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2 • THE MUSIC • 12TH NOVEMBER 2014
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THIS WEEK
exclusive STREAM THE NEW ALBUM FROM SYDNEY SINGER-SONGWRITER BERTIE BLACKMAN IN FULL. WE’RE ON GROUND AT THE FACE THE MUSIC CONFERENCE IN MELBOURNE SO HEAD TO THEMUSIC.COM.AU FOR MORE.
NEED TO KNOW WHAT NEW MUSIC TO SPEND YOUR MONEY ON? CHECK OUT THIS WEEK’S RELEASE WRAP.
premiere WE’VE GOT YOUR FIRST LOOK AT THE NEW VIDEO FROM PERTH INDIE-POP FAVES SAN CISCO. 6 • THE MUSIC • 12TH NOVEMBER 2014
TUE NOV
11
WED NOV
12
THU NOV
13
FRI NOV
14
SAT NOV
TRIVIA
Front Bar 7:30pm
MUSOS’ NIGHT Rockin’ Weekly Blues Jam Front Bar 8pm
STRUT @ THE STAG
SEMI-FINAL feat. Stone Release + Brumby + Lonely Empire + Knight + Breaking Point 8pm
KRISIUN [BRAZIL]
+ Truth Corroded + Metalstorm + Metreya 8pm
THRASH EM ALL 2
15
feat. Party Vibez + Disintegrator + Atomic Death Squad + HEAPS MORE! 4.30pm
FRI NOV
HAND OF MERCY
21
+ Hellions + Void Of Vision + Bare Bones 8pm
HILLBILLY ENTERTAINMENT PRESENTS:
FREE ENTRY
FREE ENTRY
BULLRUSH ENTERTAINMENT PRESENTS: WED 12TH 8PM
“SCATTERED REMAINS”
SAT 15TH 12PM
METAL SHOW WITH SUPPORT FROM: “EDENFALL”, “THE ABYSS COLLECTIVE”, “TORMENTUS”, “OCULATUS”, “INFERUS” BASEMENT
GRINDHEAD RECORDS PRESENTS:
PRE $15 $15 DOOR
THUR 13TH 8PM
PRE $38 $45 DOOR BASEMENT
PRE $15 $20 DOOR
PRE $16 $20 DOOR
FRI 14TH 8PM
BASEMENT
“SETE STAR SEPT” (-JAPAN)
SAT 15TH 7PM
GRIND SHOW WITH SUPPORT FROM “MICHAEL CRAFTER”, “FRAME 313”, “DISPOLAR”, “CANINE”, “THE HOLIDAY PROJECT”, “HACKED TO CHUNKS”
STOMPIES BIRTHDAY WITH “RUKUS” PUNK SHOW WITH SUPPORT FROM: “PLAYGROUND OF HATE”, “THE FUCK OUTS”, “HOSTILE OBJECTS”, “SWINE”, “EVERYTHING I OWN IS BROKEN”
LEVEL ONE
SAT 15TH 9PM
BASEMENT
SUN 16TH 3PM
PRE GOREGUTS PARTY
FEAT: “THE INDUCER”, “INFERNAL OUTCRY”, “AS FLESH DECAYS”, “CUNT BUTCHER”
CRUST ALMIGHTY - ALMIGHTY CRUST
CRUST FEST FEAT: “DARK HORSE”, “INEBRIOUS BASTARD”, “DEBACLE”, “COMMON ENEMY”, “RESIST CONTROL”, “CULTURE OF IGNORANCE”, “DEAD ARCHITECT”, “CONCRETE LUNG”
CORROSION
MONTHLY GOTH CLUB NIGHT FEAT: DJS XERSTORKITTE, SHE, BANSHEE AND MANY MORE
FREE VARIETY SHOW
WITH: “COSMIC KING”, “STRANGEROUS COLLECTIVE”, “ZOUNIS”, “LION CALAMITY”, “DIRTY H ALLSTARS”’, “CARL STEWART BAND”, “THE LOW TEES”, “SOCIETY OF 5”
COMING UP
Wed 19 Nov: Acoustic Show with Rod Fritz, Peter W Jones, Bradley Allen , Geoff Drover, Julia Plume ; Thu 20 Nov: 8pm: Alt Rock Show with “Amberdown” , “Inventions” , “Lion Calamity” , “Hey Horze” , “Ride For Rain”; Fri 21 Nov: Basement 8pm: Punk Rock Show with “Heroine” , “Burdens” , “The Colytons” , “Speedball” , “No Further Questions”; Level One 9pm: Sydney Music presents: Blues Rock Show feat: “Devil’s Crossroads with Dave Blight Harmonica” (ex Cold Chisel), “Big Blind Ray & The Good Times Rhythm & Blues Band” , “Ray Beadle Band” , “Dr.Don’s Double Dose”; Sat 22 Nov: Basement 1pm: Hardcore Punk Show with: “Disparo” and many more ; Basement 6pm: Grindhead Records presents: “Iconic Vivisect” , “Brutonomy” , “Festering Drippage” , “Gutter Tactic” , “Burial Chamber” , “Exekute” , “13 Gates” , “War Of Attrition” ; Level One 8pm: The Heavy Frequency presents Sydney Underground Industry Party feat: Johnathan Devoy, NASJAP, Vayu , The Abyss Collective and many more ; Sun 23 Nov: 12pm Basement: ScOrChErFeSt - 20 bands over 12 hours
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CREDITS PUBLISHER
Street Press Australia Pty Ltd
GROUP MANAGING EDITOR Andrew Mast
NATIONAL EDITOR MAGAZINES Mark Neilsen
ASSISTANT EDITOR Hannah Story
ARTS AND CULTURE EDITOR Cassandra Fumi
MUSO EDITOR Michael Smith
GIG GUIDE EDITOR Justine Lynch nsw.gigs@themusic.com.au
CONTRIBUTING EDITORS Bryget Chrisfield, Steve Bell
CONTRIBUTORS Adam Wilding, Andrew McDonald, Anthony Carew, Bailey Lions, Ben Meyer, Benny Doyle, Ben Preece, Brendan Crabb, Brendan Telford, Cam Findlay, Cameron Cooper, Cameron Warner, Carley Hall, Cate Summers, Chris Familton, Chris Maric, Christopher H James, Cyclone, Daniel Cribb, Danielle O’Donohue, Dave Drayton, Deborah Jackson, Dylan Stewart, Guido Farnell, Guy Davis, Helen Lear, James d’Apice, Justine Keating, Kristy Wandmaker, Liz Giuff re, Lukas Murphy, Mac McNaughton, Mark Hebblewhite, Matt MacMaster, Paul Ransom, Rip Nicholson, Ross Clelland, Sam Hilton, Sam Murphy, Sarah Braybrooke, Sarah Petchell, Scott Fitzsimons, Sebastian Skeet, Sevana Ohandjanian, Simon Eales, Tim Finney, Tom Hersey, Tyler McLoughlan, Xavier Rubetzki Noonan
PHOTOGRAPHERS Angela Padovan, Cole Bennetts, Clare Hawley, Cybele Malinowski, Jared Leibowitz, Jodie Downie, Josh Groom, Kane Hibberd, Peter Sharp, Rohan Anderson
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THIS WEEK THINGS TO DO THIS WEEK • 12 NOV - 18 NOV 2014
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American artist Nick Cave, not the singer of The Bad Seeds, is bringing his unique artworks to Australia. Cave is best known for his Soundsuits, bearing some resemblance to a sharply reimagined African ceremonial costume, presented as static sculptures or suits to be worn and danced in. He’ll be discussing his work exclusively at Carriageworks, Thursday, to a sold out audience.
Over the past 31 years the Glebe Street Fair has evolved from a small neighbourhood event to a truly huge event. Each year, stalls offer delicious foreign cuisines, clothes and trinkets made with love and pumping music sets. This year Lepers & Crooks and Big Blind Ray will take the stage alongside community music projects. With shows for the kids running all day why would anybody want to be anywhere besides Glebe Point Rd on Sunday?
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Cold Intimacy is the next exhibition to run at the Anna Schwartz Gallery. It is the debut display for new curator Melissa Loughnan and explores the perils of modern happiness in the technological age through sculpture and pictures, both digitally enhanced and created by hand. Loughnan has gathered four Berlin-based artists in creating Cold Intimacy, two Kiwis a Dutch woman and Nina Beier from Denmark. The exhibition runs from Saturday.
see ALICIA FRANKOVICH’S NOT YET TITLED
SYDNEY
THE MUSIC • 12TH NOVEMBER 2014 • 7
national news news@themusic.com.au J MASCIS
TOY STORY SHORT HAWAIIAN VACATION (2011)
TOY STORY MORE
FROM THE CLOUDS
Dinosaur Jr frontman and guitar-guru J Mascis returns to Australia in February next year for the first time since early 2012. Premiering new release Tied To A Star, the second album in his solo catalogue, he’ll be playing shows around the country and bringing Magic Dirt front woman Adalita along for the ride. He kicks things off 13 Feb, Melbourne Recital Centre, before playing 19 Feb, The Zoo, Brisbane; 20 Feb, The Sound Lounge, Gold Coast; 21 Feb, Factory Theatre, Sydney; and 23 & 24 Feb, Perth International Arts Festival (with Mogwai).
WISH GRANTED
Canadian contemporary folk musician, Juno nominee, Polaris Prize listed artist and ECMA winner Jenn Grant will release her fifth album Compostela on 20 Nov, and will be visiting our shores for this year’s Woodford Folk Festival and a slew of headline shows early next year. She has recently performed at Primavera Sound, SXSW and The Great Escape, garnering critical acclaim from all corners of the world. She stops by Camelot Lounge, Sydney, 8 Jan; The Triffid, Brisbane, 11 Jan; Fremantle Arts Centre, 18 Jan; and Yarra Hotel, Melbourne, 22 Jan. More dates on theMusic.com.au.
ALIVE AND KICKING
Keen to get back to Australia before the year is out, rotating international rock supergroup The Dead Daisies are looking forward to their latest tour around the nation. The 2014 line-up includes singer Jon Stevens (Noiseworks/ INXS), guitarists David Lowy (Mink/Red Phoenix) and Richard Fortus (Guns N’ Roses/ Psychedelic Furs), bassist Marco Mendoza (Thin Lizzy/Whitesnake), keyboardist Dizzy Reed (Guns N’ Roses/Hookers & Blow), and drummer Brian Tichy (Ozzy Osbourne/ Billy Idol). The group will play the Corner Hotel, Melbourne, 30 Nov; Rosemount Hotel, Perth, 4 Dec; The Triffid, Brisbane, 5 Dec; and Oxford Art Factory, Sydney, 7 Dec.
MAE FOR MARCH
In 2015, it’ll be ten years since Virginia power pop five-piece Mae released their most successful album, The Everglow, and since it’s been seven years since the band were last here, for Soundwave 2008, they decided they’d celebrate the tenth anniversary of The Everglow with an Australian tour. Supported by special guests Nova & The Experience, Mae play 5 Mar at The Brightside, Brisbane; 6 Mar at Miami Tavern, Gold Coast; 7 Mar at The Small Ballroom, Newcastle; 8 Mar at Baker St, Sydney; 12 Mar at The Roller Den, Sydney; 14 Mar at Corner Hotel, Melbourne; and 15 Mar at Amplifier Bar, Perth.
WOULD YOU BELIEVE… HYPOCRISY ACROSS THE POLITICAL SPECTRUM AFTER THE DEATHS OF THATCHER AND WHITLAM? KNOCK ME DOWN WITH A FEATHER. @ABCNEWSINTERN TELLS US HOW IT IS IN THE WAKE OF GOUGH WHITLAM’S MEMORIAL SERVICE. 10 • THE MUSIC • 12TH NOVEMBER 2014
It’s official – Sheriff Woody, Buzz Lightyear, Mr Potato Head and the rest of the much loved cast of Toy Story will be returning to the big screen in a brand new adventure – Toy Story 4 – in 2017. Pixar Animation Studios will once again be producing, John Lasseter – who directed the original feature that started it all – is directing and Walt Disney Pictures is releasing the fourth instalment in the franchise that saw Toy Story 3, directed by Lee Unkrich, earn $US1.1 billion at the box office worldwide.
SPANDAU GOLD
In describing the moment saxophonist Steve Norman stepped forward at London’s Albert Hall to play his solo in the classic, True, and comparing it to the late Clarence Clemons at a Springsteen concert, Rolling Stone’s critic wrote, “the ecstasy was that kind of loud.” Australia gets to experience that ecstasy and more in May when one of the biggest bands out of the UK in the 1980s, Spandau Ballet bring their Soul Boys Of The Western World Live Tour to Australia. The tour is titled for their new film, the second highest grossing film in the UK on release earlier this month. Spandau Ballet play 13 May at Brisbane Entertainment Centre, 15 May at Qantas Credit Union Arena in Sydney, 19 May at Rod Laver Arena in Melbourne and 22 May at Perth Arena.
NAS
NAS CELEBRATES 20TH
Certainly one of the most revered rap albums ever released, Illmatic celebrates the 20th anniversary of its release this year and its creator, Nas, short for Nasir bin Olu Dara Jones, is going to perform it, start to finish, in the flesh for the first time in Australia when he arrives in January. With Nas headlining on 24 Jan at Melbourne’s Sugar Mountain festival, The Music proudly presents his headline run of sideshows: 20 Jan at The Tivoli, Brisbane; 23 Jan at Enmore Theatre, Sydney; and 27 Jan at Metro City, Perth.
THE MUSIC • 12TH NOVEMBER 2014 • 11
local news
FRONTLASH
nsw.news@themusic.com.au
FREEDOM OF SPEECH
The trailer for the last installment in the movie trilogy is suitably epic. Looks like Peter Jackson’s done it again.
Held monthly at Work-Shop in Redfern, Speech Therapy brings together the country’s best rappers and spoken word artists to perform their finest 20 minutes of material; no music or props, just words and ideas. The event’s 10th instalment and final show of the year takes place on 23 Nov, and features a stellar lineup, including the likes of Ozi Batla, Joelistics, Omar Musa, Tom Scott, Ellesquire and Nikkita, with Sydney’s The Tongue hosting the show.
PRINCE CHARLES
THE OL’ SWITCHEROO
THE SMITH STREET BAND While you, dear reader, have known for ages, the wider music community finally latches onto The Smith Street Band as they enter the ARIA charts. Kudos lads.
THE HOBBIT
Wouldn’t expect to see a mid-60s monarch in waiting here, but good on him for being a sport and taking the piss out of Molly Meldrum and his infamous 1977 interview with him.
Client Liaison and Rome Fortune have had to pull out of OutsideIn Festival. Fear not though, they’ve managed to find some worthy replacements in the form of Oscar Key Sung and Andras Fox. All the action takes place 29 Nov at Manning Bar.
TALENTS GALORE NOFX SYDNEY INCIDENT
BACKLASH NSW MUSOS
You have the likes of Tex Perkins and The Basics stepping up and actually getting involved in the Victorian elections, but what do local musos do here? Did anyone care enough about say the Hoey or Annandale or various other venues that were under threat to step into politics to get it sorted? Nope, we’re coming up blank too.
PUNK WHINGERS While we wouldn’t have expected NOFX to lash out at a fan who ran on stage, all the brouhaha over it has us interested. It is punk music after all and aren’t things meant to be a bit rebellious?
PHIL RUDD What the hell went on there when for a day there was the phrase “murder plot” associated with the AC/DC drummer? Thankfully that particular charge has been dropped, but there are still drug offences to deal with.
12 • THE MUSIC • 12TH NOVEMBER 2014
Canadian spoken word artist, musician and songwriter, CR Avery has announced his second tour of Australia this November, aiming to blow away audiences with his signature blend of spoken word, beat-boxing, harmonica and blues piano. See him 26 Nov, The Vanguard.
MODEL ACT
Impressive young men Modeselektor head to Australia for the first time ever in February. Why impressive? They’re one third of Moderat, they run the label 50 WEAPONS and imprint Monkeytown Records, and they make their own house music too. We don’t know how they find the time. Modeselektor play The Hi-Fi, 13 Feb.
GARY CLARK JR
TRU BLU
Gary Clark Jr returns to Australia as part of Bluesfest, but has just announced he’ll also play some sideshows while here. The shows coincide with the release of his new live album, Gary Clark Jr – LIVE, which features original material and covers. Metro Theatre on 10 Apr.
MAJESTIC ALIVE
After six years and a $30 million renovation the grand old queen of the Blue Mountains, the Hydro Majestic in Medlow Bath not only reopens to the public but will also be hosting live music in its grand 250-seat ballroom. Gala opening night 31 Jan will see jazz multi-instrumentalist James Morrison performing, followed 7 Feb by Richard Clapton, 14 Feb by Steve Clisby and 21 Feb by The McClymonts.
IN THE FRAME
MusicNSW is presenting another of its always-informative free seminars, this time looking at the role of the music photographer. For those of you wondering how to get into the business of snapping artists and bands, 18 Nov, Brand X Rehearsal Space – Inside Central Park, Level 3/28 Broadway hosts Oh Snap!, with photographers Dan Boud, Kiera Chevell, Tim Levy, Cai Griffin and Pat Stevenson talking about what they do.
AUSSIE CLASSICS
The holiday vibes keep going with the announcement of Ministry Of Sound’s Boxing Day Classics at Manly Wharf Hotel on 26 Dec. It’ll be the ultimate harbour party, with the like of including Kid Kenobi, GT, Ben Morris, Shamus and more bringing you the best club tunes. Dance off some of your Xmas kilos.
OLD SOUL
Soul master Steve Clisby has just released the second single, the title track from the new album, Leave Me Dreaming. Clisby is playing a set of five special shows in NSW early next year, starting at Lizottes Newcastle, 16 Jan; Lizottes Central Coast, 17 Jan; Lizottes Sydney, 24 Jan; and Brass Monkey, 30 Jan.
HIGHASAKITE
ON THE SIDE
Rejoice, it’s Laneway sideshow time! Announcements continue to roll in, and so far we have Banks playing St Stephen’s Uniting Church, 3 Feb; Benjamin Booker at Newtown Social Club, 2 Feb; Highasakite performing Metro Theatre, 27 Jan; Mac DeMarco hitting up Metro Theatre, 30 Jan; Raury playing Oxford Art Factory, 2 Feb; Angel Olsen performs at Oxford Art Factory, 3 Feb; Eagulls come to Oxford Art Factory, 30 Jan; and Little Dragon at Sydney Opera House, 5 Feb.
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local news nsw.news@themusic.com.au
DAN SULTAN
UP IN THE MOUNTAINS
The 20th Blue Mountains Music Festival (BMMF) is on 13 – 15 Mar 2015 with another three day stellar line-up of folk, roots and blues that includes Buffy Sainte-Marie, John Butler and Dan Sultan.
I DUB THEE
Dubfire, one half of the Grammy-award winning duo Deep Dish, is coming back to Australia for the first time since March’s Future Music Festival. One the most respected and in-demand DJs on the planet, his dark style of infectious techno has seen him become a worldwide phenomenon. Catch his Melbourne show on 20 Dec at Greenwood Hotel.
A FRIEND IN NEED
Supporting London Grammar at Enmore Theatre, 9 Mar and Hordern Pavilion, 12 Mar will be New York minimal pop trio Wet. Opening for Johnny Marr at Enmore Theatre, 5 Feb is Flyying Colours.
PAOLO NUTINI
PAOLO ON THE SIDE
Heading over for the 2015 Bluesfest, that Scottish singer-songwriter with the not-remotelyScottish name, Paolo Nutini, will be putting in a couple of sideshows so he can showcase his latest album, Caustic Love, and more up close and personal, including 31 Mar at Enmore Theatre.
BLUE MACHINES
Imagine going back to all the places you once lived and making a bit of a racket. That’s what J Walker decided to do. Better known as Machine Translations and armed with a new single, Doom Boogie Ticket, he’s hitting the road on what he’s dubbed his Play The Old Hometown Blues Tour, kicking off 21 Nov in Anita’s Theatre in Wollongong. Then it’s south 22 Nov to play Turner Bowling Club, Canberra and back up 23 Nov for Newtown Social Club.
EMC SQUARED
The Electronic Music Conference has almost doubled it’s already strong line-up, adding Flume, Laidback Luke, Cedric Gervais, Latane Hughes, DJ John Course, Will Larnach-Jones, Late Nite Tuff Guy, Danny Rogers, Kite String Tangle and Emoh Instead. Hitting Eternity Playhouse, Upstairs Beresford, Lo-Fi and The Standard Bowl, 2 – 4 Dec.
LOOK, I’VE TWEETED ABOUT THIS BEFORE, BUT: GIN. WHEN IS THAT NOT RELEVANT THOUGH, BRIDGET LUTHERBORROW [@BIRTILEDGE]?
TOTEM
TURTLE TOTEM
Inspired by the turtle that is the central stage design element of the Cirque du Soleil production, Totem, currently playing under the Big Top in the Entertainment Quarter, Moore Park, over the next few weeks a giant inflated turtle puppet more than four metres high and seven metres long will be roaming the streets of Sydney leading people back to the Totem Big Top.
AMERICAN BEAUTY
Classic rock legends America will return to Melbourne in mid-2015, playing State Theatre, 14 May, with special guest Sharon Corr (yep, from The Corrs). Founded in the 1960s, the band found success with a string of number ones and top tens, and have since earned a Grammy Award for Best New Artist in 1972.
NUMBER THREE
With more than 500 shows and two wrecked Taragos under their collective belt, the fivepiece band of brothers and cousins that goes by the name Castlecomer are setting off to do it all again in the name of their third EP, Miss December. Catch them 27 Nov at Oxford Art Factory, 4 Dec at Transit Bar in Canberra and 20 Dec at Small Ballroom, Newcastle.
SECOND SHOT
Obviously the idea of Paul Kelly presenting what he’s dubbed The Merri Soul Sessions at Taronga Zoo 6 Feb struck a chord among Sydneysiders – the show has completely sold out. Thankfully, a second show has been announced for 5 Feb.
COUNTDOWN TO 2015
Two of the world’s most in-demand DJs – Will Sparks and Havana Brown – won’t be rockin’ da house in Ibiza or Manchester but right here in the Harbour City 31 Dec at Marquee Sydney, where you can party till the fireworks see out 2014 and then keep on partying till the sun comes up on a brand new year.
SCRUBBING UP WELL
DJ, producer & cartoonist Mr Scruff has announced a series of dates across Australia in January. His work for the UK label Ninja Tune has made him one of the longest signed artists in soul and electronic, which delves into hip hop, jazz, reggae, disco and more. Get all up in the mix when he performs 7 Feb, Metro Theatre.
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music
THERAPY AND COMMUNITY Life’s just been win after win for Melbourne punks The Smith Street Band of late, but they’re taking nothing for granted. Frontman Wil Wagner explains to Steve Bell why the band treats each day as if it’s their last.
H
onesty, sincerity, integrity – these words are thrown around a lot in musical circles, but don’t really seem appropriate all that often. Smoke and mirrors abound in the music scene, shrouding even the most casual outfit with at least a thin veneer of deception or disingenuity. Not so Melbourne folk-punks The Smith Street Band. In a career which hasn’t even reached the five-year mark – but which has already spawned three albums and two EPs – they’ve become renowned for their no-bullshit approach to their craft, pumping out anthemic, lifeaffirming songs which are often sad in content but
life, so the fact that I’ve been able to go three times now already with my friends is a real dream come true and something that we never expected would be able to happen. It’s so inspiring and you do really try because when [you go to Europe] it’s like, ‘In six months everybody’s going to stop caring about us, so let’s make this the best tour we ever do because it could be the last one!’ We try to squeeze the maximum out of everything in case people realise that we’re a shit band soon, so we grab everything by the scruff of the neck as much as we can. “I get so inspired by this global sense of community that we’ve come across – coming
same type of things that I was, and you started a band for the same reason that I did, but you speak German and I speak English.’ It’s so inspiring to realise that there is this massive but almost unknown and unspoken about global connection between people, just sad people that want to write songs. It’s really beautiful and super-inspiring.” Apart from the geographical tropes, Wagner is unsure whether there’s a lyrical thread tying the songs together throughout Don’t Throw Me In The River, although it might just be too early in the picture for him to reach full understanding. “I guess there is a bit – there’s probably more on this than the other records because they were all written on the road,” he ponders. “But I try not to think about stuff when I’m writing as much as I can, so any themes that come through I’ll work out later – I’ll listen to the album in six months and go, ‘Oh that’s what this is about, I didn’t know that at the time!’ Half the time I write it’s to actually try to understand what I’m feeling a bit better – I use it in a very therapeutic way. I’ll write three songs and two will be catchy, and the third will be a sevenand-a-half minute song with two chords about how sad I am today, and I’ll be, like, ‘Ah, that one probably doesn’t have to come out, that one can be for me.’” For Don’t Throw Me In The River the four bandmates refused to rush, decamping to the rural Victorian enclave of Forrest (having tracked the drums already
“WE TRY TO SQUEEZE THE MAXIMUM OUT OF EVERYTHING IN CASE PEOPLE REALISE THAT WE’RE A SHIT BAND SOON.”
delivered with such joy and conviction that it’s almost impossible to not be swept away in the moment. And it’s not just Australia but the world that’s starting to pay attention. They started out building a like-minded community in Melbourne, spread that gradually to the far reaches of our country and are now hooking up with empathetic bands from punk scenes all over the planet. And now – on excellent third long-player, Don’t Throw Me In The River – this penchant for globe-trotting is beginning to shine through in their music. Written on tour in three different continents, the album includes titles such as Calgary Girls, Surrey Dive and East London Summer, and exotic imagery abounds throughout the lyrics. If their 2012 sophomore album Sunshine & Technology was the sound of suburban Melbourne, and 2013 EP Don’t Fuck With Our Dreams found the band stretching their wings and exploring wider Australia, then Don’t Throw Me In The River is The Smith Street Band taking on the globe, their familiar worldview now being beamed to us from more exotic locales but with similarly intoxicating results. “It wasn’t conscious at all,” explains affable frontman and songwriter Wil Wagner. “A few people have said, ‘Did you mean to stop writing about Melbourne because the album’s coming out everywhere?’ but it’s more that I just write about wherever I am at the time. It definitely wasn’t a conscious thing. I never thought that I’d be able to afford to go on a holiday to Europe in my entire 16 • THE MUSIC • 12TH NOVEMBER 2014
from Melbourne there’s a tight little community of bands, with Poison City Records and all of the bands that we’ve been friends with for years like The Bennies. We might not sound the same, and on paper it’s a bad pairing because we have very different takes on being a band, but I’ll play shows with them forever because they’re people that I love and they have morals that I share and that kind of thing. Now we’re amazing friends with bands like The Menzingers and Restorations – we have great friends in the UK and America, we even have great Austrian friends in a band called Astpie. You just meet people and you’re like, ‘You have the same influences as I do, and you’re bummed about the
in Melbourne’s Sing Sing studios) and allocating more time to get things exactly as they pictured them in their heads. The result is more nuanced and refined than earlier material, but still plenty gritty and never too slick or shiny. Did the process feel different given their recent ascension in profile, knowing that more people would be listening? “It’s sort of not that different,” Wagner tells. “I’ve said this before, the biggest jump almost was from the first EP [2011’s South East Facing Wall] to [2012 debut album] No One Gets Lost Anymore, the first record – that was going from no people to like 200 people, which was fucking terrifying! Since then it seems pretty gradual and kinda nice. I said the same thing talking to Luke [Boerdam] from Violent Soho; ‘This must be fucking terrifying the prospect of writing the next album because everyone’s going to be listening?’, and he just shrugged and said, ‘Ah well, everyone’s going to listen but I just write what I’m going to write,’ which is a really nice way to think about it. “But somehow I didn’t really feel that – or maybe I did and I just didn’t know about it – but I tend when I’m writing to not think about it too much, just say it and get it all out and then worry if Mum’s going to hear it kinda thing. It’s still definitely nerve-wracking though – going through the lyrics for the last time there’s always a few lines where you think, ‘Ok, that’s
gonna be fucking awkward when so-and-so hears that,’ or if you’re not painting your ex in the most positive light you think, ‘Oh well, that’ll get a phone call,’ but that’s ok. I think the lines that make me feel the most uncomfortable are the most honest lines, and they’re the ones that people respond to – I just try to be as honest as I can. That’s what people seem to connect with us, the immediacy and honesty of everything, so if I was trying to replicate that or write so I would sound like I was being spontaneous it just wouldn’t work. I just have to not stress and just let it out.” Now that Don’t Throw Me In The River is public property, does Wagner have any expectations about how it may be received? “I’d be pretty disappointed if it didn’t go double platinum,” he laughs. “I have no expectations. I played it to my mum and she liked it, and I’m proud of it, so anything from here on in is a bonus as far as I’m concerned. Which sounds like bullshit, but it’s totally true. I have no idea how many copies of any of our albums we’ve sold or anything like that – I’m stoked when I see our stuff on Pirate Bay, like ‘Great, there’s WHAT: Don’t Throw Me In The River (Poison City Records) WHEN & WHERE: 22 Nov, Manning Bar; 23 Nov,
another few people who are listening to it!’ I just want people to hear the music – I just hope people do hear this record, and I hope they like it. I’m sure a bunch of people will say that we’re sell-outs for whatever reason, all of the same shit that happens whenever anybody does anything – some people will like it and some people will say it’s shit – but I feel like this is as good a representation of how the band sounds, at least in my head if not in everyone’s head, as we’ve done so far. I hope people get into it.”
LOVE & HATE Haters seemingly still gotta hate. Wagner explains that The Smith Street Band’s rise in popularity has also brought with it plenty of detractors. “People fucking hate us!” he smiles. “Just that weird tall poppy mentality. After that Don’t Fuck With Our Dreams incident where a guy fucked up our friend Jules, there were a few times where I’d be walking through the pub in Melbourne and I’d just get punched in the face by someone that I’ve never met – just crazy shit like that. But it just comes with the territory, I guess. We get a bit of backlash, but nowhere near as much as the [positivity we receive]. “I just tend to not read anything, because you just get people going, ‘This is the greatest Australian record that I’ve ever heard in my entire life!’, and someone else will be, ‘The singer of this band should be put down for being the worst singer I’ve ever heard!’ And if you believe one you sort of have to believe the other one, and you end up walking around going, ‘I’m a genius! I’m the worst! I’m a genius!’ So I just tend to ignore all of it and just try to do something that I’m stoked with. I just try to avoid everything as much as possible – I just try to stay in my own little world.”
Zierholz @ UC, Canberra; 24 Nov, Factory Theatre THE MUSIC • 12TH NOVEMBER 2014 • 17
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PICKING FAVOURITES
Little May vocalist Hannah Field admits they’re too “picky” to release just any old debut. She spills her guts to Hannah Story.
T
he self-titled debut EP from Little May has been a long time coming. The group started recording a couple of years ago, but were “too picky”, replacing older songs with newer ones, and reworking what they already had. “They’re still Little May at the heart of it, obviously, but the EP was just more of a progression for us,” says Hannah Field. At the time the songs were first written, Field says that herself and rhythm guitarist Liz Drummond were going through changes in their personal relationships. “I think you just always pull from some grief and from change and maybe from not wanting to change and having to let go. I always have to pull from that because it’s something
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that deeply affected me when I was a little bit younger and I think it’s something that everyone can relate to: you get that shock to the system when you lose someone – maybe emotionally or physically – that you kind of thought was going to be there for a pretty long time.” As their sound has developed, and their music has covered love, loss, heartbreak and everything in-between, they’ve been plagued by the descriptor “allgirl band”. “I don’t really have that much of an issue with [being called an all-girl band]. I just think that we want to be respected for the music that we write. If people like the music that’s the main
thing. It doesn’t matter if we’re guys or girls. I think it should just come from the music and it shouldn’t be impressive that we’re a female band, I guess. In saying that if other young females who are wanting to start a career in the music industry find that inspirational or get some inspiration from that or the music that we’re writing, that’s fantastic.” Little May first met during high school, at Sydney’s Barker College and Pymble Ladies College. It was there that the core unit of the band became friends; Drummond and lead guitarist Annie Hamilton at PLC, and then when Drummond moved for senior school to Barker, Drummond and Field. After they graduated, they started writing together and playing open mic nights. “We were like, ‘We might as well just give it a go, who knows what will happen?’ Then it took off from there really quite quickly and surprisingly to be honest.” Field is super excited to be heading on their first headline tour. After support slots including Mikhael Paskalev and the one-and-only Rodriguez, you can expect a polished live show. “I think audiences can expect a bit of a darker side to Little May and we’ve definitely been working on our live show since before we played Splendour just to really get it up to standard. There’s a couple of dance moves thrown in there. I think the energy’s kind of, we’ve just stepped up the energy a fair bit, so that’s pretty cool.” WHAT: Little May (Dew Process/Universal) WHEN & WHERE: 16 Nov, Rad Bar, Wollongong; 22 Nov, The Front Gallery & Cafe, Canberra; 27 & 28 Nov, Newtown Social Club
SISTER SINGERS
A chance for Katie Noonan to share a few favourites with her female peers has led to an album, a tour and some fundraising. She and one of those peers, Angie Hart, talk to Michael Smith.
“T
he idea had been building for a while,” Katie Noonan begins, “and the name, Songs That Made Me, came early too. I really liked that name – the songs that made me as a person, as a musician and as a woman – and I really wanted to create a format, a platform that could be an all-female concert, focusing on female musicians who write as well, so I wanted this to be about the songwriting process and who influenced them as songwriters.
Angie Hart and, of course, Noonan herself.
“And I liked the idea of it being multi-generational as well, so there’s very much a young, up-and-coming vibe and established artists and then my peers and people I look up to. So we did a national tour last year and just felt so great, and it was an all-girl band. People really seemed to connect with the intimate, social nature of the event – it just felt like hanging out with my girlfriends, talking and singing songs.”
“And it was quite collaborative,” Hart, who takes on Cyndi Lauper’s version of Prince’s When You Were Mine on the album, chips in. “There were a lot of people in the studio at the same time, so people were hopping on each other’s tracks and it was really lovely to have an actual collaborative feel and have it genuinely be a ‘womanship’, a fellowship.”
Earlier this year, Noonan, along with Olivia NewtonJohn, Megan Washington and more, was involved in a breast cancer awareness campaign based on the Divinyls’ hit, I Touch Myself. That prompted the idea of making Songs That Made Me a fundraising project for gynaecological and breast cancer research and awareness. The result is the CD featuring 15 reinterpretations of “songs that made them” by Noonan’s “dream list of women”, among others, Ainslie Wills, Kylie Auldist,
So, for instance, Hart and Noonan join Auldist, Conway and Wills on a version of The Pretenders’ Hymn To Her, while Noonan helps out on Anna Coddington’s take on Terence Trent D’Arby’s Sign Your Name.
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“And then there’s Renee Geyer,” Noonan adds reverentially, noting that of all the contributors, Geyer is the only one directly affected, currently in remission, by breast cancer. “The queen! She paved the way, her and Chrissie Amphlett, and Deb Conway were the three kind of badarse chicks that I remember really looking up to growing up… and Angie! More when I was a little bit older, with Frenté.” Accompanying the release of the CD is a national tour that features Noonan, Hart, Pool and Buckingham, though depending on the night and the city, audiences can expect to see at least one of the other contributors joining in. One hundred per cent of the monies raised by the sale of the Songs That Made Me album will go to the Cancer Council’s Pink Ribbon campaign. WHEN & WHERE: 13 Nov, Joan Sutherland Performing Arts Centre; 14 & 15 Nov, The Basement; 16 Nov, Lizottes Newcastle
THE MUSIC • 12TH NOVEMBER 2014 • 19
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IT’S A CULT THING Fresh from Germany’s Wacken Open Air festival New York heavy-hitters Prong mainstay Tommy Victor chats with Brendan Crabb about stealing stuff from Bad Brains.
“I
t’s always been something to fight for, to reach new goals,” Prong vocalist/guitarist Tommy Victor admits regarding their career. “Every day is like a challenge, but it’s cool at the same time. I’m not that goal-oriented, so that was a bad response. I go where I’m taken, so I trust in that.” Having survived two decades, brief hiatus aside, Prong remain a more than viable entity, recently issuing their Ruining Lives LP. As for where their groove-thrash/ hardcore/industrial hybrid sits within the current metal landscape, the New York outfit’s sole remaining original
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member believes they’ve carved a niche. “It’s a cult following, it’s very different than everybody else. I think there’s a focus on, like, rock songs, like anthems, and songs, more than just riffs. So that’s an essential difference, and where we come from it’s a lot of post-punk, a lot of New York, East Coast sound to it. It’s difficult (to market), because you have AC/DC, where it’s a consistent sound. Prong evolves and we do a lot of different things, it’s always changing.” Who does he consider to be their contemporaries? “It’s hard to say. I’d say Helmet would be the closest. That’s what’s good about it – we’re the only ones doing it.”
METAL WEB
Canadian technical death metal pioneers Gorguts went 12 years without releasing any new music but off the back of their latest release are bigger than ever. Main man Luc Lemay shares his bewilderment with Lochlan Watt.
“T
he last record was From Wisdom To Hate, and that was in 2001. Then we did two US tours for that record, and then not long after, Steve [MacDonald] the drummer passed away, and I decided to put the band on hold,” recalls Luc Lemay through his thick French-Canadian accent. “In my mind I was done with the band. I never expected that we’d do another record. So anyway, circumstances came that, Big Steeve [Hurdle], my friend that played on Obscura, I joined his band Negativa, and we did
that EP, and he is the one that suggested to me that I should do another Gorguts record to celebrate the 20th anniversary of the band. So that was in 2007 that he came up with that idea.” Fast-forward another six or so years, and Colored Sands became the fifth and most celebrated full-length release from Gorguts. A doublelayered concept album based around the idea of mandalas and the history of Tibet, the mind-bending technical monstrosity ended up on ‘best of 2013’ lists the world over. “Man, I don’t know what to say about this,
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Prong heavily inspired others who have subsequently reached sizeable commercial heights though, nu-metallers Static-X for instance. Not that the frontman appears bitter about their pile-driving riffs being pillaged. “I don’t pay attention to that too much. Everything’s out there in the universe today, I don’t care. I like those guys. I stole from Bad Brains and stuff like that, I don’t care.” The Music meets with Victor following a well-received Wacken set. His laid-back conversational demeanour belies the trio’s high-energy performances, which Australian audiences will finally experience in November. Grinspoon’s 1998 cover of Prong’s Snap Your Fingers, Snap Your Neck introduced them to many new sets of ears Down Under. “I heard it – they did a really good job with it. It came out great, I really liked it.” Discussing the Australian tour, the main-man promises a “legacy band (with) a lot of different songs”. “We’ve put a great set together and it’s really been working. We’ve been hitting it pretty hard this year, all the shows have been great. I got blessed, I’ve got really good players with me. These guys kick ass; really good guys, really good players, so we have a lot of fun. That’s the main thing; having a good time and enjoying going on stage. There’s a lot like a punk rock attitude about that, which is cool.” Certain musicians would resent the legacy or heritage act tag, but it doesn’t faze Victor. “I accept it for what it is. But we have new records that are doing well, that people like, so that helps. The new records, they’re pretty good. People like the new songs (live) better I think, believe it or not. Carved Into Stone and Ruining Lives, those two records really had a good impact on people.” WHEN & WHERE: 19 Nov, Metro Theatre; 22 Nov, The Basement, Canberra
because I never ever expected that. First things first, I did a record because my heart was totally into it, as much as when I stopped the band it was because my heart was no longer into it. Then doing this record, when I started jamming again with Big Steeve, he was a lot on the internet, on those metal forums, and reading a lot on the bands and stuff, but not me. I was using the internet just a bit for my email; I didn’t even know what a MySpace site was back then. So the thing is Big Steeve was saying, ‘Dude, you’d be surprised the amount of people that are talking about the band,’ because for me it was done, it was forgotten, and people weren’t really caring about it anymore. “So first things first; I said I’ll do it for the joy of crafting songs, and now after we do this, and seeing all the people, the response, the fans that I meet at the shows, you see that they are still there, and even more interested in the band than before. Not that before people weren’t interested but we didn’t have as big of a following as now. I think maybe the band started back when the internet was not around, even when we did Obscura and From Wisdom To Hate, internet was not going on much for the metal… It was, like, starting. So internet I think is a big, big, big reason why I think the album got… spread around so much. I couldn’t be happier with the response I got from people.” Since the release of Colored Sands Gorguts have toured the US, Canada and Europe multiple times, and now head down to Australia, New Zealand and Japan for the first time ever. “It has been an awesome year… the best the band has ever had in 25 years. I can’t complain.” WHEN & WHERE: 15 Nov, Newtown Social Club
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track-by -track
BRAGGING RIGHTS The poverty and Centrelink payments are long gone as Scott ‘Kerser’ Barrow goes from underground to a KING on his new album. He takes us through the LP track by track. The Truth
Lonely At The Top
We thought we’d start it [the album] off with a straight hip hop banger, boom-bap style. I just spat three verses and a chorus and it’s just a confident, I’m still here, dominance track.
It’s like explaining my position in rap. The way I came up, without the radio and television and all this marketing, without that I feel like I’m at the top of a different genre.
C-Town That was like visualising parties in Campbelltown and what goes on at those parties in Campbelltown and probably in a lot of suburbs across the country. That was more of a party-banger; we thought we’d go from The Truth and keep it upbeat and still have that old Kerser flavour.
Any achievements I throw in my lyrics and it makes it so much easier to write. Plus I love to brag [laughs]. 225 feat. Ray, Jay UF That has Ray on the first verse – that’s my older brother – and it’s got Jay UF, who’s our best mate who we went to school with on it as well. It was pretty crazy writing that one. We started writing raps together, all of us years ago when
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we were teenagers, and we actually got to sit down and write that over a few drinks, which we hadn’t done in years, so that’s a pretty special song on the album. Taken Away I wanted to do a bit of a movie theme and put it in the rap. Like a script from a movie but something that actually… shit that actually does happen. I did it from a male’s point of view and from a female’s as well. ‘Cause I’ve got female fans as well, so you’ve gotta try and broaden your lyrics and write stuff so that they can relate to them [the songs] as well. That was definitely on my mind throughout, not just that song, but the whole album. Fantastic When Nebs made that beat, it just had that real gangster sound and yeah, I just enjoyed rapping on that one, I felt really good at the time. I think when I wrote that I’d just come off a festival run and I was just feeling really good about where I was at in my career. Underground I’m still underground, ‘cause I’m not on the TV, I’m not on the radio, but I’m still very well-known. I was trying to explain that [on the track] and I’ve been wanting to do a track, like, in that style for a while and when Nebs [his producer] did that sample I just thought that was perfect beat to rhyme on for it. WHAT: King (Obese) To the read the full track by track, head to theMusic.com.au
CLASSIC DOCTOR As Daleks, Cybermen and the rest tried to take over the universe beyond, space time was never silent. Liz Giuffre chats to the fifth Doctor, Peter Davison, about the symphony of sound behind Dr Who.
T
he Doctor Who Symphony Spectacular is returning, new, updated, improved, and including real life Doctor number five, Peter Davidson, to run the proceedings. The idea, he thinks, is simple. “We tend to watch film or TV and we don’t tend to really listen to the music. We’re aware that it’s there, but often not really aware of how much it contributes to your viewing experience. And this was an opportunity to put the focus on the music as opposed to what’s happening on the screen. We still show clips at the concert, but you’re hearing and seeing a full orchestra playing the music.” Of course classic Whovian music has a special Australian connection, the show’s theme written by expat Queenslander Ron Grainer, and much of the formative ‘incidental’ music written by Dudley Simpson. “It’s marvellous when you hear the theme done by the orchestra, immensely powerful music. My part is to come in and introduce pieces of music, and it’s nice to have that connection to the audience, and I like to make those bits between the pieces of music informal. The fans love the music and we have lots of additions in terms of monsters and aliens running around the auditorium trying to scare the heck out of people – it’s very much a theatrical experience too.” 22 • THE MUSIC • 12TH NOVEMBER 2014
With a tour featuring a full orchestra as well as various players, monsters and bit parts, there’s obviously a very interesting mix of personalities to deal with. “Yes makes backstage very interesting,” Davidson admits. “Every city we go to we’re auditioning people to be Cybermen or Daleks or whatever, and it’s quite an art. They often can’t see much while they’re running along ledges or whatever. “Certainly in the last tour we did in January there was a piece from the classic era that was re-imagined for the orchestra, which was really popular, so I’m hoping that will happen
again. Of course [in my time in the early 1980s] we had the very famous BBC Radiophonic Workshop doing our music. And it was more, I would say, incidental music, than an actual piece of music. Although you could sense, towards my time in the show and after, that these composers wanted to spread their wings. What happened when the series came back [in 2005], they had production means and a budget to get music recorded by a full orchestra. And the composer, Murray Gold, he wanted to write pieces of music for an orchestra, rather than just incidental bits, and it became a really big part of the show. So I’m quite envious of the quality of the music. I’m not knocking the Radiophonic and it was very much a part of the show and I loved it.” Given how much of that classic era experimentation with sound has now been acknowledged as inspiration for ‘new’ forms of music like EDM, who knows what might come around next. WHEN & WHERE: 7 Feb, Qantas Credit Union Arena
THE MUSIC • 12TH NOVEMBER 2014 • 23
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RAISE A GLASS Rehashing a classic album on its ten-year anniversary is more than a trip down memory lane for Jimmy Eat World bassist-turned-distiller Rick Burch. Daniel Cribb gets a taste of what’s to come.
I
t’s usually items of tin or aluminium bestowed as gifts upon ten-year anniversaries, but for Jimmy Eat World bassist Rick Burch, the decennium of the band’s classic album Futures coincides with the opening of a distillery in Arizona with friends John Miller and Jeff Barlow called CaskWerks Distilling Co, that specialises in whisky, cider and gin. “We’ve just signed a lease on a [place] so we’re going to start building out hopefully in October,” Burch says. “We’ll have all our permits approved and then we can start cutting floor drains and moving walls around where they need to
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[be] and hopefully by December [we’ll be] running our first batches through the system, so early next year we’ll have some bottles to share.” In the interim, Jimmy Eat World have a run of headline dates in Australia this November to mark ten years since the release of their classic album Futures. “The way we’re envisioning it, the night will start out with Futures and we’ll play the album top to bottom, and once that’s finished we’ll take a short break, catch our breath and come back for like a miniset, like a mini-normal Jimmy Eat World show. “There are a few songs on there we’ve never
performed live so it’s the challenge of approaching those and figuring out how we’re going to do that live. But there’s also just stepping back, and it puts me back to where we were when we were making that album. We’d just come off Bleed American and toured on that for over two years. Futures was the first time we had an awareness that people were waiting to hear what we were going to do next. It was just a big growth point in our lives so it kind of takes you right back there. It’s really cool; kind of like a time machine.” 2014 also marks 20 years of Jimmy Eat World, and it was the extensive touring schedule each of the band’s eight albums demanded that sparked Burch’s passion for distilling spirits. “The format of making a beverage is another creative format. It’s something humans have been doing for thousands of years, but can still be very creative in that realm... Travelling the world I discovered that I love whisky, and being able to visit these places around the world and try different drinks and makes, I found it very interesting. I wanted to learn more about it so I started investigating how it’s made, the process – I realised that I really love the process... Building a bottle to pass around the table, it’s a lot of fun.” The logistics of shipping alcohol internationally can be a nightmare, but CaskWerks may eventually have the ability to supply their product to Australia. In the meantime, fans can rejoice in the news that the band has been penning riffs and ideas for a new record. “When [we] finish the Futures tour we’ll go back and start hacking through those [ideas] and see what has life and what shows promise... The ideas are always happening; you might not be able to get them fleshed out right away but they’re always there.” WHEN & WHERE: 22 Nov, Enmore Theatre
SOLITARY CONFINEMENT He wrote his first song on an empty VB carton using black charcoal at 16 years of age. Frank Yamma goes so far as to tell Samson McDougall he found the solitude of a jail cell conducive to songwriting.
O
n top of the grand piano in David Bridie’s innerMelbourne studio, Haus Bilas, there’s a blue ring binder marked ‘Yamma’ in black texta. Frank Yamma and his partner Judy have just flown in from Adelaide and luckily Bridie’s pre-empted the interview by switching on the heater, because it’s typically dreary for this time of year. Yamma’s busting for a smoke after the plane ride so we check out the veggie patch before we start. The ring binder could be a remnant of Yamma’s recent recording sessions in this very building. The resultant album, Uncle, Yamma’s fifth, is a much rockier affair than 2010’s Countryman and it feels weird that such a big record could be born in such a humble, urban space. It’s also strange that Yamma, a Pitjantjatjara man from central Australia, brings his stories of country to what might as well be a million miles away to get them out to the rest of the world. “The first song I wrote was Make More Spear, I was only about 16 when I wrote that first song. [Using] black charcoal and an empty VB carton, I wrote it out on the box... I had my two brothers and we were always harmonising. I’ve never stopped writing songs. I love writing, I love to take my imagination to a place I’ve never been to when [I’m] writing the words or creating a song.”
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Countryman was written while Yamma was locked up for drink driving. He says he works best in isolation. “It’s a good place to write a song,” he laughs. “Words come – words after words after words after words – you can get it out and write it down. I used to have a nylon-stringed guitar in the lock-up, so I’d sit up til two or three o’clock in the morning. The security would come around, ‘Frank, hit the bed!’ I’d say, ‘Ok boss!’... When I’d finished writing about ten songs I said, ‘Man, look at how many bloody words I wrote in there!’” Of Uncle, Yamma says he’s a bit surprised at the way it turned out.
“I’m teaching myself, too, when I’m creating an album. You learn from it. In the studio here, workin’ with the fellas, amongst each other, you have to try and work along with it. It’s really interesting. You can have an engineer muck around with the sound and effects and reverb and all that stuff [but] I try not to get too flash about the sound, because you have to respect the sound that you’re creating. It’s a 100 per cent pure, natural feeling.” The rain’s at full pelt when we’re done so we linger in the front room of the studio for a few minutes. While we wait, Yamma pulls up a stool at the piano and belts out a tune that sounds like thunder, perfectly reflecting the sky on this beautifully dreary afternoon. WHAT: Uncle (Wantok Musik) WHEN & WHERE: 22 & 23 Nov, Mullum Music Festival, Mullumbimby; 11 Dec, Newtown Social Club; 13 15 Mar, Blue Mountains Music Festival, Katoomba
THE MUSIC • 12TH NOVEMBER 2014 • 25
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EATING AN APPLE
“The English gentlemen of the rock’n’roll community”, The Delta Riggs’ Michael Tramonte and Elliott Hammond explain to Hannah Story why they’re not “cunts”.
“I
t’s like eating an apple,” singer Elliott Hammond says of the reception so far to The Delta Riggs’ second record, Dipz Zebazios. “Some people wanna eat the skin and some people just wanna go deeper. In some cases we’ll just dice it up and give it to them with skin and other cases they’ll peel it themselves.” “I don’t know if that makes sense,” says bassist Michael Tramonte. “He’s stoned as though.” We laugh. Sitting at a pub in Sydney’s Surry Hills with The Music, Hammond hides behind vintage shades, while Tramonte slumps in a black shirt. They order burgers and beer, and as knives and forks clatter on plates, they talk shop.
They’re a self-described “working-class band”; most members have day jobs on top of their touring and recording schedules. “We’ve got a cost of living, y’know, that we have outside of the band,” says Tramonte. Hammond continues, “You’ve still got to take your girlfriend out for dinner on a Wednesday night.” Tramonte concludes, “Pay your rent, pay your bills, buy your drugs. All that shit.” But they’re not “doing a Sticky Fingers in Wagga Wagga”, living the ‘sex, drugs and rock’n’roll’ lifestyle. (“That shit’s gay as,” says Hammond.) Tramonte admits, “Yes, we all play rock’n’ roll, have sex and do drugs. But we don’t wear it on
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our sleeves. We’re like the English gentlemen of the rock’n’roll community.” Hammond goes on, “We don’t think that we’re more important than anyone... The band is awesome, we love playing in the band, but it’s not a platform for us to be cunts. We’re just a bunch of polite dudes who use our manners and love our mums.” Some of the subject matter for their latest record focused on celebrity culture. Hammond opines, “We kind of feel like Nicki Minaj and Miley Cyrus are like a fucking joke. We find that funny that they call themselves artists and say this shit is art. And to us it’s like it’s just a fucking cash-grab.” They’re fans of and influenced by Beastie Boys, Primal Scream and Oasis, as well as Australians REMI and Violent Soho. “We listen to heaps of the good ones,” says Hammond. “There’s shit ones too. There’s just bands right now that are either doing good things for rock’n’roll or bands that are watering it down and making it more like Thirsty Merc.” And Hammond’s not worried about sounding too close to their influences. “If you like it because you love it and you think it’s sick, just fucking go for it. Don’t hold back. There’s bands out there that completely plagiarise shit and I don’t actually have a problem with that.” The boys are keen to head back on the road again. “We haven’t done our own tour for a while so I’m excited to just see who comes,” says Tramonte. “Maybe Kyle Sandilands will come. Maybe Karl Stefanovic,” Hammond muses. “He’ll come,” Tramonte is certain. WHAT: Dipz Zebazios (Rah Rah Radio/Inertia) WHEN & WHERE: 20 Nov, Newtown Social Club; 30 Dec – 1 Jan, Lost Paradise, Glenworth Valley
CALL IT A NIGHT
All your band needs to do to get attention is break up. With The Swellers going out on a high, frontman Nick Diener runs Daniel Cribb through the band’s final days and what’s planned next.
T
he last time Michigan punk rockers The Swellers ventured to Australia was in 2012, supporting the release of their first independent EP, Running Out Of Places To Go, after numerous releases on various labels. Just two years later, they’ve announced they’ll be calling it splits after a handful of farewell shows. An odd revelation to some punters, considering their solid live show and the fact they produced a solid record in 2013’s The Light Under Closed Doors, but a closer look at their ‘12 Aussie tour confirms being in a touring band isn’t always glamorous. “It mostly driving once we got there, there were no flights between shows,” frontman Nick Diener begins on their Oz headline effort. “We landed in Sydney and then we had to drive 15 hours to Adelaide after being on a plane for 36 hours in a really small vehicle. The shows were fun, but we were just more used to being babied, I guess. We were pampered by Soundwave-type tours,” he laughs. With four Soundwave dates and a few in the US, with hopes to make it back to the UK and Europe, June 2015 seems to be the current end date for the band. “Which will be in time for our 13-year anniversary, so we should probably be done before then,” he jokes, before diving into the reasons behind the seemingly sudden split. “I think it was pretty much trying to get everybody on the same page as far as some tours and some opportunities we had coming up, and we were like, ‘Yeah, that’ll be a good
26 • THE MUSIC • 12TH NOVEMBER 2014
tour, but it won’t be great. It’ll be kind of worth it, but it won’t really’, and then we were like, ‘Let’s only do stuff if it’s going to be awesome; if we’re really going to love it’. And then we realised the opportunity to do that stuff wasn’t going to be there unless we did it totally on our own terms, and we didn’t want to be one of those bands that just dragged it out and dragged it out and slowly died. So we’d just got off an England tour and it was awesome, and it went really, really well, so we thought we’d just announce soon that we’re going to be doing some final shows. And it was kind of weird, because all of a sudden we had given a timeline for the end of
the band; it was almost relieving. We’ve done a lot of great stuff, and this means that our final shows are all going to be really fun; they’re all going to have a vibe to them. The fans are going to know it’s the last time, we’ll know it’s the last time we’re playing there, so it’ll be pretty intense, but at least we’re going out the way we wanted to go.” It’s fitting the final track on The Light Under Closed Doors is titled Call It A Night, and although The Swellers is being laid to rest, it sounds like whatever Diener decides to embark on next won’t stray too far from that sound. “That is kind of like my sound. That’s what I enjoy the most, and some of my favourite bands are Weezer and The Get Up Kids, so depending on who I’m writing with, and which direction we take, there’ll definitely be that influence… I can’t really shake that, that’s part of my songwriting.” WHEN & WHERE: 1 Mar, Soundwave Festival, Olympic Park
THE MUSIC • 12TH NOVEMBER 2014 • 25
★★★½
album/ep reviews
ARIEL PINK
TV ON THE RADIO
pom pom
Seeds
4AD/Remote Control
ALBUM OF THE WEEK
Ariel Pink only gets weirder on his latest release, pom pom, which continues to blur the line between impenetrable solipsism and catchy pop writing. At times it’s so invasive and creepy that surely Robin Thicke would be proud of him. Other times it’s as pleasant and enjoyable as an evening stroll through the park. This double album takes a good 68 minutes to wade through, during which time Pink traverses his usual outré-pop territory and more. Put Your Number In My Phone is a sunny slice of saccharine soliloquy, bordering on nonsense. Plastic Raincoats In The Pig Parade is similarly absurd and upbeat in disposition. Goth Bomb is a ridiculously frantic and terrifically kitsch addition to your next Halloween playlist, while Dinosaur Carebears, well, the title speaks for itself. The camp qualities and grotesque imagery of Black Ballerina highlight the album’s main
EMI
appeal and also its most divisive quality. Pink aims for such an overwhelming of the senses that it often feels as iff the album’s excesses exist purely for their own sake; you have to wonder whether he even knows what half of these lyrics mean. The overall effect has pom pom often feeling similar to a purposely lo-fi Hollywood film that has paid large amounts of money to look like an indie film; it aims for cult and novelty status, yet never transcends its own silliness. At the end of the day, it lacks any substance or sincerity. Nevertheless, if you’re after some earworms to mix in your beetlejuice, pom pom is an entertaining listen. Roshan Clerke
VARIOUS
28 • THE MUSIC • 12TH NOVEMBER 2014
You is as cool as any of the synth-pop being dished by the likes of CHVRCHES at the moment. Ride initially takes a listener to a dark, contemplative world of piano and strings, though impressively turns into a sprawling life-is-short-getamongst-it pop parable of grand heights. Across Seeds there’s so many different moods shaded by intriguing soundscapes, horns, electro-glitches, beautifully considered harmonies and tender lyrical moments for their departed friend, and with the TVOTR touch, it works. Tyler McLoughlan
King Obese
Kobalt
Sall took responsibility for nominating which tracks many of the artists covered, which may explain a number of off-the-cuff performances that hardly suggest a life-long love of the originals. Some of it is poorly judged, such as Barry Gibb’s retro comedy experiments and The Cure’s hopelessly lost Hello Goodbye. Much of it is ugly, with many instances of geriatric former wild men overcompensating their lack of youthful vim with colostomy bag-rupturing histrionics, as Roger Daltery, Sammy Hagar and ‘80s metal poodles Def Leppard
The straight up Quartz launches their fifth record into a clanlike musical ritual of handclaps, layered harmonies and percussion that allows Tunde Adebimpe’s affective vocal to open hearts for the first of many times. Lead single Happy Idiot is undeniably instant, a moment of pure melodic clarity. A culmination of carefully constructed dancepunk that at times recalls Mark Knopfler’s dry double-tracked vocal over a simply executed guitar rhythm, the key single at first does a disservice to an album that’s due a magnetism that demands repeat listens. Lazerray is fun, fast and fuzzheavy rock, but then Careful
★★★½
KERSER
The Art Of McCartney
What could possibly go wrong? The 11-year project of producer Ralph Sall, The Art Of McCartney features the timeless songs of Paul McCartney – Beatles, Wings and solo material all included – covered by “the World’s Greatest Artists” including Kiss, Brian Wilson, an immensely gravely Bob Dylan, The Cure and, erm, Steve Miller – twice.
Seeds is the first album for the Brooklyn outfit since the passing of bassist Gerard Smith, and as usual it’s brimming with the unexpected in a way that only a band comprising a producer and a pair of visual artists is capable of.
Kerser’s success demands an explanation. How has Kers found himself near enough the top of the heap?
★½ all confirm they’ve devolved into cartoon parodies. Some of it is just downright unsanitary, as the bestial groaning of Billy Joel would normally be associated with a man wrestling extreme constipation. Against the odds, Heart appear to be one of the less rigor mort-icised acts here, Yusuf (formally Cat Stevens) steers clear of the schmaltz and Corrine Bailey Rae’s Bluebird is splendidly soporific. But despite these faint glimmers, it seems inevitable that curious historians will one day ponder what exactly McCartney did to deserve this. Christopher H James
On the mic Kerser seems so near and so immediate you could touch him. So while he drifts of into the harshness, violence, and anger that would otherwise alienate (many of ) us, Kers’ presence – the feeling that we walk with him –holds our attention. Here the best example of that is Forever. Our host’s guttural, grinding delivery gives way to a reflective swoon of a chorus. C-Town is surprisingly approachable: another example of Kerser taking otherwise confronting content while excluding no one. Of course, any Kerser release is also a Nebs release. Kerser acknowledged as much by calling his debut The Nebulizer. Nebs proved he’s one of Australia’s best beatsmiths first with his clique That’s Them. He proves
★★★ it again here, probably peaking with the stop-start otherworldliness of Smokin’ Up. On that track Kers tries to explain, “why they all listen, from the kids in the commissions to the people running businesses”. The more time you spend with Kerser, the more you realise he’s eloquent, playful, lighthearted, endearing: all with a menacing undercurrent. That’s a set of traits that describes all of the most commercially successful rappers of the last 20 years. Perhaps success isn’t the issue. With attributes like that, how could he fail? James d’Apice
THE MUSIC • 12TH NOVEMBER 2014 • 29
album/ep reviews
★★★★
TRUST PUNKS Discipline
★★★
★★★
THE NEW BASEMENT TAPES
BRANT BJORK & THE LOW DESERT PUNK BAND
Spunk
Lost On The River
Auckland five-piece Trust Punks keep it short and not-sosimple on debut LP Discipline. Enveloped in dissonance yet imbued with an innate sense of melody, the seven tracks on offer are as indebted to effervescence and catharsis as they are to tension and repetition. Opener Doubt in particular is raucous, tremulous and buoyant (the echoed “Better to leave it be” could be the sign-off to many an indie-pop band). But there is the tethered electronics of Leeds United, the krautrock-run Gordian Knot and the brutal buzzsaw closure of Enemies to drag us back into the shadows.
Harvest/EMI
Brendan Telford
Taking cues from the Wilco/ Billy Bragg Mermaid Avenue project, Bob Dylan is here recycled with music added to lyrics penned with The Band in 1967, following his nearcrippling motorcycle accident. The driving force is T-Bone Burnett, sometime Dylan sideman and collaborator with many, who leads this grouping. There are some hits and misses: Rhiannon Giddens’ sea-shanty Spanish Mary is quite lovely, contrasted with Costello getting bluesy and misogynist on Married To My Hack. It’s an interesting curiosity - with some musical worth.
Black Power Flower Napalm/Rocket Stoner-rock alumnus Brant Bjork sticks to his chosen path on ‘solo’ effort Black Power Flower. Regular conventions such as repetitive riffs, roared phrases and astral/mystical iconography remain front and centre on the likes of Controllers Destroyed and Soldier Of Love. The brew is watered down on Buddha Time (Everything Fine) and Stokely Up Now, preferring more obvious rock traditions, but Boogie Woogie On Your Brain and Hustler’s Blues prove Bjork ain’t about to leave the Kyuss/ Fu Manchu gravy train just yet. Brendan Telford
★★★
BROOKE FRASER
Brutal Romantic Sony After three albums exploring acoustic folk-pop, New Zealand artist Brooke Fraser has reinvented herself. Enlisting producer David Kosten (Bat For Lashes, Marina & The Diamonds) and co-writers around the world, she executes a convincing switch into electronic, bombastic pop. She nails the style, her voice suiting the cinematic melody and production in gems Kings & Queens, Bloodrush and Magical Machine, while Brutal Romance best bridges the old and the new. It’s an impressive work, but if there is a flaw, it’s a niggling feeling of distance and anonymity in the precision, and a not quite personal touch. Amorina Fitzgerald-Hood
Ross Clelland
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★★★★
PETER BIBBY
Butcher/Hairstylist/ Beautician Spinning Top Bibby has a partiality for sardonic malapropisms, skewed bucolic ballads and a voice trammelled into broken glass and dirtflecked whiskey. It’s a weirdly heady mix, and on excellently monikered debut, Butcher/ Hairstylist/Beautician, introduces a carnivalesque series of baroque characters, all presented with a wild-eyed energy. The share-house recollections of Goodbye Johnny and the brilliantly wasted ramshackle debauchery of Friendshighlight an intrinsically distinctive voice. And with song titles like Hates My Boozin’, Stinking Rich and Cunt, Bibby paints a deliciously perturbing picture. Brendan Telford 30 • THE MUSIC • 12TH NOVEMBER 2014
★★★½
★½
SINCERELY GRIZZLY
VARIOUS
Black Night Crash/MGM
Fearless/Unified
Over a year in the making, the debut album from Adelaide art-punks Sincerely Grizzly is a shotgun blast to the chest, aiming for the heart and the jugular in equal measure. Their literate and pop-cultural predilections stand out on killer tracks I’m Nucky Thompson, This Is Atlantic City and the epic, multilayered closer, Kafkaesque. The trio’s aural approach, balancing ferocity with earnestness, intertwines with the vocal transgressions and guttural screams on a razor’s edge (seen most clearly on Catholic Guilt), but their innate sense of melody is never lost on this assured album.
Things this compilation proves: Taylor Swift’s songs are catchy regardless of how many guitars and hoarse screams try to bastardise them (thank you We Came As Romans); The 1975’s Chocolate makes for a surprisingly apt pop-punk tune once Knuckle Puck stick their whiny American vocals on it; yelling your throat raw on Wrecking Ball takes away some of its emotional resonance (courtesy of August Burns Red), and no one, I repeat, no one, needs a nu-metal version of Turn Down For What, featuring Ice T. Leave that in the early noughties’ Upon A Burning Body.
Halves
Brendan Telford
Punk Goes Pop Vol. 6
Sevana Ohandjanian
Daily Meds – Sour Milk Robert Wyatt – Different Every Time Sarah Humphreys – New Moon Monster Magnet – Milking The Stars: A Re-imagining Of Last Patrol Neil Young – Storytone Spain – Sargent Place Various – Cut Copy Presents Oceans Apart Eric Bibb – Blues People
THE MUSIC • 12TH NOVEMBER 2014 • 31
live reviews
PAUL DEMPSEY, ALEXANDER GOW Factory Theatre 7 Nov Although opener Alexander Gow didn’t get bums off the floor for his one-manand-his-electric-guitar set, his indie-rock was solid. When on stage later on in the night with Paul Dempsey he managed to engage more with the audience; it’s easier to do stage banter when you’ve got another person on stage with you. Paul Dempsey doesn’t need a backing band or anyone with
without needing any of the effects of the record. This set stands as a counterpoint to the Something For Kate tour earlier this year which was all rock star energy and depth of sound: loud and unabashed. He only has one solo record to play, but Something For Kate songs and B-sides, as well as those catchy but not yet polished new songs mean he’s never in want of another song. And it’s his songwriting that sets Dempsey apart from his peers: he has an eloquence and almost-sentimentalism, a way with imagery and metaphor that can’t be replicated. He opens with Something For Kate’s
PAUL DEMPSEY @ FACTORY THEATRE. PIC: CLARE HAWLEY
whom to banter – 20 years in the business does that. It was just the man himself and his acoustic guitar, and that was who the crowd of mostly 30- and 40-somethings were here to see. Everyone stood and gathered close, prepared for the gospel of Dempsey. What it is about Dempsey that always keeps attention, pulls at the heartstrings, is difficult quite to pinpoint. Alone with just an acoustic his voice wavers and soars, he’s able to connect and be bold in a way that doesn’t come out on record. But the performance is undeniably stripped back and poignant; it’s at times reserved and withdrawn, Dempsey testing out new songs and playing favourites like Bats and Ramona Was A Waitress 32 • THE MUSIC • 12TH NOVEMBER 2014
meant you didn’t need to know a single one of their songs to enjoy their set. How did Frenzal Rhomb react to ‘the kick felt around the world’? By donning neck braces and mercilessly mocking Fat Mike of course (favourite lines included Jay Whalley’s: “This is what happens when you don’t sell enough records on Fat Wreck”). They did manage to play some tunes as well, even taking a number of requests from the sold out crowd. On home soil the boys didn’t put a foot wrong and the likes of Mummy Doesn’t Know You’re A Nazi, Punch In The Face, Never Had So Much Fun and Genius caused a
NOFX @ ENMORE THEATRE. PIC: CLINTON BRYANT
Private Rain and admits to having never played Song For A Sleepwalker on his own before, but it’s set closer Bird In A Basement and encore closer Begin that sum up the set and its power. Hannah Story
NOFX, FRENZAL RHOMB, LOCAL RESIDENT FAILURE Enmore Theatre 7 Nov Newcastle’s Local Resident Failure were an apt choice to open proceedings. Their Fat Wreck worshipping brand of pop-punk was comfortingly familiar and
supreme across the Enmore. Burkett finally stopped to address the ‘kick felt around the world’ by offering his victim a do-over and launching into Linoleum, the song that played host to the original ‘incident’. The guy came bouncing onto the stage – grabbed Burkett, sung a bit – and everyone cheered. There you go – peace in our time. The rest of the set flew by with an reinvigorated Burkett sneering his way through Ronnie And Mags, Soul Doubt, I’m Telling Tim and veritable truck-load of other classics, including a cover of Rancid’s Radio. The band even pulled off “11 songs in 11 minutes”,
DEEP SEA ARCADE @ NEWTOWN FESTIVAL CAMPERDOWN MEMORIAL REST PARK. PIC: ANGELA PADOVAN
predictable and enduring level of mayhem in the pit. “I’m something of an international bad guy right now,” quipped Fat Mike (Michael Burkett) as he sauntered on stage with a huge grin on his face. NOFX have the reputation for being hit-and-miss live but a few seconds into their set we all knew this wasn’t going to be one of the ‘misses’. Perhaps all the extracurricular drama had lit a fire under their collective arses – because this was a performance for the ages. Blasting off with 60% and the hilarious 72 Hookers it was quickly clear that the band were firing on all cylinders. By the time Murder The Government rolled around chaos reigned
including furious renditions of Hobophobic, Fuck The Kids and Monosyllabic Girl. Rounding off with the likes of Separation Of Church And Skate, Bob and the surprise inclusion of What’s The Matter With Parents Today, NOFX proved that despite all the bullshit that goes along with their band they remain a potent punk rock force. Mark Hebblewhite
NEWTOWN FESTIVAL
Camperdown Memorial Rest Park 9 Nov All of Sydney was in Newtown on Sunday for what was without a doubt the
live reviews getting all in your face, which was refreshing.
biggest Newtown Festival of recent memory. The bands knew it too, as they seemed keen to appear in their most energetic form, rejuvenated enough to reinvigorate the sun-struck crowd.
After everyone had managed to calm down from the high drama of the dog show and had made the harrowing lunch decision between “everybody look at me I’ve got food on a stick” or something that actually tasted nice, they were treated to Richard In Your Mind, who were breezy relaxation personified, impressing on the Federation Stage. Tigertown followed with a sound that was custombuilt for the festival scene, as their low-key reverb-soaked wonders travelled through the air and up the hill like an airborne virus. They had everyone infected.
Community spirit was high, walkways were packed, the audio quality was just ok and nobody gave a damn. Out-of-place stalls such as the bubble-blowing machine and tongue whistle guy were a bum note, as they continued to try and break out of the festival scene and into everyday society. Their perseverance is certainly admirable; it’s their suckyness that sucks. Even the kids of Newtown looked at these stall-owners with disdain, no longer impressed by the miracles of soapfilled or wind-blown air.
It was too much to do in so little time as the crowd were handed their second harrowing decision of the day; The Donny Benet Show Band or sleepmakeswaves? Some were far too torn by this decision and instead decided to go relax on
It was this and the lack of good alcohol options that were the only sore points. The charitable organisations have finally learned to balance education and awareness without
2SER’s ambient lounges or paint some sort hatlike thing in the Kids Zone, pointing at random kids and saying “That’s my little boy,” if anyone questioned their presence.
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Deep Sea Arcade were a fitting end to an actionpacked day as they tore the house down and chilled everyone the fuck out in equal doses, and they finally churned out some new tunes, which were a long time coming. Nic McKenzie’s voice is enchanting, the vocal melodies out-mustering the plodding psychedelic instrumentation. The crowd screamed for an encore at the end of the set and they comically opined that they “didn’t have enough time” before rattling off a 20-minute speech about all the good places to go after the festival. Priorities people.
THE LIVING END @ METRO THEATRE. PIC: JODIE DOWNIE
The Living End @ Metro Theatre Enrico Rava @ The Basement Wagons @ Newtown Social Club Katchafire @ The Hi-Fi Harbourlife @ Fleet Steps Ed Kowalcyzk @ Seymour Centre Urthboy @ The Basement Davey Lane @ Newtown Social Club Pepa Knight @ Newtown Social Club
Alex Michael
YOUR NIGHT STARTS HERE S
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THE MUSIC • 12TH NOVEMBER 2014 • 33
arts reviews
LITTLE EGYPT’S SPEAKEASY Burlesque Django Bar
★★★ ★
A dimly-lit-in-red bar buzzed with anticipation and when the cast members of Little Egypt’s Speakeasy finally emerged it wasn’t what was expected. A well dressed bunch of jazz musicians sauntered on stage and broke into a breezy, drum-led opening number. Next up, Amos Elroy, the MC for the night, introduced the pianist and horn section. Before you knew it, three songs down and there wasn’t a burlesque dancer in sight. This became a testament to the quality of the cast. When one of the two alluring dancers came out it was purely for the advancement of the plot, the story of a burlesque club owner who’d decided to give it all away. His wife had left him and
DAYLIGHT SAVING Theatre ★★★ ½ Nick Enright was one of Australia’s best playwrights. And when the Enright family chose to collaborate with the Darlinghurst Theatre Company to stage and honour his work, they made a great decision. Their production of Daylight Saving, the first of three Enright plays to be staged over three years, is light but tightly paced. It’s, in a word, neat. Its Sydney-in-the-1980s setting means most of the laughs come from geographical and timely references (“I’m not some North Shore widow,” says Bunty, played by Belinda Giblin who skillfully keeps the character from caricature). The 1980s is ripe for laughter – we remember the décor and the shoulder pads and
Alex Michael 34 • THE MUSIC • 12TH NOVEMBER 2014
Sam Hobson
INTERSTELLAR PLATONOV Theatre Film
ATYP to 22 Nov
In cinemas
★★★ ½
In Interstellar, Earth is down to its last generation or so of humans. They’re a populace being terrorised by dust clouds that bring not only whipping winds, but make growing new food nearly impossible. NASA, officially long-dead, hides a sleeper cell deep in the heart of the dust-clogged farming district that, by mysterious means, crosses paths with ex-pilot Cooper (McConaughey), who they enlist to travel to the farthest reaches of space to help save the human race.
ATYP delivers a riveting adaption of Anton Chekov’s 1878 play, Platonov; a performance that decides to stay rooted firmly in its era with its dialogue, while allowing its brilliant costuming and sound design to evoke the present. What results is the tale of a good for nothing hipster who somehow inherits an unexplainable magnetism. He treats women as conquests – trivial pursuits – managing to entwine them in his game of cat and mouse, in which the cat can’t be bothered and the mouse is desperate to be caught, if only to feel the inevitable sting.
★★★ ★ ½
A bold, unabashed film, Interstellar has already started to divide people. Some have felt it exposition-heavy (and
INTERSTELLAR
the music, assembled by Nate Edmondson – but it’s the timeless themes of the play that keep us interested, as well as Enright’s ear for dialogue, character and dramatic tension. Tom (Christopher Stollery) and Felicity’s (Rachel Gordon) marriage is rocky; it’s their relationship that propels the play forward, as well as bookends it, although it is at times underdeveloped. Meanwhile the rich history of Felicity’s high school romance with Josh (Ian Stenlake) has just the right amount of detail and nuance to make it believable. This is a play about wanting things you
great big ideas to bound around in, and a determination to show you impossible, wonderful things.
Hannah Story
Eternity Playhouse to 30 Nov
LITTLE EGYPT’S SPEAKEASY. PIC: FRANK FARRUGIA
audiences were too interested in their iPhones to bother. The set-up paved the way for some genuinely sharp wit, including stabs at Marrickville Council and the Minogue sisters. Passionate performances more than made up for some poor accents, the crowd more than obliging every request. Artists seemed to stream from the back room all night, every brilliant song and dance routine the better for it. “Take us back to the good old days,” the MC repeated regularly. Somebody must’ve tapped some sparkly red high heels together, because it felt like we were already there.
can’t have, about loneliness and nostalgia, about being so very busy, and don’t all these things still apply now?
it is), while others have thought it also too heavy on the symbolism, but as critics our default position should be to celebrate and defend cinema, especially when it’s this earnest, hopeful and ambitious. The film’s few stumbles are admirable human ones, and dwarfed by far by the enormity of what it’s trying to achieve. Personally, Nolan’s made a film firmly bursting from his previous work. Doubling down on his famed narrative ‘steadfastness’, it’s a typically propulsive effort of such singularity it’s deafening. A movie whose life thrums on inside of you afterwards like the toll of a great bell, Interstellar has
As the play unfolds, the stage setup begins to work in tandem with the immaculate sound
DAYLIGHT SAVING. PIC: HELEN WHITE
design and lighting, the audience sitting above the performers on two sides of the stage, looking down at the tragedy unfolding, eyes purposefully left to dart around as multiple conversations forced the audience to pay attention. When attention wanes, the convincing crack of a gunshot from an ignored location brings everybody back with a jolt, the smoke lingering in the air almost as long as the smell. The cryptic dialogue nearly tricks one into believing the play has more substance than it does. In actuality it is a masterful interpretation of a serviceable script. Alex Michael
the guide Answered by: Rebecca Jensen (Deep Soulful Sweats) What does Deep Soulful Sweats/Fantasy Light Yoga try to achieve that other dance experiences don’t? Deep Soulful Sweats is a mash-up of yoga, dance and ritual. On arrival participants are divided into their elements based on their star signs and designated one of four leaders. Simultaneously, these leaders/goddesses take their elemental group on a journey accompanied by the beats of a live DJ, pushing though exhaustion to find togetherness and transcendence. This is an audience-inclusive dance experience. What was your reason for this? We wanted to create an environment where the audience felt empowered and able to commit wholeheartedly to participation; eliminating spectatorship was a good way to do this. We see DSS as a performance with no one watching. Participants have one task and that is to let go and follow, liberating themselves from responsibility, being in the moment without self judgement. You’ve been inspired by the likes of Jane Fonda, deep house and the Orange People in the making of this performance. What else has inspired you? Sarah and I went to Germany and attended a witch camp on an East Prussian Farm just out of Berlin. The witch (New York’s “best” witch) wore Nikes and had her Book of Shadows in PDF format on her Macbook Pro. We became interested in the clash between the ancient and modern world and wanted to continue exploring this. DSS was born out of its sister project OVERWORLD, a contemporary dance work created by Sarah and I earlier this year.
TINY STADIUMS
When and where: Fantasy Light Yoga is on at Ellen Lawson Rest Area, 15 Nov, as part of Tiny Stadiums, running at PACT, 14 – 22 Nov.
Pic: Annabelle Balharry
THE MUSIC • 12TH NOVEMBER 2014 • 1
eat/drink
N PALE ALE M Coming up to summer, everything gets brighter – including the colour of your beer. Pale ale is clean, crisp, fruity and perfect for the warmer weather. Words Taylor Yates.
VALE IPA
STONE & WOOD PACIFIC ALE
An Australian interpretation of IPA, using hops from New Zealand, America and Australia, this beer will woo you with its strong pine and citrus notes, with a hint of passionfruit.
Inspired by the Pacific Ocean, you’ll be glad to know this one doesn’t taste like sea salt – it’s fresh and tropical in flavour – and because they don’t filter it (you loose flavour if you filter it), there’s a bunch of yeast floating around at the bottom of the bottle, giving it a distinctly home brewed feel. Like with Coopers, you have to give the bottle a bit of a gentle tip or roll to mix up the yeast.
COOPERS ORIGINAL PALE ALE
TWO BIRDS BANTAM IPA
Fruity and floral, yet slightly bitter. Quite sharp in the way of citrus, with the lemon punching right through from the first sip. Goes well with spicy foods, stir fries, poultry, seafood and salads. Gently roll on its side before opening to rid of the sediment at the bottom of the bottle.
Full in flavour and reminiscent of fruit salad, this India Pale Ale is clean and smooth. It also has a lower alcohol content than the standard IPA, so lightweights, this may be your new favourite beer.
LITTLE CREATURES PALE ALE
FAT YAK PALE ALE
Fresh with citrus and stone fruit characters, with quite a distinctive bitter aftertaste.
Very floral with melon and citrus flavours. Have this one with slightly spicy Spanish tapas or something tomato-ey.
HEAVY STUFF On the flipside, we’ve rounded up a few beers for a few of you who are looking for something a touch heavier. Or you know, a lot heavier. Hanging out at 10% ABV, we present to you The Bruery’s Autumn Maple – which is as sweet at it sounds. A step further will have you drinking Sam Adams’ Utopia, 29%. Still not convinced? Maybe give BrewDog’s Tactical Nuclear Penguin a shot; it’s 32% and has notes of roasted coffee and chocolate. But if coffee and chocolate aren’t your thing, BrewDog’s End of History might also suit you. At a bit of a jump, this one’s sitting at 55%… but if you really wanna get the party going (and potentially ending) pretty quickly, you can’t go past the ultimate: Brewmeister’s Armageddon. 65% – need we say more?
36 • THE MUSIC • 12TH NOVEMBER 2014
the guide nsw.live@themusic.com.au
LIVE THIS WEEK
CHART WRAP
ROLLING STONE
THINKING OF GOING
LIGHTS UP
Elana Stone is taking on a Wednesday residency during November at the Lansdowne. Stone’s beguiling vocals have been sought after for collaborations with the likes of Passenger, Washington and Hermitude. With Katie Wighton.
Perth’s prog-rock heavyweights Tangled Thoughts Of Leaving are touring off the back of their new EP Downbeat, teaming up with New Zealand’s Kerretta and Brisbane’s own Hazards Of Swimming Naked, Factory Floor, Saturday.
Sampology heads on a national AV tour to finish off the year, celebrating his latest single featuring Daniel Merriweather, Shine A Light. He brings his music and his awe-inspiring projections to The Roller Den, Friday.
HOMEMADE
FEELING LUCKY PUNK
BIRDMAN IN THE HAND
Katie Noonan, Angie Hart, Melody Pool andSam Buckingham presents Songs That Made Me. The girls play homage to the songs that shaped them. Friday and Saturday, The Basement. With profits going to The Cancer Council.
Speedball, Colytons, Cult Killers and Stacy Gacy are doing punk night at Collector Hotel in Parramatta, Saturday. You could look around for other punk nights, but good luck to ya’. Just go to this one.
Radio Birdman have announced a second show. The rock’n’roll pioneers have influenced many an Australian band over their illustrious careers, and their out to influence the next generation. Friday at Manning Bar.
MY LADY
SURFS UP
ROLLING STONE
Newcastle-based alt-rock duo Hey Lady! manage to mash their opposing influences into something harmonious. They celebrate the release of their new single My Head, My Heart at Frankie’s Pizza By The Slice, Wednesday.
Novocastrian Nick Saxon (Benjalu) is back from his travels, and touring with a new single, Sherpa. The multi-instrumentalist will serenade with his signature surf-folk style on Saturday at The Small Ballroom, Newcastle.
CW Stoneking’s new album Gon’ Boogaloo, which apparently took him years to come by was recorded live in over two days. The lauded bluesman will take the tunes The Small Ballroom, Newcastle, Thursday; and Metro Theatre, Friday.
PRIDE OF COOGEE
FERTILE GROUND
PLAY HARD NOT LOUD
Marshall Okell & The Pride are long-standing festival regulars. They’ve decided that they don’t need other bands around to impress people, and they’re doing their surfroots tunes all by themselves. Friday, Coogee Diggers.
Alex Bowen has been called the heart and soul of blues, he got his start at just 15 supporting Paul Kelly, eventually releasing debut Feather In The Ground, he plays Towradgi Beach Hotel, Saturday.
The Bottlers are a ninepiece acoustic folk-punk band who claim to play hard. When told that if they played electrical instruments they wouldn’t have to play so hard, they sighed disapprovingly. Saturday, Fitzroy Hotel.
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Flight Facilities have taken out the #1 placing on this week’s Carlton Dry Independent Music Charts with their debut full-length, Down To Earth, claiming pole position on entry. The result sees last week’s titleholders, Hilltop Hoods and Walking Under Stars, drop a spot to #2, pushing Missy Higgins (Oz) and Jimmy Barnes (30:30 Hindsight) down a notch each too, to #3 and #4 respectively. Resurgent songstress Lanie Lane’s second album, Night Shade, enters strongly at #6, but can’t quite break beyond Vance Joy’s Dream Your Life Away, which steps up a place to #5 this week. Re-entries this week come from Thundamentals, whose one-time #1, So We Can Remember, is back in the top 20 at #15, just outpaced by The Delta Riggs’ Dipz Zebazios, which reappears at #14. On the singles ladder, Brissiebred pop factory Sheppard see yet another single on the charts with Smile making the week’s highest entry at #6, just below their still-performing mega-hit Geronimo (#5). West Australian indie-poppers San Cisco aren’t far behind, with comeback cut, RUN nabbing them #7 on debut. Top album-makers Flight Facilities also made an impact in the singles world, with Sunshine, featuring Reggie Watts, stepping out at #14, only a few spots behind earlier single, Two Bodies, (#11) and this week’s only other new entry, Odd Mob’s Is It A Banger?, which comes in at #10 for the week. Honey-voiced Brisbane muso Airling also finds herself back in the charts this week — Wasted Pilots makes its return at #20. THE MUSIC • 12TH NOVEMBER 2014 • 37
the guide nsw.live@themusic.com.au
LIVE THIS WEEK
THIS WEEK’S RELEASES… KERSER King Obese TV ON THE RADIO Seeds EMI ARIEL PINK pom pom 4AD/Remote Control THE GHOST INSIDE Dear You Epitaph/Warner 38 • THE MUSIC • 12TH NOVEMBER 2014
OVER THE HILL
STEP UP
SEE LEGS
After only just finishing up an intimate tour, folk favourites Husky return to the road to celebrate their new album, Ruckers Hill, Thursday, Oxford Art Factory; Friday, The Small Ballroom, Newcastle; and Sunday, Brass Monkey.
Palms go out on a Saturday residency at The Lansdowne Hotel, playing this and every Saturday until it’s no longer November. That’s how residencies work. They’ll no doubt be playing tunes from Step Brothers.
Sea Legs have been playing their eclectic indie-pop for a few years now. Their singles have received support from all the relevant stations. Now they need your support when they play Tattersalls Hotel, Friday.
STRUTTIN’ THEIR STUFF
LESS HOPELESS
THROUGH THE WALLS
It’s semi-finals time for the STRUT! band competition hosted by the Bald Faced Stag, with the second round of hotly contested heats going down Thursday, and the grand final scheduled for 5 Dec.
Rather than crowdfunding, Philadelphia Grand Jury are hitting the road to raise the $$ to record at Berkfinger’s Berlin studio. The tour sees them play Wednesday at the Beach Road Hotel and Thursday at Cambridge Hotel, Newcastle.
Over the last 18 months, Ten Walls has delivered a range of great dance tracks, including the likes of Walking With Elephants. They bring their much lauded AV show to Oxford Art Factory, Friday.
ABSOLUTELY DEVINE
HAT’S OFF
FAIR GO
Brooklyn singer-songwriter Kevin Devine will be playing two intimate headline shows whilst he is out in Australia supporting Manchester Orchestra. Catch his politically based folk-rock stylings Sunday at The Newtown Social Club.
On Friday, Brass Monkey; Saturday, Katoomba RSL; and Sunday, The Vanguard, the formidable BASEQ Memphis Blues Challenge winners Hat Fitz & Cara Robinson will be getting their rollicking on with all kinds of endearing charm.
Sydney trio Georgia Fair are back with a new single, Break – their first to released on new label littleBIGman Records. They’ll bring it to the stage when they come to Easy Tiger on Friday.
COME BACK JACK
CAPSIZE
GOLDEN HARMONIES
Their first club show in more than three years, Jack Ladder & The Dreamlanders are launching their fourth album, Playmates, which includes first single, Come On Back This Way, Thursday at Newtown Social Club.
There’ll come a time in your life where you say goodbye to the looseness. That time is now for Yacht Club DJs. Their final Hooroo! Tour hits Cambridge Hotel, Newcastle, Friday; and Oxford Art Factory, Saturday.
Golden Guitar winner Lachlan Bryan and QLD Music Award winning songwriter Harmony James are teaming up for a minitour – check them out at Parkes Services Club on Friday and Camelot Lounge on Sunday.
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THE MUSIC • 12TH NOVEMBER 2014 • 31
the guide nsw.live@themusic.com.au
ALBUM FOCUS
750 REBELS Album title: Kold Heat Where did the title of your new album come from? The working title for the album was originally called ‘Bring It To Ya City’. After getting bored with this, we ran with Kold Heat, which was a name of a track I’d demoed two years earlier. How many releases do you have now? 16 releases between us all on the label Karsniogenics, plus a tonne of material with other indie labels, vinyl, tapes and CDs. How long did it take to write/ record? Some tracks were recorded three years ago, but the majority was done in the last two years.
HAVE YOU HEARD
Sean B, who produced the album would send beats to us, we would write during the week then hit the studio on the weekend.
US for three months in 2014 and playing gigs like House Of Blues in Hollywood and Goodbye Blue Monday in NYC.
Was anything in particular inspiring you during the making? Firstly the beats we were getting sent, plus Jake and myself trying to push one another in our writing. Just being in the studio on certain nights when that magic happens, was inspirational in itself.
Why should people come and see your band? I’m going to deliver something unique, plus there will be some of Sydney’s best indie acts performing on the night.
What’s your favourite song on it? For a long time now its been Magnum Opus but since the album’s been out, I’m diggin’ tracks like The Paper and False Idols. Will you do anything differently next time? Each release is a milestone, a snap shot in time, since I’ve been buried in this project for along time I don’t have a clue on what’s next, or what approach I would take on the next project.
ROD FRITZ How did you get together? For this acoustic show I put the word out to some of my Sydney contacts plus the news spread to other artists. Five acts joined the line-up for the night.
Why are you coming to visit our fair country? I’m coming to play songs and tell stories.... Coming to work, I guess. Playing headline shows as well as Mullum Music Festival, Festival Of Small Halls and Woodford Folk Festival. Is this your f irst visit? It will indeed be my first visit to Australia.
If you could support any band in the world – past or present – who would it be? Pink Floyd. You’re being sent into space, no iPod, you can bring one album – what would it be? MTV Unplugged In New York – Nirvana. Greatest rock’n’roll moment of your career to date? Touring the
I love to fish, love to hunt, farm, ride horses and cook. What will you be taking home as a souvenir? I’m not much for souvenirs. Where can we come say hi, and buy you an Aussie beer? 20 Nov, Brighton Up Bar. Website link for more info? delbarber.com
How long are you here for? I’ll be in Australia for seven weeks. What do you know about Australia, in ten words or less? That about 60% of the land is farmed! Any extra-curricular activities you hope to participate in? 1 • THEE M MUSIC U • 12TH NOVEMBER 2014
Website link for more info? reverbnation.com/rodfritz
Sum up your musical sound in four words? Indie, acoustic, folk rock.
EP FOCUS
JUST VISITING
DEL BARBER
When and where for your next gig? 19 Nov, Valve Bar.
S U P P O R T I N G
HAMISH ANDERSON
Hollywood Boulevard was really cool and inspiring.
EP title? Restless How may releases do you have now? This is my second EP release. The first Hamish Anderson was released in November 2013. Was anything in particular inspiring you during the making of this EP? During the making of this new EP I was traveling around the US playing in different cities and living temporarily in LA. It was definitely a very inspiring time getting to live in a different country and being exposed to so much great live music. Even the commute to the studio every morning past legendary I N D E P E N D E N T
What’s your favourite song on it? Hmmm, it’s hard to play favorites with your own music… It changes a lot, but I’m having a lot of fun playing Burn in my live show at the moment so I’ll go with that one for now. We’ll like this EP if we like… Blues-based rock. When and where is your launch/ next gig? 20 Nov, Cambridge Hotel, Newcastle and 21 Nov, Oxford Art Factory. Website link for more info? hamishanderson.com.au
A U S S I E
M U S I C
THE MUSIC • 12TH NOVEMBER 2014 • 31
opinion WAKE THE DEAD
DANCE MOVES
GET IT TOGETHER
PUNK AND HARDCORE WITH SARAH PETCHELL
NEW CURRENTS WITH TIM FINNEY
HIP HOP WITH JAMES D’APICE
REFUSED
My favourite rumour this week is the one that a band that I don’t think ANYONE expected would ever release another record may in fact be doing just that. Let’s flash back to 1998 when Refused released The Shape Of Punk To Come, just about one of the single most important hardcore records to ever be released. It reshaped an entire genre and became the model for a decade or more of bands. Flash forward to 2012. Refused reform. They come to Australia and I see them play, twice. It’s everything I wanted it to be. I got to tick that one off the bucket list. I’m happy and satisfied. Flash forward again to 2014, just last week in fact. Guitarist Jon Brännström jumps onto the band’s Facebook page and announces that in 2013 he was dropped from the band. That post and the response from the band that followed are full of innuendo that the band not only was still active but that they were in the process of writing and recording new music. But there’s a problem. And that problem is that I am so confused about whether or not this is something that I want. On some level, I’m excited about the prospect of new music. Simultaneously, there’s a fear there. This is a band that counts in my alltime top five. They wrote two of my favourite records ever. This is a band with a huge legacy and I’m terrified that anything new they may produce – if it does in fact exist – won’t live up to that legacy. wakethedead@themusic.com.au 42 • THE MUSIC • 12TH NOVEMBER 2014
Within dance music, there’s a perception that Australia exists as a kind of mirror to London, New York and Berlin, reflecting back with a slight self-deprecating yearning the stylistic mores of our more celebrated visitors. So I was intrigued by the news that Cut Copy were releasing a DJ mix intended to celebrate Melbourne’s dance music scene. As it turns out, Oceans Apart is both more and less than an homage to Melbourne dance culture. Less, because it mines a fairly narrow strip of sonic territory between disco and deep house, rarely giving off the sense that Australians – let alone Melbournians in particular – have seized upon some new and hitherto undiscovered stylistic furrow they can proudly call their own. More, because in the mix’s best sections Cut Copy nonetheless locate a fertile seam of psychedelic dance music in the rich (but still underexplored) vein of Marshall Jefferson’s Jungle Wonz project, that brief moment in the deeper end of first-wave Chicago house where a preoccupation with drug-assisted “otherworldly” vibes produced tracks perfectly pitched between enchantment and dread. If we are content to turn to dance music’s past for inspiration, then the necessary risk is that the results live and die by the freshness of the historical references. So, here, the typically excellent No Zu offer a perfectly well-executed Tom Tom Club homage in Raw Vis Vision. Twelve years ago it would have sounded revelatory, but today it sounds too familiar. As usual, the most captivating material here is that which verges on actual bad taste, adopting a mantle of “fourth world” ethnodelic
filigree somewhere between Jon Hassell (if you’re being kind) and Yothu Yindi or Deep Forest (if you’re not). In this vein, Oceans Apart offers Kookaburra from the Coober Pedy University Band, restlessly percussive tribal house pivoting around muted samples of chanting Aboriginal women and blasts of didgeridoo where the bass line should be, not to mention the abrasive high-pitched screech of the titular bird’s cackle.
PUBLIC ENEMY
Kookaburra explicates most openly the Heart Of Darkness-style ethnic tourism that has always formed the enticing core of the Jungle Wonz continuum, but other selections on Oceans Apart beat it for sheer intoxication. Circadia, from Coober Pedy member Tornado Wallace, is straight out of the Jungle Wonz playbook, all hollowed-out metallic snare hits, scintillating hi-hat patterns, tribal sighs and shimmering synth-vamps like a mirage twinkling at the end of an outback highway. Ara Koufax’s Brenda recalls A Guy Called Gerald’s Voodoo Ray with its endlessly percolating acid bass, strobing piano vamp and multilayered samples from South African singer Brenda Fassie.
Public Enemy are re-releasing two seminal albums: 1988’s It Takes A Nation Of Millions To Hold Us Back and 1990’s Fear Of A Black Planet. Of course, the question this gives rise to is why? Two and a half decades have passed since Chuck D and Flava Flav (and sometimes Terminator X) first captured the collective imagination. Most of your favourite rappers were barely alive when PE subsequently slipped from their pedestal into Life After Relevance. Flava Flav, with his Flava Of Love dating show, has become a punchline. Chuck D, via his Twitter account, has shown that the opinions that once seemed so stirring, so current and so revolutionary were the product of a person who finds big picture thinking difficult.
In 2014, perhaps what one can feel genuinely nostalgic for (albeit in a complex, conflicted, maybe self-hating way) is the fantastical misunderstanding of the past’s engagement with the cultural other, the way Africa or Asia or Indigenous Australia were used to symbolise a spiritual plenitude supposed to be absent from modern life. In its best moments, Oceans Apart doesn’t attempt to recreate that sense of plenitude, but it fondly remembers our yearning for it.
This, of course, leads us to a broader question: do songs made decades ago demand our attention today, perhaps out of respect, reverence or a sense of history? If we are to be proper music listeners, aren’t we obliged to understand and enjoy the songs that influenced the musicians we know and love now? To understand the current music landscape, don’t we need to understand the path that led us here?
CUT COPY
The short answer is easy: no. There’s no need to Respect The Past; no need to turn artists old people used to listen to into demi-gods. Old NWA songs are weird and a little grating. You’ve heard The Message too many times to take it seriously. Illmatic is a bit tone deaf. Life is short. Listen to the music you like. Disregard anyone who tells you otherwise. getittogether@themusic.com.au
the guide nsw.gigguide@themusic.com.au Hot Damn! feat. Undercast + Rooftops: Spectrum, Darlinghurst
THE MUSIC PRESENTS
Big Blind Ray: The Annandale Hotel, Annandale James Reyne: The Bridge Hotel, Rozelle James Bennett: The Bucket List, Bondi Beach
GIG OF THE WEEK CW STONEKING: 13 NOV THE SMALL BALLROOM NEWCASTLE; 14 METRO THEATRE THE DELTA RIGGS: 20 NOV NEWTOWN SOCIAL CLUB CW Stoneking: 13 Nov The Small Ballroom Newcastle; 14 Metro Theatre Gorguts: 15 Nov Newtown Social Club Mullum Music Festival: 20 – 23 Nov Mullumbimby The Delta Riggs: 20 Nov Newtown Social Club Rock The Gate: 23 Nov Enmore Theatre San Cisco: 27 Nov Metro Theatre Daniel Lee Kendall: 29 Nov Loo Loo’s Warehouse Kincumber; 5 Dec Brighton Up Bar Steve Smyth: 9 Dec Newtown Social Club; 18 Dec No 5 Churst Street Newcastle 19 Dec Grand Junction Maitland Festival Of The Sun: 12 & 13 Dec Sundowner Breakwall Tourist Park Port Macquarie
WED 12
Scoredetura: 505, Surry Hills Doug Stanhope: Ainslie Football Club, Ainslie The Rolling Stones: Allphones Arena, Sydney Olympic Park Musos Club Jam Night: Bald Faced Stag, Leichhardt Open Mic Night: Balgownie Hotel, Balgownie Philadelphia Grand Jury + The Ruminaters: Beach Road Hotel, Bondi Beach Colour Therapy + Village Echoes + Monte + Tall Hearts: Brass Monkey, Cronulla Aversions Crown + Molotov Solution: Cambridge Hotel, Newcastle West
Brendan Gallagher: The Gasoline Pony, Marrickville Super Best Friends: The Phoenix, Civic The Flumes: The Pier Hotel, Coffs Harbour
Live & Local feat. Jess Bennett + Jess Dunbar Duo + Lost Trolleys + Doggin It: Lizottes Sydney, Dee Why
The Maladies + The Holy Soul + The Exile Co: Factory Theatre (Factory Floor), Marrickville
Mark Travers: Orient Hotel, Sydney
Joe Moore + Winterbourne: Foundry 616, Ultimo
Alex Bowen + Jep & Dep + Michael Zagoridis: The Vanguard, Newtown
The War On Drugs: 13 & 15 Dec Metro Theatre
The Social Jam with Gang Of Brothers + more: Spring Street Social, Bondi Junction
The Lulu Raes + Joy. + Mike Waters + Atlas Bound: Goodgod Small Club, Sydney
Leadfinger + Grand Banks + Dave Favours: Union Hotel, Newtown
Jack Carty: 13 Dec Venue 505
Rodriguez: State Theatre, Sydney
Sean Paul + Mya: Hordern Pavilion, Moore Park
Tori Amos + Sydney Symphony Orchestra: Sydney Opera House, Sydney
Drunk Mums + Hattie Carroll: Hotel Steyne (Moonshine Rum & Cider Bar), Manly
Sete Star Sept + Michael Crafter + Frame 313 + Dispolar + Canine + The Holiday Project + more: Valve Bar, Ultimo
Chronixx: 12 Dec Factory Theatre Gyroscope: 12 Dec Oxford Art Factory
Thy Art Is Murder: 19 Dec Manning Bar Dead Letter Circus: 19 Dec Metro Theatre; 21 Towradgi Beach Wollongong Nas: 23 Jan Enmore Theatre Jungle: 29 Jan Metro Theatre 65daysofstatic: 10 Mar Manning Bar
Black Diamond + The Gunn Show + Dreamer Crimes + Bury the Veil: The Vanguard, Newtown Scattered Remains + Edenfall + The Abyss Collective + Tormentus + more: Valve Bar & Venue, Tempe
Songs That Made Me feat. Katie Noonan + Angie Hart + Melody Pool + Sam Buckingham: Joan Sutherland Performing Arts Centre, Penrith
CW Stoneking: The Small Ballroom, Newcastle
FRI 14
On The Stoop: 505, Surry Hills
Krisiun + Truth Corroded: Bald Faced Stag, Leichhardt
Space Monk + Whippet: La De Da Restaurant & Bar, Mona Vale
Hat Fitz & Cara Robinson + Shelly Fitzpatrick: Brass Monkey, Cronulla
Free The Beats: 505, Surry Hills
Miners + King Tears Mortuary + Deep Space Supergroop: Lansdowne Hotel, Chippendale
Morning Harvey and The Tambourine Girls: Brighton Up Bar, Darlinghurst
The Preatures + Holy Holy: ANU Bar, Acton
Dan Barnett: LazyBones Lounge, Marrickville
Strut! @ The Stag Semi Finals: Bald Faced Stag, Leichhardt Mitch Anderson & His Organic Orchestra: Coopers Hotel, Newtown
Simply The Best - A Tina Turner Tribute: Lizottes Central Coast, Kincumber
Aversions Crown + Molotov Solution: Belconnen Magpies, Belconnen
8 Ball Aitken: Lizottes Newcastle, New Lambton
The Komeda Project + Andrea Keller + Miroslav Bukovsky Octet: Foundry 616, Ultimo
Trivia: Botany View Hotel, Newtown
London Grammar: 12 Mar Hordern Pavilion Bluesfest: 2 – 6 Apr Tyagarah Tea Tree Farm Byron Bay
Hey Lady!: Frankie’s Pizza By The Slice, Sydney The Harpoons: Goodgod Small Club, Sydney Ian Mathers: La De Da Restaurant & Bar, Mona Vale
THU 13
James Johnston + Jaymie Debourcherville + Chloe Pappandrea: Brass Monkey, Cronulla Lawrence Arabia + Emma Russack: Brighton Up Bar, Darlinghurst
Elana Stone + Katie Wighton: Lansdowne Hotel, Chippendale
Philadelphia Grand Jury + The Theaves + Huskarl: Cambridge Hotel, Newcastle West
Hey Lady!: Lass O’Gowrie, Wickham
Musos Club Jam Night: Carousel Inn, Rooty Hill
Michael Griffin Quartet: LazyBones Lounge, Marrickville
I’m Wearing Two Suits, Because I Mean Business with Steen Raskopoulos: Comedy Store, Moore Park
Flying Emus: Lizottes Central Coast, Kincumber
S U P P O R T I N G
Jack Carty: Lizottes Sydney, Dee Why Live at The Arms with The Green Mohair Suits: Newport Arms Hotel (Terrace Bar), Newport Jack Ladder & The Dreamlanders: Newtown Social Club, Newtown Ben Fox Trio: Orient Hotel, Sydney
Yacht Club DJs + StepPanther: Cambridge Hotel, Newcastle West Sam Newton: Chatswood RSL, Chatswood Dirtyphonics + Spenda-C + A-Tonez + Samrai + Various DJs: Chinese Laundry, Sydney Finn: Chisholm Tavern, Chisholm King Colour + No Life Savings + Jay Wroe: Club 77, Darlinghurst Benn Gunn: Coogee Bay Hotel, Coogee Craig Thommo Duo: Coogee Bay Hotel, Coogee
Husky + Ali Barter: Oxford Art Factory, Darlinghurst
Marshall Okell & The Pride: Coogee Diggers (The Bunker), Coogee
Flying Emus: Petersham Bowling Club, Petersham
Shady Rhythm: Courthouse Hotel, Darlinghurst
The Vanns + Joe Mungovan + Tyne-James Organ: Rad Bar (formerly Yours & Owls), Wollongong
The Spit Roasting Bibbers: Crown Hotel, Sydney
Clash Of The Bands - Grand Final: Rock Lily, Pyrmont
I N D E P E N D E N T
A U S S I E
M U S I C
the guide nsw.gigguide@themusic.com.au Return To Rio feat. Ten Walls + Lake People + Laura Jones + Mr C + MC Scallywag + Gavin Herlihy + Yolanda Be Cool + Neil Hodgkinson + Goodwill + Simon Caldwell: Del Rio Riverside Resort, Wisemans Ferry
Blues Stomp feat. Two River Blues + Claude Hay & The Gentle Enemies + Shaun Kirk + Nick Rheinberger + Isaiah B Brunt + Two Girls Will + Kay Proudlove + Laura Zarb + The Humphreys + more: Corrimal Hotel, Corrimal
Steve Edmonds: Diggers @ The Entrance, The Entrance
Pearlnoir Quintet: Corrimal Hotel (Lounge Bar), Corrimal
Georgia Fair + Nik Thompson: Easy Tiger, Paddington
Soft Kitty: Crown Hotel, Sydney
Accept + Darker Half + Temtris: Factory Theatre, Marrickville
Return To Rio with Various Artists: Del Rio Riverside Resort, Wisemans Ferry
Colossvs + Lo! + Legions + Vile Ways: Factory Theatre (Factory Floor), Marrickville
The Beatels: Ettamogah Hotel, Kellyville Ridge
Rock Recovery: Fitzroy Hotel, Windsor Harbour Master: Fortune of War Hotel, The Rocks Junk: Foundry 616, Ultimo Jazz Hip-Hop Freestyle Sessions + Various Artists: Foundry 616 (11.30pm), Ultimo
MANCHESTER ORCHESTRA: 15 NOV METRO THEATRE Steve Frank + Joey Kaz + DLE + Chris Coast: New Brighton Hotel, Manly
Next Best Thing: Sutherland United Services Club, Sutherland
Tora + La Mar + Atlas Bound: Newtown Social Club, Newtown
Ben Folds + Sydney Symphony Orchestra: Sydney Opera House (Concert Hall / 8pm), Sydney
Spit Syndicate + JayTee: Goodgod Small Club, Sydney
Danny Simms: Oatley Hotel, Oatley
The Floating Bridges: Hoey Moey, Coffs Harbour
Reckless + Evie Dean: Orient Hotel (4.30pm), Sydney
Bin Juice: Hotel Steyne, Manly Zoltan: Jacksons on George, Sydney DJ Ta$k: Jacksons on George (Temple Bar), Sydney Riley Beech: Kareela Golf & Social Club, Kareela The Venusians + Beaten Bodies + Anatole + DJ Huwston: Lansdowne Hotel, Chippendale James Bennett: Lass O’Gowrie, Wickham Jim Moginie & The Family Dog: LazyBones Lounge, Marrickville 8 Ball Aitken: Lizottes Central Coast, Kincumber Simply The Best - A Tina Turner Tribute: Lizottes Sydney, Dee Why Radio Birdman + Straight Arrows + Black Heart Breakers: Manning Bar, Camperdown Glenn Esmond: Marlborough Hotel, Newtown CW Stoneking + Fraser A Gorman: Metro Theatre, Sydney Lj: Mill Hill Hotel, Bondi Junction McAlister Kemp: Mingara Recreation Club, Tumbi Umbi
British India: Oxford Art Factory, Darlinghurst Jeff Buckley Tribute Show with Avivaa + Nic Cassey + Forster Anderson + Jack Peacock + James Blackwood + Lou Millar & Cam Raeburn: Oxford Art Factory, Darlinghurst Drunk Mums: Rad Bar (formerly Yours & Owls), Wollongong Frank Lakoudis & Band + Dave White Duo + DJ Thieves + DJ Troy T: Rock Lily, Pyrmont The Starliners: Rooty Hill RSL, Rooty Hill Kristina Olsen: Roxbury Hotel, Glebe The Gin Mill Social feat. Greg Poppleton & The Bakelite Broadcasters: Slide Darlinghurst, Darlinghurst Ross Ryan: Smiths Alternative Bookshop, Canberra Forever Sounds Sweet + Undercast + Pulse Mavens + Rooftops + Super Best Friends: Spectrum, Darlinghurst Big Blind Ray + The Good Time Rhythm n Blues Band: Spring Street Social, Bondi Junction
Nathan Cole: Tahmoor Inn, Tahmoor Sea Legs + Skyways Are Highways + Royal Chant + Empty Fish Tank: Tattersalls Hotel, Penrith Quadir Lateef + Mistery + Rhyme & Therapists: The Annandale Hotel, Annandale Songs That Made Me feat. Katie Noonan + Angie Hart + Melody Pool + Sam Buckingham: The Basement, Circular Quay Reg Mombassa & Dog Trumpet: The Bridge Hotel, Rozelle Jack Carty + Special Guests: The Commons, Hamilton Ten Walls: The Hi-Fi, Moore Park The Cartwheels: The Merton Hotel, Rozelle The Acfields: The Music Lounge, Brookvale Greg Poppleton & The Bakelite Broadcasters: The Rocks, Sydney Husky + Ali Barter: The Small Ballroom, Newcastle Soul Control with Ben Fester + Preacha: The Spice Cellar, Sydney Ian Moss + Tegan Wiseman: The Vanguard, Newtown
Rukus + Playground Of Hate + The Fuck Outs + Hostile Objects + Swine + Everything I Own Is Broken: Valve Bar (Basement), Ultimo
SAT 15
A Guide To Saints feat. Tim Coster + Marcus Whale + Tom Smith + Chunyin: 107 Projects, Redfern Ember: Academy, Canberra Thrash’em All 2 feat. Party Vibez + Atomic Death Squad + Disintergrator + Disparo + Pizza Gut + more: Bald Faced Stag, Leichhardt McAlister Kemp: Belmont 16’s, Belmont Peter Northcote’s Drive + Brydon Stace: Brass Monkey, Cronulla Mic Conway with Robbie Long: Camelot Lounge (Django Bar), Marrickville The Rider + The Double Shadows + Thunder Fox: Captain Cook Hotel, Botany That Other Band: Carousel Inn, Rooty Hill Acaddamy + Set Mo + Kyro + Various DJs: Chinese Laundry, Sydney Stacy Gacy + Colytons + Speedball + Cult Killers: Collector Hotel, Parramatta Quality with Tom Gleeson: Comedy Store, Moore Park Harbour Masters Duo: Coogee Bay Hotel, Coogee
Funkified: The Vineyard Hotel, Vineyard Doug Stanhope: UNSW Roundhouse, Kensington
Mic Conway with Robbie Long: Sunset Studios, Mayfield
S U P P O R T I N G
I N D E P E N D E N T
Tangled Thoughts Of Leaving + Kerretta + Hazards of Swimming Naked + Serious Break: Factory Theatre (Factory Floor), Marrickville Brazil & Beyond feat. Anna Salleh: Foundry 616, Ultimo Sea Legs + Skyways Are Highways + The Khanz: Goodgod Small Club, Sydney The Rolling Stones + British India + The Preatures: Hope Estate Winery, Pokolbin Steve Edmonds: Hornsby Inn, Hornsby Benji Album Listening Party with DJ Skae + Tera’Byte + more: Hustle & Flow Bar, Redfern Underground Resistance: Timeline: Imperial Hotel, Erskineville Various DJs: Iron Horse Inn, Cardiff DJ Sloppy: Jacksons on George, Sydney DJ Michael Black: Jacksons on George (Temple Bar), Sydney The Daily Vibe: Kareela Golf & Social Club, Kareela Hat Fitz & Cara Robinson + Chris Gillespie: Katoomba RSL, Katoomba Hilltop Hoods: Kinross Woolshed, Thurgoona Palms + Unity Floors + Jody + Gooch Palms (DJ Set): Lansdowne Hotel, Chippendale Money Killed Jonny + Justin Frew & The Loose Intentions: LazyBones Lounge, Marrickville Diesel + Tegan Wiseman: Lizottes Central Coast, Kincumber Simply The Best - A Tina Turner Tribute: Lizottes Newcastle, New Lambton
A U S S I E
M U S I C
www.thebasement.com.au
BVS 6][S ]T :WdS ;caWQ AW\QS '%! THURSDAY 208NOVEMBER SATURDAY JUNE
SOUL NOT COAL
COMIN UP G
SAVE THE LEARD FUNDRAISER
KING TIDE, SONS OF THE EAST, GAMBIRRA AND GOLDEN ORB COME TOGETHER IN WHAT WILL BE AN EPIC AND SOULFUL NIGHT TO BENEFIT THE FIRST BLOCKADE OF A COAL MINE IN AUSTRALIA’S HISTORY! WHITEHAVEN COAL IS RIPPING THE GUTS OUT OF THE LEARD STATE FOREST IN NSW’S NORTH WEST, AND RAHTHER THAN LEAVE A GAPING BIG HOLE, WE WANT MORE SOUL! DON’T MISS THIS!
NEWS FROM THE BASEMENT JUST ANNOUNCED… THU 29 JAN RATKING W/ SPECIAL GUESTS SUN 05 APR G. LOVE & SPECIAL SAUCE (USA) – BLUESFEST SIDESHOW THU 09 APR JAKE SHIMABUKURO (USA) – BLUESFEST SIDESHOW FOLLOW US: ON FACEBOOK @ THE BASEMENT & ON TWITTER @
#BASEMENTSYD RESTUARANT OPENS AT 11AM, SERVING FOOD ALL DAY
SONGS THAT MADE ME
FRI 14 NOV
SONGS THAT MADE ME FEAT. KATIE NOONAN, ANGIE HART, MELODY POOL & SAM BUCKINGHAM
SAT 15 NOV
A WINGED VICTORY FOR THE SULLEN
SUN 16 NOV
SWINGTIME TUESDAYSWK 1
TUE 18 NOV
GUY PEARCE
WED 19 NOV
CHOIRBOYS PERFORM AC/DC’S HIGH VOLTAGE
FRI 21 NOV
CHOIRBOYS PERFORM AC/DC’S HIGH VOLTAGE
SAT 22 NOV
FEAT. KATIE NOONAN, ANGIE HART, MELODY POOL & SAM BUCKINGHAM
ALBUM COVER TO COVER
ALBUM COVER TO COVER
SUN
16 NOV
SUN
5 OCT
JONNY GRETSCHʼS WASTED ONES 7:00
Performances by: 1. Matt Tonks 2. Cass Eager 3. Matt Anderson 4. Amanda Easton 5. Michael Azzopardi 6. Ashley Rogers 7. Joel McGrath 8. Nic Cassey 9. Alan Watters
Thursday November 20th Brighton Up Bar 1/77 Oxford St Darlinghurst, NSW With Emma Swift + Fanny Lumsden Doors 8pm, tickets $15 pre/$20 door Also appearing at:
Mullum Music Festival, Woodford Folk Festival, Festival of Small Halls
10. Michael Sarasin (Canada)
THE MUSIC • 12TH NOVEMBER 2014 • 45
the guide nsw.gigguide@themusic.com.au
MON 17
Remembering the Carpenters story and life with Lisa Budin: Lizottes Sydney, Dee Why
Tranny Bingo: Coopers Hotel, Newtown
Talk It Up: Macarthur Tavern, Campbelltown
Countdown to Recovery feat. John Paul Young + Angry Anderson + Russell Morris + Glenn Shorrock + more: Enmore Theatre, Enmore
Feenixpawl: Marquee, Pyrmont Manchester Orchestra + Apes + Kevin Devine: Metro Theatre, Sydney
Frankies World Famous House Band: Frankie’s Pizza By The Slice, Sydney
Live at The Arms with Beautiful Chaos: Newport Arms Hotel (Terrace Bar), Newport
The Monday Jam: Gingers, Darlinghurst Sonic Mayhem Orchestra: LazyBones Lounge, Marrickville
Gorguts + Portal + Departe + Disentomb + Consummation: Newtown Social Club, Newtown Soundproofed: Oatley Hotel, Oatley Finn: Old Canberra Inn, Lyneham Wildcatz Trio + Craig Thommo: Orient Hotel (4.30pm), Sydney Yacht Club DJs + Twinsy: Oxford Art Factory, Darlinghurst Original Sin - INXS Show + Swingshift - Cold Chisel Show: Padstow RSL, Padstow Greg Poppleton & The Bakelite Broadcasters: Penrith RSL, Penrith The Spit Roasting Bibbers: Picton Hotel, Picton Wasted Years feat. Trophy Eyes + Endless Heights + Landscapes + Columbus: Q Bar, Darlinghurst The U2 Show - Achtung Baby + Viva Coldplay + Sheena Wilbow + DJ Urby + DJ Cool Jerk: Rock Lily, Pyrmont Touchwood Rock: Royal Hotel, Springwood Funkdafied Pop Up Party - Next Generation DJ School with Zac Hendrix + Louis Headnod + Frenzie + Graham Mandroules + Suzi Q + Sani Deejay + Various DJs: Secret Location (All Ages), Sydney Ross Ryan: Smiths Alternative Bookshop, Canberra Drunk Mums: Spectrum, Darlinghurst Yes: State Theatre, Sydney Ben Folds + Sydney Symphony Orchestra: Sydney Opera House (Concert Hall / 8pm), Sydney Lepers & Crooks: The Annandale Hotel, Annandale Melbourne Bounce 2 feat. Various DJs: The Argyle House, Newcastle
Dragon: Lizottes Central Coast, Kincumber
BRITISH INDIA: 14 NOV OXFORD ART FACTORY; 15 HOPE ESTATE WINERY HUNTER VALLEY Songs That Made Me feat. Katie Noonan + Angie Hart + Melody Pool + Sam Buckingham: The Basement, Circular Quay The Bushwackers: The Bridge Hotel, Rozelle Dusky: The Grand Hotel, Wollongong Pacha feat. Hot Mouth + Chardy + A-Tonez + Various DJs: The Ivy, Sydney Afro Moses + Manana: The Rhythm Hut, Gosford Nick Saxon: The Small Ballroom, Newcastle Ian Moss + Frank Sultana: The Vanguard, Newtown Unbridled Festival with Busby Marou + Mark Moldre + Troy Henderson: Thoroughbred Park, Lyneham Paul Hayward + Friends: Town & Country Hotel, St Peters Dragon: Towradgi Beach Hotel, Towradgi Husky + Ali Barter: Transit Bar, Canberra Doug Stanhope: UNSW Roundhouse, Kensington Unfun 14 feat. Kisschasy + Sierra + Dear Seattle + Oslow: UTS (Underground), Ultimo Pre Goreguts Party feat. The Inducer + Infernal Outcry + As Flesh Decays + more: Valve Bar (Basement / 12pm), Ultimo Crust Fest feat. Dark Horse + Inebrious Bastards + Debacle + Common Enemy + Resist Control + Culture of Ignorance + Dead Architect + more: Valve Bar (Basement / 7pm), Ultimo
Corrosion feat. DJ Xerstorkitte + She + DJ Banshee + more: Valve Bar (Level One / 9pm), Ultimo
SUN 16
The Flumes: Bean Bar & Cafe, Taree
Jonny Gretschs Wasted Ones: Botany View Hotel, Newtown Husky + Ali Barter: Brass Monkey, Cronulla Harmony James + Lachlan Bryan: Camelot Lounge, Marrickville Quality with Tom Gleeson: Comedy Store, Moore Park Return To Rio with Various Artists: Del Rio Riverside Resort, Wisemans Ferry Jack Carty + Special Guests: Flow Cafe, Old Bar Glenn Esmond: Fortune of War Hotel, The Rocks Hardcore Sausage Fest #2 feat. Various Artists: Frankie’s Pizza By The Slice, Sydney Portugal. The Man: Hoey Moey, Coffs Harbour Funk Engine: LazyBones Lounge, Marrickville Diesel + Tegan Wiseman: Lizottes Central Coast, Kincumber Songs That Made Me feat. Katie Noonan + Angie Hart + Melody Pool + Sam Buckingham: Lizottes Newcastle, New Lambton 8 Ball Aitken: Lizottes Sydney, Dee Why Craig Thommo: Macarthur Tavern, Campbelltown The Cartwheels: Marrickville Bowling Club, Marrickville
S U P P O R T I N G
Anton: Orient Hotel, Sydney
Trophy Eyes + Endless Heights + Landscapes + Columbus: Metro Theatre (The Lair / All Ages / 4.45pm), Sydney Kevin Devine + Thieves + Jack R Reilly: Newtown Social Club, Newtown Riley Beech: Oatley Hotel, Oatley Gary Johns Trio + U2 Elevation: Orient Hotel (4.30pm), Sydney The Spit Roasting Bibbers: Overlander Hotel, Cambridge Gardens Missy Lancaster: Picton Hotel, Picton Little May + Winterbourne: Rad Bar (formerly Yours & Owls), Wollongong Soul Nights + DJ Thieves: Rock Lily, Pyrmont Finn: Ruby L’Otel, Rozelle Kinsky Travelaz + Kamauri + more: Sparky’s Reggae Bar, Marrickville The Lounge Bar Lotharios 1920s Orchestra + more: St Leonards Park, North Sydney A Winged Victory For The Sullen: The Basement, Circular Quay Smoke & Cinder + Sailing to Byzantium + The Green Hand Band: The Gasoline Pony, Marrickville Sam Newton: The Mill Hotel, Milperra Hat Fitz & Cara Robinson + Cilla Jane: The Vanguard, Newtown Variety Show with Cosmic King + Strangerous Collective + Zounis + Lion Calamity + Carl Stewart Band + The Low Tees + more: Valve Bar (Basement / 3pm), Ultimo
I N D E P E N D E N T
Trophy Eyes + Endless Heights + Landscapes + Columbus: Rad Bar (formerly Yours & Owls) (All Ages), Wollongong Sean Kirkwood: The Phoenix, Civic Ross Ryan: The Vanguard, Newtown
TUE 18
Declan Kelly + Blak Douglas + Nic Cassey + Zana Rose: Bar 34, Bondi Beach Open Mic Night: Botany View Hotel, Newtown Open Mic Night with Champagne Jam: Dundas Sports Club, Dundas Enmore Comedy Club.: Enmore Theatre, Enmore Rock n Roll Karaoke with Dave Eastgate: Frankie’s Pizza By The Slice, Sydney Trophy Eyes + Endless Heights + Landscapes + Columbus: Hombre Records (All Ages), Newcastle Steve Hunter Band: LazyBones Lounge, Marrickville Macron Music End of Year Showcase: Lizottes Central Coast, Kincumber Co-Pilot: Orient Hotel, Sydney Rox n Jam: Roxbury Hotel, Glebe Blues Tuesdays with That Red Head: Spring Street Social, Bondi Junction Happy Endings Comedy Club feat. Sean Woodland + Rebecca De Unamuno + Guests: The Unicorn Hotel, Paddington
A U S S I E
M U S I C
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THE MUSIC • 12TH NOVEMBER 2014 • 47
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