19.07.17 Music / Arts / Lifestyle / Culture
Issue
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Sydney / Free / Incorporating
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TOUR: A S G E I R
COMEDY: R H Y S
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THE MUSIC • 19TH JULY 2017 • 3
4 • THE MUSIC • 19TH JULY 2017
BASEMENT
THU 20TH 8PM
“MUST VOLKOFF” AQUANAUT ALBUM LAUNCH
BASEMENT
SAT 22ND 8PM
FEAT: ADAM KOOTS, JOE SNOW, ONE SIXTH SUPPORTED BY P SMURF & DJ COST, BENJI, DJ PLATTERPUSH
LEVEL ONE
BASEMENT
FRI 21ST 9PM
DEAF TO ALL BUT METAL PRESENTS:
JULY!
SAT 22ND 10PM
FEAT: “WAR RAGES WITHIN”, “LETHAL VENDETTA”, “COSMIC ART”, “WARTOOTH”(QLD)”, DJ’S TAIN AND GARY GRIM
FRI 21ST 10PM
WHERE.M.I LAUNCH
PUNK AT THE VALVE
WITH SUPPORT FROM: “KANG”, VETTY VIALS, “IVAN DRAGO”, JOSHUA ARENTZ, “51 PERCENT”, DEL FAILURE, “COLYTONS”, “ALL WE NEED”
LANA ZILLA PRESENTS:
THE WITCHING HOUR
GOTH/DEATH ROCK/PUNK/POST PUNK WITH SPECIAL GUESTS BASEMENT
LEVEL ONE
“BOTTLECAPS” PRESENTS:
SUN 23RD 5PM
SYDNEY METAL MEET UP PRESENTS
RUM AND ALE XI
FEATURING INFAMOUS METAL KARAOKE AND KILLER METAL PLAYLIST
SYDNEY’S NEWEST FUTURE BEATS/ FUTURE R’N’B NIGHT WITH DJ’S WATERMELLOW, KUN, JAIM, MARCELBOTTLECAPS” PRESENTS:
COMING UP
Thu 27 July: 8pm Basement: Full Steam Ahead at Valve Bar with “The Henry Fjords”, “The Loose Shreds”, “Art Vandelay”, “The Blindfolds”; Fri 28 July: 8pm Basement: Revel presents: Babicka (Melb) with T.hanks, Post Pluto and many more; 10pm Level One: Dreamtime Events presents: Grand Opening Blackout Aboriginal Club Night with Dj’s Digital Mouth, DJ Mac, DJ Chin and many more; Sat 29 July: 8pm Basement: Grindhead Records proudly presents “Burial Chamber” Ripping The Dead Album Launch, supported by “Daemon Foetal Harvest”, “The Plague”, “Bloodbomb”; 10pm Level One: Neo Tokyo presents 2079, Anime, Gaming, UK Hardcore, J-Trance, J-DnB, Industrial with DJ’s Sei (Qld), Kenaz, Jadeabella, Little Raven, Dave PSI, Acid Trixx and many more; Sun 30 July: 5pm Basement: “Deadly Deadly” presents Garage Rock Show with support from many special guests
THE MUSIC • 19TH JULY 2017 • 5
Music / Music / Arts / Lifestyle / Culture
McHale Soup
Wood If You Could
Joel McHale
Joel McHale, of Community and The Soup notoriety, has confirmed his first Australian stand-up tour. As well as being added to Sydney’s Just For Laughs, the comedian will be heading to Melbourne, Brisbane and Perth in September.
Seemingly never off the road, Kingswood have added another 17 dates from late September to mid-November as they’ve announced yet another national tour.
Kingswood
Stole My Mojo With her new single, Think Twice, set for a 1 Aug release, Mojo Juju is ready to show that bad boy off. The Melbourne-native will be hitting the road throughout August and September ahead of her upcoming album’s 2018 release.
Mojo Juju
A Case Of MONO
A female Doctor Who?! But what if she periods all over the space-time continuum?!?
Japanese instrumental group MONO have gained quite an avid following after touching down to Australia for the first time almost a decade ago, and 2017 brings them back to our shores. Catch them during their five-stop tour this November.
@aparnapkin MONO
6 • THE MUSIC • 19TH JULY 2017
Arts / Li Music / Arts / Lifestyle / Culture
Credits
Publisher Street Press Australia Pty Ltd
Life In The Northlane
Group Managing Editor Andrew Mast
Metalcore outfit Northlane are embarking on a national tour for their acclaimed LP, Mesmer. The Sydney-natives are currently dominating overseas, and will return to Australia for their tour this October.
National Editor – Magazines Mark Neilsen Arts & Culture Editor Maxim Boon
Gig Guide Justine Lynch gigs@themusic.com.au
Northlane
Contributing Editor Bryget Chrisfield
Editorial Assistant Sam Wall, Jessica Dale Fall Out Boy
Thnks Fr Cmng A 2018 Australian tour is officially on the cards for Fall Out Boy, who will be playing four all-ages shows beginning in Brisbane. The US act will be joined by Queensland rockers WAAX when it all kicks off in February.
Contributors Anthony Carew, Ben Nicol, Brendan Crabb, Carley Hall, Chris Familton, Daniel Cribb, Chris Maric, Christopher H James, Cyclone, Daniel Cribb, Dave Drayton, Dylan Stewart, Guido Farnell, Guy Davis, James d’Apice, Liz Guiffre, Mac McNaughton, Mark Hebblewhite, Matt MacMaster, Matt O’Neill, Melissa Borg, Mitch Knox, Neil Griffiths, Mick Radojkovic, Rip Nicholson, Rod Whitfield, Ross Clelland, Sam Baran, Samantha Jonscher, Sara Tamim, Sarah Petchell, Shaun Colnan, Steve Bell, Tanya Bonnie Rae, Tim Finney, Uppy Chatterjee Photographers Angela Padovan, Cole Bennetts, Clare Hawley, Jodie Downie, Josh Groom, Hayden Nixon, Kane Hibberd, Munya Chawora, Pete Dovgan, Peter Sharp, Rohan Anderson, Simone Fisher Advertising Dept Brad Edwards sales@themusic.com.au Art Dept Ben Nicol, Felicity Case-Mejia Admin & Accounts Ajaz Durrani, Meg Burnham, Bella Bi accounts@themusic.com.au Distro distro@themusic.com.au Subscriptions store@themusic.com.au Contact Us Suite 42, 89-97 Jones St Ultimo Phone: (02) 9331 7077 info@themusic.com.au www.themusic.com.au
Howl’s Moving Castle
— Sydney
Studio 22 Between 24 Aug and 20 Sep, Celebrate Studio Ghibli brings the entire 22-film catalogue of the renowned studio to cinemas around Australia. Acclaimed movies such as Spirited Away and Howl’s Moving Castle will be front and centre along with insightful new documentaries. THE MUSIC • 19TH JULY 2017 • 7
Music / Music / Arts / Lifestyle / Culture
Live Playing Live
For a regular hit of news sign up to our daily newsletter at theMusic.com.au
Zane Banks
Live
The recently reunited original Live line-up are heading to Australia for three shows in Brisbane, Melbourne and Hunter Valley this November. Canadian rockers Lifehouse will be in attendance for the entirety of the tour.
All Our Exes Live In Texas
Give Good Guitar? The inaugural Sydney Guitar Festival is just around the corner, running from 23 - 27 Aug. As the date looms closer, acts continue to be announced for the line-up. Zane Banks (Cruisin’ Dueces), Van Larkins and Drey Rollan (The Drey Rollan Band) and more have all been added.
All Our Exes Live In Mullum Running from 16 - 19 Nov, Mullum Music Festival is celebrating its tenth year anniversary by announcing the entire line-up, with over 90 acts featured. Some of the acts just added include All Our Exes Live In Texas and Mama Kin.
9
Raised By Eagles
Soaring High
The television network you will now find the ARIA Awards screening on in November, after previously airing on Ten the past few years.
8 • THE MUSIC • 19TH JULY 2017
Melbourne’s Raised By Eagles have announced a national headline tour following the release of their latest LP, I Must Be Somewhere. The four-piece will be venturing along the east coast from August, with a slew of local acts in tow.
Arts / Li Music / Arts / Lifestyle / Culture
Frontlash
The Ocean Party
Under The Sea
King Edgar
An Australian headline tour is coinciding with the release of The Ocean Party’s latest album, Beauty Point, due out on 18 Aug. The six-piece will be playing Sydney’s Volumes Festival, along with a bunch of other dates beginning in mid-August.
After musing about making a video for King Gizzard & The Lizard Wizard on social media, director Edgar Wright met up with the band in Melbourne while here promoting Baby Driver. We hope this collaboration eventuates!
Le Pie
The Circus Is In Town We’re gladdened Oxford Circus is making steps to host live music seven nights a week. Sydney always needs more live music venues.
Lashes
Jodie Whittaker
Announced as the next incarnation of Doctor Who. We love her work on Broadchurch and Black Mirror, so we’re in.
Jodie Whittaker as The Doctor. Pic: BBC
Pepe Le Pie Le Pie has announced a tour to celebrate the release of her latest EP, Sad Girl Theory. The Sydney artist will start things off in Melbourne this September, before returning to her hometown to continue shaking up the music scene.
Backlash Ed Sheeran
Not only does he continue to control the ARIA album charts, but, spoiler alert, he was dominating a lot post-Game Of Thrones talk after his cameo on the show’s first episode back.
Amy Shark. Pic: Kane Hibberd
Spoiler Alert Van-ity Fair Vanfest is making its grand reentrance to Forbes Showground this year, running from the 1-2 Dec. The line-up features artists such as Ali Barter, Amy Shark, Tash Sultana, San Cisco and Dune Rats.
While we’re on Game Of Thrones, we hate having to avoid the internet until we are able to watch the show due to everyone immediately posting their thoughts about the latest episode.
George Romero Vale to the director. You can pretty much draw a line through all the zombie related culture today back to his seminal Night Of The Living Dead and Dawn Of The Dead films.
THE MUSIC • 19TH JULY 2017 • 9
Music
Vera Blue talks all things identity and folk electro with Jessica Dale ahead of her latest release and impending tour.
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I
t seems like a cliche to say, but the last few years have been a whirlwind for Vera Blue aka Celia Pavey. Since the inception of her Vera Blue project, Pavey has worked with the likes of Illy on his track Papercuts, spent time working overseas and is now on the cusp of releasing Perennial, the debut album under her new moniker. At just 23, Pavey has come a long way from her hometown of Forbes in the central west of New South Wales, and she’s come even further from being known as the girl who sang Scarborough Fair on the The Voice Australia back in 2013. At the suggestion that Pavey changed her name to buy herself some freedom from her reality show earned fame, she disagrees. “It wasn’t intentional, it just worked that way. I feel so blessed that, especially triple j, took the project and just embraced it and it could have just not worked but we just felt so strongly about it. There’s something about the shift that really helped, I guess,” she explains. “It wasn’t like I wasn’t going to go anywhere as Celia Pavey, but I think it was just the next phase, I was ready to move forward as doing another project and that doesn’t close the door on the Celia Pavey stuff.” Maybe it’s a sign of her age, maybe it’s a sign of the freedom she feels under the protection of Vera Blue, but looking back on old photos and performances, there’s a new breath of maturity and confidence in how Pavey now carries herself. It’s a sentiment that follows to the new album, with Perennial seeing Pavey swapping the guitar folk tunes she’s become synonymous with for vocal driven electro pop. “It is a big change. Before the Vera Blue stuff was born, I was just writing folk songs on my own and folk, it’s who I am. Folk music is everything. I look up to artists like Joni Mitchell and Simon & Garfunkel and artists like that, Angus & Julia Stone, and I was always writing songs like that,” says Pavey. “I was super late to it but I discovered electronic music and I was like ‘oh my Lord, I’ve just fallen in love’. I listen to a lot of alt-J, FKA Twigs, and even songs back in the day by Massive Attack and stuff like that, and I just fell in love with the emotional side of electronic blending with the folk.” It’s been a collaboration with brothers Andy and Thom Mak, producers who have previously worked with Boy & Bear and Bertie Blackman, that has played the biggest role in changing the music Pavey creates. “I met Andy on a writing camp called the Native Tongue, and I was in a session with him and Australian singer-songwriter Gossling, and I said to him ‘I write folk songs, I’ve got this song called Fingertips that I’ve written a chorus for and I don’t know how to finish it. I really love electronic music and I want to blend the two.’ And he was like ‘sweet, let’s just write the song.’ So Gossling and I finished the song and then we recorded it with just a voice and a guitar and Andy was like ‘I’m just gunna get to work on this and really experiment’ and that’s how the song happened. “And that was before the title Vera Blue came about as well. It was really like just an experimental moment that really grabbed us and we were like we probably should continue working. And then we did the EP and Andy introduced his younger brother Thom, who’s a co-writer, and the ball kept rolling and just got us really excited.” The role the Mak brothers have played in the development of the
Music
The album as a whole is very much acknowledging vulnerability and the fact that I wear my heart on my sleeve.
Vera Blue sound is clear, with Pavey explaining how they are as much a part of the Vera Blue identity as she is. “Gossling, she was the one that put the idea into my head because she has a name as well. And before I was just going to keep Celia Pavey Music which was totally who I was at the time. Because the sound was so different, I was like ‘I feel like it deserves its own name’ so Vera Blue just kind of came from a few little things. “Whenever I think of Vera Blue, I think of it as the collective. It’s me, Andy, Thom and also another person, who’s just working with us now, Jackson [Barclay]. He does a lot of engineering and then recently he started working with my manager in the States, Adam Anders, who is very fond of the project, so we finished the album with him.” For the new album, Pavey has shown no hesitation in being absolutely and completely honest. “The album is called Perennial and my dad actually came up with the name because he’s a horticulturist,” she explains. “The term is used to describe plants and flowers that grow back year after year, and I really loved the word. It related to feelings and emotions and memories returning, reoccurring, coming back and that’s definitely what the album’s really about in a nutshell.” “The album as a whole is very much acknowledging vulnerability and the fact that I wear my heart on my sleeve.”
VERA BLUE: ELECTRO FOLK POP RIOT GRRRL?
When asked which song on Perennial she’s most excited to get out into the world, Pavey answers quickly, sharing the story behind new song Lady Powers and why she feels it’s so important for her listeners.”There’s a song called Lady Powers, which was quite a recent one that we wrote, and it was written in a place in my life where I felt like I was maybe
“It’s funny, some people are saying [it’s] ‘very honest, very real’ and it’s definitely part of who I am and who I’ve become as an artist as well. A lot of artists like to hide their thoughts and their feelings behind metaphors but with this record, I would just say stuff. “I think with the production as well, we had no fear. There was a real sense of no fear and just kind of going for it and exploring and just having a lot of fun. It is a very, very honest record and in a way, that’s touching back on the vulnerable thing. It’s really being open and I’m really proud of the fact I’ve been so honest with my listeners as well, I think that’s why they connect with it a lot.” As much as Pavey comes across as the consummate professional with her succinct, clever and considered answers, it’s in the moments where she lets her guard down — sharing experiences from her time at Splendour In The Grass last year, running into Jack Garratt in an elevator in New York, telling of how Kasey Chambers complimented her work at the ARIAs, the opportunity of a future collaboration with her friend Flume — that really show the warmth, humour and honesty that that many know her for. The Perennial album launch arrives a few days before this story went to print. Watching Pavey perform the new album, everything she’s spoken about comes together; there’s no acoustic guitar in front of her and she seems just as comfortable in playing a MIDI board and sauntering around the stage, the emotion of her lyrics always sitting right at the surface. It’s hard not to think that maybe this was what she had in mind the whole time and was just waiting for the right moment to unleash it.
What: Perennial (Island/Universal) When & Where: 21 Jul, Splendour In The Grass, North Byron Parklands; 28 Jul, Academy, Canberra; 29 Jul & 2 Sep, Metro Theatre; 31 Aug, UniBar, Wollongong; 1 Sep, The Beery, Terrigal; 8 Sep, Bar On The Hill, Newcastle
being a little bit disrespected, so I found that real strength and real kind of empowerment and it’s something I hadn’t quite felt before and I just can’t wait to get that on stage to really just have fun and dance and connect. “I’m super lucky though because I’ve been really well respected by men in general, everyone’s so respectful and so lovely. When I was writing that song, that
was just a particular moment where I was feeling like I wasn’t. It didn’t last long but it’s good to have that song to hopefully last forever to remind me that and remind other women that we’re strong and we shouldn’t have to use our sexuality to be respected. We should just be respected for who we are.”
THE MUSIC • 19TH JULY 2017 • 11
Film
Baby On Board Baby Driver is already being called the best film of 2017 and speaking to Neil Griffiths, director Edgar Wright reveals how he came up with the movie over 20 years ago. t’s understood that the premise of Baby Driver was inspired by Mint Royale’s 2003 music video for Blue Song, which Wright also directed. However, the UK filmmaker, who is also behind critically acclaimed films such as Shaun Of The Dead and Scott Pilgrim Vs The World, explains that the film came to him after listening to one particular track by The Jon Spencer Blues Explosion. “I think even before I did [Blue Song] with Noel Fielding, which is, like, 15 years ago now, I had already wanted to do it as a movie,” he says.
I
Baby Driver, Edgar Wright & Ansel Elgort
All I can say is I’m very proud of the movie and it is the movie that I dreamt up all those years ago
Baby Driver tells the story of a young getaway driver, Baby, [Ansel Elgort] who works against his will for a criminal kingpin [Kevin Spacey]. To cope with tinnitus, Baby almost always has his iPod hooked into his ears. If you haven’t seen the film yet, consider this your heads up — the soundtrack is incredible. “It’s basically a combination of my two different passions, which is cinema and music,” the 43-year-old director says of the connection between story and music in Baby Driver. “But I always wanted to do, like, a heist movie and a sort-of car-chase movie. But my idea was to sort of filter that through my love of music. It’s a movie about a getaway driver where you get to see the story through his eyes but crucially hear it through his ears.” So vital is music to the story, that Wright and his team created an app of the script for the cast that would allow them to read along and press play at certain scenes where music is played. “It’s pretty cool,” he smiles. “Even when Kevin Spacey and Jamie Foxx and Ansel [Elgort] read it, they had this app where you can press the button and the song would start playing.” Reviews for Baby Driver have been so positive that calls for a sequel are already being made and Wright, who also wrote the film, says it is on the cards. “I mean, I don’t think there is a sequel without me,” Wright laughs. “I think though that is something that came up before the movie came out, actually. You know, the thing is, I hadn’t really thought about it until I was actually making the movie and working with the actors. And that was the first time I started to think, ‘I’d like to see these characters again.’ So it’s not a definite, but it’s something that is being thought about.” Given how impressive some of the films featured on Wright’s resume are, to say Baby Driver is the best of the bunch, let alone of 2017, is a big call. However, it’s not a debate he wants any part of. “I’m not the one to, kind of, rank my own movies. I couldn’t,” he says. “It’s like asking to pick between your different children. So all I can say is I’m very proud of the movie and it is the movie that I dreamt up all those years ago. For it to be out in cinemas in 2017 and connecting with a mainstream audience is amazing to me.”
What: Baby Driver “So the idea goes even further back from then until I was 21 in, like, 1995 and I heard the first track that’s in the movie, Bellbottoms, by The Jon Spencer Blues Explosion. When I listened to that track, I would just start imagining this scene, this car chase. Eventually, I thought, ‘I have to come up with a movie that goes with this vision in my head.’ So that eventually became Baby’s story and the script as it is. But it wasn’t until, like, ten years ago, after [Wright’s 2007 film, Hot Fuzz] that I said out loud to my producers, I have this idea for this movie, Baby Driver, and Eric Fellner, one of my producers, said ‘What is that?’ and I said, ‘It’s like a car movie driven by music.’ And he said, ‘I want to see that.’ So I have to hand it to them that they just kind of had unwavering faith in getting this movie made.” 12 • THE MUSIC • 19TH JULY 2017
THE MUSIC • 19TH JULY 2017 • 13
TV
Written In The Stars The Southern Cross has become synonymous with the racist, white nationalism dividing Australian society. Director Warwick Thornton tells Guy Davis why he’s taking the symbol back.
“A
ustralians are incredibly fucking lazy, you know? Unbelievably lazy. They don’t Google, they don’t really want information, so you have to give it
to them.” Warwick Thornton doesn’t hold back when asked why he made his documentary We Don’t Need A Map, which looks at the history of the Southern Cross in both Indigenous and western culture, and how as a symbol its meaning and reputation has been tarnished by people rallying behind it as a totem of white nationalism. Indeed, Thornton’s film was sparked by an offhand comment he made in 2010 that the Southern Cross was being co-opted We Don’t Need A Map
Australians are incredibly fucking lazy, you know? Unbelievably lazy.
for racist purposes, not unlike the swastika. While there’s a subsection of vocal, aggressive thugs using the Southern Cross to spout loathsome ‘Fuck off, we’re full’ rhetoric, We Don’t Need A Map explores the rich, vast history of the cosmic constellation and the complicated history of depictions of it, with Thornton himself acting as both tour guide and student as he travels all around Australia gleaning wisdom from Indigenous elders, academic sources and outspoken commentators, including hip hop artist Briggs. “There’s a lot of information out there about the Southern Cross but people don’t get off their arses to go look for it — we just sit on our arses and let shit happen,” says Thornton. “So it was really a case of, ‘Here, look at this.’ And you can learn something if you want. Or you
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can change the fucking channel — it’s all cool. But giving people access to information — taking the horse to water, at the very least — is important.” Thornton, the director of the acclaimed 2009 feature Samson And Delilah, is quick to admit that he’s not being didactic with this film, and that the process was an educational experience for him as well. “The journey was as much for me,” he says. “I hate those kinds of films where the filmmaker says, ‘I’m really important, come with me so I can teach you stuff.’ It was important that I don’t even know what the fuck I’m doing, so the audience can come with me. There’s a lot of the film about the culture that I didn’t know, and I’m a blackfella. The interpretation of Southern Cross up in Arnhem Land, for instance. So there’s a shitload out there, and you just want to pass it on.” Something that emerges during We Don’t Need A Map is how the Southern Cross is viewed differently by black and white culture, with western eyes drawn — even subconsciously — to the Christian symbolism of the cross while Indigenous legends see the constellation as points on a cosmic journey. And getting that information proved a tough but worthwhile process. “There are certain people who have the right to talk about Southern Cross and what it is and how it is used,” says Thornton. “We couldn’t just talk to any blackfella.” At the same, the filmmaker says he was happy to add a few different voices into the mix. “Yeah, totally, there was a lot of ebb and flow,” he laughs. “I talked to some rock stars because I like their company — they’re shit-stirrers and they don’t hold back. But it’s a shared history — Southern Cross has a lot of wonderful things about it and a lot of shitty things about it. I thought it was very important that we share what we know with other Australians about how country evolved, about how nationalism evolved, about why we’re all so afraid of other people coming here and we use that symbol of the star to stop them from coming here.” And while there’s plenty of pride and fascination in the long history and varied interpretations of the Southern Cross in We Don’t Need A Map, Thornton also sees the film as a cautionary tale in some regards. “A symbol of democracy can turn very quickly into a symbol of ‘us against them’,” he says. “It’s a beautiful symbol that’s been hijacked by a lot of dickheads. If someone’s grandfather fought in a war and they want to use the Southern Cross to pay tribute to that, no one’s saying they can’t. But people are having to get rid of it now because other people have wrecked it for everyone by being dickheads. So it’s about where we’re going as a country, how we’re shutting ourselves down like America seems to be at the moment and how other countries have in the past. We’re going down that path in a way — we’re travelling a lot slower than what happened in the 1930s — but it’s a slope we could easily slip down if we’re not careful. We’ve got to be talking about it now, having conversations to make sure it doesn’t fuckin’ happen.”
What: We Don’t Need A Map When & Where: 23 Jul on SBS and NITV
Broadbeach plus special guests
KASEY CHAMBERS TROY CASSAR-DALEY THE WOLFE BROTHERS - SARA STORER
JULY 28-30, 2017
SHANE NICHOLSON - TRAVIS COLLINS CAITLYN SHADBOLT - DREW MCALISTER - FANNY LUMSDEN TOMATO TOMATO - THE VIPER CREEK BAND - JETTY ROAD LACHLAN BRYAN AND THE WILDES - THE WEEPING WILLOWS AND MANY MORE
FREE EVENT broadbeachcountry.com
Four great speakers, veterans of over 30 years of SXSW Music, Interactive & Film Conference & Festivals Dan White—Director of Technology, Rapid 3X SXSW veteran and panel presenter 2016
South by Southwest Sydney Meet ‘n’ Greet The Lansdowne Hotel (cnr City Road & Broadway)
5:30 pm Tuesday August 1
Marc Sousley—Promoter, Secret Sounds Touring, prior C3 Presents in Austin SX 10x years in a row veteran Luke Girgis—CEO Seventh Street Media, Manager and former A&R for Shock Records 2X veteran Glenn Dickie—Export Music Producer Sounds Australia, former A&R EMI, a whopping 17x SXSW veteran Presented by 15 year SXSW Senior Business Development Manager Phil Tripp—RSVP tripp@sxsw.com Starting with networking drinks at 5:30 and program commencing at 6pm to 7:30, we reveal the ins and outs of attending, applying to showcase, travelling, performing or screening a film, interfacing with interactive and marketing attendees and generally having a great productive time profitably.
Tips, secrets & hot advice. For over 30 years, the world’s greatest and largest creative content gathering of over 70,000 delegates from 96 countries; more than 2000 bands performing in 100+ venues; 4000+ media/press and more than 5000 Conference speakers in 2000 sessions. Over 40 Australian bands performed in 2017; more than 450 in nine years. 60% of our 750 delegates in 2017 were Interactive/Marketing, 30% Music, 10% Film and Comedy. Who should attend FREE?!? Both veterans of SXSW wanting to hone their skills and first timers using SXSW to break through the global convergence industries. In Music; artists, managers, agents, publishers, promoters, venue operators, lawyers, streaming and music tech companies and media. In Interactive; developers, startups, advertising and marketing pros, app and software brainiacs, ISPs, telcos, VCs, incubators and coders. In Film; producers, directors, music video makers, broadcasters, video streaming and imagineers.
SXSW.COM
THE MUSIC • 19TH JULY 2017 • 15
Music
In The Afterglow
Vale George A Romero What do you do once you’ve taken the title for the fastestselling debut album in Icelandic history? If you’re Asgeir, play Splendour In The Grass and tour Australia, Jessica Dale discovers. Director, horror visionary and creator of the greatest zombie franchise of all time, George A Romero, has died aged 77. Best known for the shock horror gorefest, Night Of The Living Dead, Romero fathered the modern day zombie movie, blazing a trail not only for later exponents of the shuffling brain-eaters, but for many subgenre horror movie makers. Romero’s personal canon of zombie movies, spanning more than half a century, set the standard for zombies on screen, as well as originating the familiar movie tropes that would come to define decades of undead films and TV series. His rise to acclaim was not an easy one, however. Despite extensive lobbying, Romero was met by scorn and scepticism when he tried to convince a studio to make his first zombie flick – originally titled Night Of The Flesh Eaters – back in 1968. After raising the modest $114,000 budget himself, he managed to get his picture in front of audiences, and while critics were quick to pan the film, the people were instantly hooked. Cinema and the horror genre in particular will never be the same again.
16 • THE MUSIC • 19TH JULY 2017
Asgeir Trausti Einarsson has had a busy few years. His debut album Dyro i dauoapogn became the fast-selling debut album in Icelandic history when it was released back in 2012. It’s estimated that one-tenth of the population of Iceland own a copy, and it even outperformed his fellow Icelandic counterparts Bjork (her self-titled debut) and Sigur Ros’ Von. It’s something that isn’t lost on the 25-old-year. “I’m just thankful. I don’t really know how to feel about it. I’m just really thankful for that, ever so,” says Trausti Einarsson. “It gave me a lot. I think I’m much more complete as a musician now than I was when I was starting out. That big kind of stuff, that was kind of a push to go and do all the things I’m doing, and really I’m just thankful for that.” Two years after the release of Dyro i dauoapogn, Trausti Einarsson played a set at Splendour In The Grass and then two soldout shows at Sydney Opera House the year after. He’s back on Australian shores this week to perform once again at the festival and share his new work, Afterglow. When asked if he thinks he gained a whole lot of new Australian fans on his last Splendour trip, he laughs and shares, “I guess so, I don’t really know how to measure
it. I just remember that there were many, many people watching the show so I guess we won some over. “We really love coming there. For all of us [his band], it’s one of our favourite countries to tour and it’s so different to what we’re used to, obviously, and the audience has always been great,” he says. “I think the setlist is a bit stronger now so we can pick the most powerful songs to play at festivals like Splendour In The Grass,” he explains. “We have as well - I don’t know if we’re going to use it, but we have a little bit more production on stage so it’s going to be a little bit more visual than before, which I think helps the show a lot. I think that’s what you can expect. I think it’s just going to be really fun. “On the sideshows, it will probably be a bit [of a] longer setlist. The sideshows are probably a bit more dynamic.” This time ‘round, Trausti Einarsson has invited Aussie artist Gordi to join him for his sideshows. “I discovered her music a few years ago and I think it’s great. It’s really, really good, and I think our music has something in common. I don’t really know what it is but maybe it’s just a feeling. I just think it’s a good fit.” As for what’s on after his Australian stint, Trausti Einarsson and his band plan to continue touring Afterglow for the rest of the year and enjoy some much-deserved downtime. “We’ll be touring in the States and we’re going to play in Iceland in the autumn. We’ll be touring Europe a little bit as well,” he says. “Then, in between, I’m just going to enjoy time back home.”
When & Where: 21 Jul, Enmore Theatre; 22 Jul, Splendour In The Grass, North Byron Parklands
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THE MUSIC • 19TH JULY 2017 • 17
Culture Culture
DORKS DO SPORTS In times of yore, the poor ol’ dork was nothing more than bully fodder. But since those dark days of “Hello, McFly!” the humble brainiac has cast off the shackles of social awkwardness to become the world’s favorite underdog. Le geek is now on fleek, and that’s seen a new wave of nerd-tastic competitions enter the mainstream. Strap in people, these are the sports for dorks.
Quidditch
The worlds conjured in JK Rowling’s blockbusting Harry Potter saga are impressively detailed, just look at the extensive and exhaustively explained rules of the wizarding world’s answer to footy, namely Quidditch. But taking a game supposedly played on flying broomsticks with bewitched balls that either try to fly away from you at high speed or try to smash into you at high speed, and making it a reality in our muggle world is a weird mix of competitive sport and make-believe. Instead of magic flying balls, various people take on the roles, and instead of flying around in the air, you run around a field. You do, however, still have a broom between your legs.
Live Action Role Play LARPing as it’s often called is what happens when the nerds who played Dungeons & Dragons in a basement, a la Stranger Things, decide to bring their fantasy gaming into above ground. Gamers dress as their characters - knights, elves, wizards, nymphs and everything else in between - and act out the adventures of their avatars in a real-world environment, usually a public park or sports field. If it sounds goofy, keep it to yourself. LARPers take the activity very seriously and a huge part of the appeal is that they get to live out their gaming without risk of scorn or embarrassment. So, get practicing your best Sir Ian McKellen ‘YOU SHALL NOT PASS’ and start polishing your chainmail - you’ve got some dragons to slay.
Drone Racing Motorsports are big business - hardly a surprise when the essential hardware to take part costs hundreds of thousands of dollars. Fortunately, speed freaks with less cash to splash can now test their mettle in the skies, thanks to drone racing. The world’s fastest drone weighs just 800 grams and has a top speed just shy of 290kph. Not too shabby, eh? The most experienced drone racers use VR goggles to get a drone’s-eye view of the racecourse - a series of suspended hoops and obstacles designed to test the maneuverability as well as the velocity of a contestant’s vehicle. 18 • THE MUSIC • 19TH JULY 2017
THE MUSIC • 19TH JULY 2017 • 19
Indie Indie
The Owls
WAWAWOW
What’s your favourite song on it? Our next single Don’t Waste Your Time (On A Rainy Day) got me hooked when we were writing it. We’ll like this EP if we like... People have compared the songs to ‘90s guitar bands like The Dandy Warhols or BRMC, or ‘60s garage pop like The Kinks so if you’re a fan of those!
EP Focus
E
very so often bands are formed organically, other times it takes a bit of manufacturing. Four-piece WAWAWOW lie somewhere in between. After three of its members were hand-picked for another band, everything else began to fall into place. “A singer assembled us as instrumentalists in a pop rock band, however, we got along really well musically and jammed way too much,” drummer Shaun Allen explains. “Us three started a new group, spent years in obscurity experimenting with our sound, and once we added a fourth member, we knew the sound was ready.” Allen and his psych-junk cohorts are currently knee-deep in creating tunes for their upcoming 2018 EP, but listeners shouldn’t be expecting a more streamlined sound. On the contrary, WAWAWOW have decidedly made music that is still a little rough around the edges. “We aimed for perfection in the studio... but after we achieved it, it didn’t sound like us,” Allen muses. “We re-recorded much of it with our old inferior gear in a garage as it just felt much closer to our actual untamed sound.” Their current single, Fluoro Fitzwilliam, is just a taste of what their upcoming EP will be sonically, and it appears ‘psych-junk’ is very much front and centre. “Thematically the music is kind of a balance between very tight but bent rigidness and absurdly chaotic sound.” Allen elaborates, “We wanted to explore just how far we could take a kind of absurd excess, into this overblown cartoonish image. “It’s unsexy.”
Answered by: Joey Bourke EP Title? Rainy Day How many releases do you have now? Rainy Day (10 Aug) is our fourth EP. Our previous release Own The Streets came out in 2014.
20 • THE MUSIC • 19TH JULY 2017
Website link for more info? http://www.facebook.com/ theowlsonline
Was anything in particular inspiring you during the making? The tour for Own The Streets was 30-ish dates across every state and territory. We returned home and all had a hard time adjusting back to normality, so this EP reflects those ups and downs.
Raave Tapes
Have You Heard Answered by: Joab Eastley When did you start making music and why? I started in about Year Nine when I discovered effects pedals. I could never play as well as my peers, but I sure did make wallowing in mediocrity sound interesting. Not much has changed really. Sum up your musical sound in four words? Indie Garage Dance Punk
When & Where: 22 Jul, 107 Projects, Redfern
When and where is your launch/ next gig? 20 Jul, The Hotel Steyne. We’re also touring the east coast 9 -19 Aug.
If you could only listen to one album forevermore, what would it be and why? Easy choice - The Veronicas’ seminal debut album The Secret Life Of... because the terms ‘guilty’ and ‘pleasure’ aren’t in my vocabulary. Greatest rock’n’roll moment of your career to date? I once opened the door for Daniel Johns at a local music store. He nodded politely. I fumbled for words but none came out. It was pretty lit. Why should people come and see your band? Come if you’re nice, because we’re pretty nice people who enjoy having a really nice time. It’s nice. You’re nice. When and where are your next gigs? 28 Jul, Hotel Steyne. Plus we’ve also curated a mini fest in Newcastle feat Good Boy on 20 Aug. Website link for more info? facebook.com/RAAVETAPES/
Music
with his girlfriend, former member of Dirty Projectors — and… Slasher Flicks member — Angel Deradoorian. Spending day after day by himself, writing songs in the sun, Portner conceived of an acoustic album inspired by California’s environment. “All these ideas, images started flooding in, burning in my brain,” Portner offers. “It started as this very intimate, very personal, bedroom-recording thing about this specific time in my life, in this specific place; the relationships I was having in California and the memories it was bringing up.” Portner wanted Eucalyptus to “feel like you were travelling through an environment, like it was this sonic journey”. The album was cryptically announced when puzzles were sent out to listeners; because, he explains, “the album came together like a puzzle”. At times, the environmental overtones get heavy; as on Coral Lords, which evokes the demise of coral as bellwether of greater environmental decay. It’s a cousin to Coral Orgy, a live collaboration between Animal Collective and the video-art activists Coral Morphologic, that was staged in February. Another song on the LP, Selection Of A Place, also appeared on Animal Collective’s 2017 EP Meeting Of The Waters, which was recorded live in the Amazon. “I wanted to focus on the birth and death of the environment,” Portner says, “explore the life of a human as a microcosm of a macrocosm. So, I could contrast smaller things — the birth and death of feelings, the birth and death of the relationship I had, the birth and death of my time in LA — with the birth and death of the environment. Just as people around us die, so too is the environment dying.”
Drowned In Sound
Almost drowning changed the way Dave Portner “felt about the ocean”, Anthony Carew discovers while chatting with the Animal Collective wailer about his Avey Tare project.
I
n 2014, Dave Portner — aka Animal Collective wailer Avey Tare — travelled with bandmate Brian ‘Geologist’ Weitz to Mexico, where they had access to a remote beach in a marine conservation area of the Gulf of California. Portner went out to sea, and almost never came back. “I was able to swim out past this section of rock, where you couldn’t touch the ocean floor, so I could just free-float,” the 38 year old recounts. “I tried to turn back, but the ocean was so strong that I thought I wasn’t going to be able to make it back to shore. I almost gave up. But, finally, I managed to make it back to shore, and I threw up immediately. That changed the way I felt about the ocean: you have to respect something so powerful that it could, at any moment, just destroy you… It’s a feeling I’ve always remembered, and it’s something I relate back to when I’m feeling struggle, or overwhelmed by anything else in my life.” The second solo record for Avey Tare, Eucalyptus, picks up on this idea. In 2014, Portner was living in Los Angeles. He’d finished off Enter The Slasher House, the debut LP for his new band, Avey Tare’s Slasher Flicks, but it wasn’t out yet. Animal Collective had yet to start work on their tenth album, 2016’s Painting With. And he’d just broken up
What: Eucalyptus (Domino/EMI)
A Whole New World
Mena Massoud
Disney is hoping lightning strikes twice after the success of its live action Beauty And The Beast, with its hotly anticipated live action Aladdin. Former 1D-er Zayn Malik had been a fan favourite for the potential titular lead, but Disney has now revealed that Canadian-Egyptian actor Mena Massoud will helm the film as the plucky street-urchin turned Arabian prince turned Genie liberator. While a relatively unfamiliar face compared to Malik, Massoud has some hot creds to his name, including a lead role in Amazon’s upcoming Jack Ryan series. Opposite Massoud as Princess Jasmine will be British actor Naomi Scott, who played the Pink Ranger in this year’s flop-tastic Power Rangers movie. However, the biggest shoes to fill will inevitably be those of the late, great Robin Williams. That unenviable task is set to be braved by Will Smith, who will no doubt bring his own exuberant flavour to the role of the Genie. Currently there is no release date for the Guy Ritchie-directed movie, but it’s pretty much guaranteed to be one of the biggest movie hits of next year.
THE MUSIC • 19TH JULY 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
22 • THE MUSIC • 19TH JULY 2017
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: 18 Aug, Just For Laughs, Enmore Theatre
THE MUSIC • 19TH JULY 2017 • 23
In Focus
Pics: Bec Taylor
Splendour
In The Grass
24 • THE MUSIC • 19TH JULY 2017
We’ve all been waiting expectantly for a few months, but finally Splendour In The Grass is here. Taking place this weekend at North Byron Parklands, you can catch performances of The xx, Queens Of The Stone Age, LCD Soundsystem, HAIM, Sigur Ros and many more, alongside The Science Tent, Comedy Club, The Very Small Suburb, kids only adventures in Little Splendour and a huge arts program among other sidelights.
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THE MUSIC • 19TH JULY 2017 • 25
Opinion
Generation Why? Maxim Boon is a Xennial, but he’s far from proud about it. He asks why we need more reasons to divide our society in a time where we’re already more divided than ever.
T
he Stone Age was an epoch of human civilisation that lasted a leviathan 2.5 million years. This was followed by the Copper Age, lasting 1,800 years, the Bronze Age, lasting another couple millennia, and then the Iron Age, another thousand years or so. In those far-flung eras of the distant past, mankind was seemingly pretty chill about the leisurely pace of the turning wheel of time. But then came the 20th century, and suddenly the human race got itself in one big damn hurry. Gone was the stately procession of eons neatly portioning out the progress of our species, replaced by a stampede of warring generations, each perfectly capturing the shifting values of successive demographics, each diametrically fucked thanks to their forebears. It’s difficult to figure out a practical purpose for this great carving up of living memory. Was it to give the world some more politically correct corners of society at which to aim their ire, a kind of wholesome, guilt-free bigotry? Was it to distract us from the very real issues right under our noses. Gaping class divides, dug-in racial inequality, and entrenched gender biases — social crises that should be feeling our wrath, if only it wasn’t all too much like hard work to fix? Ultimately, if you’re in a position to feel irked by another generation, or to even acknowledge that there’s enough of a generational difference to give a shit about it in the first place, then you’re probably living a reasonable privileged existence — those whose reality is discrimination, poverty or homelessness aren’t likely to have too much spare worrying capacity to chide a 20-something about their choice of brunch. It’s at this point I acknowledge the irony of pointing out this fact in an opinion piece that does exactly that. But to come to the sharp end of my particular #FirstWorldProblem, a new development in the generation wars has, in this grumpy scribe’s opinion, taken our apparent need for unnecessary pigeonholing to new, utterly redundant levels. Behold, the microgeneration. Specifically, the Xennials — those born between 1977 and 1983. While it’s been claimed this term, and its variants — Generation Catalano (an obscure reference to ‘90s TV staple My So-Called Life) and Generation Oregon Trail (an even more obscure reference to an early educational computer game in the US) — have been rattling around for a few years, a slurry of digital white noise clogged Twitter feeds and status updates last week. Thanks to an article published by 26 • THE MUSIC • 19TH JULY 2017
Mamamia, mistakenly declaring an Aussie academic, Professor Dan Woodman, as the boffin behind the great microgenerational discovery, an explosion of content soon erupted, replete with quizzes to test your eligibility to join this new-found clique, and nostalgia pieces reminiscing about long defunct websites — RIP MSN Messenger, Bebo and Friends Reunited — and the miracle of organising our social lives before mobile phones. I myself fall into this newly heralded niche, and like my fellow Xennials, I am armed with the withering sass of Gen X but with the can-do optimism of those sweet, silly Millenials. Apparently. But, as seems to be the way of things in the generational wars, must I now declare those from opposing clans — the Gen Xs, The Millennials, even the grizzled ol’ Baby Boomers — my mortal enemies? After all, they’ve all got it better than me. We were the practice generation for the digital age, as the internet worked out its clockwork-slow kinks thanks to our low expectations and lack of tech savvy. Can you blame me for feeling a bit sour that today a hormonal 15-year-old has instant access to the full gamete of sexual filth the internet has to offer, whereas my generation had to make do with the Bonds catalogue or that dirty mag we found in a skip that one time? And since we’ve only just been made aware of the deep, divisive differences between us and our other generational foes, we can’t even enjoy the scorn of being the angsty, rebellious whippersnappers on the youngest end of the generational spectrum. We are the poor, deprived middle child — the dowdy, undervalued Jan Brady of generations. “So what?” you cry, and yeah, you’ve got a point there, bub. Perhaps it is harmless enough to toy with the idea of generational divides. But it begs the question, on a slightly more sober note, if there is no practical value to laying down these arbitrary borders, surely it is better to look for unity in an age where the political mainstream seems determined to persecute and isolate real minorities? Put an avocado on that and smash it, Millennial scum. (Just kidding... sort of).
Industry
Filling The Void
which dropped off the map a few years ago. During its prime, Fuse was Indie-Con conference speaker “a real focal point” Jen Cloher that saw a wealth of people fly in from around the country annually. And so, for the next three years, while the AIR Awards are in SA, Watters is hoping they’ll see a similar trend, all with the Indie-Con conference programmer goal of “trying to Stuart Watters establish an event that can hold its own long term”. “Making sure Australia’s newest music there’s a long-term conference, Indie-Con, viability around it is is looking to reshape the absolutely paramount,” Watters reiterates. “So getting the content right, making it speak country’s independent music to the people who are going and making it scene, as programmer Stuart relevant to those people is important. Watters tells Daniel Cribb. “From the CEO of the largest independent in the country to the independent artists that walk in the door, e can bring something that is they’ve all got to walk away with something unique to the music industry that’s useful, meaningful and [that] they can that’s not trying to compete apply to their business.” with any of the pre-existing events, and There’ll be a number of panels that’s certainly been first and foremost throughout the conference that do just that, in our minds,” tells Indie-Con conference including speakers such as Portia Sabin (Kill programmer Stuart Watters as the inaugural Rock Stars/The Future Of What), Jen Cloher, two-day July event fast approaches. Briggs, Sebastian Chase (MGM) and more. “We are not a BIGSOUND and nor do we “There are a couple of key topics that need want to be. We are not a Face The Music to be [discussed] by the independent label and nor do we want to be... we want to sector. One of those is what’s happening complement each and every one of those with safe harbour; it’s a big issue among the events by having a dedicated space for the recording sector. independent label system that can feed into “Is block chain important? What is block whatever those events are doing.” chain? I would say a lot of labels - and I Curated by Australian Independent would argue a lot of the music industry Record Labels Association (AIR) - of which have a very rudimentary understanding of Watters was CEO for five years - the new what block chain is. music industry conference accompanies “On the artist side, I’m very interested their highly anticipated annual awards in trying to empower artists to understand ceremony, this year making its Adelaide how they can harness and utilise data to give debut. Indie-Con was first established in the them the insight to make informed choices UK by AIR’s sister association, AIM, in an about where they invest.” effort to address the needs of independent labels and artists. “We think that’s a fantastic event in its own right, and it just made sense that we would develop something locally here in the Australian market,” he says. When & Where: It’s somewhat filling the void of Adelaide27 & 28 Jul, Indie-Con, Tandanya National based music conference and festival Fuse, Aboriginal Cultural Institute
“W
Best Independent Label
The Australian Independent Record Labels Association have just revealed the nominees for Best Independent Label at the upcoming AIR Awards on 27 Jul. They are:
Barely Dressed Records Elefant Traks I OH YOU Jazzhead Pieater UNFD
THE MUSIC • 19TH JULY 2017 • 27
OPINION Opinion
State Of Origin
Moderately Highbrow Visual Art
S
omewhere in between Gus Gould trying out lines from early drafts of Gladiator while delivering his Wank And pre-Origin monologue before an overly histrionic rendition of the national anthem comes the Australian Theatre equivalent of the the Super Bowl halftime show: commercial radio rock lords playing in the middle of a Foyers With footy field to an empty stadium while punters pump the Dave Drayton bars before kick off. Given the Blues performance in Origin, it would be fair to quote Bernard Fanning, who’ll be opening the decider, and say that my happiness is slowly creeping back, but isn’t it a pity we got Birds Of Tokyo and Grinspoon tasked with warming up the crowd for the first two games. At Munro Martin Parklands in Cairns, performances by NAISDA (National Aboriginal Islander Skills Development Association) Dance College and London’s Royal Ballet will be followed by Game III broadcast live on the park screens. I’m a New South Wales Blues fan, but also wary of the gambling culture that is increasingly encroaching on sport; so while I have to file this before the result is known, I’d bet on whoever’s in attendance at Munro Martin being the real winners on the night.
O G F l ava s
Jay Z
Urban And R&B News With Cyclone
I
n February, hip hop hypeman DJ Khaled unleashed his Osunlade-inspired single Shining with dual prestigious — and elusive — guests: Beyonce Knowles and Shawn “Jay Z” Carter. This symbolised a renewed unity for urban-pop’s power couple after Knowles revealed Carter’s supposed infidelity on 2016’s Lemonade. Hova has since presented his own ‘event’ project in 4:44 — which, while referencing Lemonade’s sub-theme of marital discord, is more than an answer album.
28 • THE MUSIC • 19TH JULY 2017
The Heavy Shit
The Heavy Shit At Hellfest
The Brooklyn MC contemplates matters both psychic (love, honesty and redemption) and cultural (solidarity, empowerment and legacy) as a black man intent on consolidating his dynasty, empire and mythos — cue the meta opener Kill Jay Z. Carter does drop controversial lines in The Story Of OJ when he asks, “You ever wonder why Jewish people own all the property in America?” Some have countered that the playa rapper isn’t being anti-Semitic, but rather expressing aspirational admiration. Still, Carter’s inferences play into false, and distressing, tropes in Donald Trump’s Disunited States. Regardless, 4:44 is a compelling comeback for Carter following 2013’s unconvincingly ambitious Magna Carta Holy Grail. The MC worked with a sole producer in Chicago’s No ID, who, ironically, tutored his now-prodigal protege Kanye West. The beatmaker flips classic gospel, soul and funk samples, his touchstone the apotheosis boom-bap of Jay Z’s The Blueprint (2001). Knowles, Frank Ocean and Damian Marley all cameo — albeit inconspicuously. The physical edition of 4:44 has three bonus leftfield tracks — two of them co-produced by cult post-dubstepper James Blake. The Brit sings lushly on MaNyfaCedGod, with a modishly avant beat switch, as Carter reaffirms his adoration of Queen Bey.
OPINION Opinion
Metal And
A
imagery plastered on every surface? Make up your mind! I’m also sure there would’ve been more incidents at a place where there are 80,000 people gathered in one place then a handful of people at a gig! Alas, my wife has asked me to stop whinging since I came home and I bet you’re sick of it too so I’ll stop now. Haha. Ah, speaking of the Euro summer continuing, coming up there is Bloodstock in the UK which is fast becoming the premiere metal fest on the British calendar and then things move eastward into Germany with Summer Breeze, Party.San, Wacken and others in Germany and then further east right out in to places like Slovenia and Bulgaria as the summer ends. You seriously need to just move over for five months and backpack your way across the continent to experience it all! But fear not, we have metal out our ears heading into our own summer too. Plenty of internationals coming, just look at The Guide pages in this here mag and as always a hell of a lot of local action too!
JOSEPH TAWADROS
VE LI
nd the depression Hard Rock With sets in, haha. A week and a bit Chris Maric back from my month in Europe and the post-trip blues are making me sad. Not only cause I’ve seen some ridiculously awesome stuff posted from friends who are continuing to go to all the fests the Euro summer kicks up, such as Eistnaflug Festival in Iceland and the G! Festival waaaay up in the Faroe Islands which is oddly headlined by Kris Kristofferson..?? But also because the harsh reality of being back here smacked me in the face during my first gig back... I was at the recent Primordial show at The Bald Faced Stag which was fantastic, a really solid 300+ crowd turned up to see the Irish pagan black metallers play a massive two-hour set for what was their first ever tour here in their 20-something year career. What I found ridiculous though was needing to move from the front bar to the venue room by way of going out the front doors (not internally) and was met with security telling me I couldn’t bring my half finished beer with me. It was a two-metre stretch of concrete between the doors and the ridiculous licensing laws we have in this state meant I couldn’t take three steps on the footpath and re-enter the same building with drink in hand? Madness. An hour later when a friend stepped out for a smoke he was told to move several metres beyond and across from the door to do it. Again, why? Sure smoking isn’t great but he was now outside on the public footpath. I know it’s not the venues fault at all and they are having to enforce these laws to protect themselves (and also apparently someone walking by who I might decide to spill my beer on...) Meanwhile back in Europe no one could care less where you drank or smoked (outside) so long as you were responsible about it. The same thing happens in Melbourne too where at Cherry Bar you can stand in the alleyway and smoke but you can’t take your drink outside at the same time. The only business you have in that alleyway is at Cherry so why punish people who just want to have a good time? Then you hear about the Kings Cross Hotel needing to take down their “Keep Sydney Open” banner because a few locals whinged about it. Have we not got bigger problems than this? How can you have one hand saying all this about drinking when last week the State Of Origin had VB and XXXX
A virtuoso of diversity and sensitivity, Joseph performs in concert halls worldwide and is known for his brilliant technique, deep musicianship and joyous style of performance.
One of the World’s Great Oud Players’’ BBC RADIO THREE
FRI 4 AUG WWW.CASULAPOWERHOUSE.COM
@7.30PM $15/$20/$30
THE MUSIC • 19TH JULY 2017 • 29
Album / E Album/EP Reviews
Album OF THE Week
Cornelius Mellow Waves Spunk
★★★★½
Cornelius (aka Keigo Oyamada) has always preferred to lurk behind the scenes ‘producing’ rather than actually being front and centre. Touring with Yoko Ono and Yellow Magic Orchestra and collaborating with J-Pop sensation Salyu are just a few of the many projects in which he has recently been involved. Oyamada has released solo Cornelius albums sporadically and they have consistently moved from the buoyant pop of Fantasma to deeper more chilled listening experiences. Mellow Waves delivers on its promise with a selection of tunes that deal lusciously laid-back vibes that feel more free and lose than the Cornelius to which we are accustomed. If You’re Here surprisingly finds Cornelius singing what is clearly a plaintive love song. Through much of this album, Cornelius uses a limited pallet of sound on each of the songs. Starting simply, he weaves the elements he’s working with to wrap listeners up in a warm blanket of lovingly crafted sound. Complexity and slick production never quite get in the way of the gentle, intimate and somewhat lovelorn tone of this album. The completely heart-breaking The Spell Of A Vanishing Loveliness that features Lush’s Miki Berenyi on vocals is one of this album’s many highlights. A classy album that reflects where Cornelius and perhaps his listeners are at 20 years after the success of Fantasma. Guido Farnell
Vera Blue
Dizzee Rascal
Perennial
Raskit
Island/Universal
Island/Universal
★★★½
★★★½
Perennial is the debut album from talented singer-songwriter Vera Blue (aka Celia Pavey). The title is a term used to refer to plants that return each year, with Pavey using it to symbolise the cyclical quality of relationships and life - a theme that’s carried throughout the album. Written in collaboration with Andy and Thom Mak (Boy & Bear), Perennial follows the journey taken after a break-up. Blue is a natural storyteller, her lyrics relatable, honest and authentic, however, Perennial’s strength ultimately lies in her phenomenal voice - emotive, fragile, strong and flawless. It soars over strings, acoustic guitar and sweet piano on Said Goodbye To Your Mother, and captivates, layered on album opener First Week. Sonically, Blue stays true to her folk beginnings, though
When Dizzee Rascal first graced our ears nearly 15 years ago, he was a breath of change: not American, but still authentic; street smarts and pop sensibilities (after all, your older brother can still rap all the verses of Fix Up, Look Sharp). That he has matured into a Calvin Harris courting, Ibiza holidaymaker is a disappointment to some. Raskit proves this is lazy criticism. Space is a tour de force: a reminder about Dizzee’s technical aptitude, charisma and ability to bottle fury. Wot U Gonna Do? is big, unbridled braggadocio. The Other Side and Slow Your Roll are similarly monstrous, products of the Dizzee we came to know and love. This is the era of Bugzy Malone, Stormzy, Skepta, Little Simz - rappers who came up looking up to Dizzee; he was
30 • THE MUSIC • 19TH JULY 2017
seamlessly blends in electronic elements. There is a bit of a stark contrast between dance tracks like Lady Powers and Magazine and more acoustic folk tracks We Used To and Mended, though Blue’s unique voice works to bring them together and the range helps to retain interest. Album highlights include catchy Regular Touch, that pairs side-chained synths and acoustic guitar, and haunting track Private with its huge, crashing chorus. Perennial is an impressive debut from Vera Blue. Madelyn Tait
never a youngster to them, but an elder statesman. It’s striking that it took the arrival of these new, hungrier youngsters to shake DIzzee from his torpor and leave the laziness to the others. Here, Dizzee’s back. It’s a refreshing thought. “Everybody wanna take shots at the king,” our host mourns. Well, yes. He sits on a throne these days, sights trained on his head. But now that he’s back to making records like this, they’re less likely to hit. James d’Apice
EP Reviews Album/EP Reviews
Avey Tare
Stu Larsen
Eucalyptus
As Paradise Falls Lincoln Le Fevre & The Insiders Digital Ritual
Domino
Eclipse Records
Nettwerk
Come Undone
Resolute
Poison City Records
★★★½
★★★½
★★★½
★★★★
Animal Collective co-founder Dave Portner’s second solo release under the Avey Tare moniker is full of the same tessellated, smudgy soundscapes that define Animal Collective’s sound but here, a light hand introduces delicate fragility. Eucalyptus summons the wide-eyed wonder of the band’s breakthrough, Merriweather Post Pavilion and sets it loose on vaster plains and cyclical ebbs and flows: one moment the sun is setting, the next it’s rising. It’s also more difficult than later Animal Collective. Moments of clarity are summarily broken by intruding rhythms and the literal elements. Rain, thunder, waves and waterfalls frequently intervene to set tracks (and trains of thought) off course.
Straight up and down, meat and potatoes thrash metal has become as stale as three-weekold bread in this day and age, so bands pursuing a thrash style must inject elements from leftfield to maintain interest. And that’s exactly what these Brissie lads do. Paradise Falls pursue a groove-based thrash-metal style, but shake things up with tasteful use of moody dynamics, occasional clean vocals and more progressive arrangements and instrumentation. And most of it works a treat. This band have only been around for a few years, but they’ve already made a big impact with their slamming sounds and willingness to do things a little differently.
Listening to Lincoln Le Fevre, it’s easy to understand why he’s been such a huge influence for bands like Camp Cope and The Smith Street Band, with his latest work with The Insiders offering an album full of captivating imagery and solid melodies. Opener Ugly Enough starts slowly, focusing on a single guitar, organ and Le Fevre’s distinctive voice. Somewhat title track Undone offers an almost bluesy yearning in Le Fevre’s voice, and backs it up with a cracking solo in its closing moment. What stands out most throughout Come Undone is Le Fevre’s ever descriptive and insightful lyrics, truly representing him as a master in storytelling. Here’s to hoping there won’t be such a wait between albums next time.
Creativity might live at home, but for Stu Larsen, inspiration has come from abroad. Resolute, Larsen’s second album, needs only the shallowest of excavations to see how cities, towns and experiences from around the world have shaped this record. It’s slow, considered and lyrical; despite its global references it shares the thoughtful delivery of fellow Queenslanders Busby Marou. Larsen’s voice is more tender though, closer to Glenn Richards or even Matt Corby in the emotion that lingers at the back of his lyrics. Best paired with a red wine and a wellthumbed Lonely Planet, Resolute is utterly engrossing.
Rod Whitfield
Dylan Stewart
Jessica Dale
Samantha Jonscher
More Reviews Online Shabazz Palaces Quazarz: Born On A Gangster Star
theMusic.com.au
In This Moment Ritual
Listen to our This Week’s Releases playlist on
THE MUSIC • 19TH JULY 2017 • 31
Live Re Live Reviews
Gold Class @ Lansdowne Hotel. Pic: Simone Fisher
Gold Class, Flowertruck, Neighbourhood Void Lansdowne Hotel 15 Jul
Gold Class @ Lansdowne Hotel. Pic: Simone Fisher
Gold Class @ Lansdowne Hotel. Pic: Simone Fisher
Japandroids @ Factory Theatre. Pc: Josh Groom
Japandroids @ Factory Theatre. Pic: Josh Groom
32 • THE MUSIC • 19TH JULY 2017
WAAX @ Brighton Up Bar. Pic: Peter Dovgan
It was great to arrive and see the newly reopened Lansdowne Hotel hit the ground running with a busy downstairs bar and a band room that, as it filled, had a definite vibe and communal atmosphere. Youngsters Neighbourhood Void were the first to grace the low stage and they played a strong and impressive set on the back of their recently released debut album. Raw enthusiasm, a direct line to Kurt Cobain and probably a love for Car Seat Headrest have shaped their quiet/loud, noisy/ melodic sound but they own it and played it like their lives depended on it with a mix of gleeful abandon and desperation. Flowertruck have garnered praise and gained momentum over the last couple of years and that experience was evident in their tight and consummate performance. Some songs still drift by while others like recent single Dying To Hear and older song I Wanna Be With You, stick like glue. Frontman Charles Rushforth’s over-emoting can still grate at times but there’s no denying the strength of his voice and the band’s ability to deliver rousing indie-pop to a receptive audience. Gold Class have stepped up a notch with this sold out show, fans baying for them to take the stage and the rapturous, bouncing mosh pit reception they received. Their live sound is even more brittle and visceral than their recordings, the uniformity and minimalism of their sound enhanced even more. They almost had a monochrome palette of sound with a grinding industrial post-punk bass, slashing, dissonant guitar and in new drummer Logan Gibson they have a human metronome
tying it all together with tension and propulsion. New songs were aired - including the excellent new single Twist In The Dark that highlighted how much darker and intense the new songs are getting when held against older songs like Michael. Singer Adam
Singer Adam Curley seems more at home on stage, still aloof and slightly detached but willing to go all in when the song demands it. Curley seems more at home on stage, still aloof and slightly detached but willing to go all in when the song demands it. His glorious bellowing, austere voice is a commanding instrument, perfectly matched by the rest of the band. Gold Class were a band on the cusp of great things. Album number two has all the hallmarks of the group achieving them. Chris Familton
WAAX, Hedge Fund, Kiko Smokes Brighton Up Bar 14 Jul The sold out sign was (virtually) up for a night of rock at the Brighton Up Bar. It was like everyone was clued up that this was going to be a memorable night of live music. Sydney concert-goers are a smart bunch. If we thought that the opening act sounded a bit like Birds of Tokyo, we’d have good reason to. It turns out that half
eviews Live Reviews
of Kiko Smokes are from the WA group albeit on different instruments. Ian Berney (guitar) and Glenn Sarangapany (drums) drive the rhythm section expertly in this group while singer Jono Harrison’s voice is powerful and melodic. It’s a rare chance to see a promising band at the start of their musical trek. Hedge Fund have been plying their indie-rock trade in Sydney for several years and they’ve got a really passionate and intriguing live show. Lead singer William Colvin has an artistic manner that is hard to look away from. He plays up to the crowd and sings with constant steely vigour along with rock theatrics. The band are tight and play an eclectic mix of synthy indie-rock that is hard to pigeonhole. WAAX have been building a reputation for a tight and explosive rock show over the last four years, so expectations were high for first-timers as the fivepiece took to the small corner stage through the bustling throng of a crowd. The drum beats kick in and the following hour-long show is a non-stop ride through raw, fearless rock’n’roll. Marie DeVita is nothing short of dynamic perfection at the front of a band that doesn’t hold back in their performance. The songs swing from the almost restrained verses of You Wouldn’t Believe to the raw, unbridled intensity of Holy Sick. “Fuck yeah,
Marie DeVita is nothing short of dynamic perfection at the front of a band that doesn’t hold back in their performance.
girls down the front!” DeVita notes of the crowd and the large female contingent. “We fucking love Sydney!” declares DeVita before diving into a cover of one of the town’s own, Julia Jacklin’s Pool Party. It’s a rocked out and worthy cover of a song that’s never sounded so large or loud. Their biggest single, Same Same, sees DeVita again at her feverish best, leaning out over the crowd, spitting the lyrics. With reputations upheld and word-ofmouth to spread, we re-enter the cool night already searching for the next opportunity to catch a night as top class as this.
Three songs in and there’s already been a lot more noise pumped out from the duo than what some larger bands achieve playing the same room.
More Reviews Online theMusic.com.au/ music/live-reviews
Mick Radojkovic
Japandroids, Body Type Factory Theatre 14 Jul There’s surely no more than 40 or 50 people in the room when Body Type kick off the evening’s procession. It’s a number that feels lost in a room the size of The Factory, and it’s a shame because the group sound great. Eventually though, the crowd starts to grow and the room begins to fill in preparation for Japandroids, giving Body Type an audience their performance is deserving of. Japandroids’ Brian King (guitar and vocals) and David Prowse (drums) hit the stage and waste no time, tearing straight into Near To The Wild Heart Of Life, the title track from their latest album. They move swiftly into Fire’s Highway and elicit huge cheers from the crowd, mostly made up of a whole lot of dudes that are dressed in the band’s image. Three songs in and there’s already been a lot more noise pumped out from the duo than what some larger bands achieve playing the same room. When they finally do welcome the crowd about four songs in, King introduces them both with first and last
names and that they’re from Vancouver. It’s met with the biggest cheer of the night so far. They offer one more from the new works (True Love And A Free Life Of Free Will) and then roll into older track Wet Hair. They introduce North East South West, rip through it and then inform the crowd that they just performed the best singalong of the tour to date. Younger Us gets dedicated to anyone who joined them at their Sydney show last tour, and they premiere I’m Sorry (For Not Finding You Sooner), laughing that it could be a “clusterfuck”. The encouraging crowd reaction suggests that it wasn’t and King and Prowse agree among themselves that it was indeed ok. It’s not long before it’s time to start wrapping up, after the well-received Young Hearts Spark Fire and Sovereignty, and their tech brings them a glass of wine each to the stage - a much more preferable transition to the evening’s end than the usual feigned encore. They close triumphantly with The House That Heaven Built, King jumping atop Prowse’s bass drum to churn out the final riffs and outro for an adoring crowd.
Bliss N Eso @ Enmore Theatre Coming Up, Not Down @ Oxford Art Factory
Jessica Dale
THE MUSIC • 19TH JULY 2017 • 33
Arts Reviews Arts Reviews
bit dirty, though, you’re still part of the problem, as Edgar Wright’s zesty, zippy new actioncomedy-romance Baby Driver demonstrates. The UK writerdirector behind genrebending cult-favourite comedies like Shaun Of The Dead and Hot Fuzz has made a name for himself with a style that walks the fine line between anarchic and precise. He fills his frames with elaborate, entertaining bits of business that can feel spur-ofthe-moment but are clearly the work of someone with a sharp sense for what’s pleasing to the eye and ear. And it’s the latter upon which Wright is lavishing the most attention with Baby Driver, the story of a sensitive young wheelman who choreographs his high-speed getaways to the tunes playing through his ever-present earbuds. Oh, and based on the way he handles himself on the highway he also has ice water in his veins. Who knew? But Baby, played by The Fault In Our Stars’ Ansel Elgort, is no hard-case crim. Orphaned as a boy, he’s a good kid who made the mistake of stealing from underworld boss Doc (Kevin Spacey, revelling in efficient, white-collar menace). Now he must chauffeur trigger-happy types like Buddy (Jon Hamm, vividly giving off a dangerous nothing-to-lose vibe), Darling (a don’tmess-with-me Eiza Gonzalez) and Bats (Jamie Foxx, a scary loose cannon) as they rob banks and armoured vehicles on Doc’s behalf. Wright’s slick twist is to make it, to all intents and purposes, a musical. The dialogue has the snap and tempo of pop-song lyrics. The camerawork bounces, glides, swirls and twirls. And the action - mainly the car chases but also the shootouts and one frantic footrace - synchs up to the eclectic sounds of Wright’s carefully curated soundtrack of songs. Mostly it works a treat, although this gimmick loses a little of its novelty as the film progresses. And it starts to splutter and stall in a final act that outstays its welcome. Prior to that, however, it’s so nimble, agile and audacious that it’s hard not to be won over by Baby Driver, thanks to Wright’s showmanship and panache and leading man Elgort’s fresh-faced, loose-limbed, butterwouldn’t-melt charm. Baby Driver
Baby Driver Film In cinemas now
★★★½ From 1978’s The Driver, which starred Ryan O’Neal as a wheelman with ice water in his veins through to 2011’s Drive, which starred Ryan Gosling as a wheelman with ice water in his veins, moviegoers have come to realise two things: firstly, even if you could make a movie about a getaway driver without the word ‘drive’ in the title or an actor named Ryan in the lead, why would you?; and, secondly, it’s easy to cut getaway drivers a little slack. After all, they’re not pointing a gun in anyone’s face or pinching some poor unfortunate’s life savings. They’re just helping the people who do split the scene of the crime as quickly as possible. Even if you’re only getting your hands a little
Guy Davis
Descent Into The Maelstrom: The Radio Birdman Story
Film In cinemas now
★★★★ The overall importance of iconic Sydney band Radio Birdman - who cut a swathe through the Aussie scene during their initial tenure in 1974-1978 - has never been in question. Now, however, new documentary Descent Into The Maelstrom lifts the veil and allows us rare insight into the band’s inter-personal chemistry and relationships, with results that are often brutal but requisitely fascinating. The band’s genesis revolved around the arrival in Sydney of guitarist and songwriter Deniz Tek from the United States, who in a sliding doors moment moved into a Kensington sharehouse occupied by future Birdman drummer Ron Keeley (who at the time was playing in a band called The Rats fronted by eventual Birdman vocalist Rob Younger). A young aspiring medical student from Ann Arbor, Michigan, Tek brought with him a love of the Detroit sound - The Stooges, MC5 et al, a fascination already shared by Younger - which, when applied to the Radio Birdman aesthetic, found the band suddenly facing a scene not used to music being so ferocious and uncompromising. Rather than disillusioning the Birdman crew, this lack of acceptance galvanised them into a band united by an ethereal ethos and group integrity, and one who approached everything with maximum intensity, a “take no prisoners” attitude that enthralled as many as it enraged. But rock bands have always been complicated beasts, and while the Birdman extended family may have proved to be a slightly dysfunctional one, none of this negativity - which is approached here honestly and not swept aside, with each member given equal time to tell their side of the story - ultimately detracts from this tale of one of our country’s most important bands. Radio Birdman paved the way for the incredibly fertile Australian music scene of the ‘80s and beyond. As Hoyle says at the documentary’s conclusion, “I don’t think there’s an Australian sound to Radio Birdman, I think there’s a Radio Birdman sound to Australia.” Steve Bell
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X
THE MUSIC • 19TH JULY 2017 • 35
Comedy / G The Guide
Wed 19
Kill Dirty Youth
John Cruckshank + Cameron Duggan: Bank Hotel (Waywards), Newtown
SOSUEME feat. Sam Sparro + Roland Tings + Elki: Beach Road Hotel, Bondi Beach John & Yuki: Bondi Pavilion, Bondi Beach
Sigur Ros
Dom Youdan: Brighton Up Bar, Darlinghurst Joseph Tawadros + James Tawadros: Camelot Lounge, Marrickville
The Music Presents
Russell Howard: Enmore Theatre, Newtown
Two Door Cinema Club: 21 Jul Hodern Pavilion
Craig Calhoun: Frankie’s Pizza By The Slice, Sydney
The Lemon Twigs: 22 Jul Oxford Art Factory
The Uglies: Hamilton Station Hotel, Islington
Sigur Ros: 25 Jul Hodern Pavilion
Queens Of The Stone Age: Hordern Pavilion, Moore Park
Vera Blue: 28 Jul The Academy Canberra; 29 Jul Metro Theatre; 31 Aug UniBar Wollongong; 1 Sep; The Beery Terrigal; 8 Sep Bar On The Hill Newcastle Raised By Eagles: 11 Aug Leadbelly; 12 Aug Grand Junction Hotel Sarah McLeod: 24 Aug Factory Floor Sydney Guitar Festival: 23 27 Aug, Various Venues Dan Sultan: 28 Sep The Academy Canerra; 29 Sep Bar On The Hill Newcastle; 30 Sep Metro Theatre At The Drive In: 29 Sep Hodern Pavilion Vintage & Custom Drum Expo: 8 Oct Factory Theatre
Rand: Lansdowne Hotel, Chippendale The Outside-In-Trio: LazyBones Lounge, Marrickville Live & Local feat. Carl The Bartender + Ben Leece + Tori Forsyth: Lizottes Newcastle, Lambton Cut Copy + Harvey Sutherland & Bermuda + Tunnel Signs: Metro Theatre, Sydney Comedy Night with Simon Kennedy + Emma Malik + Eric Hutton: Oatley Hotel, Oatley Strike Two: Orient Hotel, The Rocks
Le Pie
Alt-J: 9 Dec ICC Sydney
Get X-cited Supports Kill Dirty Youth, Golden Fang and Leadfinger are set to light the candles on X’s anniversary cake this Friday at Factory Theatre when the legendary Aussie outfit celebrate four decades spent making a racket together.
The Ahern Brothers + Josh RennieHynes + Steve Grady: Camelot Lounge (Django Bar), Marrickville The Biggest Comedy Show on Earth: Comedy Store, Moore Park Haim + Cameron Avery: Enmore Theatre, Newtown Julien Baker + Adam Torres: Factory Theatre, Marrickville
The Kamis: Rock Lily, Pyrmont Hugh Barrett Trio: Smiths Alternative, Canberra Katie Rosewood + Matt Ross + IONIA: Staves Brewery, Glebe Geoff Achison + Justin Yap Band: The Basement, Sydney Kelly Brouhaha: The Commons, Hamilton
Bridie King & the Boogie Kings: Foundry 616, Sydney Gordi Hiboux: Frankie’s Pizza By The Slice, Sydney Gadjo Guitars: Gasoline Pony, Marrickville Steve Lucas: Golden Barley Hotel, Enmore Zack Martin + Kenneth D’Aran: Harbour View Hotel, Dawes Point
Pie High
The Owls + Lazy Colts: Hotel Steyne (Moonshine), Manly
Sad Girl Theory came out about a month and a half ago and it’s the kind of thing you should really hear live. Good thing then that Le Pie is playing The Bearded Tit Saturday.
Dr TAOS + James Englund + L.J Phillips + John Chesher: LazyBones Lounge (Level One), Marrickville Cath & Him: Manly Leagues Club (Menzies Lounge), Brookvale Larger Than Lions: Marble Bar, Sydney Royal Blood + Concrete Surfers: Metro Theatre, Sydney
Songs On Stage feat. Russell Neal + Perikles + Pauline Sparkle: Paddington RSL, Paddington
John & Yuki: Osaka, Potts Point
Teddy Killerz: World Bar, Potts Point
Bishop Briggs + Mookhi: Oxford Art Factory, Darlinghurst
Thu 20
Pussy Power Party feat. Swamp To Sahara + Megan & The Vegans + Lee Moon: Oxford Art Factory (Gallery Bar), Darlinghurst
Lil Yachty: Big Top Sydney, Milsons Point Songs On Stage feat. Stuart Jammin: BMW (formerly Beats.Eats.Drinks), Glebe Fripps & Fripps: Brass Monkey, Cronulla
36 • THE MUSIC • 19TH JULY 2017
Joe Moore: Orient Hotel, The Rocks
Will Chittick & The Maze Gaze + Loki Hines + Duo Log + Tim McMahon: Rad Bar, Wollongong
Good Gord Fab folktronica artist Gordi is heading to Enmore Theatre Friday night. The singersongwriter will be there supporting Icelandic multiinstrumentalist Asgeir who’s hitting town for his Splendour In The Grass sideshow.
Olivia McAuliffe + Fire + Sophia Chesworth: The Louis (formerly Lewisham Hotel), Lewisham Shelley’s Murder Boys: The Temperance Society, Summer Hill
Gigs / Live The Guide
Chris Cody Quartet: Foundry 616, Sydney
The Lyrical
Queen Porter Stomp: Gasoline Pony, Marrickville
Plastic Voyage: Grand Junction Hotel (The Junkyard), Maitland
Two Door Cinema Club + Last Dinosaurs + The Creases: Hordern Pavilion, Moore Park
Reckless + James Brennan: Orient Hotel, The Rocks
The Art + Interim + Borneo + Kvlts of Vice + The Kids: Oxford Art Factory, Darlinghurst Hollow States: Oxford Art Factory (Gallery Bar), Darlinghurst
War Rages Within + Lethal Vendetta + Wartooth + more: Valve Bar (Basement), Ultimo
Where M.I. with Various DJs: Valve Bar (Level One), Ultimo
Black Rheno + Hadal Maw + Red Bee: Vic On The Park, Marrickville
Bay City Rollers feat. Les McKeown: Penrith Panthers (Evan Theatre), Penrith
Evangeline: World Bar, Potts Point
The Demon Drink: Petersham Bowling Club, Petersham
Sat 22
Chris Gillespie: Hotel Blue, Katoomba The Lyrical + Ekki & The Scatterbrains: Hotel Steyne (Moonshine), Manly
The Lyregal Moonshine Bar isn’t getting lyrical this Thursday, it’s getting The Lyrical. The reggae regent’s new EP King Of Me came out last month and he’s bringing it to Hotel Steyne on the launch tour.
Cath & Him: Pittwater RSL, Mona Vale Death Bells + M.O.B. + Tru: Lansdowne Hotel, Chippendale
Stephanie Lea: Quakers Inn, Quakers Hill
Timberwolf: Leadbelly (formerly The Vanguard), Newtown
Hy-Test + Naughty Naughty & the Good Boys + Maggot: Rad Bar, Wollongong
Frets with Benefits: Long Jetty Hotel, Long Jetty Urban Scream: Manly Leagues Club (Menzies Lounge), Brookvale
Wawawow + Neon Tetra + Mamajae + Light Entertainment: 107 Projects, Redfern Akmal: Bankstown Sports Club, Bankstown Yours Block Party with Various DJs: Beach Road Hotel, Bondi Beach
Cut Copy
Brown Sugar: Marble Bar, Sydney Rag’n’Bone Man: Metro Theatre, Sydney
Must Volkoff + Joe Snow + One Sixth + more: Valve Bar (Basement), Ultimo Whispering Jackie + Vertical Slums: Vic On The Park, Marrickville
Fri 21 Role Modelz: Beach Road Hotel, Bondi Beach Shannon Noll + Dave Wilkins: Blue Cattle Dog Hotel, St Clair Mac The Knife + Johnny Hunter: Botany View Hotel, Newtown A Tribute to The Golden Era of British Music with British Lords: Brass Monkey, Cronulla
Rumours - A Tribute to Fleetwood Mac: Miranda Hotel, Miranda Splendour In The Grass feat. The xx + Haim + Vance Joy + RL Grime + Father John Misty + Tash Sultana + Banks + Cut Copy + Lil Yachty + San Cisco + Big Scary + Real Estate + D.D Dumbo + Maggie Rogers + The Kite String Tangle + Julia Jacklin + Kingswood + Vera Blue + Cosmos Midnight + Young Franco + Ocean Grove + Luke Million + The Wilson Pickers + Jarrow + Winston Surfshirt + Set Mo + DJHmC + Nite Fleit + Alice Ivy + Willow Beats + Swindail + Super Cruel + Lewis CanCut: North Byron Parklands, Wooyung
Elki
Unforgiven - Metallica Show: Bull & Bush, Baulkham Hills Johnny G & The E-Types: Camelot Lounge, Marrickville Hoodoo Gurus + You Am I: Canberra Theatre Centre, Canberra
Almost Animals
Anne Edmonds: Comedy Store, Moore Park The Biggest Comedy Show on Earth: Comedy Store, Moore Park Thunderfox + Sundown State: Coogee Bay Hotel (Selina’s), Coogee They Call Me Bruce: Coolibah Hotel, Merrylands West Asgeir + Gordi: Enmore Theatre, Newtown 1927 + Pseudo Echo: Entrance Leagues, Bateau Bay X (Steve Lucas, Kim Volkman & Doug Falconer) + Leadfinger + Golden Fang + Kill Dirty Youth: Factory Theatre, Marrickville Ocean Sleeper + Isotopes + Torjans + Diamond Construct: Factory Theatre (Factory Floor), Marrickville
Aussie electro icons Cut Copy are playing some side shows ahead of their appearance at Splendour In The Grass, which means you can catch them at Metro Theatre on Wednesday. Support from Harvey Sutherland and Tunnel Signs.
Jimeoin: Revesby Workers (Whitlam Theatre), Revesby
Nathan Thomson + Sammy La Marca + Woodsy: Candys Apartment, Potts Point Seattle Sound: Colonial Hotel, Werrington
Cut A Rug
Beach Road Hotel’s regular Wednesday event Sosume is going big this week. They have subversive pop singer Elki and soul singer/producer Sam Sparro on board as well as a DJ set from Melbourne’s Roland Tings.
Zeek + Lazar + Shots Fired: Oatley Hotel, Oatley Geoff Achison + Justin Yap Band: Old Manly Boatshed, Manly
Jalapeno Deluxe: Revesby Workers (Infinity Lounge), Revesby
Don’t Dream It’s Over: A Tribute to Crowded House & Split Enz : Brass Monkey, Cronulla Black Heart Breakers: Brighton Up Bar, Darlinghurst Jellybean Jam: Bull & Bush, Baulkham Hills
Parlae + DJ Kitsch 78: Rock Lily, Pyrmont Tori Forsyth: Smiths Alternative, Canberra
Jesse Younan: Camelot Lounge, Marrickville
A Breach Of Silence + Na Maza + Lycanthrope + Kitten Hurricane + Maris King: The Basement, Belconnen
Pape Mbaye + Chosani Afrique: Camelot Lounge (Django Bar), Marrickville
Mike McClellan: The Basement, Sydney
Seek n Destroy + Jvng Jalapeno: Candys Apartment, Potts Point
Revolution Incorporated: The Bunker (FKA Coogee Diggers), Coogee Tinsmith: The Gaelic Club (1st Floor), Surry Hills
The Australian Beach Boys Show: Canterbury Leagues Club (Auditorium), Belmore Dennis Cruz: Chinese Laundry, Sydney
Blues Collective: The Merton Hotel, Rozelle
Soundproofed: Club Cronulla, Cronulla
Psychic Sun: Time & Tide Hotel, Cromer
The Doug Anthony Allstars: Comedy Store, Moore Park
Hiboux: Town Hall Hotel, Newtown Ikonz: Towradgi Beach Hotel (Sports Bar), Towradgi
The Biggest Comedy Show on Earth: Comedy Store, Moore Park
THE MUSIC • 19TH JULY 2017 • 37
Comedy / G The Guide
Belmore Basin Jazz Band: Corrimal Hotel, Corrimal
Hoodoo Gurus + You Am I: Towradgi Beach Hotel, Towradgi
OKBadlands
Home Organ Party Experience with Barry Morgan: Dundas Sports Club, Dundas
X (Steve Lucas, Kim Volkman & Doug Falconer) + Young Docteurs + Kill Dirty Youth: Transit Bar, Canberra City
Russell Howard: Enmore Theatre, Newtown Shannon Noll + Dave Wilkins: Ettamogah Hotel, Kellyville Ridge
Bottlecaps + Kang + Vetty Vials + Ivan Drago + Joshua Arentz + 51 Percent + more: Valve Bar (Basement), Ultimo
The Playbook: Factory Theatre (Factory Floor), Marrickville
The Witching Hour with Various DJs: Valve Bar (Level One), Ultimo
One Love - Reggae & Dancehall Night with 4’20’ Sound + Foreign Dub + more: Factory Theatre, Marrickville
Sam Newton + Amber Rae Slade + The Mighty Big Noise: Vic On The Park, Marrickville
Blessed Relief: Foundry 616, Sydney
Songs On Stage feat. Sean + Miss Bow: Well Connected Cafe, Glebe
Dept Of Gloom: Frankie’s Pizza By The Slice, Sydney Afternoon Show with Rita B: Gasoline Pony, Marrickville The Demon Drink + The Ramalamas: Gasoline Pony, Marrickville Bonobo + KLLO: Hordern Pavilion, Moore Park Dragon: Hornsby RSL, Hornsby
Crawl File - Australian Crawl Show: Wentworthville Leagues Club (Starlight Auditorium), Wentworthville
Badlanderers OKBadlands new single Mineral came out earlier in the month (and was awesome) and this Tuesday you’ll find them at Factory Theatre. They’re down from Brissy supporting Oh Wonder for their Splendour sideshows.
Fire Fox Northern Beaches six-piece Thunder Fox make music to funk to, or what they call an “eclectic sexual explosion of psychedelic funky goodness”. Catch them with Sundown State at Selina’s Friday.
Romare + Planete + Marco Vella + Sydney Pony Club: Hudson Ballroom, Sydney King Tide: Lansdowne Hotel, Chippendale Women of Blues & Soul Showcase 2017: Leadbelly (formerly The Vanguard), Newtown Swanee: Lizottes Newcastle, Lambton Samantha Broadbent: Long Jetty Hotel, Long Jetty Soul Empire: Marble Bar, Sydney Banks: Max Watt’s, Moore Park All Ages Show with LANY + Ric Rufio: Metro Theatre, Sydney
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Hadal Maw + Black Rheno: Born2Rock Studios, West Gosford Dande & The Lion: Brass Monkey, Cronulla Rohan Cannon: Bull & Bush, Baulkham Hills
Soular Spill: Hotel Blue, Katoomba
Thunder Fox
Sun 23
Splendour In The Grass feat. Queens Of The Stone Age + Royal Blood + Two Door Cinema Club + Paul Kelly + Catfish & The Bottlemen + Future Islands + Asgeir + Allday + Bernard Fanning + Dune Rats + Rag’n’Bone Man + Dan Sultan + Vallis Alps + Dope Lemon + Slumberjack + Bad// Dreems + Julien Baker + Bag Raiders + Luca Brasi + Middle Kids + Confidence Man + Hockey Dad + Gretta Ray + Mallrat + Topaz Jones + Late Nite Tuff Guy + Airling + Tornado Wallace + Romare + Harvey Sutherland & Bermuda + CC:Disco! + Dena Amy + Andy Garvey + Sam Weston: North Byron Parklands, Wooyung Jimeoin: North Sydney Leagues, Cammeray
Shy Guys: Revesby Workers (Infinity Lounge), Revesby
Timbre Flaws + Urban Voices: Camelot Lounge, Marrickville
K Groove + DJ D-Flat: Rock Lily, Pyrmont
Joseph Zarb + Guitarras Gitanas: Camelot Lounge (Django Bar), Marrickville
SIMA feat.Thomas Avgenicos + Lauren White + Stephanie Russell: Seymour Centre, Darlington Julia Johnson + Bonniesongs + The Burley Griffin: Smiths Alternative, Canberra The Old Brown Boot Band: Staves Brewery, Glebe ‘68 + Grenadiers + Starrats + Simple Stone + Panic Burst: The Basement, Belconnen
Rock City Saints: Oatley Hotel, Oatley
The Basement Big Band: The Basement, Sydney
The River Jesters: Old Manly Boatshed, Manly
D Love: The Beach Hotel, Merewether
Songs On Stage feat. Russell Neal + Warren Munce + Paul McGowan + Andrew Denniston: Orange Grove Hotel, Lilyfield The Chosen Few + Jimmy Bear: Orient Hotel, The Rocks Freedom feat. The Lemon Twigs + Mossy + Flowertruck + Betty & Oswald + Sloan Peterson + Tropical Strength + Jack T Wotton & The Wunderz + Crocodylus + Julia Why? + Aegean Sun + more: Oxford Art Factory, Darlinghurst Shows on Stage feat. Bedrockers: Paddington RSL, Paddington Let’s Groove Tonight: Penrith RSL (Castle Lounge), Penrith Tracksuit Party with Funktrust DJs: Play Bar, Surry Hills Kris McIntyre: Plough & Harrow, Camden Pendulum DJs: Proud Mary’s, Erina East Coast Swag + The Know Goods + Dave Overton & The Joy Williams Band + Love Buzz: Rad Bar, Wollongong
Le Pie + Girls from the Garage DJs: The Bearded Tit, Redfern AM/PM feat. Vices + Like Royals + Maverick: The Burdekin, Darlinghurst
Variety Hour & a Half... Show! with Barry Morgan: Carrington Bowling Club, Carrington Stormcellar: Catherine Hill Bay Pub, Catherine Hill Bay Topology: City Recital Hall, Sydney Banks: Enmore Theatre, Newtown Tay Oskee: Flow Bar, Old Bar Wolfpack + Hostile Objects + Capa Capo + Free or Dead: Frankie’s Pizza By The Slice, Sydney Dewey: Gasoline Pony, Marrickville
Mookhi
Sqi Ceili: The Gaelic Club (1st Floor), Surry Hills Dennis Cruz: The Grand Hotel, Wollongong Ministry of Sound Club feat. MitiS + Ryan Riback + Jaysoundz: The Ivy, Sydney The Drey Rollan Band: The Merton Hotel, Rozelle Kaikai feat. Detox + Aja: The Midnight Shift, Darlinghurst Kelly Brouhaha: The Music Lounge, Brookvale DEN + New Age Group + Lower Body: The Phoenix, Canberra Hollow Heart + Oceans To Athena + Dimension + Final Form: The Small Ballroom, Islington Geoff Achison + Justin Yap Band: The Stag & Hunter Hotel, Mayfield
Call It Local electronic producer Mookhi is heading to Oxford Art Factory this week to support boss Brit Bishop Briggs. Head down to the venue Thursday night to catch the two at work.
Gigs / Live The Guide
The Lairs: Grand Junction Hotel (The Junkyard), Maitland
Jed Zarb: Hawkesbury Hotel, Windsor
Jasper James: Home Nightclub, Sydney Catfish & The Bottlemen: Hordern Pavilion, Moore Park Revolution Incorporated: Hotel Steyne (Moonshine), Manly John & Yuki: Illawarra Master Builders Club, Wollongong
Splendour In The Grass feat. LCD Soundsystem + Sigur Ros + ScHoolboy Q + Peking Duk + Bonobo + Stormzy + King Gizzard & The Lizard Wizard + Meg Mac + Thundamentals + Client Liaison + Tove Lo + Pond + The Smith Street Band + Oh Wonder + Amy Shark + A.B. Original + The Lemon Twigs + Bishop Briggs + LANY + Topaz Jones + Kirin J Callinan + Kilter + The Peep Tempel + Moonbase (FKA Moonbase Commander) + Kuren + The Murlocs + Good Boy + Oneman + Hwls + Enschway + Willaris K + Mookhi + Planete + Christopher Port + Kinder: North Byron Parklands, Wooyung
Dennis Wilson: Pittwater RSL, Mona Vale Hollow Heart + Mixtape For The Drive + Oceans To Athena + Lowgazer + Wildfires: Rad Bar, Wollongong
Suite Az + DJ Troy T: Rock Lily, Pyrmont Ethan Conway: Rooty Hill RSL (Corona Theatre), Rooty Hill The Humm: The Beach Hotel, Merewether Pendulum DJs: The Grand Hotel, Wollongong Doggin It: The Merton Hotel, Rozelle DJ Frenzie + Rob Edwards + DJ Cool Hand Luke + Flip: The Newport, Newport
The Owls
Timberwolf
Gail Page: Towradgi Beach Hotel (Sports Bar), Towradgi Rum & Ale XI feat. Various DJs: Valve Bar (Basement), Ultimo DJ Jack Shit: Vic On The Park, Marrickville
Upwolf Adelaide’s Timberwolf dropped a stellar new single from his upcoming debut album back in March and he’s finally bringing it to town. You can see him playing Hold You Up at Leadbelly Friday.
Mon 24 Variety Hour & a Half... Show! with Barry Morgan: Carrington Bowling Club, Carrington Stormzy: Enmore Theatre, Newtown James Muller David Theak Organ Transplant: Foundry 616, Sydney Frankie’s World Famous House Band: Frankie’s Pizza By The Slice, Sydney
hOWLin’ Horses The Owls are playing Moonshine Bar with Lazy Colts this Thursday, it’s likely one of the last times you can catch them before they hit the road with their new EP Rainy Day.
Judy Bailey’s Jazz Connection: LazyBones Lounge, Marrickville LA Experiment + DJ Tim Boffa + DJ Cam Adams: Manly Wharf Hotel, Manly Drumcell + SNTS + Truncate: Manning Bar, Camperdown Father John Misty: Metro Theatre, Sydney
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Marty R: Orient Hotel, The Rocks The Bootleg Sessions feat. An Inconvenient Groove + Moosk + The Wumpaz + more: The Phoenix, Canberra ‘68 + Grenadiers + Liberties: The Small Ballroom, Islington Songs On Stage feat. Russell Neal: The Unicorn Hotel, Paddington
Tue 25 Stormzy: Enmore Theatre, Newtown Oh Wonder + OKBadlands: Factory Theatre, Marrickville Eddie Bronson: Foundry 616, Sydney
U2 Elevation + UK Anthems: Orient Hotel, The Rocks
Songs On Stage feat. Russell Neal + Chris Brookes + Pauline Sparkle: Gladstone Hotel, Dulwich Hill
‘68 + Grenadiers + Amends + Maverick: Oxford Art Factory, Darlinghurst
Sigur Ros: Hordern Pavilion, Moore Park
Stephanie Lea: Penrith Panthers (Squires Terrace Bar), Penrith
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LCD Soundsystem: Hordern Pavilion, Moore Park
Double Shot: Oatley Hotel, Oatley
Pink Chevys: Penrith RSL (Castle Lounge), Penrith
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Dave Garnham & The Reasons To Live + Leo Rondeau: Grand Junction Hotel (The Junkyard), Maitland
Oh Wonder + OKBadlands: Metro Theatre, Sydney
War Rages Within. Pic via Facebook
Songs On Stage feat. Stuart Jammin + Jenny Hume + more: Kellys on King, Newtown
Infighting
Michael Griffin Quintet: LazyBones Lounge, Marrickville
If heavy is your thing then Valve Bar is the place to be Friday night. Heading up the night are metal and post-hardcore outfit War Rages Within, with support from Lethal Vendetta, Wartooth and more.
All Ages Show with Maggie Rogers + Mallrat: Metro Theatre, Sydney Adam Gorecki: Orient Hotel, The Rocks Reactions + Sleep Talk + Ill Natured: The Basement, Belconnen Catfish & The Bottlemen + Bishop Briggs + Bec Sandridge + The Vanns: University Of Wollongong, Gwynneville
Songs On Stage feat. Dr TAOS + Michelle Benson + Paul Ward + Kenneth D’Aran: Kellys on King, Newtown St Joan: LazyBones Lounge, Marrickville
THE MUSIC • 19TH JULY 2017 • 39
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