The Music (Brisbane) Issue #6 by TheMusic.com.au

# 0 6 • 1 8 . 0 9 . 1 3 • B R I S BA N E • F R E E • I N C O R P O R AT I N G

THE DRONES TENSION AND RELEASE

fitness

APPS

drink

LOCAL OCAL TEQUILA

art

SAILOR AILOR JERRY

culture

DOGS OGS IN COSTUME

THE MUSIC • 18TH SEPTEMBER 2013 • 3

THE MUSIC • 18TH SEPTEMBER 2013 • 5

themusic 18TH SEPTEMBER 2013

#006

“I PREFER TO BE BUSY RATHER THAN LOOKING FOR SOMETHING TO DO.”

INSIDE FEATURES

- TOM IANSEK OF BIG SCARY (P20)

The Drones Big Scary Sailor Jerry

Danny Delahunty The Velvet Set

music

Horrorshow Beach Fossils Sports Phone Apps Dreamtime The Bell Divers Peace Rudimental Snakadaktal Chelsea Jane Mark Lanegan

REVIEWS Album: Chvrches Live: BIGSOUND Arts: Stories We Tell Games: Rayman Legends Gear: Mark Gilbert Wolf Mail Signature Guitar Muso

THE GUIDE Cover: Blonde On Blonde Local News Gig Guide

“WE DON’T WANT TO BE MISUNDERSTOOD AS A POP ACT.” - KESI DRYDEN OF RUDIMENTAL (P34)

FEATURE: “THERE’S COMFORT ZONES FOR BANDS LIKE THE DRONES OR WILCO, AND THEN THERE’S THINGS LIKE EINSTÜRZENDE NEUBAUTEN.” - GARETH LIDDIARD OF THE DRONES (P17)

BEHIND THE SCENES: AT THE INAUGURAL BOOMERANG FESTIVAL, HITTING NORTHERN NEW SOUTH WALES NEXT MONTH. THEMUSIC.COM.AU

review “THEY’VE FOUND EMOTION IN MACHINES – AN INSPIRED FEAT.”

- BENNY DOYLE REVIEWS CHVRCHES’ THE BONES OF WHAT YOU BELIEVE (P39)

Culture: Dog Style Drink: Turbo Tequila Eat: Food Challenges Travel: Tasmanian Live Music The End: 50 Shades Of Charlie Hunnam

web 6 • THE MUSIC • 18TH SEPTEMBER 2013

NOW THAT THE HANGOVER HAS SUBSIDED, WE REFLECT ON THE MASSIVE WEEK OF BIGSOUND WITH VIDEO, NEWS AND INTERVIEWS.

CHECK OUT: THE MASSIVE FUTURE MUSIC FESTIVAL ANNOUNCE IN FULL DETAIL, COMPLETE WITH PLAYLISTS, ARTIST ANALYSIS AND LIVE FOOTAGE OF THE ACTS ON THE BILL. HEAD TO THEMUSIC.COM.AU

THE MUSIC • 18TH SEPTEMBER 2013 • 7

CREDITS PUBLISHER

Street Press Australia Pty Ltd

GROUP MANAGING EDITOR Andrew Mast

EDITOR Steve Bell

ASSISTANT EDITOR Benny Doyle

ARTS AND CULTURE EDITOR Cassandra Fumi

MUSO EDITOR Michael Smith

GIG GUIDE EDITOR Justine Lynch gigs@themusic.com.au

CONTRIBUTORS Adam Curley, Amorina Fitzgerald-Hood, Anthony Carew, Baz McAlister, Ben Preece, Benny Doyle, Bradley Armstrong, Brendan Telford, Carley Hall, Chris Yates, Cyclone, Dan Condon, Daniel Johnson, Dave Drayton, Guy Davis, Helen Stringer, Jake Sun, Jann Angara, Jazmine O’Sullivan, Lochlan Watt, Madeleine Laing, Mandy McAlister, Matt O’Neill, Mitch Knox, Sam Hobson, Sky Kirkham, Tom Hersey, Tony McMahon, Tyler McLoughlan

THIS WEEK THINGS TO DO THIS WEEK • 18 SEPTEMBER - 24 SEPTEMBER 2013

eat

PHOTOGRAPHERS Freya Lamont, John Stubbs, John Taylor, Kane Hibberd, Rick Cliﬀord, Sky Kirkham, Stephen Booth, Terry Soo

listen

NATIONAL SALES MANAGER Brett Dayman

QLD SALES Alex Iveson, Zac Gould sales@themusic.com.au

ART DIRECTOR Nicholas Hopkins

ART DEPT Brendon Wellwood, Eamon Stewart, Julian DeBono

ADMIN AND ACCOUNTS Jarrod Kendall, Leanne Simpson, Loretta Zoppolone, Shelley Neergaard accounts@themusic.com.au

This week finds the best slam poets from around the state converging on Brisbane for the Queensland leg of the annual Australian Poetry Slam State Final, held at the State Library Of Queensland on Friday 20 Sep (from 7pm). This is the one place where participants have nothing to work with except their very words – each poet gets two minutes to strut their stuff – and the results are often passionate, usually powerful but always fun! Get along and keep Queensland highbrow!

There’s nothing better than a good BBQ, right? It’s just un-Australian to suggest otherwise. And we’re altruistic and like helping out worthy causes, yeah? So let’s kill two birds with one stone this week and support the Big City Barbecue, the CBD-based even which has raised more than half a million dollars for charity since its inception in 2006. That’s a lot of snags! Head down to Riparian Plaza, Eagle St this Friday between 12-2pm and join in the fun, and raise some money for those less fortunate in the process!

DISTRO Anita D’Angelo distro@themusic.com.au

SUBSCRIPTIONS store.themusic.com.au

CONTACT US Phone: (07) 3252 9666 info@themusic.com.au www.themusic.com.au Street: Suite 11/354 Brunswick Street Fortitude Valley QLD 4006 Postal: Locked Bag 4300 Fortitude Valley QLD 4006

BRISBANE

This week marks the return of prodigal Brisbane-bred contemporary circus troupe Casus, who are bringing the breathtaking amalgam of grace and physical power that constitutes their new piece Knee Deep to their hometown for the first time. Running from Tuesday 24 Sep to Thursday 26 Sep at Brisbane Powerhouse, the innovative and elegant acrobatic show is a master class of harnessing the human condition and will no doubt dazzle people of all ages and sensibilities.

marvel

run

There is a feral pig on the loose in Pilbara, Western Australia, and he is coming for your beer. Yep. It’s only been a week since Abbott claimed government and we already have bushfires and overcast days and a feral pig wrecking the place. He drank 18 beers in less than two days, which sounds small, but for a pig seems like quite a lot. The pig, that The Music have lovingly nicknamed Wilbur, actually sounds like he’d be fun to hang out with.

ralph

return

Canada’s Arcade Fire have put a date on their musical return, with the band announcing that their fourth fulllength, Reflecktor, will land in our lives 1 Nov – plenty of time to get these songs flowing through us before they visit as part of Big Day Out 2014. The lead single and title track places yet another unique feather in their cap, and with acclaimed director Anton Corbijn directing the black and white creepiness it marks a pretty special return for the indie troupe.

Louis Tomlinson of One Direction vomited all over the place following a big hit at a charity football match in Glasgow. There’s not much else to the story, but the mere knowledge that this took place gives us great joy.

star

Well, not star so much as “appear in” Angelina Jolie’s new movie, Unbroken. All you have to do is be a thin male between the ages of 17 and 50, with no tattoos, please, and your own car (so you can drive to Queensland; did we mention it’s on the Gold Coast?). You could then meet Jolie and her kids and get paid to act as a person in a POW camp in WWII. You’ll also be given a haircut. Budding thespians, remember: this could be your big break andyou get a free haircut. THE MUSIC • 18TH SEPTEMBER 2013 • 09

national news news@themusic.com.au KINGS OF LEON

RIDE ‘EM COWBOYS

Nashville sons Kings Of Leon will be playing a special one-off show live on Sydney Harbour, 18 Nov, and thanks to Channel [V] you can score tickets to the show. Tying in with the title of their sixth record, the [V] team will be heading to each capital city to conduct a Mechanical Bull riding comp, with the best buck in each state getting a double pass to the exclusive show, return flights and accommodation – boom. Be in the running to win by heading to these locations: Forrest Place, Perth, 20 Sep (12.30pm to 3.30pm); Australian National Maritime Museum, Sydney, 22 Sep (11am to 2pm); Queen Street Mall Stage, Brisbane, 24 Sep (11am to 2pm); and Federation Square, Melbourne, 25 Sep (11am to 2pm).

NEVER FEAR, SUMMER BEATS ARE HERE!

After being seemingly everywhere throughout 2010 and ’11, Miami Horror removed themselves from our map, decamping to the sun-drenched playground of California, putting together a new record while based in Los Angeles. Now, the rainbow disco dons are bringing it back to where it all began, playing a run of summer dates as part of Sets On The Beach, Perth, 8 Dec; the new Groovin’ The Moo curated festival The Plot, Big Top Luna Park, Sydney, 14 Dec and Palace Theatre/ Ding Dong Lounge, Melbourne, 15 Dec; and a club show at Oh Hello!, Brisbane, 21 Dec.

SMOOTH OPERATORS

Don your Sunday bests and get on down to the silky sounds of The Bamboos. With a new album in the can, they’ll be lighting up venues on their Fever In The Road tour: 29 Nov, The Hi-Fi, Brisbane; 30 Nov, The Factory, Sydney; 5 Dec, Capitol, Perth; and 7 Dec, Forum Theatre, Melbourne.

After reintroducing his Whitley moniker with Even The Stars Are A Mess, Lawrence Greenwood is set to grab fellow Melburnian Seagull and jet out on an extensive national tour that will reach every capital and a selection of regional areas. Catch the shows 17 Oct, Caravan, Oakleigh; 18 Oct, Howler, Melbourne; 19 Oct, Barwon Club, Geelong; 24 Oct, Karova Lounge, Ballarat; 25 Oct, Bendigo Bank Theatre, Bendigo; 13 Nov, Transit Bar, Canberra; 14 Nov, Captains, Batemans Bay; 15 Nov, Rad Bar, Wollongong; 16 Nov, Goodgod Small Club, Sydney; 17 Nov, Small Ballroom, Newcastle; 28 Nov, Alhambra, Brisbane; 29 Nov, Woombye Pub, Sunshine Coast; 30 Nov, Coolangatta Hotel, Gold Coast; 7 Dec, Amplifier, Perth; and 8 Dec, Mojo’s, Fremantle. In between those headline shows, Whitley has also been called on to help with the festivities at the up A Day On The Green shows featuring Bernard Fanning, The Cruel Sea, Sarah Blasko and Bob Evans. These dates happen 2 Nov, Bimbadgen Winery, Hunter Valley; 3 Nov, Sirromet Wines, Mount Cotton; and 9 Nov, Rochford Wines, Yarra Valley.

LIMP BIZKIT

HAVE MICKEY AVALON AT YOUR HOUSE PARTY

This shit be happening for realz. Notorious wild man Mickey Avalon is touring Australia next month and he’s just decided to make one extra stop. How does this affect you? Well, the stop could be your house. Head to krbde.com and upload your finest (or most tragic) party photo to enter and Mr Avalon could be turning up at your home with a DJ and a PA system to play for you and 20 of your friends while no doubt pissing off your neighbours all night long. Registration closes on 23 Sep, with the proper tour hitting Corner Hotel, Melbourne, 18 Oct; Capitol, Perth, 19 Oct; Metro Theatre, Sydney, 20 Oct; The Hi-Fi, Brisbane, 24 Oct; and Coolangatta Hotel, Gold Coast, 25 Oct. All this is proudly presented by The Music.

“THE HARVEST FESTIVAL LOOKS LIKE IT’LL BE CANCELLED. WELCOME TO ABBOTT’S AUSTRALIA” CAMERON ATFIELD [@CAMERONATFIELD] GREETS THE MANY SAD FACES. 10 • THE MUSIC • 18TH SEPTEMBER 2013

BACK ON THE SADDLE

DO YOU KNOW WHERE YOU ARE?

“Welcome to the jungle punk/Take a look around... It’s Limp Bizkit and they’re about to fuck up your town. Rap metal’s most dividing group are returning to Australia, ripping through a run of capital city headline dates with their full original line-up. After drawing arguably the biggest crowds of the day during Soundwave 2012, it’s obvious people still have a soft spot for the Nookie and giving it all for such a thing – you probably do too. So get along to one of the following dates next month: 25 Oct, Riverstage, Brisbane (all ages) 26 Oct, Sydney Entertainment Centre (licensed/ all ages); 27 Oct, Festival Hall, Melbourne (licensed/unlicensed); and 31 Oct, Metro City, Perth. Tickets go on sale Friday.

BLACKENED IS THE END

Returning for the first time since 2006, Sweden’s Dark Tranquillity will showcase their provoking new record, Construct, with a run of shows. Find out how moving metal can be by heading along to Capitol, Perth, 25 March; Billboard The Venue, Melbourne, 27 Mar; The Hi-Fi, Brisbane, 28 Mar; and The Hi-Fi, Sydney, 29 Mar, all ages.

national news news@themusic.com.au BODYJAR

MACKLEMORE & RYAN LEWIS

ONE IN A MILLION

There are few Aussie punk acts more loved than Bodyjar, and after a little sabbatical (their incredible No Touch Red shows notwithstanding) the guys are making a big return with a brand new swag of tunes and a national tour to showcase all the fresh cuts and those old singalongs that we fucking love. New album Role Model comes out on UNFD 18 Oct, and the guys take to the road soon after, playing 31 Oct, Cambridge Hotel, Newcastle; 1 Nov, The Hi-Fi, Sydney; 2 Nov, Corner Hotel, Melbourne; 15 Nov, Rosemount Hotel, Perth; 16 Nov, Prince Of Wales, Bunbury; 22 Nov, The Hi-Fi, Brisbane; and 23 November, Coolangatta Hotel, Gold Coast. Tickets on sale now, with the tour proudly presented by The Music.

WEDNESDAY 13

STAB IN THE DARK

Punk doesn’t come to you any more horrific than Wednesday 13, and since emerging from North Carolina almost a decade ago, lead tormentor Joseph Poole has continued to deliver balls out insanity. And quite perfectly for fans in these parts, Wednesday 13 fly over the Pacific for three east coast dates to tie in with the band’s night of nights – Halloween. Let the blood run free and enjoy the freakiest party of your life when the band present their latest record The Dixie Dead at The Hi-Fi, Brisbane, 30 Oct; Metro Theatre, Sydney, 31 Oct (all ages); and Billboard The Venue, Melbourne, 1 Nov. Tickets go on sale this Thursday.

RIFF IT OUT

Two of Europe’s newest garage psych kings, Kadavar and Blues Pills, will be teaming up for a double bill of rad proportions at The Rosemount, Perth, 21 Nov; Mojo’s, Fremantle, 22 Nov; Cherry Fest, Melbourne, 24 Nov; Northcote Social Club, Melbourne, 26 and 27 Nov; ANU Refectory, Canberra, 28 Nov; Factory Theatre, Sydney, 29 Nov; Annandale Hotel, Sydney, 30 Nov; and Crowbar, Brisbane, 1 December.

ONLY WAY IS FORWARDS

Introducing Future Music Festival 2014: Deadmau5, Macklemore & Ryan Lewis, Knife Party, Hardwell, Eric Prydz, Kaskade, Paul van Dyk, Baauer, Markus Schulz, ATB, Dada Life, Chuckie, Arty, Martin Garrix, Chase & Status, Rudimental, Tinie Tempah, Naughty Boy, 2 Chainz, Cut Copy, Sub Focus live, Netsky live, R3Hab, Bassjackers, Adventure Club, Carnage, Deniz Koyu, Dannic, Dyro, Monsta, Timmy Trumpet, Walden, Tenzin, Will Sparks, Sven Vath, Paul Kalkbrenner, Dubfire, Gesaffelstein live, Maya Jane Coles, Brodinski, Gorgon City and Kaytranada. Yep, it’s massive. The event will roll into Brisbane, TBC, 1 Mar; Perth, Arena Joondalup, 2 Mar; Sydney, Randwick Racecourse, 8 Mar; and Melbourne, Flemington Racecourse, 9 Mar. In addition, Future’s underage spin-off Good Life will be doing it for the kids in between the main dates, with those events happening in Brisbane, 28 Feb; Perth, 3 Mar; Melbourne, 7 Mar; and Sydney, 9 Mar. Stay tuned to theMusic.com.au for venue and ticket info, with tickets on sale 1 Oct.

“STARING AT YOUR PHONE TO HELP AVOID AN AWKWARD SITUATION” IN WILL FERRELL’S [@WILLYFERRELL] LIFE, THERE’S PROBABLY A FEW OF THOSE.

CELEBRATING LIFE

In tribute to the late, great Tony Sly of No Use For A Name, Lagwagon’s Joey Cape and Brian Wahlstrom, who both played with Sly in side project Scorpios, will partner up for a run of dates Down Under. Expect setlists that touch on plenty of stripped back punk rock gems from the gents’ respective careers and help toast a hero that was taken far too soon. Cape and Wahlstrom play 25 Oct, Karova Lounge, Ballarat; 26 Oct, Reverence Hotel, Melbourne; 30 Oct, Cambridge Hotel, Newcastle; 31 Oct, Annandale Hotel, Sydney; 1 Nov, Crowbar, Brisbane; 2 Nov, The Loft, Gold Coast; and 3 Nov, Beachcomber Hotel, Toukley. Fans can also expect a tour record from these shows to be released on Fat Wreck Chords in 2014 – that means sing your heart out goddammit!

CHANGING THE NORM

Perth hardcore types Saviour are capping off a busy 2013 by... yeah, staying busy. They are partnering up with Sydney metalcore crew For All Eternity and WA buddies Anchored to launch their brand new record, First Light To My Death Bed and will perform 25 Oct, Rosemount Hotel, Perth; 26 Oct, YMCA HQ, Leederville (all ages); 2 Nov, Footscray Phoenix Youth Centre (all ages) and Bang, Royal Melbourne Hotel, Melbourne; 5 Nov, The Basement, Canberra; 6 Nov, Sohier Hall, Ourimbah; 7 Nov, Snitch, X&Y Bar, Brisbane; 8 Nov, Tall Poppy Studio, Brisbane (all ages); 9 Nov, Annandale Hotel, Sydney; and 10 Nov, Masonic Hall, Blacktown (all ages). THE MUSIC • 18TH SEPTEMBER 2013 • 11

local news qld.news@themusic.com.au

RUBY ROSE

GEM OF A GIRL THE BREAK

BREAKING NEW GROUND

After the fantastic response to their first tour earlier this year, The Break will be jettisoning from gravity once more to take their sophomore record, Space Farm, back out on the road for more headline shows. Seen as Australia’s most creative and powerful surf rock act, The Break continue to hurtle onwards with their own agenda, and will simply let the music direct their journey when they perform at the Gallery of Modern Art, 8 Nov and The J Theatre, Noosa, 9 Nov. Tickets on sale now.

GET GROOVIN’ AGAIN

In the constant merry-go-round of music festivals in this country, you can sometimes forget that there’s another gem just announced. Lucky we’re here to remind you. There isn’t a better regional celebration than Groovin’ The Moo and it will return bigger and better than ever in 2014. Queensland’s date happens north at Murray Sports Complex, Townsville Cricket Ground on 4 May; stay tuned for the line-up soon!

THINK ABOUT IT

Featuring a stellar local list of artists including Emma Louise, The Medics, Ben Salter and Thelma Plum, the double-disc Music For Mental Health Vol. 1 has been put together to help raise awareness for mental illness and help those struggling with such issues. The record will be launched at Black Bear Lodge, 29 Sep, as part of The Coffee Break Project, with a bill featuring Astrid & The Asteroids, Sahara Beck and Amanda Goddard. Tickets can be purchased for $10 on the door and the album will be available for purchase on the night, with all proceeds going to local mental health charity Group 61.

LOCALS LET LOOSE ON STEREO

Some of these guys have already been announced, most of them haven’t; we just thought you deserved to get the full list of Aussie acts who are carving Stereosonic 2013 at RNA Showgrounds, 7 and 8 Dec. Here’s the rundown: Nick Galea, Twins, LDRU& Yahtzel, Cosmo Cater, Tim Fuchs, F & E, Rave Radio, Yours Truly, Slop Rock, Percy Miracles, K.Oh!, Tranceducer, Auden & Giv, Stretch, Gavin Boyd & Kieron C, Benibee, Gurps, Jawgoh, Dakova Dae, Dan Burke, Doefriend, De La Hay & Kurrupt, Tigerblood, Op Thomas Prime & Charlie Hustle, VIGILANTI, Bowler DJs, Auditree DJs, Noy & Alex Terrell, Aydos, Young Franco, Pete Smith, Ctrl Alt Del, Morgan Baker & Seanzy, Mr Sparkles, Odd Mob, Dluxx, Flash, GLDNSMK, Suspect, Queen Victoria, Warner Trim & Dipfroat, Batchelo & Oh J, Nado, Tooshoes, Jamsy C & Innsinity, Brendan Colch & Dr Keen, Webber & Fletcher, Sammy Owens & Rhys Bynon, Mitch Hils & Hynzey, DUI & BLO, Rylee & Jack This!, Ben Jackal, Nick Hill and Your Shot Winner Sam Rigby.

“STILL UNSURE HOW I FEEL ABOUT THE WORD ‘PANTIES’” MAMMALS HAVE ISSUES, TOO; JUST ASK COSMIC DOLPHIN [@COSMICDOLPHIN]. 12 • THE MUSIC • 18TH SEPTEMBER 2013

Genuine party starter and all-around dancefloor badarse Ruby Rose will play a special one-off show at The Brewery, Byron Bay on 27 Sep. Doors are at 7pm so get in early and get involved with tunes from Mouvment and Odd Mob, before the sassy Ms Rose takes you on a beat-filled journey of epic proportions. Tickets can be purchased now through Oztix for $23.50.

DO WHAT THEY WANT

Who wants to be stuck in a rut? Not Brisbane’s Skinny Jean. That’s why the art-rockers have smashed the mould with their grand second full-length, The Diving Saucer Returns From A World Where The Sun Never Shines. Warning: do not recite when drunk. Four years in the pipelines, the record shows off the improved chops of the band, and you can hear new tracks for the very first time at SYC Studios, 28 Sep.

TYDI

NEON RUN CLEANS UP ITS ACT

Whether you’re there for the fitness or the fascination of seeing South Bank burst with colourful LED light, you’ll be pretty happy to hear that the upcoming 5km Neon Run has secured the services of tyDi, the local trance hero who continues to fly our flag high on a global scale. Recently voted as one of the top 50 DJs on the planet, this is a huge scoop for the event so be a part of the fun and jive while you jog on 12 Oct. Register now via the event website.

Rag Doll 10am Mick McHugh 11.30am 3pm

Rag Doll 6.30pm Wasabi 9pm

www.thenorthern.com.au

JONSON STREET BYRON BAY Fri 20 sept

DUBMARINE, CC THE CAT Sat 21 sept

SNAKADAKTAL Fri 27 sept

DUMB BLONDES Sat 28 sept

PIRATES ALIVE, MOSK, THE DARK HAWKS, BLACK PALMS Sat 5 oct

NGAIIRE Sun 6 oct

THE APE FEAT. GUS AGARS, PAT BOURKE, RAUL SANCHEZ & TEX PERKINS Sun 13 oct

REGURGITATOR Fri 18 oct

DAMN TERRAN Sat 19 oct

TIJUANA CARTEL Thurs 24 oct

VIOLENT SOHO, STRAIGHT ARROWS Fri 25 oct

LITTLE CASINO Cnr George and Elizabeth Streets, Brisbane Ph 3221 4377 irishmurphys.com.au

Live music 7 nights a week

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STICKYFINGERS

TICKETS AVAILABLE ONLINE THE MUSIC • 18TH SEPTEMBER 2013 • 13

local news qld.news@themusic.com.au

GIVE US LOVE

There’s going to be pub anthems aplenty at Harrigan’s Drift Inn, Jacobs Well on the GC come 15 Feb, when the formidable prowess of Suzi Quatro shakes the venue’s foundations with an epic headline performance. That’s far from it though, with the Detroit native calling on the likes of The Angels, The Black Sorrows, Shannon Noll and Russell Morris to support her on the night. Tickets now through Ticketmaster.

UNDERCOVER BEAT LOVERS

With a live show that brings with it a heady mix of synths, beats, turntablism and trickedout visuals, designed to add further dimensions to the music, Audego continue to smash the boundaries of electronic music, and will launch their debut record Beneath The Static And The Low with a free show at The Hideaway on 9 Nov. Friendships and Tincture also support.

BACK ON TOP

After the sudden illness of Judith Durham put a stop to The Seekers Golden Jubilee Tour early this year, the frontwoman has been given the green light by doctors and will lead the legendary harmonisers back on the road, with dates announced for Toowoomba’s Empire Theatre 2 Dec and Brisbane Convention Centre, 4 Dec. New tickets for both shows are on sale now, while old tickets purchased for their postponed Brisbane show from 7 Jun will remain valid.

PUT THE PINTS DOWN

The Murphy’s Law tour has been cancelled. We don’t know the finer details, however, their scheduled show at The Zoo, 18 Sep won’t be happening – if you had tickets contact your point of purchase for a refund.

ALL THE SMALL THINGS

The four-track recording guise of Hollie Fullbrook, Tiny Ruins will fly over from New Zealand to support Calexico while they’re in the country, as well as do a few headline shows of her own. Hear Fullbrook’s stunning canon when she plays Black Bear Lodge, 18 Sep with Tom Cooney; otherwise, get along early to the Calexico show at Byron Theatre, Byron Bay, 20 Sep. Tickets are on sale for both dates.

DECK HEADS

Whether they’re releasing music or presenting it on stage, Richard Cuthbert and Edward Guglielmino continue to position themselves just away from the expected. It’s no surprise then, that upon meeting each other in a dank bar in Berlin, the two decided to do something together. Their new double A-side cassette single will be available to purchase on this upcoming tour, and you can catch the two men perform those songs and more at a free show at The Spotted Cow, 27 Sep, before they back up for a hump day slot at Black Bear Lodge, 2 Oct, with tickets available on the door. 14 • THE MUSIC • 18TH SEPTEMBER 2013

LITTLE SCOUT

REDISCOVERING THE JOY

After helping out their Brisbane buddies Hungry Kids Of Hungary on their most recent tour, Little Scout are taking the spotlight for themselves to launch their second album, Are You Life. They play Beach Hotel, Byron Bay, 10 Oct with Little Casino, before hitting Black Bear Lodge, 18 Oct; The Spotted Cow, Toowoomba, 25 Oct; and Solbar, Maroochydore, 26 Oct, all with Hannah Karydas as support.

“REMEMBER: IT’S NEVER TOO LATE TO BECOME A CHILD PRODIGY”

CONAN [@CONANOBRIEN] STILL SHINING FOR HIS CHANCE.

LOVELESS BUT NO LOVE LOST

Already bringing their Loveless tour to Brisbane (The Tempo Hotel, 31 Oct) and the Gold Coast (Expressive Grounds, 1 Nov), Melbourne’s Dream On Dreamer have just extended their reach to connect with their regional fans, announcing two new all ages gigs at Price St Hall, Nambour, 26 Oct and CWA Hall, Toowoomba, 27 Oct. Tickets for all shows can be purchased at the UNFD Oztix page.

LAY IT ON THE LINE

Gorgeous harmonies will be the order of the day when The Stillsons arrive from Melbourne for a bunch of dates next week. Making their holiday count, you can catch the country-tinged quartet 26 Sep, Solbar, Maroochydore; 27 Sep, SoundLounge, Gold Coast; 28 Sep, Royal Mail Hotel, Goodna (1pm) and The Joynt (8pm); 29 Sep, Live Spark, Brisbane Powerhouse (3pm); and 3 Oct, Beach Hotel, Byron Bay.

WHAT BETTER TIME THAN NOW

On 13 Nov, the Prince Of Wales at Nundah will see The Members return to Queensland for the first time in more than three decades. The influential UK group, who mixed up new wave, post punk and reggae as part of the British punk movement of the late‘70s which also featured the likes of The Clash and The Ruts. Get your skank on by purchasing your tickets now via Oztix.

BRUTAL REBIRTH

After a successful European tour which saw them lay ruin to venues right across the continent, Before Ciada – the pummelling new vehicle of former Buried In Verona songwriter Michael Taylor – return to Queensland for two dates next month. Catch them at Prince Of Wales, Nundah, 4 Oct with As Chaos Falls and Noxious before they tackle a yet-to-be-announced venue at Mooloolah, Sunshine Coast the next night with Roses For The Damned.

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A QUEST FOR WEIRDNESS Words Steve Bell. Photos Kane Hibberd.

Undoubtedly one of Australia’s great rock bands, Melbourne-via-Perth rockers The Drones have never actively sought your approval, but now they’re striving to distance themselves from mainstream acceptance even more. Frontman Gareth Liddiard talks to Steve Bell about ramping up the ‘weird factor’.

ver since The Drones lurched into our consciousness a decade or so back they’ve been a different proposition than your normal rock’n’roll band. Whether onstage or in the studio, their visceral intensity and propensity to take the road less travelled has stood them apart from other bands of their ilk, and that’s before even taking into account the dense, verbose tracts of ultra-literate lyrics concocted by frontman and chief songwriter Gareth Liddiard. They’ve flirted with mainstream acceptance from time to time – whether it be winning the inaugural AMP Award for their 2005 album Wait Long By The River And The Bodies Of Your Enemies Will Float By, or that album’s single Shark Fin Blues being voted Australia’s greatest ever song by a panel of contemporary

you have your minor chords and use them to build tension, because they’re depressing chords and they make you feel tense as a listener, and then you come in with the major chords, which are the happy chords and that releases the tension. That’s all pretty back and white, whereas there’s other scales such as full-tone scales and diminished and augmented and they’re just different shades – they bring in shades of grey. That’s pretty much why I wanted to use more of that. And we’ve used them in the past, but I really want to go full-hog just weird now, so we’ll just dig the grey and fuck off the black and white.”

just asking triple j what they want – it ultimately just ends up being the shortest thing, and that’s it. It’s just got to be short. You could have the best pop song ever, and if it’s seven minutes long it’ll never get played on the radio. Beggars can’t be choosers, we just use what we have. And some smug cunt in a review said, ‘Oh, predictably they chose the shortest song for the single’. It’s like saying, ‘Predictably, he waited until the light turned green before he crossed the road’. What’s wrong with being predictable in that situation?” One thing that I See Seaweed does possess in spades is the incredible lyrical tracts that Liddiard has become renowned for, and even he’s unsure whether there’s an overriding theme tying the songs together. “I don’t really know,” he concedes. “I was just going for a less literal thing. You just basically line up a bunch of weird images and ideas and angles and viewpoints and throw them all into the mix and then arrange them until they make each other relevant. What a song means to me could be completely different to what it means to someone else, and I really like that – that’s what’s good about music. If you listen to, I dunno, fucking Sweet Jane when you’re in high school, and then you listen to Sweet Jane when you’re thirty-five, it means something different, and that’s really good. But if you listen to I’m Waiting For The

“YOU JUST BASICALLY LINE UP A BUNCH OF WEIRD IMAGES AND IDEAS AND ANGLES AND VIEWPOINTS AND THROW THEM ALL INTO THE MIX AND THEN ARRANGE THEM UNTIL THEY MAKE EACH OTHER RELEVANT. WHAT A SONG MEANS TO ME COULD BE COMPLETELY DIFFERENT TO WHAT IT MEANS TO SOMEONE ELSE...” songwriters, or playing their fair share of Big Day Outs, ATPs and Splendours In The Grass – but their music has never really been assembled for mass consumption, and you get the impression that global acceptance isn’t on The Drones’ agenda whatsoever. Take their recently-released sixth studio album, I See Seaweed, for example. After a lengthy wait to follow-up their rapturously-received 2008 longplayer Havilah – a set which exposed them to entire new audiences – for ...Seaweed The Drones decided to eschew traditional arrangements and chords and delve even deeper into different scales and timings. It’s an undeniably brilliant album, but certainly not one aimed at maximising public consumption. “Yeah, I was trying to keep all the old Chuck Berry stuff out, because it’s boring really,” Liddiard explains of the album’s direction. “We’ve been hearing that shit for fifty years, so I was trying to bring some weirdness back in. It’s all on rock’n’roll instruments so it still sounds like rock’n’roll, but it’s sort of subverted by these odd notes which are really kind of stretched – you sort of stretch it until it’s nearly atonal and nearly unlistenable. “The nuts and bolts of it is tension and release, and minor chords are sad – this is your regular pop song, what Chuck Berry does and what Beyonce does – but 18 • THE MUSIC • 18TH SEPTEMBER 2013

And while The Drones have never been a band reliant on airplay, the fact that Havilah produced the relatively radio-friendly single The Minotaur certainly didn’t find them pumping out short, traditionally-structured songs on I See Seaweed in a quest for further airwave domination. “You can’t really plan ahead, that’s the thing,” Liddiard smiles. “If I went and tried to write a radio song deliberately no one would ever put it on the radio. You just never know. Like, with The Minotaur it just worked out that it was fourand-a-half minutes long. When we issue a single to radio – which is basically

Man when you’re at high school and then listen to it when you’re thirty-five it pretty much means the same thing – you’re waiting to score smack. I like the songs that have little cracks that you can fill yourself.” Does that happen to Liddiard with own material – do the songs from, for instance, Wait Long By The River... resonate differently now or can he still conjure the same mindset as when he wrote them? “No, it’s certainly different,” he tells. “You interpret things differently, and then you’ll see things that you wrote and you’ll finally understand why you wrote them – even if you didn’t at the time. It’s the miracle of writing anything – or creating anything. I guess if you’re a dude listening to a song, you would assume that the musicians playing that song – and the people who wrote it and performed it – are executing everything deliberately, but so much of what they do is accidental, or they’ll do something because they’ll gravitate towards a certain technique or a line in a lyric or something, and they won’t know why. Then suddenly ten years later they’ll see a light bulb and go, ‘That’s why I went with that, how fucking weird!’ It’s really odd.” So there’s an element of intuition or gut feel that makes you take certain paths while writing songs?

“Yeah, there is,” Liddiard continues. “If you wrote a line about ‘blah blah blah’ and showed it to your friend, if you showed him straight away your friend would go, ‘You wrote this because you feel like this, or you’re coming from this headspace’ – you won’t necessarily know it yourself, you just know that that line resonates somehow and that’s why it goes into the song, rather than because I just expressed myself perfectly. It’s more like, ‘That seems to work, chuck it in there’.” Liddiard released his acclaimed debut solo album Strange Tourist in the break between Havilah and I See Seaweed, and while this foray definitely must have impacted the writing for the latter album, it seems that their warehouse acoustic sessions for the A Thousand Mistakes DVD – which saw keysman Steve Hesketh really step up from touring member to full-time Drone – had even more of a say in what was to come next. “Yeah, it was a recalibration that warehouse thing,” the songwriter recalls. “It worked out pretty good. We’d done a million years of touring and playing really, really heavy electric pretty full-on stuff, and you can’t do that forever. We just needed to prove to ourselves that we can do something different, I guess. And that brought Stevie in on the whole thing. And then as well, if there’s a lot of traditional approaches on that warehouse thing – and it made that obvious on playback – so it was, like, ‘Okay we can do that traditional thing, let’s do something weirder’.

Just something different, something that people haven’t heard before.” You get the impression that Liddiard – and The Drones as a collective – like to challenge themselves by getting out of their comfort zone wherever possible, and make music as much for themselves as any third parties. “Yeah I do, but to a point,” he reflects. “There’s comfort zones for bands like The Drones or Wilco, and then there’s things like Einstürzende Neubauten – things that

just go fucking crazy and into avant-garde territory – and we don’t do that, so when people go, ’Wow, you’re really weird!’, it’s like, ‘Well not really’. And when people go, ‘Oh, you’re really normal’, I go, ‘C’mon, we’re pretty weird!’ Some people still go, ‘Oh, you’re a fucking pub rock band’, and it’s, like, ‘Fucking The Screaming Jets are a pub rock band!’ And then sometimes that person will go, ‘Yeah, you’re like them, hard rockin’!’ and, I’ll be, like, ‘Wow, what’s wrong with your fuckin’ ears?’”

WHAT: I See Seaweed (MGM) WHEN & WHERE: 27 Sep, The Hi-Fi; 17 Nov, Harvest Festival, Brisbane Botanic Gardens

BLAME YOUTUBE Liddiard is champing at the bit to get back on the road, mainly because he’s enjoying playing the new I Sea Seaweed material in the live realm. “Sometimes I don’t enjoy playing some songs because they’re kinda too hard, but these songs just seem to play themselves so it’s good,” he chuckles. “You’ve got to make an effort when you’re playing it, and a lot of the guitar parts are more difficult, but when you pull it off you get more bang for your buck than the older stuff.” That’s even taking into account the fact that some of these new songs have subtly changed already over time. “Yeah, they always do, it’s a fucking drag,” Liddiard offers. “YouTube just fucked all that up. Once upon a time you could write an album, and [then] drop new songs into the set and practice them, and then you’d go and record your album having played each song ten times. But you can’t do that these days – some little twat with an iPhone will record you and put it up there, and then you’ll then make a video for it and spend a million dollars and put that on YouTube and the little twat with his iPhone will forever be the highest rating. It’s fucked. They grow up with screens, don’t they these children? They don’t know. They’re all walking around looking in a screen wearing an animalstriped onesie.”

to keep trying and not stopping ‘til it felt the way it should and having things develop in their own time.” Where Vacation was a very fast process, done in a bit over two weeks (“We were a bit naïve,” laments Iansek), this time Big Scary removed the clock, working at their own pace rather than draining themselves with end-to-end all-night sessions. The record took them from east Gippsland to Brisbane, with time in a Fitzroy and New York studio also throw in, the latter locale being where the band worked with Grammy Award winner Tom Elmhirst, an engineer that Iansek credits with helping the vocals across Not Art soar. “There was one or two songs that were just doing my head in, and I tried at least ten different vocal microphone combinations and just wasn’t quite happy with it, so that was the way we approached those things. I wanted the vocals to be a feature – as they should I guess – so we did labour [them]. And then having the mix engineer that we did – Tom really brought them to the fore even more, beyond what we had done, and he did a lot to make those the heroes of the songs.”

music

THE HOLIDAY IS OVER

Two years on from their debut Vacation and Big Scary now find themselves sharing cheese platters with Bernard Fanning. Tom Iansek wraps his head around it for Benny Doyle.

usician, engineer, producer, label head. Since Tom Iansek first began treating music as more than a hobby he’s always liked to do a mix of things. As he admits, “I prefer to be busy rather than looking for something to do.” At least he won’t have to worry about that in the immediate future, with his main project Big Scary enjoying all sorts of success off the back of their stunning second record, Not Art. In the middle of a schedule playing support for Bernard Fanning on his encompassing national tour, the Melburnian has been enjoying performing in big venues to bigger audiences. “It’s been awesome just hanging out with Bernard and his crew. They’re pretty seasoned professionals – Bernard especially – and we just think it’s funny that this guy we grew up listening to kind of knows who we are and refers to us on stage,” Iansek chuckles. With his percussive partner Jo Syme, the guitarist, pianist and vocalist has been adapting the group’s set with each passing date, working meticulously to create a fluid song list that somehow joins the dots of their wildly varied back catalogue. This constant juggling act means that raindrop piano (Twin Rivers) coexists with wailing guitar solos (Gladiator), and electronic flourishes (Luck Now) can link up with garage freewheeling (Purple), the music seamlessly delivered across a 45-minute stretch. “Being able to get past the cognitive level of playing where you‘re not thinking about where you’re putting your hands and what notes you’re going to sing, and being able to move into the part where you can relax and have a bit of fun and let the song go where it wants to go here and there, all that stuff is a lot of fun,” informs Iansek, speaking of the Big Scary live experience going forward. Not that these newfound opportunities are unsurprising. The duo’s Four Seasons EP series of 2010 showed the grand ambition Big Scary held, while 2011 debut Vacation came as a shock to many, the

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full-length taking a sharp turn from their garage rock beginnings with an accomplished, contemporary sound. Not Art extends that path further. With their sophomore release, Big Scary have put themselves on the map – permanently. In fact, you’ll be hardpressed to find a more accomplished and dynamic Aussie album released this year. “The album pushed us and demanded a lot of us and forced us to try new things and go out of our comfort zone,” he tells. “One song called Invest is quite hip hop and required Jo to change the way she played her kick drum, and little things like that, that she’s been playing for a decade or something one way, then to change all that for a song or album is what we were pushing for – it was really cool and scary at times. And the other thing was that we wanted an open-ended recording process, so that we could have the time

The duo also worked with two different bassists, Graham Ritchie (Emma Louise), and Ted O’Neil (The Vasco Era), whose differing styles matched the ideals of Not Art perfectly. “Getting other people in was an idea I was toying with early on, and then through all this selfproduction and engineering and endless days of plugging away I almost got sick of my own company – I was crying out for some outside assistance and input,” Iansek admits. “I think opening your songs up to others when you’re not used to it can be quite a daunting thing, but after this whole process – being locked up in a room for the winter months slowly chipping away at it – I was really desperate for other people to do stuff to [the songs].”

“OPENING YOUR SONGS UP TO OTHERS WHEN YOU’RE NOT USED TO IT CAN BE QUITE A DAUNTING THING.” And they’ll maintain this current openness for expansion and interpretation on this forthcoming national tour, expanding their studio duo and current live trio to a headline quartet. “We’re starting to learn the songs and play the songs in a different way and a different light with all the touring we’re doing now, so having the addition of Chris Port on the drum pads and the samples for September will give it another lift altogether and take it to a new place,” concludes Iansek. “It’ll also mean we can play a lot of songs that we couldn’t with just three of us, which is really cool.” WHAT: Not Art (Pieater/Inertia) WHEN & WHERE: 21 Sep, Brisbane Festival, The Spiegeltent; 1 Jan, Falls Festival, North Byron Parklands

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THE RUM REBELLION art

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Street artist R.J Williams was commissioned to paint a mural for Sailor Jerry’s pop-up Sydney bar, modifying a classic Hawaiian design by Norman Collins. To make the culture clash complete, Williams got it tattooed on himself. Pics by Cole Bennetts

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theatre

WAKING DREAM

Insomnia Cat Came To Stay is a play about chronic insomnia – insomnia stretched to the point of mania. Director Danny Delahunty talks to Zoe Barron about how one might represent that sort of thing on stage.

hen director Danny Delahunty was brought on to direct Insomnia Cat Came To Stay in 2011, writer Fleur Kilpatrick gave him some pretty broad boundaries. “When I got brought on to the project,” Delahunty explains, “the writer said she wanted to make something of it but she wasn’t sure what, and I said, ‘Leave it to me.’ So that was when I took what had essentially started as almost a cabaret show, and we got an animator involved to create projection art for the piece.”

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Bringing animator Thomas Russell to the project was the first step in many on the way to creating an eclectic, often intense piece of theatre built from a fusion of music, projected animation and performance. The play is the story of Kilpatrick’s experience of chronic insomnia, and was initially created from her diary entries. As such, the piece is quite surreal in its execution. It relies heavily on Russell’s visuals, Sarah Walker’s set design, and a soundscape created by composer Roderick Cairns to replicate the strange, waking dream state of severe sleep deprivation.

“It was such an evocative script,” says Delahunty. “The images that she was painting, they were so visceral in the text, I just wanted to double-handle that. I really wanted to give us the experience that she’s having.” The script had very little scope for movement onstage, so Delahunty’s first step was to play on this and restrict movement completely, essentially tying actor Joanne Sutton to the set. To do this, he put her in a large white dress that turned into a bed, which is where much of the play is set. This image is meant to represent what is going on in the head of the insomnia-crazed protagonist. This is how Kilpatrick experienced insomnia, and it is through her personal experience that the story is told. “It’s an extremely accurate representation of one person’s experience of sleep deprivation. And it’s pretty clear within the play itself that it is her experience, and the way she expresses it is through things such as, ‘I’m a chronic storyteller; I can’t stop myself from lying in bed and making up stories and seeing images.’ Obviously, not everyone who has insomnia has that particular affliction.” Still, it is a personal account of a fairly universal experience. “It’s funny, the amount of people you get involved with on a project and then they just in casual conversation go, ‘Yeah, yeah, I suffer from insomnia,’” Delahunty says. And this is how Quiet Little Fox, the theatre company that produced the piece, likes to tell their stories. “Rather than make it a play about a disease, it’s about a woman suffering from that disease. That’s kind of where Quiet Little Fox theatre come from – they like to tell the individual stories behind the big issues.” WHAT: Insomnia Cat Came To Stay WHEN & WHERE: 24 to 28 Sep, Brisbane Festival, La Boite Studio

IF IT AIN’T GOT DAT SWING Experience the glamour that made life so much easier to bear in the Depression years of the 1930s as The Gangsters’ Ball once more recreates the biggest, most swingin’ speakeasy that never was. Michael Smith checks out the plans from Graham Coupland.

“I

t’s getting harder each year to make it bigger, brighter and better,” admits Graham Coupland, the founder and driving force behind both The Gangsters’ Ball and the ten-piece big band, The Velvet Set, that has been its core musical act over the six years the event has been running. “I’m really happy with the concept and happy with the show the attendees get each year, with the way it works, with all the extras, the music and the dancing, but I did want to make it bigger, brighter and better, and the answer to that this year was to bring an international headline act over, which is The Pretty Things Peepshow.” Direct from The Big Apple itself, The Pretty Things Peepshow artists, who include Go-Go Amy, Donny Vomit, Rachel Renegade and Miss Vivacious Audacious, specialise in not only traditional 1930s-style acts but more contemporary rockabilly/rock’n’roll turns. And along with some of the country’s best swing, rockabilly and rock’n’roll DJs, many of The Gangsters’ Ball favourites will be on hand, including The Gambling Den, with poker, roulette and blackjack table; swing

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dancing demonstrations; cocktail bars; a vintage styling parlour; and a 1930s-themed photo booth. Then there are the local artistes. “Kelly Ann Doll is going to be back onstage for the first time in a couple of years, the reigning Miss Burlesque NSW. Adam Mada will be doing the entire tour with some fabulous new illusions and conjuring up his sleeves. We’ve got Jeremy Ansley, who is one of Australia’s leading jugglers. We’ve got Captain Finhead – he’s one

of the world’s leading nose jugglers and balancers – so he’ll be balancing all manner of sharp and pointy objects on his nose and on his forehead. It’s all good fun; I just hope my insurance covers it.” This year, you’ll also, for the first time, finally be able to walk away from The Gangsters’ Ball with a copy of The Velvet Set, in full 19-piece mode, on CD. “The Velvet Set is going to hit the stage with an entirely new repertoire this year. We’re going way back into the ‘20s and ‘30s and working hard on some very difficult oldschool arrangements. There’s a lot of old Glenn Miller and Duke Ellington in there – we’re trying to steer away a little bit from the Rat Pack – Sinatra and so on.” WHAT: The Gangsters’ Ball WHEN & WHERE: 21 Sep, The Tivoli

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music

BLOOD IN THE BACKYARD Nick Bryant-Smith aka Solo of Sydney hip hop duo Horrorshow talks to Chris Yates about how he hopes their track Own Backyard will get discussion going about the issues that Indigenous Australians face.

“I

’ve been doing a lot of thinking and reading about Australia’s history in the last couple of years – way more than I ever did as a teenager because I was too preoccupied by my own ups and downs and shit.” After four years of touring their second album, Inside Story, Horrorshow have finally released their third LP, King Amongst Many. The album has been embraced by the young hip hop duo’s fanbase and received acclaim both for Solo’s lyrics and producer Adit’s track construction. One of the more immediately striking tracks on the group’s record is Own Backyard, which features Indigenous rapper Jimblah and deals with injustices faced by First Australians. “The things that really spurred the track on was the book The Tall Man by Chloe Hooper, about the death of Cameron Doomadgee, and quite frankly it’s fucking outrageous what happened in regard to the government and the police response to the community being upset about Doomadgee’s death,” he says with conviction. “Learning more about that story and the injustice of it, and the fact that it happened in our very recent history – it’s just not something that you hear people talk about or acknowledge very often. I also bought the book Blood On The Wattle by the historian Bruce Elder, which I bought in the gift shop of the airport at Alice Springs. It was this physical object that came back with me from that journey. It goes through all the different massacres that have happened to Indigenous people throughout the early history of Australia. I was just reading page after page of this stuff and realising how atrocious these parts of our history are, and I really wanted to write something that was going to acknowledge that and ask the question: ‘What are we gonna do about it now? How are we going to take responsibility?’ “I think it’s really important that as Australians we stop pushing the history and reality of what’s happening now in Indigenous communities out of our minds. We need to start to talk and acknowledge and deal with these issues now. I don’t support people who consider it something from the past, or something that they have nothing to do with or take no responsibility for. ” 26 • THE MUSIC • 18TH SEPTEMBER 2013

As a white Australian Solo was very conscious of not trying to be seen as talking on behalf of the Indigenous community, but offering his own perspectives. He mentions very

perspective to the track. “I also knew that given my platform and my position in Horrorshow I had an opportunity to write something that could really get into people’s brains out there, or provide an avenue for people out there who feel like I do to have their voice heard... I wanted to get an Indigenous MC on there for their perspective. When I hooked up with Jimblah I knew that he was the one to do it,

“I ALSO KNEW THAT GIVEN MY PLATFORM AND MY POSITION IN HORRORSHOW I HAD AN OPPORTUNITY TO WRITE SOMETHING THAT COULD REALLY GET INTO PEOPLE’S BRAINS OUT THERE.” specific examples, such as the death of TJ Hickey in 2004, which has not been forgotten by Indigenous Australians or the wider community in Redfern, but has not been discussed in the mainstream media for a long time. He was very careful to be respectful to Indigenous Australians and their culture, and part of that included inviting an Indigenous rapper to contribute their own

because he has such a powerful voice and presence and he speaks about these issues so beautifully.” Solo says while he’s under no illusions that a song can solve a problem, music is a powerful starting point for a discussion and a trading of perspectives. “While I see a lot of my younger contemporaries making hip hop and sticking to safer topics and wanting to make party tracks, I see myself as having something of a responsibility in bringing some of these issues to light, and to speak on them in a public way. I think that’s a really powerful tool in working out what we’re going to do next.”

WHEN & WHERE: 21 Sep, Sprung Festival, Victoria Park

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music

TAKING CHANCES Beach Fossils’ latest album, Clash The Truth, manages to be a pretty dreamy pop record, and a tightly wound exercise in airing your grievances all at once. Main dude Dustin Payseur talks to Madeleine Laing about expectations, and why people on Twitter are dumb.

ustin Payseur is back home in New York after a European tour, no shows or recording for a little while at least, but he’s keeping himself busy. An impressively prolific writer, he talks like a guy who’s got no interest in slowing down. “I’ve gotta have a lot of things going on to keep my sanity!” he laughs. “I go out a lot when I’m home; a lot of the time it’s not my choice, I’m not like, after a tour, ‘oh I can’t wait to get back to New York and see a bunch of shows!’ That actually sounds horrible. But so many of my friends are in really good bands that tour all the time, so I find myself going out a lot.” He’s also got plenty of projects of his own on the go, most of which, he says, might not appeal to your average Beach Fossils fan: “I think the majority of my fans would hate the other stuff that I do, but that’s totally fine. If people liked the music that I was making only at one certain time then that’s cool, that’s what I was making and what I was challenging myself to do. I have a lot of stuff in the works that I’m excited about, and I’d like people to not be like ‘oh here’s the guy from Beach Fossils making, like, aggressive music,’ but ‘here’s a guy who’s a musician experimenting with other styles.’” This interest in experimentation won’t come as a surprise to anyone who’s had more than a cursory listen to Beach Fossils’ latest record, Clash The Truth, which was much less dreamy than the band’s earlier efforts, disillusionment and anger constantly rippling under the surface. Payseur says this sound is less of a departure than people might think. “I’m always listening to music that’s more aggressive. I really love hardcore punk music, and I was even listening to that during earlier Beach Fossils stuff; I just wasn’t letting it come through as much because I was recording some stuff like that kind of on the side.” It’s really more like returning to his roots. “I can work on stuff like that much easier than Beach Fossils; it definitely comes more naturally to me but I like the challenge of trying to work stuff into pop songs. That’s the fun of Beach Fossils; I just want to see if I can.” Despite the cohesion of the end product, while writing Clash 28 • THE MUSIC • 18TH SEPTEMBER 2013

The Truth, Payseur experimented heavily and wrote without limiting himself to particular sounds. “I made a playlist of like seventy-five songs; I had enough material for a few more albums. There was a lot of different stuff on there. I kind of wanted to

says this band is the closest knit of all Beach Fossils’ incarnations. “When we’re all in town we definitely hang out every day; we get on really well. It’s funny, with my old line-up we’d go on tour and then we wouldn’t talk, whereas in this band we’ll go on tour and the next day one of them will call me and be like ‘do you wanna hang out?’” When it comes to actually playing live, Payseur says seeing these songs translated from what previously only existed in his head is “one of the best feelings. If you’ve been working on a song and you can get it together and play it with a whole band, it’s incredibly different. I hadn’t even heard

“I’M ALWAYS LISTENING TO MUSIC THAT’S MORE AGGRESSIVE. I REALLY LOVE HARDCORE PUNK MUSIC.” release it as a double LP that was kind of separated by sounds, but looking back I’m glad I didn’t do that.” Writing primarily alone enables Payseur’s open approach, for which he’s thankful. “I kind of like having the freedom to do everything myself. Right now [my bandmates] are spread all over the country and the only times we really see each other is when we go on tour.” Despite living in different states, Payseur

the songs on Clash The Truth live until I’d already recorded the whole album. I didn’t even have a whole band yet when we recorded the album, just me and the drummer. So I got a new band together right after that and you’re in the practicing stage after that so finally seeing everything live feels really great. And it’s not just the preforming that makes Payseur excited about touring; he also loves challenging audiences with the choice of supports. “If I’m on tour I just wanna watch good bands. There are times when one of the best bands on tour is this crazy loud band and I’ll be out in the crowd like this band is awesome and then I’ll look on Twitter and people are like ‘this band opening for Beach Fossils sucks!’ and I’m like, you don’t get it!” WHEN & WHERE: 19 Sep, The Spiegeltent

fitness

RUN FOR YOUR LIFE Getting fit G f can b be a chore, h especially ll iff you’re ’ a physically h ll inactive 20-something whose greatest sports achievement to date happened long ago in a preteen bout of NBA Jam. But fear not, ye non-lifting technophiles – Mitch Knox has found a couple of handy apps that might pull you from the brink of total inanimation yet. Illustrations by Sophie Blackhall-Cain

“A

nd in the future, we don’t need horses. We have motorised carriages called automobiles.”

“If everybody’s got one of these autowhatsits, does anybody walk or run any more?” “Of course we run. But for recreation. For fun.” “Run for fun? What the hell kind of fun is that?” – Doc Brown and the wisest drunken cowboy in the West, Back To The Future III. What kind of people run for enjoyment? Some apparently sane people, probably, but it’s safe to say it’s mostly masochists, and all of the Flashes. True, it’s widely accepted that regular exercise is a crucial part of living well, but – unless you’re way into self-flagellation at 9km/h, or a metahuman speedster who runs at unbelievable velocities just to feel freedom in the wind – it’s also widely accepted that it’s about as enjoyable as giving a tongue-bath to the worst person you know while they talk at length about their recent digestive problems. But enjoyable or not, exercise really is good for you. Luckily, some savvy smartphone-app developers have recognised that it’s not laziness that keeps us pinned to our cushioned surfaces – it’s a lack of motivation (and, honestly, a lot of laziness) – and have set about finding ways to make fitness interesting. You might be open to, for example, Nexercise (iOS, Android, free). Developed by a group primarily made up of University of Pennsylvania postgraduates, Nexercise is all about using technology to motivate yo’ sedentary self through incentives and rewards. The suspiciously positive copywriters on the app’s website do a great job of selling

30 • THE MUSIC • 18TH SEPTEMBER 2013

it, saying they believe that exercise “doesn’t have to be boring”, and that “you don’t have to drastically change your lifestyle to be healthy”. Those are both easy messages to get behind, especially because the people this app is made for generally prefer not to drastically change anything about themselves in the first place.

you can choose from activities based in aerobics, cycling, running, walking, yoga, weightlifting and more – but, basically, it’s a gold-star machine (albeit it a slick-looking and user-friendly one), handing out pats on the back for doing things that any pre-20th century human being would have done 12 times before breakfast. They give you a medal for, like, exercising on consecutive Mondays – although, that kind of positive reinforcement unquestionably feels pretty good. And if you’re content to spend hours at the computer in pursuit of XP to level up a virtual character, then there’s no reason that mentality can’t transfer to a more physically mobile setting, right? Just think of it as a real-life boss fight, only the loot when you succeed is not dying of a heart attack at 35.

Using Nexercise, you earn experience points (XP) and rewards for completing challenges or obtaining achievements for milestones such as exercising for more than 30 minutes or working out on a holiday. You can share such personal victories and other trivia about your now-booming fitness levels with your friends via social media, but please don’t. Nobody wants you to do that.

Of course, if you’re less a fan of being Pavlov’s dogged and more a fan of drama, tension, the undead and having your heart torn from your chest, then Zombies, Run! (iOS, $4.49 – or the recently released Zombies, Run! 2) could be up your alley. The Kickstarter-funded brainchild of British app developers Six To Start and Orange Award-winning author Naomi Alderman, Zombies, Run! casts you as Runner 5, one of a small number of human survivors after the inevitable awakening and encroachment of the living dead. Each run is treated as a “mission”, in which you journey out into the big, bad, zombie-filled world for supplies or to find people – that sort of thing – with each being woven together through an evolving episodic storyline that’s been so well received it even has its own fan fiction. Between the engaging narrative, the pulse-raising missions, the gripping cliffhangers and the ever-present shuffling masses, it’s like taking part in a real-life episode of The Walking Dead, but with fewer insane ex-cops.

To its credit, it is surprisingly diverse –

“THERE’S REAL POTENTIAL THERE TO BE ABSORBING AND INTELLIGENT ENOUGH THAT THE MOTIVATION TO GET UP AND GET MOVING IS SO SUBTLE THAT YOU DON’T EVEN REALISE YOU’RE BEING PRODDED INTO ACTION.”

As though being chased by zombies through the streets (okay, so minimal imagination is required, but the gradual crescendo of undead moans certainly helps in making the whole thing genuinely unnerving) isn’t fun enough, there is also a huge gameplay component to the app: runners can use the supplies they’ve gathered on their missions (the amount of which will vary dependent on the distance covered) to custom-build and upgrade a virtual representation of Abel Township, the struggling human settlement from which you launch your runs. Users can compare and contrast their settlements via ZombieLink, the app’s online service, through which mission stats, run maps and personal improvements and progress can also be viewed. It’s a video game meets a TV show meets a fitness app that doesn’t just say getting fit shouldn’t be boring – it actively goes out of its way to make sure that it damn well isn’t. So, are we getting fit yet? Well, Nexercise comes off as a mobile version of the Wii Fit mentality, being so encouraging that you feel accomplished simply for breathing: “You moved today. Good job, buddy.” But that’s actually not as motivational as its ultra-optimistic creators seem to think. Or maybe it is to some people. Not the sort of people you want to know, though. But Zombies, Run!? There’s real potential there to be absorbing and intelligent enough that the motivation to get up and get moving is so subtle that you don’t even realise you’re being prodded into action. You feel good not because you exercised, but because you helped save the people of Abel Township from certain doom, and that’s worth getting off the couch for. THE MUSIC • 18TH SEPTEMBER 2013 • 31

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FAR OUT SOUNDS

kinds of shifts… Because as far as I know, there hasn’t really been a surge in psychedelic music since the ‘60s and ‘70s, until maybe like the last decade.”

Zac Anderson of Brisbane psych rockers Dreamtime sits down with Tom Hersey to reflect on the global phenomenon that is the resurgence in psychedelic music.

“I

remember we were playing once at the Powerhouse, and there were kids who were loving some of the nature sounds we have in our set. They were dancing around. And then we came in with this big doom riff and a couple of the kids screamed and started crying.” According to the late, great, ‘60s icon Hunter S. Thompson, when the going gets weird, the weird turn pro. Having kids crying at your show is probably pretty weird, and Dreamtime are certainly making a professional run with their psychedelic rock. But does Zac Anderson, the band’s guitarist and vocalist, want

kids crying or dancing during the set? “We’d rather have small children dancing around, and not screaming and crying. I mean, that’s a nice thought.” The Wiggles they aren’t, but Dreamtime are still managing to become one of Brisbane’s hottest psychedelic prospects. They’re also becoming players in the global resurgence of psychedelic music. It’s something that seems rather improbable in our cold, clinical, digital age, so Zac is asked; what does he think brought psych rock back into vogue? “Economies and politics and movements in the collective consciousness bring about these

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Does he see any correlations between the resurgence of psychedelic music and its origins? “It seems like there’s a lot more violence in the world, maybe there’s a connection between warring and people escaping into the psychedelic… I could sit down and think about what’s driven the resurgence for hours and not come up with anything. But whatever it is, it’s been good for us.” Their brand of psych rock has earned them slots supporting legends like Bardo Pond and a chance to travel to the States and play a set at the prestigious Austin Psych Fest. It’s also brought them fans in fairly unusual territories. “We’ve sort of got a big following in Mexico and Greece. Lots of people in those places are following our fan pages and buying our vinyl. [But] I have no idea what’s capturing people’s attentions in those countries. From a douche bag, money-making point of view I really would like to know what it is that they like about the band. It might just be a trend in those places at the moment…” While Zac hopes the three-piece will be able to capitalise on their interest abroad, in the meantime they’re focused on their upcoming domestic run alongside Japan’s premier psych rock troupe Kikagaku Moyo. “We’ll be playing some new songs on this tour, and then we’re planning to release a split seven-inch with the Japanese band we’re touring with, Kikagaku Moyo, sometime after the tour and maybe make a little cult video with both of the bands to accompany the release.” WHEN & WHERE: 21 Sep, Beetle Bar

OUT OF THE RUINS Pop doyens The Bell Divers are prepping their first album release in seven years. Frontman Clinton Toghill assures Brendan Telford it’s been worth the wait.

risbane has always maintained a high pedigree when it’s come to guitar-driven pop bands, and when June July, the debut record from The Bell Divers, came out in 2007, it seemed that another name was to be added to the list. Yet although the band hasn’t necessarily slipped out of the spotlight since then, it comes as a shock that the incumbent followup Ruins has taken so long to make the light of day. “Clearly it isn’t the prime way to go about things, but it’s hard to focus on the things we love when there’s so much else that fills your life,” Clinton Toghill explains. “Besides our jobs and study, we had two line-up changes which set us back because we had to rehearse and get good again after some time apart (Toghill and Matthew Lobb are the only original members left). But there wasn’t any question that we’d keep doing this in some form, it just took a little longer to sort things out than anticipated.” Ruins certainly benefits from the percolation, with the ten tracks culminating in a record that underscores the band’s penchant for sunny, warm tonal aesthetics with ruminations on the minutiae of life. Sonically The Bell Divers have never sounded better, with the warmth emanating from the recordings evident of a renewed energy, and while there are fewer propensities for the lyrics to spiral off on a surreal tangent, the offthe-cuff storytelling is still very much at the fore. 32 • THE MUSIC • 18TH SEPTEMBER 2013

“I’ve often tried to write songs with a preconceived idea in mind that I want to write about, yet it never works for me; those songs have always come out as duds,” Toghill concedes. “The best way for me is to not think at all. Sometimes the music I’m listening to at the time creeps into the writing process, but preconceived notions are avoided. We had to record the album in five days, so all of the songs we played together as a performance out of necessity yet it lent to what we wanted the songs to sound like. Matt bought these two old vintage Fender amps that sound magic; the tone and reverb sounds like nothing you hear on today’s amps. When

he set them up and played his first chord everyone gasped, it was so beautiful, and that really unlocked the sound we’d been searching for on the album.” Lead single Nine Times Out Of Ten is the perfect statement of intent for the band, and its genesis is emblematic for their incumbent resurgence. “Although we were happy with June July we wanted Ruins to have a more distinct sound,” Toghill asserts. “When I wrote the song I was listening to a lot of XTC and I wanted to have that upbeat English pop sound echoing through it. The lyrics are about a handicapped woman being looked after by her husband, from a documentary I saw many years ago when I was around eight. The lyrics came from the beautiful memory of that, and really resonated with me all this time.” WHAT: Ruins (Independent) WHEN & WHERE: 20 Sep, Beetle Bar

PEACE, LOVE AND UNDERSTANDING One of the most hyped bands in Britain right now is Peace, but frontman Harrison Koisser admits to Benny Doyle that they were “a mess” until producer Jim Abbiss got stern with them.

t’s a bit strange to find out that Dublin is anything other than a wet, miserable mess, but according to Harry ‘Harrison’ Koisser the Irish capital is boiling hot. Calling in while on tour, the Peace frontman is tired but kind natured, speaking with a laboured flow that offers plenty of pregnant pauses but remains endearing nonetheless. Forming in 2009 as November And The Criminal before changing their front to Peace roughly a year later, the four-piece from Worcester in England’s West Midlands were pretty much an unknown quantity until early-2012, when a chance encounter on their first full tour of their homeland changed everything. “We toured around the UK and more and more people came to the shows, and then at the end of it we ended up signing a record deal,” Koisser recalls nonchalantly. “At that point it kinda felt real; that was in the beginning of 2012. There was one [show] where we played in a pub in south London that we almost didn’t do, and I think the editor of NME lived across the road and had just got back from holiday and kinda went to the pub and we were playing, and she went and told her husband who was the guy that ended up signing us.” Airplay and press behind their debut EP, Delicious, led to a nomination in BBC’s Sound of 2013 poll, and following that the upwards trajectory the band’s taken has been nothing short of vertical. Somewhat unsurprising when you consider the story recalled in the previous paragraph, NME proclaimed their debut record In Love as the album of the year. It was released 25 March, 2013. With such bold statements following the band’s movements, you’d imagine Peace would be feeling the pinch when it comes to matching the hyperbole on stage. Right? “Um, well,” Koisser ponders, letting out a big yawn in the process, “I don’t think so. Praise is good, we like a bit of praise, but it doesn’t really add any pressure, though. I think we’ve got this weird ability to see the positives out of anything.” So did Peace see the positives that were going to develop when they first listened to In Love cover to cover? “I don’t know, we all felt a bit confused, we were like, ‘What have we done?’” admits the guitarist/vocalist.

“We’d never recorded anything properly before – we’d done an EP – but then an album... It was weird. It sounded really like a debut record, I guess. We’d never really thought that we’d do it.” Helping them put their dreams to wax was Jim Abbiss, a formidable name in the world of music production, and a man that has assisted in the creation of such iconic debuts as Arctic Monkeys’ Whatever People Say I Am, That’s What I’m Not, Sneaker Pimps’ Becoming X and Kasabian’s eponymous first record. Koisser credits Abbiss with helping Peace discover their real selves in the studio, his casually stern nature allowing the band to see who they needed to be – themselves. “We were like a mess at the beginning because we were so confused and didn’t know what to do, like what should we sound like,” Koisser says somewhat sheepishly. “I was just putting phaser on everything and trying to make Brian May’s guitar sound in the studio, and Jim was just like, ‘Go in the room and play’, and then played it

back to us and was like, ‘Look, that’s what you sound like. Let’s record you’. And then we did that and we were like, ‘Ohhhhh. Okay, that’s what we’re going to do’. So that’s what we did for the rest of the recording process. “The first few days in the studio we had no idea what we were doing,” he continues. “We had all these songs, but suddenly as you’re recording it you’re like, ‘Wait, if I wanted to make this sound a certain way then this is my last chance’, so we were experimenting too much, and Jim was just like, ‘Right, lads, go in the room and play the song’. And then we did, and that’s what we did for every song. We did a few overdubs and stuff but the majority of it is just us playing.”

“I THINK WE’VE GOT THIS WEIRD ABILITY TO SEE THE POSITIVES OUT OF ANYTHING” Right now, Peace are showcasing the fruits of this successful partnership on stages right across Europe, enjoying a string of summer festival appearances which included a memorable stop at the Glastonbury festival. “It was magical, it was a great show,” he beams. “I didn’t really think about the show when I was playing it, but seeing photos afterwards it was like, ‘Whoa!’” And he credits the reception their set received to constantly improving performance chops and a commitment to staying grounded. “We’re always getting better live, I think. Just little things change; we’ve just continued to do what we do. It’s really straightforward, I guess, really simple. I’m not trying to be cool or anything, I don’t really care about trendy shit, it’s straightforward and honest; people seem to dig that, people like songs that aren’t dressed up.” Soon it’ll be Australia’s turn to l et Peace into our lives, with the young four-piece eager to arrive removed of any preconceptions and let the positive energy flow. “I never really research anywhere I’m going to go, I kind of like to learn by being there,” Koisser remarks. “I haven’t really been told what to expect – I’ll be the judge. I’m sure it will be really good.” WHAT: In Love (Sony) WHEN & WHERE: 19 Sep, The Zoo

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FROM THE UNDERGROUND

areas in London. Often, areas seen as negative areas. It’s a big part of us; giving back to the community. It’s kind of what Rudimental is all about... that whole community vibe. Even when we go on stage, we feel like a little community.”

Over the past 12 months, Rudimental have truly broken through to the mainstream. As they return to Australia, Matt O’Neill speaks to founding member Kesi Dryden about the decade prior.

udimental seem relatively easy to categorise. Their hit singles, debut album, lifespan and genealogy sketch out a pretty conventional career arc. Formed in 2010, it’s only taken them three years to transition from anonymity to ubiquity. Their 2012 single, Feel The Love, debuted at #1 on the UK charts. Their 2013 debut album, Home, did likewise. They’re pop producers. Drawing heavily on UK-specific dialects like drum’n’bass, garage and funk, they’ve strategically collaborated with popular soul vocalists (Emeli Sande, for example) to invade the mainstream. They’re Mark Ronson. They’re Chase & Status. Surely? Co-founder Kesi Dryden politely disagrees. “We don’t want to be misunderstood as a pop act,” the producer says. “A lot of pop acts are manufactured and we are the opposite end of that. There’s a real traditional vibe. We write the songs together, we produce together and we perform live on stage together. There’s nothing manufactured about it.” There’s actually a lot more to the group than their immediate success would suggest. For starters, their history stretches a lot further back than 2010. While Rudimental was only officially assembled in 2010, most of the group’s four members have known each other since they were kids. “Yeah, that’s true. The four of us have individually been producers and songwriters for a number of years now. Through our teenage years, that’s what we got into and that was our hobby growing up. About six or seven years ago, we decided to start doing stuff together. “We’ve all been friends from a young age and we’ve all been making music, but it’s only been in the last six or seven years that we really thought about working together and that’s when stuff really started to take off. We started DJing on pirate radio stations in the UK and just spreading our sound – and we got a really great response.” Initially, Rudimental had a lot of difficulty selling their sound to labels. Their decision to blend their drum’n’bass and garage instrumentals with old-school soul and reggae flavours stood at odds with increasingly popular styles like brostep and EDM. It’s only by virtue of a label’s commitment to experimentation that they’re enjoying their current success.

“It was probably what the public had been waiting for – a bit of dance music with a bit of soul,” Dryden suggests. “I think the chart scene in the UK went into a bit of a bad place. There was a lot of music coming out that was sort of soulless. People would produce a track, send it off; somebody else would write it, send it off; somebody would vocal it, send it off. There was no connection with the music. We like to write songs from scratch and be a part of the whole process. We’ll never ever make a beat and just send it to somebody. We have to be there. That’s what it’s all about. That’s how you get the traditional vibe. I think the UK was waiting for something like that to happen.” There’s a lot of depth to the quartet’s work. Not just musically, either. They’ve a strong social conscience. Prior to their mainstream breakthrough, each member of the band was involved in assisting underprivileged youth on a professional basis. It’s actually something Kesi Dryden would like to continue as Rudimental grow more successful. “Definitely. We’ve all come from working with underprivileged kids in different

Even in their collaborations, they’ve maintained a community outlook. Their album is rife with unknown vocalists and performers that Rudimental have tried to give a platform – John Newman, for example. Originally unknown, he’s followed up his success with Rudimental’s Feel The Love with his own chart-topping hit, Love Me Again. “Most of the vocalists on our album, aside from Emeli Sande and Alex Clare, were up-and-coming talents we found around London,” Dryden explains. “A number of people we’ve worked with for a long time and a number of them, like John, we just found at open mic nights. It’s great to give a platform to these artists. You

“WE’VE ALL COME FROM WORKING WITH UNDERPRIVILEGED KIDS IN DIFFERENT AREAS IN LONDON.” know, it was only a year or 18 months ago that we needed a leg-up, so it’s great to be able to turn around and help out other artists as well. To turn around and see people like John develop their own successful solo career on the back of that is just a wonderful feeling.” Rudimental aren’t opposed to popular success. They’re simply opposed to cynicism – music as product. Their ambitions are clearly linked to getting their music heard by a wide array of audiences. It would be dishonest to claim otherwise. Still, they want to do it organically and respectfully. With integrity, in other words. “It can get a bit worrying, at times. We don’t want to get seen as a pop act. At the same time, though, it’s great that our music is transferring across to a popular audience. It’s good to see that a lot of people are enjoying our music. It’s a hard balance to crack – but we believe we’re making music the right way. “Hopefully, people will understand that,” he smiles. “This is our first album and I think we’ve got a long way to go and a lot more to come out of us. You know, we’ve been working together for a long time, but we’ve only just got the opportunity to do this full time. It’s just the start of Rudimental.” WHEN & WHERE: 20 Sep, Eaton Hills

Hotel; 1 Mar, Future Music Festival

THE MUSIC • 18TH SEPTEMBER 2013 • 35

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SCHOOL’S OUT FOREVER

a change and that’s due to our ageing and developing as people,” comments Cockburn. “We did intend to create a record that had its own life and we didn’t want listeners to feel that they had [gotten] their head around it in the first listen. Hopefully that came across.”

Unearthed from the schoolyard, Snakadaktal are ready to stand on their own ten feet. Phoebe Cockburn tells Samson McDougall about maturing in the spotlight.

n these days of instant TV-talent-showgratification it’s natural to question the legitimacy of ‘discovered’ bands, and triple j’s annual Unearthed High cannot be immune to such scrutiny. However, looking back through the five years of the contest, the calibre of winners is undeniable. Of these bands – Tom Ugly, Hunting Grounds, Stonefield, Snakadaktal and Asta – most have gone on to achieve significant success. And though it’s too early to say whether Snakadaktal (the 2011 victors) will match the level of Stonefield’s international achievements, their debut album, Sleep In The Water, suggests they have plenty to contribute. The five pieces of Snakadaktal assembled in 2010 at Melbourne Rudolf Steiner School and, though the debut album has been a while coming, there have been small but significant milestones along the way. Their debut self-titled EP broke into the ARIA digital top 30, and they scored consecutive Hottest 100 spots in 2011 and ’12. “We were all at the same school and were all the same kind of age so we were all just mates,” says singer and keyboardist Phoebe Cockburn. “We all loved music and the four boys [Sean Heathcliff, Joseph Clough, Jarrah McCarty-Smith and Barna Nemeth] were playing and writing together and then one day they asked me to have a sing. That’s when [it] started.”

As the band’s life has spanned a major transitional period, it wouldn’t be surprising if their sound had morphed dramatically through this time. Though Sleep In The Water exhibits more contrast than their EP and prior singles, there’s an undeniable Snakadaktal-ness to it all. “We all enjoy each other’s music and enjoy what each other [loves] most and from there I think all of our influences somehow combine and that’s where we begin to create our own sound,” says Cockburn. “We never really pinpoint particular artists and then hope to create a sonic product that’s similar to that.” Nor, says Cockburn, were they necessarily trying to appeal to triple j sensibilities. “It came as a big surprise when the Unearthed thing happened and we became

associated with triple j. It’s been really great for us through the process and they’ve been really supportive and they’re always eager to premiere or preview our new songs and that’s been a really great thing for us and helped us along

The band also steered away from stringing together existing material. Instead, they spent four months living, writing and recording in producer Dann Hume’s Stables Recording Studio in Gisborne, determined to produce a cohesive album rather than just a collection of songs. “It was great,” says Cockburn of the process. “It was a huge experience and it was how we wanted to do it from the start. We couldn’t have imagined doing the studio hours, whatever they may be, that’s just too foreign for us... “The product that we wanted to make wasn’t one that was a bundle of songs or a bundle of, I don’t know, really concise pieces of music. We think that the record is musically very patient, as was the process of recording it. And I think that comes across. We did want it to be one body of work from the very beginning and we did want it to have a really lateral dynamic throughout the songs, sonically and lyrically. I guess that was just what we wanted to create from the very beginning.”

“WE NEVER WANTED TO WRITE OR CREATE A SOUND THAT WAS FOR A CERTAIN SCENE.” the way... We never wanted to write or create a sound that was for a certain scene or a certain radio station; we just hoped that people would enjoy the music...” The strength of Sleep In The Water is that its songs are given space to breathe., with the poppier pieces (Fall Underneath, Hung On Tight, Isolate) offset by more sparsely instrumented and challenging tunes (Ghost, The Sun I). “With this record I think sonically it’s taken

At the time of the interview, Snakadaktal are on the cusp of a huge national tour which stops at iconic venues right around the country. And working to fill these larger rooms, Cockburn admits the live performance is still a little hard to grasp. “I’d definitely say we’re a recording-based band,” she says. “The live performance is something that I think we struggle with emotionally a lot of the time... Hopefully with time it will become a bit more natural and a bit more easy and we’ll be able to understand why people are there looking at us a little more... It’s really overwhelming, and trying to focus on something while you’re so confused about something else is a difficult thing to do. Hopefully that will just become a bit more easy with time.” WHAT: Sleep In The Water (Liberation) WHEN & WHERE: 20 Sep, The Hi-Fi; 21 Sep, The Great Northern, Byron Bay

RAP QUEEN

like Roxanne Shante, Jane’s somewhat late entrance into the world of rap music in Australia means she has missed out on these influences, and finds herself in an extremely male-dominated genre and industry.

Gold Coast rapper Chelsea Jane talks to Chris Yates about her new EP Queen Of The Hill and how much her inclusion on the Sprung Festival line-up means to her.

“I

’m very excited!” Chelsea Jane says with real enthusiasm. “It’s my first festival so I’m very, very keen.” While the Sprung Festival is a first for Jane, her inclusion on the lineup also represents a first for the festival itself. “I think I’m the first female to ever be on the line-up, which is pretty cool! There’s a massive thing on Twitter at the moment about Australians supporting female MCs and whatnot. Everyone has been pretty supportive. Obviously you get a bit of hate but there’s definitely a lot of growth to happen for female MCs, I believe. I think it’s easy to get people’s attention as a female MC

but it’s harder to hold their attention. I think girls need to really put themselves out there a lot more and just cope with the hate.” This is a common thread for women in any position of public spotlight, particularly at the moment. Jane says that she tries to ignore it all but it can be pretty difficult. “Just like sexual comments and being treated like an object as opposed to an artist,” she says. “It’s hard. A lot of people say that you’ll never be taken seriously (as a female) and it’s a shame that happens but that’s the reality.” Despite strong role models in the early days of hip hop in the states

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“To be honest, I’ve only been rapping for two years, if that,” she says bluntly. “I grew up in a small town in South West Queensland – Charleville – and there is...” she laughs. “It’s just so behind in music and I was never watching TV or listening to music growing up; I was down on the farm! I was in boarding school so Toowoomba was pretty much the biggest place for me! When I moved to the Gold Coast I started to get into it. I’ve always known I’m pretty creative but I never knew how to channel it. Once I started writing it all happened really quick.” Jane’s biggest influence in the Australian hip hop scene is a bit of an unlikely candidate in the bigger scheme of things. “My biggest influence was (Adelaide rapper) Prime. He dropped his album and that’s when I decided I was going to make an EP. I mean, I was just writing stuff in my room and it wasn’t until then that I decided I was going to make an album.” Her interest in Prime’s music also led to the production of her own EP. When she sent Prime a tweet about her favourite song 8am from his album Good Morning, the producer of the track, Mules, intercepted the tweet. The pairing led to Jane winning the 2013 Hilltop Hoods Initiative. “He said, ‘Some handsome motherfucker produced that!’” she laughs. “So we did the whole EP together; we just get along so well.” WHEN & WHERE: Sprung Festival, 21 Sep, Victoria Park

TIPPING HIS HAT

music

In working through the songs of others, Mark Lanegan has found new emotional depth in himself. He keeps Benny Doyle on his toes with curt courtesy.

ark Lanegan’s weathered voice croaks down the phone line from Los Angeles, California. He’s checking in to discuss his eighth studio record Imitations, 12 tracks made famous by disparate artists ranging from Chelsea Wolfe and Nick Cave to Frank Sinatra and John Cale, one of Lanegan’s musical heroes. You’ll find a Twilight Singers song on the album (Deepest Shade) that his friend and Gutter Twins collaborator Greg Dulli offered to him, while a trio of Andy Williams tunes suit the dimly lit country lounge mood nicely. Forever uncompromising with his musical vision, Lanegan says that the recording process this time around was a more relaxed affair than his first run at a covers record. “It can be difficult, at least it was the first time around in the nineties; that turned out to be a little more troubled than I thought it was going to be,” he remarks, making reference to 1999’s I’ll Take Care Of You, a release that saw the vocalist tackling tunes from varied artists including unsettled folkie Tim Hardin and Grammy Award winner Booker T. Jones. “But this one went pretty easily y’know, I had the songs in mind for a while and I knew what I wanted it to sound like so it went pretty smoothly. As far as admitting to being in a better place personally, though, Lanegan is at pains to show his cards. “Um, well, I don’t recall being in a particularly bad place when

I made that record, nor am I now. I’m happy to say that both periods of time are stress-free – but thanks for asking,” he dryly mocks. “[But] I don’t know, man. I’m just always trying to get to the heart of a song really, whether I wrote it or somebody else did; to sing it in a way that’s convincing and I’ve gotta sort of be inside of it. And hopefully I did that.” In promotional press for Imitations, it’s mentioned that Lanegan wanted to create an album that gave off the same feelings that ran through him when he listened to his parent’s records as a child in the late ‘60s and early ‘70s.

However, when asked to expand on the statement, he’s quick to clarify where he was coming from exactly. “Maybe I didn’t put that in the right context. I think what I meant to say was that I wanted to make a record that had the same... well, when I said feeling, had the same feeling of those records, not a record that made me feel the way those records felt – do you get the difference?” he pokes before chuckling to release the tension. Maybe that’s where the foundation for Lanegan’s versatile career stems from? Maybe not. Clearly it’s foolish to assume anything of him; simply listen closely to the music and try and read between the lines. “I couldn’t tell you,” Lanegan shrugs when queried. “I don’t know – there might be something to that and it might be complete BS, I’m not really sure. I don’t really know, I just know that I’m a fan of music. I like Judas Priest and Iron Maiden, so my tastes are quite varied.” WHAT: Imitations (Heavenly/ [PIAS] Australia) THE MUSIC • 18TH SEPTEMBER 2013 • 37

KINGS OF LEON

THE NEW ALBUM

OUT SEP 20 KINGSOFLEON.COM

38 • THE MUSIC • 18TH SEPTEMBER 2013

reviews

ALBUM OF THE WEEK

This week: Battle the hordes in Total War: Rome II, zombie cop film R.I.P.D doesn’t live up to expectations and Kings Of Leon return after their infamous meltdown.

CHVRCHES

The Bones Of What You Believe Goodbye/Liberator An album worthy of all the hype, The Bones Of What You Believe undeniably solidifies what we’ve kinda already known – Chvrches are goddamn brilliant.

★★★★

TRACK LISTING 1. The Mother We Share 2. We Sink 3. Gun 4. Tether 5. Lies 6. Under The Tide

7. Recover 8. Night Sky 9. Science/Visions 10. Lungs 11. By The Throat 12. You Caught The Light

The tracks that started the media maelstrom for the Glasgow trio – The Mother We Share, Gun, Recover – are all accounted for, so the album feels familiar. But no matter how many times you listen, the music still sounds fresh. Purity Ring is a pretty obvious point of relation from the last few years, and The Knife have their weird little fingerprints all over this album, too. The arching futuretronica created by Iain Cook and Martin Doherty is jittering and awkward, but fun and uplifting. They’ve found emotion in machines – an inspired feat. And thanks to the pure vocals of diminutive frontwoman Lauren Mayberry, beautiful imagery is generated and the textures she provides make songs like Night Sky rise to glorious heights. When the record arrives at Science/Visions, however, you almost forget about the moments of saccharine joy that you’ve just been given by the band, because for four enthralling minutes shit gets dark. It’s the album’s most abrasive moment, and arguably its best, with the crawling, scratchy synths and loops cutting into you with Fuck Buttons-esque disregard. It stands as the pinnacle of the listening experience, allowing the record to then trail off naturally to the complete comedown of You Caught The Light. And following those concluding notes, it’s clear you’ve listened to something pretty special. Benny Doyle THE MUSIC • 18TH SEPTEMBER 2013 • 39

album reviews

ADALITA

ESKIMO JOE

Liberation

Dirt Diamonds/Inertia

Whilst many pundits were floored by the sparsity on Magic Dirt siren Adalita Srsen’s 2011 eponymous debut, it must be noted that her evolution has been in constant broiling motion ever since she screamed and squalled out of the pit of Geelong over two decades ago. The no-wave nihilism relaxed, pop machinations wormed their way in, pub-rock mantras sidled up beside them, personal barbs softened and bloomed. On second solo release All Day Venus, this amorphous shape-shifting continues, yet it’s the confidence to embrace the various facets of her musical DNA when and where she sees fit – regardless of how it may look – that truly enamours here.

If you’ve been following Eskimo Joe since they burst onto the Australian music scene in 2001 with their debut album Girl you may find listening to their sixth album, Wastelands, a conflicting experience. Squinting at your speakers while scratching your head is a warranted response, as the band have reinvented themselves in a very interesting way.

All Day Venus

Kicking off with the distorted drudgery of the title track, the sonic heaviness hits us like a freefalling anvil: something we didn’t realise we’d miss until Adalita forces it upon us. Her vocals soar above it all with defiance, and this steadfast trait

Wastelands

★★★★ permeates the record. Elsewhere there is the dark-ringed snarl of Annihilate Baby, the haunted stoicism of I Want Your Love and the heaving insistence of My Ego. All Day Venus could do with an equilibrium of sparse tracks though, as songs tend to bleed into each other. The plaintive pounding drums are simplistic, as are the bottomless carnage of the riffs; yet when delivered with such purpose and a curled lip, the force is unstoppable. Melodicism is not left behind either, with tracks like Warm Like You offering bountiful hooks. It is here that Adalita feels truly at home, using the brutality of noise to cushion the blows of her personal demons. Brendan Telford

With its intense synth, somewhat cheesy vocal melodies and upbeat, dancelike-it’s-the-‘80s drumming, it’s not until the fourth or fifth listen that the overpowering electronic vibe of Wastelands really begin to make sense. Encompassing a wide range of new instrumentation and songwriting techniques, this album is surprisingly refreshing for the band’s sixth record; Disgrace and Sad Song are unlike anything they have released. Utilising their own

KINGS OF LEON

THE BLOODY BEETROOTS

RCA/Sony

Hussle/Ministry Of Sound/ Universal

Mechanical Bull Since achieving major commercial success with their fourth album, Only By The Night, in 2008, Kings Of Leon have become a band whose fans are divided between the diehards and their new, more mainstream followers. Their sixth studio album, Mechanical Bull, is a clear reflection of that. Bright pop/rock numbers, like catchy first single, opener Supersoaker, will appeal to a wider audience, as will big stadium rock tracks like Rock City and Don’t Matter, boasting big sounds and guitar solos that could easily be mistaken for Queens Of The Stone Age or even Bon Jovi in parts. Tracks like Temple play even more into commercial radio airplay territory, with its jangly guitar sounds and an intro that’s undeniably similar to The Cure’s Friday I’m In Love. In contrast, the rest of the album seems to take its influence from 40 • THE MUSIC • 18TH SEPTEMBER 2013

★★★ studio during the writing and recording process has allowed them to take their time – a commodity that has hindered this record while allowing for obvious benefits. It seems they got carried away and have drifted too far from anything that really presents raw emotion. A lot of people were up in arms when the band announced their sixth record would materialise through a Pozible crowdfunding campaign, but the results yielded from the exercise more than justify their decision. With such a drastic evolution, it’ll be interesting to see where their next record will venture. Daniel Cribb

Hide

★★★ ½ the band’s strong alternative indie roots with punchier, grittier songs like Coming Back Again and Tonight, whose driving guitar riffs, interesting melodies and powerful vocals definitely deserve a second listen. A handful of well-crafted ballads, like the moving Wait For Me and Beautiful War, are also true to form and really allow singer Caleb Followill’s trademark gravelly vocals and heartfelt lyrics to shine through, acting as a reminder that this really is a Kings Of Leon album after all. It’s an album of two halves and one that is sure to divide their fans and critics. Helen Lear

This week Sir Bob Cornelius Rifo presents to the listening public the much anticipated second Bloody Beetroots album, Hide. The amusing cover of Hide seems to celebrate the illustrious Sir Bob’s move to America where it seems he has become trapped in some kind of Escape From L.A. scenario and is trying to soundtrack his way out of desperate situations with the Beetroots’ trademark punkrocktronica. The results are not too dissimilar to Kavinsky’s recent album, OutRun, but what distinguishes The Beetroots from like-minded contemporaries are the stadiumsized beats specifically designed to ignite complete mayhem at festivals all over the world. Much like Daft Punk’s recent album, Hide also features many high profile collaborations that are sure to pique even

★★★ ½ the most casual of listeners’ curiosity. There’s been plenty of talk about that collaboration with Paul McCartney, who features on the sinister love song Out Of Sight. Elsewhere Tommy Lee belts the skins on the vicious Raw before staging a dummy spit as the track briefly shifts gear into camp hi-NRG electro disco. Crass’s ever outraged Penny Rimbaud gets on his soapbox for a rant on The Furious, advocating anarchy while The Beetroots move from Nymanesque orchestral repetition into riot beat chaos. The Bloody Beetroots give us one wild roller coaster ride of an album. Guido Farnell

album reviews

★★ ½

★★★ ½

★★★★

DAMN TERRAN

KATE NASH

MACHINEDRUM

THE FLATLINERS

GaGa Digital/Independent

Have 10P Records

Ninja Tune/Inertia

New Damage/Cooking Vinyl

This trio’s gritty new record flaunts crunching guitar riffs cushioned by scuzzy distortion. A grainy, melancholic haze underpins Lachlan Ewbank’s coarse vocals while the band tear away at their distinct ‘90s grungerock sound. While the grinding, chord-driven Wrong Things sees Ewbank exude the engrossing apathetic vibe of Kurt Cobain to great effect, Ali Edmond’s vocals on So Ordinary and menacing live favourite, Rebel, provide a nice point of difference. Though a little repetitive and missing the frenzied spirit of their live show, Damn Terran is a more than solid debut.

Theoretically, there’s so much to love about Nash. She’s transformed from cutesy nondescript indie pop to riot grrrl-inspired rock. Yet her significant feminist arguments are too often lost in Girl Talk, with mediocre songwriting and poor delivery – see the cringeworthy Rap For Rejection. Nash nails romantic disappointment in OMYGOD! and female friendship bonds on Sister, when she lets her voice and inhibitions go. The vocal screeches teeter on ugly, but feel more visceral than wordy balladeering. Girl Talk is another step in shaping Nash as a singer-songwriter, but lacks the consistency to make it memorable.

Fiercely underground, Travis Stewart’s Machinedrum project has for the past decade delivered the kind of tasteful tech that has served as a guiding light for the more discerning dance floors around the world. Machinedrum lands this month with a concept album that is intended to feel like a late night walk through the boroughs, districts and suburbs of some megapolis. Beneath the glossy veneer of production, Machinedrum amalgamates diverse dance styles to create a cohesive and palatable but ultimately experimental sound. Taking us from the ghettos to the affluent suburbs, Vapor City offers deep immersive listening.

With Cavalcades – an album as diverse as it was poignant, relevant and emphatic – looming ominously in the background, following up with another in a similar vein would do more injustice than good. Dead Language has grittier production, conspiring in an overall darker sound, the pop element dialled down, the band putting all the focus on brazen riffs and brash passages of wrought anxiety. First single, Drown In Blood, gives the album some initial direction, yet it’s the frenetic pace of Sew My Mouth Shut, Quitters and Bury Me where the band feel most at home.

Sevana Ohandjanian

Guido Farnell

Damn Terran

Stephanie Tell

Girl Talk

★★★★

THE BARONS OF TANG

Into The Mouths Of Hungry Giants Bird’s Robe Enthrallingly chaotic yet expertly precise at the same time. If there were a way to sum up The Barons Of Tang’s debut LP, that would be as good as any. It’s not easy to describe in a few words; just as it is not easy comprehending their whole sonic concept. The Barons’ “post world core” sound – a melting-pot of metal, punk, gypsy, tango and other genres – is a thing to behold: something to which words don’t do justice. If you’re after something novel and exciting, this is most certainly it. Lukas Murphy

Vapor City

★★★★

Dead Language

James Dawson

★★★★

★★★

ISLANDS

QUASI

DREAM THEATER

Stop Start/Inertia

Domino/EMI

Roadrunner/Warner

The fifth album for Canadian quirk merchants Islands, Ski Mask is a mixture of their most loved releases – yet it’s this amorphous nature that takes some of the unpredictable sting out of their tail. Still, Wave Forms is a beachside calypso for bookish types; Becoming The Gunship is a maudlin sojourn into breathy, anthemic passive aggression; a snarky lounge crawl serves Shotgun Vision; the upbeat balladry hides behind contemplations of addiction in Nil. Nick Thorburn has always known his way around all imaginable forms of pop hook – while there is less variation here, the earworms remain in fervent force.

Quasi, the eclectic rock duo of Sam Coomes (Pink Mountain, Heatmiser) and Janet Weiss (Sleater-Kinney, Wild Flag), enters their third decade as an intermittent band with the ramshackle double album Mole City. There are no barriers or limits between these two, and it’s always an excellent listen. Fuzzed-out-to-fuck guitars, intricately simple drumming, addictive squalls (You Can Stay But You Gotta Go), ditties (RIP), freak jams (New Western Way), pop wails (The Goat), prog hiccups (Headshrinker), Eastern refractions via Wayne Coyne (Geraldine) – all present and accounted for. Mole City is playfully weird, but above all else a truly fun rocking album.

Having fully adjusted to life A.P. (After Portnoy), Dream Theater have afforded rhythmic juggernaut Mike Mangini greater opportunity to add his distinctive flavours. On their 12th LP, the US prog-metallers place greater emphasis on heavier crunch, recalling 2003’s Train Of Thought. There’s the anticipated melange of soaring, cinematic melodies (Behind The Veil, The Bigger Picture), dizzying arpeggios and time signature changes (The Enemy Inside) and some filler. Their expansive, orchestration-laden side hasn’t been neglected, and multi-part, 22-minute Illumination Theory is a suitably grandiose finale.

Brendan Telford

Brendan Crabb

Ski Mask

Mole City

Dream Theater

THE MUSIC • 18TH SEPTEMBER 2013 • 41

single/ep reviews

★★★★½

★★★★

FACTORY FLOOR

BOB DYLAN

DFA/PIAS

Columbia/Sony Bob Dylan’s 1970 double album Self Portrait was panned by critics upon its release, as Dylan tackled a wide array of covers and leaned a little more towards country music than ever before. This collection of bootlegs proves Dylan was still in pretty good form; strippeddown versions of songs from the aforementioned LP as well as unreleased demos holding up far better than the actual release. Demos from his more-loved 1970 release New Morning feature as well, but it’s the redemption of the previously slated material that will excite fans most. Dan Condon

CROOKED COLOURS

THE PARADISE MOTEL

Independent

Left Over Life To Kill

Perth electronic trio Crooked Colours may be getting compared to the likes of The Presets but Moontan Nocturnal is the kind of spiky techno house track The Presets wish they were making.

When Melbourne art rockers The Paradise Motel disbanded around the turn of the millennia it was a bitter blow. The sonicallyintriguing troupe has since reformed, and latest LP Oh Boy verily picks up where their informative career left off. The dirge of City Of Fortune reassures they’re in capable hands; the creepy, lush strings in The Spider transport to some desperate place; and The Swedish Prize goes even further beyond with its distant and solemn harmonies. There’s a lot to like – just go and get it.

It’s taken three years for London electroids Factory Floor to deliver on the promise of their breakout EP, but their eponymous debut is well worth the wait. Sticking more stridently to maximum minimalism than ever, the album is hypnotic in its synthesised repetition, alluring in its disaffected distancing. From the seductive yet calamitous jam of Two Different Ways to the insidious march of Here Again, the white noise annihilation of old may have lamentably faded away, but what remains is a stone cold triumph of dance as industrial yet pragmatic energy. The future is now.

Carley Hall

Brendan Telford

Moontan Nocturnal

FACTORY FLOOR Turn It Up DFA/PIAS Floor-stomping kick drums and cowbells are the ingredients of many DFA classics, but Factory Floor milk the recipe perfectly, adding vocal samples and not much more.

FEELINGS

New York Summer

Oh Boy

★★★

Factory Floor

Another Self Portait

Create/Control You couldn’t really make a more summery sounding pop song than Feelings have achieved here.

TIMOMATIC

★★★★½

Waterfalls Sony

Timomatic is not a household electronic appliance, and this is not a cover of the TLC classic – probably a good thing.

TKAY MAIDZA Brontosaurus (Feat Badcop) Independent Australia (and the world) needs more female hip hop and while Tkay doesn’t really rap as much as MC on this track, when she does get a short flow on it’s very cool.

FULL UGLY

Drove Down Bedroom Suck Two dudes from Love Connection and a third from Milk Teddy give us Drove Down, a perfect addition to Australia’s current stable of lo-fi indie pop. 42 • THE MUSIC • 18TH SEPTEMBER 2013

★★★★

★★★

BILL CALLAHAN

CARCASS

THE STEPKIDS

Spunk

Nuclear Blast/Universal

Stones Throw/Cooking Vinyl

On his exceptional new album, Bill Callahan (formerly Smog) has recorded his most peaceful and meditative set of songs. There is a bucolic, contemplative feel to the eight tracks on offer as they weave across percussive landscapes, led by flutes and hypnotic guitars. Sonically the album is rooted in pastoral folk, much of it soaked in dub-heavy reverb and delay. The focus though is firmly on Callahan’s voice, high and focused in the mix as he delivers typically brilliant lines like, “All I want to do is make love to you in the fertile dirt with a careless mind”.

With Surgical Steel Carcass have finally removed the stain of having the lacklustre Swansong LP as their final musical offering. This is the album that should have been released after the magisterial Necroticism... Tracks such as The Master Butcher’s Apron keep that album’s clinically cold death metal assault while the likes of A Congealed Clot Of Blood embrace the gorgeous melodies of 1993’s Heartwork LP. This album isn’t perfect – later tracks like Mount Of Execution drag a little – but it is far better than anyone thought it would be.

Mix together three talented, jazzy, soulful singer-songwriters, a wide array of instruments (think trumpet, marimba, pan flute, harp – which can all be found on track Symmetry), and some pristine production, and you get Troubadour, the second album from American trio The Stepkids. The record’s ten tracks span decades of influences, providing 1960s pop (The Lottery) alongside modern R&B that recalls labelmates Aloe Blacc and Mayer Hawthorne. If you’re looking for a left-of-centre addition to your record collection then Troubadour is the album for you. In delivering it, The Stepkids leave the hearts and souls wide open. An impressive offering.

Chris Familton

Mark Hebblewhite

Dylan Stewart

Dream River

Surgical Steel

Troubadour

THE MUSIC • 18TH SEPTEMBER 2013 • 43

THEneverSTILLSONS go your way mountain king music proudly presents a new album by

**** The Age SOL BAR // MAROOCHYDORE // THUR 26TH SEPT SOUND LOUNGE // CURRUMBIN // FRI 27TH SEPT THE JOYNT // BRISBANE // SAT 28TH SEPT THE POWERHOUSE // BRISBANE // SUN 29TH SEPT BEACH HOTEL // BYRON BAY // THUR 3RD OCT 5 CHURCH ST // BELLINGEN // FRI 4TH OCT THE WICKO // NEWCASTLE // SAT 5TH OCT THE JUNKYARD // MAITLAND // SUN 6TH OCT 44 • THE MUSIC • 18TH SEPTEMBER 2013

live reviews

BIGSOUND LIVE 2013

Fortitude Valley Entertainment Precinct 11-12 Sep We’re accustomed now to basically half of the bands in Australia converging on Brisbane for the BIGSOUND Live extravaganza, and the 2013 instalment promises to be the best line-up yet. A heap of The Music’s finest scribes grabbed their lanyards and wristbands and scurried between the dozen Valley venues hosting the action, and here is a round-up of the highlights from the two nights (a more exhaustive wrap up can be found at theMusic.com.au). WEDNESDAY Opening up the Electric Playground stage to a packed-out

Dune Rats show why they’re one of Brisbane’s hottest prospects when they have everyone in the front-of-house blitzkrieg bopping along for the duration of their set. It’s capacity at Bakery Lane to see perhaps the most intimate set that legendary UK singersongwriter Billy Bragg will ever play in Brisbane, and he doesn’t disappoint. He drops Handyman Blues and Sexuality early and then proceeds to play his 1983 debut album Life’s A Riot With Spy Vs Spy in its entirety for its thirtieth birthday, finishing with the evergreen A New England. There’s great songs, singalongs and anecdotes aplenty – everything we’ve come to expect from the Bard but in a tiny little car park. Sublime. A packed, enthusiastic Bakery Lane welcomes the hotly touted Busby Marou to the stage, and the talented group

ADALITA @ BIGSOUND LIVE. PIC: FREYA LAMONT

crowd is Sydney’s Bloods, a trio who are making power pop sound very cool again. They’re so much fun even serious industry dudes are uncrossing their arms and cracking a smile, especially when their irresistibly bratty single This Town comes out in the middle of the set. The band confess to being nervous a couple of times during the set, but this just makes them more likeable, and they pull of every song like total pros. Their stated penchant for leafy greens and general slacker ethos makes tonight’s Dune Rats set feel like a Big Lebowski convention. You expect someone to be bumped into in the packed crowd and exclaim, ‘Hey, careful, man, there’s a beverage here!’ However, there’s no discord here; the vintage pop melodies driving the band’s surf rock really ties the room together. Sounding like The Ramones at their catchiest,

Queenslander, he’s rocking a XXXX muscle shirt. Gold. Over at 633 Ann, Sydney seven-piece Little Bastard are laying down a raucous, righteous bastardised country groove, and the loved-up crowd are gleefully taken along for the ride, hootin’ and hollerin’ all the way. This is high-octane, banjo-driven dancing music and the crowd get right into it, dragged along by the brilliant stage presence of this totally engaging band. Not surprisingly, The Zoo is one of the queued venues for the evening and the mosh packs in even more for Findlay sisters Stonefield who play a show full of riffs, screeching and hair (but the flower smelling kind, not the whiskey and cigarette smelling ones). Vocalist Amy switches from wails to sweet high melodies while slapping the tambourine while lead Hannah kills her

CHANCE WATERS @ BIGSOUND LIVE. PIC: FREYA LAMONT

reciprocate the energy with a buoyant rendition of the gradually uproarious Underlying Message. Indeed, the band’s onstage antics and showmanship are a crucial part of making this a consistently engaging performance that effortlessly justifies the critical accolades the band have won to date. Shifting away from the cute pop that introduced The Starry Field early this year, Mark Myers and his band of buddies deliver a set of cane torching alt.country that practically crackles in the muggy air of Ric’s. Paul Kelly would certainly nod his approval. Myers keeps The Middle East vibes burning with storytelling that pulls no punches, while other players on the small stage rip out the stomp when it’s called for and pull back during the rawer moments. And just in case you weren’t certain the bearded one was a card-carrying

aren’t – and that’s a very good thing. They might not be the youngest or hottest band on the line-up, but they’re aggressive, proficient, noisy and fucking awesome. Sure, they’re mining pretty deeply from Mclusky and Future Of The Left territory, but since when has that been a bad thing? Particularly when they’ve definitely put their own stamp on it. Sucked in if you missed them. Which King Gizzard &The Lizard Wizard will we get tonight? The seven-headed Melbourne beast has tried their hand at trashy garage rock, spaghetti Western instrumentals and chants about footy. Today the band is distinctly psychedelic, and the result is typically electrifying. The first incredibly elongated track has more than a passing resemblance to Thee Oh Sees at their most spun out. A weird country song in the middle of the

ROBERT FORSTER @ BIGSOUND LIVE. PIC: JOHN STUBBS

solos creating a Hendrix sound from her travel-sized weapon. Former Powderfinger guitarist Darren Middleton has moved front and centre for his new project, and although the spectre of his previous band still looms large, Middleton proves to be a competent frontman in his own right. Previewing songs from his forthcoming solo debut album Translations, Middleton is clearly relishing being onstage again after a two-and-a-half-year break and his infectious indie-rock tunes and the first-rate harmonies from his backing band should ensure these songs find an audience. Treasure in the Dark and Let Go are among his strongest numbers, but it’s the offkilter Storms – which builds from a repetitive beat to a crescendo of effects and thrashing drums and back again – that’s the real climax. Alhambra might be quiet but The Peep Tempel sure as hell

set sounds like Devendra Banhart in the wasted South, while latest single 30 Past 7 is a spiritualised fuzz beast. Closing out with another psych jam, the dual drummers flailing, guitars and keys entwined, defying the timekeepers, King Gizzard reaffirm why they are one of the most exciting prospects on the continent. Alone front and centre in her standard singlet/jeans uniform, a bookish looking Adalita plays us a sad song, He Wrote; however, her voice stays strong and true, even when holding the long notes. Ms Srsen plays off her own guitar backing track for old single Hot Air, but just in case anyone was doubting her rock queen status, she lets out a wailing solo on her polished blue axe to bring the song to its knees. When she finishes with Heavy Cut, one can’t help but be gagging for her sophomore release. THE MUSIC • 18TH SEPTEMBER 2013 • 45

live reviews Maybe if there’s one word to describe Bad//Dreem’s show at Ric’s, it’s definitely ‘soupy’. It is hot as FUCK in here, the moist air clinging right to your skin, and they’ve turned all the guitars up so loud it’s hard to hear anything but a wall of noise. But that’s okay, the band aren’t really going for subtlety here tonight, their tracks sounding a lot more thrashy and hardcore than you’d expect from the downbeat rock of their records. Singles are still their strongest songs, but when they’re all this strong that doesn’t matter much, and everyone’s singing along to Caroline by the end. Maybe it is the eclectic nature that the snatch-grab live experience of the night brings, but the set from Robert Forster feels slightly pedestrian tonight. He is in a quietly jovial mood and the space of the Black Bear Lodge is conducive to his

MONEY FOR ROPE @ BIGSOUND LIVE. PIC: FREYA LAMONT

contemplative ruminations, yet the clientele and lack of intimacy don’t allow the songs to gel. A real disappointment, yet as Forster plays on with understated grace, the performance doesn’t dent the man’s reputation. Double beats and red hot heat, flailing limbs, arms akimbo when not, guitars raped and pillaged, it’d be a melee if not for the instruments, sweat stains shirts as rock ‘n’ roll is given new life by Money For Rope; a second chance, a revival without anyone actually knowing that it needed resuscitating. They’re almost unrecognisable without one of the six being in some sort of plaster cast, but it matters not when two drummers thump and grind in time with whatever the fuck is happening out the front, something you’re not sure of but you’re damn well sure that you dig it. They veer sharply into Doors 46 • THE MUSIC • 18TH SEPTEMBER 2013

territory with alarming regularity, but veer out just as often, enough to have you thinking they’re on their own jag, and you’d be right – one of the best bands on the scene right now, make no mistake. As soon as the pioneering Sydney based duo Spit Syndicate and DJ Joyride hit the stage, it’s clear that their established following have specifically come to see them close off their evening. They mention their “love-hate relationship with the Valley” but it’s all love here with hands raised and hi-fives being shared from stage to mosh. A fan appropriately gets up on shoulders briefly before security quickly swoops in, but the party continues through Amazing and Beauty In The Bricks. Swampy punk rockers Gay Paris have been generating a fair amount of buzz lately; both with the word-of-mouth following The Last Good Party and the

THURSDAY The shimmering and occasionally driving electro pop of Sydney’s Elizabeth Rose gets official proceedings started on Bakery Lane this evening. A gentleman controls the synths while Rose jumps around and generally injects plenty of energy to the gig, not quite coaxing the onlookers to follow suit, but certainly making for an engaging show. An alumni of last year’s event, Rose’s voice seems to be strengthening and those songs she’s writing and playing sure aren’t getting any worse. Same time slot (early), same venue (Black Bear Lodge) as 2011 for Gossling, but this time she’s returned with a backing band to give the full experience and show off all facets of her pop-smart songwriting. She sounds decent enough over the usual bar chatter, but the gorgeous songstress and

GAY PARIS @ BIGSOUND LIVE. PIC: JOHN STUBBS

ugly noise emanating from their Marshalls – so they seem like a logical choice to close the first day of BIGSOUND over at Alhambra Lounge and don’t disappoint on either buzz front. With the swagger of sleaze rock and the explosive energy of volatile hardcore powering them they strut and jump across the stage for a set that is wild and over too soon. Regurgitator bring things to a close on a local note over at Electric Playground, and not only is the place packed tight but the floor is bouncing quite alarmingly as the crowd shows its gratitude to the prodigal Brisbane heroes. They’re rocking bizarre red jumpsuits and seem to be having a blast as they mix old chestnuts such as Everyday Formula and I Will Lick Your Asshole with newer cuts from brand new album Dirty Pop Fantasy. Dirty and fantastic indeed, with dollops of pop.

Woman. It’s short-lived, though, and quickly the quartet burst into the meat and potatoes; from there on it’s a shit-hot display of gutsy punk rock, no frills, just the way the style should be sent out. John Bowker is soon claiming he’s in a kiln which results in a flurry of water spray, while drummer Dave Murphy continues the trend of shirtless skinsmen. The guys kick harder arse with every song until Bowker finishes it all off from the middle of the crowd while jagged riffs slice around him. Taking over the Rev’s Inthemix stage, Melbourne duo Willow Beats trade off male and female vocals across a set that spans the range of electronic music, from banging dubstep club anthems to chilled out jams where Kalyani Ellis’ Björk-esque vocals really shine. The set’s breadth of sound is truly impressive; Willow Beats manage to create a vibe equal

REGURGITATOR @ BIGSOUND LIVE. PIC: FREYA LAMONT

her musical partners look fairly rigid on stage. In saying that, their legs could be kicking out all sorts of crazy moves and we’d be none the wiser; the venue is more bloated and cramped than Pete Doherty after he kicked the gear. Never has a stage been so close, yet seemed so far. Over at Oh Hello! for Major Leagues. It’s so packed there’s not much to see, even on tip toes. The band show a more energetic side in this set of sweetly cynical ‘90s pop, though true to form no one’s overly chatty. Singer Anna Davidson’s mid-set proclamation, “Brisbane, huh?”, kind of says it all. They end with a particularly strident version of single Endless Drain and the harder edged Feel, which apparently will be released on an EP soon. At Ric’s Born Lion are delivering a punch-drunk take of Percy Sledge’s When A Man Loves A

parts the band you’d go out to the club to dance to, and the band that you’d spin alone in your home when you want to get your groove on to after a hard day of work. Montreal’s Your Favorite Enemies know how to make an entrance, with guitarist Ben Lemelin playing his instrument with a bow as the stage lights come on. The six-piece’s atmospheric blend of post-punk, prog and rock goes down well, and singer Alex Foster has an impressive vocal range, at times reminiscent of Birds of Tokyo/ Karnivool frontman Ian Kenny. The band are clearly chuffed to be here, with Foster in a playful mood, thanking his dad “for telling my mum I’m still studying at university”. Highlights include When Did We Lose Each Other, A View From Within and Kerosene. Psychedelic spaghetti Western. Flying sweat and moustaches

live reviews so bad they’re good, chequered shirts and cowboy boots, but with a healthy dose of Rove Live to tone it down and make it real, appeal to the people, but fuck the people, those people don’t know what’s going on. If they did, then Twin Beasts (formerly the Toot Toot Toots) would be bigger than fucking Jesus in this country, or whomever you care to worship, and so it should be – this is music with stories, tales set to tune as rambunctious as your grandma after a few sherries; you know it, Twin Beasts know it, so you should get the hell on board. This is real. It’s packed at Ric’s for Sydney rock’n’roll quartet Bed Wettin’ Bad Boys, their set ramshackle in the best possible way as they smash through a slew of songs from their debut album Ready For Boredom without a care in the world; cuts like Devotion,

CUB SPORT @ BIGSOUND LIVE. PIC: JOHN STUBBS

Sally and the excellent title track sounding excellent in the live realm. Their banter is slightly sardonic, but with awesome tunes like these in their arsenal they can say whatever they fucking like in between songs. Please return soon. It’s a vibrant explosion of colour and sound when The Griswolds do their jungle indie thing, complete with Christmas fairy lights and fluoro face paint. They play The Courtship Of Summer Preasley and as the drums pound with native intensity you wonder if Vampire Weekend even know they’re getting usurped. Chance Waters smiles through a gap in the venue’s dividing brickwork while the Sydneysiders move and shake and let the music coarse through their body. Their humbling and charming charisma is hard to deny, even for the cynics. An untitled new track off a forthcoming debut

shows plenty of promise, too. Big things – expect them. Bored Nothing’s set definitely exhibits one of the highest dickhead-per-square-metre ratios of the festival, in a surprisingly empty room. Perhaps because of this, most of the songs fail to connect throughout the set; kind of hanging in the air, beautiful but useless. And they are good songs, with lyrics of mundane depression, scuzzy rock choruses and clean cut melodies that just can’t seem to cut through. Fergus Miller looks uncomfortable, but gamely attempts semi-friendly banter while the crowd continue to chat amongst themselves. The audience at the Tempo trebles in the few minutes before Calling All Cars take to the stage and the Melbourne three-piece don’t disappoint, putting in an energetic set comprised largely of new material. Singer Haydn Ing

by the truckload – from the way he clutches the mic to his shuffle cut dance moves when the guitar is strapped on – and overall things are groovy with a little oomph. DFA on Red Bull perhaps. All I Heard goes down with ease, while a cover of Fatboy Slim’s Praise You is inspired. Over at the Press Club, Melbourne four-piece The Demon Parade come on like a groovy as hell retro flashback. Channeling the tight harmonies the early ‘60s Beatles and the freewheeling sense of fun of the late-’60s Beatles’ lysergic jams, The Demon Parade balance being a throwback act with one that also pays homage to modern bands like The Brian Jonestown Massacre and Black Rebel Motorcycle Club. They kick out guitar-heavy jams for the duration of their set and are a treat for the crowd assembled in front of the stage.

THE JOHN STEEL SINGERS @ BIGSOUND LIVE. PIC: FREYA LAMONT

puts in a particularly energetic performance, walking into the audience and back on the stage while playing, without missing a note, while drummer James Ing and bassist Adam Montgomery are as tight as ever. New single Werewolves gets a rousing response, as does the aptly named Raise The People. Although they already have a decent following, they’re bound to have earned a slew of new fans tonight. Technical troubles threaten to push Mitzi’s slot completely off the bill, but luckily 15 minutes after scheduled start time and our West End heroes are getting straight down to business. They quickly take us under the sea with their deep disco, and the sonar-like signals that pop out suit the feminine tones of frontman Dominiqe Bird completely. He has charisma

The sound for locals Tigertown is lush and dramatic, but they deftly manage to keep it completely in control. After a couple of songs their latest singe What You Came Here For comes out, and the band and the audience both loosen up and hit their stride. It’s this energy that elevates this set about the usual harmony driven folk-pop fare. In the middle of a particularly rousing chorus two dudes in the audience pull out drums and start beating them along with the song, taking the idea of auxiliary percussion to a whole new level. Despite the relatively small confines of Bakery Lane, the more than twenty members of Melbourne Ska Orchestra manage to squeeze themselves onto the stage and while their brass-heavy wall of sound on record, it’s even more impressive live. Lygon St Meltdown immediately gets the crowd

skanking and the more subdued The Best Things In Life Are Free sounds near album-perfect. Frontman Nicky Bomba has the audience in the palm of his hand, telling everyone “to turn around and count to four, then turn around and dance like you’ve never danced before,” before slowing things down with set closer Katoomba Jeremy Neale opens proceedings by calling everyone in attendance a legend (he’s just that kinda guy), then going on to open on his great tune Winter Was The Time. His band is sounding great right now, the addition of keys working very nicely indeed at filling out the sound. He drops a few new songs which are great, of course, but you can’t go past the hit parade that ends the set; Darlin’ (featuring a seriously impressive Rainbow Chan on sax), A Love Affair To Keep You There

HEY GERONIMO @ BIGSOUND LIVE. PIC: FREYA LAMONT

and the wonderful Go Violets collaboration In Stranger Times. In front of a blur of strobe lights, Brisbane three-piece Aerials close out BIGSOUND over at the Tempo Hotel. Taking cues from Muse, minus the massive stadium rock pomposity, the rock’n’roll outfit marries big choruses with lashings of modulated guitar and enough stomping riffs to make the average punter think that they’re caught in a stampede. The crowd might be thin, but Aerials deliver a set with a potent mix of power and passion. It’s no wonder they’re headlining the stage. Jann Angara, Steve Bell, Dan Condon, Benny Doyle, Samuel J Fell, Tom Hersey, Daniel Johnson, Mitch Knox, Madeleine Laing, Brendan Telford THE MUSIC • 18TH SEPTEMBER 2013 • 47

arts reviews

STORIES WE TELL

R.I.P.D.

THE EAST

In cinemas now

In cinemas 19 Sep

In cinemas 26 Sep

A twist on the buddy cop concept, R.I.P.D. is the tale of two heavenly law bringers hunting down escaped dead souls on earth and, of course, they have to save the world. With Ryan Reynolds and Jeff Bridges taking the helm, these two characters are likeable and the action is different enough from other films to have a nice feeling of originality. It’s an adaptation of a comic book series of the same name and has such a strong feeling of ‘comic book’ to it that it’s a nice break from the ‘Nolan’ effect that the last bunch of blockbusters have thrown us.

Ex-FBI agent Sarah Moss (Brit Marling) infiltrates ecoterrorist collective The East, a mix of predominately middle class college drop outs, as they plan “jams“ against senior managers of ethically corrupt corporate conglomerates. The key targets for retribution are pharmaceutical companies, for the various damages caused by their products. Featuring strong performances from female lead Brit Marling, along with excellent supporting roles from Alexander Skarsgard and Ellen Page in particular, director Zal Batmanglij previously collaborated with Marling on the acclaimed Sound Of My Voice and it is clear that the two have developed an excellent rapport. Batmanglij expertly

Film

Truth and the perception of truth is the driving force in Sarah Polley’s new film, a documentary exploring her family history. The frustrating thing about this film is that to go into any depth on the story would give an insight that would distort a first viewing, so, the description of this film really needs to be on its style and not on its content. Most films, even documentaries, latches onto a central subject and every other character assists the telling of the material. This film is the complete opposite. The characters around the central characters are the backbone and for this aspect Polley should be commended. At the same time, the reason this isn’t done too often is the difficult task of assigning emotion attachment.

The casting of Jeff Bridges as a ghost cowboy who is seen by mortals as a blonde model is fun and there are some good

STORIES WE TELL

This brings the viewer into a frustrating opinion because Polley is brilliantly messing with convention to show an incredible idea – that truth is the perception of truth – making this film incredibly honest while also producing a very vague documentary. The viewer constantly struggles to connect with anything, which is sort of an anti-feat considering her fascinating family history.

Film

R.I.P.D.

THE ACT OF KILLING Film

In cinemas 3 Oct The Act of Killing has had almost universal critical acclaim, and for good reason. This film is an engaging (and surprisingly beautiful) documentary that delves into the long term after-effects of the systematic murder of over 1,000,000 people. It’s a non-judgemental exploration, focusing not on the actual events that happened in Indonesia in 1965, but on the impact that the killing and terror of that time has had on the people (victims and perpetrators) living in North Sumatra today. Key among these people is Anwar Congo: a self-professed gangster and executioner who begins the film bragging about his methods for efficient mass murdering. Key to this film’s power is the ease and openness with which these horrific

THE ACT OF KILLING

While its length will hold back enjoyment, it will have your mind puzzled and plagued with thoughts on the design of the documentary and its quest for truth.

jokes that push through what is an incredibly predictable and simple storyline. Which is fine if it weren’t for the feeling that this film could have had so much more. The entire world is so unique but its script just didn’t move around in it. Every aspect of the story is quickly answered, not leaving any room for the imagination. The film just feels like failed potential. So many interesting and funny concepts are half thought out, and if played fully would have made this film the talk of the moment rather than: ‘A ghost cop movie? Meh’.

captures Moss’s balancing act as professional spy, ecoterrorist, and loving girlfriend, while Marling’s chameleonlike performance matches the material perfectly. The film is very well paced, and effective in keeping the audience guessing throughout. Ultimately, though, the plot takes a number of silly turns, and makes some ethically simplistic choices that prevent it from being the hard hitting revelatory experience that the duo might have hoped for. Regardless, this is a slick, entertaining ride that is rewarding so long as it is not taken too seriously.

events are shared; filmmaker Joshua Oppenheimer invited Anwar and his colleagues to re-enact their killings, who do so with terrifying candour. Responsibility is shifted from person to person, making it clear that in 40 years nobody has thought too deeply about what they did... but over the six years this documentary was shot the truth of that era begins to be driven home. Oppenheimer strips back the concept of ‘goodies and baddies’, and shares with us real, honest and haunted people who are coming to realise the horror of what they did. This film is an absolute must-see, I can’t say that strongly enough.

Matthew Ziccone

Bethany Cannan

Danny Delahunty

48 • THE MUSIC • 18TH SEPTEMBER 2013

games Amnesia’s tense formula of hide and seek by candlelight, A:MFP was surely destined for greatness.

★★★

AMNESIA: A MACHINE FOR PIGS Frictional Games PC/Mac

This world is a machine: a machine for pigs. A:MFP’s tagline seems to promise horror disciples an arresting visual palate – an infernal assembly line of conveyer belts, great cogs and macerators, piping out a broth of swine-based body horror. Layering this imagery onto

And there’s plenty to like about this game. The discovery of an endless network of steam engines and refuse pits deep beneath Mandus’ meat factory is initially fascinating, drawing the player into the bowels of the earth’s crust in search of some ultimate madness. A superbly written set of memoirs and voice journals offers lovely gore poetry, including “I will bury my snout into your ribcage and eat your heart.” But the horror falls short. The player never sees inside the crimson pipes which supposedly house unspeakable crimes against the flesh, and the sense of imminent danger vital to survival horror is absent for most of the experience. When the patrolling monsteroids finally arrive, their caricatured forms are animated with the loveable shuffle of Super Mario 64’s tombstone Thwomps. Ultimately, A:MFP’s tantalising swinepunk theme remains halfbaked, and the scares are too few. Mike Pendlebury

rescue his girlfriend from an alien warlord. You’ll be on permanent high alert looking for the prompts, and there are just enough breaks to catch the drift.

★★★★

SPACE ACE

Digital Leisure Inc. PC Space Ace is a golden era cartoon adventure game from legendary animator Don Bluth (The Land Before Time, The Rats of NIMH). As a game, Space Ace mashes together a Disney movie, Dance Dance Revolution, and learning pi to a thousand decimal places.

★★★★½

RAYMAN LEGENDS Ubisoft

WiiU/Xbox 360/PS3/PC/ PS Vita A trail of tequila worms writhe underfoot, burly luchadores beat their chests and flamenco skeletons strum the tune of Eye of the Tiger. Welcome to Rayman Legends. This game is amazing: pure platforming bliss. Behind the gorgeous painted visuals, I could smell the mathematics at work: every jump, slide and

My one gripe with the game is the lifeless overworld. I couldn’t help feeling detached from the adventure itself. I never developed a sense of place or purpose and, hence, the greater narrative suffered. Picky game reviewer hangups aside, Legends is brilliant. If you’re one of the 12 people who own a WiiU, do yourself a favour and splurge. Andrew Sutton

Would Space Ace fit in with this generation of gamers in realistic terms? Probably not. The years have been unkind to simple electronic entertainment in terms of user expectation, but for those prepositioned to a bit of fun that will consume your life for about an hour Space Ace will zap the entertainment neuron perfectly. Simon Holland

The player has to react at lightning speed to on-screen prompts that guide the hapless protagonist through space to the battlements above. A wince and thirty one corpses later, I’d secured yet another dirty victory.

punch perfectly accommodated into the level design. Legends is a delight. Hell, I even enjoyed the underwater levels. Picking up where Origins left off, Rayman and his pals must save the Lums hidden in an absolutely ridiculous levels. Underwater hideouts, collapsing towers, a world made of hot dogs – Legends has it all. The attention to detail is astonishing. Every nook and cranny should be explored to ween out everything Legends has to offer. Despite being a multi-platform release, Legends was clearly built for the WiiU. The gamepad allows the player to directly interact with the levels’ infrastructure.

The game itself is a genuine ‘holy-shit-what-just-happened’ moment from the get-go and you’ll find yourself holding your breath for most of the ride. The most striking aspect of the gameplay is the overwhelming charm that a game of that time period exudes. It was a time where adventure was encouraged, and not much was demanded of a player to check in and enjoy a game.

★★½

TOTAL WAR: ROME II Creative Assembly PC

My tent rave went berserk: thirty Samnite skirmishers and one confused horseman fumbled into each other mindlessly, apparently driven by the sounds of ancient Italy’s most secretive silent disco. Either that, or the Samnite AI had calculated the tent fabric would be a suitable shield from the torrent of Roman spears that sailed down from

TW:R2 is a game of encouraging design decisions, dragged down by agonising missteps. The series’ core battle simulation has benefited from increased unit variety since Shogun 2, and the nuanced positioning of your legions in anticipation of the barbarian hordes spilling over the horizon is still gripping. But the eventual melee combat is spoiled by miserable AI and floaty collision physics, leaving many brawls looking like a prematch soccer handshake ritual. Meanwhile, the turn-based metagame can’t compete with the depth of Europa Universalis IV and Civilization V: Brave New World. The pretty bloom lighting on ocean breakers doesn’t make up for the sterile icons masquerading as a user interface, the unexciting tech trees and the capricious diplomacy system. Unpatched and unmodded, I can’t recommend this game for anything besides an immediate update from Creative Assembly. Michael Pendlebury THE MUSIC • 18TH SEPTEMBER 2013 • 49

muso

STUDIO CREDITS

PRODUCERS: Alela Diane and John Askew

STUDIOS: Flora Recording & Playback, Portland; Miner Street Recordings, Philadelphia; The Map Room, Portland

MIXING ENGINEER: John Askew

STUDIOS: The Mix Foundry and Scenic Burrows, Portland

MASTERING: Roger Seibel at SAE Mastering

ARTWORK: Diane Chonette

SINGING HER GOODBYES Determined to get something positive out of a bitter divorce and ensuing period of emotional chaos, Alela Diane made an album. She talks candidly to Michael Smith.

ortland-based singersongwriter Alela Diane got her start on stage in 2003 thanks to an invitation from Joanna Newsom. She’d already released a debut album Forest Parade independently, and since had been quietly building her catalogue and profile before putting together her own band, Wild Divine, who opened for Fleet Foxes in 2011. Her current album, About Farewell, was borne of her reaction to the breakup of her marriage. “It’s much simpler than the previous record,” Diane suggests, “and the way I approached it was a lot simpler. But I did have a couple of very important collaborators on this record that do make the sound a lot fuller. “I started tracking the vocals and guitar live to tape… I think that that was just, in part, because of the songs. The songs are very personal and pretty intense, and when I started this record I didn’t have a clear-cut plan of where it was going to go or what was going to happen with it. I just had the songs and it just felt like I needed to record them as soon as possible.” Those basic tracks were cut to tape at Flora Recording & Playback Studios in Portland with producer John Askew, whose credits include albums for The Dodos and Hosannas. The studio itself belongs to producer Tucker Martine, who’s worked with My Morning Jacket and The Decemberists. The 1600-square foot studio control room boasts an automated 32-channel API Legacy with Uptown automation, with an additional 24 monitor inputs with auxiliary sends and eight pair of bus faders with inserts. More importantly for Diane, the studio has a Studer 820 24-track 2” tape machine.

50 • THE MUSIC • 18TH SEPTEMBER 2013

“I like the warmth that tape is able to give,” Diane admits. “And I like the experience of recording in that slower way. The whole record wasn’t tracked to tape – I’m not a complete purist – but I do think that the quality of tape gives the original tracks quite an intimate feeling.” Askew actually began the sessions on About Farewell as the engineer rather than producer. “I had decided to do some demos with him, so we did those in December 2011 and then I was like, ‘I should just start recording this,’ and I loved the studio we were working at so we just started it. I was in the thick of a very chaotic time in my life and decided to just, simultaneously, pop in a studio and do something productive with all the chaos.”

“I WAS IN THE THICK OF A VERY CHAOTIC TIME IN MY LIFE AND DECIDED TO JUST, SIMULTANEOUSLY, POP IN A STUDIO AND DO SOMETHING PRODUCTIVE WITH ALL THE CHAOS.” The piano and flute on the record were then put down in another studio, Miner Street Recordings in Philadelphia, by the other important collaborator in the project, Heather Broderick. “After I recorded the original tracks I did a lot of vocal harmonies and tracked some additional guitar myself, and then Heather and I had toured together briefly on the European leg of the Wild Divine tour and we just really hit it off. She had a really good sensibility with music and I thought she could bring something really interesting to the table. She wrote all her own parts.” The strings for About Farewell were then done at The Map Room, Portland, by Holcombe Waller, with drummer Neal Morgan, a member of both Joanna Newsom and Bill Callahan’s touring bands, playing on a few tracks. Diane finished mixing with Askew and Broderick earlier this year at his own Scenic Burrows, which has 16 channels of Dangerous Music D-Box, a summing mixer/monitoring system, along with Logic Pro and ProTools 10, and The Mix Foundry, owned and operated by Adam Selzer and featuring a 36-channel Neotek IIIC. And life has improved for Alela Diane, who can perform comfortably without being swept up by the emotional pain the songs were born from. About Farewell, by Alela Diane, is out now through Spunk.

muso

MARK GILBERT WOLF MAIL SIGNATURE GUITAR

If we ask guitar players why they choose and play the guitars they do, an interesting story usually presents. While interviewing French Canadian bluesman Wolf Mail recently, this was very much in evidence. Mail plays Mark Gilbert guitars, and exclusively so. They met at one of Mail’s gigs in Tasmania where Gilbert lives and the relationship developed after Mail played Gilbert’s Thylacine theme guitar. Playing the result of their collaboration, the Wolf

Mail Signature Guitar, I can speak for Gilbert’s remarkable detail as a luthier. The high-end componentry includes Gotoh 510 machine heads, a goldplated Schaller 457 bridge and a TV Jones P90 neck pickup with full copper shielding in the cavity. But it’s the wood that really sells this guitar; figured Tasmanian blackwood that just sings to the feel. Steve Flack

STRAUSS SRT-15 VALVE AMP

The Strauss SRT-15 is a small, lightweight, simple to use tonemachine where you’re instantly rewarded with warm, clean, tube sparkle by simply plugging in and turning up. There are two Ruby Tubes 12AX7s in the preamp, driving two Ruby Tubes EL84s in the power amp, with a total of 15 watts pumping through a 10”, 8 ohm Eminence speaker. There are two inputs available, with Input 1 as the ‘Normal’ channel and Input 2 as a ‘Bright’ channel. Both channels sound great and 52 • THE MUSIC • 18TH SEPTEMBER 2013

are a matter of personal taste in whether you’re trying to achieve a rich, smooth tone or going for some twangy grit. The one-knob tone control makes it almost impossible to dial in a bad sound, and adding a bit of reverb helps enhance depth and colour. The on-board tremolo is nice and swampy for a bit of Southern charm, and kicking in a classic overdrive results in wonderful, smooth ‘chocolaty’ tones. Reza Nasseri

MOOER PURE BOOST

The Mooer Pure Boost is one of the many Micro Series of effects offered by Mooer Audio, a Chinese-based company that already has a wide array of products including nearly 50 mini stomps available for purchase on the Muso City website. The Pure Boost is a great little pedal that brings new meaning to the term True Bypass, because even when it’s switched on and left in a neutral position your tone remains exactly the same. There are three small knobs for bass,

volume and treble, and one large knob for gain. Turning up the volume on the pedal does exactly that – you get more than enough boost just through a clean amp – and sticking it in the effects loop is a great way of getting a good lead tone with your drive engaged. Also, the on-board twoband EQ can be really helpful by cutting some of the highs and lows and boosting the mids for a nice, singing lead tone. Reza Nasseri

FOCUSRITE FORTE

This is hot. The new Focusrite Forte USB 24-Bit /192 is a serious new breed of high-end portable USB audio interface. It works with PC and Mac and connects to your DAW. This is a two-in and four-out, high quality interface with two remotecontrolled mic preamps with the kind of sonic quality you’d

expect from Focusrite. The unit is housed in a solid aluminum case with a colour OLED screen and a big intuitive control knob. It really does look the part, hits the pro design philosophy spot on and feels like a well-built device. Performance is pristine. Barry Gilmour

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the guide eat

drink

travel

Member answering/role: Jack Bratt – vocals, guitar, hangovers How long have you been together? Our first show was on 5 February, 2010, so if my science is correct that’s eight years.

culture

How did you all meet? Zara and I have been BFFs for about ten years after we met at The Zoo and bonded over a mutual love of Giants Of Science. I met Duck outside of Ric’s in a drunken haze, and we found our drummer Jonny through this wonderful publication! You’re in the van – which band or artist is going to keep the most people happy if we throw them on the stereo? Tool. But Zara would rather get out and walk. We usually groove along to ‘90s classics together.

BLONDE ON BLONDE

Which Brisbane bands before you have been an inspiration (musically or otherwise)? Giants Of Science (who are the best Brisbane band ever.) Sekiden, Go Stop Stop, The Mean Streaks, SixFtHick, The Mercy Beat, Mary Trembles, Intercooler. What part do you think Brisbane plays in the music you make? A huge part. All of our songs are about the trouble we get into around Fortitude Valley. It’s our home. What’s in the pipeline for the band in the short term? We’re launching our new single Lucid at Tempo this week. We’re also smack bang in the middle of recording our debut album, and we’ll be doing some touring over the summer. Blonde On Blonde launch Lucid (Independent) at The Tempo Hotel on Friday. Photo by TERRY SOO. THE MUSIC • 18TH SEPTEMBER 2013 • 55

the guide qld.live@themusic.com.au

FRONTLASH

TOURING THIS WEEK

BIG BIG BIG

Y’all are probably sick to death of hearing the word BIGSOUND, but congrats need to be made for yet another wonderful conference and showcase that really helps keep Brisbane on the map as the vibrant musical mecca that it is. Well done to us all!

GAME ON We always bag rappers for being ostentatious, but US rhymer The Game was so touched by the plight of a boy he met in Coffs Harbour that he’s vowed to give one million bucks to charity by the end of the year. We’d like to see receipts, but very cool if it happens…

WASH’N’ROLL Shoegaze types Rinse will be sitting atop the bill on Saturday at Trainspotters, Grand Central Hotel, with the fantastic free partying helped along by Pool Shop, The Creases, pictured, and Blonde Tongues. Local talent oozing from this bill.

BRIS-FESTIVUS This year’s Brisbane Festival is still going strong – the light show over the river is a nightly highlight, and so far a swag of great acts have rocked The Spiegeltent (including a wonderful Dick Diver on Saturday night). So much fun, get amongst it!

BACKLASH BUY! BUY! BUY!

There’s only one way to thwart the increasingly loud rumours that Harvest Festival will be cancelled – buy some bloody tickets! It’s a brilliant lineup and we’ll be gutted if it’s canned, so do something about it now while you still can!

THAT STINGS The story about the guy in the UK getting stung by his pet stingray was fairly innocuous, except that he’d decided to name his wet pet Steve Irwin! That’s borderline disturbing, right? Steve would probably love it, but we’re not going to start living by his moral compass…

GO HOME So Redfoo whips another crappy novelty song up – probably while on the toilet – and it shoots straight to #1 on the iTunes charts. People are fucked. He was at the freaking Deadlys the other night, can’t he just leave us alone? 56 • THE MUSIC • 18TH SEPTEMBER 2013

AMBER ATTACK

LOSE YOUR MIND

Punk is way better when you’re drunk, and the Flangipanis know it. The filthy troublemakers lead the afternoon action at Rock N Roll BBQ, 633 Ann, playing this Sunday with Wolfpack, pictured, Monkey Island and Tone Sonic – all free.

Get on down to Grand Central Hotel Thursday night as Barbiturates will be headlining Off The Rails to celebrate the launch of their brand new record. Death Legs and Thigh Master will also be fronting up on the night.

THIS WEEK’S RELEASES… NIRVANA In Utero (20th Anniversary Reissue) Universal GROUPLOVE Spreading Rumours Warner

ONE MORE TIME

THE BLOODY BEETROOTS Hide Ministry Of Sound

TJ Quinton, pictured, and Ahliya Kite are partnering up again at Upfront Club, Maleny, 21 Sep; Solbar, Maroochydore, 22 Sep; Kulchajam, Byron Bay, 27 Sep, Mandala Organic Arts Cafe, GC, 28 Sep; and Black Bear Lodge, 6 Nov.

CHVRCHES The Bones Of What You Believe Liberator

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INTERSTATE ARRIVALS

EP FOCUS

HAVE YOU HEARD

CINEMATIC BLISS

DANCING COLOURS

NIGHT TIME FIONA

Be moved by the beautiful storytelling of Rosie Catalano when the chanteuse showcases her new EP Dreams Are Just Movies at The Hideaway, 4 Oct. A co-headline show with Rose Wintergreen, Dan and Hannah Acfield will also support.

Trip the fuck out with Great Shakes, the debut record from mighty Melbourne psych purveyors The Grand Rapids; they play Trainspotters, Grand Central Hotel, 19 Oct, with their fuzzed out jams sure to warp some heads that night.

How did you get together? Jace Cone (drums): Benny Bolland (vocals/acoustic) and Andrew Marshall (guitar) were work mates who got together in late2010 and started jamming in the hope to get an original/covers duo going. When they found that they were writing originals at a cracking pace,they enlisted me to come and play drums and my mate Phil Baz to step in on bass. Covers fell by the wayside once the originals started piling up and the alien that is NTF was hatched.

ASHLEIGH MANNIX EP Title: From The Mountains How many releases do you have now? Including From The Mountains, I have six releases – four EPs and two live albums.

KEEPING IT COSY

WHICH WAY’S UP?

After performing at large scale events like Brisbane Festival and Woodford Folk Festival, The Twoks will get intimate this time around, showing Dowse Bar just what a violin and drum duo can do. 10 Nov, with Kathryn McKee supporting.

On 26 Sep at Alhambra Lounge you can catch the synth waves created by Perth trio Crooked Colours. The guys have just dropped their new single Moontan Nocturnal and will showcase these darker electronic adventures in full.

Was anything in particular inspiring you during the making? We recorded the EP in a friend’s home hidden away in the tropical rainforests surrounding Mount Warning in northern NSW. The entire experience of recording in such an isolated place was incredibly inspiring. What’s your favourite song on it? I can’t pick just one favourite track! I love them all! His Harmonica is pretty damn foot-tappingly funky, though. We’ll like this EP if we like... There are many influences heard throughout the tracks. Ryan Adams, Mumford & Sons, Laura Marling, Adele and Janis Joplin were all referenced during the recording. Ashleigh Mannix plays The Joynt on 26 Sep, The Up Front Bar, Booroobin on 27 Sep, The Valley Markets (afternoon) and The Loft, Gold Coast (evening) on 28 Sep.

LIEBE HART ADDITTIONS

EMPTY PROMISES

Melbourne rascals The Stiffys, pictured, and Ten Thousand Free Men & Their Families from Sydney will support the David Liebe Hart Band when they play Crowbar, 4 Oct. Rock’n’roll can be funny, you stiff bastards.

Yes, I’m Leaving, pictured, will release rage and resentment in front of you right after Thomas Covenant and Roku Music shake your protons around. Shoegaze, glaze and blaze your way through Sonic Masala’s event at The Waiting Room, 27 Sep.

FOR MORE HEAD TO THEMUSIC.COM.AU

Sum up your musical sound in four words: Grunge flavoured voodoo rock! If you could support any band in the world – past or present – who would it be? Pearl Jam. You’re being sent into space and there’s only room to bring one album – which would it be? Boney M’s Greatest Hits. Greatest rock’n’roll moment of your career? Getting selected to support Rose Tattoo this October. Why should people come and see you? We have a bit of everything going on. Our music is new-age rock mixed with a heavy ‘90s grunge influence, with driving beats and catchy hooks. We coined the phrase ‘voodoo rock’ to describe our genre because we’ll put you in a trance, play games with your mind, and make you feel funny in the pants. Night Time Fiona play the Tall Poppy Indie Rock Party at The Zoo this Friday.

THE MUSIC • 18TH SEPTEMBER 2013 • 57

the guide qld.live@themusic.com.au

SINGLE FOCUS

AIMEE FRANCIS

KIKAGAKU MOYO

Single title: Losers’ Game

Member answering/role: Go Kurosawa – drums/vocal

What’s the song about? Your heart being trodden on. Or smashed into a million pieces. Or just the feeling of heartbreak; you choose. How long did it take to write/record? It was written very quickly, one of those, ‘I know how this feels, let’s roll with it’ kinda songs. Is this track from a forthcoming release/ existing release? That’s for me to know and you to find out... What was inspiring you during the song’s writing and recording? Writing: a mixture of watching people’s relationships around me breaking down and learning how to keep a relationship! How positive! Recording: the abundance of cups of teas I was allowed to drink. We’ll like this song if we like... Somewhat intellectually written pop songs; wallowing in music during a breakup; appreciating the lover you have. Do you play it differently live? It’s a lot dirtier live... my band are a bunch of cute beasts and I like to punish my guitar. Ouch. Good ouch. Hopefully. Aimee Francis plays Ric’s Bar this Saturday.

LOCAL PRODUCT

SOUTHBOUND & DOWN

Have you been to Australia before? If so, was it for work or pleasure? Yes, I went to Australia for vacation once with my family when I was really small. I don’t remember too much, but the ocean was beautiful. Our guitarist Daoud lived there for a year.

ID ASSISTANCE Israel’s biggest punk export Useless ID and Perth’s The Decline have called on the help of local acts Driven Fear, pictured, and No Trust, when the bands play Crowbar, 15 Nov. Tickets via Oztix.

What are you looking forward to experiencing while you’re down here? Since this is our first tour, and it’s going to be overseas, we’re really excited to see what’s going to happen. We are also planning to play on the street, so it would be great if we could collaborate with someone. What are you looking forward to showing us while you’re down here? We’ll be satisfied if we can show you something you’ve never seen before, and if you feel that you had a good night after the show. Do you have a fave Australian band (or bands)? Oren Ambarachi, Dirty Three, and the bands that we are touring with – Dreamtime!

NEVER IDOL

TOO MUCH NEVER ENOUGH

Check out Teale Jakubenko on 25 Sep, The Tempo Hotel and 8 Nov, The Loft, Gold Coast. The former Australian Idol contestant continues to plug his assured EP from earlier this year, Good Times Start Right Now.

Lovable bluesman 8 Ball Aitken is hitting the road hard, playing Harrigan’s Drift Inn, Jacobs Well, 6 Oct; Redlands Multi-Sports Club, 11 Oct; The Joynt, 7 Nov, and plenty of other dates. Head to theMusic.com.au for full info.

What’s in the pipeline for after the trip? We plan to record all of the songs we created after the first record. Kikagaku Moyo play Eucalyptic Echoes Psych Fest at Beetle Bar on Saturday and a free instore at The Time Machine, Nambour on Sunday.

LOVER OF THE DARK Catch Bec Laughton at Solbar, Sunny Coast, 10 Oct and 6 Dec; The Zoo, 11 Oct; Sheoak Shack, Fingal Head, 26 Oct; The Spotted Cow, Toowoomba, 8 Nov; and The Loft, Gold Coast, 22 Nov before she releases her new EP.

FOR MORE HEAD TO THEMUSIC.COM.AU 58 • THE MUSIC • 18TH SEPTEMBER 2013

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LOCAL PRODUCT

ESTABLISHING IDENTITY

DON’T WORRY, GET LEISURELY

Young up-and-comer Lij Gilmour plays an all ages show at The Hive, 1 Feb next year. Having been influenced by the likes of Ed Sheeran and John Butler, he’s just dropped his first single Another Day.

After playing The Bell Divers launch on Friday night, The Stress Of Leisure will back up a few weeks later at Brisbane Powerhouse for Live Spark. The free all ages show happens 6 Oct and starts from 3.30pm.

EP FOCUS

ROSIE CATALANO EP title? Dreams Are Just Movies

ON THE MUSIC STEREO Split THE OCEAN PARTY Idle No More KING KAHN & THE SHRINES Tidal Wave 2009-2013 VELCRO Workers’ Playtime BILLY BRAGG

OCEANO LOCAL SUPPORTS Helping out on the Chicago death metallers tour will be Still Water Claims, pictured, at Thriller, Coniston Lane, 12 Oct, and A Night In Texas and Emerald Vale at the all ages affair happening at Tall Poppy Studios, 13 Oct.

ADVENTUROUS WHIRLWIND Folk and pop go head to head when Potato Potato launch their EP at Ewingsdale Hall, Byron Bay, Friday, before playing Queen Street Mall, Sunday, Brunswick Hotel, 4 Oct and Mullum Music Festival, 23 Nov.

Ready For Boredom BED WETTIN’ BAD BOYS Flyying Colours FLYYING COLOURS Days Are Gone HAIM Everything’s A Thread THE JOHN STEEL SINGERS The Bones Of What You Believe CHVRCHES Golden Fang BLOODS

How many releases do you have now? Two: Dreams Are Just Movies (2013) and my debut self-titled EP (2011). Was anything in particular inspiring you during the making? I wrote the EP over a long period of time, so the songwriting by Leonard Cohen, Regina Spektor and Nick Cave were an influence as well as music by Laura Jean and PJ Harvey. What’s your favourite song on it? Ginger. The arrangements transport me back to the Grimm fairytale world I was in when I wrote it. We’ll like this EP if we like... Someone described me as a ‘little Nick Cave’ the other day, so I guess if you like his music and the voice of Katy Steel then it’ll take your fancy. Rosie Catalano launches Dreams Are Just Movies (Independent) at The Hideaway on 4 Oct.

FREE FALLIN Kicking off at 6pm on 11 Oct at The Tempo Hotel, you can catch the likes of Fallin Short, Upsize, pictured, and The Evershow, yet another solid bill of local rock sounds to be enjoyed at the venue totally free of charge.

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opinion

OG FLAVAS

ADAMANTIUM WOLF

GET IT TOGETHER

URBAN AND R&B NEWS WITH CYCLONE

METAL, HARDCORE AND PUNK WITH LOCHLAN WATT

HIP HOP WITH JAMES D’APICE

Hip hop has had super-crews forever. Early on there was the Native Tongues – more about common artistic objectives than branding. The Wu-Tang Clan turned hip hop into a franchise. Fast-forward and hip hop has Los Angeles’ controversial Odd Future. While the elusive Earl Sweatshirt’s debut Doris should be the most anticipated, Sony has seemingly afforded a bigger push to another MC from another crew – A$AP Ferg (AKA Darold Ferguson, Jr) of Harlem’s A$AP Mob who is premiering with his caliginous Trap Lord. He recently toured with his homie A$AP Rocky. A$AP Yams (Steven Rodriguez), a successor to Loud Music’s Steve Rifkind, started A$AP Mob (the A$AP stands for ‘Always Strive And Prosper’) as a collective of rappers, producers and other urban creatives, and now presides over the label A$AP Worldwide. Rocky, who has co-opted the Deep South’s chopped & screwed, got props for his futuristic beats more than his rapping on LONG.LIVE.A$AP. Alas, Ferguson, previously a fashion industry “hustler”, is a similarly predictable lyricist. He shadows those EDM DJs jacking trap, yet his take is – commendably – minimally street, not rave. Still, Trap Lord’s production just isn’t as mindblowing as LONG.LIVE. A$AP’s. After the post-dancehall single Shabba (featuring Rocky), Ferguson offers few dope new tracks – though the opener Let It Go is killer with voodoo percussion. Most inspired is the gothic Lord with ‘90s rap relics Bone Thugs-N-Harmony – it’s their illest collab since Mariah Carey’s Breakdown. ogflavas@themusic.com.au

A$AP FERG 60 • THE MUSIC • 18TH SEPTEMBER 2013

WE SET SAIL

The 12th annual BIGSOUND has come and gone. Though I was asked to speak on the heavy music panel at the world famous Brisbane-based industry event, and was in fact quite flattered, prior commitments meant that I had to decline. However upon looking at the actual lineups of the showcases, I became puzzled as to the relevance of my attendance. Though a very small number of slightly heavier rock and punk bands did appear, there was no metal or hardcore to be seen out of the approximately 120 unpaid performances. Bigsound is self-described as having “a reputation as the best and most relevant music industry event in Australia”. Just last month Soundwave promoter AJ Maddah was listed as being the most powerful Australian music figure. Soundwave’s successes have been fuelled almost entirely by bands from the heavier ends of the spectrum. Can you see what I’m getting at here? According to their 2012 financial statement, operating body QMusic received over $500,000 in government grants that year. The argument could be made that classical and jazz aren’t getting a look in either - but the fact is they don’t operate within the same venues, the same publications, the same radio stations as typical BIGSOUND acts and heavy bands. Paul Voge, owner of Brisbane punk/hardcore-oriented independent record store Kill The Music is quite frustrated by the situation. His band We Set Sail applied to play the event in 2011 “when they put the call out for ‘punk and hardcore bands; nothing came of it and no bands we were familiar with or knew made it to the lineup, which was discouraging”.

He thinks there’s a lot to be gained by including heavier bands, offering “we would be treated as an equal and we would be given opportunities to make an impact”. Jaddan Comerford, owner of the Melbourne-based UNFD label (Northlane, Deez Nuts) doesn’t think that “the established hardcore bands could get much out of playing BIGSOUND”. He does however think that “there could be some merit in a few key players banding together to put on a branded event, which I’m sure BIGSOUND would get right behind”. Trad Nathan, owner of live heavy venue Crowbar and former member of The Amity Affliction, stated that “at no point during the development of my bands or shows have QMusic or BIGSOUND ever contacted myself or my peers about developing music in the greater Brisbane area, despite many bands and associates reaching out to them for showcases and advice”. He’s puzzled: “How do tens of thousands of album/ ticket sales for bands of certain genres count for nothing until there is a clear benefit to BIGSOUND to ride the coattails of countless hours of practice, multiple jobs and the fruits of everything sacrificed?” He doesn’t want to see funding cut, but rather “a governing body established to create equality in the distribution of allocated funds to both build and represent the greater community of various genres in Brisbane.” I agree. I would love to be invited again to speak at BIGSOUND 2014, but please put some heavy bands on a showcase and let us truly be a part of it.

There was a time a decade ago when Eminem was the most interesting man alive. Scholars wrote articles about underground Detroit rappers and D12 singles topped charts. Heady days. Some might say Eminem, at his peak, is the best rapper we’ve had. Take any four bars from The Eminem Show, loop them, and you’ve got a chorus. He was on top. Then, a big hiatus. 2009’s Relapse was awful. 2010’s Recovery was marginally better. There was a sense, particularly with Recovery, that the hunger remained but the magic was gone. Marshall was trying desperately to be the rapper he once was but he couldn’t relight the fire. (The fact that Recovery sold more digital copies than any other album in history probably helped, though.) Now we have the Rick Rubin produced Berzerk, lead single from the forthcoming The Marshall Mathers LP 2. It’s brutally nostalgic. 2013 Rubin sampling 1986 Rubin is fun but, somehow, the producer has lost the ‘Reduced by Rick Rubin’ ethos that drove him with License To Ill. It’s a dense, overfull beat. There are none of the classic Rubin spaces to pause for breath. As for Em, he screams out of the gates (“Let’s take it back to straight hip hop and start it from scratch!”) but he faces the same problem he did in 2010. He is straining for effect. There are tongue-twisters, flow tricks, and silly voices. It’s just that none of it is especially engaging. There’s no joy to be had. Let’s hope there’s something worth clinging to when the album comes out. getittogether@themusic.com.au

EMINEM

opinion

CULTURAL CRINGE ARTS NEWS WITH MANDY MCALISTER Despite the inclusion of his lauded 1999 translation of Beowulf, and selected poems, being on the shelf of just about every dim sod to undertake an arts degree in the last decade, thanks to their inclusion in the Norton Anthology, Seamus Heaney isn’t as widely read here than your Keats and Yeats. Still, when the Irish poet died last month at the age of 74 the various reports on his passing reminded us that there’s more to the world than election material: more beauty, more genius and certainly more noteworthy things to read. At his funeral his son told the congregation of his father’s last words, texted to Heaney’s wife moments before he died: noli timere – Latin meaning “don’t be afraid”. Previous to Heaney’s at once uplifting and heartbreaking words, there were a few contenders for outstanding last words. Just weeks before his death, Oscar Wilde, who was

broke, ill, deserted by most of his friends and dying in a French hotel, is reported to have said, “This wallpaper and I are fighting a duel to the death. Either it goes or I do.” This is fitting as Wilde is also oft quoted as saying that he could tell America was a violent society as they chose such ugly wallpaper. In an interview with Roger Ebert, Stephen Fry once argued that Wilde was not being trite in his remark; rather, “What he was saying is that nature reflects perfection, but if you replace it with the ugliest artefacts of man, you must be violent. If you rip the earth open into quarries, only to stamp out tin ornaments, of course you hate yourself.” No wonder the wallpaper won. Of course, last words don’t get much more famous than Captain Lawrence Oates, who, frostbitten, afflicted with gangrene and keenly aware that his deteriorating health was a burden on his companions, is reported to

THE LOOKING GLASS A JOURNEY THROUGH ARTS WITH HELEN STRINGER Sex is back. You may not have realised that it went anywhere but for a while there a good portion of the lucrative 16-25 demographic started listening to Taylor Swift. Scholars on the subject attribute the fleeting decline in popularity to that repository of antiquated Christian values – the abomination that is Twilight. With teenagers abstaining until a Mr Sparklepants of their very own came along, marketers were forced to trade prophylactics for purity rings. Luckily, and praise be to evolution,

hormones won the war and we have been inundated with entertainment that blatantly intimates at carnal delights. Interestingly, this happy revival is being led by women. Ladies are stripping bare and raising an upright middle finger to patriarchal systems. Or confusing sexual liberation with sexual exploitation; it’s impossible to tell. Having fought so hard to end objectification, old-school feminists are outraged. Sounds like myopathy-induced bullshit; unless of course, the young ladies actually aren’t acting of their own volition.

LENA DUNHAM

POETRY

have said, “I am just going outside and may be some time,” before stepping out of his tent into a blizzard during the return leg of an expedition to the South Pole. Other notable examples include Voltaire who, on being asked on his deathbed to forswear Satan, answered, “This is no time to make new enemies.” Similarly, Henry David Thoreau had the following exchange on his deathbed with his aunt: “Have you made your peace with your God?” “I never quarrelled with my God.” “But aren’t you concerned about the next world?” “One world at a time.” For all you grammar nuts out there, French grammarian

For every Lena Dunham or successful post-teen twerk-fest there are 20 aging dudes armed with cameras, inflated egos and the uncanny ability to convince women to get naked and make a large deposit into the public wank bank. And the past week has seen an unfortunate number of incidents that may very well gratify the cranky, second-wave feminists. Tits-out Ukrainian feminists Femen turned up at the Venice Film Festival to promote Ukraine Is Not A Brothel, a documentary on themselves, by doing what they do best – getting their tits out. The film reveals that Femen was founded and is run by an archetype of patriarchy: a man who handpicked tight-bodied pretty young women because tightbodied pretty young women sell more newspapers. This explains why Femen is the most disheartening and uninspiring feminist group on the block. Meanwhile Miley has garnered more controversy for the video accompanying her single, Wrecking Ball. In the clip

Dominique Bouhours’ last words were, “I am about to – or I am going to – die: either expression is correct.” As last words go, I can’t say I know of better than Heaney’s. Noli timere is also sound advice. They weren’t his parting words but on the subject of fear, Dune writer Frank Herbert wrote, “I must not fear. Fear is the mind-killer. Fear is the little-death that brings total obliteration.” Heaney’s words certainly beat the “where did that car come from?” or “the water looks a bit choppy” that Aussies are probably prone to utter before death by misadventure, but sometimes it comes to that. Such is life.

Miley emulates oral sex with a sledgehammer, swings naked on a wrecking ball and cries while occasionally breaking shit with construction equipment. Miley’s insisting on an ‘empowerment’ interpretation of gripping a long and erect chain firmly between her thighs whilst perching bare-arsed on a giant, undulating ball. I’d be more inclined to believe Wrecking Ball is a statement of sexual emancipation if it wasn’t directed by unmitigated fuckwit Terry Richardson, whose douche-baggery is unequivocally proven by the fact that he makes a living turning beautiful women into actors in soft-core porn and then calls it art. I’m all for women reclaiming the sexy; I myself trialled promiscuity as a statement on sexual politics – an experiment that ended anticlimactically. But, if you’re confused as to when it’s appropriate to get your boobs out or play with phallus stand-ins, here’s a hint: that time is not when a creepy middle-aged man convinces you it’s a good idea. THE MUSIC • 18TH SEPTEMBER 2013 • 61

the guide qld.gigguide@themusic.com.au Rudimental + Gorgon City: Eatons Hill Hotel (Grand Ballroom), Eatons Hill

THE MUSIC PRESENTS Open Frame 2013: Brisbane Powerhouse, IMA, LRAG Aug 22-Sep 28 Rudimental: Eatons Hill Hotel Sep 20 Gangsters’ Ball: The Tivoli Sep 21

Oceanics: Elsewhere, Surfers Paradise

Violent Soho: Great Northern Oct 24, The Zoo Oct 26 The Cribs: The Zoo Oct 25

Peter Cupples: Gazebo Restaurant, Hotel Urban, Brisbane

The Jungle Giants: Solbar Oct 25, The Hi-Fi Oct 26, Alhambra Lounge Oct 27

Hunter & Smoke: Grand Central Hotel, Brisbane Tackyland feat. Motion DJs: Irish Murphy’s, Brisbane

The Breeders: The Tivoli Oct 29

Big Scary: The Spiegeltent Sep 21

Dan Sultan: Old Museum Oct 31, Woombye Pub Nov 1

Peace: The Zoo Sep 23

Jordie Lane: Spotted Cow Oct 31, Black Bear Lodge Nov 1

The Drones: The Hi-Fi Sep 27 Asta: Brisbane Powerhouse (AA) and Alhambra Lounge Sep 28 Foals: The Tivoli Oct 2 Ngaiire: BMAC Oct 3, Solbar Oct 4, The Northern Oct 5 Boomerang Festival: Tyagarah Tea Tree Farm Oct 4-6 Xavier Rudd: The Tivoli Oct 8 Wolf & Cub: The Zoo Oct 12 Katchafire: The Hi-Fi Oct 13 Andy Bull: Alhambra Lounge Oct 19

Horrorshow: Spotted Cow Oct 31, The Zoo Nov 1, Solbar Nov 2, Beach Hotel Nov 3 Boy & Bear: Beach Hotel Nov 7, Coolangatta Hotel Nov 8, The Tivoli Nov 9 Golden Days Festival: Coolum Sports Complex Nov 9 Mullum Music Festival: Mullumbimby Nov 21-24 Festival Of The Sun: Port Macquarie Dec 13-14 Pond: The Zoo Dec 14 Billy Bragg: The Tivoli Mar 20

Le Breeze: Lambert’s Restaurant, Kangaroo Point

GIG OF THE WEEK MESSUGGAH: 20 SEP, THE TIVOLI Calexico: Spiegeltent, Brisbane Open Mic Night feat. various: The Loft, Chevron Island Ada: The Plough Inn, Southbank Acoustic Session with Graham Moes + The Altias Duo + Josh Lovegrove: The Tempo Hotel, Fortitude Valley Bernie Baroca Brown: The Vault, Southport DJ Daniel De Niro + Brent Dee: Vanity Nightclub, Surfers Paradise

Mojo Webb: Lock ‘n’ Load Bistro, West End

Open Mic Night feat. various: The Retro Bar, Kenmore The Music Kitchen feat. Tell All Tonight + Baltimore Gun Club + System Trashed + Dream Girls + more: The Tempo Hotel, Fortitude Valley Book Club feat. various DJs: The Tempo Hotel (Bowler Bar), Fortitude Valley Frazer Goodman + Friends: The Vault, Southport

DJ Turhan: Love Nightlife, Broadbeach Basement Mixtape feat. Last Broadcast + various DJs: Metro Arts (Basement), Brisbane Moka Young + The Hated + Kombat Collection: Miami Tavern (Shark Bar), Miami Mitchell Creek Rock ‘n’ Blues Fest 2013 feat. Phil Barlow Band + Radioutkast + Janice & The Violets + BLT Rock + T Bone Turners Bone Yard: Mitchell Creek, Upper Kandanga

THU 19

Roth + Street Pieces + The Worriers: Beetle Bar, Brisbane Fishland Trio + special guests: Brisbane Jazz Club, Kangaroo Point Laurel Halo + Objekt: Brisbane Powerhouse, New Farm BadBadNotGood + guests: Coniston Lane, Fortitude Valley

THE CRIBS: 25 OCT, THE ZOO

WED 18

City To Sands Battle Of The Bands feat. various: Beetle Bar, Brisbane

Tiny Ruins + Tom Cooney: Black Bear Lodge, Fortitude Valley Beejays Club Night feat. various: Brisbane Jazz Club, Kangaroo Point Body & Soul: Sandy Beyon & Sean Mullen: Limes Hotel, Fortitude Valley Step It Up: Lock ‘n’ Load Bistro, West End

Open Mic Showcase feat. various: Mick O’Malley’s, Brisbane Wunder Bar feat. Dubmarine: QPAC (Cascade Court), Southbank WunderBar feat. various: Queensland Performing Arts Centre, South Bank Bottlecock + Sabrina Lawrie + DJ Redbeard: Ric’s, Fortitude Valley Mark Sheils: Royal George, Fortitude Valley Matt Stillert Fundraiser feat. Free Like Me + Carl Wockner + The Little Rowies: Solbar, Maroochydore

Pigeon + The Belligerents: Coolangatta Hotel, Coolangatta Astrix Little: Elsewhere, Surfers Paradise Off The Rails feat. Barbiturates + Thigh Master + Death Legs: Grand Central Hotel, Brisbane Jabba: Irish Murphy’s, Brisbane Stormy Weather: Lock ‘n’ Load Bistro, West End Ballad Boy: Loving Hut, Mount Gravatt Open Mic Night feat. various: Mick O’Malley’s, Brisbane 8 Ball Aitken: O’Dowd’s, Rockhampton WunderBar feat. Soul Continuum: QPAC (Cascade Court), Southbank

Peace + Millions + The Creases: The Zoo, Fortitude Valley

Flash + Craig Roberts: Platinum Nightclub, Broadbeach

Cleon Barraclough Trio + Simon Drew Quartet: Turnaround Jazz Club, Bowen Hills

The Seed Project feat. +Kid Marvel + Sneeky Picnic + Dave’s Pawn Shop: QPAC (Melbourne Street Green), Southbank

Stevie Z + DJ Daniel De Niro + Jake Carmody: Vanity Nightclub, Surfers Paradise

FRI 20

WunderBar feat. various: Queensland Performing Arts Centre, South Bank

The Stress Of Leisure + The Bell Divers + The Slow Push + Swaying Buildings: Beetle Bar, Brisbane

The Stats + The Jupiter Revival + DJ Valdis: Ric’s, Fortitude Valley

Lanie Lane + guests: Black Bear Lodge, Fortitude Valley

Good Oak + Big Bad Echo + Sue-Anne Stewart: Solbar, Maroochydore

Martha Baartz & The Northeast Collective: Brisbane Jazz Club, Kangaroo Point

Beach Fossils: Spiegeltent, Brisbane

The Molotov + Gimpus + The Black Swamp + Bad Virtue: Coolangatta Hotel (upstairs), Coolangatta

Sahara Beck: Spiegeltent (Garden Bar/5.30pm), Brisbane Northlane + Saviour + Aversions Crown + In Ashes We Lie: Surfers Paradise Beer Garden, Surfers Paradise

LANIE LANE: 20 SEP, BLACK BEAR LODGE

SOILWORK: 2 OCT, THE HI-FI

Ian J: The Plough Inn, Southbank

Nic Tango: Coorparoo Bowls Club, Coorparoo The Bloodpoets + Magic Bones + Army Of Champions: Crowbar, Fortitude Valley

1000S OF GIGS AT YOUR FINGERTIPS. FOR MORE HEAD TO THEMUSIC.COM.AU 62 • THE MUSIC • 18TH SEPTEMBER 2013

WunderBar feat. Quique Neira: QPAC (Cascade Court), Southbank The Seed Project feat. various: QPAC Concert Hall, South Bank WunderBar feat. various: QPAC, Cascade Court, South Bank Jay Hoad + DJ Valdis: Ric’s (downstairs), Fortitude Valley DJ Simon Says: Ric’s (upstairs), Fortitude Valley John Malcolm: Royal Mail Hotel, Goodna Chilled Preston: Saltbar, South Kingscliff Cornerstone Roots + Paua + Willy Angelo & The Basement Hustle: Solbar, Maroochydore Bobby Alu + Sue Anne Stewart: SoundLounge, Currumbin SPRUKE feat. Manitoba Hal: Southbank Institute of Technology, South Brisbane

SEPTEMBER $

Wed 18th

MOJO WEBB SOLO Thurs 19th

FABULOUS NOBODY’S Fri 20th

PUREVELOUR

+ B.O.S.S PRODUCTIONS

Sat 21st

8MAN

JORDAN RAKEI KNOVELL CAPOTE W / AXE + POET

Sun 22nd

HAILEY CALVERT + LUNA JUNCTION + JOSH RENNIE HYNES + PAT TIERNEY + LAUREN LUCILLE + SOMERSET THOMAS BARNARD

48 Montague Rd, South Brisbane QLD 4101

Ph 3255 1579

CAFÉ - BAR 321 BRUNSWICK STREET MALL, FORTITUDE VALLEY

18TH OF SEPTEMBER

BOTTLECOCK 9:30 + SABRINA LAWRIE 8:30 19TH OF SEPTEMBER

THE STATS 9:30 + THE JUPITER REVIVAL 8:30 20TH OF SEPTEMBER

JAY HOAD 8PM & 9PM 21ST OF SEPTEMBER

AMA

ZING

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AIMEE FRANCIS 9PM + LOVE HATE REBELLION 8PM 22ND OF SEPTEMBER

DEAD BOOKS 9:30PM + FAUX BANDIT 8:30PM

music. thursday 19/09. Elbury 8pm.

saturday 21/09. Fishlane 8pm.

23RD OF SEPTEMBER

DAVY SIMONY 9:30PM + O’ LITTLE SISTER 8:30PM 24TH OF SEPTEMBER

RACHEL RUTKOWSKI 9:30PM + EAST OF EDEN 8:30PM

FREE LIVE MUSIC AND INDIE DJS WANT TO PLAY? EMAIL BOOKINGS@RICSBAR.COM.AU

WWW.RICSBAR.COM.AU

café & wine bar breakfast. lunch. dinner. drinks ‘til late. open 7am weekdays. Lower Burnett Ln. Brisbane CBD. 07 3211 4242.

THE MUSIC • 18TH SEPTEMBER 2013 • 63

the guide qld.gigguide@themusic.com.au Snakadaktal + special guests: The Hi-Fi, West End The Shakeouts: The Hideaway, Fortitude Valley Ingrid James + Leo McFadden: The Lido Cafe & Restaurant, Ascot Jesswar + Lane Harry + Laura Hill + Tommy Sheehan: The Loft, Chevron Island Nathan Pursey: The Plough Inn, Southbank Blonde on Blonde + The Halls + Dead Wolves + Stephen Anning: The Tempo Hotel, Fortitude Valley Various DJs: The Tempo Hotel (Bowler Bar), Fortitude Valley Lamb Of God + Meshuggah: The Tivoli, Fortitude Valley Lesyah: The Vault, Southport Bree De Rome + The Keeps + Belltalk + Talltails + The Altais: The Waiting Room, West End Tall Poppy Indie Rock Party feat Night Time Fiona + We Live Forever + Scatterfly + Tusk + Bamford Cook: The Zoo, Fortitude Valley The Jim Rockfords + The Dirty F Holes + The Dead Ringers: Transcontinental Hotel, Brisbane Brent Dee + Jake Carmody: Vanity Nightclub, Surfers Paradise

SAT 21

Cookie Jar feat. various: 633 Ann, Fortitude Valley Naysayer & Gilsun: Alhambra Lounge, Fortitude Valley Eucalyptic Echoes Psych Festival feat. Dreamtime + Kikagaku Moyo + Dead Radio + Spirit Valley + Cobwebbs + more: Beetle Bar, Brisbane Kenny Larkin: Birdee Num Num (Outdoor Beer Garden), Fortitude Valley Watch Your Step+Various DJs: Black Bear Lodge, Fortitude Valley All Brassed Up: Brisbane Jazz Club, Kangaroo Point Toby Wren Trio: Brisbane Powerhouse (Turbine Platform /5pm), New Farm Thriller feat. The Plot In You + Storm The Sky + Fit For A King + Hand of The Architect: Coniston Lane, Fortitude Valley Swell Sounds feat. Nicole Parker Brown + The Living Room Quartet + more: Currumbin Beach, Currumbin Alison Wonderland: Elsewhere, Surfers Paradise Rinse + Pool Shop + The Creases + Blonde Tongues: Grand Central Hotel, Brisbane WKD Saturdays feat. Motion DJs: Irish Murphy’s, Brisbane Bec Laughton: Lock ‘n’ Load Bistro, West End DJ Turhan + DJ Tredman: Love Nightlife, Broadbeach Bitter Lungs: Miami Tavern (Shark Bar), Miami

MON 23

Sasta: Mick O’Malley’s, Brisbane Mitchell Creek Rock ‘n’ Blues Fest 2013 feat. Dallas Frasca + Blind Valley + The Walters + Mojo Webb + Lecia & Lani + Devils Kiosk + Ayla Scanlan & Friends + The Soul Men Blues Brothers + Ali Penney & The Money Makers + Sharon Brooks + Knikki & Mike Beale + Bluesville Station + The Blue Skillet Rovers + Blues Corp + Daniel Medina + Tapper Girls + Squid Lips + ZZ Top Tribute Band: Mitchell Creek, Upper Kandanga Danny T + The Only + Flash + Craig Roberts: Platinum Nightclub, Broadbeach WunderBar feat. The Good Ship: QPAC (Cascade Court), Southbank WunderBar feat. various: Queensland Performing Arts Centre, South Bank Northlane + Saviour + Aversions Crown + Humality: Racehorse Hotel, Booval Aimee Francis + Love Hate Rebellion + DJ Valdis: Ric’s (downstairs), Fortitude Valley DJ Cutts: Ric’s (upstairs), Fortitude Valley Laura Hill: Royal Mail Hotel (11.30am), Goodna Lez Karski Band: Royal Mail Hotel (1.30pm), Goodna Transvaal Diamond Syndicate: Royal Mail Hotel (5pm), Goodna Nicky Convine: Saltbar, South Kingscliff Pigeon + Vagrant City Scandal + Wolver: Solbar, Maroochydore SPRUKE feat. Mic Conway + Mick Diggles + Manitoba Hal: Southbank Institute of Technology, South Brisbane Dustin Tebbutt + Packwood: Southside Tea Room, Morningside Big Scary + Street Pieces: Spiegeltent (11.45pm), Brisbane Freeway: The Chet Baker Journey feat. Tim Draxl: Spiegeltent (5pm), Brisbane Bree De Rome + Belltalk + The Keeps + The Altais + Talltails: The Loft, Chevron Island Hernan Cattaneo + Rich Curtis + Dan Burke + Kavina: The Met, Fortitude Valley Big Boyz: The Plough Inn (afternoon), Southbank Ron Walker: The Plough Inn, Southbank Sprungfest After Party feat. Vents + Briggs + Verbill + The Hated + DJ Joey Da Rin + more: The Tempo Hotel, Fortitude Valley DJ Butcher: The Tempo Hotel (Bowler Bar), Fortitude Valley Gangsters Ball feat. The Velvet Set + more: The Tivoli, Fortitude Valley Lesyah: The Vault, Southport Scraps + Spirit Bunny: The Waiting Room, West End

Rockaoke feat. various: The Tempo Hotel, Fortitude Valley Saxaoke with Jamie Bleakley: The Vault, Southport

TUE 24

Lauren Lucille: Lock ‘n’ Load Bistro, West End

The Bug feat. Amanda Gilmour + The Lost Mountain Preachers: New Farm Bowls Club, New Farm Mark Sheils: Samford Valley Hotel, Samford Valley

NAYSAYER & GILSUN: 21 SEP, ALHAMBRA LOUNGE Hushka + Stephen Smith + The Common Deers: The Zoo, Fortitude Valley Cornerstone Roots + DJ Jamin-J + Paua & Willy Angelo + The Basement Hustle: Transcontinental Hotel, Brisbane

Royal Mail House Band: Royal Mail Hotel (1pm), Goodna The Poachers + The Modern Gent: Shucked Lane, Newstead TJ Quinton + Ahliya Kite: Solbar (2pm), Maroochydore

TJ Quinton + Ahliya Kite: Upfront Club Maleny, Maleny

SPRUKE feat. Manitoba Hal: Southbank Institute of Technology, South Brisbane

Stevie Z + Jake Carmody: Vanity Nightclub, Surfers Paradise

Brisbane Festival: Olafur Arnalds: Spiegeltent, Brisbane

Sprung Festival feat. 360 + Drapht + Seth Sentry + Horrorshow + The Funkoars + Urthboy +Thundamentals + Diafrix + Brad Strut + Allday + Crate Cartel + more: Victoria Park, Herston

SUN 22

Sunday Rock N Roll BBQ feat. The Flangipanis + Gentlemen + Wolfpack + Monkey Island + Tone Sonic: 633 Ann (2pm), Fortitude Valley Calibre Cats: Brisbane Jazz Club, Kangaroo Point The Jason Recliners: Coorparoo Bowls Club, Coorparoo The Royales + Beth Lucas + Millie Tizzard + Sam Luft: Crowbar, Fortitude Valley Major Chord: Dowse Bar (Iceworks), Paddington Invasion Fest 2013 feat. The Plot In You + Aversions Crown + The Lane Cove + Emerald Vale + Hand of The Architect + Take Us To Vegas: Expressive Grounds, Tallebudgera

BSide + Junior + DJ Mister P + Karavini: Surfers Paradise Beer Garden, Surfers Paradise Rock Escalate with Sons Of The Morning + Taken By Wolves + more: The Tempo Hotel, Fortitude Valley Comedy Night feat. various: The Vault, Southport

Freeway: The Chet Baker Journey feat. Tim Draxl: Spiegeltent (5pm), Brisbane Gai Bryant Quintet: Spiegeltent (2pm), Brisbane DJ Danny Cool: Stoke Bar (3pm), Southbank Sunday Sessions +The Milkmen: Surfers Paradise Beer Garden (3pm), Surfers Paradise BSide + Junior + DJ Mister P + more: Surfers Paradise Beer Garden (7pm), Surfers Paradise Good Oak + Big Bad Echo + Evan Manttari: The Loft (4pm), Chevron Island Stereo Blonde: The Plough Inn (afternoon), Southbank Sunday Sessions with In2nation + Sounds Of The Sun: The Tempo Hotel (5pm), Fortitude Valley DJ Daniel De Niro + Jake Carmody: Vanity Nightclub, Surfers Paradise

The Enterprise: Lock ‘n’ Load Bistro (3pm), West End Mitchell Creek Rock N Blues Fest 2013 feat. Radioutkast + Phil Barlow Band + Morningside Fats + Brodie Graham + Moondog Gypsy Blues Band + Late For Wood Stock + MothWing + Alan Boyle + The Blue Skillet Rovers + Mad Hat McGrinnee + Krangy & The Keepers + T Bone Turners Bone Yard + Brendan Leggatt & The Hobo Instinct + eKLecTIC + FJ Blues + Madison Curve: Mitchell Creek, Upper Kandanga Potato Potato: Queen Street Mall, Brisbane Dead Books + Faux Bandit: Ric’s (downstairs), Fortitude Valley

NORTLANE: 21 SEP, RACECOURSE HOTEL

1000S OF GIGS AT YOUR FINGERTIPS. FOR MORE HEAD TO THEMUSIC.COM.AU 64 • THE MUSIC • 18TH SEPTEMBER 2013

Hungry Kids Of Hungary: Spiegeltent, Brisbane

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THE MUSIC â&#x20AC;¢ 18TH SEPTEMBER 2013 â&#x20AC;¢ 65

tour guide qld.gigguide@themusic.com.au

INTERNATIONAL

Yellowcard: The Tivoli Oct 25

Calexico: The Spiegeltent Sep 18, Byron Theatre Sep 20

Behemoth: The Hi-Fi Oct 27

Beach Fossils: The Spiegeltent Sep 19

The Cribs: The Zoo Oct 28

Laurel Halo: Brisbane Powerhouse Sep 19

Limp Bizkit: Riverstage Oct 25 Fall Out Boy: BCEC Oct 27 Beyonce: BEC Oct 28, 29 Pitbull, Kesha: BEC Oct 30

Lamb Of God, Meshuggah: The Tivoli Sep 20

Lightning Bolt: The Zoo Oct 31

Hernan Cattaneo: The Met Sep 21 Kikagaku Moyo: Beetle Bar Sep 21, The Time Machine Sep 22 Olafur Arnalds: The Spiegeltent Sep 22 Peace: The Zoo Sep 23 Swervedriver: The Zoo Sep 26 Alan Jackson: BEC Sep 26, 27 Wolf Mail: The Joynt Sep 26; Bangalow Bowling Club Sep 27; Joe’s Waterhole Sep 28; Royal Mail Hotel Sep 29

Thirty Seconds To Mars: Brisbane Riverstage Mar 30 (AA) Michael Buble: BEC May 12 Dragon: Kedron Wavell Services Club Jun 20, Twin Towns Jun 21

The Breeders: The Tivoli Oct 29

Rudimental: Eatons Hill Hotel Sep 20

Cornerstone Roots: Transcontinental Hotel Sep 21

Dark Tranquillity: The Hi-Fi Mar 28

Wednesday 13: The Hi-Fi Oct 30 Gus G’s Firewind: The Hi-Fi Nov 1 Joey Cape: Crowbar Nov 1, The Loft Nov 2

NATIONAL Northlane: Surfers Paradise Beer Garden Sep 19, Racehorse Hotel Sep 21 Snakadaktal: The Hi-Fi Sep 20, The Northern Sep 21

Enslaved: The Hi-Fi Nov 3

Dubmarine: The Northern Sep 20, Metro Arts Centre Sep 27

The Red Jumpsuit Apparatus: The Hi-Fi Nov 7

Lanie Lane: Black Bear Lodge Sep 20

Scott Kelly And The Road Home, Jarboe: The Zoo Nov 9

Big Scary: The Spiegeltent Sep 21

Salt-N-Pepa: Jupiters Hotel Nov 12 Smokie: Brolga Theatre Nov 12, Empire Theatre Nov 14, QPAC Nov 15 Nile: The Hi-Fi Nov 14

Alison Wonderland: Elsewhere Sep 21 Naysayer & Gilsun: Alhambra Lounge Sep 21 Ashleigh Mannix: 5 Church Street Sep 21, The Joynt Sep 26, The Up Front Bar Sep 27, Valley Markets Sep 28, The Loft Sep 28

Rihanna: BEC Sep 28

Fleetwood Mac: BEC Nov 14, Dec 2

The Cult: Eatons Hill Hotel Oct 1

Useless ID: Crowbar Nov 15

Dreamtime: Beetle Bar Sep 21, The Time Machine Sep 22

Between The Buried And Me: The Zoo Nov 15

Sures, Go Violets: Black Bear Lodge Sep 25

Martha Davis And The Motels: Twin Towns Nov 15

Emma Louise: The Spiegeltent Sep 25, 26

Olly Murs: BCEC Nov 16

The Drones, Harmony: The Hi-Fi Sep 27

Foals: The Tivoli Oct 2 Soilwork: The Hi-Fi Oct 2 Fabolous, Omarion, Chingy: Arena Oct 3 Katchafire: Byron Bay Brewery Oct 3, The Hi-Fi Oct 13, Parkwood Tavern Oct 20

Moonsorrow: The Hi-Fi Nov 20

David Liebe Hart Band: Crowbar Oct 4

Neck Deep: Snitch Nov 21, Trinity Hall Nov 22 (AA)

Me First And The Gimme Gimmes: The Hi-Fi Oct 4

Justin Bieber: Bec Nov 26, 27 (AA)

Sander van Doorn: Family Oct 5

Dale Watson & His Lonestars: Black Bear Lodge Nov 28, Morningside Services Club Nov 29

Steven Wilson: The Tivoli Oct 5 Bring Me The Horizon, Of Mice & Men: The Marquee Oct 5 Rolo Tomassi: Crowbar Oct 10, Sun Distortion Oct 11 (AA) Devin Townsend Project: The Auditorium Oct 10 (AA) Oceano: Thriller Oct 12, Tall Poppy Studios Oct 13 (AA)

Jill Scott: The Tivoli Nov 21

City and Colour: Brisbane Riverstage Nov 30 Leonard Cohen: BEC Nov 30 Kataklysm: Crowbar Dec 4 Passenger: The Tivoli Dec 6, Dec 7 (AA)

Amorphis: The Hi-Fi Oct 12

Taylor Swift: Suncorp Stadium Dec 7

T.I., Akon: Brisbane Riverstage Oct 12

Joey Bada$$: The Hi-Fi Dec 7

Cosmo Jarvis: Beetle Bar Oct 13

Melvins, Helmet: The Hi-Fi Dec 8, The Northern Dec 9

The Handsome Family: Black Bear Lodge Oct 14

Deerhunter: The Zoo Dec 9

Lorde: The Zoo Oct 16 Kim Wilde, Nik Kershaw: The Tivoli Oct 16 Ricky Martin: BCEC Oct 16 Prince Rama: Alhambra Lounge Oct 16

Muse: BEC Dec 10 (AA) Alicia Keys, John Legend: BEC Dec 13 Jack Johnson: QPAC Dec 14 Chic featuring Nile Rodgers: Cloudland Dec 15

Every Time I Die: The Hi-Fi Oct 18

The Brian Jonestown Massacre: The Hi-Fi Dec 15, The Northern Dec 18

Chelsea Grin: Brisbane Riverstage Oct 18

Bon Jovi, Kid Rock: Suncorp Stadium Dec 17

Imagine Dragons: The Hi-Fi Oct 19

Mac DeMarco: The Zoo Dec 18

Bodyjar: The Hi-Fi Nov 22, Coolangatta Hotel Nov 23

Loon Lake: Black Bear Lodge Oct 10

Air Supply: Jupiters Casino Nov 27

Kisschasy: Red Room Oct 10 The Butterfly Effect: The Zoo Oct 10

Whitley: Alhambra Lounge Nov 28, Woombye Pub Nov 29, Coolangatta Hotel Nov 30

Pikelet: Black Bear Lodge Oct 11

The Bamboos: The Hi-Fi Nov 29

Owl Eyes: Alhambra Lounge Oct 11, Woombye Pub Oct 12

Colin Hay: The Tivoli Dec 5

The Holidays: Alhambra Lounge Oct 12

Miami Horror: Oh Hello! Dec 21

Wolf & Cub: The Zoo Oct 12, Beach Hotel Oct 25

Pond: The Zoo Dec 14 Bonjah: Solbar Dec 28, The Northern Dec 29, Surfers Paradise Beer Garden Dec 30

Matt Corby: BCEC Oct 15 Mantra: The Tempo Hotel Oct 17, Solbar Oct 19 Damn Terran: Alhambra Lounge Oct 17, The Northern Oct 18 Kate Ceberano: Twin Towns Oct 18, Brisbane Powerhouse Oct 20 The Amity Affliction: Brisbane Riverstage Oct 18 Baby Animals: The Zoo Oct 18, 19 Jae Laffer: Alhambra Lounge Oct 18, The Loft Oct 19 Andy Bull: Alhambra Lounge Oct 19

FESTIVALS Mitchell Creek Rock N Blues Festival: Upper Kandanga, Mary Valley Sep 20-22 Sprung Festival: Victoria Park Cricket Ovals Sep 21 Eucalyptic Echoes Psych Fest: Beetle Bar Sep 21 One Epic Event: Pine Rivers Park Sep 22 Boomerang Festival: Tyagarah Tea Tree Farm Oct 4-6

The Preatures: Black Bear Lodge Sep 27

Violent Soho: The Northern Oct 24, The Zoo Oct 26

Rap City: The Hi-Fi Oct 5

Harrison Craig: QPAC Sep 27, Jupiters Casino Sep 28, Star Court Theatre Nov 19

The Jungle Giants: Coolangatta Hotel Oct 24, Solbar Oct 25, The Hi-Fi Oct 26, Alhambra Lounge Oct 27 (U18)

The John Steel Singers: Alhambra Lounge Sep 27 Seabellies: X&Y Bar Sep 27 Deep Sea Arcade: The Zoo Sep 27 Brendan Gallagher: SoundLounge Sep 27, Alfresco Cafe Sep 28, Courthouse Hotel Sep 29 The Aston Shuffle: Oh Hello! Sep 27, Elsewhere Nov 15 Asta: Alhambra Lounge Sep 28 Jimmy Barnes: Eatons Hill Hotel Sep 28, Lake Kawana Community Centre, Sep 29 Spit Syndicate: Solbar Sep 28, The Loft Oct 10, Woody’s Surf Shack Oct 11, Alhambra Lounge Oct 12 Parkway Drive: The Tivoli Sep 29, 30 (AA), Oct 1 Hellions: Snitch Oct 3 Ngaiire: BEMAC Oct 3, Solbar Oct 4, The Northern Oct 5

Busby Marou: SoundLounge Oct 24, The Hi-Fi Oct 25, The Spotted Cow Oct 26 Adalita: The Zoo Oct 24, Kings Beach Tavern Oct 25, Coolangatta Hotel Oct 26 Dyson, Stringer, Cloher: The Spotted Cow Oct 24, SoundLounge Oct 25, Judith Wright Centre Oct 26, Woombye Pub Oct 27, Byron Bay Brewery Oct 31 New Empire: Brisbane Powerhouse Oct 25, Joe’s Waterhole Oct 26 Sticky Fingers: The Northern Oct 26 Eskimo Joe: The Hi-Fi Oct 31 Dream On Dreamer: Price St Hall Oct 26, CWA Hall Oct 27, The Tempo Hotel Oct 31, Expressive Grounds Nov 1 (AA)

Listen Out: Cultural Forecourt Oct 6 Island Vibe: Home Beach Park Oct 25-27 Jim Beam Sand Jam: Surfers Paradise Beach Oct 26-27 Golden Days: Coolum Sports Complex Nov 9 Hits & Pits 2.0: Coolangatta Hotel Nov 15, The Hi-Fi Nov 16 Harvest: City Botanic Gardens Nov 17 Mullum Music Festival: Mullumbimby Nov 21-24 Warped Tour: RNA Showgrounds Nov 29, Coffs Harbour Showground Nov 30 Stereosonic: RNA Showgrounds Dec 7-8 Festival Of The Sun: Sundowner Breakwall Tourist Park Dec 13-14 Falls Festival: Byron Bay Dec 31-Jan 3 Big Day Out: Metricon Stadium and Carrara Parklands Jan 19 Laneway Festival: RNA Showgrounds Jan 31

The Delta Riggs: Alhambra Lounge Oct 3, Elsewhere Oct 4

Horrorshow: The Spotted Cow Oct 31, The Zoo Nov 1, Solbar Nov 2, Beach Hotel Nov 3

Chance Waters, The Griswolds: Alhambra Lounge Oct 4

Dan Sultan: Old Museum Oct 31, Woombye Pub Nov 1

Palms: Black Bear Lodge Oct 4

Jordie Lane: The Spotted Cow Oct 31, Black Bear Lodge Nov 1

Bluesfest: Tyagarah Tea Tree Farm Apr 17-21

Bernard Fanning: Sirromet Wines Nov 3

Groovin’ The Moo: Townsville Cricket Grounds May 4

Rüfüs: The Zoo Oct 4

The National: Riverstage Feb 11

Paul Dempsey: The Zoo Oct 5

Korpiklaani: The Zoo Oct 22

Bruce Springsteen & the E Street Band: BEC Feb 26

Xavier Rudd: Byron YAC Oct 7 (AA), The Tivoli Oct 8

Mickey Avalon: The Hi-Fi Oct 24, Coolangatta Hotel Oct 25

Bruno Mars: BEC Mar 7

Boy & Bear: Beach Hotel Nov 7, Coolangatta Hotel Nov 8, The Tivoli Nov 9 Nancy Vandal: The Zoo Nov 8, Miami Tavern Shark Bar Nov 9 Don Walker: Old Museum Nov 9

1000S OF GIGS AT YOUR FINGERTIPS. FOR MORE HEAD TO THEMUSIC.COM.AU 66 • THE MUSIC • 18TH SEPTEMBER 2013

Jessica Mauboy: BCEC Nov 19, Jupiters Casino Nov 20, Caloundra Events Centre Nov 22, Empire Theatre Jan 8; Lismore Workers Club Jan 10

Caloundra Music Festival: Kings Beach Park Oct 4-7

The Barons Of Tang: The Rails Oct 4, The Joynt Oct 5, Peregian Beach Park Oct 6

Cody Chesnutt: The Hi-Fi Oct 20

Little Scout: Beach Hotel Oct 10, Black Bear Lodge Oct 18, The Spotted Cow Oct 25, Solbar Oct 26

Def FX: Beetle Bar Nov 9

Lenka: Black Bear Lodge Oct 24

Paramore, You Me At Six: BEC Jan 9

One Direction: BEC Oct 19, 20, 21

Regurgitator: Kings Beach Tavern Oct 10, The Hi-Fi Oct 11, Coolangatta Hotel Oct 12, The Northern Oct 13

Soundwave: RNA Showgrounds Feb 22 Future Music Festival: TBC 1 Mar

culture

PRIMED FOR PREJUDICE Some people p p sayy it it’ss a waste of time time. Other people say it’s an incredible waste of time time. Giuliano Ferla starts talking about creative dog grooming, but pretty quickly changes topic.

lot of people think that creative dog grooming is for lonely, sad and pathetic individuals. Before I wrote this article I thought the same. After writing this article, I still think the same. But I should tell you straight up, this article is much less about creative dog grooming than it is about prejudice. Just in case you’re new to it, creative dog grooming is where a dog groomer dresses their dog up to look like something that is not a dog. Sometimes this involves dressing the dog in a costume. Sometimes this involves cutting the dog’s hair into shapes and dyeing it so that the dog looks like Yoda, or a Sesame Street character. The cynical prick in me immediately categorises creative dog grooming as ‘child beauty pageant for the infertile’. So, I started writing this article which very quickly became a collection of mean things to say about anyone involved in creative dog grooming. Because that was my impulse. But it got very boring very quickly, and to be honest, I didn’t really like myself for writing those things. So in the spirit of turning things around, I’m going to turn this thing around. This piece is now about prejudice. About a year ago I was at a party with a bunch of pals. We were all sitting and drinking as pals are wont to do. We were talking religion as drinking pals are wont to do. I mentioned that, although I see myself as being an atheist now, I really appreciated parts of my Catholic upbringing, and that if I had a kid, I’d probably raise them Catholic. Silence. One of my girlfriends says, with extreme incredulity, ‘How could you possibly want to raise your child to be a sexually repressed homophobe?’ I then found myself on the receiving end of quite a bit of backlash. It was pretty fucked. I know you’re probably thinking, ‘Does this guy want some cheese with that white whine?’ But I’m getting to the point, just gimme a sec. Pics from Super Buddies (2013)

Prejudice seems to me to be based upon this faulted human impulse to lump everything into broad categories, whether it’s in regards to race, religion or hobby. By doing this the individual who belongs to that category

becomes depersonalised, objectified, sexualised, the target of ridicule, etc. I believe this impulse is the catalyst for a lot of prejudicial ‘-isms’. It just so happens that this quickness to judge people on superficialities appears to me to be one of the fundamental challenges of humanity. Broad generalisations lump individuals into categories. And this kind of thinking only serves to reinforce dichotomies and push people further apart from mutual understanding. Resolution is made distant as each side hardens their opinion against a depersonalised ‘other’ that represents everything they oppose. The goal becomes not to achieve a peaceful outcome, but rather to out-shout and cut down an opposition that thinks differently or has a different set of values. And on and on. With vast application. The reason I’ve so dramatically upended this little opinion piece is because I’ve caught myself being hypocritical, and I wanted to be honest about it. When I was a kid we had Encarta the CD-ROM encyclopaedia, and I remember playing and replaying the snippet from Martin Luther King, Jr’s speech that went, “I have a dream that my four little children will one day live in a nation where they will not be judged by the colour of their skin, but by the content of their character.” I think this pretty much sums up the kind of attitude I’d like to have. Not that it’s going to stop me from making snap judgments about people, but at least being aware of it is a step. (Now that I think about it, my other favourite thing to do on Encarta at this time was to listen to the attractive sounding New Zealander girl reading the numbers one to ten. I got excited whenever she said ‘six’ because it sounded like ‘sex’.) All this said I still think creative dog grooming is a massive waste of time. But I’m going to try not to be a dick about it. The national pet grooming expo is on next month, suitably called GroomEx. It includes a keynote speech from one Dr Sandi Rogers, a herbalist and naturopath. What that has to do with dog grooming is beyond me. It’s on the 16 and 17 Oct at Melbourne Convention Centre. I will not be there. THE MUSIC • 18TH SEPTEMBER 2013 • 67

drink

DISTILLATION EDUCATION

SONGS THAT MENTION TEQUILA

Apparently pp y the whole ‘salt-shotsalt-shotlime’ way of downing tequila is all wrong. Samson McDougall gives us a lesson on the authentic stuff.

Pee Wee Herman’s Tequila Dance (Pee Wee’s Big Adventure, 1985)

emember that time you got fucked up on tequila and then... Ok, maybe you don’t remember it, but we do. Don’t deny it. You were messy as fuck. It doesn’t have to be like that now, though. Tequila’s changed... Wait, wait, wait, no it hasn’t. But you have. Haven’t you? You messy little monkey. There’s been a bit of an influx of proper Mexican style food and beverage getting itself all up in the cities of late. A whole brood of trippers have been buzzing around the bottom end of North America in search of the real enchilada, and they’ve brought a bit of that hot sauce back to the glass frontages of Australian towns to try and turn a quid or two. Don’t get me wrong, this can only be a good thing. It wasn’t so long ago that the only ‘Mexican’ you could find in Australia spoke in a borderline racist faux-Mexican accent on the TV and came in a yellow box at the supermarket. We’re now coming around to the idea that tacos don’t come with a crunchy shell and that nachos are pretty much a Frankensteinian Texasisation that don’t really exist south of the border. And beneath this awareness lurks another embarrassing truth: that nasty tequila that left you in the gutter outside that 21st in Mandurah isn’t really the stuff the Mexicans drink. Australian tequila maker/importer Nick Reid knows what the Mexicans drink. Studying in Mexico a while back he was introduced to the drop and fell in love (he also met his future wife over there, but that’s another story). He and a couple of mates are now producing their own brand, Tequila Tromba, and schooling Australians on their beloved tipple. He dispels a couple of myths about the drink. “There will never be a worm in a bottle of tequila,” he says – apparently it only exists in tequila’s cousin mescal, and the practice is some hangover from the US prohibition years. Unfortunately, you can’t trip out from tequila, so it’s no excuse for that time you got busted smashing letterboxes in Wodonga: “[It’s] the only spirit which

68 • THE MUSIC • 18TH SEPTEMBER 2013

is a stimulant and not a depressant; it may be along the lines of that. Maybe if you drank a couple of bottles of it, you’d feel pretty ordinary the next day.” Much like champagne, the name ‘tequila’ is bound by geographical region, or appellation of origin, in Mexico. This area is limited to five states, and means that Reid and his buddies are bound to these regions for the production of their brew. Much to their good fortune, they got a couple master tequila makers on board to get the recipe sorted. A few years down the track and the influx of decent Mexican restaurants is making it easier for Reid and his cohorts to educate a largely non-straight spirit drinking Australian public about sipping the good stuff. “When you’ve got a 100% agave tequila, you don’t need the whole shotting thing,” says Reid. “When you lick the salt, sip on the tequila and suck on a lime, basically you’re just hiding or killing off the flavour of something nasty you’ve just drunk. Whereas with a good quality tequila you’re just trying to savour it, much like you would a good Scotch or cognac.” There are plenty of 100% agave tequilas available in Australia. Reid reckons a good place to start with the sipping is chasing each mouthful with a mix of tomato and citrus until you get used to the flavour. Or check out a paloma: tequila, grapefruit, soda, lime and salt. “People’s perception of tequila is starting to change,” he says. “Everyone had that night out where they had five shots at the end of the evening then spewed and fell down the stairs and woke up and said they’re never gonna drink tequila ever again. That type of tequila’s called mixtos or 51% agave tequila. When they make the tequila they use half the sugars from the agave plant and then they mix it with 49% of maybe cane sugar or corn syrup... The plant takes about seven or twelve years to mature, so there’s a lot of love that goes into growing the agave plant. When you drink it you wanna drink just the sugars from the agave plant, not from the cane fields.”

Tequila Sunrise by Cypress Hill feat. Barron Rick (1998) Tequila by YoungBloodZ (2006) How Much Tequila (Did I Drink Last Night) by Steve Goodman (1979) Mexican Moonshine by Roger Clyne & The Peacemakers (2004) **not just a song also a line of Tequila by Rodger Clyne.

THE MUSIC • 18TH SEPTEMBER 2013 • 69

eat

BATTLE OF THE BULGE Benny Doyle consumes almost two per cent of his body weight in burger and (barely) lives to tell his competitive eating tale.

here’s something rather primitive about wanting to consume 1.5kg of food. It’s a macho game, but when the chips are down – and deliciously salted – it’s hard to pass up the opportunity to gorge your way to glory, and a gift voucher. Food challenges used to be a very American pursuit. It goes with the greased up mentality of the ultimate fast food nation. However, big bites are starting to weigh in right across Australia. Shows like Man v. Food have made feasting a prime time practice, while the explosion of ‘soul food’ in restaurants and bars around the country has brought burgers, wings and tacos back in vogue. I will confess, though. Away from the public domain, my friends and I have long liked to test our waistline with ‘eating challenges’ – sometimes for money, always for pride. From last man standing events (Pizza Hut buffet), endurance tests (first person to eat 4kg of peas) to competitions of mental toughness (finish a super size Slurpee the fastest), we’ve pushed ourselves to the limits in the name of boredom. But nothing we’ve conjured up has ever posed such an almighty challenge as the Phat Bastard Burger. Found at Longboards Laidback Eatery & Bar under Q1 on the Gold Coast, the Phat Bastard consists of a 300g wagyu patty, fistfuls of bacon, pulled pork, coleslaw, onion rings, cheddar cheese and salad, all lumped within a brioche that seems to weigh as much as a loaf of bread. The challenge is to finish the burger – plus a serving of fries – within 30 minutes: no help, no leaving the table, no vomiting. That’s happened once according to our waitress, Brylee Hockings, and it wasn’t pretty. Hopefully there’s no repeat performance this evening. When my friend and I say we want to attack the Phat, her eyes light up. “Oh what, the Phatty?” We nervously nod and the kitchen’s quickly put on notice. Hockings informs that since the burger was introduced at the beginning of this year only eight people have 70 • THE MUSIC • 18TH SEPTEMBER 2013

completed it. She offers up a few successful techniques that range from separating ingredients and dividing portions to letting the bun soak in water, just like the competitive hot dog eaters. At that moment I order a jug of the clear stuff, while my buddy still orders a pint of Kronenbourg – audacious. When the burgers finally emerge all patron eyes turn to our table. The thing is roughly the size of my head. An egg timer is then placed on the table, we’re briefed, counted in, and it’s on. The first five minutes are probably some of the most enjoyable eating I’ve ever experienced. I’m offensively hungry, yes, but the burger is incredible – flavours haven’t been compromised for the sake of novelty size – and the combination of mayo and tangy barbecue sauce balances the saltiness of the meat perfectly. A large portion of my bun is soaking in the water, I’m working away at the chips – ‘This is doable’, I think to myself. Then all of sudden my stomach starts panicking, and frankly, I would too. There’s my average guy guts just chilling out, regular Saturday night, expecting a constant flow of amber fluids, only for huge mouthfuls of food to start raining down upon it. My insides don’t know what to do with the excess. Meat sweats kick in at around the halfway mark, and not long after all my motor skills begin to slow down, my body suffocating in consumption. Twenty minutes are gone and my friend has thrown in the napkin – half his burger and beer still in front of him. I persevere almost until the end; however, when the timer rings I’m staring at close to an entire brioche. We failed, but as we learnt tonight, most do. Head chef Laurence ‘Loz’ Bowers hasn’t even conquered the Phat. As with most feats of extreme eating, this isn’t something you’d want to do a lot, or even again. But as Hockings admits, “No one had done it on the Gold Coast.” And that’s what it’s all about. For like the Big Oyster in Taree or the Big Banana in Coffs Harbour, the Phat Bastard Burger has put Longboards on the map. We leave the restaurant with no mention of dessert.

ARE YOU HUNGRY ENOUGH?

Head west 500km from Brisbane and you’ll probably work up a hunger big enough for the Nindigully Pub’s bulky beast. 1.2kg with fries and onion rings.

Dine at SSS BBQ Barn in the city CBD and if you eat your entree, a Jurassic lamb shank and all the sides, you get dessert free, and a hat!

The Death Sentence hot wing challenge happens regularly at Yardbirds, Fortitude Valley. Hard enough? The winners get cash or tattoo vouchers.

eat/drink

BAR PROFILE

CHECKOUT

CO YO COCONUT YOGURT When it’s pay day get this one. It’s damn rich so lasts for days. Cost: 250g approx $9

FOOD TRIPPIN’ EATING AROUND THE USA WITH SOFIE MUCENIEKAS AND LLOYD CHICAGO

SLING LOUNGE

designed for sharing which is great for gettogethers and cocktails. With a selection of delicious platters as well, the food is contemporary, scrumptious and always changing.

Answered by: Dustin Davis Address: 153 Boundary St, West End Briefly describe the design/atmosphere of the bar? Sling Lounge is an eclectic and playful cocktail lounge tucked away in unique and hip suburb of West End.

Briefly describe the crowd that frequents your bar? The people who frequent Sling Lounge are a real bag of mixed nuts.

Does the bar have a music component? We play an eclectic mix of nu jazz, funky house and soft indie which helps provide a relaxed funky feel.

CHICAGO

Started off the morning at Grandma J’s with some deviled eggs with bacon, followed by one organic sausage patty topped with egg and cheese with a side of Hawaiian mac’n’cheese, rice and pineapple, and a bowl of the works (egg, bacon, cheese, kale, potato, mushroom, side of stewed apple) and about 8 coffees. Cute decor, lovely staff, crazy-delicious food!

What drinks are you serving? Do you have a specialty? We are literally famous in Brisbane, Australia and the world for our cocktails with a list of over 250 to choose from. We incorporate lots of different cocktail making styles from classics to our more innovative molecular mixology stuff. Does the bar offer food? If so what style and what’s your specialty? We have a gorgeous tapas menu

Who’s cooking and pouring and what makes them special? Lochlan Hewison is our head chef who is responsible for delivering the amazing food on the plate. Hugh Taylor is our resident bar guru mixing and shaking up a storm five nights a week.

“MY DOCTOR TOLD ME I HAD TO STOP THROWING INTIMATE DINNERS FOR FOUR UNLESS THERE ARE THREE OTHER PEOPLE.” – ORSON WELLES

Anything out of the ordinary on the horizon? We make the best, most affordable and authentic Havana Club Mojitos in Brisbane. And our Margarita Mondays is an institution with $10 margaritas all night and a separate list of 40 different margaritas. Website: slinglounge.com mon-wed 6.30am-3pm thurs-fri 6.30am-6pm sat 7am-6pm sun 9am-6pm

café good food & coffee Mon-Sat 7am–3.30pm Sun 7am–2.30pm

breakfast, lunch & afternoon tippler

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693 Brunswick St, New Farm e asa@ponycat.com.au p 3254 2883

THE MUSIC • 18TH SEPTEMBER 2013 • 71

travel

CHANNEL SURFING

Jan Wisniewski hears the local music scene in Tasmania with fresh ears during a trip home.

he runway of the Hobart International Airport is the figurative welcome mat for my return to Tasmania. As the seatbelt light flickers off, there is mass movement as visitors and ex-pats alike wait impatiently for the blustery walk across the tarmac. With their heads squashed against the overhead lockers, two separate families recognise each other. “We’re off to the Salamanca Market and then to this MONA thing.” “We’re doing the same. Probably see you there.” While tasting the local fare at Salamanca has long been on tourist hit-lists, the Museum of Old and New Art has gained Tasmania an unprecedented amount of attention since it opened in early 2011. The site, funded by professional gambler and art collector David Walsh, has lent Hobart significant cultural clout and, along with the Brian Ritchie-curated arts festival MONA FOMA and its wintery cousin Dark MOFO, has delighted both locals and visitors in recent years. But Walsh’s gifts to his state should only be a starting point for those hoping to get a proper taste of Hobart. The rise of ‘café culture’ in ‘Hip Hobart’ has been covered extensively by in-flight magazines and lifestyle lift-outs and with an influx of creative types promised by the state government with the development of the $75 million Academy of Creative Industries and Performing Arts in coming years, it seems like Hobart is ready for its cultural boom. But seemingly unbeknownst to many is the already established live music scene that waits to be revealed with a little nighttime wandering. The Hobart waterfront is the evening hotspot, offering a mix of classy bars in the Salamanca precinct and sleazier clubs on the water’s edge. To avoid the abundance of puffer jackets and top-40 mixes you can head uptown where you can find a scattering of live music venues. While The Waratah and The Republic play host to triple j touring bands and local, customer-friendly original and cover acts, venues like The Brisbane Hotel and, more recently, The Grand Poobah offer performance avenues for those who like their music a little more experimental, punk or metal. 72 • THE MUSIC • 18TH SEPTEMBER 2013

During my visit, The Poohbah beckoned. With a hardcore show in the main band room, I take a right and enter the subsidiary Kissing Room. The night is a mix of musical styles: Despondent guitar pop, angry keys and pop culture references, a solo cinematic guitar swooning over a set-long vocal loop and noisy doom dirges. Free from genre expectations and rock’n’roll pretensions, those onstage are able to play to an audience of friends and acquaintances who provide them with good-natured heckling and their full attention. Local musician Steve Wright, who has played with bands such as Bi-Hour, Wasted Idol and Manchester Mourning as well as participating in the Hobart Improv Collective explains the satisfaction of such occasions: “It is hard to put my finger on what motivates me to play live, but I think it is partly to do with the different setting. There seems to be a change in dynamic when you’re playing, particularly with improvisation. I would say that the vast majority of the best versions of songs I have played on have been live, and, in general, it seems like a lot of the most coherent improv I’ve done has been in that environment too.” The live music environment stretches beyond just established venues, with private abodes and art spaces such as Rat Palace providing warm surroundings for the music community to assemble in. Spend a little time at events such as these and you begin to see many familiar faces. But the talent runs deep and it is this collaborative spirit that has led to the creation of some great music. In recent years this has been captured by Hobart music stalwart Julian Teakle (The Native Cats, Bad Luck Charms, Frustrations) with his Community compilations, released through his own Rough Skies Records label. The quality and diversity apparent on these releases is proof that Hobart music has continued to flourish since the days of The Stickmen, Sea Scouts and The Nation Blue. So next time you venture down to the island state, keep an open mind and listen out for the rumblings of local music for a taste of a truly independent and unique culture that long predates the curiosities of Walsh’s wonderland.

TASSIE MUSOS Asta – winner of triple j’s Unearthed High 2012, this singer-songwriter will be bringing her sweet electro-pop tunes to this year’s Falls Festival. The Scientists Of Modern Music – an electro-synth group consisting of Cal Young and Simon McIntosh. They’re regulars on the Aussie festival circuit and are known for their sharp dress sense and wild antics at gigs. Enola Fall – an indie/rock/pop foursome who won Amplified Awards for ‘Best Tasmanian Band’ and ‘Best Indie/Pop’ in 2008. Lincoln le Fevre – from the Derwent River, this stalwart of the Tassie punk scene has won several Amplified Awards. His highly anticipated split-7” with Jen Buxton through Poison City Records has just been released. Luca Brasi – a five-piece punk rock band who love their state so much they named an album after it.

ASTA

6 SEPTEMBER – 19 OCTOBER Imaginary Noise sees 20 artists create album covers for records that were never ofﬁcially released, never completed or simply never previously imagined. EXHIBITION PRESENTED BY ARTISAN AND CURATOR SEAN SENNETT

PIERRE BARONI SAMUEL CROMACK NOEL CROMBIE PAUL CURTIS DEBASER KEN DONE BRETT HARRIS LAURIE HOLMES SHARON KING-CHAI ALISON KUBLER PAUL MCNEIL REG MOMBASSA PATRICK NAGEL SEAN SENNETT NATASHA SMITH DENIZ TEK & ANNE LAURENT ANNE WALLACE KAREN WARNOCK JOHN WILLSTEED MICHAEL ZAVROS GALLERY ARTISAN / DESIGN STORE artisan receives ﬁnancial assistance from its major sponsors, Arts Queensland (State Government) and the Australia Council, the Commonwealth Government’s Arts Funding and Advisory Body. Image: Debaser / Album: Supermodels on Acid / Band: Supermodels on Acid

381 Brunswick St, Fortitude Valley, QLD 4006 07 3215 0800 | info@artisan.org.au

www.artisan.org.au

OPEN Tues–Fri 11am–6pm | Sat 11am–5pm

THE MUSIC • 18TH SEPTEMBER 2013 • 73

the end

50 SHADES OF CHARLIE HUNNAM

NATHAN MOLONEY KNOWN FOR

Being a just-out teen in the UK Queer As Folk (1999).

HOW SHADE-Y? Hey, he was just 15.

PROS He got to act alongside Aidan Gillen, future star of The Wire and Game Of Thrones.

CONS Everyone thought he was ‘just a pretty boy’.

IF YOU LIKED THIS CHARLIE…

Check out other pre-US fame roles in kiddie soap Byker Grove and hammy gang film Green Street Hooligans.

LLOYD HAYTHE KNOWN FOR

Being the campus lady-killer pom in Undeclared (2002).

HOW SHADE-Y? Never trust him with your girlfriend.

PROS

This was Judd Apatow’s unofficial Freaks & Geeks sequel with Seth Rogen.

CONS He still wasn’t trusted with an American accent at this point.

IF YOU LIKED THIS CHARLIE…

Check him out in failed teen soap Young Americans.

JAX TELLER KNOWN FOR

Being a moody biker in Sons Of Anarchy (2008-2013).

HOW SHADE-Y? Ummm… where to begin: drugs, guns and porn for starters.

PROS Oh yeah, them too.

CONS When he yells, you can hear an English accent.

IF YOU LIKED THIS CHARLIE…

See him with fellow SOA star Ron Perlman (in drag) in 3,2,1… Frankie Go Boom and Pacific Rim.

74 • THE MUSIC • 18TH SEPTEMBER 2013