11.10.17 Music / Arts / Lifestyle / Culture
Issue
210
Sydney / Free / Incorporating
E C C A B U R S T I N G
O U T
O F
V A N D A L H E R
B U B B L E
T O
P L A Y
F A L L S
Theatre Tim Rogers
Tour The Bronx
Tour P e t e To n g
pnau tkay maidza hook n sling brother g frankie romano ON SALE 12 OCT
2 • THE MUSIC • 11TH OCTOBER 2017
mando
THE MUSIC • 11TH OCTOBER 2017 • 3
4 • THE MUSIC • 11TH OCTOBER 2017
6 OCT
THE HARD ACHES + GHOST WAVE BASEMENT
THU 12TH 8PM BASEMENT
FRI 13TH 8PM
PUNX AT VALVE BAR
WITH “TOPNOVIL” , “I HAVE A GOAT” , “SPEEDBALL” , “RAVENS”
DAVEQON RISE OF THE DOINKIES
FRI 13TH 10PM
SAT 14TH 9PM
LEVEL ONE
A SPECIALIST HARD DANCE EVENT BRINGING GOOD TUNES TO GOOD PEOPLE, FEAT: VIAL8, IRRUPTIONZ, MC IRRUPT AND MANY MORE
LEVEL ONE
BASEMENT
SAT 14TH 10PM
ABORIGINAL/TORRES STRAIT ISLANDER MONTHLY WITH DJ’S AYCUZ AND DIGITAL MOUTH
SYDNEY’S PREMIER ALTERNATIVE CLUB NIGHT FEATURING BEST ALTERNATIVE DJ’S AND PERSONALLY RECOMMENDED BY IAN ASTBURY OF “CULT” DEEPSPACE SYDNEY PRESENTS:
SECRET OBSESSION (FEMININE TRIP)
A NIGHT OF PSYCHEDELIC TRANCE AND DEEP SPACE FEAT: SAINT WITCH, JENNIE, CATHRIN/ HARD KITTY, CAMILA CONCHA (COLUMBIA), DJ BATZ, MELLIFLUOUS
DREAMTIME EVENTS PRESENTS:
BLACKOUT FREAKY FRIDAY
SANCTUARY OCTOBER
BASEMENT
SUN 15TH 5PM
COMING UP
“SWEET VELEVET” ROCKS THE VALVE
ROCK EXTRAVAGANZA WITH SUPPORT FROM “SPIRAL” , “GYPSY” , “WILTRICITY” , “REALITY DREAMING”
Thu 19 Oct: 8pm Basement: Rock On At Valve with “Broken Hands” supported by “Josh Shipton & The Blue Eyed Ravens” , “Toadvine”; Fri 20 Oct: 8pm Basement: Deaf To All But Metal presents: 2 Year Anniversary (Hiatus Gonna Hate) feat: “Panik” , “Terrorential” , “Children Of Perdition” , “:Snöw Leopard”, “Cruciform” , “Head In A Jar”; 10pm Level One: Fuckfest, Loose Maggot Mountain warm up party with Evolve, Decide Today, Tramstein, Athorataxis, Noisetruckt, Hedonist, Ten Thousand Free Men & Their Families, Evilz & Sick Circuit; Sat 21 Oct: 5pm Basement: Deaf To All But Metal presents: 2 Year Anniversary (Hiatus Gonna Hate) feat: “By The Horns” , “Sarcophaguts” , “Black Mountain” , “Corroted”, “Reaper”, “Fenrir”, “Horrisonous”, “Enfiled” , “Rebel Wizard” , “Reaver”; 10pm Level One: Sticky Sounds presents: Ignite, UK Garage and House party with Lad B2B Jimmy Ray, Bassone, Sticky Sounds; Sun 22 Oct: 5pm Basement: “Maple Moths” presents Garage Rock Show with support from “Space Carbonara”, “The Bleeding Gums” , “Mount Zamia”
13 OCT
+ FLOWERTRUCK 20 OCT
DRUNK MUMS + KING COLOUR 27 OCT
FOOD COURT
+ DANDE & THE LION
LOCAL ROCK ‘N ROLL, FOLK & INDIE POP ROCK ACTS LIVE & LOUD EVERY FRIDAY NIGHT AT SELINA’S FROM 8PM
COOGEEBAYHOTEL.COM.AU
THE MUSIC • 11TH OCTOBER 2017 • 5
Music / Music / Arts / Lifestyle / Culture
Five Coronas Deep
Irish rockers The Coronas are set to return to Australian shores next month to reacquaint themselves with local fans on the heels of their fifth full-length, Trust The Wire.
The Coronas
Leprous
Rollin’ Prog Progfest has announced the first acts on its 2018 line-up, as well as expanding beyond Melbourne to Brisbane and Sydney. You can catch Leprous, Voyager, Alithia, Orsome Welles and more in January.
Manu Crooks
Parkway Drive
I sexually identify as a microwave dinner because I’m ready in 5 minutes but don’t look anything like my photos. @xLiserx
6 • THE MUSIC • 11TH OCTOBER 2017
Drive Back To celebrate the ten year anniversary of Parkway Drive’s second album Horizons, the Byron Bay band have confirmed a string of headline dates for January next year in addition to their appearance at UNIFY 2018.
Arts / Li Music / Arts / Lifestyle / Culture
Credits
Publisher Street Press Australia Pty Ltd
Mariah Carey
Big M
Mariah Carey has revealed she will head to Australia next year for a massive headline tour. The US pop superstar confirmed she will bring her #1s tour Down Under next February,, her first visit to our shores since 2014 .
Group Managing Editor Andrew Mast
National Editor – Magazines Mark Neilsen Arts & Culture Editor Maxim Boon
Gig Guide gigs@themusic.com.au Contributing Editor Bryget Chrisfield
Editorial Assistant Sam Wall, Jessica Dale 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
#1 Crook After killing at BIGSOUND recently, Sydney hip hop maven Manu Crooks has announced his first ever Australian headline shows in November and December.
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— Sydney
Beautiful Synthony
Evanescence
In support of their forthcoming album Synthesis, due out 10 Nov, US rockers Evanescence have announced they will tour Australia in 2018 alongside some of the country’s Symphony orchestras in February. THE MUSIC • 11TH OCTOBER 2017 • 7
Lifestyle Music / Arts / Lifestyle / Culture
Good Point
Home
Melbourne five-piece The General Assembly have dropped their full-length debut and announced a run of shows around the country. They’re set to bring Vanishing Point to Sydney in November.
The annual Homeground Festival at Sydney Opera House has dropped its line-up for 2017. Malu Kiai Mura Buai Dance Troupe, Yothu Yindi and many more artists will converge on the iconic venue in late November.
The General Assembly
Merci Beaucoup Fresh off announcing its January 2018 return and expansion to include Adelaide, So Frenchy So Chic In The Park has unveiled its first acts, including avant-garde luminary Juniore, Nigerian-born rapper Féfé and threepiece outfit LEJ.
18.78 MILLION
More Like Wild
The amount of tickets issued to live shows, as reported in Live Performance Australia’s recently released Ticket Attendance & Revenue Survey for 2016. 8 • THE MUSIC • 11TH OCTOBER 2017
Melbourne four-piece Totally Mild have landed themselves a deal with revered, long-running Aussie label Chapter Music, as well as announced a pair of shows in Melbourne and Sydney in November.
Malu Kiai Mura Buai Dance Troupe
e / Cultu Music / Arts / Lifestyle / Culture
Frontlash
Banning The Bots
Never A Frown In
Newtown Festival
Newtown
The program for the 39th annual Newtown Festival is here! Head to the Camperdown Memorial Rest Park on Sunday 12 Nov for food, art, markets and a line-up of acts curated by Sarah Blasko.
Juniore
With reports that the NSW Fair Trading Act will look to ban software that automatically buys bulk tickets, this can only mean good things for legitimate ticket buying punters, who will hopefully no longer be knocked out by scalpers.
Bluesfest
Megan Washington
Gets another couple of awards noms, nominated in the Major Festivals & Events category at the NSW Tourism Awards, plus Best Overseas Festival at the UK Festival Awards.
New York Comic-Con
Australia biggest talents are coming together this 29 Oct for YesFest, an unprecedented, nationally broadcast benefit-concert in support of marriage equality. On the massive line-up are Megan Washington, Client Liaison, Tkay Maidza and HEAPS more.
The X-Files
Lashes
Of the cool things emerging from NY’s Comic-Con, our faves were The X-Files trailer and The Walking Dead/Fear The Walking Dead crossover announcement.
Big Yes
Backlash Donald Trump
Totally Mild
Bon Fromage Cheese Festival
If he’s worried about US late night television hosts being supposedly “antiTrump”, maybe he should watch his actions and Twitter tirades to ensure he doesn’t end up in their sights.
All Too Real Say Cheese It is a truth universally acknowledged that the only thing better than cheese is heaps more cheese. Enter the Bon Fromage Cheese Festival, Carriageworks’ twoday celebration of solid milk this 14 & 15 Oct.
It’s testament to the reality TV pop star system that more duty of care is needed with young participants when an exwinner of Australian Idol, Kate DeAraugo, is up on weapons and drugs charges.
Same Same Not Same Love
Despite all the hype of his NRL Grand Final show, Macklemore couldn’t quite get to #1 in the ARIA Singles chart with Same Love. That really would have stuck it up Tony Abbott’s nose, but still, to get back to #4 is a good effort after four years.
THE MUSIC • 11TH OCTOBER 2017 • 9
Music
G E T
Ecca Vandal sits down with Cyclone ahead of the release of her debut, self-titled album to discuss how jazz led her to hardcore, why she questioned putting so much of herself in her music and why the album is “for the misfits”.
T
he rising Melbourne hard rocker Ecca Vandal is dropping one of 2017’s most anticipated Australian albums. And, w her fierce, eponymous debut, this future with fe feminist heroine is demonstrating that the pe e personal is political and punk is pop. Vandal is diligently conducting in interviews on that feverish Friday before th AFL Grand Final in Victoria. “How crazy the is it that we’ve got a public holiday?” she la a laughs. Vandal toils non-stop. Aside from w wrapping her album this year, she has played th h Melbourne leg of Laneway and opened the fo Josh Homme’s Queens Of The Stone for Ag After her national headline tour, Vandal Ag Age. w hit the UK then close 2017 by joining will Fa Festival. But today she’s spruiking Fa Falls Ec E c Vandal - its prelude, Broke Days, Party Ecca Nii N Nights, a combustible millennial ‘fuck a au austerity’ banger. There is a long tradition of iconic female m musicians utilising punk for maximum pop ttra tr ra transgression - from X-Ray Spex frontwoman Po Styrene to Nina Hagen and Neneh Po Poly Ch C h Cherry. Vandal’s energetic, contemporary ta is omnidirectional - veering off into hip take h and electro(clash). She’s as defiantly ho hop p po post-genre as MIA, Grimes or Alice Glass. Cr Cr Crucially, Vandal revels in pop hooks, bu without sacrificing punk’s intensity bu but o attitude. “I’m in love with melodic or m music - that’s where it comes from,” she sa Vandal’s hip-hop pal Joelistics has sa says. sa sagely tagged her oeuvre “punk rock/ f fu future dancefloor”. Vandal has a complex heritage. She w born in South Africa to Sri Lankan was e em emigre parents. But, when Vandal was four, th family left South Africa’s repressive the ap p apartheid regime for suburban Melbourne. V Va Vandal fondly remembers the soundtrack to that flux. She was exposed early to Sri Lankan festive music and South African gospel. Later, Vandal latched onto R&B and hip hop, raiding her older sisters’ CD collections. Having picked up various instruments through childhood (and formally learning violin), Vandal successfully auditioned for the Victorian College of the Arts. Ironically, while studying jazz, she discovered hardcore - Washington, DC’s Bad Brains proving transformative. These influences have all bled into Vandal’s sound. “When it came to writing my original music, I didn’t wanna let go of anything,” she says. “I just thought, ‘I wanna be me’.” As such, Vandal’s hybrid is a proclamation of diversity. Still, she’s posited Ecca Vandal as an album “for the misfits”. In 2014 Vandal discharged her first single, White Flag - recording in DIY-mode with her now-regular cohort, Richie “Kidnot” Buxton. At the start of 2016, she stealthreleased an EP, End Of Time - encompassing
the popular Battle Royal. On Ecca Vandal, the singer further explores her own identity and dilemmas. “I guess it’s a portrait of who I am right now,” Vandal ponders. “I wanted to encapsulate all the moods and emotions I was going through over the last year, year and a bit as I was writing this record. The world has really grown dim over the last year, especially. A lot of things have happened politically that I felt very passionately about. But, at the same time, I was trying to write and create in my lounge room. I was trying to work out where I fit in amongst that - you know, how political and how much would I allow myself to get involved with it, or do I just wanna sort of protect myself a little bit? Because, first, as a person who experiences things very vividly and passionately, it sometimes affects me quite negatively. I get very sad and I feel a bit helpless. So sometimes it was a matter of me working out, ‘Okay, how much do I wanna talk about... Do I just wanna be in my bubble?’” Vandal was compelled to pen the Beastie Boys-like Price Of Living (which, astonishingly, features both Refused frontman Dennis Lyxzen and Letlive’s Jason Aalon Butler) as a protest song about Australia’s mistreatment of refugees after viewing Eva Orner’s searing 2016 documentary Chasing Asylum. “It was a massive thing for me.” The album’s most empowering moment is the grunge stomper Future Heroine, which is accompanied by a female-centric video.
“It’s about a death of a relationship,” Vandal reveals. “It was an observational thing - it was actually what a friend of mine was going through recently. Unfortunately, it was due to addiction and things like that [which] really led to the death of this relationship. It was really speaking to her being empowered to go, ‘Well, actually, I’m not gonna settle to be second best’.” Curiously, Vandal conceived Future Heroine on her inaugural writers’ camp - “one of those speed-dating/ songwriting sessions,” she jokes. Travelling to the APRA AMCOS SongHubs in Auckland, Vandal connected with American “heavyweight” Mike Elizondo, famed for his work alongside Eminem. Vandal admits of her SongHubs experience, “Usually, I like those sort of atmospheres, because I’m a very spontaneous person by nature.” Vandal’s buzziest album collaboration will inevitably be with Sampa The Great on Your Orbit. (The track originated when Vandal bunkered down with Darwin Deez in New York.) Currently, Melbourne is attracting international attention for its avant-soul scene - epitomised by Hiatus Kaiyote. However, in the ‘80s, the UK music press salivated over the city as the incubator of Nick Cave and The Birthday Party - gothic punks. Vandal regrets the lack of cross-exchange between dynamic local subcultures. “I’d love to see people not being fearful or scared to collaborate with others from different schools of thought.” After all, that is “where the magic happens”. Vandal has some important champions - Queens Of The Stone Age handpicking her to support their Splendour In The Grass sideshows. “It was amazing,” she raves. “They were very warm and welcoming, and that was really special to see; that they actually came out and watched the set. They were very encouraging. When they saw the set, they said that they really enjoyed it. So that was really special. They’re just typical rock legends, in every sense of the word. Just what you would expect to see is actually what they’re like backstage. You can hear them walking a mile away with all their leathers and chains and boots clinking around in the background! They’re just incredible.” Vandal is soon to make her UK premiere supporting Frank Carter & The Rattlesnakes, ticking off her “bucket list” ambition of performing at Brixton Academy. “When I was in London once, I actually snuck in there to see Erykah Badu,” she confides. “I always thought to myself, ‘I’d love to play this room one day’... I’m just so stoked.”
I’d love to see people not being fearful or scared to collaborate with others from different schools of thought.
What: Ecca Vandal (Dew Process/Universal) When & Where: 9 Nov, Cambridge Hotel, Newcastle; 10 Nov, Oxford Art Factory; 11 Nov, Rad Bar, Wollongong; 2 Jan, Falls Festival, North Byron Parklands
B R E A K I N G B A R R I E R S Ecca Vandal’s hip hop jam with Sampa The Great (aka Sampa Tembo) is among the biggest revelations on her self-titled album. Your Orbit came about serendipitously. Vandal and her co-producer, Richie “Kidnot” Buxton, were working with Darwin Deez in his Brooklyn, New York bedroom when they heard the beat. Vandal wrote a song. Back in Melbourne, she decided to add another voice. “I thought because this has a particular throwback to that golden era, it has a very East Side hip-hop sound, it’d be great to have an MC on that. And, when I’m thinking about local MCs, the greatest that I could think of is Sampa.” Vandal met the acclaimed Zambian singer, songwriter and MC - who’s lately relocated from Sydney to Melbourne when they performed at Her Sound, Her Story: A Celebration Of Women In Music during 2016’s Melbourne Music Week. The pair shared a ride to the afterparty and Vandal ran Your Orbit by Tembo. “It was just an incredible collab, because I love the fact that two worlds are coming together. She thought that I just did punk-rock music and I thought she just did [hip hop]. Coming together, it’s really cool that we can break down those barriers and those walls and have unexpected collaboration in this song. We really love that aspect of it and to have two females on this song was really cool.”
THE MUSIC • 11TH OCTOBER 2017 • 11
Theatre
Stars & Pearls It took Tim Rogers a little convincing before he signed up for Aidan Fennessy’s stage adaption of What Rhymes With Cars & Girls. He tells Sam Wall that finding out it had nothing to do with him was a good start.
T
here aren’t a whole lot of albums with a clearly defined narrative thread. There are plenty with a distinct protagonist — Ziggy played guitar and Pink never got his pudding, Tommy played a mean pinball and Yoshimi battled pink robots — but even the most ambitious concept albums usually leave the brunt of the storytelling in the liner notes. What Rhymes With Cars & Girls doesn’t have any of those things. It’s lyrically rich and emotionally raw, considered by many to be an Australian classic, but when it came out in ‘99 it would’ve seemed a stretch to say Tim Rogers’ debut solo album concealed a play about a couple of star-crossed lovers — especially to Rogers. What Rhymes With Cars & Girls
“Aidan Fennessy said he wrote a play around the LP and would I be interested in talking to him about it and I said, ‘Nah, it’s ridiculous.’”
“It wasn’t my idea,” shares the iconic singersongwriter. “Aidan Fennessy said he wrote a play around the LP and would I be interested in talking to him about it and I said, ‘Nah, it’s ridiculous.’” Despite his initial reticence, Fennessy convinced Rogers to let him spot the You Am I frontman a couple drinks at the restaurant where Fennessey was working with Rogers’ partner. “I said, ‘Yeah, that’s fine I’m going to be there anyway.’ So I met him and he was very charming and very interesting and talked about the script, and I ascertained that it was nothing to do with me. There was no character association with me, and then I thought, ‘Well ok, now I’m interested.’
12 • THE MUSIC • 11TH OCTOBER 2017
Instead of some forced biopic (bioplay?), Fennessy had turned What Rhymes With Cars & Girls into a love story in the vein of West Side Story — albeit with less murder and more feel-good vibes. It’s simple at heart, but affecting. Despite their differences, disaffected pizza boy Johnno (Johnny Carr) and effervescent singer Tash (Sophie Ross) are brought together across the class divide by unlikely circumstances, which are relayed through Rogers’ songs. Fennessy’s script had Rogers hooked, but the line and sinker wouldn’t come until he started working with Melbourne Theatre Company, met the director and got involved in the casting process. “The whole while, I think, there was always a doggie door out for me,” laughs Rogers. “I didn’t commit to anything until I’d met everyone involved and the director, Claire Watson. Because I wanted to avoid being on a roundtable talking about theatre, ‘cause I can’t stand that. But I really liked the people. They were very seductive in a very non-oily way, and sort of wanted to get down to work. And then it took on the feeling, ‘Oh right, I’m part of a team here.’ And I like being part of a team, as long as I can get away from them when the work bell goes off.” As the Musical Director, Rogers performs the tracks with Ben Franz and Xani Kolac on stage alongside the actors (“dream team”). While he wouldn’t call it cathartic — “anything cathartic that needed to happen with the record happened long ago” — he says it’s given him a kind of outsider’s appreciation of the album. “I couldn’t see a narrative in it at all. At all,” he asserts. “That’s why the idea of doing a play just seemed preposterous to me. But, Aiden’s found a way of doing it. And I couldn’t really see the album objectively for decades and he’s offered me a chance to look at it objectively. So the songs, I find them a lot more enjoyable now. I love playing them. I mean I played them hundreds of times in the last couple of years because of the theatre show. I enjoy not singing them, and listening to these characters sing them. It’s an odd experience, but one that’s enjoyable. This thing that was very, very close to you and very emotional and you can step back and feel — you’re still getting hit with this emotional range, because it’s a very gett beautiful story and very well presented — but it’s nothing bea do with me, which is great. ‘Cause I’m fuckin’ sick of to d myself [laughs].” mys Funnily enough, What Rhymes With Cars & Girls might not be the last of Rogers’ albums to tread the boards. His latest LP, An Actor Repairs, was written with the stage lates mind, tracking an ageing thespian’s withdrawal from in m theatre. “We’re talking about that at the moment, talking with a playwright about it. Because, again, the narrative I leave quite loose. There are other records even that You Am I’s done that started out as pieces with a narrative thread — but I didn’t wanna talk about it because you’re drawing to much attention upon it — and hoping that someone, whether it’s Aiden Fennessey or another writer, would pick up on it somehow. But I just don’t think anyone really listens [laughs] to what I do anymore as far as music goes. I have to do other silly things like write books.”
When & Where: 11 — 14 Oct, Riverside Theatre, Parramatta
130 ENMORE RD ENMORE
ENMORETHEATRE.COM.AU
BOX OFFICE 9550 3666
MAYDAY PARADE
624 george st sydney metrotheatre.com.au box office 9550 3666
UT! DO SOL
+ This Wild Life
THU 12 OCTOBER
ADAM ANT + Diana Anaid
6LACK
WED 11 OCT
HANDS LIKE HOUSES
FRI 13 OCT
AUSTRALIAN BURLESQUE FESTIVAL
SAT 14 OCT
ANDY GRAMMAR + Garrett Kato
SUN 15 OCT
DEEPER THAN HOUSE: CARNIVAL
FRI 20 OCT
+ Dream On Dreamer + PLTS
FRI 13 OCTOBER
MARINELLA & ANTONIS REMOS
THE BIG TEASE!
SAT 14 OCTOBER
THE ANGELS + Diesel + Mi-Sex
FRI 20 OCTOBER
BONEY M + Brooklyn’s Finest
SAT 21 OCTOBER
COMING SOON LESS THAN JAKE • KINGSWOOD • HALLOWEEN WH*ORES SHOCKONE • ZEDS DEAD • WINSTON SURFSHIRT • OCEAN COLOUR SCENE ARRESTED DEVELOPMENT • THE TEMPER TRAP • CASHMERE CAT
COMING SOON THE DOLLOP LIVE • NORTHLANE • BOOTLEG BEATLES PENNYWISE • VARIETY ROCKS • WILLIAM SINGE • GUY SEBASTIAN
FACTORYTHEATRE .COM.AU
105 VICTORIA RD, MARRICKVILLE
NAPALM DEATH (UK)
+ BRUJERIA (MEX) + LOCK IT UP (UK)
AUST BURLESQUE FESTIVAL
FRI 13 OCT
A TRIBUTE TO CHRIS CORNELL
FRI 13 OCT
DRAG IS BACK BOLDER & MORE BEAUTIFUL THAN EVER!
HYBRID NIGHTMARES + PSYNONEMOUS
SAT 14 OCT
HAVANA MEETS KINGSTON FRI 20 OCT
FORMATIONS
FT. SWINDAIL + MAZDE (GER) + MORE!
SAT 21 OCT
HVE - RESURRECTION
SAT 14 OCT
FT. ALPHA2 + KRONOS
FRI 3 NOV
THE BLACK SEEDS
SAT 14 OCT
COMING SOON JUSTIN TOWNES EARLE • SON VOLT • LAMBCHOP • KIM CHURCHILL PAINTERS & DOCKERS • OKTOBERWEST • CHRIS D’ELIA • BERNARD FANNING
MANNINGBAR.COM
NIGHTVISIONS
WED 11 OCT
NOIR EXOTIQUE
ICONS
UNIVERSITY OF SYDNEY, CAMPERDOWN
SAT 4 NOV COMING SOON MONO • GZA • SOMETHING FOR KATE • OXIA FABIO & GROOVERIDER • MARKY RAMONE • THE CORONAS
SYDNEY'S PREMIER INTERNATIONAL COMEDY CLUB SINCE 1981 | EQ @ MOORE PARK WORLD FAMOUS COMEDY SHOWCASE
DANIEL TOWNES
12 OCT - 4 NOV, 8:30PM
FRI 13 OCT, 6:45PM
ORLD FAMOU EW S TH
SHO WCASE
COMEDYSTORE.COM.AU
TIFF STEVENSON
COMING SOON
(UK)
DAVE ANTHONY & GARETH REYNOLDS
SAT 14 OCT, 7:15PM
SHANE MAUSS (USA)
THE MUSIC • 11TH OCTOBER 2017 • 13
Music
Piano Man Currently playing his own solo Piano shows, Alexis Taylor tells Bryget Chrisfield he considered flying out to Australia for one of Prince’s final Piano And A Microphone concerts and now wishes he had.
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hen told the last time this scribe saw an artist perform a show solo on piano was one of Prince’s final shows in February, 2016, the man known best as Hot Chip’s frontman inquires, “How was it? I even considered trying to get out to Australia for one of those... I was lucky enough to see him in, you know, pretty small venues as well as massive stadiums and things but, yeah! I always wondered how those were. And it was a funny coincidence for me, ‘cause I’d just made my solo Piano record and then was about to go out on tour, and did go out on tour. And it was a nice idea that Prince was
Prince is obviously a master of the instrument
also playing Piano & A Microphone so, yeah! I wish I’d seen some of those [shows].” There’s bound to be a few more audience members attending Taylor’s upcoming Piano shows who also saw Prince’s Australian Piano & A Microphone shows — no pressure, though. Taylor laughs, “The thing about those Prince shows — I’ve heard recordings of them and, I mean, he’s obviously just such a wonderful musician and pianist that it’s effortless for him to play any of his songs in that context, you know? Whereas some of us mere mortals have to kind of just focus on the things that we feel, like, really translate to the piano based on our limited ability to play it really well. But Prince is obviously a master of the instrument.” 14 • THE MUSIC • 11TH OCTOBER 2017
Since the release of his Piano album in 2016, Taylor has toured the UK, Lithuania and New York in solo mode. “It’s been really good, because [the show’s] been well received and it’s a very different feeling from any other gigs I’ve done — including Hot Chip and other solo shows — just because of the nature of it being often kind of seated venues with a grand piano, and people calling out for requests and things so, yeah! It’s been really fun.” On whether anyone’s ever requested something completely random that’s not even part of his back catalogue, Taylor admits, “Yeah, there was one where I was playing in Bristol and somebody called out for a song that we had covered in Hot Chip, by Fleetwood Mac, called Everywhere. And I pointed out that it had been a while since I’d played that one, but I could probably remember most of it, but if the person in the audience knew any better than me they could come up and play it with me. So I didn’t really expect that they would, but they did! They rushed up on stage and made some space on the piano stool, sat next to me, and launched into a very sort of technically brilliant performance of this Fleetwood Mac song, which made me feel like the last 80 minutes of the gig hadn’t really been worthwhile, ‘cause I can’t really play the piano as good as them. And then I sang along with them and, yeah! That was quite fun until we both didn’t really know how the last third of the song went so it came to a bit of a sort of disastrous end but, yeah! That kind of thing happens every now and again; I suppose that’s the danger of being open-minded to requests, including members of the audience getting on stage.” Taylor had originally intended to add some strings to Piano and long-time Hot Chip collaborator Vince Sipprell was on board, but then the violinist sadly passed before the work was done. This must have been quite a shock for Taylor. “It was,” he allows, “because he’d worked on every record that I’ve made, pretty much — in one way or another, whether it’s Hot Chip or solo things, he’s always contributed and I just always had him in my mind as somebody that would come in and maybe play on two of those tracks, or more than that. And I knew he would write something very sensitive to the music I’d made that wouldn’t suddenly mean that, well, by adding strings I would then wanna add loads more layers... and he said he was up for doing it, but then by the next time I would’ve been wanting to get in touch with him that wasn’t possible anymore ‘cause he was no longer very well and, yeah, then he died. So I had made most of the record before that happened, before he passed away. But one of the tracks I recorded; I only recorded it after he passed away and that was one of his brothers’ songs... and that was a song called Just For A Little While. So he still had quite an influence on the record in a strange kind of way, ‘cause I’d been thinking about him — and thinking of including him — and then when he wasn’t able to be included I put that song on as a tribute to him.” We’ve just gotta ask whether there’s any new Hot Chip brewing. “We will be brewing some soon, but we’ve not reeeeaaally put the kettle on yet,” Taylor teases.
When & Where: 17 Oct, The Basement
OUT NOW
“Many artists take cues from Bowie but she’s the closest thing we have to his audaciously protean vision of pop stardom: a living art project that contains multitudes” -Q
“A career summit. It’s her ‘Lemonade,’ her ‘OK Computer’— whatever reference conveys the urgency with which it demands to be listened to when it drops.” - NYLON
13.10.17 THE MUSIC • 11TH OCTOBER 2017 • 15
Music
Tea For Two Bryget Chrisfield discovers that Jeff Martin and Jeff Burrows were surprised by how well Transmission, which The Tea Party are celebrating with 20th anniversary albumin-full shows, was received “publicly”. To read the full interview head to theMusic.com.au
“H
ello Jeff Martin from the other side of the city,” is how Canada-based drummer Jeff Burrows greets his bandmate from The Tea Party after a beep announces the singer-songwriter/guitarist has joined our conference call. “I live here,” Burrows goes on to explain. “Jeff’s an Aussie now so he’s in a hotel [laughs].” In 2015, The Tea Party kicked off a tour to celebrate 20 years since the release of their breakout third album The Edges Of Twilight, playing the album in full. And now, two years down the track, it’s time to celebrate 20 years since The Tea Party’s fourth album Transmission dropped. Martin explains that preparing for the latter album-in-full
Jeff and I were drinking tea and watching some television, because Stuart was just slammed with [recreating] all these ancient sounds.
shows presented “some unknowns” for The Tea Party. “Most of the songs off of The Edges Of Twilight we had, in different incarnations, approached before in our career,” he elaborates, “but, with Transmission, there was certainly, I’d say, at least four — if not five — songs... that we actually never even attempted live.” When asked which particular Transmission songs The Tea Party had never performed live before rehearsing for this tour, Martin singles out Gyroscope, Alarum and Emerald. Burrows chimes in, “We’re not huge, huge fans of rehearsing... normally we just like to get our stuff together and then we make it happen and we do it really well. But Stuart [Chatwood, bass/keys] has always been the one who takes care of any and all of the programming and stuff to create the sounds, and so on, live. So the first, I think,
16 • THE MUSIC • 11TH OCTOBER 2017
two entire days — Jeff’s gear was set up and my gear was set up, and Stuart was locked in around his keyboard setup and computers [laughs]. And Jeff and I were drinking tea and watching some television, because Stuart was just slammed with [recreating] all these ancient sounds that hadn’t been recreated since the album when Jeff and me were creating those specific noises and sounds and states.” “What you need to understand, too, is, like, when Jeff and I talk about Stuart programming and stuff, right? The Tea Party — we don’t play to backing tracks or anything like that, you know. What Stuart is actually doing with four limbs — haha, he’s being the octopus that he is and essentially we’re just trying to distil what we’ve created on the records. And so even though Transmission incorporated a lot of electronic influences, in the mix of the sounds and the songs — to experience The Tea Party playing Transmission: it’s still an organic entity, yeah.” On what sort of memories sprang to mind while The Tea Party were rehearsing the Transmission material, Burrows shares, “I had only one son at that time and, you know, my wife and I — we were a very young couple and so on. And I just remember flying up and visiting Jeff — I think it was every other weekend for three days at a time, usually.” Of this time, the drummer mainly recalls, “The fun we had doing it, even though it was such a dark record. It came out exactly the way I think Jeff had it in his head from the get-go. I don’t think I really caught on until about halfway through the writing process that, you know, ‘This is what he’s doing. Okay, I get it’. And it’s incredible to see how well that album actually did, because it was quite an artistic presentation. I mean, it was received quite well critically, but I’m a little bit surprised at how well it was received publically.” “To add onto JB’s comments,” Martin interjects, “we could’ve very well — like, with the success of The Edges Of Twilight — rested on our laurels, because we created, for ourselves, almost like a patent, you know? Of a sound with the Middle Eastern and all the exotic instruments and everything like that. So, you know, had we chosen to rest on our laurels we could’ve done ‘The Edges Of Twilight 2’, ‘...3’, ‘...4’, right? But that’s not the three minds that make up The Tea Party. We collectively decided just to go somewhere else knowing that, yes, The Edges Of Twilight is the essence of what The Tea Party was to become, but there was no reason why we couldn’t deviate from that and always, like, scoop in when we need to grab those influences and then take it to another place.” “Furthering what Jeff was talking about — like, we could’ve done ‘...Edges... 2’, ‘...3’ etcetera etcetera — I think what this did is solidify the fact that our fanbase, and people who had come to know us and enjoy our music, were able to expect the unexpected and there’s not a lotta bands in that position, because, you know: if you’re AC/DC, you do AC/DC really, really well; if you’re The Rolling Stones, you do The Rolling Stones really well and you really don’t derive too much from that. Whereas the way Jeff had it set up, you know, we were blessed with the fact that we could go out and, ‘Well, let’s try this,’ ‘cause no one would give a damn; they’d know that they were gonna get something sexy and rock’n’roll, but it could be tinged with whatever.”
When & Where: 10 Nov, Enmore Theatre
Diana anaiD
TheMusic.com.au presented by TheMusic.com.au
My Queen Tour 2017 Tour 2017
Thursday 12th October The Tivoli, Brisbane Opening for Adam and the Ants Friday 13th October Enmore Theatre, Sydney Opening for Adam and the Ants Sunday 15th October The Palais Theatre, Melbourne Opening for Adam and the Ants Monday 16th October Metropolis, Fremantle Opening for Adam and the Ants Sunday 22nd October Cruelty Free Festival Sydney Headline act (SOLO) Wednesday 1st- Fri 3rd November Australian Music Week Cronulla BAND SHOWCASE SET (TRIO)
Sunday 12th November World Vegan Day Melbourne Headline act (SOLO)
My Queen (MGM) - Out Now!
RECORDS & REGGAE A day-long celebration of all things reggae with a custom-built sound system & record fair.
SUNDAY 15 OCT
11AM -11PM FREE!
WWW.CASULAPOWERHOUSE.COM THE MUSIC • 11TH OCTOBER 2017 • 17
Music
Still Matty From The Bronx The Bronx vocalist Matt Caughthran tells Brendan Crabb about the damage broken vodka bottles can do and how he’s hoping Pennywise’s Fletcher Dragge will make it out of Australia alive.
T
he Music converses with The Bronx frontman Matt Caughthran on Australian release day for the punkers’ new record V. Unsurprisingly, his dual feelings of enthusiasm and mild apprehension are palpable down the phone line. “I love the record, but it’s like anything, you spend too much time you can just over-think it and there’s an anxiety that comes along with releasing a record, something that you love,” he reflects. “It’s a tricky thing trying to figure out whether or not you want to get wrapped
It just sounds kind of like a dumpster fire. It’s super-nasty, super-dirty and super-trashy, and that’s what we wanted.
up in that thing about, like, record reviews and this and that. Your tendency is to get involved because you want to know what people think, but sometimes... It kinda ends up fucking with you more than it does anything else.” The infusion of another element to the Los Angeles rockers’ latest offering is also a discussion point for the singer. Namely, guitarist Joby J Ford’s discovery of a talkbox, utilised on a couple of the new cuts. “It’s hilarious, because he’s got to breathe into that little tube on this, like, old Peter Frampton guitar thing... But this record was super-cool that way. Rob Schnapf who produced it, he had all this super-old vintage gear — vintage amps, vintage everything — and it just gave the sound of the record; it just sounds kind of like a dumpster fire. It’s super-nasty, super-
18 • THE MUSIC • 11TH OCTOBER 2017
dirty and super-trashy, and that’s what we wanted.” Complementing this abrasive, sometimes melodic musical approach is its lyrical tack, which the singer admits is “all over the place”. “I was watching a lot of Forensic Files and murder mysteries, Menendez documentaries and the Challenger explosion. The political state of the USA is a mess right now, so there’s a little bit of that in there. A couple of personal songs are on the record, just about... A little bit of depression I battled and a couple of other things in there. There’s some songs about the organised religion thing that’s creeping back up in the USA right now, because of the President and all that stuff. It’s just a weird time to be here. There’s so much technology and there’s so much just awesomeness happening, but then it’s like, we’re moving forward, but we’re moving backwards at the same time.” Despite the 24-hour news cycle and social media readily affording platforms that many artists are willing to utilise, some musicians appear reluctant to openly outline a political stance for fear of potentially alienating sections of their fanbase. “It should be their choice as to whether or not they want to dive in artistically, enter the arena of politics,” Caughthran says. “I get it. I mean, The Bronx isn’t really a political band, but there are certain things that we jump on just because it feels right in the moment. I think there’s definitely spots where people can... People can fake politics too, man. People can write songs about ‘fuck Trump, fuck this and fuck that’ and they can not know what they’re talking about. They could not mean it, they could just be riding along. Politics is personal... I think it’s up to themselves whether or not they want to get involved in that. But if you get involved, mean it. You’ve got to mean what you say nowadays, whether you’re cracking jokes, wha talking politics or whatever. The time for just mindless talk rambling and insincere words is over. It’s time to at least ram stand up, and stand by, what you say.” stan There will be little avenue for misinterpretation or insincerity when The Bronx again bring their high-intensity insin live performances to one of their strongest markets: Australia. Their upcoming jaunt will consist of shows with punk mainstays Pennywise as well as headlining gigs. Caughthran says their Mariachi El Bronx alter ego won’t be joining them this time around, though. “There’s so many [fond memories of Australia]. One specifically about Pennywise was when Fletcher [Dragge, guitar] cut himself open on Soundwave. Fletcher came up on stage while we were playing, smashed a vodka bottle and cut himself open, screamed that The Bronx was the greatest band on the planet, stumbled off into the night and the story continues from there. But that was amazing.” The man-mountain guitarist’s reputation for off-stage antics precedes him. Has he mellowed at all as the years progress? “He’s crazier than ever, man,” Caughthran laughs. “He’s like a fine wine, he just gets better and better with age. There’s that theory that when crazy people get around other crazy people, that it just kind of amplifies the energy. Quite honestly I’m not really sure if we’re going to make it out of Australia alive on this next tour. I’m hopeful, but I’m also very scared,” he chuckles.
What: V (White Drugs/Cooking Vinyl) When & Where: 29 Oct, Enmore Theatre; 30 Oct, Oxford Art Factory; 31 Oct, Newcastle Exhibition & Convention Centre
FEATURING
CODY MUNRO MOORE THE CROOKED FIDDLE BAND / FOOD COURT GAUCI / THE GOODS / I KNOW LEOPARD JACK COLWELL / JEP AND DEP / KLUE / LEFT. MEZKO / PEABODY / SARAH BELKNER / SPIT SYNDICATE THE TROUBLED ROMANTICS / VOICES OF LAKEMBA (NNC SYDNEYVISION WINNER) in alphabetical order
ALONG WITH
LA TOOSH // HEAPS GAY’S KARAOKE CLOSET // NEWTOWN LOCALS // KIDS ZONE BETTER READ THAN DEAD WRITERS TENT // ECO VILLAGE // SASSY TREAT’S DOG SHOW
2017 • 19
Theatre
YOU
GOT TA
H AV E FA I T H In her critically acclaimed first production for Bell Shakespeare, director AnneLouise Sarks is tackling a great Shakespearean conundrum. Maxim Boon meets The Merchant Of Venice.
Mitchell Butel as Shakespeare’s infamous Jewish money lender Shylock
D
irector Anne-Louise Sarks is facing one of the biggest undertakings of her career to date. Not only is she preparing a production that will travel further and be seen by more people than any of her previous shows, it’s also a prestigious debut with Australia’s premiere purveyors of the Bard: Bell Shakespeare. But beyond the pressure of a 27-theatre tour, or the high expectations of Bell’s Shakespeare-savvy punters, her greatest challenge may, in fact, come from the play she’ll be presenting. The infamously tricky faith-centric comedy, The Merchant Of Venice, has an uncanny, evergreen knack for reflecting the muddled morality of the world, but it’s a text that calls for courageous and sensitive handling. As its narrative centres on a ruthlessly pursued debt, this play speaks to the corrupting effect of wealth while calling into question the values that should hold more worth than tawdry currency. These familiar economic themes are not so much malleable to the times as they are unerring — it seems fated that The Merchant Of Venice’s warnings about the malignancy of the rich will always, if you’ll excuse the pun, be on the money. But alongside this fiscal philosophising is a more problematic idea — one that has been hotly discussed for centuries. Difficult questions linger over this play’s most pivotal and passionately debated role: Shylock, the Jewish moneylender who famously demands a “pound of flesh” to settle a debt, but ends 20 • THE MUSIC • 11TH OCTOBER 2017
up being stripped of his fortune, family, and even his faith as he is finally forced to convert to Christianity in the play’s final scenes. The conundrum of this character is multi-layered. Is Shylock a villain who eventually gets his rightful comeuppance or a victim persecuted for his religion and subjected to a biased trial? Is Shakespeare’s depiction of Shylock a subtle attack on the anti-Jewish sentiment rife in Elizabethan England, a kind of veiled plea for tolerance, or was it deliberately, unashamedly anti-Semitic? These questions have been endlessly pondered by scholars from HSC to PhD, but it continues to be a point of complex contention that must be carefully confronted by directors tackling The Merchant Of Venice. Some choose to appeal to purists by contextualising Shylock within the 16th-century anti-Jewish mentality; Judaism had been outlawed in England for several hundred years by the time The Merchant Of Venice was penned in the late 1500s. Others have sought to reposition the audience’s empathy for this character, appealing to their sympathies rather than their schadenfreude. Some have even opted to have this role spoken entirely in Yiddish — a practice pioneered by American-Jewish actor Jacob Adler in the early 1900s — to galvanise the sense of isolating otherness faced by Shylock. Sarks’ solution has been to focus on the secular universality of this character, who will be played in this new Bell Shakespeare production by three-time Helpmann Award-winning actor Mitchell
The main thing for me was establishing the great humanity of Shylock. Anne-Louise Sarks
“There’s really no way to make the play an allegory for something else. I think that the language, the poetry, the kind of debates with the role of faith in society — it’s utterly entrenched inside this beautiful language. So, I never felt like transplanting the play was an option,” she admits. “This production almost has a fairy-tale look to it at certain points and that was a very deliberate choice. We’re saying to our audience, Mitchell Butel with Fayssal Bazzi and Damien Strouthos ‘This is a story — we will tell it to you and you will invest all your imaginary forces just as we have.’ I’m hoping that Butel. “The main thing for me was by allowing that element of theatricality and storytelling to the fore establishing the great humanity of Shylock,” it will open up this production as a provocation, where we’re able to she explains. “He’s not a comic character, question what we’re seeing and how these characters act.” nor is he an outright villain. And my way Reconciling the thorny catch-22 of Shylock’s character, liberating of interpreting his journey is that things him as an individual and not as an embodied history or a toxic go absolutely too far, but they are a direct caricature of Jewishness, is a consuming responsibility. But Sarks result of the kind of history and persecution has been cautious in not allowing this task to completely eclipse the this man experiences. And I think when you nuanced drama that abounds in this play. Balancing these capricious position the play in that way, then you have the ability to ask some elements is no easy task, but it’s this innate difficulty that has excited really complex questions about the way we treat people now. It allows the director. “There’s such a rich range of emotion – it’s funny and full a kind of contemporary resonance to be felt.” of heart, absolutely romantic and very touching, but then at the same Sarks has sought to amplify the most relatable facets of Shylock’s time, there is this murkiness. You can have a moment of total joy on character, even taking certain corners of plot usually limited to a one page and then on the next, a tragedy,” Sarks observes. “The truth verbal description and exchanging them for played-out, fully staged is, on some level, I had no idea how to handle that challenge when I action: “We’ve taken these extra steps to create that empathy and to reread the play. But that made want to run towards it all the more.” shift the perspectives in the play, because things get very ugly in that courtroom. Things go further than they need to. They go beyond the law and I really want my audience to question that and not be blindly accepting of what is usually played as a victory.” Fundamentally, there’s no avoiding the fact that Shylock is a villain, within the context of this play; Shakespeare goes out of his way to anchor his wickedness to his faith, but even if you were able to remove the scathing Jewish stereotype, you would still be left with a man bent on a disproportionate level of revenge. The way the term “Shylock” has become common parlance for a loan shark, and “pound of flesh” has come to mean a mercilessly claimed debt, reveals how indelibly etched Shylock’s nature is on our collective, Western culture, in spite of its offensive undertones. Sarks does not wish to absolve this character of his less flattering personality traits, but she is embracing a greater level of moral ambiguity than you might usually When & Where: 24 Oct – 26 Nov, Sydney Opera House find in The Merchant Of Venice. THE MUSIC • 11TH OCTOBER 2017 • 21
Culture Culture
Do you long for a canine companion but can’t make room in your life to be a full-time puppy parent? Well, dogshare.com.au may give you paws for thought.
What is it? Origina conceived by founder Jessica Thomas as a way to help Originally people take better care of their four-legged friends by sharing certain responsibilities with other local dog owners, the online service has respon now grown gr to offer the “desperate and dog-less” the chance to get their h hands on the hound of their dreams. The free service is built on a comm community spirited quid pro quo, allowing anyone unable to own a dog to help out time-poor dog owners who want their pooch to have a more social and stimulated life. No money changes hands; the chance to hang with a new furry friend is just reward. Simply find a dog in your local area and set up a supervised park playdate, to make sure yo you get on with your canine companion. Eventually, experienced dog sharers sh can even take on full weekend stays, for two blissful days o of uninterrupted dog fun times.
Why is it so popular? The first and most obvious reason is because dogs are flippin’ awesome! But Dogshare’s success has other roots too. In major cities, as the number of people living in apartments has steadily grown, dog ownership
has become rarer, either due to practical constraints or because of body corporate rules. Consequently, the number of frustrated Aussie dog lovers unable to have their very own pooch is on the rise. Also,
Where can I meet some share dogs? It might be quicker to tell you where you can’t meet them. Dogshare has taken off all over the country, and is now a national community. It works in a similar way to online dating - to find the perfect muttmatch, the feeling has to be mutual. Dogs are sorted by size, age, and level of energy, to ensure their temporary play pal has the stamina to keep up! And prospective dog sitters can share their level of experience and the services they’re happy to provide. The Dogshare site also supplies info for local dog-centric events, tips on the best dog parks, and suggestions for fun activities to make sure your doggy date isn’t Shih Tzu! 22 • THE MUSIC • 11TH OCTOBER 2017
numerous studies, including one by the big-brained boffins at Harvard Medical School, have shown that interaction with dogs can be beneficial for a person’s mental health, reducing stress and anxiety,
and aiding the production of positive neurochemicals such as dopamine and serotonin. Dogshare is also a savvy way for anyone thinking about investing in a bow-wow bestie to take dog ownership for a test drive.
Music
It’s All Gone Pete Tong
Pete Tong chats to Cyclone ahead of his latest experimental endeavour Ibiza Classics about what inspired him, and what fans should expect from the eclectic shows with The Heritage Orchestra.
T
he British super-DJ Pete Tong has maintained his status as a leading dance music tastemaker over several decades. But now the upfront BBC Radio 1 identity is tapping into clubland nostalgia. Come November, he’ll join conductor Jules Buckley and The Heritage Orchestra to perform Ibiza Classics in Australia. The ‘DJ with orchestra’ micro trend has emerged at a time of hyper-hybridisation and generational flux - attracting the likes of Detroit techno pioneer Jeff Mills, Flight Facilities and Australia’s Ministry Of Sound crew. Tong’s Ibiza Classics concept specifically accentuates the symphonic qualities of classic house and rave anthems. “There’s a lotta love for this music - and the scene has evolved over the last 30 years,” Tong says coincidentally from Ibiza. “I think the desire to just experience this music in new ways is higher than ever and that will account for why people are starting to experiment with this [format].” The Kent soul boy was DJing in the late ‘70s. Today the multi-faceted Tong is most renowned for his various Radio 1 programs and as the founder of FFRR Records. He inspired the cockney rhyming slang, “It’s all gone Pete Tong”. Recently, Tong transplanted to Los Angeles for “a life change” - capitalising on America’s EDM boom.
Tong partnered easily with Buckley’s Heritage Orchestra touted as a “renegade ensemble” - back in 2015. “They’re quite hip guys, they’re not ‘classical’ guys they hate that term. They are modern symphony orchestra guys.” They staged the Ibiza Prom (in tandem with The BBC Proms) at London’s Royal Albert Hall, engaging vocalists Ella Eyre and John Newman. Tong and co subsequently developed it into a touring “arena production”. Last November they issued the UK #1 album Classic House, featuring epic renditions of records by Fatboy Slim, Moby (the Twin Peaks theme-sampling Go), Frankie Knuckles, Inner City, Faithless and Rudimental - plus Rachel’s Song from Vangelis’ Blade Runner soundtrack, as per Paul Oakenfold’s Balearic re-imagining. Tong’s role in Ibiza Classics is that of a DJ, curator and creator director. Live, he provides what can’t be reproduced by the musicians - “the euphoric elements that only exist on the record; some of the studio trickery.” The Australian spectacular will entail a 65-piece orchestra, with Tong hinting at “guest stars”. And, he assures, it’s “very likely” that they’ll air Robert Miles’ dream trance hit Children from Classic House - the Italian’s passing in May prompting emotional social media tributes. “So no worries on that score.” Tong is aware of his peers’ orchestral manoeuvres. But, while respecting Mills’ endeavours as an artistic “extension”, Tong’s approach is more accessible. “What I’m doing I think is completely different because it’s celebrating the whole scene. I’m playing other people’s tracks in a way that has never been done before. So that’s part of the appeal of it. No, I haven’t necessarily checked out people doing what I’m doing - and I don’t really want to, ‘cause I don’t wanna be influenced by that,” he laughs. “But I was among the first to do it, for sure. It’s kind of flattering that other people have effectively copied the idea. Good luck to ‘em!”
When & Where: 1 Nov, Qudos Bank Arena
Maccas Gets Morty-fied
Never underestimate the power of pop-culture – or the dim wittedness of publicity stunts. Rick & Morty fans (or put another way, any living human with a soul) will be well aware that Rick’s favourite condiment is McDonald’s longdiscontinued Szechuan sauce, which the mad scientist waxes lyrical about (while mentally high-jacking an alien prison) in the opening episode of the animated show’s third season. The good people at the American Maccas saw this as a neat opportunity to catch the eye of the afore mentioned cartoon lovers by releasing a limited edition run of the Rick-plugged sauce, for just one day, over last weekend. What they failed to calculate, however, is just how many Rick & Morty fans might rock up, hoping to get their hands on the sweet Szechuan elixir. The answer to that was: a fuck load. Needless to say, when the supply ran out pretty much instantly, the masses who have queued up down the street to get their hands on it were none too pleased. Sit in protests ensued; police were called; chanting commenced. McDonald’s actually caved to the outraged sauce activists. Gallons of the Szechuan sauce is set to flow to the promised Rick & Morty faithful.
THE MUSIC • 11TH OCTOBER 2017 • 23
Indie Indie
Lakyn
B
etween describing his choice to pursue a career in music as “something that just fell into place” and with his sun-drenched slacker image, you’d be forgiven for underestimating the ample work ethic that drives Lakyn Heperi. “Getting the feeling or vibe right is perfection to me,” muses Heperi. “As long as the sounds that are happening have reason and are honest, then I have achieved perfection.” With an upcoming EP and nationwide tour kicking off at Northcote Social Club on 13 October, Heperi teases us with some creative insights behind his new single, entitled West. “It came to life at The Base Studios in Melbourne with my man Nic
Records & Reggae At Casula Powerhouse
Martin holding down the production. He started making me this beat over a sample he chopped up and I pictured those old Wild West cowboy films. The beat had a constant repetitive flow that influenced the structure; like a cowboy going from town to town looking for something.” Despite the song’s fantastic Hollywood imagery, Heperi confesses that his personal struggles have partly inspired all of his music. “It’s all based on probably the most defining point in my life, when I recognised that I had some mental issues that were affecting relationships with my family, friends and mostly myself. I had this vision I was in the desert laying in the sand telling my friend to go on without me but they wouldn’t leave.”
When & Where: 21 Oct, Oxford Art Factory Gallery Bar
dancing shoes. It is easier to take the train to Casula Train Station.
When and where for your next event? 15 Oct, Casula Powerhouse Arts Centre, 11am — 11pm.
Answered by: Cara Lopez — Marketing Assistant Why should punters visit you? 2SER 107.3 and Casula Powerhouse present Records & Reggae, bringing the Inner West Reggae Disco Machine to Casula for the first time, with a record fair for crate diggers. There’ll be unique vinyl, accessories, memorabilia and merchandise. What’s the history of the event? It’s the FIRST time that the event will be taking place. Any advice for first timers who want to visit the event? Bring your picnic blanket and 24 • THE MUSIC • 11TH OCTOBER 2017
Single Focus Single title? Living Artefact feat Kahl Wallis. What’s the song about? About living cultures and people so often encased behind glass and regarded as ancient or primitive coming back to life. How long did it take to write/record? We made this track over long distances so all up about two months of correspondence.
Who’s performing this time around? Inner West Reggae Disco Machine, a crew consisting of RikSonic, Stevie Dub and Gonz, who are a bunch of reggae addicts with a passion for all things reggae.
Have You Been To
Luka Lesson
Website link for more info? casulapowerhouse.com/whats-on/ events2/2017-events/records-and-reggae
Is this track from a forthcoming release/ existing release? No, it stands on its own. What was inspiring you during the song’s writing and recording? I was thinking about how the British museum holds both Indigenous and Ancient Greek artefacts and refuses to return them. I was thinking about how Kahl Wallis and I feel stuck in Australia. We’ll like this song if we like... Akala & Saul Williams — Kahl’s voice is somewhere between the power of Pavarotti and the tone of Ben Harper. Do you play it differently live? Exactly as it is on the record. That’s us. When and where is your launch/next gigs? We are currently on a national tour with shows and writers’ workshop dates. 12 Oct, Janes Wollongong; 13 Oct, Brighton Up Bar; 14 Oct, Nishi Gallery. Website link for more info? lukalesson.com.au
Music
Poles Are In
At A Glance: Wallace Sounds like: Future soul, jazz-hop
For fans of: Little Dragon, Erykah Badu, Amy Winehouse, Lianne La Havas
After performing with Macklemore at the 2017 NRL Grand Final, neo soul singer Wallace discusses her debut EP and tour with Donald Finlayson.
R
ecently hailed as one of the most unique singers in the future soul scene, Wallace Gollan, who performs mononymously as Wallace, has been hard at work away from the limelight preparing for the release of a new EP entitled Pole To Pole. “All the tracks on the EP were co-written by some of Australia’s best producers,” says the future star. “So half of each track was created in their own spaces and all the vocals were recorded with Simon Cohen (Love Yourself — Justin Bieber) in a little studio by the beach in Sydney.” With inspirations behind the EP ranging from fictional tales to deeply personal woes, Gollan happily discusses both with honesty and passion. “It’s almost as if there’s two themes going on inside it. Raffled Roses, Diaspora and Negroni Eyes are about my life and are inspired by people who are very close to me. The other three tracks are all retellings of stories that fascinate me. Literature is a huge influence.” Always one to mix things up when performing live, Gollan has surrounded herself with a band that’s just as flexible as she is. “I generally write and record the track with the producer then take it to the band and have a blast reimagining it and arranging it for the live show.”
Number of releases: I’ve released six singles over the couple of years, but this EP is my very first body of work!
H E AV E N
Dream rider item: A little Negroni station, please. Great for the vocal chords(ish), the chat in between tunes and the dancing.
The live scene needs more... In Sydney, it’s definitely venues! Almost cried when Newtown Social shutdown and mini golf moved in.
Current inspiration: I get heaps of inspiration from learning about bad ass women like Diana Vreeland, Florence Broadhurst and Edie Bouvier Beale.
Utlimate support gig: Little Dragon! Everything about them is magical, from Yukimi Nagano’s tambourine to the boys’ Scandinavian beards.
Fun fact: I sprained my ankle doing some (very emotive) interpretive dancing to Celine Dion once.
Five year plan: I’m really keen to abuse the fact that I have a British passport soon and live in foggy London town.
What: Pole To Pole (Independent) When & Where: 13 Oct, Hudson Ballroom
SENT For untold eons, man has buried its dead. But then along came the space age, and by jingo, if some bright spark hasn’t scienced the shit out of the funeral biz. From next month, those wishing to bid a fond farewell to their loved ones in 21st-century style, can have the dearly departed’s ashes launched into low earth orbit, courtesy of the balloon, before the last remains are scattered into the vacuum of space. Thanks to a couple of industrious and inexplicably morbid students at the UK’s Sheffield University, you can have your ashes cast into the infinite for the very reasonable sum of $1,350. Given that the average Australian funeral costs around $4,000, not only is this a badass way to say see ya later to the universe, it’s also a bit of a bargain! THE MUSIC • 11TH OCTOBER 2017 • 25
Music
TEASER TRAILER
TREASURE TROVE DC has had a rough ride in Hollywood. While it has consistently raked it in at the box office, most of its film efforts in recent years have been panned by the critics, with the exception (although not comprehensively) of Gal Gadot’s suitably super standalone Wonder Woman movie. But if the most recent trailer for the upcoming blockbuster Justice League is anything to go by, DC might just be set to continue the on-screen up-trend in their critical fortunes. The latest trailer is eye-popping, to say the least, and elaborates a little more on the Steppenwolf, Parademons plot foreshadowed in Batman V Superman: Dawn Of Justice, with the five key members of the Justice League shown-off kicking butt with plenty of ‘splosions to boot. A glimpse of Henry Cavill as the dearly departed Super Man may also hint at a resurrection for the fallen man of steel when Justice League hits the screens in November. In other trailer related news, Rian Johnson, the director of the feverishly anticipated next instalment of the Star Wars Saga, The Last Jedi, has dangled a big, fat, spoiler shaped carrot in front of fans, warning them that the if they don’t want to know any key plot points from the upcoming film, they should avoid watching the next trailer when it drops later this week. 26 • THE MUSIC • 11TH OCTOBER 2017
Mississippi Fred McDowell, as well as looking further afield to the work of UK pastoralist Nick Drake. “I had to learn the [styles of James and McDowell] as I wasn’t familiar with them,” Farrar tells. “I’m at least accustomed to the idea of just starting with either a random tuning or various alternate tunings so the approach at least I was familiar with, but the tunings themselves took me a couple of days to get familiar with. Eventually I was able to get inside of it and find the right expressions and sounds, and for me it felt like a chance to connect with icons and heroes in a tribute of sorts. “Nick [Drake] also had some great, great alternate tunings and I’d always wanted to work with those as well. At first I was looking at maybe doing two different projects — one more folk-based project inspired by English folk musicians — but ultimately I combined it all and felt that there was enough commonality of purpose and aesthetics to all fall into this record.” Farrar’s music has always been so synonymous with the country realms, was the blues a major part of his musical upbringing? “I’d say it was always a component,” he ponders. “The realisation that blues was such an important part of country music was a reason to focus on that and really explore the nexus of where blues and country meet. And they meet quite a lot. Hank Williams was an example there of an artist equally at home in both realms, and that was what I was shooting for and that was the inspiration this time around, trying to find that convergence of blues and country.”
Worlds Colliding
Ahead of their first ever Australian tour, Jay Farrar of legendary Americana outfit Son Volt tells Steve Bell that he’s no stranger to exploring new vistas.
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issouri-bred veterans Son Volt have been at the vanguard of the burgeoning Americana movement since their inception in the mid-’90s. The band rose from the ashes of alt-country pioneers Uncle Tupelo following their 1994 implosion, with that band’s two co-frontmen Jay Farrar and Jeff Tweedy branching out to form Son Volt and Wilco respectively. In the decades since, Son Volt have stayed true to their roots and released eight powerful albums exploring all manner of traditional terrain, with their most recent effort Notes Of Blue examining the oftoverlooked commonality between the blues and country oeuvres. Even a recent reappraisal of Son Volt’s seminal 1995 debut Trace for re-release purposes influenced Notes Of Blue’s eventual aesthetic. “It did in terms of that I was really looking forward to getting back into playing electric guitar, which is something that I hadn’t done in Son Volt recordings for quite a few years,” Farrar reflects. “Trace obviously had that duality of acoustic and electric guitars and we approached it that way on Notes Of Blue as well.” The album also finds Farrar exploring the distinctive tunings and fingerpicking styles of Delta bluesmen Skip James and
When & Where: 18 Oct, Factory Theatre
Music
Shout It Out Loud Sebastian Bach literally sang his guts out, which required herniarepair surgery earlier this year. Bryget Chrisfield talks Gilmore Girls, Broadway and that ill-fated Stone Music Fest with the rocker with the infectious cackle.
To read the full interview head to theMusic.com.au
I come from Broadway where there’s only one take... that’s how I got the Gilmore Girls.
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ebastian Bach has gotta be right up there as a contender for Hottest Man In Rock. His enviable flaxen mane still hangs luxuriously halfway down his back and Bach is just so damn affable! When asked to comment on the age of social media, he opines, “I gotta say, the way I feel now is that the internet is pretty much mostly negative and the way the political climate is now, the way climate change is, the amount of horrible news stories that I wake up to; lately I’ve been just saying, ‘You know what? I’m gonna turn my phone off today’. HAHAhahaha.” Bach’s infectious, maniacal laugh often unexpectedly makes an appearance, but is always welcome; even when he’s making one of his rare serious observations. We’re tipping Bach’s spirit animal is the kookaburra. Bach attracted a whole new generation of fans when he was cast as Gil in Gilmore Girls. “People really like that show,” he observes. On reprising the role for this year’s reboot, Bach admits, “It was like stepping back in time, because it was the same cast, same crew, same writers, you know? So it was really, really — it was like, ‘Wow!’ HAHAhahaha. ‘I’m doing this again!’... but that opportunity doesn’t present itself in life too much, you know? Like, to totally do something you were doing ten years ago with the same people at the same studio; we filmed it at the same building, like, it was crazy! The same building that I did my very first scene in the Gilmore Girls back in 2006, or 2004, or whatever it was — that’s the same building I did the reunion scene in. That’s so cool! That attention to detail to give the Gilmore Girls fans exactly what they were hoping to see, you know? It was awesome.” If you’re picturing reels of outtakes where Bach cracks his fellow castmates up, though, think again. “I mean, I come from Broadway where there’s only one take... that’s how I got the Gilmore Girls was ‘cause I was on Broadway. And, um, I do like to joke around, but I take my work super-serious. HAHAhahaha. To the point of torturing people around me. HAHAhahaha. Like, I love what I do. I like to celebrate it after I’m done, but while I’m doing it I’m pretty serious about it.” In case you weren’t aware of Bach’s Broadway past, he was cast in The Rocky Horror Picture Show and Jesus Christ Superstar, but probably his most memorable stint was playing the dual lead in Jekyll & Hyde. There’s video footage on YouTube (we particularly recommend ‘The Confrontation’ scene. You can thank us later.) “Doing a
show is like being in a band,” Bach points out. “You have a chemistry with the cast of the show... And our team, our cast and crew in Jekyll & Hyde, was one of the most — the most chemistry I’ve had in my life as far going on the stage and kicking ass. Like, we were fucking — we killed it up there every night.” Bach then reveals, “The hardest thing for me to do — I talk about this in my book [18 And Life On Skid Row] — was to be still, and not move around on stage, and the director would flip out, like, in rehearsal, because I didn’t know, HAHAhahaha... how to just stand there and speak. Like, I would fidget, I would move my hands and my legs, you know what I mean? It was so challenging, because in rock’n’roll you just go crazy up there, you know? So, HAHAhahaha.” He took a bit of time out this year to recover from hernia-repair surgery, about which he hilariously commented at the time: “I literally screamed my guts out.” A doctor diagnosed Bach about ten years ago, as Bach remembers. “He says, ‘Does it hurt?’ And I go, ‘No,’ and he goes, ‘Well, you should just leave it then, because if it’s not hurting you then it’s not the end of the world... So over ten years it gets worse and worse and worse, and it’s not the most attractive thing in the world! HAHAhahaha. I don’t really wanna get into this — it’s a little gross — but just say I fixed it and I don’t like having surgery.” Bach is famously quoted as saying, “You’re never too big to open for KISS,” after booking Skid Row to support the legendary rock band. All other Skid Row members refused to open for KISS, which resulted in Bach leaving the band. (Ironically, Skid Row re-formed four years later, without Bach, and opened for KISS.) But we’re curious to hear whether Bach would place any other bands in this same category. “Well, one of the most unique shows I ever did in my career was actually in Australia a couple of years back,” he divulges, “which was Kings Of Chaos. We got to open up for Van Halen and Aerosmith on the same day! But it was such a weird gig, because there was nobody at the gig and these are the biggest bands in the history of rock... But, um, when you say: what other bands? Van Halen and Aerosmith, that’s the other two. HAHAhahaha.”
When & Where: 27 Oct, Manning Bar THE MUSIC • 11TH OCTOBER 2017 • 27
OPINION Opinion
The Heavy Shit
Shakespeare
Moderately Highbrow Visual Art
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e’ve hit the time of the year where theatre companies all unveil their upcoming seasons, Wank And inevitably with a bit of our mate Bill programmed in: both Queensland and Melbourne Theatre companies Theatre are doing Twelfth Night, the former mid-year, and the latter to round out the season, and Bell Shakespeare (obviously) Foyers With bringing a new production of Antony & Cleopatra. Dave Drayton Obviously, Shakespeare’s still worth a few bums-onseats and these annual adaptations ensure that remains the case, contributing endless re-imaginings to the cycle. But these productions aren’t the only way Will stays in our cultural psyche. Filmmaker Jason DeBoer has recently published Annihilation Songs: Three Shakespeare Reintegrations with Stalking Horse Press. The collection is an exercise in anagramming at the level of the word, rather than individual alphabetic units, in a manner similar to Paul Griffiths’ Let Me Tell You, which paints a broader portrait of Ophelia, using only the vocabulary she is allotted in Hamlet, repurposed across 140-pages in a monstrous lexical anagram. Working exclusively with the lexicons of The Tempest, The Two Gentlemen Of Verona, and Hamlet, DeBoer has dis- and re-assembled the words within to create new tales of temptation and violence.
OG F l ava s
Kelela
Urban And R&B News With Cyclone
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here is growing disquiet Stateside about how, when it comes to black female pop stars, the music biz fixates on Beyonce and Rihanna. But a wave of singer-songwriters — Solange, Kehlani, SZA — are challenging unimaginative comparisons with everbolder auteur-pop paradigms. California’s Jhene Aiko, signed to No ID’s ARTium Recordings, has stealth-released her second album, Trip — always a gamble. At 90 minutes, and with myriad “freestyles”, Trip feels formless — yet it vibes. Aiko
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Machine Head
writes allegorically about journeys — although she’s spoken of taking road trips and experimenting with hallucinogens. The Fisticuffs-helmed single While We’re Young continues the illwavisms of 2014’s debut, Souled Out. However, Aiko also traverses ambient, acoustica, abstract jazz and Erykah Badu-mode beat balladry. Her hero John Mayer plays guitar. More buzz is a deep cut featuring Brandy — Ascension. OLLA (Only Lovers Left Alive) is a rare uptempo groove with Aiko’s boo, Detroit MC Big Sean. Kelela Mizanekristos has been steadily building momentum since 2013 — last airing the Hallucinogen EP. She’s even cameoed on high-profile albums from Solange and Gorillaz. Now she’s unleashed her concise debut, Take Me Apart, on Warp — led by LMK, a fractured R&B banger. Mizanekristos directs old studio allies — DJ/producer Jam City and Arca — plus versatile producer Ariel Rechtshaid (who’s worked with Adele). The influence of the UK underground (garage, grime, FKA Twigs’ post-genre) is apparent. Songs like Frontline combine Janet Jackson’s industrial, Bjork’s hyper-jazz and Yeezus’ visceral electro-punk. Most intriguingly, Mizanekristos shares two writing credits with her The xx tour buddy Romy Madley Croft — one, the floaty synthwave Jupiter.
OPINION Opinion
Metal And
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ne of the main Hard Rock reasons why I love metal, and I With Chris assume that you do too, is its ability Maric to reflect the world back at us with more reality than perhaps any other genre. Some styles of gangsta rap do too, but are limited in how much of that subject matter effects the world outside of its own microcosm; still it’s very much reality for the people livin’ it, yo. I think I learned more about the state of the world from Max Cavalera growing up than I did from watching the news. Metal has always spoken about subject matter that’s often taboo (or at least controversial at the time of its writing) and has been willing to do so regardless of the ramifications. Apart from the “dodgy occult trappings” (a line I love from an ancient MTV doco on Motley Crue that was used to describe their move from Too Fast For Love into the cheesy Shout At The Devil period) and of course escapism songs about dragons, wizards and whatnot, you’ve got endless songs about the shitty world around us: Fairies Wear Boots, War Pigs, Angel Of Death, most of Chaos AD and Roots too. Even the bands who did sing about mythical stuff give us the odd history lesson, Iron Maiden with Paschendale is but one example. Anyway, my point? In the aftermath of yet another senseless mass shooting in the good old land of the free, Machine Head’s Robb Flynn has stated that he no longer wants to play Davidian live anymore. For those younger MH fans, Davidian is the absolutely crushing opening track off the band’s debut album, 1994’s Burn My Eyes, which has the great crowd-chant line, “Let freedom ring with a shotgun blast”. In the wake of the horrible Las Vegas tragedy, an abhorred and disgusted Flynn understandably doesn’t want to sing that line anymore. The whole song could be seen as one person being overcome with rage and going postal, so I can see his need to remove it from their set, but it’s also such a badass song that maybe he could change some of the words into something else? ‘Let freedom ring from a vodka shot glass’ perhaps? I don’t know. He shouldn’t have to remove one of their most recognisable songs because their country is so messed up. He has been singing about that since the beginning of the band and it’s only gotten worse. “America
has to go through some kind of radical change,” is a sample used towards the end of an album made 23 years ago. A quarter of a century later, that change is needed more than ever. Vale Tom Petty. Another great songwriter and artist has departed into the great wide open and, like so many others, it has come as a shock to the music community and the outpouring of grief from musicians was industry-wide. He is definitely one of the more influential musicians of the last 30 years, even among the heavy hitters. Not every song exists ‘cause of a heavy riff that came before it. On a positive note, Iron Maiden have released another fine beer! This one’s called Hallowed. After the success of Trooper, a rather heavy ale that I enjoyed more than a few of on the Heavy Metal Truants journey, I’m sure Hallowed will go on to sell a tonne too. (Trooper has sold 15 million pints since launching in 2013!) Hallowed uses a Belgian yeast and anyone that’s a fan of Leffe or the 500 other types of Belgian beers out there should be rather excited!
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THE MUSIC • 11TH OCTOBER 2017 • 29
Album / E Album/EP Reviews
St Vincent’s Annie Clark teaches us a thing or two about what a big, brash and brilliantly articulated indie pop album with plenty on its mind and unwillingness to compromise should sound like in 2017. Los Ageless finds Clark in a playful mood dropping a big, fat, rubbery, electro groove that pops even though lyrically she’s losing her mind over the loss of her lover. The lonesome slide guitar on Happy Birthday, Johnny and the cold and desperately loveless streets of New York capture Clark at her most sincere, tugging on listeners’ heartstrings. Thankfully, this isn’t simply a weepy break-up album. Musically Clarke delivers a wild joyride through a masterful fusion of jazz, rock and electro featuring contributions from artists as diverse as Tuck & Patti, Jenny Lewis and Kamasi Washington. Letting loose a somewhat sardonic sense of humour, Pills delivers a chaotic vision of modern living where the population are all addicted to medication to get through the day. Savior and Masseduction get on some dirtyminded Princely funk. Losing herself in cheeky role play, Clark slips and slides as she grapples with her identity, casting herself as nurse, leather-clad dominatrix, mother and saviour. This is St Vincent at her very best.
Album OF THE Week
St Vincent Masseduction Loma Vista/Caroline
Guido Farnell
★★★★½
Courtney Barnett & Kurt Vile
Beck
Lotta Sea Lice
Capitol/EMI
Colors
★★★
Milk!/Matador
★★★★ While accepting Courtney Barnett’s and Kurt Vile’s styles would complement each other, it seems to have worked so easily. Or maybe it takes real effort for something to sound this casually throwaway. The seemingly offhand but insightful observations of both are present. By turns they’re wry, resigned, occasionally surreal. It’s not just their two laconic voices, there’s also their idiosyncratic guitar playing: off-kilter strummy one moment, wiry-loud verging on grungy the next. That plays off against little flourishes like Let It Go’s limping martial drums. The subject matter is often snapshots of relationships in trouble, or maybe just tired — Over Everything is a morning conversation at cross purposes
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from opposite ends of the house, although Continental Breakfast is a happier ramble on the nature of friendship, existence, cereal, and stuff. Things get mixed up: Outta The Woodwork is recycled from one of Barnett’s early EPs, but giving Vile the lead skews the tentative age-difference doubts of it a different way, while final track Untogether muddies the gender roles as they sing about that girl who kept insisting “to touch my face”, and that frog ‘prince’ you probably shouldn’t have kissed. It’s a record just full of ragged charms. Ross Clelland
Following his Grammy win for 2014’s Morning Phase, Beck is back and wastes no time getting down to business with the opening title track a punchy one-two, all swanky chorus and excitement. It’s the most polished approach he’s taken to date, as was hinted at when Dreams was released as a single earlier in the year, showcasing that a shift outside the realm of an indie stalwart was in the works. Co-produced with Greg Kurstin (of P!nk, Brian Mercer and Foster The People fame) Colors is more focused on pop, super-produced and unabashedly shakes the indie shackles of albums past. Sometimes it works, such as the aforementioned single and on Seventh Heaven, but too often it feels either like a hasty followup album or as if two people’s
inputs are unintentionally at odds with one anotherrather than being complementary. Dear Life and I’m So Free emphasise these points and by the time No Distraction rolls around, one realises the quirkiness and interesting compilations of the past have vanished, and what we are left with is expendable and uninteresting. Beck has arguably done every type of genre under the sun (barring death metal) and received much universal acclaim along the way, Colors unfortunately falls short of expectation. Adam Wilding
EP Reviews Album/EP Reviews
King Krule
High-tails
Fozzy
Life Pilot
The OOZ
A Slight Hi
Judas
Too Hot For Killing
XL/Remote Control
Stop Start
Century Media
Independent
★★★★
★★★½
★★★
★★★½
There’s a quiet brutality to King Krule’s work. Violence is rarely this understated. But beauty need not always be about shiny, gentle, pretty things. It can also be about buzzy, confusing, confronting things. The OOZ is confident, dark, and - yes - quite beautiful. Dum Surfer is the pull track, and one of the album’s more immediate. Monstrous and distorted though the delivery is, this is as warm as it gets in Krule’s world. Lonely Blue is a wounded animal crying at the moon about the injustice of it all. Bermondsey Bosom (Left) is a stunning minute-long mini mood piece. It serves as a refreshing, palate-cleansing punctuation mark for the ooz(e) that surrounds it. Get this.
High-tails’ debut A Slight Hi situates them firmly in the increasingly crowded genre of slangy suburban surf rock. What sets them apart is their crisp, clear production, proclivity for ironic melodrama and the occasional image that catches you off guard. On Sushi Train, one character laments: “The weekends and the weekdays are always the same / Everyday, staring blankly down the sushi train”. Sonically, the scenery is familiar - sun-drenched backyards and suburban beaches, stubbies nearby - but never repetitive. This is no easy feat for an album so interested in representing boredom.
Having long shed the classic metal covers gimmick, Fozzy have gradually shifted towards slick, accessible hard rock with an eye fixed on US rockradio playlists. If you like your riffs (courtesy of perennially under-rated Rich Ward) with a chaser of melody, Fozzy have you covered. Singer Chris Jericho also infuses his considerable energy. It yields some groove-heavy, memorable cuts; the title track and Drinkin With Jesus contain hooks big enough land Moby Dick. Some of the vocal effects and danceable inclinations can be distracting, and there’s a little filler. Three Days In Jail’s guest rapping feels jarring, too. Overall, a solid affair.
This EP is six tracks and just 21 minutes of music, but these Radelaide boys pack as much punch and as many ideas into those 21 minutes as is humanly possible for a band of their ilk. The overriding vibe of Too Hot For Killing is that of extreme, violent punk, hardcore and metal, with walls of frenetic sound coming at you in waves, but this is no one-dimensional noise album. There is real songwriting nous going on here, with subtle use of dynamics, a great example being the relatively slow-burning title track which provides some sweet light and shade amid the fury. Too Hot For Killing is gnarly, nasty, noisy and just plain good.
Brendan Crabb
Rod Whitfield
Samantha Jonscher
James d’Apice
More Reviews Online Kele Okereke Fatherland
theMusic.com.au
The Barr Brothers Queens Of The Breakers
Alex The Astronaut See You Soon
THE MUSIC • 11TH OCTOBER 2017 • 31
Live Re Live Reviews
The Gooch Palms, Pist Idiots, Totty Lansdowne Hotel 5 Oct
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Passionate trio Totty brought their ‘90s punk rock vibes to a short and sweet set that had the small but interested crowd bouncing from the get-go. Their muddy guitar tones and propelling rhythms, playful shouts and mischievous laughter energised the cavern. Lead singer Kelly Jansch’s sore throat came as no surprise considering how much effort and growl she put into her performance; however, despite her repeated apologies, her illness did not disturb the set, nor could you tell until she spoke. Revesby boys Pist Idiots quickly stacked the room with a heavy, thumping beat and warm, pulsing bodies. Their final song Fuck Off was one the crowd could totally get around, with its relatable message, while the band’s seemingly emotional and personal attachment to the track’s premise was masked by their knock-about demeanour. We thought the room couldn’t get any fuller (or rowdier) — overall-clad, Novocastrian duo The Gooch Palms proved us wrong. The set was a ball, laced with amusing anecdotes about the all-toorelatable stresses of everyday life. Their humility, honesty and matter-of-fact approach provided sweet release. “I got in a lot of trouble in America for getting naked,” Leroy Macqueen admitted, pulling away his genitalia-painted slacks, half-naked bodies rolling across the crowd in front of him. “We love to tumble,” the pair shared, playfully sprawling on the stage floor. The catchy as hell track Ask Me Why had the eclectic but trendy crowd convulsing manically on the low stage, a presence welcomed by The
Gooch Palm’s non-stop high energy; no one cared and it was great. “What a bunch of dumb cunts in Canberra,” they proposed. Confetti rained, the crowd concurred. Thanking the Lansdowne and their fans, they performed You for the crowd — “You little
‘What a bunch of dumb cunts in Canberra,’ they proposed. Confetti rained, the crowd concurred. rippers, you little chippers, this song is for all of you! We fucking appreciate it!” An encore of Avril Lavine’s Sk8er Boi tugged the noughties heartstrings of both the young and old in the happy, nostalgic crowd. Emma Salisbury
Old Crow Medicine Show, Valerie June Enmore Theatre 3 Oct House lights were dimmed and, apart from a white cowboy hat and some impressive beards, four unassuming band members walked on stage and kicked into the opening song before Valerie June strode out. She’s a charismatic performer, balancing the cute, cosmic and contemplative aspects of her personality in both her songs and audience interaction. Most of the songs came from her recent album The Order Of Time, including the tumbling, loose-limbed Shakedown, the African desert blues of Man Done Wrong and
eviews Live Reviews
the gorgeous ethereal and lilting Astral Plane. Her voice can be an acquired taste for some but tonight she growled, whispered and soared high into the ether. Old Crow Medicine Show decided to one-up June with an oompah band line dance arrival on stage. It established the festive atmosphere of their celebration of the 50 years of Bob Dylan’s Blonde On Blonde album and carried both band and audience right through to an emotional finale. All members of Old Crow Medicine Show are ridiculously proficient players on multiple instruments — a factor that has enabled them to interpret each song with nuance and subtle flavour. They keep the essence of Dylan’s songs intact but re-cast them as bristling
They took the night to a heartfelt and moving conclusion with a threesong tribute to Tom Petty. bluegrass, Buck Owensstyled two-step, country folk and — in the case of LeopardSkin Pill-Box Hat — vaudevillian comedy as Cory Younts leaped and danced around the stage. The entertainer aspect of their performance is part of what they do but they certainly overegged it. Synchronised dance moves, comedy sketches and Ketch Secor’s over-emoting were pushed too far, the latter veering into Jim Carrey/Jack Black territory. Of course, the music is the most important thing and One Of Us Must Know (Sooner Or Later)
with Chris “Critter” Fuqua on vocals was an early highlight, as was the raucous and propulsive Most Likely You Go Your Way And I’ll Go Mine. The inevitable encore featured signature singalong Wagon Wheel before they took the night to a heartfelt and moving conclusion with a three-song tribute to Tom Petty who had died earlier in the day. I Won’t Back Down, Breakdown and American Girl were a fine celebration of the great man, just as they’d done earlier with Blonde On Blonde, and received a standing ovation from the thrilled audience. Chris Familton
Alex Lahey, Morning TV, Sloan Peterson Oxford Art Factory 6 Oct Oxford Art Factory filled up considerably early, with Sydneysiders Morning TV opening the evening. Their set was catchy and had the crowd moving along; it was easy to see that attention has been garnered due to their latest EP, Sun. Fronted by the warm and engaging Joannah Jackson, Sloan Peterson were next on the bill, the four-piece fresh off the back of their latest release, Midnight Love. The crowd were most definitely into it and so were the group, who shared their praise and thanks to Lahey for having them there. By the time Alex Lahey’s set rolled around, Oxford Art Factory was heaving. It was the official release day of her album I Love You Like A Brother and the band brought the party right off the bat. They kicked off with Every Day’s The Weekend, the first single from the debut, during which the crowd sang along fervently. Lahey welcomed the crowd after the track, although it was getting harder and harder to hear through the cheers.
Wes Anderson was next, followed by new track Perth Traumatic Stress Disorder; a song which Lahey described as being inspired by when she got “hectic dumped” over in Perth. L-L-L-Leave Me Alone was next, and it’s here you could appreciate the balance in Lahey’s carefully constructed setlist. As much as the night was a celebration of her latest work, Lahey put together a setlist that both rewarded and enticed the crowd with songs new and old. The crowd enjoyed a singalong for Lahey’s Like A Version cover of Torn, and I Haven’t Been Taking Care Of Myself finished the main set.
More Reviews Online theMusic.com.au/ music/live-reviews
Peter Hook & The Light @ Metro Theatre Everclear @ Metro Theatre
As much as the night was a celebration of her latest work, Lahey put together a setlist that both rewarded and enticed the crowd with songs new and old.
Citizen Kay @ Lansdowne Hotel Boo Seeka @ Wollongong UniBar
Live Pic credits There’s No Money started the encore set, with Lahey’s voice filling the room. Of course, the night closed on the one that launched Lahey, You Don’t Think You Like People Like Me. A mass singalong ensued and Lahey left the stage to the loudest cheer of the night. Jessica Dale
1–2. Alex Lahey @ Oxford Art Factory Pic: Giulia McGauran 3–4. Gooch Palms @ Lansdowne Hotel Pic: Simone Fisher 5. Valerie June @ Enmore Theatre Pic: Josh Groom 6.
Old Crow Medicine Show @ Enmore Theatre Pic: Josh Groom
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Arts Reviews Arts Reviews
Blade Runner 2049 Film In cinemas now
★★★★ Within 12 or so hours of seeing Blade Runner 2049, it was necessary for me to submit my review of Arrival director Denis Villeneuve’s sequel to Ridley Scott’s 1982 film to another publication in order to make deadline. That pissed me off. I knew I could provide a kind of consumer report about the film — a synopsis that gave some indication of the story without blowing any major twists or turns (an onscreen note from Villeneuve politely requested that reviewers show a little discretion), a warning of sorts that the tone was contemplative and the pace deliberate (a couple at the screening I attended walked out 30 minutes into the two-hour-and-43minute film), a rundown of what I perceived as 2049’s virtues and flaws. So I did that, and I did it to the best of my ability. But to paraphrase a line from the original Blade Runner, it left me with an itch I couldn’t quite scratch. There was more there, and more I could and should have expressed. Not because the plot is particularly labyrinthine — like Blade Runner, it’s pretty much a traditional detective story with a couple of metaphysical swerves — but because the filmmakers have clearly gone to great lengths to layer in possible connotations and interpretations, many of which strike me upon reflection as valid and indeed meaningful. What’s more, Villeneuve and screenwriters Hampton Fancher (a coscripter of the original Blade Runner) and Michael Green have done so in a far more streamlined and subtle way than Scott did with the edits of his film that, to me, played
a little fast and loose in their efforts to add depth (but really only added doubt). I hope I’m not giving the impression that I’m dissing Blade Runner — it’s a compelling, atmospheric and wonderfully off-kilter film that has earned its place in the pantheon — but it took the majority of us a while to take in what it was saying, maybe because the majority of us were immediately dazzled by what it was showing. (Seriously, there are special-effects shots in Blade Runner that are awe-inspiring three-and-a-half decades down the line.) And so I believe we should afford Blade Runner 2049 the same luxury. Therefore, I hope you’ll forgive me if this review, such as it is, doesn’t provide an instant thumbs-up/thumbs-down verdict, even though my feelings about the film are certainly more positive than negative. I mean, I loathe criticism that sits comfortably on the fence and shrugs “But hey, this is just my opinion, guys. Maybe you should make up your own minds!” But I can say without hesitation that Blade Runner 2049 has its immediate pleasures that transfix and amaze. Much has already been made of Roger A Deakins’ spellbinding cinematography, and deservedly so, but Dennis Gassner’s production design, creating a world both bleak and seductive, warrants just as much praise. Ryan Gosling, playing Officer ‘K’, and Harrison Ford, reprising his role as Rick Deckard, are the drawcards, and both are tremendous. The still, minimalist approach to acting often used by Gosling has served certain roles very well in the past, and that’s
perfectly employed here. And while revisiting Han Solo in The Force Awakens reminded viewers of Ford’s movie-star cred, his work here is a bracing reminder of what’s he capable of as a dramatic actor. But the true acting depth comes from a handful of supporting performances. The soulfulness and pathos brought by Ana de Armas as K’s virtual-reality companion Joi; the complex cold-bloodedness of Sylvia Hoeks’ Luv, right-hand woman to Jared Leto’s messianic Niander Wallace; Carla Juri as Dr Ana Stelline, creator of pre-fab memories, both expressing and suggesting so much with only a brief amount of screen time. (Regarding Leto. The divisive actor isn’t in 2049 too much, and he’s actually pretty good when he is! He’s a bit mannered, but it works.) Having said all that, it’s what you take away from Blade Runner 2049 that gives this film its true worth. It has the de rigueur puzzle-box elements that will undoubtedly motivate a shitload of online theorising and debate, which can be kinda fun for brief periods, but Villeneuve also imbues it with an introspective, almost Zen-koan quality at times. (If that sounds wanky, that’s not on the film, that’s because I’m a wanker who can’t find a better way to explain it.) So, yeah, its pace may feel glacial on occasion. It’s definitely short on humour (Christopher Nolan would tell this movie to lighten up). But it’s a singular achievement, one that may be even more than the sum of its parts. Guy Davis
THE MUSIC • 11TH OCTOBER 2017 • 35
Comedy / G The Guide
Wed 11
Hockey Dad
SOSUEME feat. Demon Days: Beach Road Hotel, Bondi Beach
Songs On Stage feat. Stuart Jammin + Elizabeth Hylton + Jenny Hume: BMW (formerly Beats.Eats.Drinks), Glebe
sleepmakeswaves
Emmanuel Pahud + Australian Chamber Orchestra: City Recital Hall, Sydney Odd Mob: DK Pool Club , Bathurst
The Music Presents Diana Anaid: 22 Oct, Cruelty Free Festival; 1 - 3 Nov, Australian Music Week Mono: 9 Nov Manning Bar Newtown Festival: 12 Nov Camperdown Memorial Rest Park Mullum Music Festival: 16 - 19 Nov Mullumbimby Vanfest: 1 Dec Forbes Showground sleepmakeswaves: 9 Dec Oxford Art Factory Festival Of The Sun: 7 - 9 Dec Port Macquarie Alt-J: 9 Dec ICC Sydney sleepmakeswaves: 9 Dec Oxford Art Factory
Napalm Death + Brujeria + Lockup + Black Rheno: Factory Theatre, Marrickville Jungle Boogie with Virtuoso Funk Lords: Frankie’s Pizza By The Slice, Sydney HiaGround + Marvell Music + Balko: Lansdowne Hotel, Chippendale In The Round feat. Richard Cuthbert + Brian Campeau + Alice Terry + Richard Cartwright (Richard in your Mind): Leadbelly, Newtown
Double Trouble Selina’s at Coogee Bay Hotel are putting on a massive double bill this Friday with Windang’s old school surf rockers Hockey Dad and local legends Flowertruck. Even better, you can catch the lot for free.
6lack: Metro Theatre, Sydney Songwriting Society of Australia Showcase feat. John Chesher + Pete Scully + Paul B Mynor + Gavin Fitzgerald + Paul McGowan: Old Fitzroy Hotel, Woolloomooloo Songs On Stage feat. Russell Neal + Ron Maxime + Justin Webber + Elizabeth Hylton + Jack Peck + Perikles: Paddington RSL, Paddington Duo Log + Enfant Terrible + Maybe Pile + Voltz Supreme: Rad Bar, Wollongong
Sweet Velvet
Acoustic Pints: Sad Old Bastard Night III feat. Vorn Doolette + Evan Buckley + Jim Sharrock + Frank Vulture: The Phoenix, Canberra Fleetwood Mac Tribute: The Soda Factory, Surry Hills
Thu 12
Harbourview Hullabaloo feat. Russell Neal + Call Me Sue + Justin Webber + Gia Clarissa + Jeffrey Webb + Chris Brookes + Kenneth D’Aran: Harbour View Hotel, Dawes Point If You Want Blood-The Music of Bon Scott: Heritage Hotel, Bulli Migos + 6lack: Hordern Pavilion, Moore Park
Sarah McLeod: 48 Watt St, Newcastle Twin Peaks: Albury QEII Twilight Markets, Albury
Peter Bibby
The Turner Brown Band (feat. Nikki D Brown & Dom Turner): Brass Monkey, Cronulla Demon Days: Brighton Up Bar, Darlinghurst Caiti Baker: Cambridge Hotel, Newcastle West
Sweet Velvet + Spiral + Gypsy + Wiltricity + Reality Dreaming Valve Bar, Sunday
Smith’s Varietal+Scroggin + Alec Randles + Various Artists: Smiths Alternative, Canberra
Tapestry of Fire and Rain ?The Music of Carole King & James Taylor+Various Artists: Camelot Lounge (Django Bar (below Camelot Lounge)), Marrickville Mayday Parade + This Wild Life: Enmore Theatre, Newtown The Drey Rollan Band + DJ Quaalude: Frankie’s Pizza By The Slice, Sydney Afternoon Show with John & Yuki: Gaden Community Centre & Cafe, Woollahra
Michael Ball + Alfie Boe: State Theatre, Sydney
Acca-Pony Choir Singalong+Various Artists: Gasoline Pony, Marrickville
Riot Ten: The Argyle House, Newcastle
Whispering Jackie + Royal Chant: Hamilton Station Hotel, Islington
Robbie Fulks + Liam Gerner: The Basement, Sydney
36 • THE MUSIC • 11TH OCTOBER 2017
Gregg Arthur: Camelot Lounge, Marrickville
Peter Bibby The Small Ballroom, Friday
Yahtzel: Hudson Ballroom, Sydney Phill Simmons: Jamison Hotel, Penrith Luka Lesson + Kahl Wallis: Janes Wollongong, North Wollongong The Ruminaters: Lansdowne Hotel, Chippendale Paul Winn: LazyBones Lounge, Marrickville John & Yuki: Osaka, Potts Point Dream On Dreamer + Traces: Oxford Art Factory, Darlinghurst
Gigs / Live The Guide
GUM
Maple Moths + Wawawow + Montes Jura + The Satanic Togas: Bank Hotel, Newtown
Low Down Riders: Gasoline Pony, Marrickville
Sarah McLeod: Baroque Bar, Katoomba
Fred Smith: Harmonie German Club, Narrabundah
Shows on Stage feat. Array + Angus Gilmore: BMW (formerly Beats.Eats.Drinks), Glebe Whispering Jackie + Royal Chant: Botany View Hotel, Newtown British Lords: Brass Monkey, Cronulla
Ten Years Of Oxford Art Factory feat. GUM + Palms + Green Buzzard + Orb + more
Luka Lesson + Kahl Wallis: Brighton Up Bar, Darlinghurst Royale with Cheese: Bull & Bush, Baulkham Hills
The Gooch Palms + Pist Idiots + Los Scallywaggs + Totty + Scumdrops: Cambridge Hotel, Newcastle West
Boney M: Penrith Panthers (Evan Theatre), Penrith
Countdown Oz Chartbusters with Dragon: Camelot Lounge, Marrickville
RnB Fridays Live 2017 feat. Fatman Scoop + Craig David presents TS5 + Ne-Yo + Kelly Rowland + En Vogue + Mario + Christina Milian + Monifah + Ruff Endz + DJ Horizon + Kelis + Sean Paul: Qudos Bank Arena, Sydney Olympic Park
Blues & Soul Extravaganza with Various Artists: Camelot Lounge (Django Bar (below Camelot Lounge)), Marrickville
Fla White + Rosanna Mendez + Kealy Day + Jethro Morris: Staves Brewery, Glebe
Oilbaron + Soy + Kimono Pool + Cheyne Howard: Rad Bar, Wollongong Revel: Revesby Workers, Revesby Dee Donovan: Rooty Hill RSL, Rooty Hill
Hybrid Nightmares
Emmanuel Pahud + Australian Chamber Orchestra: City Recital Hall, Sydney
Best Of You - Foo Fighters Tribute Show: Colonial Hotel, Werrington Daniel Townes: Comedy Store, Moore Park
Joep Beving: Sydney Opera House, Sydney Majora + Lost Coast + The Colours Are: The Basement, Belconnen
Sydney Film Music Festival: Star Trek - The Ultimate Voyage feat. Various Artists: International Convention Centre Sydney (ICC), Sydney
Odd Mob: Chinese Laundry, Sydney
Clive Hay: Club Liverpool, Liverpool Wayne Kelly Trio + Peter Bibby: Smiths Alternative, Canberra
Migos + 6lack: Hordern Pavilion, Moore Park
RnB Fridays Live 2017 feat. Craig David presents TS5 + Ne-Yo + Sean Paul + Kelly Rowland + Kelis + En Vogue + Mario + Christina Milian + Monifah + Ruff Endz + DJ Horizon + Fatman Scoop: Qudos Bank Arena, Sydney Olympic Park
These New South Whales: Cambridge Hotel, Newcastle West
Oxford Art Factory, Saturday
These New South Whales + The Nuclear Family + Space Boys: Rad Bar, Wollongong
Jack Homer: Heritage Hotel, Wilberforce
Paces: Oxford Art Factory, Darlinghurst
Hybrid Nightmares The Factory Floor will host some serious heavy metal chaos on Saturday for Hybrid Nightmares and Psynonemous hit the joint for a double album launch. Supported by locals Gods Of Eden and Anno Domini.
Luka Lesson
Eric Steckel + Stefan Hauk: The Basement, Sydney
Daniel Muggleton: Janes Wollongong, North Wollongong
Pete Lyon Sings + Twin Peaks + Harry Carman: Smiths Alternative, Canberra
Halcyon Drive: The Front Cafe & Gallery, Lyneham
Floyd Vincent & The Temple Dogs: Katoomba Family Hotel, Katoomba
Hybrid Nightmares: The Basement, Belconnen
Michael Jackson Legacy Tour with William Hall: The Glasshouse, Port Macquarie
Finn: Kiama Golf Club, Kiama Downs Orb: Lansdowne Hotel, Chippendale
Great Gig In The Sky: A Pink Floyd Celebration feat.+Various Artists: The Basement, Sydney
The Mis-Made: Lass O’Gowrie, Wickham
Stormcellar: The Beach Club, Collaroy
Kingston County + Run Marlowe: Leadbelly, Newtown
Our Last Enemy + Tensions Arise + Horrorwood Mannequins + Vodvile: The Chippendale Hotel, Chippendale
She Shinjuku: The Hideaway Bar, Enmore Seedy Reed + Bleeding Into Radio + Carl Redfern: The Moshpit, Erskineville
Luka Lesson + Kahl Wallis Brighton Up Bar, Friday
Various Artists + DJ Diola: The Newport, Newport
The Way: Long Jetty Hotel, Long Jetty
Double Up Lounge + DJ Dan Phelan: The Stag & Hunter Hotel, Mayfield
Blake Tailor: Coolibah Hotel, Merrylands West
Punx + Topnovil + I Have a Goat + Speedball + The Ravens: Valve Bar
Harrison Craig: Dapto Leagues Club, Dapto
Fri 13
Adam Ant + Diana Anaid: Enmore Theatre, Newtown
ShockOne: Academy, Canberra Yes I’m Leaving + No Action + Busy Tones + Negative Gear: Bald Faced Stag, Leichhardt
Ill Prepared: Dundas Sports Club, Dundas
DJ Sam Wall: Manly Wharf Hotel, Manly San Holo + Just A Gent: Max Watt’s, Moore Park Hands Like Houses + Dream On Dreamer + PLTS: Metro Theatre, Sydney Never Ending 80s Glow Party with +Various DJs: Miranda Hotel, Miranda
DJ Oli: Frankie’s Pizza By The Slice, Sydney Soul Messengers: Garry Owen Hotel, Rozelle
Busby Marou: Narrabeen RSL, North Narrabeen
Nick Barker & The Heartache State + Flickertail: The Hideaway Bar, Enmore RnB Fridays Live 2017: Official After Party feat. Mario + Fatman Scoop + Monifah + Ruff Endz + DJ Horizon: The Ivy, Sydney Lyn Bowtell: The Music Lounge, Brookvale Max Marvell + Somatik + DJ Graham M + DJ MK-1: The Newport, Newport Friday 13th Fiesta feat. Funkytrop + Rumblr + Triply: The Phoenix, Canberra
THE MUSIC • 11TH OCTOBER 2017 • 37
Comedy / G The Guide
Halcyon Drive: The Record Crate, Glebe Revolution Incorporated + Moon Dogs: The Rhythm Hut, Gosford
Hits & Pieces: Revesby Workers, Revesby
Hands Like Houses
One Hit Wonders: Revesby Workers, Revesby
Peter Bibby: The Small Ballroom, Islington
Straight Outta Compo feat. Joe Avati + Tahir + George Kapiniaris + Rob: Revesby Workers, Revesby
Frankenbok + Segression + Carbon Black + Kold Creatures + Panik: University Of Wollongong, Gwynneville
Tate Sheridan + Space Party + Il Bruto: Smiths Alternative, Canberra
DaveQon: Rise Of The Donkies feat.Vial8 + Irruptionz + MC Irrupt + more: Valve Bar & Venue
Cath & Him: St Georges Basin Country Club, Sanctuary Point
Blackout Freaky Fridays feat. DJ Aycuz + DJ Digital Mouth: Valve Bar & Venue (Level One)
Groovology: St Marys Band Club, St Marys Rick Melick Band: Street Market Asian Tapas, Crows Nest
Jonny Gretschs Wasted Ones + Jennifer Taylor: Vic On The Park, Marrickville Jett Williams: Weston Workers Club, Weston Akoostik Music Festival 2017 feat. Kasey Chambers + Russell Morris + Ella Hooper + The Turner Brown Band (feat. Nikki D Brown & Dom Turner) + Eurogliders + Twin Peaks + Bad Pony + Scott Darlow + Sara Tindley + Josh Needs + The Kava Kings + more: Wingham Showground, Wingham
Garret Kato
Great Gig In The Sky: A Pink Floyd Celebration feat.Various Artists: The Basement, Sydney
Drift On Canberran five-piece Hands Like Houses are stopping in at Metro Theatre with their latest single Drift. Catch them there this Friday with support from Dream On Dreamer and PLTS.
Live Music: The Beach Hotel, Merewether Ivan Ooze: The Chippendale Hotel, Chippendale Dragon: The Cube, Campbelltown
Otis Redding & Friends feat. Johnny G & The E-Types: Camelot Lounge, Marrickville Joe Geia: Campbelltown Arts Centre, Campbelltown
Caiti Baker: Leadbelly, Newtown
Huxley: The Grand Hotel, Wollongong
Georgia White: Lithgow Workers, Lithgow
Orly + DJ Saywhut!? + Veena Rao + DJ Treble n Bass: The Newport, Newport
Maryanne Rex: Long Jetty Hotel, Long Jetty
Riot Ten: Candys Apartment, Potts Point Huxley: Chinese Laundry, Sydney Status Quo + Travis Collins: Civic Theatre, Newcastle
DJ Raye Antonelli + DJ Murray Lake: Manly Wharf Hotel, Manly Nightvisions: A Decade of Dedication - 10 Year Anniversary with Various DJs: Manning Bar, Camperdown
Banktoberfest with Flickertail: The Old Bank, Dubbo Whispering Jackie + Royal Chant: The Phoenix, Canberra The King Hits + Royal Chant + DJ Bo Loserr: The Phoenix, Canberra
Soul Tattoo: Club Engadine, Engadine Oneworld: Metropolitan Hotel, Maitland Richard Calabro + Divina + The Martini Shakers: Cronulla RSL, Cronulla
Andy Grammer + Garret Kato Metro Theatre, Sunday
The Turner Brown Band (feat. Nikki D Brown & Dom Turner): Wollongong Town Hall, Wollongong
Kris McIntyre: Ettamogah Hotel, Kellyville Ridge Hybrid Nightmares: Factory Theatre (Factory Floor), Marrickville Raave Tapes + DJ Blake: Frankie’s Pizza By The Slice, Sydney The Villebillies + Euripi: Gasoline Pony, Marrickville Stephanie Jansen: Heritage Hotel, Wilberforce
Bleeding Knees Club + WHARVES + Post Paint + Antonia & The Lazy Susans + Mazdathree: Bald Faced Stag, Leichhardt
KLP + Moonbase: Hudson Ballroom, Sydney
Sun Sap + The Owls: Brighton Up Bar, Darlinghurst Michale Jackson & Prince Tribute with Various Artists: Bull & Bush, Baulkham Hills
38 • THE MUSIC • 11TH OCTOBER 2017
Luka Lesson + Kahl Wallis: Nishi Gallery, Canberra
Citizen Kay: Transit Bar, Canberra City
The Chosen Ones: North Bondi RSL, North Bondi
Michael Jackson Legacy Tour with William Hall: Twin Towns, Tweed Heads
Whispering Jack Show: North Ryde RSL, North Ryde
Sanctuary October feat. Various DJs: Valve Bar & Venue
Darren Johnstone: Cronulla RSL, Cronulla
Sat 14
Andrew’s Funk and Blues feat. Andrew Denniston + more: BMW (formerly Beats.Eats.Drinks), Glebe
Josh Needs + Diplazar: The Stag & Hunter Hotel, Mayfield
Sydney Film Music Festival: Gladiator feat. Various Artists: International Convention Centre Sydney (ICC), Sydney Finn: Katoomba Family Hotel, Katoomba These New South Whales: Lansdowne Hotel, Chippendale Floyd Vincent & The Temple Dogs + Soul Messengers + 6ft Babies: LazyBones Lounge, Marrickville
Sydney Jam Band: Orange Grove Hotel, Lilyfield Ten Years of Oxford Art Factory with GUM + Palms + Green Buzzard + Orb + Big White + Party Dozen + Darts + Sunscreen + Nice Biscuit + The Bare Minimums + Various DJs: Oxford Art Factory, Darlinghurst Shows on Stage feat. Rogue Company: Paddington RSL, Paddington Bird Yard Big Band: Penrith RSL, Penrith (Arvo)
The Ruminaters
The Ruminaters Lansdowne Hotel, Thursday
Funkstar: Penrith RSL, Penrith They Call Me Bruce: Plough & Harrow, Camden Halcyon Drive: Rad Bar, Wollongong Jason Derulo: Randwick Racecourse, Randwick
Secret Obsession (Feminine Trip) with Saint Witch + Jennie + Cathrin/Hard Kitty + Camila Concha + DJ Batz + Mellifluous: Valve Bar & Venue (Level One)
Gigs / Live The Guide
Sun 15
Michael Jackson Legacy Tour with William Hall: Ballina RSL, Ballina
The Honkytonk Merry-Go-Round Tour feat Kate Oliver + Gleny Rae Virus + Rob Luckey & The Lucky Bastards: Marrickville Bowling Club, Marrickville
Jett Williams: Batemans Bay Soldiers Club, Batemans Bay
Andy Grammer + Garret Kato: Metro Theatre, Sydney
Rob Henry: Bull & Bush, Baulkham Hills
Sarah McLeod: Miranda Hotel, Miranda
Paper Thin + Self Talk + Safe Hands + Wicking Out! DJs: Cambridge Hotel, Newcastle West
Soul Tattoo: Mooney Mooney Club, Mooney Mooney
Melanie Oxley + Chris Abrahams: Camelot Lounge, Marrickville
Jesse Porsches + Stumps + Rosa Maria + Pacific Avenue: North Wollongong Hotel, North Wollongong
Damian Wright Trio: Camelot Lounge (Django Bar), Marrickville
Georgia White: Northmead Bowling Club, Northmead
Lost Picnic feat. Sarah Blasko + Montaigne + The Teskey Brothers + Fat Freddy’s Drop + All Our Exes Live In Texas + The Beatle Boys + George Ellis + Australian Symphony Orchestra: The Domain, Sydney Gemma Lyon + DJ Danny De Sousa + Mike Champion + DJ Phil Toke: The Newport, Newport
Demon Days
Ben Catley: The White Star Hotel, Albany Sweet Velvet + Spiral + Gypsy + Wiltricity + Reality Dreaming: Valve Bar & Venue Twin Peaks: Wauchope Community Arts Centre, Wauchope
Sosueme feat. Demon Days Beach Road Hotel, Wednesday
Soul Messengers: Wayward Brewing Co, Camperdown
Diana Anaid
Songwriters In The Round feat. Lyn Bowtell: Wentworthville Leagues Club, Wentworthville Floyd Vincent & The Temple Dogs: Wickham Park Hotel, Islington
Mon 16 Frankie’s World Famous House Band: Frankie’s Pizza By The Slice, Sydney Songs On Stage feat. Russell Neal + Michelle Benson + Paul Ward + Jeffrey Webb + Chris Brookes + Kenneth D’Aran: Kellys on King, Newtown
Tue 17 Daniel Alejandro + Daryl Wallis + Alya Meyer: Bondi Pavilion, Bondi Beach Justin Townes Earle + Joshua Hedley + The Sadies: Factory Theatre, Marrickville Songs On Stage feat. Russell Neal + The Chordbusters + Gerry Ford + Paul Connolly + Jeff Arnold: Gladstone Hotel, Chippendale Songs On Stage feat. Stuart Jammin + Jenny Hume + more: Kellys on King, Newtown Cath & Him: Rooty Hill RSL, Rooty Hill
Monique Clare: Smiths Alternative, Canberra
Adam Ant + Diana Anaid
Alexis Taylor + Sophie Hutchings: The Basement, Sydney
Following on from the recent release of her critically acclaimed new album My Queen, Aussie alt-rocker Diana Anaid has been on the road with post punk legend Adam Ant. Catch them both at Enmore Theatre, Friday
Blind Cyclops feat.Summonus + Lord Sword + Mental Cavity + Burden Man: Frankie’s Pizza By The Slice, Sydney Afternoon Show with Voices From The Vacant Lot: Gasoline Pony, Marrickville Shows on Stage feat. Russell Neal + Diana Figgis + Tim Walmsley + Elizabeth Hylton + Jack Peck + Jeffrey Webb + Kenneth D’Aran: Honey Rider Bar, Neutral Bay John & Yuki: Illawarra Master Builders Club, Wollongong Sydney Film Music Festival: Dreamworks Animation In Concert feat. Various Artists: International Convention Centre Sydney (ICC), Sydney Lazy Sunday Lunch with The Edith Piaf Story feat.+Nikki Nouveau: Lizottes Newcastle, Lambton Paper Parade + DJ SB + DJ Black Cashmere: Manly Wharf Hotel, Manly
Bobby Benton’s Classic Sixties Show: Penrith RSL, Penrith Fred Smith: Petersham Bowling Club, Petersham Fun House: Pittwater RSL, Mona Vale Mercury Sky + Lowgazer + The Winter Effect: Rad Bar, Wollongong
Old Timey Tuesday with feat. Various Artists: Smiths Alternative, Canberra
Jett Williams: Young Services Club, Young
Black Rheno
Napalm Death + Brujeria + Lock Up + Black Rheno Factory Theatre, Wednesday
KP: Royal Hotel, Bondi Silvertonic: Smiths Alternative, Canberra Utzon Music Series feat. Natalie Clein: Sydney Opera House, Sydney Status Quo + Travis Collins: Sydney Opera House (Concert Hall), Sydney Miss Behave: The Beach Hotel, Merewether
Cognisant + Parrots With Piercings + Starlight Skullchild (Azim Zain) + Faux Paw: The Phoenix, Canberra Rock The Boat 7 feat. Status Quo + Baby Animals + Jon Stevens + Mark Gable + Jack Jones + Angry Anderson + The Radiators + The Zep Boys + Swanee + Shane Nicholson + The Lachy Doley Group + Daniel Wayne Spencer + more: White Bay Cruise Terminal (Raidence Of The Seas), Balmain
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40 • THE MUSIC • 11TH OCTOBER 2017