The Music (Melbourne) Issue #201 by TheMusic.com.au

OLIVER COATES (UK)

GOLDEN FUR (AUS) ARRINGTON DE DYONISO (USA) MATTHIAS SCHACK-ARNOTT (AUS) JIM DENLEY (AUS) ÁNDE SOMBY (NOR) KANE IKIN (AUS) RAINBOW CHAN (AUS) ERKKI VELTHEIM (AUS)

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THE MUSIC • 9TH AUGUST 2017 • 5

Music / Music / Arts / Lifestyle / Culture

Clubville

The Growlers

Californian outfit The Growlers will be making their way to Australia for a run of shows along the east coast this November in support of their 2016 full-length, City Club.

Saskwatch

The Kite String Tangle

Kite In Flight Following last month’s release of his self-titled debut album, The Kite String Tangle has announced he will head out on an Aussie headline tour in October with fellow Brisbane acts, Golden Vessel and Austen.

Saskwatch Out! Celebrated Melbourne ensemble Saskwatch are celebrating the fresh release of their fourth studio full-length, Manual Override, with the announcement of a massive 14-date national tour lasting from early October through mid-November.

Tired Lion

We Ain’t Lion It remains to be seen whether triple j’s Hottest 100 will remain on this date in January after the radio station starting seeking its listeners’ opinion about when the countdown should be held.

6 • THE MUSIC • 9TH AUGUST 2017

Perth rockers Tired Lion have dropped Fresh, the new single from their upcoming debut album Dumb Days. They’ve also announced they will take the album around the country for a headline tour after its September release.

Arts / Li Music / Arts / Lifestyle / Culture

Credits

Publisher Street Press Australia Pty Ltd

On The Dash

Dashboard Confessional

Group Managing Editor Andrew Mast

Celebrated emo outfit Dashboard Confessional will return to Australia for their first shows in five years next month on a whirlwind three-date east coast tour that will stop in Sydney, Melbourne and Brisbane.

National Editor – Magazines Mark Neilsen Editor Bryget Chrisfield

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KELIS

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RNB Fridays Live have announced a massive lineup led by Craig David. The UK artist will be joined by a slew of fellow headline acts including KELIS, Sean Paul, Kelly Rowland and more in October.

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Future Of The Left

Welsh alt-rock faves Future Of The Left will return to Australian shores in January next year. Revisiting our neck of the woods in support of their fifth studio full-length, The Peace And Truce Of Future Of The Left.

— Melbourne

THE MUSIC • 9TH AUGUST 2017 • 7

Music / Music / Arts / Lifestyle / Culture

DVR

Di And Viv And Rose

Di And Viv And Rose opens at Melbourne Theatre Company 12 Aug. Amelia Bullmore’s heartwarming story celebrating the lifelong bond between three friends will run through to mid-September.

Up The BPM

*I see a guy with a shark tooth necklace*

The countdown to the 2017 NYE On The Hill is on and they’ve announced their line-up including Ball Park Music, Gretta Ray and Regurgitator, with the the three-day camping festival kicking off 30 Dec.

ME: Holy shit, that’s sharpest part of a shark. Who is this mysterious and brave hunk? @thenatewolf

Isn’t She Iconic For the first time in almost two decades, Alanis Morissette heading our way. The revered Canadian songwriter will head Down Under in January 2018 for intimate acoustic concerts at Melbourne’s Palais Theatre and Sydney’s ICC Theatre.

8 • THE MUSIC • 9TH AUGUST 2017

Alanis Morissette

Muse

Dig Down Under For the first time since 2013, UK heavyweights Muse have confirmed they will return to Australia this December for two epic arena concerts at Sydney’s Qudos Bank Arena and Rod Laver Arena in Melbourne.

Arts / Li Music / Arts / Lifestyle / Culture

[ Formerly The Hi- Fi Bar ]

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Overground, Supersense’s legendary daylong ‘festival within a festival’ of improvised music is on 20 Aug at Arts Centre Melbourne. Everyone from Acid Mothers Temple to Zeena Parkins will be there bending genres.

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THE MUSIC • 9TH AUGUST 2017 • 9

Music

DAY D R E A M N AT I O N Bryget Chrisfield sits down with Jen Cloher to discuss where she’s at in life, the particular struggles Australian artists face and how hard she’s tried “to understand how things like Brexit and Trump and Abbott happened”. Cover and feature pics by Tajette O’Halloran.

s soon as we pressed play on Forgot Myself, the lead single from Jen Cloher’s upcoming record, excitement set in. The distant guitar picking, jaunty drums, sneaky bass and Cloher’s deliberately over-it vocal tone (“You’ve been gone so long you could’ve been dead”) swirl around, gradually building to become a dervish of frustration — expressed both instrumentally and vocally — until the arrangement implodes and resolves. Sitting inside Thornbury’s Short Round cafe wearing a black jumper, Cloher jokes that she feels like The Fonz as she bids one journalist farewell while inviting us join her at a corner table. There’s a sense that Cloher’s self-titled fourth album will usher in the success she so richly deserves — it’s definitely her time/turn — and Cloher admits she’s “really loved talking about the record”. “It feels like because it’s had an international release as well, and there’s a team in the UK and a team in the States... Just having that scope to be able to really go for it, you know? Has been really fun.” As well as writing “from [her] own rich life experience”, Cloher considers, “I feel that in this album I also step to the side and start to talk about my view of the world, or my view on certain issues, or trying to make sense and understand the world that I’m currently living in. And I think that’s why I decided in the end that there was no title that suited it better than Jen Cloher, because it does really sum up where I am right now in my life — what’s going on, what I’m thinking about, the issues that are important to me, what I’ve been through recently. I mean, anyone who comes to my music — whether they know much about me at all — would’ve been curious, like, ‘I wonder what it’s like being with a partner who is also in the same profession who all of a sudden became one of the hottest acts in independent music around the world?’... So, you know, I’m telling them,” she laughs. “I think it’s an interesting record, you know, to have discussions around because it’s not just talking about a broken heart or missing someone from afar; I mean, there’s deeper issues in there. And it’s a very Australian album and I think also — I’m not sure, but it feels like maybe one of the few Australian albums that really talks about the 10 • THE MUSIC • 9TH AUGUST 2017

To read the full interview head to theMusic.com.au

music industry, and not in a romanticised way. You know, songs like Shoegazers and Great Australian Bite — I’m really having a conversation directly there to people who work in the music industry: to artists, to those who have gone before us... I just think acknowledging that there has been struggle; that it’s been a really hard country to grow up, as an artist, in.” Cloher’s band is rounded out by musicians she shares with other bands: partner Courtney Barnett on guitar, Bones Sloane (also in Barnett’s band) on bass and Jen “Sholaki” Sholakis (also in East Brunswick All Girls Choir and Jade Imagine) on drums. As such, Cloher admits that “just finding the time for [her] music has been a bit of a struggle”. Those lucky enough to catch Cloher and co performing as part of the Milk! Records residency that took over Coburg RSL recently would find it hard to believe that the band didn’t rehearse much beforehand. “We’ve played together for a long time and we record a lot of our albums live,” Cloher points out, “and so it doesn’t take too long to kind of get us in shape. But I’m excited about touring, because we’ll actually get to play a good sort of 16 or 17 shows in a row — so in Australia, then to Europe, then to England — which’ll be great for our band, ‘cause we’ve never really been able to do that.” The bulk of Cloher’s latest set was recorded at Jumbunna in South Gippsland, Victoria in “about eight or nine days”. Greg Walker “helped produce and record” and Cloher enthuses, “He’s a genius”.

‘I wonder what it’s like being with a partner who is also in the same profession who all of a sudden became one of the hottest acts in independent music around the world?’ “It was so great, because it took us all out of our lives,” Cloher recalls of this isolated recording experience. “We were able to go home at the end of the day and cook meals with our partners there and pets — Sholaki had her dogs... I wanted to include partners, because I’d gone through the experience of music kind of separating me and Courtney, and I know what it feels like to spend a lotta time away from your partner because of music.” And Bones’ and Sholaki’s partners were even called upon to supply BVs. “They came in and sang on Strong Woman in the choir,” Cloher confirms. Bones stars in the music video for Regional Echo, the next single to be lifted from Cloher’s self-titled set. Cloher came up with concept, which follows Bones back to his hometown of Goulburn, and Annelise Hickey, who directed the Forgot Myself clip, was also recruited to direct. “It’s really funny, actually. I saw that [the Regional Echo clip] was on the Goulburn city council page or something like that, and all of these people from Goulburn have come to the Jen Cloher Facebook page and just left comments under the clip, going, ‘Oh, my god! That’s next to your dad’s shop!’ or, ‘Oh, that’s near your street!’ Just Goulburn spotting, which is really sweet. “It wouldn’t be hard, I think, for people from other countries to see themselves in that clip as well,” Cloher continues. “Maybe the landscape’s different... but I think it’s a really common experience all around the world, you know. I think the reason why we saw someone like Trump being voted into office is that there’s all of these people that feel very kind of cut-off and ignored, and they’re not living in the big cities, and they feel like they haven’t had a voice for a long time... I really had to try to understand how things like Brexit and Trump and Abbott happened. How did we get to a point where this happened? And a lot of the album was about me trying to make sense of a world that I’m not a part of, and I don’t live in. “You get out of the cities and you start to see the real Australia, the real America, the real UK — it’s not what we know, you know? In our sort of left-leaning arts culture, inner-city living... I guess I was trying to step outside of that understanding... It’s worthwhile, it keeps me from becoming too narrow-minded myself and I think it also helps me to really stand by what I believe in. You know, if I understand the other side and really go in depth into understanding how someone might think

of immigration, for example, or how they might think about marriage equality from the other side; it gives me, I dunno, a more intelligent place to present my own argument or my own viewpoints.” For the music geeks among us, Cloher’s self-titled album contains many nods and references to iconic artists and songs. Kinda Biblical includes a lyrical nod to Sonic Youth’s Kool Thing: “[In Kool Thing] Kim Gordon says, basically, ‘Are you gonna liberate us girls from white male capitalist culture?’ — something along those lines. I probably haven’t quoted that correctly, but that’s the idea. And I felt like it really ties in with what was happening in America with this white male capitalist culture, which has taken over lots of the world.” A couple more lyrical nods to listen out for? “Dirty deeds done dirt cheap”; “Wide open road” and “watching the Dirty Three” — fun game, huh? When we ask Cloher if we’ve missed any other sneaky references, she offers, “I do reference The Rolling Stones in Forgot Myself, where I say, “You’re ridin’ ‘round the world, you’re doin’ this and you’re signin’ that,” which is from [(I Can’t Get No)] Satisfaction... I snuck in a John Lennon quote in Waiting In The Wings where I say, you know, ‘I’m lost/Planning or remembering/I don’t remember,’ and, um, ‘Plans are disappointments waiting in the wings/Life is what happens when you’re making them’ — you know, that great Lennon quote [“Life is what happens to you while you are busy making other plans”]. “Oh, I also reference — it’s not a reference from a song, but I reference Slim Dusty where I say, in Sensory Memory, ‘I guess I’m never gonna be the Joy to your Slim Dusty’. So Joy Dusty was incredible... [she] basically went out on the road in a caravan with Slim and their kids, home schooled them in the caravan, wrote most of his songs — like, wrote at least half of the songs — managed him, was totally in there, you know, she really was the business of Slim Dusty... [In Sensory Memory] I’m just saying, ‘I’m probably not gonna be that person that’s out on the road with you living the touring life, because it’s not for me, like, it’s too hard,” she laughs. We discuss the importance of maintaining your own identity and Cloher opines, “I mean, I’m 43, you know? I’m not a kid anymore. I’m sure had I been the same age as Courtney — and she’s 30, or nearly 30 — when all of this stuff happened, maybe I would’ve been like, ‘Let’s do it!’ you know? Like, ‘I’ll go out on the road and party on and just take each day as it comes,’ but I’m just at a different place in my life.” After our interview concludes, we wander towards the counter to settle up. But Cloher makes a detour to what she laughingly refers to as “my office” — another cheeky reference to The Fonz.

What: Jen Cloher (Milk!/Remote Control Records) When & Where: 8 & 10 Sep, Howler

P O ST- C A R E E R E N V Y Jen Cloher has always been upfront about the “personal nightmare” of trying to address the envy she experienced while watching her partner Courtney Barnett’s career trajectory skyrocket (see the transcript of her excellent keynote speech at One Of One’s inaugural Women In Music Breakfast in the blog

section of her website). But these days, Cloher says she’s learned to understand and “somehow put that experience into some kind of perspective”. “Courtney’s been back in Australia for a year, we’ve been working really hard with Milk! Records — she’s been home every day, you know,” Cloher

tells of more recent times before adding, “I’ve been the one that’s been going away for conferences and things, so of course it feels very different. But I’m aware that, you know, probably in another year’s time [Barnett’s] gonna be back in a pretty heavy touring cycle, which is how she has to make

her living. And I guess it’ll be interesting to see how it feels the second time around, but I do think that I have a lot more understanding and tools and, you know, wisdom around how I might structure my life for those long periods.”

THE MUSIC • 9TH AUGUST 2017 • 11

Music

Going Global Saskwatch’s Nkechi Anele and Liam McGorry still despair over Australian musicians’ struggles for recognition without global validation, Cyclone discovers when she sits down with the pair.

elbourne’s Saskwatch may be identified as a cult neo-soul collective. But, following the heavier grooves of 2015’s stunning sleeper Sorry I Let It Come Between Us, they’re now going fully psychedelic with Manual Override. “If you haven’t listened to our last album, this will kind of come as a shock sound-wise,” advises frontwoman Nkechi Anele. Anele is seated in a cafe beside Liam McGorry - Saskwatch’s primary songwriter (and multiinstrumentalist) - and the two typically rep Saskwatch in interviews. The music media has mythologised

I was at WOMAD[elaide] at the start of the year and [Hiatus Kaiyote singer] Nai Palm was in the crowd... no one knew who she was.

Saskwatch as uni students who regularly busked outside Flinders Street Station. But, McGorry counters, that phase has been “blown a little bit out of proportion”. In fact, Saskwatch crystallised after local DJ Vince Peach offered them a residency at Cherry Bar’s soul night. McGorry started presenting the then-covers band with original material. And Anele replaced an earlier vocalist. In 2012, a nine-piece Saskwatch debuted with the festive Leave It All Behind via Northside Records - the indie label promoting Melbourne’s soul boom. In the meantime, the acclaimed live performers headed overseas. Saskwatch hit 2012’s Edinburgh Fringe Festival, their schedule so gruelling that Anele damaged her voice. “I had to go and have vocal therapy to get back to being able to talk - let 12 • THE MUSIC • 9TH AUGUST 2017

alone sing,” she recalls. For that ambitious third album, Sorry I Let It Come Between Us, Saskwatch journeyed to Philadelphia to record with producer Scott McMicken - the guitarist from the indie-rock combo Dr Dog. However, the exchange wasn’t what the Aussies expected. “Philly was great and not so great, in a lot of respects,” McGorry begins. “The experience of it was awesome. We were basically in a warehouse for two weeks - staying in there and recording in there and just hanging out in there. So that was great fun. But it wasn’t really that conducive to making the best record, as we thought it was gonna be.” Regardless, Anele suggests that Sorry I Let It Come Between Us was “a good turning point”. “We’d reached a stage where the band knew what it wanted to sound like. We didn’t really need somebody from outside of the band to come in and try and make an album different to how we’d already thought about it.” Returning home, Saskwatch underwent significant line-up changes - losing their horn section and drummer. McGorry eventually determined to produce Manual Override with guitarist Rob Muinos. McGorry acknowledges that Manual Override - led by the fuzz-rock December Nights - is far removed from neo-soul. Yet Saskwatch never perceived themselves as strictly belonging to any genre - or scene. “The first album was a pretty soul-influenced kind of thing,” McGorry concedes. “For a while, we did love soul music - and love making soul music. [But] I guess it’s always been just one of a number of influences.” His references for Manual Override were those hybrid - and mutable musicians Beck and The Avalanches. Being a smaller unit has freed Saskwatch up to experiment, explains Anele. “Because of this dramatic change that we’ve had, with the loss of an entire horn section, one of the first things that we realised is that there was so much space for us individually within the band to create sound. I think that’s probably why the more psychedelic sound is now coming to the forefront, because there is the room to move it there, whereas before we would still try to maintain an even balance between all the people that were in the band - and, when you have nine people, that’s a bit hard.” Indeed, Manual Override actually has string arrangements. “I think that brought a really new dimension and dynamic to the album.” Mind, Saskwatch’s “constant” is Anele’s soulful delivery. Aiming for international dates in 2018, Anele has despaired that Australian musicians struggle for recognition - until they receive global validation. Even then, our mainstream lags. “I was at WOMAD[elaide] at the start of the year and [Hiatus Kaiyote singer] Nai Palm was in the crowd,” Anele tells. “When she’s in the crowd of people from her home country - no one knew who she was. When she stepped backstage, with people literally from all over the world, they were like, ‘Oh my god - how are you here and walking around?’”

What: Manual Override (Grow Yourself Up) When & Where: 12 Oct, Karova Lounge, Ballarat; 14 Oct, Barwon CLub Hotel, South Geelong; 21 Oct, Corner Hotel

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THE MUSIC • 9TH AUGUST 2017 • 13

Music

Preatching To The Choir The Preatures have stitched themselves back together and stepped out into the open. Isabella Manfredi and Jack Moffitt tell Jessica Dale about “smashing binaries” on Girlhood.

wo ARIA nominations for your debut album is more than a decent achievement, and if ever there’s a reason to a feel a justified second album slump, that’s a fair one. “I wanted to smash binaries with this album,” says frontwoman Isabella Manfredi of the group’s newest output, Girlhood. “We’re living in an age where we talk about things in terms of binaries all the time; feminine, masculine, you know... And in writing this record, I just wanted it to be about the messy, contradictory experience of being a woman, and that it’s not one or the other.”

Vulnerability and fragility, they’re great strengths.

We’re sitting at a busy cafe in Sydney’s Surry Hills, along with The Preatures’ guitarist and producer Jack Moffitt. It’s not all that far from their studio and rehearsal space, Doldrums, the home for all things Preatures when they’re back in Australia. “To a certain degree, I put up a lot of walls to get through all of that touring and I just needed to come home and unravel,” explains Manfredi. For Manfredi, Girlhood was her most intimate foray into songwriting yet. “I didn’t know it was the right shift for the album, I just knew it was the right thing for me as a songwriter. I guess naturally, it was putting a mirror up to myself and seeing what came out,” she explains. “Vulnerability and fragility, they’re great strengths.” “I think having perspective is a big part of that. Looking back on my adolescence and childhood and my 14 • THE MUSIC • 9TH AUGUST 2017

parents divorcing and what that did to my... It sort have split me in half, and I felt, really, like I had just been torn the middle, never really been put back together again. So, when I hit 27 I just said, ‘Well, I’ve got to start writing about this otherwise I’m just going to be in two pieces for the rest of my life.’ That’s the reason why I write songs, to reconcile things.” What was meant to be a month-long recording process ended up blowing out to a year, something that while unplanned and unexpected, was a process that both Moffitt and Manfredi are thankful for. “I think it’s taken the time that it needed to take. And honestly, it was down to a couple of things,” explains Moffitt. “One of them was we’ve been working on a song that required a lot of consultation with the Indigenous community and the other two things happened early on in the process were that we had Gideon [Benson] leave, Luke [Davison, drummer] suffered an injury that put him out of action for a while, and what that kind of forced us to do, I guess, was get back together the way that it used to be before the band really took off. “The album that we thought we were going to make very quickly became a new thing that we were learning about on the fly. I’m glad that we had the time, I really am, because I think we’ve ended up with a record that says a lot more about who we are for the moment.” Moffitt was co-producer for the band’s debut, and chose to again take to the chair for what would become their most advantageous record yet. “I really set myself a bunch of personal goals, and it had a lot more to do with my growth, I guess, than the growth of the band. It sounds strange, but I’m lucky that they coincided,” he laughs. “I think in acknowledging myself, I was actually a lot more capable of being there for you, especially, in allowing the songs you were writing to become clear and to live on record,” he says, turning to Manfredi.”And just being a creative partner and being a lot more reciprocal to Izzi’s intention and her focus, and not shying away from what my responsibility was and if I didn’t feel self-confident, that that was okay. It’s not about me, it’s not about anything else, it’s about getting this record right. I would say that was something I was a lot more conscious of than I have been in the past, where I was trying to hide behind things. This time I want to put everything just there. Let’s put it all up there and see what happen.” “It was a lot about confidence for us, this record. I love Blue Planet Eyes, it’s a great record, but it’s quite selfconscious in a lot of ways,” adds Manfredi. “There’s things being hidden there and they’re very consciously being hidden,” continues Moffitt. “Whereas in this record, we’re very consciously trying to present everything as it is. That journey, to actually make that choice, that’s probably the result of all of the experience that we’ve had.”

What: Girlhood (Universal) When & Where: 1 Sep, Forum Theatre; 25 Nov, Grapevine, Rochford Winery, Coldstream

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THE MUSIC • 9TH AUGUST 2017 • 15

Music

Golden Eagles Things were a bit leery at the eyrie to start, but guitarist and vocalist Luke Sinclair tells Martin Jones that Raised By Eagles are in fine feather on their third LP, I Must Be Somewhere.

n the space of about five years and exactly three albums, Melbourne country/rock outfit Raised By Eagles have gone from playing for kicks and a few admiring friends, to a touring band with awards, a record label and an audience. That has meant facing a few changes. “You develop this idea of your audience, which we never had before,” says singer/guitarist Luke Sinclair discussing the experience of making third album, I Must Be Somewhere. “So you’re thinking about them, thinking about, ‘are they gonna like it? Is there enough lap steel on

this song? Should I write a song that’s more true to the reason that our fans liked us in the first place?’ All those kind of things start playing on your mind.” Of course, things that sound radical and risky to the artist might be barely noticeable to the objective listener. I Must Be Somewhere sounds like no one but Raised By Eagles, rich with heart, songcraft, and Nick O’Mara’s trademark slide guitar. “I think I realised that as we were working on it,” agrees Sinclair. “And especially after we’d finished working on it: we can’t really help sounding like who we are. The four of us are still the guys writing the songs and arranging the songs and playing the songs and there’s a certain energy that comes from that in itself.” 16 • THE MUSIC • 9TH AUGUST 2017

It felt like there were other things at play, which were new for us. Which was a reason why I was apprehensive about the record. But I’ve fallen for it. That said, the four-piece had probably more outside input than ever before, with a label (ABC) and producer (Shane O’Mara) both invested in the process. “Well I mean the ABC, the only influence they really had was making an eight-track album a ten-track album,” Sinclair reveals. “Because traditionally the first two were eight-track records... So we had to make sure we had ten good songs, because we didn’t want to put any filler on there. “And Shane as a producer, it was great to work with someone who had ideas for songs that I never would have thought of... So the influence was positive. But yeah it was a bit more than just the four of us. It felt like there were other things at play, which were new for us. Which was a reason why I was apprehensive about the record. But I’ve fallen for it.” It’s true. Where last record, Diamonds In The Bloodstream, stepped up and dazzled in the first couple of listens, I Must Be Somewhere sneaks up on you. Sinclair and I spend a good half-hour trading admiration for The War On Drugs album Lost In The Dream, an important influence on the slow-burning tone of I Must Be Somewhere. “The more songs you have, the harder it is to come up with a setlist,” Sinclair considers of how the new album has affected the live show. “Some of those old ones are starting to collect a bit of dust. But now we’re doing this headline tour it’s going to be good. When you do a headline tour you can play longer sets, so we’ll be dusting those ones off. I’m looking forward to playing them again.”

What: I Must Be Somewhere (ABC/Universal) When & Where: 18 Aug, The Workers Club Geelong; 19 Aug, The Croxton; 16 Sep, Caravan Music Club; 14 Oct, Out On The Weekend, Seaworks

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THE MUSIC • 9TH AUGUST 2017 • 17

Music

Frontlash

Raw Power

Twenty Years Dungeon Not even being found guilty of fraud could knock the smug off Martin Shkreli’s face, but at least we won’t have to look at it again for a couple of decades (hopefully).

Green Light It was looking a bit dicey for a minute there, but Sir Elton John has finally announced a Vic date for ADOTG this Oct.

Night At The Museum

Lashes

If you haven’t been to Nocturnal at Melbourne Museum get on it. RVG and Gold Class were stellar this week – plus you’re not going to get many chances to wander through dinosaur bones with a beer.

Self-described “vinyl hoarder guy” Lance Ferguson talks to Cyclone about all the projects he’s juggling including latest album and remix project in one, Raw Material.

Martin Shkreli

Backlash

Commotion In The Ocean After poor young Sam Kanizay had flesh stripped from his legs by mysterious sea critters his father argued sea lice were to blame by capturing some and feeding them raw beef. Clearly we have entered some B-horror reality and no one is safe.

Farris/Pratt Split

True love does not exist, we all go lonely into the void. Let’s just crawl under the porch now to save the effort later.

Abbott’s Gay Marriage Wisdom Kindly keep it to yourself, you bigoted old pig.

18 • THE MUSIC • 9TH AUGUST 2017

ance Ferguson is a contender for Melbourne’s most prolific music-maker. Aside from being The Bamboos’ bandleader, he is involved in Cookin’ On 3 Burners and records solo records as Lanu. Now the rare groovester is presenting his first project under his own name. And Raw Material is especially ambitious, if not upfront. Ferguson himself struggles to precisely describe it. In fact, Raw Material is an album and remix compilation in one - with impeccably curated co-producers and vocalists. “I guess the idea initially was, I want to make an album - like a single 12-track album - but I want to create that album out of samples that I’m also going to create myself,” Ferguson relates. Those samples would be sourced from “fully finished songs” the guitarist cut with musicians from Melbourne bands such as Hiatus Kaiyote. Indeed, “in the spirit of this whole beat-digging culture”, Ferguson pressed two vinyl singles for every track - giving one to each guest producer to flip, while keeping the other (“I’m that vinyl hoarder guy”). He solicited singers and MCs - several, pertinently, local (Cazeaux OSLO, Jace XL): “It seems like there’s a golden period of soul-influenced music in all its permutations in Australia right now.” Raw Material’s highlights include the discofied All I Got (led by Californian avantsoulstress Brit Manor) and Late Nite Tuff

Guy’s warehousey Do U Want Me 2 Stay? (starring Kylie Auldist). However, of the 35-plus participants, the one who most surprised Ferguson was an old DJ/producer pal. “Ennio Styles took [the brief] one step further. He sampled the track I gave him, but he also used only things out of my back catalogue to create the song he did - which I thought was kind of cool. He called it Lanthology, ‘cause he’s a mastermind of wordplay.” Raw Material is being released as a double-album - the earlier songs forming “a companion piece”. “It’s become this sort of ‘concept’ album - I hate to use that word - but now you see where the music came from,” Ferguson suggests. “But, again, I feel like it shouldn’t be mired down in that concept. It’s really important for me that both the originals and the reconstituted songs stand up as pieces of music on their own two feet and aren’t reliant on that concept to get them across the line.” A New Zealand expat, Ferguson put Melbourne on the soul map when his group The Bamboos debuted with 2006’s Step It Up on the UK’s Tru Thoughts label. Still, in a sly nod to Australia’s pub-rock tradition, the collective’s last outing, The Rules Of Attraction, featured You Am I’s Tim Rogers as vocalist. Today Ferguson is an esteemed producer, even supervising Bobby Fox’s cover of You’re The Boss with supermodel Miranda Kerr. Ferguson is working towards a live incarnation of Raw Material, centred around turntablism. But he already has fresh studio gigs. He’s mixing a set from his cult, spiritualjazz vehicle Menagerie. Meanwhile, The Bamboos have wrapped their eighth album, due in early 2018. Enthuses Ferguson, “I’m sitting on a few unreleased things that I’m really looking forward to seeing the light of day.”

What: Raw Material (Warner)

Music

Still Hamjamming

Hamjam’s Hamish Rahm shares with Rod Whitfield how an ongoing medical issue, offers from Pond and Methel Ethyl, and releasing independently all held up their new album.

he new album from Perth-based electro-pop duo, the enigmatically titled a/s/l?, has been a long, long time coming. Firstly, one-half of the duo, Hamish ‘Ham’ Rahm went through an extremely painful and rare illness during the writing process. Fully recovered now, Rahm is more than happy to speak candidly and good-naturedly about a very tough time in his life. “We started recording and I got this thing called Pilonidal Sinus,” he recalls, “which really fucked me up for a good six months. Basically, I had an open wound in my back for about three months. It was just a really crook situation and it just took up a whole lot of time. “Basically, it was fucked, to put it mildly.” Secondly, musical opportunities came a-knocking for both Rahm and his partner in Hamjam, James ‘Jam’ Ireland at the same time. “By the time I was ready to start working on stuff again and chomping at the bit to get at it, James had accepted the gig to start playing drums for Pond, and I had accepted an offer to play guitar and synth in (Methel) Ethyl,” he says. Lastly, but by no means least, the duo had actually done their own independent

release of the album quite some time ago, but they received an offer from a prestigious indie record label to give a/s/l? a more formal and higher profile release. “It’s already been out in the world, and then it got taken down from the world, and now it’s coming back out again! “We just put it up on the internet, probably a year ago,” he explains, “we sent it to Joe from Bedroom Suck (Records), and he said ‘can you take that down, I want to put it out’. So then we were like ‘hell yeah, that’s one of our favourite labels’.” August 11th is the date the album finally sees the light of day in an official capacity, and this is bringing much relief to Rahm and Ireland. He feels that it had stood the test of the time that it has taken. “I’m excited now, we’ve had a long time to look back at it,” he says, “I listened to it the other day, it came on my iTunes after a mix that I’d been listening to, and I was like ‘wow, this sounds good!’ I was stoked.” Despite the fact that both members of Hamjam are in other high profile bands, and the fact that this duo is unlikely to take their sounds on the road with them for the foreseeable future, Rahm confirms that Hamjam is very much an ongoing concern and that they have big plans for it as they move beyond the delays and into the future. “We never stop,” he states definitively, “we did an EP before this, now we’re working on kinda splitting the sound of the band in two. We’ve got Hamjam, which is the poppier stuff, and there’s Xamjam, which is the more Krauty, long form jam element of it. More like electronica I suppose.”

Industry Alert

Somehow it’s already that time of year. Yep, we’re amping up for all the end of year festivities, wrap-ups and awards ceremonies, and two of the best have just announced details for their 2017 celebrations.

Face The Music Face The Music are hinting that this year’s event is definitely not one to miss. They’re boasting a brand-new venue as well as a whole slew of workshops, keynotes and panels. Last year’s event saw the likes of Bandcamp’s Andrew Jervis, Meredith Music Festival’s Woody McDonald and Laneway Festival’s Katie Stewart, plus some excellent up-and-coming Aussie artists. Early bird tickets are on sale now for the 23 - 24 Nov event.

The Age Music Victoria Awards Now in its 12th year, The Age Music Victoria Awards will be taking over 170 Russell on 22 November as part of the Melbourne Music Week program. Victorian artists, venues and festivals are all eligible to nominate themselves (or someone else they think should win), across a wide range of categories. Last year’s event was a sell-out, so make sure you get in post-haste to snag those early bird tickets that are on sale now.

What: a/s/l? (Bedroom Suck/Remote Control)

THE MUSIC • 9TH AUGUST 2017 • 19

Culture

That’s What He Said Jaime Morton recounts the harrowing moment he discovered his dad’s creative side, and how it all turned into a successful podcast series, to Guy Davis.

ornography and your father - that’s two things you may care about deeply, but wish to keep completely separate. Spare a thought, then, for UK author/ comedian Jamie Morton, who a few years ago received news of the creative pursuit his dad had engaged in during the early part of his retirement. “He told me he wrote a book, which I thought was amazing,” recalls Morton. “And he said he was going to send me the first few chapters, but not to tell the girls; meaning my mum and my sister. I should have smelt a rat immediately when he said that, but I didn’t.”

It’s been shared around like a dirty little secret.

When the first pages of his father’s opus arrived via email, Morton was a little taken aback. After all, he was expecting a spy novel “or something swashbuckling with pirates”. What he received, however, would change his life forever. Because under the pen name Rocky Flintstone, Morton’s dad had written the erotic adventures of kitchenware saleswoman Belinda Blumenthal. Yep, that’s right: Morton’s dad wrote a porno. And while Morton initially found himself thinking he should close his laptop and forget all about the very existence of Flintstone’s smutty saga Belinda Blinked 1, which saw Ms Blumenthal enthusiastically dallying with everyone from a lusty duchess to a micro-cocked Texan, curiosity prevailed. Good news too, because that was the origin of My Dad Wrote A Porno, a podcast that has generated a cult following worldwide.

20 • THE MUSIC • 9TH AUGUST 2017

Alongside friends and comedy colleagues Alice Levine and James Cooper, Morton regales listeners with a chapter of Belinda Blinked a week, the trio affectionately ripping Flintstone’s god-awful prose to shreds when they’re not falling about in peals of laughter. Oh, and occasionally reminding Morton that his 60-something father is the man responsible for some explicit-butdecidedly unsexy descriptions of the act of lovemaking. “Yeah, Alice needs to stop doing that,” smiles Morton. “Every time I think I’m close to getting a handle on it, she’ll go, ‘You know it’s your dad, right, Jamie?’ How could I ever not be aware that my dad wrote this? It’s forever present in my mind. Disturbing on so many levels but, fuck me, it’s funny.” The notion of the podcast came about when Morton started reading selections from the first Belinda Blinked novel (yes, the first - the podcast is current in the middle of the third book and there are more to come) to a handful of mates, including Levine and Cooper, down the pub one night. “They’ve all known my dad for a decade or more and they thought it was brilliant,” he says. “And we started doing what we do on the podcast, dissecting it as I read it. James, Alice and I have done little projects together ever since we met - we did a web series before My Dad Wrote A Porno - and it felt like this was a natural next project for us.” Morton admits that he was worried the whole thing would fall flat, that no one would find My Dad Wrote A Porno particularly funny - a distinct possibility when it describes its half-naked heroine with the words, “Her tits hung freely like pomegranates,” or deploys the odd gynaecological term “vaginal lids”. But it has found its audience, and Morton is especially pleased that it has done so organically. “It genuinely feels like a show that has become a hit through word of mouth,” he says. “It’s been shared around like a dirty little secret.” And now My Dad Wrote A Porno is going from the airwaves to the stage, with Morton, Levine and Cooper bringing their show Down Under for a series of live shows after successful performances in the UK. “When my dad started writing, he would send me all this crap sometimes just bullet points, sometimes actual sentences - and one of the chapters he wrote never ended up in a book, but I thought it was just amazing,” says Morton. “Last year we were invited to take part in the London Podcast Festival - they said we should do a live show, and we were working out the form it should take - and I remembered the chapter no one had heard, and it became the special chapter we read at the live shows. And then there’s audience participation, video components, reenactments of certain things. We never get to experience people’s enjoyment of the podcast because, well, it’s a podcast. People get in touch via Twitter and such, which is lovely, but to see and hear the live reactions to dad’s writing has been so much fun. We’d love to do that all over the world.” That’s what she said. Oo-er!

What: My Dad Wrote A Porno When & Where: 17 Aug, Hamer Hall; 18 Aug, Athenaeum Theatre

Music

Leagues From Home

Singer, guitarist and amateur frog scientist Anna Davidson digs up old memories with Anthony Carew ahead of the release of Major Leagues’ debut LP, Good Love.

“A

couple of days ago, I was going through my parents’ cassettes,” offers Major Leagues guitarist/ vocalist Anna Davidson. She’s back in Toowoomba, back in the house she grew up in, feeling “nostalgic in a good way”, and rifling through old stuff, old memories. “[My parents] have kept all their old tapes, it’s amazing. I found this song that I’d written in primary school, in like Grade Five, and it was called ‘The Murray-Darling Basin Song’. I went to listen to it, but, my dad had taped over it! I can still remember the first line of it. I wish I still had it. It could be a #1 song.” Davidson, who’s softly spoken and shy, admits to being “socially awkward” and finding the interviewing process “pretty uncomfortable”. Speaking about Major Leagues — the Brisbane-based, jangly indiepop outfit she fronts — feels “like bragging”, to her. She definitely doesn’t want to speak, in a promotional conversation, about her late husband, Bored Nothing’s Fergus Miller, who took his own life late in 2016 (“I’m not really comfortable with that, yet”). But Davidson is happy to recount her childhood years; having, she thinks, moved past the point of being embarrassed about the past. Davidson played clarinet and violin in school bands growing up (she even went on band camp, a trip from Toowoomba down to Canberra), but her greatest childhood obsession was with frogs. “I wanted to be

a frog scientist,” Davidson recounts. “My dad’s parents had this cabin in Springbrook, outside of the Gold Coast, and there were always frogs there. Whenever I got into something, I’d get really obsessed. So, for two years, it was frogs, I learnt everything about them.” After moving to Brisbane, she played in a string of go-nowhere bands, before Major Leagues “just gelled”. They were friends, coming from different musical places — guitarist Jaimee Fryer had played in church and folk bands, bassist Vlada Edirippulige came from a jazz background — but bonded over a love of Pavement, The Breeders and My Bloody Valentine. Their jangly guitars led them to support a host of other janglers over the years: Beach Fossils, Wild Nothing, Alvvays. And, after two EPs — 2013’s Weird Season and 2016’s Dream States — they’ve finally released their debut LP, Good Love. Produced by Jonathan Boulet, the set is duly filled with guitars that sparkle and chime. Its songs are about relationships, but “not necessarily romantic relationships”. Jaimee And Anna is about the bond between the band’s two songwriters; its lyrics (“So far from home/How’s it feel to be alone?”) referencing the distance between the two, when Davidson was living in Melbourne with Miller. “The song began as an expression of missing Jaimee,” she says. “I really enjoyed living [in Melbourne]. But, it made things harder [for Major Leagues], we couldn’t write together much. A lot of my songs came out of living down there; being away from Queensland and so many of my friends. That gave me a bit of inner turmoil to fuel my writing.”

ART OUT OF THE HOUSE

What better way to take in art than with the addition of a beautiful landscape surrounding it? Art In Public Places is a month-long event, celebrating art and ideas in all their glorious and sometimes unusual forms. The multi venue event is taking place throughout the month of September all over Melbourne’s Hobsons Bay area, and will see every day spaces become off the cuff art galleries. The exhibition will host both local and international artists during its run, as well as displays featuring projections and light art, music, participatory arts, installations, Indigenous weaving, and performance art. There’s even the premiere of the film Glow, created about the local Laverton area by kids for kids. Entry to all Art In Public Places is free and more info can be found via artinpublicplaces.com.au

What: Good Love (Popfrenzy) When & Where: 12 Aug, The Workers Club; 13 Aug, The Eastern, Ballarat

THE MUSIC • 9TH AUGUST 2017 • 21

Comedy

Out Of This World

“I

want to be the first comedian in space,” Rhys Darby declares as we discuss bucket list career goals. “I think getting beyond this world and actually working in space would be a dream come true. If there’s a spaceship heading to Mars in my lifetime, with a crew of fascinating people that are going to create to the next human civilisation, then maybe I’d want to be on that ship, even if I’m in my sixties. But as an entertainer. People are still going to need entertainment in space, right?” It’s a bold ambition, but the New Zealand-born comedy megastar already has plenty of experience braving strange new worlds. Since 2014, Darby has been based in the heart of America’s notoriously ruthless showbiz thunderdome, Los Angeles. The standard issue dog-eat-dog mentality — the default setting for many the Hollywood elite Darby now calls neighbour — is quite literally a world away from the affable, ultra laid back New Zealand spirit this much loved funny man reflects. While he may now boast global fame, the comedy actor has managed to maintain the same soft spoken, endearingly awkward, bumbling charm that has been an ever-present fulcrum for his various characters. Like an elastic tether, his disarming nature

New Zealand’s greatest comedy export Rhys Darby is a weirdo and proud. He talks reincarnation, space travel and conquering alien worlds with Maxim Boon.

speaks to Darby’s strong connection to his native Kiwi culture. Whereas other antipodean imports to the American TV and film industry have had almost all trace of their country of origin wiped away — the likes of Russell Crowe, Karl Urban and Sam Neill amongst the most high-profile examples — Darby has not only retained his, but made it his trademark. This is in no small part thanks to the way his side-splitting talents were first introduced to the world. As Murray Hewitt, the adorably byzantine band manager and NZ-US cultural attache, with hair like a lego-man and “ginger balls” to match, he became a beloved cult figure on hit HBO comedy series, Flight Of The Conchords. It’s been ten years since Darby, alongside Jemaine Clement and Bret McKenzie, first flew his Conchord to the States. And in that time, he’s built up an impressive number of other screen credits, landing his first major movie role in 2008, starring opposite Jim Carrey in Yes Man, followed by appearances in a string of film and TV hits including The Boat That Rocked (2009) and NZ-made indie hit Hunt For The Wilderpeople (2016). Later this year, he’ll be making his summer blockbuster debut in in the hotly anticipated reboot of Jumanji. But predating this world-reaching screen success, Darby was putting in the hard yards refining his craft on the live comedy circuit, first in his native New Zealand and then, following the success of his first solo show at the 2002 Edinburgh Festival, in the UK.

I want to be the first comedian in space. While his innate Kiwi-ness may now be the quality turning the heads of American casting agents, it was during his time in Britain that Darby realised what an asset his national heritage was. “I’d always been obsessed with the great British comedy actors — Monty Python was absolutely everything to me — so I wanted to get over to the UK and be part of that. But when I finally arrived there, I found that having a unique New Zealand angle became an advantage. I was one of the few acts that had this accent and this style of performance. It’s funny thinking about it, because I wanted to get there and be part of something, but being outside of that was the thing that opened doors for me,” he explains. “So I used that to my advantage, and in American, the biggest land of all, they really took it. So yeah, it’s become something to be proud of, the way I speak and think, because it’s got that different level to it — it’s different to the stock standard stuff people and can see and hear almost anywhere.” There is, however, one facet of the New Zealand identity Darby was keen to shed: “I think sometimes New Zealand gets stuck in

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Darby turns lizard “Were-Monster” for The X Files

this idea of itself as this tiny rural country, a remote island at the bottom of the world. But that, ‘We don’t really matter, let’s just get our head down and stick to farming’ attitude didn’t really click for me. I always felt from the beginning that I would try and seek the big time. I believed I could make it, that I was just as good as the big British stars I really admired.” It’s not only his tenacity and globetrotting that have helped Darby forge such an accomplished career. As a performer, he boasts an extraordinary level of versatility, showing fine form at standup, improvisation (as showcased in the recent Australian incarnation of the Whose Line Is It Anyway? franchise), acting, singing, writing and even political activism. “It’s something that’s just emerged over time,” Darby insists. “The only idea I had at the beginning was that I wanted to be involved in live comedy and I wanted to eventually end up acting. I’m happiest when I’m performing, and I’ve never said ‘No’ to anything. I’m a big yes man. Actually, being in the film Yes Man was a real watershed moment for me. I think that experience showed me where my career might be headed. Some standups might only write one kind of joke or perform in a certain way. For me, comedy felt like a much bigger universe.” Another aspect of Darby’s personality has proven just as magnetic as his quintessential New Zealandness. He’s a cardcarrying nerd. “I’ve always been obsessed with paranormal stuff and robots and things like that. I’ve always done goofy sound effects and mimicked ray guns and what have you on stage” he smiles. “I don’t know if you believe in things like this, but I think if you put yourself out there, if you show that you’re really into these kinds of things, then one thing leads to another and you end up being part of them.” Indeed, revealing his inner-geek has led the comedian to some surprising opportunities, including a guest appearance on The X-Files and a recurring role voicing Coran on the Netflix remake of anime saga Voltron.

He’s also wearing his paranormal-loving heart on his sleeve in his latest stand-up show, Mystic Time Bird. Drawing inspiration from a deeply personal event, it features a mercurial mix of emotional candour and batshit kookiness. “My mother passed away last year, and I was stuck in Hawaii working, with a lot of time to myself, and I really started to think about who I was and whether I wanted to continue in comedy. I felt like a lot of me was doing it for mum, and I wasn’t sure how much I was really getting out of it personally,” he shares. “So, I went to get some advice, and I found this mystical man — a kind of shaman if you will. And he believed that I was a bird in a previous existence. So yeah... it’s possibly the weirdest show I’ve ever put out there.” He may be tapping The Twilight Zone for his comedy, but Darby hopes by embracing his more eccentric side he’ll set an example for other kindred misfits. In fact, it’s a tactic that has helped him conquer an alien stronghold. “There’s a lot of people who probably grow up thinking, ‘I’m a geek. I don’t fit in here. I’ll just hide away in my bedroom and play computer games.’ It feels like it’s so easy for people to feel insecure about not fitting in at the moment. But if you can be proud of the fact you’re different and put yourself out there as a bit of a weirdo, then all the other weirdos will come out of the woodwork to work with you. I think that’s why I’ve managed to fit in in LA. Hollywood is a whole bunch of weirdos.”

What: Mystic Time Bird When & Where: 21 Aug, Comedy Theatre THE MUSIC • 9TH AUGUST 2017 • 23

Industry

Vale Tony Cohen 1957 – 2017

tudying the resume of venerated Australian producer and sound engineer Tony Cohen — who sadly passed away earlier this week in Melbourne’s Dandenong Hospital at the age of 60 — is like tracing the fertile history of Australian underground rock’n’roll, such is the breadth of his involvement in the lineage.

Tony Cohen

Born and bred in Melbourne, Cohen became infatuated with sound engineering after undertaking work experience at Armstrong Studios while still at high school, and before long he’d left school altogether to follow his musical dreams full-time. In 1976 he began his career in earnest working on the debut self-titled album by Perth glam-rockers Supernaut, which topped the Australian Nick Cave & The Bad Seeds – Let Love In album charts on the back of radio smash I Like It Both Ways, while that same year found him working alongside Oz rock legend Molly Meldrum on The Ferrets’ debut album Dreams Of A Love. By 1979 he was house engineer at Melbourne studio Richmond Recorders and a session with the Boys Next Door kickstarted a long and fertile relationship with Nick Cave and his various bands, which continued over the ensuing decades. According to Clinton Walker in his book Stranded (1996) by the The Cruel Sea – time Boys Next Door had morphed into The Honeymoon Is Over The Birthday Party, “Cohen relished their iconoclastic approach”, with Cohen himself admitting the role Cave had on his recording craft to the ABC’s Richard Fidler in 2006: “It was all very experimental then, because we were all learning — I fell in love with this new way of recording... because there were no rules. We were looking for sounds that made your fillings drop out rather than pleasant pop tunes, so we got to do crazy things like find concrete stairwells and abuse equipment, so it was all very attractive for me.” 24 • THE MUSIC • 9TH AUGUST 2017

His sessions with Cave opened many doors, with Cohen soon working on releases such as the Models’ Cut Lunch (1981) and The Go-Betweens’ 1982 debut Send Me A Lullaby. His work appealed to both established acts and fringe-dwellers alike, 1983 finding him ensconced in Sydney working concurrently on Cold Chisel’s final album (of their initial incarnation) Twentieth Century and the Beasts Of Bourbon debut The Axeman’s Jazz (the beginning of another enduring relationship). But it was his work with Cave’s outfit The Bad Seeds which defined most of Cohen’s ‘80s, the soundman going as far as moving with them to Berlin as he produced their first four albums, and touring the world with them as their front-of-house mixer. As he told Walker for Stranded; “I nearly got killed a couple of times, trying to score with Nick. You know, and I saw Nick getting dragged off by the cops in New York, and then we couldn’t find him because they kept moving him to different precincts. That was wild. And then in Amsterdam having knives at our throats as they guys took money out of our pockets. It’s funny to look back on, but at the time...” Indeed Cohen had by this stage earned a reputation for partying as hard (if not harder) than nearly all of the musicians he worked with, no mean feat in the decadent ‘80s with its penchant for rampant hedonism. As his younger brother Martin reflected of his life this week on Facebook, “Tony lived a hard life with drugs and alcohol playing a big part in his professional career. He did give them up many years ago but always knew that he would eventually pay for his sins”. By the end of the ‘80s, things had gotten so bad that Cohen moved into semi-retirement in rural Victoria to shield himself from further damage, but his reputation as an engineer par excellence refused to abate. It was upon his return to production work in the early ‘90s that he finally (and deservedly) began receiving industry accolades: after working on recordings by artists such as TISM, Straitjacket Fits, Dave Graney and Kim Salmon, Cohen took home the 1994 ARIA for Producer Of The Year for his work on The Cruel Sea’s The Honeymoon Is Over, then scoring that same award again in 1995 (as well as Engineer Of The Year) predominantly for his work on Nick Cave & The Bad Seeds’ Let Love In. And his penchant for working with artists at both ends of the spectrum continued unabated, 1994 finding him equally happy working with established icon Paul Kelly on Wanted Man as he was helping burgeoning Brisbane outfit Powderfinger piece together their debut Parables For Wooden Ears, while the next couple of years found him working with acts including The Blackeyed Susans, Mick Harvey, Hugo Race and Frenzal Rhomb. After this mid-’90s heyday, Cohen largely removed himself from the temptations of the music scene, moving back to regional Victoria to help care for his mother, but his contributions to Australian music will continue to resonate through the ages. As tributes poured in on social media this week it was legendary guitarist Kim Salmon who covered the huge loss most succinctly, calling Cohen “a true great” before adding that it was “an absolute privilege working with him but an even greater honour to count him as a friend”. RIP Tony Cohen.

In Focus Triple R

Radiothon Pic: Naomi Lee Beveridge

Subscribers are Triple R’s lifeblood so reach into your wallet and pluck out the dosh to support your favourite radio station during its annual call for support. Your subscriptions ensure Triple R can keep pumping out quality content and turn you on to music that may never otherwise reach your ears. Subscribe via the panic line on (03) 9388 1027 or at rrr.org.au from 11 – 20 Aug (and pay up before 20 Sep) and you’ll go in the running to win a wicked array of prizes. And how good is this photo? Triple R Breakfasters Geraldine Hickey, Jeff Sparrow and Sarah Smith sure do look the part, right? In keeping with this year’s B-grade horror theme, we really do hope the vollies answer the phones in character as Lurch: “You rang?”

THE MUSIC • 9TH AUGUST 2017 • 25

CultureC Culture

FUNCTIONAL FITNESS F

rom the Bowflex to 8-Minute Abs, juice cleanses to the ThighMaster, not all fitness fads are made equal. The Jane Fonda-style aerobic sesh went the way of the perm some time ago and the king of the workout heap has clearly been CrossFit for some time — they’ve even basically got their own Olympics now. But there’s new muscle maker on the playground, and if the CrossFit crowd aren’t your speed, but you still want to ‘whip’ yourself into shape, maybe F45 will be your ticket to a hot summer bod.

What Is It? First thing you need to know is the F stands for Functional, which is a word you can’t spell without fun. A quick look at their site leads us to believe both words are highlighted in the F45 dictionary. It says right there on the tin that they specialise “in innovative, high-intensity group workouts which are fast, fun and proven to get rapid results” and plenty of people seem to agree. They’ve even managed to convince Hugh Jackman, the world’s most ripped 48-year-old and a man known colloquially as Huge Jacked Man. The main thrust of their program is that they’ve picked their favourite parts from three different training styles, taking aspects of High-Intensity Interval Training (HIIT), Circuit Training, and Functional Training, and melding them into a whole range of quick workout regimes. In their own words, they’ve crafted “27 different, 45-minute workout experiences” that focus on teamwork, innovation, motivation, and results — the idea being that the less tedious, isolating and ineffective someone finds their workout the more likely they’ll show up for session three or four.

Where Can I Get Involved? Good news! If you are looking for a new way to get trim before spring has sprung there are F45 spaces popping up all over the place, at last count Australia had about 500 of them. Here in Melbourne, you can get your sweat on at locations in Docklands, Brunswick East, North Melbourne, Port Melbourne, Fitzroy. Seriously, they’re everywhere. You probably live right next door to a studio and just haven’t noticed yet. 26 • THE MUSIC • 9TH AUGUST 2017

Indie Indie

The Royal Artillery

Elko Fields

better place than a beautiful forest in Queensland? What’s your favourite part of the clip? I love the chaos of the final minute. It’s epileptic. Kinda like being on The Vomitron with strobe flashes of bodies and floating limbs. And what rock’n’roller doesn’t love a reversed, slow-motion hair flick?

Video Clip Focus

amed after a pub in Melbourne, heavy blues outfit The Royal Artillery frontman Zed Charles believes the new generation of live music is upon us, and it’s looking good. “I think there’s a new generation coming through who are getting keen on rock’n’roll again, Hobo Magic and Grim Rhythm for example,” Charles declares, “it’s all still pretty underground right now but there are new venues and festivals popping up all the time, the future is bright!” From picking up the guitar at ten years of age, Charles has always felt most at home on stage, and that has been deeply cemented by the recent experience of exQueens Of The Stone Age and Kyuss bassist Nick Oliveri joining them on stage at Mojo Burning Festival. “We played Tension Head and Millionaire and it went off!” When asked what else to expect from their live shows, Charles says “a lot of energy, a bit of shouting and jumping around, a Black Sabbath song, weird inside jokes” are par for the course. Charles’ long list goes on and on, featuring “broken glass” and “hedonistic tendencies”. Hectic! The duo is hitting up the east coast supporting Elko Fields across August so you’ve been warned of what’s to come, now go get amongst it!

When & Where: 10 Aug, Last Chance Rock & Roll Bar; 11 Aug, Cherry Bar

Answered by: Kella Vee Song Title: Delores Pt II Director: Eden Mulholland What’s the concept behind the clip? Like the track, Delores Pt II needed to be minimalistic. It’s incredibly raw, dark, filled with trails of light, echoes and ghostly flashes slowly transforming into utter chaos to capture the finale on the record.

Was anything in particular inspiring you during the making? Filming all night under the stars in a beautiful forest provided quite a bit of inspiration for our next single. Will you be launching it? 10 Aug, Last Chance Rock & Roll Bar; 11 Aug, Cherry Bar Website link for more info? elkofields.com

How long did it take to make? Five hours over a winter’s night. We had to wait until around midnight for complete darkness. Where did you film it? We filmed the clip in Mt Coolum National Park on the Sunshine Coast. We needed eeriness, darkness and somewhere to capture a night sky. What

OXJAM

For The Benefit Of Answered by: Charlie Threads Who is the benefit for? Sensible Antixx and Young Henrys present: OXJAM is a block party in support of Oxfam Australia. Why do they need help? Oxfam need funding to continue their great work tackling poverty by empowering communities through; providing infrastructure, aid & development

and basic water & sanitation needs to reduce and eradicate poverty across the World. What’s the current situation like? The current situation is dire, the government’s recent decisions have lowered Australia’s aid spending even further and events like the Oxjam block party are needed to raise money, but also awareness of worldwide poverty’s existence. Who else is helping at the event? L-Fresh The Lion, N’fa Jones, Mantra, Mistress of Ceremony, Dex & Emerald. As well as live art from Le Grizz & Silk Roy When and where can we help out? 13 Aug, The Penny Black Website link for more info? facebook.com/events

THE MUSIC • 9TH AUGUST 2017 • 27

Album / E Album/EP Reviews

Album OF THE Week

Paul Kelly Life Is Fine EMI

★★★★

The bold chords of the opening piano passage in Rising Moon immediately jump out, forming a strong foundation to what eventually turns into a formidable sonic landscape. Guitars, organ and backing vocals all mesh together in a huge sound and the album goes tearing out the gates. Paul Kelly’s latest release is eclectic, as is evident even in the first two tracks. Finally Something Good lends itself to Kelly’s songwriting — specifically to his lyricism — as do Firewood And Candles, Leah: The Sequel and Letter In The Rain. In counterpoint, Rising Moon, Rock Out On The Sea and My Man’s Got A Cold highlight a rock-solid band. My Man’s Got A Cold throws something new entirely into the mix with the guest vocals of Vika Bull, as well as a gritty, Tom Waits-esque instrumentation behind her. Overall the album explores new and interesting sonic and instrumental territory for Kelly, with his recent releases being in collaborations, soul music and Shakespearean sonnets. That being said, one can still find familiarity laced through these bold new works. Kelly’s writing still resonates with powerful imagery and vivid settings, as well as the occasional and familiar injection of faith and religion for good measure. Fans of his formative work and ‘classics’ may not be completely sold on some of the material, however anyone who has followed his musical journey will surely see this as yet another powerful stride forward. Lukas Murphy

The Preatures

Jen Cloher

Girlhood

Jen Cloher

Universal

Milk Records/Remote Control

★★★★

Girlhood, the latest album from The Preatures, is full of songs about growing up in Sydney as a young woman. The contradictions of being a woman in this day and age are not only expressed lyrically, but are reflected sonically through the contrast of strong, powerful tracks like The First Night and Lip Balm, and slower, softer ballads Magick, Your Fan and Cherry Ripe. On these tracks, frontwoman Isabella “Izzi” Manfredi is more vulnerable and exposed than ever before, her voice floating over emotive instrumentals, and delivering some of her best songwriting to date. The rest of the band — producer and guitarist Jack Moffitt, drummer Luke Davison and bassist Thomas Champion — inject the new album with a palpable energy.

This is album number four for Jen Cloher and in keeping with the title and stark artwork featuring Cloher naked and with guitar - it is her most honest and autobiographical release. So many songwriters cloud their ideas and experiences in metaphors and diversionary tactics, but Cloher goes straight for the literal and personal, detailing the trials and tribulations of extended periods apart from her partner (and guitarist) Courtney Barnett, suburban malaise, gay marriage, Dirty Three and the shallowness and strain of the music industry. It amounts to an internal and external state of the nation address, delivered with poetic poise and intellectual observation. Musically, Cloher and her band frame her songs with a loose, indie-rock sound that

28 • THE MUSIC • 9TH AUGUST 2017

Opener Girlhood is undoubtedly the album highlight — catchy and driving with a killer guitar solo. “Whatever makes me a modern girl. Nothing makes me a modern girl” Manfredi sings on the track — possibly influenced by Sleater-Kinney’s Modern Girl? She also sings in the Indigenous Darug language of Sydney on pop rock track Yanada and as the daughter of an Italian immigrant, connects to her roots, singing in Italian on album closer Something New. Girlhood is a well-executed album with a strong concept. Madelyn Tait

can be locked and direct with a gentle toughness (Shoegazers), drifting and dreamy (Regional Echo) or noisy and surging like Sleater-Kinney (Strong Woman). That stylistic range creates a flow and dynamism that complements the songs perfectly, ensuring the focus remains on Cloher and her lyrics. It’s hard to distil one’s thoughts and emotions into song with such self-awareness, artistic confidence and lack of pretence, but Cloher has, quite wonderfully, done just that. Chris Familton

EP Reviews Album/EP Reviews

Sand Pebbles

Hamjam

The Steoples

Pleasure Maps

a/s/l?

Six Rocks

Kasumuen Records

Bedroom Suck/Remote Control

Stones Throw/Inertia

The Bombay Royale Run Kitty Run HopeStreet Recordings

★★★★

★★★

★★★½

Pleasure Maps delivers a sweet selection of psychedelic lo-fi pop that rocks. In the middle of winter, the warm fuzzy glow of this album is irresistible. Their anachronistic sound takes us back some 40 or 50 years with a mix that feels like a dreamy blur of purple paisley. Surprisingly though, the album kicks off with the post-punk edginess of Desire Lines before giving way to the sun-kissed psychedelic folk of Green Good that feels kind of groovy. The real treat this album delivers is the extended instrumental breaks that feature winding guitar solos and spaced out synths that are so deliciously nostalgic.

Not something that goes into your sandwich, Hamjam is a collaboration between Methyl Ethel’s keys player Hamish Rahn (Ham) and Pond’s keyboard whizz James Ireland (Jam). Opening with the slippery, low-slung funk of the title track, the album blossoms into some occasionally sunny chords that go up against despondent lyrics and a woozy nonchalance that will be familiar to Methyl Ethel fans; less so to Pond freaks. There are a few inspired moments where disaffected apathy meets plastic soul breeziness, but it slumps away towards the end.

There’s some sweet magic woven throughout the gentle ebb and flow of this collaborative effort by The Steoples. In solo guise, LA’s Gifted & Blessed and UK artist Yeofi Andoh have created a swag of interesting, rootsy productions throughout the past decade, but their unification sees the duo peel off into a whole new realm of smooth, soulful, beat-driven electro pop. Opener From The Otherside gives the first taste of this album’s timeless quality; the gentle croons throughout, underscored by dramatic keys in Fated, layered synth textures in We Like The Dark and loads more goodies, ultimately raise it above definition by genres or labels.

For a band who sound like no one else, three distinctly different albums on the trot is exceptional. On Run Kitty Run The Bombay Royale dive further into their exotic influences, such as revisiting the nervous, rubbery funk of classic ‘70s kung fu classics like Enter The Dragon. Bhediya could be an alternate James Bond theme — one where his vodka Martinis are heavily spiked — while the title track is pure joy and one of their niftiest earworms to date. Time to get lost on another daring adventure through an imaginary Bollywood.

Christopher H James

Guido Farnell

Christopher H James

Carley Hall

More Reviews Online Oneohtrix Point Never Good Time Original Motion Picture Soundtrack

theMusic.com.au

Zola Jesus Okovi

Listen to our This Week’s Releases playlist on

THE MUSIC • 9TH AUGUST 2017 • 29

Live Re Live Reviews

Dean Lewis, PLGRMS, Mt Warning Howler 5 Aug

Dean Lewis @ Howler. Pic: Lucinda Goodwin

Mt Warning @ Howler. Pic: Lucinda Goodwin

Parsnip @ The Curtin. Pic: Xavier Fennell

The Babe Rainbow @ The Curtin. Pic: Xavier Fennell

30 • THE MUSIC • 9TH AUGUST 2017

One-man band Mikey Bee (aka Mt Warning) brings his emotive storytelling to life through music and lyrics. He tells us that a lot of the songs he shares haven’t been played live before and they definitely make a great first impression. Bee’s heartwarming, acoustic-folk melodies and raspy vocals are delivered with perfect restraint. “We long and we yearn but sometimes we find that happy chord,” Bee says as he strums his guitar, sharing a Tinder analogy for that right swipe. Despite feeling the cold chill on their kneecaps through ripped jeans, PLGRMS are on fire at the moment. They just released a new single on Friday called Crawling Back and they’re excited to play it for us tonight. The synthheavy track with catchy indie-pop grooves is a great addition to their live set and instantly hooks us in. The duo work incredibly well together as Jacob Pearson combines his dreamy vocals with slick production and multi-instrumental efforts from Jonathan Bowden. With only a handful of songs released so far, these guys are sure to keep building momentum. A chalk outline of Dean Lewis’ Same Kind Of Different EP cover is sketched on the backdrop. To recreate a similar intimate bedroom scene, table lamps are placed on either side of the singer who sits at his keyboard in the middle. Lewis dives straight into his first song Lose My Mind. It’s Lewis’ first headline tour and first Melbourne show, which has us questioning why he’s taken so long to visit. Lewis’ banter needs some work but his voice is absolutely stunning. Lewis showcases some brand new songs for us tonight, which will potentially be on the debut album he has in the works. Thankfully the few rowdy crowd members don’t know the words to these songs yet and we

can enjoy listening to him play without anyone singing over the top of him during these quiet moments. Lewis sings us a line that came to him in an Uber, he reveals, and he’s since fleshed it out. Another relatable track he calls Be Alright, is about going through an ex-girlfriend’s phone

Lewis’ banter needs some work but his voice is absolutely stunning. (let’s be honest we’ve all been there). It’s definitely another track that could drive Lewis’ international success. “I’m always looking ahead,” Lewis tells before sharing his latest single Need You Now. “It’s about always wanting more, which is something I struggle with,” he adds. He’s got the right attitude, though, and this is probably why he’s doing so well for himself. A year ago Lewis didn’t even have a song out and now he’s playing sold-out shows and signing international record label deals. And that very song that started it all is the last of his set. “[Waves] is about the excitement of youth and trying to get it back,” Lewis illuminates. This song certainly gets the audience excited and, with so much enthusiasm, they finish off the last few choruses for Lewis. Michael Prebeg

The Babe Rainbow, Parsnip, Banana Gun The Curtin 4 Aug As always, The Curtin provides a haven of warmth for friends to celebrate live music. Banana Gun pull the trigger on the first set

eviews Live Reviews

of the night, screeching through with some seriously eclectic, early-styled garage/psych-rock. It’s hard to tell who is actually in the band since the amount of people on stage seems to fluctuate, but everyone’s having fun so it doesn’t matter so much. Parsnip are next up and the girls arrive with power and a solid nod to the unappreciated underground; this is the kind of band that sounds like that unbelievably obscure record from 1968 that we’ve never heard of. It’s poppy, left-of-centre and they own it! The group are no strangers to Melbourne band rooms these days and make up the ranks of a handful of other local bands. This output is punchy and tweaked just enough so that we can’t quite put our finger on why we’re bopping our heads endlessly, but we do so for pretty much the whole set. Tonight Byron Bay’s own psych-pop revivalists The Babe Rainbow are touring their new self-titled album and it seems that most of the town has made it their mission to get down in a kaleidoscopic groove. The Babe Rainbow are immediately sexy and groovy; they know what they do and they do it well. Lead flower child, Angus Dowling twists and gyrates much to the delight of those up front. Their

Before we’ve even had a chance to catch ourselves the band breaks into a jubilant cover of Blondie’s Heart Of Glass and a massive singalong ensues.

particular brand of psychedelicpop licks have everyone swaying while Jack “Cool Breeze” Crowther grooves along to the right of the stage. The sound is articulate and well placed in every moment. After spinning through a daisy field of tracks from their new self-titled album the group announce Love Forever to enthusiastic screams. One of their earlier singles, this song is a clear culmination of all that the group put forward as their gift to the world and those present tonight. The following track Johnny Says Stay Cool breaks in through the grooving lines bouncing from bassist Lu-Lu-Felix Domingo. With swift pace the band almost lose themselves as they let Nick Van Bakel of Banana Gun take on an impressively enthusiastic bongo solo. Before we’ve even had a chance to catch ourselves the band breaks into a jubilant cover of Blondie’s Heart Of Glass and a massive singalong ensues. The night reaches peak party mode before Dowling announces that the next song is their encore and that everyone should pretty much get on stage right now. The beat kicks in and the stage is engulfed by the crowd. Xavier Fennell

The Bombay Royale, Sugar Fed Leopards Max Watt’s 4 Aug Inside the literal underground of Max Watt’s, glitter-slicked sweat fills the air. The audience of late-Millennials and early Gen X-ers are decked head to toe in glomesh, sparkling green wigs and velvet jumpsuits. What else could you hope and dream for at The Bombay Royale’s album launch? Everyone dances because Sugar Fed Leopards whip the crowd into a disco-induced fever. The costumes, the powerful vocals, the synchronised dance moves, sax solo, stage names — Sugar Fed Leopards are a

larger-than-life musical cult and everyone drinks their Kool-Aid. We worship at the feet of Steph Brett (aka Sugar Breath); she is our pop saviour. The Bombay Royale are the reason why everyone is here. Nine of the 11 band members start on stage. Every member is dressed in black and gold, each with some sort of bandit mask or dark sunglasses to represent their onstage character: a tennis star, a priest, a jewel thief, a widow, a sea skipper. Heavy psychedelic guitar plays and images featuring all 11 members are projected onto the stage’s back wall. Saxophonist Andy Williamson (aka The Skipper) introduces the two singers: Shourov Bhattacharya (aka The Tiger) and Parvyn Kaur Singh (aka The Mysterious Lady) to deafening screams and the audience is fanning-out hard. Mysterious Lady wears the most incredible gold sari with ‘60s futurism-inspired details. Diving straight into their new album’s title track, The Bombay Royale slam Run Kitty Run as footage of vintage Bollywood films play in split screens behind them. The Bombay Royale are mind-blowing. It’s like the most incredible smash of a party in Mumbai where the guests are old school James Bond, classic Dr Who, every vintage Bollywood cast and a fleet of space cowboys, who all dance to ‘60s funk/’70s disco amid Alejandro Jodorowsky’s psychedelic and surreal imagery; imagine that as a band and you’re halfway there. Mysterious Lady implores the audience to dance and teaches us GoGo-esque dance moves. If she asked us to crawl on our knees and bark, we probably would (and happily). The audience heaves in heat, smoke and dance. Their ‘last’ song is I Love You Love You before the band are called back to the stage for an encore. Discodancing horses are projected onto the screen. The Bombay Royale are like your favourite lover — wild, electric, addictive — and we just need more.

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

Montaigne @ 170 Russell Real Friends @ Arrow On Swanston Jack Ladder & The Dreamlanders @ Howler Train @ Palais Theatre

Claire Sullivan THE MUSIC • 9TH AUGUST 2017 • 31

Arts Reviews Arts Reviews

withdrawn, sometimes disassociated altogether. They seek help, but an ominous counsellor (Josh Price) takes control of their actions and their words, feeding lines through earpieces or using games to force interactions. He creates scenarios that only act to reinforce their anxieties. Soon it becomes clear that the issue is not with their child, but with themselves. From the outset, director Susie Dee seeks to amplify the tortuous qualities of this psychoanalytical drama. Her characters maintain a constantly simmering undercurrent of unease, their words always pointed with passive aggressive inflections. Kate Davis’ design is simple yet loaded with associations. A curtain of plastic strips hangs around a boxed stage, evoking the sterile environment of a hospital, or perhaps the killing floor of a slaughter house. The lighting is stark and disorientating, the soundscape deafening and industrial; this is a place where the human mind is brutally conditioned and high-jacked. Using such bold, violent gestures, alongside the sophisticated nuances of Dee’s direction, is a powerful move, keeping the tension high and pace brisk. The double-hinged ambiguity of this production’s design can also be found in the writing. There’s a Beckett-esque vibe of being in some abstract hinterland or purgatory, removed of any time or place. Without names, backstories or any other anchoring context, these characters become totems of psychological rot, reflecting the unspoken dread and frustration parents dare not utter aloud. However, this nebulous quality also robs this play of any emotional heft. With rather flimsy character development, we have little reason to feel moved by this couple’s decaying connection, nor are we given any major cause for concern for their child. This is well-acted and stylish theatre, thanks to Dee’s clear and compelling vision, but ultimately, the text fails to find the psychological insights it clearly reaches for. Looking Glass

Looking Glass Theatre Until 13 Aug, Fortyfivedownstairs

★★★ Lynne Ramsay’s film adaptation of Lionel Shriver’s muchacclaimed novel, We Need To Talk About Kevin, posed a seemingly simple yet complex question: why do good parents sometimes produce monstrous children? In that narrative, an unthinkable Sandy Hook-scale crime had been committed, and in the horrifying aftermath, homicidal Kevin’s folks were the ones to atone for his wrongdoing. Louris van de Geer’s Looking Glass is cut from similar cloth, although the stakes are considerably lower. Two parents (Daniela Farinacci and Peter Houghton) are confounded by their young child’s misbehaviour. He’s sometimes insolent, sometimes

Maxim Boon

32 • THE MUSIC • 9TH AUGUST 2017

Atomic Blonde

Atomic Blonde Film In cinemas

★★★ The Berlin Wall is falling down, and so is every bad guy in Lorraine’s path. Charlize Theron gives as good as she gets in Atomic Blonde and as British secret agent Lorraine Broughton, investigating a labyrinthine conspiracy in 1989 West Berlin as the wall dividing the German city begins to crumble, she gets a lot. It’s hard to recall an action heroine receiving as much punishment as Theron’s Lorraine, who eases her pain by lowering herself into a bathtub full of ice and then grabbing a handful of cubes to cool her vodka. But Lorraine isn’t averse to dishing it out either, whether she’s smashing a red stiletto heel into a bad guy’s throat or engaging in a knock-down drag-out fight over several storeys of an apartment building that Atomic Blonde audaciously stages in one long, unbroken take. It’s that kind of movie, one that mixes the violent and the vogue. And the stylishness of the execution and the steely commitment Theron brings to her performance is almost enough to carry it through. Almost. Atomic Blonde is directed by David Leitch, one of the directorial duo behind the excellently ridiculous Keanu Reeves action movie John Wick. And while the two movies share a similar armour-piercing appeal in their depiction of bullets and body blows, John Wick benefited from a straightforward storyline - punks killed Wick’s dog, Wick killed everyone as payback. Atomic Blonde, however, aspires to be a little deeper and more complex, but the material is fairly pedestrian spy stuff involving defectors and double agents. It’s not as smart as it’s trying to appear and it sometimes becomes a bit dull as a result. In all honesty, the scenes of supposed cloak-and-dagger intrigue are really just time-fillers until it gets to the next sequence of Lorraine taking on teams of adversaries in imaginative ways. Atomic Blonde has a gorgeous surface but there’s precious little substance to be found beneath the veneer. Guy Davis

OPINION Opinion

Howzat!

Local Music By Jeff Jenkins The Pleasure Is All Mine Melbourne band Sand Pebbles delivered some of the most thrilling and unpredictable music of the early 2000s. Then it looked like the show was over. But now they have returned with Pleasure Maps, their sixth album and first in six years. And they’re brimming with ideas. It’s impossible to pigeonhole the Pebbles. As Ian McFarlane points out in the new edition of his Encyclopedia of Australian Rock and Pop, “The members called their sound and style ‘flower punk’, which essentially signalled they weren’t to be categorised under one banner.” At times on the new record they’re more obscure than ever, then they’re delightfully commercial. Opening cut, Desire Lines, has Howzat! thinking of The Human League, while Lovers’ Love reminds of Robert Forster. Elsewhere, the Pebbles get a little mystical. “This is a song to help you,” singer Andrew Tanner offers in the 10.20-minute Friendlier Advice, with his voice floating high above the shimmer. Perhaps if The Beatles had stayed in India they would have sounded a little like this. On Pleasure Maps,

Sand Pebbles are incisive and indulgent; there is no in between. Four of the nine songs clock in at more than seven minutes, with closing cut, a cover of the Velvet Underground’s Oh! Sweet Nuthin’, featuring Amaya Laucirica, adding a minute to the original. The album launch - at Spotted Mallard on 26 Aug - is sure to be an experience. Transcendent, trip-tastic, epic, intimate. Yep, it’s impossible to categorise the Sand Pebbles. They’ve come up with an album for everyone, from the occasional tripper to the hardcore hippie. The break has served them well. Power In The Union There’s also a trippy element to Bendigo’s Tol-Puddle Martyrs. It’s an awkward band name - derived from downtrodden UK farm workers who were banished to Australia in the 1800s - but their sound is an

Sand Pebbles

infectious brand of psychedelic ‘60s pop. And they’re the real deal, too, with singer and keyboards player Peter Rechter having formed the band in the ‘60s. Their fourth album, Polyphony, is filled with short, sharp pop gems. Very likeable, indeed. Charles Retreats After successfully launching the new Charles Jenkins album, The Last Polaroid, Charles is playing every Monday night in August at the Retreat in Brunswick. Hot Line “Let the radio flood you with music, let every note want to hold and seduce you” - Charles Jenkins , High Above The River.

THE MUSIC • 9TH AUGUST 2017 • 33

OPINION Opinion

Trai ler Trash

Eric Boss

The Get Down Funky Shit

he Traffic have triumphantly returned to the 45s game with another double A-side funk cover With Obliveus masterpiece. This round, they have gone freaky with the horniest version of Super Freak you’ve ever heard, all puns intended. On the flip, it’s all about their low-slung dirty version of JT’s Like I Love You, which will have the heads jamming. Get on the pre-order now if you love your wax like I do. Speaking of dope wax, Mocambo just dropped a doubles deal of the latest 45 from Eric Boss (aka E from the Stones Throw duo Myron & E). Funkier than your mother’s chilli, Closer To The Spirit invokes a throwback to ‘80s funk, hip hop and block parties that any fan of classic breaks will love. Let’s just call it my track of the year now, so get yourself a copy before they’re all gone. Another one you need to get on before they’re all gone is the latest offering from long-time Dusty Donuts maestro, Jim Sharp. He’s gone out on his own and dropped a monster of a 45 edit, taking Mark Ronson’s classic, Ooh Wee and throwing Nate Dogg’s Gangsta Walk a cappella over the top for a sure-fire, floor-filling monster of a jam. Finally, DJ Format and Abdominal MC just released another double A-side slice of 45 greatness off their latest full-length on Rocafort. Still Hungry is fast, funky and reminds us all how truly dope these two veterans are and with that, I’m out.

Wa ke The Dead Converge

Punk And Hardcore With Sarah Petchell

T’S HERE! IT’S FINALLY HERE! Sort of... Last week Converge (aka my favourite band ever) announced that they would be releasing their as-yetuntitled new album later this year. They also treated all their fans to a teaser and taster of the new album with the release of a single and B-side. It’s been almost five years since the band released All We Love We Leave Behind, their last full-length,

34 • THE MUSIC • 9TH AUGUST 2017

Two Lane Blacktop

which saw the light of day back in October 2012. In the meantime we’ve been treated to a live recording of Jane Doe in its entirety, an epic DVD box set of Thousands Of Miles Between Us and a newly mixed version of You Fail Me. But the two tracks that make up the 7” I Can Tell You About Pain are everything you want from Converge and more. They represent the best of what the band is - metalcore at its most frenetic, which is then flipped around to metalcore at its sludgiest. It’s also hardcore at its heaviest. In other words, it’s pretty damn close to perfect! The title track is 2.24 minutes of face ripping goodness. The way the main guitar riff and the drumming work together (drummer Ben Koller is doing some very cool drumming in the first ten seconds) is enough to send mosh pits flying. Then the B-side, Eve, has all the sludgy, doomy greatness that the band have shown on records like Axe To Fall and All We Love We Leave Behind. So what more can I say? Bring on later this year - I’m dying for the full-length!

OPINION Opinion

Dives Into Your

o you trust me? I know Screens And I have given few reasons to do Idiot Boxes With so over the years, but I think this Guy Davis time I might be able to do right by you. The reason I say this is because it’s recommendation time at Trailer Trash and I intend to toss your way the titles of a book, a TV series and an upcoming movie that has blown what’s left of my hair back and may do likewise for your locks. Of course, there are no guarantees in this life, so you may end up feeling ripped off if you invest your time and/or money in these selections. But even if that’s the case, and I seriously doubt it will be, please know that this scribe recommended the following with the best of intentions. (Not to mention my traditionally impeccable taste.) First up, a little reading. Charles Taylor is an American film writer whose work knowledgeable, forthright and a tad acerbic at times - I have enjoyed since my first exposure to it back in the very early days of Salon.com (and when I say early, I mean the fucking ‘90s). He’s recently written his first book, a collection of essays titled Opening Wednesday At A Theater Or Drive-In Near You: The Shadow Cinema Of The American ‘70s, which offers vivid takes on a handful of underrated or misunderstood movies from a decade regarded as one of the most important in cinema history. There are a couple of usual suspects here, such as Two-Lane Blacktop and Bring Me the Head Of Alfredo Garcia, but Taylor’s writing on them is extremely insightful and the book also gives due respect to black gems like the Lee Marvin crime drama Prime Cut, the bonkers conspiracy thriller Winter Kills (one of my favourite ‘70s movies) and the gritty, grimy Hickey & Boggs, a private-eye drama made simultaneously electrifying and problematic by the fact that Bill Cosby gives a tough, charismatic lead performance unlike anything else in his body of work. I don’t know if Opening Wednesday... has a local publisher. but it is available from any of your fine online bookstores. A highly recommended read and, if you like Taylor’s work, get online and track down some recent essays by his friend and colleague Kim Morgan - she’s been submitting stuff to the New Beverly Cinema’s website that’s as good as film writing gets these days. Don’t feel like leaving the house? Who

could blame you? It’s cold outside and you may also have to deal with people, who are generally unpleasant. (No, not you, of course. You’re ace.) So if you’re willing to keep couchbound for around six hours or so (why that’s a blink of the eye!), may I suggest you settle in for a binge-watch of Red Oaks, a coming-ofage comedy-drama set in the mid-’80s. The first season of this one, which had the likes of Steven Soderbergh and David Gordon Green attached behind the scenes, was a very pleasant surprise, so much so that this scribe feared the second season would be unable to match it. Believe me, it does and then some, thanks in large part to some terrific acting, piercing writing and the attachment of directors like Amy Heckerling and (yes!) Hal Hartley. It’s on Amazon Prime now, if you’re into that whole streaming thing. Finally, I can’t speak with too much authority about this but the teaser trailer for the new Darren Aronofsky freak out mother! looks sick. Tell you what, we’ll discuss that in greater depth next time, once the full trailer has been released.

THE MUSIC • 9TH AUGUST 2017 • 35

Comedy / G The Guide

Wed 09

Destrends

Wily: 303, Northcote

OXJam feat. The Trepids + Universal Outcasts + Kaz Garaz: Bar Open, Fitzroy Mellow-Dias-Thump with Colette + Geezy + Skomes: Boney, Melbourne

Sarah Mcleod

The Music Presents Vera Blue: 11 Aug 170 Russell, 12 Aug Wool Exchange Geelong; 10 Sep, 170 Russell Raised By Eagles: 18 Aug The Workers Club Geelong; 19 Aug The Croxton; 16 Sep Caravan Music Club Oakleigh; 17 Sep Torquay Bowls Club Sarah McLeod: 23 Aug The Workers Club Ali Barter: 25 Aug The Workers Club Geelong; 1 Sep Theatre Royal Castlemaine; 8 Sep Corner Hotel Dan Sultan: 1 Sep Wool Exchange Geelong; 2 Sep Forum Theatre Mew: 12 Sep Max Watt’s At The Drive In: 28 Sep Festival Hall Caligula’s Horse: 30 Sep Max Watt’s Mono: 10 Nov Max Watt’s Alt-J: 7 Dec Sidney Myer Music Bowl

Muddy’s Blues Roulette with Matty T Wall: Catfish, Fitzroy The Crookeds + Neon Queen: Cherry Bar, Melbourne Pete Murray + Ben Wright Smith: Eastbank Centre, Shepparton Cousin Tony’s Brand New Firebird + Slowcoaching + Lou Davies: Evelyn Hotel, Fitzroy Lomond Acoustica feat. Leigh Sloggett + Old Hat + Breakaway: Lomond Hotel, Brunswick East Tori Forsyth + Carl The Bartender: Retreat Hotel, Brunswick Rebetiko: Spotted Mallard, Brunswick Robot Child + Colorado Bulldog + The Misguided Souls: The Bendigo, Collingwood Wine, Whiskey, Women feat. Lauren Hart + Ash Sumpter: The Drunken Poet, West Melbourne Reuben Stone + Barley Standing Music: The Gasometer Hotel (Upstairs), Collingwood Vera Blue + Thandi Phoenix: The Grand Hotel, Mornington

Put The Kettle On Destrends are dropping new material on Northcote Social Club this Saturday. The title track from their upcoming Lousy Lover EP has just received the video treatment, and the punk rockers want to test out their new material on fans. Junior Fiction + Loobs + Porpoise Spit: The Tote (Front Bar), Collingwood

Luke Brennan + Angie McMahon + Tilly Perry: Grace Darling Hotel, Collingwood

Hollywood Real Thoughts + Pseudo Mind Hive + Seasloth: The Workers Club, Fitzroy

Geoff Achison: Hume Blues Club, Fawkner

Trivia: Wesley Anne, Northcote

Thu 10 Universal Outcasts: 303, Northcote Toyah Hoetzel + Emah Fox + Droplet: Bar Open, Fitzroy

Didirri

Pablo Rivas + The Blue Diamond Band: Bar Oussou, Brunswick

Elko Fields + A Gazillion Angry Mexicans + The Royal Artillery: Last Chance Rock & Roll Bar, Melbourne Kitty Flanagan: Lighthouse Theatre, Warrnambool Piano Sessions with Zoe K: Lomond Hotel, Brunswick East

The Mochasins

Casey Bennetto + Tripod + The Projectors: Bella Union, Carlton South Andrea Marr & The Funky Hitmen: Big Mouth, St Kilda Vinicius Cantuaria: Bird’s Basement, Melbourne

Hey Jude Didirri has been busy tearing up the east coaster after his successful Melbourne launch of single Jude, and now the Warrnambool-native is coming full circle by playing at The Workers Club this Friday with Batts and Holly Joyce.

King Groaker + Aztx + The Burbs + Damon Langley: The Old Bar, Fitzroy Morning Morning + HYLA + Curve: The Tote (Upstairs), Collingwood

Miss Blanks + Slippy Mane + Lalic + Racerage + Lush Puppie: Boney, Melbourne Chase The Sun + White Lightning: Catfish, Fitzroy Anna Smyrk: Charles Weston Hotel, Brunswick Pete Murray + Ben Wright Smith: Chelsea Heights Hotel, Aspendale Gardens Soul In The Basement with Fulton Street: Cherry Bar, Melbourne The Teskey Brothers + The Meltdown + Al Parkinson + The Babes: Corner Hotel, Richmond Plazza + Esther Rivers: Edinburgh Castle Hotel, Brunswick The Stranger Suite + Barry Sunset: Evelyn Hotel, Fitzroy Fed Square Live with Mike Waters + Ariela Jacobs: Federation Square, Melbourne

36 • THE MUSIC • 9TH AUGUST 2017

Get Caffeinated If you’re a lover of coffee, music (or preferably both), The Mochasins are the ones to see. Celebrating the release of their debut LP Juicy, the avant-garage outfit will be jamming out at The Workers Club this Monday.

Ivan Zar + Southbound Tram + The Blues Lizards: Mr Boogie Man Bar, Abbotsford Ben Charnley Trio: Paris Cat Jazz Club, Melbourne Out of Character: Retreat Hotel, Brunswick

Gigs / Live The Guide

The Rollercanes

China Beach + Dom Kelly + Electric Mud + Venus Court: Bar Open, Fitzroy Son of a Gunzel: Bar Open (Front Bar), Fitzroy

Speedball + The Sick Minds + Stoned To Death + Ding Dong Death Hole + K-Mart Warriors: Last Chance Rock & Roll Bar, Melbourne

Bob Log III + Shanty Tramp: Barwon Club Hotel, South Geelong

The Fondue Set + Max Teakle & his Honky-Tonky Friends: Lomond Hotel, Brunswick East

In Store with Dave Graney: Basement Discs, Melbourne

Ceres + Wil Wagner + Slowly Slowly + Press Club: Max Watt’s, Melbourne

The Maggie Darlings: Bella Union, Carlton South

Sarah Elda + Kat O + Slug Bucket: Mr Boogie Man Bar, Abbotsford

Can You Even Roll?

Vinicius Cantuaria: Bird’s Basement, Melbourne

Over-Reactor: Musicman Megastore, Bendigo

The Rollercanes are insanely close to finishing their debut album, but they need a little help completing their mission. Head to their fundraiser at Bar Open this Saturday to help get these Melbourne boys across the finish line.

Pest Kontrol with DJ Scotty Pesticide: Boney, Melbourne

Belle Haven + Pridelands + Undercast + Fever Speak: Northcote Social Club, Northcote

Tracy McNeil & The Good Life + Georgia State Line: Sooki Lounge, Belgrave Grace Robinson: Spotted Mallard, Brunswick Hot Sludge Fundae + Scurvylicious: The B.East, Brunswick East Geo + Sonic Moon + Troll + Dr Moth: The Brunswick Hotel, Brunswick

Danny Byrd: Brown Alley, Melbourne

Blind Man Death Stare + Northwood + Sabotaj Mahal: The Eastern, Ballarat East Kaiit + So.crates + Willy Dynamo: The Gasometer Hotel, Collingwood

Aqueous Transmissions feat. Simon TK + Millu + Jennifer Loveless + more: The Gasometer Hotel (Upstairs), Collingwood Swhat + Space Junk + Swidgen + Tropical Deadbeats: The Old Bar, Fitzroy Pregnancy + Michael Beach: The Post Office Hotel, Coburg Sleazy Listening with Arks + Hysteric + K. Hoop: The Toff In Town (Carriage Room), Melbourne Poprocks At The Toff with Dr Phil Smith: The Toff In Town (Ballroom), Melbourne

A Gazillion Angry Mexicans + Elko Fields + The Royal Artillery: Cherry Bar, Melbourne Total Giovanni + Retiree: Corner Hotel, Richmond

Mon Shelford

Caroline No: Edinburgh Castle Hotel, Brunswick Toxicon + Nucleust + Beyond Contempt + Primitive + The Orphan: Evelyn Hotel, Fitzroy John Lee Hooker’s World Today with Hugo Race + Michelangelo Russo: Flying Saucer Club, Elsternwick Ministry Of Sound Presents ‘Orchestrated’ (All Ages) with Daniel Merriweather + Groove Terminator + Owl Eyes: Hamer Hall, Melbourne

Matt Bradford + Jordan Bakker: The Drunken Poet, West Melbourne Birdhouse + The Grogans + Cosmos: The Gasometer Hotel, Collingwood

Is Mon, Is Good

Military Position + Karli White + Nontopia: The Gasometer Hotel (Upstairs), Collingwood

Soul-folk singer-songwriter Mon Shelford is in for the most convenient gig of her life. The Brunswick resident will be playing at Edinburgh Castle Hotel (also located in Brunswick, handy right?) this Sunday. Head down if not for her vocals alone.

Greenthief + Dear Thieves + Mannequin Death Squad: The Old Bar, Fitzroy

Belle Haven

Angel Eyes + Activities of Daily Living: The Post Office Hotel, Coburg Chester Brix + Ben Whiting + Amistat: The Toff In Town, Melbourne Midnight Express with Oliver Francis: The Toff In Town (Carriage Room), Melbourne Up The Guts 2017 feat. Loose Tooth + Dumb Punts + Neighbourhood Youth + more: The Tote (Band Room), Collingwood Supah Love + Party On My Darling + Wilder Genes: The Workers Club, Fitzroy Tammy Heider: Wesley Anne (Front Bar), Northcote

Belle Haven Milkshake

Swimsuit Dynamite + Johnnie & The Johnnie Johnnies: Open Studio, Northcote

We’ve got another cracking album launch on our hands. Belle Haven are taking over Northcote Social Club on Friday to get the word out on their newest release, You, Me And Everything In Between, joined by Pridelands, Undercast and Fever Speak.

Morning TV: Penny Black, Brunswick

Babey + Dave O’Connor + International Velvet + Jane Stacey: Yarra Hotel, Abbotsford

La Dance Macabre with Brunswick Massive: Rainbow Hotel, Fitzroy Alleged Associates: Smokehouse 101, Maribyrnong Daggy Man: Some Velvet Morning, Clifton Hill The Bennies + Ferla + Rhonda: Sooki Lounge, Belgrave The Detonators: Spotted Mallard, Brunswick

Kitty Flanagan: Her Majesty’s Theatre, Ballarat

Myridian + Atra Vetosus + more: The Bendigo, Collingwood

Vera Blue + Thandi Phoenix + Lakyn: 170 Russell, Melbourne

Up The Guts 2017 feat. Apes + Dumb Punts + Loose Tooth + Neighbourhood Youth: Karova Lounge, Ballarat

High Finance + Evil Twin + The Credits + Shit Tatts + Cuban Crimewave: The Brunswick Hotel, Brunswick

Zenith Moon + Eaglemont + Will Clift: 303, Northcote

Grindhouse + Levitating Churches: Labour In Vain, Fitzroy

Rick Hart + Ben Leece: The Drunken Poet, West Melbourne

Fri 11

Terry + Primo + Pappy + Qwerty + The Stroppies + WK/CM Big Band: The Tote (Band Room), Collingwood Mike Noga: The Westernport Hotel, Phillip Island Didirri + Batts + Holly Joyce: The Workers Club, Fitzroy Lloyd Spiegel: Thornbury Theatre, Thornbury Dany Maia: Wesley Anne (Front Bar), Northcote Tiana Martel: Wesley Anne (Band Room), Northcote Scarlett Cook + Suldusk + Shiver Canyon: Whole Lotta Love, Brunswick East Wesley Fuller + DIET.: Yah Yah’s, Fitzroy Summon The Birds + Hello Tut Tut + Tom Redwood: Yarra Hotel, Abbotsford

THE MUSIC • 9TH AUGUST 2017 • 37

Comedy / G The Guide

Sat 12

In The Carriage with Jnett: The Toff In Town (Carriage Room), Melbourne

The Willie Wagtails

The Rollercanes + The Deloraines + Tram Cops + The Jives: Bar Open, Fitzroy

Drunk Mums + Rhysics + The Burnt Sausages + Latreenagers: The Tote (Band Room), Collingwood

The Willie Wagtails: Bar Open (Front Bar), Fitzroy

Major Leagues + Darts + Chelsea Bleach: The Workers Club, Fitzroy

Vinicius Cantuaria: Bird’s Basement, Melbourne

Matinee Show with Seagulls with Sandals: The Workers Club, Fitzroy

Charlie Threads: Boney, Melbourne

Elvis - 40th Anniversary Spectacular with The Knave & his Big Band Tribute Show: Thornbury Theatre, Thornbury

KIller, Cash, King with Sun Rising - Killer, Cash, King: Caravan Music Club, Oakleigh Hack Ensemble: Charles Weston Hotel, Brunswick

Chase The Sun + 19 Twenty: Trafalgar East Hall, Trafalgar East

Ablaze + Release The Hounds + Devine Electric + Super Monkey Zero: Cherry Bar, Melbourne Jack Druce: Club Voltaire, North Melbourne Faux Phoenix + Peny Bohan + Zoe Ryan: Compass Pizza Bar, Brunswick East Ocean Grove + Justice For The Damned + Broken + The Beverly Chills: Corner Hotel, Richmond Ben Avery: Edinburgh Castle Hotel, Brunswick

Tiana Martel

Kilter: Whalers Hotel, Warrnambool

Wag Your Willies Head to Bar Open this Saturday and celebrate all things Australian with The Willie Wagtails. The ocker folk-jazz outfit will regale the audience with stories, banter and some tunes. Yolanda Ingley II: Lomond Hotel, Brunswick East Soda Eaves + Dalhouse: Major Tom’s, Kyneton

Takacs Quartet: Melbourne Recital Centre, Southbank Blind Man Death Stare + Nucleust + Tusk + Rathead: Musicman Megastore, Bendigo

Sydney-raised Tiana Martel is grabbing her five-piece band and hitting the road. Martel will be swinging by Wesley Anne this Friday to entrance the audience with her recent body of work (and likely also some old’uns for good measure).

Yeah Don’t Care + Shmegma + The Sex Pills: Evelyn Hotel, Fitzroy The Rolling Stones played by Nick Barker & The Monkey Men: Flying Saucer Club, Elsternwick

Smashfest 3 feat. Three Quarter Beast + The Fckups + Jerkbeast + Strawberry Fist Cake + Udder Ubductees + Ferocious Chode + Muscle Car + Devilmonkey + The Balls + Cmash Cmunt + Rusted Tongues + Mojo Pin + Kuntsquad + Stoned To Death + Murphy + 2 Dollar Peeps + Thrasher Jynx + Velour Burnout + Long Holiday + Mr Stitcher + AADD + Sordid Ordeal + Black Bats + Jenga/ Zeebuglo + Stinky Snatch + Lindsey Bush + Alvie Brink + Sarah Eida + TIMSTRNG + The Krunchy Om-Let Experience: The Brunswick Hotel, Brunswick

Destrends + Apes + Dumb Dog: Northcote Social Club, Northcote

The Murlocs: The Croxton, Thornbury

Lloyd Spiegel: Old Church On The Hill, Bendigo

Other Places + Vacuum + No Sister + Hexdebt + New War DJs: The Curtin, Carlton

Agent Six + Andrea Barnett + Stara Jane: Open Studio, Northcote BitterFruitt: Penny Black, Brunswick The Oh Balters: Rainbow Hotel, Fitzroy The Stetson Family: Retreat Hotel, Brunswick Damn the Torpedoes + Sons Of Lee Marvin + The Devilrock Four: Reverence Hotel, Footscray Bang feat. Stepson + Aburden: Royal Melbourne Hotel, Melbourne Grand Wazoo: Satellite Lounge, Wheelers Hill Spacey Space: Sooki Lounge, Belgrave

Chris Wilson + The Tipplers: The Drunken Poet, West Melbourne

The Slipdixies: Bar Open (Fro), Fitzroy Justice for Elijah Fundraiser Narrm feat. Yirrmal + Birdz + Kaiit + Alice Skye + Adrian Eagle + Neil Morris + more: Bella Union, Carlton South Vinicius Cantuaria: Bird’s Basement, Melbourne Cherry Blues with Heinous Hound Blues + Ivan Zar + DJ Max Crawdaddy: Cherry Bar, Melbourne Sienna Wild + Astrohymn + The Lovely Days: Cherry Bar, Melbourne The Tarantinos: Ding Dong Lounge, Melbourne

Shimmy Shimmy with DJ Mohair Slim + DJ Lady Blades : The Gasometer Hotel (Upstairs), Collingwood Reflex with ACM + Liam Sieker + Van Oasis: The Gasometer Hotel, Collingwood The Paul Kidney Experience + Syntax Error: The Night Heron, Footscray Self Talk + Brief Habits + Rad Island + Error Margins: The Old Bar, Fitzroy

The Attics + Blyolk + Beloved Elk + Sofala: Grace Darling Hotel, Collingwood

Hanksaw: Surabaya Johnny’s, St Kilda

Afternoon Show with Alex Hamilton + Tall Shores: The Old Bar, Fitzroy

Good Morning + Shamesy: Tanswells Commercial Hotel, Beechworth

True Radical Miracle + Hot to Trot: The Post Office Hotel, Coburg

Skizophrenia + Enzyme: The Bendigo, Collingwood

Stamina Session with Set Mo: The Toff In Town, Melbourne

38 • THE MUSIC • 9TH AUGUST 2017

Miss B & The Bad Boys + Skyrocku + Adam Simmons’ Origami: Bar Open, Fitzroy

Swhat + Peeping Tom + Tsugnarly: The Eastern, Ballarat East

Kitty Flanagan: Geelong Performing Arts Centre (GPAC), Geelong

Bad Opera Act 2 feat. Deandre Brackensick + Janeva + Jordan Dennis + Nasty Mars + Rini + more: Howler, Brunswick

Sun 13

Afternoon Show with The Moonee Valley Drifters: The Drunken Poet, West Melbourne

The Other Woman - The Life and Music of Nina Simone: Spotted Mallard, Brunswick

G-Dragon: Hisense Arena, Melbourne

Vera Blue + Thandi Phoenix: Wool Exchange, Geelong

Little Daniel + Chris Commerford + John Atsiaris: 303, Northcote

Starset + Branch Arterial + Transience: Max Watt’s, Melbourne

Tiana Soul

Shinka + The Interceptors: Whole Lotta Love, Brunswick East

Branch Arterial

Branching Out Branch Arterial are supporting US rock legends Starset when they touch down on Australian shores for the first time ever. The Melburnians will be heading to Max Watt’s this Saturday after releasing their debut album, Beyond The Border.

Gigs / Live The Guide

Cat Stevens sung by Ron Vincent: Flying Saucer Club, Elsternwick

Dead End + Fuzzsucker + Tragic Carpet: Grace Darling Hotel, Collingwood Andre Warhurst & The Rare Byrds: Labour In Vain, Fitzroy

Tillerman Pete + Sforzando + Chris Commerford: The Brunswick Hotel, Brunswick

Boadz + The Moonee Valley Drifters: The Drunken Poet, West Melbourne

Major Leagues: The Eastern, Ballarat East

Troll + Planet of the 8’s + Sonic Moon: Last Chance Rock & Roll Bar, Melbourne

Dan Brodie: The Gasometer Hotel (Upstairs), Collingwood

Moreland City Soul Revue: Lomond Hotel, Brunswick East

Tripataka: The Jazzlab, Brunswick

Jeff Denny Benefit feat. All Ska Star Collective + Strange Tenants + Patou Powell & The Ska Vendors: Northcote Social Club, Northcote

Chris Wilson + Anthony Atkinson & The Running Mates: Union Hotel, Brunswick Jay Wars + Dan Baeffel: Whole Lotta Love, Brunswick East Stepson + Aburden: Wrangler Studios, West Footscray The Tool Time House Band + Department + Fleshed Out + Alastair Mattcott: Yarra Hotel, Abbotsford

Loose Tooth + Dumb Punts + Neighbourhood Youth: The Loft, Warrnambool

Mon 14

Birfdy Smash!

Ben Carr Trio: 303, Northcote

Afternoon Show with DJ Cisco Rose + Jake Halfhyde: The Old Bar, Fitzroy

Performing ‘Sticks & Stones’ / ‘Coming Home’ with New Found Glory + Stand Atlantic: Corner Hotel, Richmond

Smashfest III Out Come The Unicorns is heading back to The Brunswick Hotel this Saturday, boasting a massive 31-act line-up including Strawberry Fist Cake and Three Quarter Beasts as well as an additional stage this year.

Diamonds Of Neptune + Greeves: Evelyn Hotel, Fitzroy

Loose Tooth

Wind It Up with Various Artists: Northcote Social Club, Northcote Shayan + Kunataki: Open Studio, Northcote The Mochasins + Aztx + The Shifties + Flying Bison: The Workers Club, Fitzroy Spawn + True Defective + Ding Dong Death Hole: Yarra Hotel, Abbotsford

Tue 15 Make It Up Club feat. Various Artists: Bar Open, Fitzroy Gaby Moreno: Bird’s Basement, Melbourne Uncomfortable Science with Lachlan Mitchell: Boney, Melbourne

Jarrod Quarrell

The Naysayers + Black Bats + Forward Flank: The Old Bar, Fitzroy

OxJam feat. L-FRESH The LION + Mirrah + MK-1 + Mantra + N’Fa Jones + Mistress Of Ceremony + Dex + Charlie Threads + Emerald + more: Penny Black, Brunswick

Soda Eaves + Dag: The Post Office Hotel, Coburg

Freebie Tuesday

Sunday Set with DJ Andyblack + Mr Weir: The Toff In Town (Carriage Room), Melbourne

Head to Howler this week for another Tom Tom Tuesday. This time around Jarrod Quarrell (Lost Animal) and Craig Dermody (Scott & Charlene’s Wedding) are playing alongside new electronic duo Mystery Guest.

Blind Man Death Stare + The Out Of Towners: Sooki Lounge, Belgrave Afternoon Show with Michael Meeking & The Lost Souls: Sooki Lounge, Belgrave Lost Ragas: Spotted Mallard, Brunswick

Lunar Tide + Pipsy + Starman Dives: The Brunswick Hotel, Brunswick The Eagles played by The Ahern Brothers: The Drunken Poet, West Melbourne Dom Kelly + Environments + Suns + Hotel Fifteen Love + Hills Hoist: The Gasometer Hotel (Upstairs), Collingwood

Buzz & The Pickups + Fuzzrays + First Kiss + Kiora: The Workers Club, Fitzroy

Peppercorn Jazz Band + Sambar + Koi Kingdom: Open Studio, Northcote

Steve Boyd’s Rum Reverie: Royal Oak Hotel, Fitzroy North

Tom Tom Tuesday feat. Jarrod Quarrell + Craig Dermody + more: Howler, Brunswick

Dave O’Connor + Funkalleros + Sam Lawrence : The Tote (Front Bar), Collingwood

Loose Tooth, Dumb Punts and Neighbourhood Youth are heading to The Tote this Thursday for Up The Guts 2017. Also performing are Jack, Jo & Joey, a collaboration between members of The Pretty Littles, Big Scary and Scott & Charlene’s Wedding.

Andrea Marr Band: Rainbow Hotel, Fitzroy

Tali Mahoney + Eilish Gilligan + Francesca Gonzales: Evelyn Hotel, Fitzroy

Now.Here.This with Cookin’ On 3 Burners + Chicken Wishbone: The Toff In Town, Melbourne

Gut Busters

Afternoon Show with Big Band Frequency: Penny Black, Brunswick

Strawberry Fist Cake

Down The Rabbit Hole with Nigel Last: The Toff In Town (Carriage Room), Melbourne Cousin Tom + Hannah Kate + Cracker La Touf + Pup Tentacle: The Tote (Upstairs), Collingwood White Vans + The Great Outdoors + No Local: The Tote (Front Bar), Collingwood Kelly Brouhaha: The Westernport Hotel, Phillip Island

Syntax Error: Tago Mago, Thornbury

Caution: Thieves + Flynn Effect + Enlight + Terrestrials: The Workers Club, Fitzroy

Afternoon Show with Annaliese Rose + Laiks + Honey Bucket: The Brunswick Hotel, Brunswick

Matinee Show with The Dandy Jonestown Massacre + Stone In Motion: The Workers Club, Fitzroy

Van & Cal Walker: Tramway Hotel, North Fitzroy

The Spitting Swallows + Super Saloon + Darcee Fox: Cherry Bar, Melbourne Performing ‘Catalyst’ / ‘Not Without A Fight’ with New Found Glory + Stand Atlantic: Corner Hotel, Richmond

THE MUSIC • 9TH AUGUST 2017 • 39

PRESENTED BY ARTS CENTRE MELBOURNE AND BANK OF MELBOURNE, IN ASSOCIATION WITH CURATOR SOPHIA BROUS

FESTIVAL OF THE ECSTATIC

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