebral all at once, and it is all driven forward with great momentum by Jim Martin (former Faith No More guitarist) lookalike James Carman on the drums. They get a little doomy on a regular basis, but this is always interspersed with dynamic atmospheric moments that provide relief amid the dredge. These guys create postrock alchemy. It’s back to the main stage and all semblance of subtlety is smashed aside by one of the more ‘in your face’ alt-rock bands you will ever see, Melbourne act Figures. Their sound is absolutely enormous, slamming the listener with one dark, razorsharp riff and pounding groove after another. However, at the same time their sound, songs and stage show are classy as all hell, and in Mark Tronson they have a striking voice and presence up front. One thing that might lift their soaring songs even higher is offering more in the way of some big vocal harmonies. But, overall, these guys (and gal) are the business. Dyssidia turn the night on its head again, with their blistering, nasty tech metal, and it feels good to have some brutality thrown into the mix. Frontman Mitch Brackman is a real asset with his schizophrenic-but-skilful vocal delivery and he pops up on stage with other bands at regular intervals across the course of the evening as well. The orchestral and electronic elements provided by keysman Ashley Miller are highly enjoyable. It’s clear these guys are virtuoso players, they just need to hone their songcraft to a

eviews Live Reviews

very fine point now so as to step up to the next level. This show serves as Orsome Welles’ launch for their single Maestro and they pull out all stops to put on a great show, combining some imaginative theatrics within their big rock show. Frontman Michael Vincent Stowers comes on in a tux with tails and wielding a baton, maestro-style, and the rest of the band have donned corpse paint. A narrator comes out between songs, telling tales and cracking funnies, and the band is in devastating form. This band’s live set just gets bigger, badder and bolder with every show they play. Transience are a quintessential, modern heavy prog-rock outfit, with all the trappings extracted from their obvious influences of Dream Theater, Karnivool, Porcupine Tree et al. That said, they have an intensity that is all their own and, after somewhat of an uncertain start, they triumphantly win the crowd over with their epic songs, elite-level musicianship and the sheer fervour of their delivery. Their single Ocean is titanic. Perth legends Chaos Divine exist in that strange dichotomy between being larger than life in their sound, songs and collective personality while also being outrageously underrated at a national and international level. This band should be touring internationally on a constant basis and their set this night shows why. Their tunes have that truly anthemic, majestic quality while at the same time being monstrously powerful. The fact that they’re not one of the bigger heavy acts on the planet remains a conundrum. Speaking of conundrums, up next on the side stage is Alithia. How to describe this band and their live show? Their sound is an enigmatic juxtaposition of prog-rock, electronica and world music,

driven by heavy percussion and the band members’ over-the-top personalities, and their stage show is chaotic, unpredictable and gleefully rough around the edges. In fact, the smaller stage cannot contain their animal instincts and their set gets a little out of control. Maintaining that motif, although the term ‘precision chaos’ also springs to mind, Melbourne prog-metal exports

The fact that [Chaos Divine are] not one of the bigger heavy acts on the planet remains a conundrum. Circles explode onto the stage with the warped powerhouse that is their latest single Sand And Wind. The intention here is obviously this: ‘we have just 30 minutes here, let’s throw aside all pretence at dynamics, and light and shade, and just go in all guns blazing’. Their set is a maelstrom of energy, a rush of pure adrenaline, with the towering vocals of Perry Kakridas soaring and screaming over the top. You can mount an excellent case for this being set of the night. Yet further contrast to the mayhem that surrounds Circles comes in the form of We Lost The Sea, who mesmerise the crowd with their swirling postrock instrumental ambience. These guys just instinctively know how to pick a musical theme and hammer it for minutes on end, but it never gets boring for they work the dynamics, ebb and flow around that one theme.

Headliners Caligula’s Horse have taken on an otherworldly, transcendent status in their career now and they kind of encapsulate all that has gone before them this night from sweet, delicate ambience to controlled fury and chaos. They thrill the packed-out crowd with a brand new, 16-minute monstrosity of a tune called Graves, from their next album, and the other 45 minutes is wall to wall C-Horse favourites, culminating in an encore of the beautiful Water’s Edge. The band’s new drummer Josh Griffin is an even more accomplished player than previous skinsman Geoff Irish and his slightly more open, freeflowing style suits the band to perfection. This is a live set for the ages. A final word must go to the organisers who put on a truly ship-shape show. In fact, the night goes so smoothly and is so well-oiled, it is almost unrock’n’roll. A fabulous vibe full of love, positivity and world class rock music.

More Reviews Online theMusic.com.au/ music/live-reviews

The Tallest Man On Earth @ Melbourne Recital Centre Lost Animal @ The Tote

Rod Whitfield

THE MUSIC • 7TH DECEMBER 2016 • 41

Arts Reviews Arts Reviews

night is going to be. Jackson isn’t a known name in the Aussie comedy scene, but he definitely deserves to be after tonight. His expertly crafted humour surpasses location, offering an insight to his trans-atlantic world without losing any laughs. From buying legal weed to his X former life as an educator, Jackson hits all the marks. It’s hard to imagine how tonight can keep up the pace. And then Hannibal Buress takes to the stage. Still reeling from his discovery of Sydney’s lockout laws, Buress explodes into a hilarious tirade on audacious bouncers and government overreaction, instantly getting the Melbourne crowd on his side. While some might construe his opening remarks as potentially disrespectful, it’s clear Buress has done his homework for his time down under - a gesture almost unseen in today’s world of internationally touring comedians. There are plenty of fan favourites on offer tonight. His take on rapper Riff Raff’s weird tendency to just sit onstage while his own tracks play, and bits on renting an Airbnb house from uptight landlords receive warm and welcome responses. His style of staggered and monotone delivery means that his extended time on stage is exposed to occasional dips in timing and energy. However, his interactions with the aforementioned Trimm - who remains onstage for the duration of Buress’ set to interject with audio-visual cues - are excellent peaks of affability. Buress and Trimm so clearly enjoy each other’s company, it’s no surprise they continually end up working together. While Buress seemed to lose himself at times, and fell ever-so-slightly victim to the curse of excellent opening acts, his show is one of huge laughs, standing ovations and totally unique comedic experiences. He’ll surely be back very soon, if Sydney can get him a drink at 2am. Hannibal Buress

The Gathering

The

Hannibal

Montanabal

Experience Comedy Hamer Hall, 2 Dec

★★★★ A multi-sensory, multi-media, AV/ comedy/DJ show? Some of the best festivals around can’t boast what The Hannibal Montanabal Experience is bringing to Hamer Hall tonight. Tony Trimm pulls a tight and original mix together with video compilations of Jean-Claude Van Damme doing the splits, Paula Deen eating suggestive food products and a deep-cut of Scott & Charlene’s Wedding. There is seriously nothing else like it around, and for an audience sitting in one of Melbourne’s more prestigious venues, it is an oddly satisfying meeting of cultures. Enter Al Jackson, the crowd now sufficiently exposed to exactly what this kind of

Joe Dolan

42 • THE MUSIC • 7TH DECEMBER 2016

The Gathering Theatre Fortyfivedownstairs to 11 Dec

★★★ Belinda Jenkin and Will Hannagan’s The Gathering, receiving its world premiere production here, is the duo’s attempt to “write a musical for and about our generation,” although what generation that is precisely is difficult to discern. It tells the story of a group of old friends, summoned for a party in the suburban fringes of the city by a long lost pal who has been missing for five years. All in their early twenties, they dutifully schlep out to a dilapidated house at the far-flung edge of town, where they give it a red hot go to have a good time. Unfortunately, their attempts to get wasted (and play Jenga) are derailed by the literal spectre of their unresolved conflicts, unanswered questions and unrequited feelings. The production itself has plenty going for it. The cast (Oliva Charalambous, Daniel Cosgrove, Hannah Sullivan McInerney, Joel Granger, Shannen Alyce Quan and Daniel Assetta) are all familiar faces to Melbourne’s musical theatre lovers and deliver solid, well-voiced performances. Each of them gets a moment in the spotlight and it’s a genuine pleasure to see artists as skilled as these taking full advantage of the opportunity to shine. Fortyfivedownstairs already fits the bill for a slightly run down looking building and Daniel Harvey’s patchwork of threadbare carpets adds a nod to the fractured lives of the characters. But a reliable cast and well-conceived design can only carry a production so far, and unfortunately, this show has several shortcomings that are difficult to overlook. Musically, it’s competently built and well realised under the direction of MD Daniel Puckey, but there’s a scattershot of styles lacking any clear identity. The rambling identity of the music is mirrored by the incoherent narrative, which is at once both difficult to follow and yet extremely cliched. The Gathering will need to go back to the drawing board for a significant overhaul if it hopes to have a second outing. Maxim Boon

OPINION Opinion

Howzat!

Local Music By Jeff Jenkins Read About It It’s been a stellar year for music books and music-related books. Here are four that have caught Howzat!’s eye: Working Class Boy by Jimmy Barnes Jimmy Barnes turned 60 this year. Working Class Boy is like a book version of his underrated 1999 album, Love And Fear. Raw and revealing, it sees Barnesy confronting his demons and offering an explanation for his wild behaviour. “All I had to do to not think or feel was get fucked up,” he writes. In rockstar bios, the reader usually skims through the childhood pages to get to the action. Don’t bore us, get to the chorus. But here, you can’t look away. “Some of what I have done has not been pretty to watch. Imagine what it was like to live through it.” Goodwood by Holly Throsby “Goodwood was a peaceful town before the tragedies.” After five solo albums, including a collection of children’s songs and an album with Seeker Lover Keeper, Sydney’s Holly Throsby gets straight to the action with her first novel, which tells the tale of small-town secrets and lies.

“Two people from Goodwood — two very different people — inexplicably gone. And the rest of town holding its breath.” Holly can certainly write; Goodwood should be a TV series.

Press Escape by Shaun Carney Shaun Carney is known as a political columnist but he was also an astute music reviewer for The Age. In this moving memoir, Shaun reveals how he stopped writing about music when his daughter was diagnosed with leukaemia. This book is about the demise of many things, including music reviewing. “When I first started writing for the Green Guide in 1990, the pop music CD reviews took up an entire tabloid page... there was room for about 800 words. By the time I finished 17 years later, there was room for one review of a little over 200 words. The gig didn’t seem to mean much any more.” Press Escape is sad but beautiful.

Grant & I Grand & I by Robert Forster There’s also a sadness at the heart of Robert Forster’s memoir. Amidst all the albums, producers, band members and record companies, this is a story of friendship, documenting Robert’s remarkable relationship with his Go-Betweens partner, Grant McLennan, who died a decade ago. “We created the most romantic thing two heterosexual men can, a pop group,” Robert writes, adding: “I found out that when someone dies the conversation with them doesn’t necessarily end there.”

THE MUSIC • 7TH DECEMBER 2016 • 43

Comedy / G The Guide

Wed 07

Amy Shark

Sheila E: 170 Russell, Melbourne

Children Of The Sun + Sugar Teeth + Electric Exiles: Bar Open, Fitzroy Eric Andre: Comic’s Lounge, North Melbourne

Parcels

The Music Presents Golden Age Of Ballooning: 8 Dec The Old Bar; 9 Dec Mynt Werribee The Avalanches: 3 & 4 Jan Melbourne Town Hall Highasakite: 4 Jan Corner Hotel Parcels: 4 Jan The Gasometer Hotel Twelve Foot Ninja: 7 Jan Corner Hotel; 2 Feb Commercial Hotel; 3 Feb Chelsea Heights Hotel; 4 Feb Villiage Green Hotel NAO: 25 Jan Howler CW Stoneking & Nathaniel Rateliff: 9 Mar Seaworks Williamstown

Born Sandy Devotional 30th Anniversary with The Triffids + JP Shilo + Chris Abrahams: Corner Hotel, Richmond Dog Whistle Politics + Allysha Joy + Adore + DJ Myxamatosis: Grace Darling Hotel (Band Room), Collingwood Sophisticated Dingo + Scout + Soft Edges: Grace Darling Hotel (Basement), Collingwood The Dorks + Plebs + Eyesores: Last Chance Rock & Roll Bar, Melbourne Kelly Auty + 8 Ball Aitken + The Hornets: Lomond Hotel, Brunswick East Chairlift + The Harpoons + The Confidence Man: Max Watt’s, Melbourne

Jaws Of Life The brooding Gold Coast soul vocals of Amy Shark will emanate through Howler this Friday, as the indie-pop sensation takes on support duties or fellow hitmakers Tigertown.

The Songroom with Mark Gable + Luke Yeoward: Northcote Social Club, Northcote Candle Light Night 2016 with La Descarga + Miss Colombia: Open Studio, Northcote

Gretta Ray + Alexander Biggs: The Toff In Town, Melbourne

Ogopogo + 8 Foot Felix: Open Studio, Northcote

Trivia: The Tote (Front Bar), Collingwood

Keith Urban + Carrie Underwood + Buchanan: Rod Laver Arena, Melbourne

The Jerry Cans: 15 Mar, Northcote Social Club; 16 Mar, Sooki Lounge

The Monkees: Palais Theatre, St Kilda

Roy Ayers: 9 Apr The Croxton

The Little Lord Street Band: Retreat Hotel, Brunswick

Gee Seas + Gonzo + Scraggers + Weatherboards: The Tote (Band Room), Collingwood

Trombone Shorty & Orleans Avenue: 11 April 170 Russell

Degrees Of Separation + Eat The Damn Orange + Moonshifter: The Bendigo, Collingwood

The Pits + Mama Golem + Face Face: The Tote (Upstairs), Collingwood

Graves + Kublai Khan + Justice For The Damned + Cursed Earth: The Bendigo, Collingwood

Gallant: 17 Apr, Corner Hotel

Open Mic Night: The Brunswick

Dead Planet 1964 + Dead End + Easy Browns Truckstop Chicken Jam Band: The Workers Club, Fitzroy

Geo + Hollywood Models + Sonic Moon + Lucas James & The Assembly: The Brunswick Hotel, Brunswick

Rhiannon Giddens: 11 Apr Corner Hotel

The Lumineers: 19 Apr Arts Centre Melbourne

Thu 08

The Record Company: 20 Apr Northcote Social Club

Mike Rudd: Spotted Mallard, Brunswick

Gee Seas

Skyrocku + The Genuine Article: 303, Northcote Dianas + Body Type + Poppongene + Full Moon Flower Band: Bar Open, Fitzroy

Winter Moon

Royal Croquet Club with Fortunes + Electric Fields: Birrarung Marr, Melbourne Good Lovin’ with Jimi Dawg + 6AM at The Garage: Boney (Downstairs), Melbourne

Moon Over Dallas The always-enjoyable Winter Moon are making their way over to Northcote Social Club this Friday, supporting Dallas Frasca. The band will get a little help on the opening front from the excellent Animal Hands.

Mitch Power: Charles Weston Hotel (Front Bar), Brunswick Soul In The Basement with Brooklyn’s Finest + Vince Peach + Pierre Baroni: Cherry Bar, Melbourne Eric Andre: Comic’s Lounge, North Melbourne Dungen + Orb + Krakatau: Corner Hotel, Richmond Lianne La Havas: Howler, Brunswick

44 • THE MUSIC • 7TH DECEMBER 2016

Hotel, Brunswick

Cross Eyed Cats: Lomond Hotel, Brunswick East

Ned Collette + Francis Plagne + Crys Cole Duo: The Gasometer Hotel (Upstairs), Collingwood

Cass McCombs + Twerps: Melbourne Recital Centre (Elisabeth Murdoch Hall), Southbank

Jess Parker + Rattlin’ Bones Blackwood + Myvanwy: The Old Bar, Fitzroy

In Store with The Congos: Northside Records, Fitzroy

O-M-Gee Self-proclaimed “garage-punk darlings” Gee Seas are taking over The Tote this Wednesday for a massive night of tunes. Huge support acts come in the form of Gonzo, Scraggers and Weatherboards.

Kirsty Webeck: The Butterfly Club, Melbourne Tortoise + Fourteen Nights At Sea + Half/Cut: The Croxton, Thornbury

Gigs / Live The Guide

Au Dré

When Babes Queerly Blossom feat. Kat O & The Collectables + BallBusters + Hextape + V + Dissolveshit: Boney (Upstairs), Melbourne David Bramble: Compass Pizza Bar, Brunswick East

BadBadNotGood: Corner Hotel, Richmond The Jensens: Ding Dong Lounge, Melbourne

Beats By Dré Superb electro-pop duo Au Dré are gracing The Gasometer Hotel’s stage on Friday as part of the fourth annual instalment of The Showcase. Also appearing are Prequel, Rat Child, N’Fa Jones and plenty more. Warm Evenings, Pale Mornings with Tobias Hengeveld + Luke Sinclair + Suzannah Espie + Brooke Russell + Dan Parsons + Emilee South + Chris Pickering + Aviary House Band: The Gasometer Hotel, Collingwood Second Sight + Masses: The Gasometer Hotel (Upstairs), Collingwood The Golden Age of Ballooning + Crusch: The Old Bar, Fitzroy

The Bean Project: Edinburgh Castle Hotel (Beer Garden), Brunswick

Frank Carter & The Rattlesnakes: Reverence Hotel, Footscray Keith Urban + Carrie Underwood: Rod Laver Arena, Melbourne

Tex Perkins + Murray Patterson + Adalita: Satellite Lounge, Wheelers Hill Bob Log III + Conchillia: Sooki Lounge, Belgrave

Poprocks At The Toff with Dr Phil Smith: The Toff In Town (Toff Ballroom), Melbourne

Metal Obseession’s 8th Brithday feat. King + Hybrid Nightmares + Catacombs + Dark Earth + Order of the Oblique + Iconic Vivisect + Subterranean Disposition + Annihilist + Hellspit + Cryptic Abyss + Aquilus: The Tote, Collingwood

Messy Mammals

Coldplay + Lianne La Havas + Jess Kent: Etihad Stadium, Docklands Hinge + Bushido + Never: Evelyn Hotel, Fitzroy Damien Leith: Geelong Performing Arts Centre (GPAC), Geelong The Monotremes + Phantom Panda Power Wizard Master Smasher + Jali Buba Kuyateh: Grace Darling Hotel (Band Room), Collingwood Tigertown + Amy Shark + Huntly: Howler, Brunswick Gumboot + S.M Jenkins: Labour In Vain, Fitzroy T-Bones + Max Teakle & his Honky-Tonky Friends: Lomond Hotel, Brunswick East

Ya Filthy Mammals

Christmas Turkeys feat. Tripod: Memo Music Hall, St Kilda

Head on over to The Workers Club this Sunday arvo and check out Messy Mammals as they launch their new album. Support for the jazz-funk duo comes from Coca Noire and Walla C.

Hemina + Phoenix Day + more: Mr Boogie Man Bar, Abbotsford

J: The Post Office Hotel, Coburg Fatai + Soli Tesema: The Toff In Town, Melbourne

Golden Vessel Meredith Music Festival 2016 feat. Peaches + King Gizzard & The Lizard Wizard + Sheila E + BadBadNotGood + Angel Olsen + The Triffids + Kelela + Ben UFO + Japandroids + The Congos + Baroness + Archie Roach + Jagwar Ma + Mount Liberation Unlimited + Fred & Toody Cole + Sheer Mag + more + Meredith Music Festival: Supernatural Amphitheatre, Mt Mercer

Midnight Express with DJ Prequel & Edd Fisher + Mike Gurrieri: The Toff In Town (Carriage Room), Melbourne Trauma Boys + Plastic Section + Lucky Moore: The Tote (Upstairs), Collingwood The Tiny Giants + Floyd Cox + Environments: The Tote (Band Room), Collingwood Willow Beats + Golden Vessel: The Workers Club, Fitzroy

Gold Standard

Zoe Fox Duo: Wesley Anne (Front Bar), Northcote

Brisbane producer Golden Vessel is bringing his inimitable brand of electronica to The Workers Club this Thursday. The singer and synth master hits the stage as support for fellow indie groovers Willow Beats.

The Three Amigos: Wesley Anne (Bandroom), Northcote The Quirks + Scoot Molly + Abbey Slattery: Whole Lotta Love, Brunswick East

Fri 09

Soula + Freak & The Freak Cats + Dune Seven: 303, Northcote

Friday Nights at NGV feat. Tangents: National Gallery of Victoria (NGV), Southbank

The Lost Fridays + Immortal Horns + North City: Bar Open, Fitzroy

Dallas Frasca + Animal Hands + Winter Moon: Northcote Social Club, Northcote

In Store with Little Wise: Basement Discs (12.45pm), Melbourne

La Dance Macabre with Brunswick Massive: Rainbow Hotel, Fitzroy

Royal Croquet Club with Touch Sensitive + Cleopold: Birrarung Marr, Melbourne

Rick Hart + Andrew Swift: Retreat Hotel, Brunswick

Harrison: Wesley Anne (Bandroom), Northcote UBIK + TOL + The Skids + Pest: Yarra Hotel, Abbotsford

Sat 10

Space Bong + Whitehorse + Sewercide + Diploid: The Bendigo, Collingwood

Southbound Snake Charmers + Brian Fraser: 303, Northcote

The Beggars’ Way + Little Lamb & The Rosemarys + All We Need + Spencer Vine: The Brunswick Hotel, Brunswick

Cold Meat + Red Red Krovvy + Spotting + Shiv: Bar Open, Fitzroy

Elliot The Bull: The Croxton (Front Bar), Thornbury Transgenre 2017 feat. Two Steps on the Water + Spike Fuck + Geryon + Kandere + Xeno Genesis + The Football Club: The Curtin, Carlton

Royal Croquet Club with Hayden James + Wealth: Birrarung Marr, Melbourne Lost Weekend feat. Pelvis + Leo James + Myles Mac + Pjenne + Manchild + more: Boney, Melbourne Steve Poltz: Caravan Music Club, Oakleigh

The Braves + Box Crunch + Negative Gear + The Wax Eaters: The Old Bar, Fitzroy

The Pleasure Garden feat. The Cat Empire + The Opiuo Band + Dub FX + The Correspondents + Tash Sultana + Spoonbill + Jakubi + Mista Savona + Steve Ward + Boogs + Kodiak Kid + Blue King Brown + Dub Pistols Sound System + OKA + The Chicken Brothers + JPS (The Operatives) + Mortisville + Beatrice + more: Catani Gardens, St Kilda West

Kozmik County: The Post Office Hotel, Coburg

Alexis Nicole: Charles Weston Hotel (Front Bar), Brunswick

Baroness + Batpiss + Child: The Prince, St Kilda

Darkc3ll + Nero Bellum: Cherry Bar, Melbourne

The Showcase with Miss Colombia + Au Dre + Rat Child + Alariiya + N’Fa Jones + Prequel: The Gasometer Hotel, Collingwood

Kandy Carnival with Various DJs: 170 Russell, Melbourne

Steady Coolin’: Wesley Anne (Front Bar), Northcote

Darkc3ll + Nero Bellum: The Loft, Warrnambool

THE MUSIC • 7TH DECEMBER 2016 • 45

Comedy / G The Guide

Vanderlay: Compass Pizza Bar, Brunswick East

Inventions + Blossom: Wrangler Studios, West Footscray

Tex Miller

Katatonia + The Eternal + Myridian: Corner Hotel, Richmond

Crusch + Self Talk + Grace Lawry + Hockey Babes: Yarra Hotel, Abbotsford

Krista Polvere: Ding Dong Lounge, Melbourne

Sun 11

DJ Chris Xynos + Rat Child: Edinburgh Castle Hotel (Beer Garden), Brunswick

Peaches + Black Cracker + Habits: 170 Russell, Melbourne

Coldplay + Lianne La Havas + Jess Kent: Etihad Stadium, Docklands

Mal Webb + Kylie Morrigan: 303, Northcote Plebs + Looks Like Rain + Mystery Train + Jackson Phelan: Bar Open, Fitzroy

Matinee Show with Tyne James Organ + Dylan Joel + James Crooks: Evelyn Hotel, Fitzroy

KillaManZilla + Little Daniel + Aaron Creigh: Beach of Brunswick, Brunswick

The Mis-Made + Long Holiday + Red Light Riot + Valentiine: Evelyn Hotel, Fitzroy Scarecrow - The Mellencamp Show: Flying Saucer Club, Elsternwick Mother’s Ruin feat. Karl Schmidt + Ethan Leversha + Seasloth: Gin Lane, Belgrave Pennyfest! feat. The Hiding + The Elliotts + Dreamcoat + Running Young + Demi Louise + Birdhouse + Kimberley Heberley: Grace Darling Hotel (Band Room), Collingwood

Geraldine Quinn: Bella Union, Carlton South

Tex Appeal The folky sounds of Tex Miller will be heard from the stage of Wesley Anne this Thursday, as the renowned guitarist heads up The Three Amigos. The collective also features sets from Sean Patrick and Scott Graham. Christmas Turkeys feat. Tripod: Memo Music Hall, St Kilda

Kirsty Webeck: The Butterfly Club, Melbourne

Make Them Suffer + DVSR + Foxblood + Death In Bloom + Advvocates: Northcote Social Club, Northcote

The Hard Rock Show’s End of Year Extravaganza 2016: The Croxton, Thornbury

Live Soul Improv feat. Thando: Penny Black, Brunswick Tyne-James Organ

Organ Music Tyne-James Organ is hitting The Evelyn Hotel this Saturday for an all-ages, matinee show. He’s bringing along Dylan Joel and James Crooks for an all ‘round, high-vibes good time.

The Hosies: Rainbow Hotel, Fitzroy The Prairie Oysters: Retreat Hotel, Brunswick Revulsed + Headless + Contaminated + Maleficium: Reverence Hotel, Footscray Bang! feat. Masketta Fall + Cambridge + Static State: Royal Melbourne Hotel, Melbourne Katermukke Showcase with Madmotormiquel + Schlepp Geist + Uone: Rubix The Venue, Brunswick A Very Retro Xmas with Party Girls: Satellite Lounge, Wheelers Hill

Deep Sea Arcade + Wesley Fuller + The Ruminaters + Pretty City + Visions DJs: Howler, Brunswick Winfield + In Return + Infinity Beyond + Runk + Withdrawal: Karova Lounge, Ballarat

Mike Callander + Handsdown: Sooki Lounge, Belgrave Spoonful: Spotted Mallard, Brunswick Meredith Music Festival 2016: Supernatural Amphitheatre, Mt Mercer

Ninetynine + Caroline No: Labour In Vain, Fitzroy

Hanksaw: Surabaya Johnny’s, St Kilda

Afternoon Show with Huge Magnet: Labour In Vain, Fitzroy

Damien Leith: Swan Hill Town Hall, Swan Hill

Double Marathon + Shinplasters + Prehistoric Douche + Rat Filth: Last Chance Rock & Roll Bar, Melbourne Other Animals: Lomond Hotel, Brunswick East

Bodies on Bodies Thrash Fest 2016 feat. In Malice’s Wake + Desecrator + Harlott + Truth Corroded + Alkira + Murder World + Envenomed + Metreya + Atomic Death Squad + Direblaze + Wartooth + Requiem: The Bendigo, Collingwood

Strut City + Andy Dextrous: Loop, Melbourne

Afternoon Show with Black & Blue: The Brunswick Hotel, Brunswick

Anti-Flag + Scott Reynolds + Wolf Pack: Max Watt’s, Melbourne

Term Four + Disparo + Laser Brains + Disasters + The Approach: The Brunswick Hotel, Brunswick

46 • THE MUSIC • 7TH DECEMBER 2016

Celebrating Human Rights Day 2016 with Jackie Bornstein: Bennetts Lane, Melbourne

Stephen Kennedy + The Cajun Chiefs: The Drunken Poet, West Melbourne Kelly Dance + Younis Clare + Sarah Rzek: The Gasometer Hotel (Upstairs), Collingwood Lawrence + Unfettered + Citipower DJs: The Gasometer Hotel, Collingwood Neighbourhood Pizza Party feat. Foxtrot + Laura Palmer + Cosmic Kahuna + Private Function + The Shadow League + Jo Neugebauer + Tim Hampshire + Sweet Time + Josh Mann + Eli Cash + Lewis Nixon: The Old Bar, Fitzroy

Royal Croquet Club with KLP: Birrarung Marr, Melbourne Miss Jones: Bridie O’Reilly’s, Brunswick Brian’s Big Christmas BBQ with Tracey McNeil Band + Lisa Miller + Shane O’Mara + Charles Jenkins: Caravan Music Club, Oakleigh Cherry Blues with Andy Phillips & The Cadillac Walk + DJ Max Crawdaddy: Cherry Bar (2pm), Melbourne Cold Red Mute + Prophetess + Vendetta: Cherry Bar, Melbourne Hearing Paint: Compass Pizza Bar, Brunswick East Unwritten Law + Mixtape For The Drive + Runaway Kids: Corner Hotel, Richmond DJ Let Them Eat Baklava: Edinburgh Castle Hotel (Beer Garden), Brunswick Snark + Oceans + Coloured Clocks: Evelyn Hotel, Fitzroy

Document Swell (DJ Set): The Post Office Hotel, Coburg Jakubi (DJ Set): The Prince, St Kilda In The Carriage with Dan Dare: The Toff In Town (Carriage Room), Melbourne Krakatau + Gregor + The First Baboon Civilization Orchestra: The Toff In Town, Melbourne The House deFrost with Andee Frost: The Toff In Town (Toff Ballroom), Melbourne Jurassic Nark + Pleasure Model + Stork: The Tote (Front Bar), Collingwood Luke Sassafras Band: The Who Club, Warburton Matinee Show with Maxon + Eilish Gilligan + Jess Holt: The Workers Club, Fitzroy The 131s + Captives + The Quarters: The Workers Club, Fitzroy Neeko: Wesley Anne (Front Bar), Northcote Black Dog + Devilmonkey + Oceans: Whole Lotta Love, Brunswick East

Two Steps On The Water

Stepping In The Right Direction The official fundraising night for Melbourne’s Transgenredith festival is going down this Friday at The Curtin. The magnificent Two Steps On The Water are playing, with all proceeds going to make Transgenredith as amazing and safe as possible.

Gigs / Live The Guide

Michael Oliphant: Flying Saucer Club, Elsternwick

DJ Johnny Gash: Gin Lane, Belgrave Afternoon Show with Clever Austin + Godriguez + Laneous + Noah Slee + more: Grace Darling Hotel (Band Room), Collingwood

Murphy’s Hardware: Labour In Vain, Fitzroy Pheasantry: Lomond Hotel, Brunswick East Blues BBQ with Bill Barber: Lucky Coq, Prahran

Akala + Luka Lesson + Birdz + Soreti Kadir: Northcote Social Club, Northcote Alfred Harua + The Hula Hands: Open Studio, Northcote

Afternoon Show with Miss Helcat + Rhyece O’Neill: The Old Bar, Fitzroy Steve Boyd’s Rum Reverie: The Post Office Hotel, Coburg Gwyn Ashton: The Prince, St Kilda Silk n Oak: The Standard Hotel, Fitzroy Sunday Set with DJ Andyblack + Mr Weir: The Toff In Town (Carriage Room), Melbourne Down The Rabbit Hole with Nigel Last: The Toff In Town (Carriage Room), Melbourne

Sheer Mag + Tyrannamen + Miss Destiny: The Tote (Band Room), Collingwood Cold Meat + Priors + Geld + UBIK: The Tote (Upstairs), Collingwood Planet Slayer + Nelipot + Traffic Island Sound: The Tote (Front Bar), Collingwood Sonic Moon + Geo + Oolluu + DJ Dot Tom: The Workers Club, Fitzroy

In The Neeko Time The earnest and lilting lyricism of Neeko will fill Wesley Anne’s stage this Saturday. Head down to catch one of Melbourne’s most honest and raw performers.

Matinee Show with Messy Mammals + Coca Noire + Walla C: The Workers Club, Fitzroy Ron S Peno + Cam Butler: Tramway Hotel, North Fitzroy

Mon 12 The Monday Bone Machine X-Mas Party with T-Rek: Boney, Melbourne

Some Mothers The second-ever Music Mamas is on this Sunday, with local female musicians taking to The Brunswick Hotel stage for a brilliant afternoon of kidfriendly entertainment. Kat O is on the bill, smashing out some killer tunes. Passionate Tongues Poetry: The Brunswick Hotel, Brunswick Betty Grumble + He Cries Diamonds: The Curtin, Carlton Venus Court + Redspencer: The Old Bar, Fitzroy Fred & Toody Cole + Adalita + Samyntha: The Tote (Band Room), Collingwood Middlemarch + Police & Thieves + Ward Hancock & the Bastard Sons: The Workers Club, Fitzroy

Tue 13

BadBadNotGood: Corner Hotel, Richmond

Peaches + Black Cracker + Habits: 170 Russell, Melbourne

Monday Night Mass feat. Harmony Byrne + Sugar Teeth + The Teskey Brothers + The Scrims: Northcote Social Club, Northcote

Make It Up Club feat. Military Position + Bead + Luke Holland + System Body: Bar Open, Fitzroy

Boyce Avenue + In Stereo + Marcelo: Palais Theatre, St Kilda Afternoon Show with Don Hillman’s Secret Beach: Panton Hill Hotel, Panton Hill

The Bean Project

Uncomfortable Science with Lachlan Mitchell + more: Boney (Downstairs), Melbourne The Resignators + Blind Man Death Stare: Cherry Bar, Melbourne

The Three Kings: Rainbow Hotel, Fitzroy

Horace Bones + General Men: Evelyn Hotel, Fitzroy

Justin Bernasconi + Ben Mastwyk: Retreat Hotel, Brunswick Matt Black + Kev Walsh: Reverence Hotel, Footscray

Tom Tom Tuesday feat. Hextape + BJ Morriszonkle + The Quivers + Saint Sauna: Howler, Brunswick

Geoff Achison: Royal Oak Hotel, Fitzroy North

Bitter Fruit: Open Studio, Northcote

Culture Club + 1927 + Pseudo Echo + Eurogliders + Wa Wa Nee + Real Life: Sidney Myer Music Bowl, Melbourne Pugsley Buzzard: Sooki Lounge, Belgrave Meredith Music Festival 2016: Supernatural Amphitheatre, Mt Mercer Afternoon Show with Brittle Sun + Kat O + Peregrin + The Dianellas: The Brunswick Hotel, Brunswick Sascha Klave + Cool MacFinn: The Drunken Poet, West Melbourne

Sonic Moon

SiB + Black Bats + The Ivory Elephant: The Old Bar, Fitzroy

State of Soul x UKG with DJ Lady Erica + Percy Miracles + Coldpast + Arctic + Kaya Kalpa + more: The Toff In Town, Melbourne Neeko

Kat O

Bean There Done That The chilled-out sounds of The Bean Project duo hit Edinburgh Castle Hotel this Friday. Their weekly residency is sure to delight, with jazz, blues, folk and plenty of surprises along the way.

Everchanging + Sophisticated Dingo + Bin Night + The Deckers: The Brunswick Hotel, Brunswick

Indie

Steve Poltz: Memo Music Hall, St Kilda

Pine Forest Tea Party with Lady Grey + Julia Govor: The Gasometer Hotel, Collingwood

EP Focus

Answered by: Mark Kowald EP Title: This Space

How many releases do you have now? Our first release, an EP called Jump Into The Sky was released last year making This Space our second.

Was anything in particular inspiring you during the making? We parted ways with our vocalist late last year leaving Luke [Hickey], who was primarily the keyboardist, to take over full vocal duties as well as playing keys. It’s also a completely independent release! What’s your favourite song on it? Leveling Out is the first from the EP to be released but I would have to say Summer In Sassafras.

We’ll like this EP if we like... Mr Bungle, Frank Zappa,Radiohead or Primus.

When and where is your launch/ next gig? The launch for This Space is happening on11 Dec at The Workers Club with amazing support from Oolluu and Geo. Bands from 7.30pm. $5 entry at door. Website link for more info? http://sonicmoonband.com

Didirri + Mcrobin + The Bean Project + Jame Cameron: The Gasometer Hotel (Upstairs), Collingwood Fred & Toody Cole + Palm Springs: The Tote (Band Room), Collingwood Bleach Girls: The Westernport Hotel, Phillip Island

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