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2 • THE MUSIC • 9TH APRIL 2014
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themusic 9TH APRIL 2014
“I WAS TRYING TO BE TOO INTELLECTUAL ABOUT IT; MY EGO WAS IN THE WAY.”
#033
INSIDE FEATURES
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REVIEWS
Album: Saskwatch Live: A$AP Ferg
IN A WORLD
“I REALISED THAT I’D NEVER HEARD A WOMAN’S VOICE BE ALLOWED TO BE THE VOICE OF GOD, WHICH BECAME AN INTERESTING CONVERSATION ON MEN AND WOMEN, AND GENDER, AND HOLLYWOOD.” LAKE BELL (P30)
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Arts: MICF ...and more
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Cover: Tiny Ruins Music Genres & Alcohol
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Frontlash/Backlash Indie News/Q&As Opinion Gig Guide The End
GET YOUR TISSUES READY, THE FINAL SICK TUNES HITS THEMUSIC.COM.AU THIS FRIDAY.
GLASS ANIMALS @ DING DONG LOUNGE. PIC: ANDREW BRISCOE
“BAYLEY DANCES LIKE A MARIONETTE DOING THE BANANARAMA VENUS DANCE, IN THE BEST POSSIBLE WAY.” BRYGET CHRISFIELD REVIEWS GLASS ANIMALS (P36)
JIMMY TAIT
web 6 • THE MUSIC • 9TH APRIL 2014
BE THE FIRST TO SEE NEW JIMMY TAIT AND GRETA MOB VIDEOS WHEN THEY PREMIERE ON THEMUSIC.COM.AU.
THE MUSIC • 9TH APRIL 2014 • 7
CREDITS PUBLISHER
Street Press Australia Pty Ltd
GROUP MANAGING EDITOR Andrew Mast
EDITOR Bryget Chrisfield
ARTS AND CULTURE EDITOR Cassandra Fumi
EDITORIAL ASSISTANT Stephanie Liew
MUSO EDITOR Michael Smith
GIG GUIDE Justine Lynch vic.giguide@themusic.com.au
SENIOR CONTRIBUTOR Jeff Jenkins
CONTRIBUTORS Aleksia Barron, Atticus Bastow, Steve Bell, Emma Breheny, Luke Carter, Anthony Carew, Oliver Coleman, Rebecca Cook, Adam Curley, Cyclone, Guy Davis, Dan Condon, Simon Eales, Guido Farnell, Sam Fell, Tim Finney, Bob Baker Fish, Cameron Grace, Tom Hawking, Andrew Hazel, Brendan Hitchens, Kate Kingsmill, Baz McAlister, Samson McDougall, Tony McMahon, Fred Negro, Matt O’Neill, Josh Ramselaar, Paul Ransom, Dylan Stewart, Stephanie Tell, Izzy Tolhurst, Simone Ubaldi, Glenn Waller, Matthew Ziccone
SENIOR PHOTOGRAPHER
THIS WEEK THINGS TO DO THIS WEEK • 9 APRIL - 15 APRIL 2014
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ART DIRECTOR
“It’s gonna be the Rage that you had to have,” promise The Scientists of guest programming the cult ABC music video show on 12 Apr from 10.30 – 11.30am and then later that night from 11.30pm. Expect The Heartbreakers, Sex Pistols and James Brown.
If the fabulously fluorescent red quiff doesn’t signify the return of Rhys Nicholson, his trademark brand of wry, sardonic wit and full-frontal confessional comedy will. Since his Melbourne International Comedy Festival debut in 2012, Rhys has been enjoying sell-out seasons on the festival circuit across the nation. Rhys is back in Melbourne with his third solo show, Eurgh, at MICF from 27 Mar – 20 Apr at the Portland Hotel.
Nicholas Hopkins
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MELBOURNE
Local institution Basement Discs will add the colossal funk explosion that is Saskwatch to their list of intimate in-store performances. The soul collective’s highly anticipated second album Nose Dive is set for release this Friday. Witness the much-touted, frenetic nonet as they squeeze into the record shop on 15 Apr for this rare lunchtime sesh.
attend
THE MUSIC • 9TH APRIL 2014 • 9
national news news@themusic.com.au VIOLENT SOHO
LITTLE BASTARD
TOTAL TURBULENCE
SHOUT IT OUT LOUD
Brisbane rock killers Violent Soho are on an unstoppable run right now and are continuing with their destructive ways, announcing their biggest headline tour to date, with none other than Melbourne’s The Smith Street Band. Get sweaty with two of best live bands in the country when this double header hits The Bakery, Perth, 3 Jul; The Hi-Fi, Melbourne, 5 Jul; Manning Bar, Sydney, 11 Jul; and The Hi-Fi, Brisbane, 12 Jul. Proudly presented by theMusic.com.au.
SPREADING HIS WINGS
The incomparable Dan Sultan has just dropped a brand new album, and let us tell you, it’s an absolute gem, full of addictive old school rock’n’roll and colourful storytelling. He brings his Blackbird tour, with support from Stonefield and Way Of The Eagle (DJ set), to Solbar, Maroochydore, 2 Jul; The Spotted Cow, Toowoomba, 3 Jul; Soundlounge, Gold Coast, 4 Jul; Eatons Hill Hotel, Brisbane, 5 Jul; The Northern, Byron Bay, 8 Jul; Cambridge Hotel, Newcastle, 10 Jul; Metro Theatre, Sydney, 11 Jul; Waves, Wollongong, 12 Jul; Forum Theatre, Melbourne, 17 Jul; Wool Exchange, Geelong, 18 Jul; Settlers Tavern, Margaret River, 1 Aug; and Astor Theatre, Perth, 2 Aug.
CASTING SHAPES
The groundbreaking stage show Shadowland, put together by acclaimed international dance troupe Pilobolus, is coming to Australia for the very first time. Part shadow act, part dance, part circus, part concert; be dazzled by the mixture of projected images and frontof-stage choreography when the theatrical event hits Australian capital cities throughout May, June and July. Visit shadowlandlive. com for dates, times and ticket info.
MORE THAN A DROP
After bursting into our consciousness back in 2005 with his mega hit A Drop In The Ocean, Ron Pope hasn’t stopped, putting out a whopping ten albums since then and continuing to evolve alongside his evocative folk pop. Pope and his full band will play the following dates: 6 Jun, Princess Theatre, Brisbane (all ages); 7 Jun, Factory Theatre, Sydney (all ages); 8 Jun, The Workers Club, Melbourne (afternoon under-18 and evening 18+); and 13 Jun, Astor Lounge, Perth (all ages, solo acoustic).
YEEZUS CHRIST
We’re going to have to wait a little longer to get the full-face, diamond-mask experience with news that Kanye West has postponed his Australian tour to finish a follow-up to his acclaimed record of 2013, Yeezus. The new dates are 5 Sep, Perth Arena; 9 & 10 Sep, Rod Laver Arena, Melbourne; 12 & 13 Sep, Qantas Credit Union Arena, Sydney; and 15 Sep, Brisbane Entertainment Centre. All purchased tickets will be honoured for the new dates, however, if you now can’t make it you have to contact Ticketek by 5pm, 30 Apr to organise a refund.
“THE QUESTION IS: DO YOU WANT THE BREAKFAST BUFFET OR DO YOU WANT SLOW SERVICE?” [@KEVIN_NEALON] KNOWS ALL ABOUT OUR STANDARD SATURDAY DILEMMAS. 10 • THE MUSIC • 9TH APRIL 2014
Their no-bullshit approach to rock music has won them hearts and earned them beers in every city and town they’ve played, and that trend will no doubt continue when Little Bastard tour their debut record this winter. Presented by theMusic.com.au, the tour happens 12 Jun, Rad, Wollongong; 13 Jun, Newtown Social Club, Sydney; 14 Jun, The Small Ballroom, Newcastle; 19 Jun, Prince Of Wales, Bunbury; 20 Jun, Settlers Tavern, Margaret River; 21 Jun, Mojos, Fremantle; 3 Jul, Karova Lounge, Ballarat; 4 Jul, Northcote Social Club, Melbourne; 10 Jul, Black Bear Lodge, Brisbane; 11 Jul, Solbar, Maroochydore; and 12 Jul, The Rails, Byron Bay.
DARK AND STORMY
Those hard-working lads in British India are bringing their bag of rock hooks to a capital city stage near you, and thanks to the brewing legends at Coopers you can get along to their Coopers After Dark tour by simply buying some frothies. Purchase a carton, six-pack or glass of Coopers Dark Ale brew at a participating pub or bottle shop, head to coopersafterdark.com.au and you could instantly win four VIP tickets! Get involved 21 May, Factory Theatre, Sydney; 22 May, Crowbar, Brisbane; 28 May, Transit Bar, Canberra; 29 May, The Curtin, Melbourne; and 5 Jun, Ya Ya’s, Perth.
DUNE RATS
THAT KIND OF MONTH
Brisbane garage miscreants Dune Rats are going to be transforming June into Dune, with the Brisbane boys dropping their debut record at the start of the month, before taking their ramshackle wares out around the country. The band play Mojos, Fremantle, 12 Jun; Amplifier, Perth, 13 Jun; Grace Darling Hotel, Melbourne, 15 Jun (under18s); Corner Hotel, Melbourne, 20 Jun; Oxford Art Factory, Sydney, 21 Jun; The Lair, Metro Theatre, Sydney, 22 Jun (under-18s); The Zoo, Brisbane, 28 Jun; and Alhambra Lounge, Brisbane, 29 Jun (under-18s).
WED 9TH APRIL
SAT 12TH APRIL
UKULELE KOLLECTIVE BEGINNER’S CLASS 6PM
THE HUNGRY MILE (NSW)
8PM
9PM
EP LAUNCH
MRS SMITH’S TRIVIA FRI 11TH APRIL
OLIVER PATERSON
SUN 13TH APRIL
KING LUCHO
6PM
DJ STEELY ANN 8PM
5PM
BEFORE 6 PM
2 FOR 1 PUB MEALS FRIDAY
$10 JUGS OF MID-STRENGTH BEER MONDAY - FRIDAY
$10 BURGERS 12-4PM
MONDAY - THURSDAY EAT IN OR TAKE AWAY
DAY MON
NE & WI ROO .99 $
9
TUE 15TH APRIL
BEYOND THE BATHROOM CHOIR 7:30PM
THE SP RTING CLUB
M
WEDNESDAY 9TH APRIL
2 FO ON- FRI AND R 1 MAIN OF B $14 JUG S OAG S GY S AND BEFO PSY
SIMPLY ACOUSTIC
THE BOYS FLY SOUTH DAVID CARLIN & JANE MCARTHUR
RE 6P
M
Wed April 9th
Thurs April 10th
Richie 1250 plays his golden tunes $
10 RS E
OR (BEEF MI) HALOU
From 8pm
$14 JUGS OF BOAGS AND CIDERS WEEKDAY BEFORE 6PM
from 8pm
Sun April 13th $
Darling James duo play their darling music
2:00PM 6:00PM
8:00PM $10
SUNDAY 13TH APRIL
TRIO AGOGO LITTLE EARTHQUAKE DAVE PARKER FROM THE PLAYBOOK AND DAVID KNIGHT
5:00PM FREE
8:00PM
MONDAY 14TH APRIL
WESLEY ANNE’S LAUGH 8:00PM FREE
from 8pm
Open
Mon - Thu 3pm - late Fri - Sun 12pm - late Live Music Bookings wesleyannebookings@gmail.com www.wesleyanne.com.au
27 WESTON ST, BRUNSWICK Tues - Fri 4pm till Late Sat & Sun 12pm till Late
8:00PM $10
TJ QUINTON RUSTY PICKERS BEN RIDDLE WORKHORSE
Fri April 11th
DJ Grace K of pbs fame parties with us after dark Roy Taig and Alex Hamilton with support from memebers of the Merri Creek Pickers play
14 AGS OF BO JUGS IDER ALL C AND IGHT N
5:30PM
SATURDAY 12TH APRIL
From 7pm
Sat April 12th
WED
7:30PM $5
TIN MAN TRIO MIKKI MICHELLE VIDEO LAUNCH MELISSA MAIN BAND
From 8pm
BURG
6:00PM FREE
FRIDAY 11TH APRIL
Trivia with Jay and Duane Prizes & cheap jugs!
TUES
7:00PM FREE
THURSDAY 10TH APRIL
ASK US AB DISC OUT OUR O COMP UNTS FO R LIME NTS!
TUESDAY 15TH APRIL
NMIT SHOWCASE
7:00PM FREE
WEDNESDAY 16TH APRIL
SIMPLY ACOUSTIC
7:00PM FREE
AUTUMN SPECIAL 2 for 1 on selected mains, weekdays before 6pm and all day monday OPEN FOR LUNCH MIDDAYS FRIDAY SATURDAY AND SUNDAY bookings: 9482 1333
THE MUSIC • 9TH APRIL 2014 • 11
local news vic.news@themusic.com.au CUT COPY
IN STITCHES
Stitch You Up is the hobby turned accidental hoop-art portrait business of YT Sumner as she incorporates her love of embroidery, horror movies and camp cartoons into little hoops of nostalgia. YT Sumner launches her first ever embroidery hoop art exhibition at Old Bar on 6 May from 7pm. It runs until 20 May.
CREATIVE RIGHTS
Melbourne’s annual Human Rights Arts & Film Festival returns in 2014 with the aim of making human rights accessible through artistic and creative expression. From 8 – 22 May, HRAFF will exhibit a selection of contemporary cinema, music and fine arts to challenge, touch and inspire audiences from all walks of life. Full program at hraff.org.au.
COPY THAT
Cut Copy will be headed to 170 Russell on 9 May for their first series of headline shows since 2011. With new album Free Your Mind in tow, and live experiences across the world from Chile to Chicago, expect the foursome to have some new tricks up their sleeves.
WAIF FOR IT
After three years of living in different time zones, The Waifs are temporarily reuniting on home soil, and what better way to celebrate than with a tour? They trio are dusting off their six albums from a 20-year career and taking them to audiences around the country, stopping by at 170 Russell, 27 May.
SLOT IT IN
I GOT SOUL
Hunx & His Punx have announced their Australian tour supports will be fellow Californians Shannon & The Clams and Novocastrians The Gooch Palms – catch all three at Copacabana, 17 Apr. Iron & Wine will be joined by DD Dumbo for his show at Forum Theatre, 22 Apr. Canberra act Safia have scored the coveted support slot for Lorde’s all ages shows, including at Festival Hall, 24 & 26 Apr.
Australia’s first neo-soul, jazz and hip hop festival is here. Soulfest will feature the likes of Maxwell, D’angelo, Common, Aloe Blacc, Mos Def, Anthony Hamilton, Angie Stone, Musiq Soulchild, Leela James, Ngaiire, Nathaniel, Ms Murphy, Miracle, DJ Trey and more. It’s on at Yarra Park, 19 Oct, 12 – 10pm. Early bird tickets are now available.
GET HITCHED
Salmonella Dub step out as the five-piece Salmonella Dub Soundsystem to once again raise east coast roofs, this time to celebrate the release of new single Same Home Town. Hear their blend of dub, rock, jazzy horns, drum and bass, electronica and reggae in a live setting when they come to Rubix Funhouse on 3 May.
To celebrate Bob Dylan’s 73rd birthday Robyn Hitchcock will perform full sets of classic Bob Dylan songs at The Flying Saucer Club, 30 May. Hitchcock will also be peforming his classic 1984 album, I Often Dream Of Trains, in its entirety at Northcote Social Club, 31 May. On top of that, he performs with Steve Kilbey in the Insects And Stars tour at Playhouse, Arts Centre, 3 May.
DUSTY BONES
Sydney-based muso Dustin Tebbutt is heading out on his first headlining shows with a full band in tow, in support of his new single Bones. He performs at Northcote Social Club, 16 May, with support from The Tambourine Girls.
WHAT’S YOUR POISON?
ON THE BRIDGE SCREEN
CULTURAL EXCHANGE
The nationwide Spanish Film Festival provides Australians with a unique insight into the country’s rich culture. Featuring 30 awardwinning contemporary Spanish-language films, as well as fiestas serving Spanish beer, wine and tapas, this celebration takes place at Palace Cinema Como, Kino and Palace Westgarth from 30 Apr to 188 May; head to spanishfilmfestival.com for more details.
DRONED OUT
The Drones’ lead man, and one of Australia’s most evocative singer-songwriters, Gareth Liddiard is going solo, performing intimate acoustic shows during his Sunday residency at The Workers Club from 4 – 25 May. He brings with him Drones classics including Shark-Fin Blues, as well as 2010’s debut solo effort Strange Tourist.
GRINNING DOUBLES
Catch Scott Russo of Unwritten Law fame with Grinspoon’s Phil Jamieson for an acoustic double-header at Ding Dong Lounge on 13 May. The frontmen were for a time at the forefront of the Australian music scene and now seek to bring that back when they play live, without the adornments.
Bridge Road will experience something a little different with a free film festival being presented at the iconic Richmond Town Hall from 12 Apr – 28 Jun. The Bridge Road Film Festival will present a selection of big screen classics from Aussie favourites The Castle and The Adventures Of Priscilla, Queen Of The Desert to Some Like It Hot. Visit bridgerd.com. au/bridge-road-film-festival for details.
UPSET
“THE SMARTER THE PERSON, THE MORE BORING THE INSTAGRAM ACCOUNT” @LORDEMUSIC DISHES OUT A BACKHANDED COMPLIMENT 12 • THE MUSIC • 9TH APRIL 2014
UPSET LUNG
Vancouver’s White Lung are set to bring their thrashy guitar rock to our shores, just in time for the release of their new album Deep Fantasy. They’re also bringing newly formed lo-fi punk supergroup Upset with them. Catch the show at The Tote, 7 Jun and a special Queens Birthday event at Howler, 9 Jun.
P
THURSDAY 10 APRIL RESIDENCY
ANIMAUX
THE MCQUEENS URBAN PROBLEMS
FRIDAY 11 APRIL EP LAUNCH
SECRET TSUNAMI LEBELLE – SINGLE LAUNCH THE SIMON WRIGHT BAND LUCID PLANET THE ROLLING PERPETUAL GROOVE SHOW
SATURDAY 12 APRIL ALBUM FUNDRAISER
ESC
SHIMA STRANGERS FROM NOW ON PREMIUM FANTASY
SUNDAY 13 APRIL MATINEE SHOW
CENTRE & THE SOUTH SUNDAY CHAIRS JAJU CHOIR
51 BRUNSWICK STREET, FITZROY (CNR GERTRUDE) PH 03 9415 6558 | WWW.THEWORKERSCLUB.COM.AU EVERY MONDAY! TWERKERS CLUB 7PM BAD NEWS TOILET DJ SET + GUESTS FROM 9:30PM $1.50 POTS | $3 PINTS $6 JUGS | FROM 4-10
FRI 11 APRIL
CAPTAIN APPLES
WED 9 APR
THU 10 APRIL
SAGAMORE
LITTLE EARTHQUAKE (SYD)
(RESIDENCY) TOM MILEK SLEEP DECADE
(SINGLE LAUNCH) CHASING GHOSTS EVENING CAST
SAT 12 APRIL
SUNDAYS IN APRIL
MUSIC FOR BLANKETS FUNDRAISER
WEEK 2 (APR 13TH)
300 BLANKETS PRESENTS
SKYSCRAPER STAN MANDY CONNELL
ANGUS MCCLEAN PRESENTS
THE KEITHS! DEAR PLASTIC SLEEP DECADE
TUE 15 APRIL
THU 17 APRIL
JIMMY JUNK HEART KYAARN OSCAR GALT
MANGEL WURZEL KING EVIL DJ LOVELY CLEARWATER
FRI 18 APRIL
RUBY TUESDAY! THE INFANTS SAT 19 APRIL
STOPPING ALL STATIONS PRESENTS:
STEVIE AND THE SLEEPERS PAPA G AND THE STARCATS ALONE WITH TIGER
FRASER A. GORMAN
WAZ E JAMES BAND
SUNDAYS IN MAY
SUN 13TH
ING FAST!
MOJO JUJU, PALM SPRINGS
SAT 12TH
Two Sets of Country & Tex Mex
GARETH LIDDIARD
(SINGLE LAUNCH)
DAN WATERS Fine Lyrics & Great Country Licks From 8.30 pm
BUDDHA IN A CHOCOLATE BOX CENTRE & THE SOUTH JACK AND THE KIDS
THU 24 APRIL
MAYFIELD
TEENAGE LIBIDO
THU 10TH
(THE DRONES)
from 5 to 7 pm
LARGE NUMBER 12’S Rockin’ from 5 to 7 pm
ACTS REVELATIONS (SINGLE LAUNCH) MATT BAILEY & BAND, BJ MORRISZONLE, SAILORS & SWINE, VISUALS BY KEITH DEVERELL, DJ APPLEJACK
ANZAC DAY SPECIAL
COMING UP:
Friday 25th April 5 to 7 pm “RON S PENO & THE SUPERSTITIONS” (Last Melb Show for 6 Months) $10 Tickets Now on trybbooking.com\eoyd book early as spots are limited!!
FRI 25 APRIL (ANZAC DAY):
SUN 8TH JUNE
SAT 26 APRIL
RON POPE
(SINGLE LAUNCH)
FRONTIER TOURING PRESENTS: (ARVO ALL AGES | EVENING 18+)
TANYA BATT
SUN 27 APRIL
ANGUS MCCLEAN PRESENTS:
TEENAGE LIBIDO +GUESTS
THU 1 MAY
ADAM NOT EVE PRESENTS:
I KNOW THE CHIEF HALCYON DRIVE
FRI 2 MAY
DAVE GRANEY (ALBUM PREVIEW)
IRON BARK BBQ IN THE WORKERS KITCHEN! POP UP RESTAURANT - FINE SMOKED MEATS
TO PURCHASE TICKETS, VISIT WWW.THEWORKERSCLUB.OZTIX.COM.
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COMING UP
TIX AVAILABLE THRU OZTIX: ANIMAUX – THURSDAYS IN APRIL RECORD STORE DAY FT. CLAG/ FULL UGLY LAUNCHES (APR 19) SWOOPING DUCK FT MEMBERS OF HIATUS KAIYOTE (APR 20) DOA – CAN (APR 24) KOOYEH (APR 26) LORD ANNIVERSARY (MAY 3) 351– 25TH BRUNSWICK STREET MAKING – SYD (MAY 9) CLOSURE IN MOSCOW – ALBUM LAUNCH (MAY 10) 03 9419 5500 FINNTROLL – FIN (JUNE 20) www.evelynhotel.com.au THE ADOLESCENTS – USA (JULY 5) BASEMENT – UK *SELLING FAST* (JUL 31) SELLING FAST
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RECORD & CD FAIR Sunday 13th April 9.30am-5pm Ukrainian House
3 Russell St, Essendon (Opposite Essendon Station)
RARITIES, HITS AND BARGAINS at Melbourne’s leading music related fair 70,000 RECORDS, 10,000 CDS ALL STYLES AND ALL ERAS Music books, DVDs, memorabilia. Interstate stallholders attending. Don’t miss it! First fair for 2014. Record sleeves and turntable products. Email: malpower@hotmail.com for one stall’s 1400 item list (Mostly CDs). Plenty of newer and obscure items. Free parking, canteen, air con.
ENTRY $4 ENQUIRIES: 9308 1729 THE MUSIC • 9TH APRIL 2014 • 13
local news vic.news@themusic.com.au
CALLING ALL WRITERS
If you’re a wordsmith, then the National Young Writers’ Festival 2014 is looking for you. The NYWF team is accepting applications from now until 23 Apr. The only requirements? You must be under 35 years, living in Australia and have a passion for words. Hit up youngwritersfestival.org for more info.
WITNESS ART
Disaster, crisis and trauma: these are the components that create the powerful art presented at Linden Centre for Community Arts exhibition Witness. Running from now to 11 May, the exhibition collates artists both locally and internationally.
SELLING SATELLITES
From shed to stage, young folk-pop band Hello Satellites have released their new album 84000. Hear their collaged and layered sounds it in a live setting when Hello Satellites visit The Kelvin Club, 26 Apr.
DIRTY THIRTY
Punk rock icons Hard-Ons are celebrating their 30th anniversary. The legendary punk/ pop/metal/psych Sydney band will let loose on stage for one last tour, stopping by Karova Lounge, Ballarat, 12 Jun; The Wool Exchange, Geelong, 13 Jun; Corner Hotel, 14 Jun; and The Bridge Hotel, Castlemaine, 15 Jun.
NORTHEAST PARTY HOUSE
PARTY HOUSE HOUSE PARTY
There ain’t no party like a psych-dance party. At least that’s what Northeast Party House will have you believing with the release of their long-awaited debut album Any Given Weekend. The boys perform at Karova Lounge, Ballarat, 20 Jun and Corner Hotel, 21 Jun.
“LIFE IS A SURFBORT I WANNA GRAIN IT ALL NIGHT LONG”
RUMBLING BACK
After rising and falling off the back of their successful debut Hollow, Graveyard Train are chugging back into life with new record, Takes One To Know One. Hear crazed men make crazed music 19 Jun, Barwon Club, Geelong and 20 Jun, 170 Russell.
YELLOW MOON
@LILINTERNET IS WELL VERSED IN THE GOSPEL OF BEYONCE
EAST TO WEST SPACE
West Space art centre presents its new program of diverse art works bound to awaken the senses. Can We Please Play The Internet? explores technology and the online world; Anthony Johnson presents humourous everyday observations; and the personal meets material objects and design in The Qualms. These and more will be on display from opening night on 10 Apr until 11 May.
NEW SOUL
Earthy blues singer-songwriter Emma Russack is taking to the road in May for her first national tour, off the back of her latest album You Changed Me. Newly single, Russack’s stirred in elements of loneliness and introspection into her traditional brand of love-and-loss folk. Boney, 30 Mar.
MOON SONG
Yellow Moon is the tale of teenage runaways escaping the ugliness of their lives. The story follows Silent Leila and Stag Lee as they take refuge in each other, fleeing like a modern-day Bonnie and Clyde. Yellow Moon will tour regional Victorian secondary schools for two weeks as part of MTC’s education season. Details at mtc.com.au. 14 • THE MUSIC • 9TH APRIL 2014
BACK ON TRACK
Heavily bearded Australian six-piece Graveyard Train, resurrected after two years, are touring again, this time on the back of their new album Takes One To Know One. Catch ‘em at Barwon Club, 19 Jun; 170 Russell, 20 Jun; Old Hepburn Hotel, Hepburn Springs, 29 Jun; Theatre Royal, Castlemaine, 4 Jul; and The Loft, Warnambool, 6 Jul.
UGLIER THAN EVER
They’ve only just finished tearing the faces off our American brethren on their debut US tour, but King Parrot are still hungry for blood, announcing one final Aussie tour before they begin writing a brand new record. See them 8 May, Corner Hotel (supporting Origin) and 29 May, Next, Colonial Hotel.
HEADING NORTH
Northlane have announced the full line-up for their mini-fest Free Your Mind, which they will headline and also features Thy Art Is Murder, Veil Of Maya (USA), Volumes (USA) and Make Them Suffer. The winners for the opening band competition theMusic. com.au hosted last month have been decided, and here are the VIC victors who’ll warm the stage at The Hi-Fi: Exposures, 31 May and I, Valiance, 1 Jun (under-18).
COMMUNITY VIBES
The date for this year’s Reclink Community Cup at Elsternwick Park has been set for 22 Jun, with the theme being Such A Perfect Day, in homage to the late, great Lou Reed. The annual footy match between Triple R 102.7FM/PBS 106.7FM Megahertz and the Rockdogs raises money for Reclink Australia.
“Live At The Lomond” THU 10TH 8:30PM
OLIVERS ARMY& GUESTS
(Alt-folk country rock) TH
FRI 11 9:30PM
T ONES T-B
(Urban alt-country roots)
SAT 12TH 9:30PM
THE BEACHY BOYS (Surf, sun & sand Americana !!)
SUN 13TH 5:30PM
MOONSHINE M WHISTLERS (Enigmatic 20s’ jazz roots)
TH
SUN 13 9:00PM
M RTY KELLY MA & THE W KENDERS WEE (Acoustic roots)
TH
TUE 15 8:00PM
IRISH SESSION (Fine fiddlin’)
ALL GIGS FREE ~ EXCELLENT RESTAURANT AND BAR MEALS
THE MUSIC • 9TH APRIL 2014 • 15
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TOTAL CONTROL There have been times throughout his musical career when Dan Sultan felt as if he was “being taken along for a ride that [he didn’t] particularly wanna be on,” but Bryget Chrisfield finds him motivated and aching to “write a song or two” with Josh Homme. Cover and feature pics by Kane Hibberd. he free Music, Melbourne + Me: 40 Years Of Mushroom exhibition at RMIT Gallery closed at the conclusion of White Night in February, but Dan Sultan helped out on opening night by performing a couple of numbers. “It was quite an honour I think,” the singer/guitarist, seated opposite in the booth of a brand spanking new café in the Melbourne suburb of Coburg, acknowledges. “To be part of Melbourne history and to be on the [Mushroom] roster is one thing, but then to be able to play a few songs and a little bit of a showcase... And I think [Michael] Gudinski wanted to show everyone what he was on about [laughs], ‘cause I think he’s been revving it up for a while since we signed.” Sultan agrees Gudinski’s a great one to be championing him, adding, “I feel very well looked after at this stage. Yeah, it’s good.”
T
“IT’S GOOD TO HAVE THE FREEDOM TO WRITE WITH WHOEVER I WANT, OR NOT WRITE WITH WHOEVER I WANT.”
The first taste of new Sultan dropped at the end of last year via Under Your Skin, the first single from latest album Blackbird (his third). If you’ve watched the video, you’ll understand what we mean when we say that a blooper reel would make for quality viewing. There’s a lot of dancers getting all up in Sultan’s grill and he even gets licked and bitten. “We were all pretty close,” Sultan stresses, “one of them is my cousin [Kaine SultanBabij] and the other one I’ve known from, you know, 13 or 14 years old. And the others – everyone else I’ve known for quite a while anyway, ‘cause they were all the Bangarra dancers and we worked together for Bran Nue Dae and a couple of things. It was good fun.”
As soon as Jacquire King’s name was thrown into the ring to produce Blackbird, it was important “to see if [they] would click”, Sultan says. So the pair had a phone conversation a month or two before Sultan went over to start work on the album. “We spoke for about half an hour, 40 minutes,” he recalls. “For the first five minutes we spoke about the record and then for the rest of the time we just talked shit, you know. We just became friends, really. It was pretty instant. We knew pretty much straight away we’d be okay.”
Other than Under My Skin, are there any other tracks that Sultan has already performed live? “No.” There’s another cut on the album, Kimberley Calling, which sounds familiar. “Oh actually, yes! Maybe once or twice I’ve played that, but not a long time ago.”
Cutting an album in Nashville has gotta be an appealing prospect and the studio’s name also became the long-player’s
The café’s paint job matches Sultan’s eyes. The hesitant star looks reasonably content sipping on his sparkling mineral water, after admitting he still hates being interviewed at the beginning of our chat. Sultan is also in extra-fine voice at the moment, which probably comes down to cleaner living. “A little bit cleaner living,” he allows. “I still have my moments. Cleaner. Mostly. Yeah.”
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title. “He works out of a studio, Blackbird Studios, which is what the album’s named after,” Sultan clarifies. “It’s just an amazing place to work – incredible – a lot of great musicians have made records there… There’s a guitar there that a lot of them engraved their names into and I had a look at that – you know, Neil Young, Buddy Guy… just to name a couple – and they asked me to put my name on it, so that was pretty cool.” Recording kept them pretty busy (“We’d have breakfast together, we’d go to the studio in the morning and stay there for about 12 hours, 13 hours and then go home and go to bed”), but Sultan did manage to explore a little. “We went down to Memphis, we went to Graceland and it was closed at the time – well, the mansion was closed, so we didn’t get to see it – but we went into the museum and that was cool. So what we also did was go to the Stax Museum and that’s the old studio, you know, and we stood in that room where all those songs were recorded and all those people worked and that was pretty special. And especially because we were in the middle of making a record ourselves. So that was something that sticks out in the memory.” When you listen to Blackbird through headphones, the varied instrumentation that’s utilised from track to track rises from the mix. Are those castanets we hear on Waiting On The End Of The Phone? “I think
WHO’S THE BOSS? Dan Sultan scored the honour of warming up Bruce Springsteen & The E Street Band’s stages earlier this year. So did he meet The Boss? “I met The Boss, yeah,” he confirms. Well… “It was cool, but, you know, obviously he didn’t have much time, but he was really generous and the body language was really cool – plenty of eye contact so, yeah! He was happy to say hello. It was cool.” Sultan played these opening slots, as well as a run of his own headline dates afterwards, as part of a four-piece – backed by guitarist Ash Naylor, bassist Josh Jones and drummer Pete Marin – and extols, “It’s the best tour we’ve ever done… particularly with our own shows, you know: we’re onstage for an hour and a half as opposed to half an hour, so we got to really put on some big sets. It’s the best it’s ever felt.” Noticeably during The Boss supports, Sultan kept his guitar strapped on for the set’s duration and didn’t get to swing his hips around quite as much. “I played all the guitar on the record, and I’ve been playing guitar longer than I’ve been singing, and I kind of neglected my guitar playing there for a while,” he explains. “So I’m really enjoying being more of a guitar player again.” The original plan for Sultan’s upcoming album tour was to recruit “a big, big band”. “But it kind of feels a little bit risky at this point,” he deliberates. “We’ll see how it ends up but, um, we know if worse comes to worst we can do the four-piece and have a good time and get a big sound.”
there’s a bit in there, yeah,” Sultan allows. “We had a great percussionist and I actually wasn’t in there while he was doing the percussion because we had to come back for a show, and then I had to go back [to the States]. So I was back [in Australia] for three days and in those three days he’d done the percussion, but I was getting sent photos and he had a pretty amazing set-up. He had a lot of objects that he was gettin’ some cool sounds out of. I really like those castanets.” There are also some bells that call to mind Red Right Hand by Nick Cave & The Bad Seeds in Sultan’s latest single, The Same Man. “Yeah, the death bells, we utilised those in a coupla tracks actually,” he recalls. “The percussionist had a lot of that shit, like, sheets of iron – you know the [demonstrates a howling wind kind of sound] when he’d just shake it.” A bit Rolf Harrislike, the wobble board? Sultan laughs, “Well, maybe not, but, um, it sort of sounded a bit like thundering, you know? At the start of Nobody Knows there’s just a big kind of swooping into the song, so there’s a whole bunch of stuff in there that I’m still figuring [out] today.” It’s clear that Sultan appreciated King’s approach and the way the producer suggested improvements: “He’d do it in a way [where] it was up to us to figure it out. He’d tell us what he was thinking as an idea and the things that he would need, or that he felt that he needed, out of a particular session if we weren’t quite getting it, or if we needed to do a bit more with it, you know. But then he’d leave it up to us to figure out what that is, and then he’d let us know if we had it or not. And if we didn’t, we’d just keep working. And if we did, then we’d run it… It was a great experience and Jacquire; he’s really good to work with. We all learnt a lot working with him.” The first time this scribe interviewed Sultan was after one of his gigs back in January 2010, on the steps outside
Corner Hotel’s stage door. The film version of Bran Nue Dae, in which Sultan plays a character called Lester, had just hit cinemas and our scheduled interview was something Sultan wasn’t aware of. “I’m a lot more, well, in control and I’m also taking a lot more responsibility for it,” Sultan reflects on the changes that have occurred over the past four years or so. “My work ethic’s up because I’m motivated and I’m not having to deal with something like that. And, you know, there’s a lot that I can’t really say – that I don’t really wanna say – about Buzz [Thompson, former manager] and Scott [Wilson, former songwriting partner], from the past, because it was really just horrible for me for a long time and I don’t wanna have an article with any bad blood or anything like that. Because of that, and because of the way things
used to be run, I wasn’t that motivated and I didn’t care, you know, and I wasn’t happy and I was very disappointed a lot of the time. And now I feel like I’m – again, more in control, a lot happier and I feel like things are going in the direction that they should be rather than, I dunno, rather than feeling like I was helpless and I’m just kinda being taken along for a ride that I don’t particularly wanna be on, you know? It’s good to have the freedom to write with whoever I want, or not write with whoever I want.” When asked whether he has any fantasy songwriting partners, Sultan doesn’t hesitate: “Oh, yeah, there’s a few. Josh Homme’s awesome. He writes some amazing stuff. One day in a perfect world I’d love to write a song or two with him… But I’d like to just meet him let alone anything else. I’m a big fan of his. Yeah, but other than that: Nick Cave.”
WHAT: Blackbird (Liberator Music) WHEN & WHERE: 17 May, triple j’s One Night Stand, Mildura; 17 Jul, Forum Theatre; 18 Jul, Wool Exchange, Geelong; 19 Jul, The Westernport Hotel, San Remo
Thank you to True North in Coburg for supplying the location. THE MUSIC • 9TH APRIL 2014 • 17
music
NOT POLITE Chet Faker, aka Nicholas Murphy, may not give a stuff about awards, or about the mythos surrounding his beard, but he does care about his music. He sits down with Hannah Story.
“I
t’s more honest. Lyrically it’s way more honest. I’ve always written songs that are directly linked to my personal life, so I’m not making stories up, but the songs that were on the EP were pretty safe stories, y’know? I was never really giving up anything too personal, or maybe I was, but I never felt like I was.” Chet Faker, aka Nicholas Murphy, is speaking about his debut LP Built On Glass, the follow-up to his first EP, Thinking In Textures, which went Gold earlier this year. On the album, the bearded man with the R&Bstyle voice, croons about self-awareness, drawing upon both mundane experiences and introspective moments, while also writing break-up songs, “blatant kind of sing-it-from-the-hill love songs”, and even sex songs. It’s an album that didn’t come easy; he actually wrote and recorded two albums before even starting on what would become Built On Glass. “The first album I did I was just trying to impress people,” says Murphy. “It was like an album for everyone, I was trying to be too intellectual about it; my ego was in the way. I was like, ‘Yeah, I’m going to write the best fucking album ever.’ And I wrote this album and there were some good songs on there, but I got to the end and I was like, ‘What is this? This is not me, this isn’t personal enough, it’s not raw enough, it’s too safe.’ I remember sending it to someone at a record label, and they listened and they said it was ‘very polite’, which was the best fucking feedback ever.” So Murphy started anew. “Then I was a man on a mission towards the other end of the spectrum. I was like, ‘I have to reinvent music and get this new sound.’ So then I started writing this second album which was all experimental and super lo-fi, which was fun and it was really cool, and that felt good, but I was also trying too hard to be this entity that I wasn’t. Then I got to the end of that and I was like, ‘This isn’t right. It doesn’t feel natural. I forced it too much.’ So I kind of had to go through those two things to come to the final one where I finally came back to it and just relaxed and finally let myself write the songs without thinking about it too much.”
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In the media, Murphy has been described as ‘mysterious’, and there’s a certain fan-based mythos surrounding that beard. But he maintains that he’s put no effort into creating such a persona. ”The beard was something that I never pushed, I just hadn’t shaved… I’ve had mine for four years, they weren’t in four years ago. I’d like to shave it off but I’m kind of stuck with it now.” “And the mystery that people talk about, I actually think it’s a natural byproduct of me not simplifying myself so people can understand me… They’re all just kind of byproducts of the way I do things. I think people think I’m mysterious because they don’t know anything about me, but that’s because I don’t go out of my way to tell everything about me because I’m a musician, I’m not a TV personality. I’m not writing my autobiography at 25. I think it can be hard to accurately depict a character in the media, and that’s how most people know of me, through the media, and so I
imagine they think I’m mysterious just because there’s not a lot of bearded musicians, maybe. I just let people do whatever they want with my image. People are pretty funny, they kind of do their own thing, I just keep making music and go at my own pace.” It’s the music that matters the most to Murphy, not the accolades (and there have been accolades, from going Gold to winning AIR Awards to making it onto the Hottest 100. “Awards are good, I’ll try not to get too idealistic on you here, but I don’t think they’re important, do you know what I mean? And it’s an award. Why would you need an award? If it means so much, wouldn’t you be doing it anyway? I don’t know. I would never hang my awards on my wall. The day I hang an award on my wall is the day I give up. Because it’s irrelevant.” Murphy concludes that over the course of the last two years, since the release of his EP, following his career success and collaborations with Flume and more, what stands out to him are the life lessons.
“I’D LIKE TO SHAVE IT OFF BUT I’M KIND OF STUCK WITH IT NOW.” “Like just learning stuff about myself, learning to be more confident in my opinion, in the ways I think of things. I get so much more feedback from other people now, that you end up being way more confident in how you feel. I used to put a song out and depending on how people reacted I would decide whether that was a good song or a bad song, but now, I reach a larger audience. I can put out a song, like say Talk Is Cheap. People on the internet, I’m sure if you looked hard enough, I don’t read it, but I’m sure there’d be someone that fucking hates it, and someone who’s said that it changed their life, and there’d be everything in-between. But none of their opinions matters in my life, because at the end of the day it’s me. I get to define my own value in things. So that was a big thing, that is a big ongoing lesson in my life, kind of dealing with people critiquing what they perceive as me and just kind of being cool with it.” WHAT: Built On Glass (Opulent/Future Classic)
THE MUSIC • 9TH APRIL 2014 • 19
music
STRANGE FRUIT Keeping the spirit of Bob Marley alive (while keeping The Wailers in line), Aston ‘Family Man’ Barrett tells Andy Hazel how much he “loved playing with Stevie [Wonder]” and then mentions a mystery tropical fruit he discovered in Australian rainforests.
H
is voice oozing down the line like spilt molasses, bass legend Aston ‘Family Man’ Barrett wastes no time in getting to the point. “Yes I’m comin’ and we’re comin’ – we’re The Wailers! Let them know they must come out early and dance until late,” he booms. “See, I am one of the men who take Jamaican music to the forefront. Me and Bob [Marley], Bunny [Wailer] and Peter [Tosh], we set that standard far and over people before us. Reggae lets everyone know it is the
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art of the people. It is the universal language and it carries the message of roots, culture and reality!” Performing Legend, Bob Marley & The Wailers’ greatest hits album, the bassist sees these shows as a chance to remind audiences that, the band are all about roots. “Reggae is always being updated. There is a lot of new kinds of gear in the music stores – those sounds can get wild, but you’re just buying effects. When time goes by, technology always intrudes but we stick to the roots. We always say that some is leaves, some is branches, but I is the roots.”
Naming himself Family Man after his role as a musical ringleader, it’s this inclination, as well as a verbal agreement with Marley over royalties, that saw Barrett unsuccessfully sue Marley’s estate, three times, to the tune of $110 million. Despite this, Barrett is happy in his current role. “I think of a different term than bandleader, or boss, or foreman,” he explains. “We have to work and live together, but I is the one who is in charge. I label myself Family Man, and the name became legend! I have to keep all the young people in line so they don’t walk on the wild side!” Barrett clearly knows all about the wild side. Earning his nickname another way by fathering “about 52” children, he feels most at home when touring. “I have so many great memories of these songs. When Bob was alive, we once met up with Stevie Wonder, and he was saying to Bob, ‘You’ve got to release Jammin’ as a single!’ We knew it was a good song but we didn’t think it could be a single. Stevie says, ‘If you don’t do anything about it, I will!’ So he made the song Master Blaster! I loved playing with Stevie. “The first time I came to Australia was with Bob and we played a lot of great shows. I liked the rainforest. Up there, the forest was so fruitful. I was surprised to walk up on a sweet potato that we fried like a ripe mango. I don’t know what it was. It looked like a sweet potato and tasted like a sweet potato but you don’t have to cook it. I thought I was in dreamland! You just break it in two and eat it. It was amazing!” WHEN & WHERE: 18 Apr, Bluesfest, Byron Bay; 20 Apr, Deni Blues & Roots Festival, Deniliquin; 23 Apr, 170 Russell
THE MAGIC IS STILL SAFE As Captain Beefheart’s backing band, The Magic Band gave us some unforgettable music. Guitarist Denny Walley – aka Feelers Reebo – tells Dan Condon why they’re at it again.
“T
he whole reason for us reforming the band is that this music is too important to go away, it needs to get to more people’s ears.”
Guitarist Denny Walley says the rationale behind five members of Captain Beefheart & His Magic Band deciding to reform was simple. Sure, it was 21 years after the final album with their name attached – 1982’s Ice Cream For Crow – when Matt Groening got them for his 2003 All Tomorrow’s Parties event, but the demand was there and enough former members were keen. “We were cheered on by people when they found out this was happening,” Walley says. “[Beefheart’s] music would have died had someone not picked it up and tried to bring it to the masses again. It’s challenging, some bands were trying to do it but the music is so difficult, and to have it be acceptable to the people who were really fans, it had to be played verbatim.” Perhaps the person least excited was Don Van Vliet – Beefheart himself. “He was not thrilled. He didn’t want anything to do with the music business anymore and his health was failing as well, that was the main reason for him bowing out. He had MS that was progressing so he was unable to tour. But he wasn’t happy, Eric Drew Feldman [keyboardist] told me that, when Don was asked about how he felt about us doing it, he was grumpy about it. But, nonetheless, we persevered. The music is 20 • THE MUSIC • 9TH APRIL 2014
too important to let it fade into the sunset.” Walley didn’t join the band until the mid-1970s, so he had that moment of hearing 1969’s Trout Mask Replica for the first time just like the rest of us. “We had just gotten through doing the Bongo Fury tour – I was playing with Frank Zappa at the time – and Captain Beefheart was the guest artist on that tour. At the end of the tour Frank said, ‘You oughta play with Beefheart.’ So Frank gave me a copy of Trout Mask Replica and said, ‘Go home and listen to this.’ “I listened to it and called Frank and said, ‘Frank, are you mad at me? Why did you give me this? I can’t
even find a guitar part! What notes do I play?’ I had to listen to it about eight times to finally see the intricacies of it and pick out who was playing what. I loved it, there was just so much there and the poetry was fantastic.” The band cover some of Beefheart’s most challenging material. “We do the stuff that used to make people run screaming into the night. People are so conditioned to the I-IV-V-IV, the 12-bar-blues, you listen to a lot of things on the radio and you can predict where the next change is gonna be. So when you hear something that throws you off balance, that you’re not familiar with, it makes you uncomfortable. Either you are repelled by it or you are drawn into it because it’s a place you haven’t been before and maybe you wanna give it a try.” WHEN & WHERE: 11 Apr, Corner Hotel; 17, 18 & 20 Apr, Bluesfest, Byron Bay
IN HIS SHANGRI LA
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Jake Bugg talks songwriting as a hobby with Sevana Ohandjanian. Just don’t ask him about his music videos.
J
ake Bugg’s schedule is the dream success story; two albums in consecutive years, the former eponymous album debuting at #1 in the UK, making him the youngest male solo artist to do so. He’s worked with the likes of Iain Archer, Shane Meadows and Rick Rubin, and when we speak, Bugg is a week out from heading up a two-day songwriting workshop for teens at the London’s Royal Albert Hall.
While his debut album was firmly rooted in stories from the Nottingham council estates in which he grew up, Bugg’s followup sees his focus shift to broader topics.
“I’m sure people will say, well, he’s only 19, how can he tell people to write songs?” Bugg says. “But the truth of the matter is you can’t really tell people how to write songs; all I can tell them is it’s gotta come from the heart and soul, and you just gotta keep writing, writing and writing.”
“It’s not about moving away or trying to distance myself, it’s just a natural
For Bugg, songwriting has been his cornerstone since the age of 14. “It kind of became my outlet, whenever I was feeling a bit annoyed or not feeling great, or even if you are, it’s just an outlet to escape from the real world and keep myself sane.” His songs often chart deeply personal territory, the perfect way to express himself without explanation. “I can find it quite difficult to talk. Music is the thing that helps me to project how I’m feeling in a way I’m most comfortable with. But then people ask you about it in interviews, and it’s like, I find it difficult to talk about this, that’s why I wrote the song!” Barely out of his teens, Bugg has had the guidance of older songwriters like the aforementioned Archer and Brendan Benson (The Saboteurs) in the studio in the past, and he found the experience enlightening. “It was just cool, because obviously they’re a bit more experienced. They’d go, ‘Why don’t you try this?’ There was just loads of ideas flying around; it was a very inspiring thing to do. I got some songs out of it, which is pretty cool. “It [a song] has to be my idea. I don’t really like it if it’s somebody else’s, because it has to be mine. How can I sing that to an audience? I’d be lying to them, as well as lying to myself. I don’t want to be singing about somebody else’s problems.”
Though Bugg is passionate about music, it’s best not to talk music videos with him. His immediate response regards whether he enjoys the visual accompaniments to his songs is, “I hate videos, I absolutely hate ‘em. “You have to get up early, and the last one – A Song About Love – it was cold, I was tired, it was horrible. Horrible. I’ve not even seen it. I don’t want to see it. You know a video like Slumville Sunrise, that was fun to do a bit of acting, or the Seen It All video – that was cool because it was a story on top of a story, and I only had to do one little bit and play table tennis and that was the best thing ever. But nah, I hate videos.”
“NAH, I HATE VIDEOS.” progression. I don’t live that life anymore. On the second album I talk about the same subject, but it’s from a different perspective. Once you’ve got those two different perspectives on that subject, what’s the point of writing about it anymore?” Bugg is already writing songs for the third record. “It’s what I love to do. It’s like playing Call Of Duty on my Playstation or having a kick about with my mates; it’s my hobby.”
In the midst of his gripes regarding his last visit – “It was freezing. I was expecting it to be well hot, I didn’t even know you had winter down there” – he mentions being surprised regarding nightlife rules. When informed of the lockout laws, his opinion is strong. “Well that’s crap if you want to meet your mates then [after 1.30am], innit? The thing is that the more you put rules in, the more people want to go against it. I don’t understand it. “It’ll be more violence inside bars. If you’re having trouble and having a drink, and you can feel some tension in a bar, and you’d rather leave but don’t because you can’t get into another bar, that might end in violence inside. Thank you for the heads up.”
WHAT: Shangri La ( Jake Bugg Records/Universal) WHEN & WHERE: 16 & 17 Apr, Palace Theatre; 21 Apr, Bluesfest, Byron Bay THE MUSIC • 9TH APRIL 2014 • 21
PICKS OF THE
SIDESHOWS
If you can’t make the trip to Byron Bay this Easter, you don’t need to miss out on the amazing music that the festival is bringing to Australia this year. Bluesfest take some of the finest acts on the bill to audiences along the east coast this year; here are a few of the finest shows they’ve got lined up for 2014.
ALLEN STONE
What’s his story? Pasty 27-year-old white guy with a soul voice that doesn’t match his aesthetic. Why should you see him? He’s a singer and an electrifying performer. Even if you don’t like his eponymous LP, most soul fans will find his live show utterly stunning. YouTube this: Allen Stone Live at Java Jazz Festival 2014 When & where: NSW: 13 Apr, Metro Theatre; VIC: 12 Apr, Corner Hotel
STEVE EARLE & THE DUKES What’s his story? Once tipped to be the next Springsteen, Earle got clean and stayed true to his true musical passion, becoming arguably the king of alt-country. Why should you see him? So many amazing songs, including those from his latest LP The Low Highway, and an amazing band backing him up. YouTube this: Steve Earle & The Dukes – Invisible Live On Letterman When & where: NSW: 23 Apr, Enmore Theatre; VIC: 24 Apr, Forum Theatre
KC & THE SUNSHINE BAND
What’s their story? (Shake, Shake, Shake) Shake Your Booty, That’s The Way (I Like It), Get Down Tonight, Give It Up… need we even go on? Why should you see them? They’re bringing the full show to town and they have the amazing LA funk collective WAR joining them as well. YouTube this: KC & The Sunshine Band – Get Down Tonight (The Disco Explosion) When & where: NSW: 17 Apr, Enmore Theatre; VIC: 18 Apr, Hamer Hall
OZOMATLI What’s their story? Possibly the world’s greatest party band. Why should you see them? Because they’re possibly the world’s greatest party band with a live show like no other. Seriously. YouTube this: Ozomatli – Cumbia de los Muertos (Live on KEXP) When & where: NSW: 25 Apr, Factory Theatre; VIC: 26 Apr, Corner Hotel
BOOKER T What’s his story? Booker T is the legendary organ player responsible for so much of what made Stax Records great. He continues making great soul records today with some of the most exciting modern artists around. Why should you see him? Because you need to see Green Onions performed live before you die. YouTube this: Booker T. Jones: NPR Music Tiny Desk Concert When & where: NSW: 26 Apr, Factory Theatre; VIC: 25 Apr, Corner Hotel
NAHKO & MEDICINE FOR THE PEOPLE
What’s their story? Too interesting to fit here; multi-cultural Why should you see them? Socially conscious party music led by a guy with one of the most captivating and unique voices around. YouTube this: Nahko and Medicine for the People – Warrior People (Live) – California Roots The Carolina Sessions When & where: NSW: 25 Apr, Oxford Art Factory; VIC: 27 Apr, Thornbury Theatre
INDIA.ARIE & JOSS STONE
What’s their story? Two young soul singers from very different backgrounds. Why should you see them? The odds are in favour of at least one of them bringing the house down. YouTube this: India Arie – “Can I Walk With You” + “Not The Average Girl” – Live eatre When & where: NSW: 24 Apr, Enmore Theatre; VIC: 17 Apr, Palais Theatre
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TRIXIE WHITLEY
What’s her story? A gorgeously dour singer with a stunning voice singing a kind of altblues that’s hard to put your finger on. Her late father Chris was a Bluesfest favourite. Why should you see her? She appears to be the kind of artist who can make the biggest arena seem intimate. YouTube this: Trixie Whitley @ Pinkpop 2013 When & where: NSW: 19 Apr, The Basement; VIC: 20 Apr, Northcote Social Club
festival
JIMMIE VAUGHAN What’s his story? One of the great electric blues guitarists, founder of The Fabulous Thunderbirds and brother of Stevie Ray. Why should you see him? Texan blues like his will make you wanna party, and you deserve to party. YouTube this: Jimmie Vaughan – Boom-Bapa-Boom When & where: NSW: 16 Apr, Metro Theatre; VIC: 17 Apr, Corner Hotel
JAMES COTTON What’s his story? Played harp for Howlin’ Wolf and Muddy Waters and has made heaps of great solo records. Why should you see him? He is a key player in the history of the blues. There aren’t many people around who can claim that. His first and possibly last time in Australia. YouTube this: James Cotton – Slow Blues (Blues In My Sleep) When & where: NSW: 23 Apr, The Basement; VIC: 21 Apr, Palais Theatre
NORTH MISSISSIPPI ALL STARS What’s their story? Three great musicians who play the blues with guts and grit. Why should you see them? World Boogie Is Coming is one of the dirtiest, most fucked-up blues albums since Burnside died. YouTube this: North Mississippi Allstars ‘Po Black Maddie’ ‘Skinny Woman’ ‘Rollin and Tumblin’ Feb 9 2013 When & where: NSW: 22 Apr, The Basement; VIC: 20 Apr, Corner Hotel
SEUN KUTI & EGYPT 80 What’s their story? The most important Afrobeat band in history, led by the son of the most important Afrobeat figure ever. Why should you see them? High energy, intensely rhythmic music, YouTube this: Seun Kuti & Egypt 80 in Dakar “MOSQUITO SONG” When & where: NSW: 20 Apr, Metro Theatre; VIC: 16 Apr, Melbourne Recital Centre
SOUL REBELS What’s their story? A New Orleans brass band with attitude. They take the best parts of such a great musical tradition and modernise it a little to make sure people of all ages are dancing. Why should you see them? Because everyone needs a New Orleans brass band in their life. YouTube this: Soul Rebels Brass Band Live! at the Blue Nile When & where: NSW: 16 Apr, The Basement; VIC: 15 Apr, Melbourne Recital Centre
LARRY GRAHAM & GRAHAM CENTRAL STATION What’s their story? The band Larry Graham – the inventor of slap bass – formed after he parted ways with Sly & The Family Stone. Why should you see them? From all reports their show is one of the best live funk experiences you can have and we’ll be seeing it for the first time. YouTube this: Larry Graham & Graham Central Station – Jazzwoche Burghausen 2013 When & where: NSW: 20 & 21 Apr, The Basement; VIC: 23 Apr, Corner Hotel
THE MAGIC BAND What’s their story? An amalgamation of members of Captain Beefheart’s Magic Band from through the ‘60s and ‘70s. Why should you see them? Them and their tour buddies the Grandmothers Of Invention are the bands most likely to cause you nightmares, their music is that confronting. YouTube this: The Magic Band Live On Swedish National TV When & where: NSW: 12 Apr, Metro Theatre; VIC: 11 Apr, Corner Hotel THE MUSIC • 9TH APRIL 2014 • 23
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THE MUSIC • 9TH APRIL 2014 • 25
festival
ON THE HUNT Reginald D Hunter explains to Matthew Ziccone that what it comes down to is people just enjoy someone who enjoys themselves.
R
eginald D Hunter’s power as a comedian comes from his straight-out ability to take complex ideas, break them down for everyone, make you laugh and not take away any of the significance. From use of the N-word, to describing intense physical assault, he can turn the room into putty, silencing it for a few minutes only to bring you right back in. What’s the trick?
NALD I G E R USA
festival
D HUNTER
“I start with what resonates with me. Like I pick out what excites me to talk about or what is a pleasure to say. If you compose a show with stuff that is a pleasure to say then you are going to do a enjoyable show.”
“You feed off the energy in the room, I feel that everybody is bringing something to the picnic and you feel like you have to bring everything, the jokes and the energy.”
Hunter starts laughing at the simplicity of it.
For a comedian who works with the subjects which he does, he really finds the way of life here a powerful thing.
“People will enjoy you enjoying yourself.”
“I love coming to Australia, it so lacks western tension. All of the western problems with none of the tension. I’ve said it before that Australia is a great place to come heal. I think my comedy is full of ideas, and people I know who love ideas and love complexity, we can take ourselves and our work too seriously sometimes and Australia is great for putting me back in perspective ‘oh yes, that’s right, these are just a bunch of jokes.’”
Australian audiences are only just discovering this giant of a comedian. Speaking with him, you can’t help but feel nervous. Not only for his success but as he turns everything you think around, opening up regarding difficulties and problems in comedy. He wants more from audiences.
What to expect from his new show? Not even he knows. He writes what he cares about; if he doesn’t care about it, you won’t hear it again. “Sometimes I’ll be talking about something on stage and then when it’s through I’ll be like, you know what, I don’t believe in that anymore.”
If you are someone who doesn’t know Reginald D Hunter, make sure he is the focus of your next Google venture. He will mess with your head in all the right ways. WHAT: Reginald D Hunter: Wake In Sleight WHEN & WHERE: 8 – 20 Apr, Forum Theatre
SOMERS LOVIN’ Anarchic comedy duo Sammy J and Randy have their yearly catch-up with Baz McAlister to talk about releasing their Difficult First Album. Baz: So, boys, I heard you had an ‘incident’ in Nashville while taping your debut record together? Randy: Yeah, that wasn’t cool. I was over there on a rodeo junket – I follow the bulls, mate. Sammy J: Just before Randy left I asked him to give me the master tape and he forgot. R: I was keeping it for safe keeping in my ’20s briefcase my great-grandfather gave to me. It’s been in my family for generations, but the handle seems to break constantly – I’ve not put a new rivet in it. So I dropped the entire thing down a stormwater drain in Nashville. To my credit I did go after it but I was beaten to the punch by a seven-foot... S: ...Ninja turtle, I believe. Baz, I’d been working on this album since before I even met Randy. R: So yeah, Donatello now has our master. But to his credit he’s remixed it and put it under the name Donatello’s Phat Beatz. B: So how long did it take you to re-record the material? S: We could only afford the studio for seven minutes so we sung everything at high speed and slowed it down. R: Daryl Somers came and played some drums for us on the recording.
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S: We didn’t ask him to – he just wandered in and started playing.
YJ Y M M S A D R AN D AN
R: He’s still here. He’s got excellent teeth. Look at him, sitting in the corner, eating his sandwiches. S: He doesn’t get out much because he physically can’t. He’s morbidly obese. He eats through his nose, have you noticed that? R: Baz, we are going to be paying out the nose when this goes to print and Daryl sues us. B: I’ll take this bit out. R: Nah, mate, put it all in there! I don’t give a fuck about Daryl. Print that. Nah, actually don’t because we want to work with Daz again. Wouldn’t want to create a rift.
AUS B: I recall last time we spoke you told me all about your collaborator Gustav, a teenage German musical scriptwriter you found on Gumtree. Did he have any input into the album? R: Nah, Daryl ate him. S: Daryl Somers did eat Gustav. Only yesterday! Had we spoken last week you could have chatted to him. He’s had a fantastic year; we enrolled him in some adult language courses... but no, he succumbed to the gullet of Somers. R: Daryl ate him with some fava beans and a nice chianti. What Daryl wants, Daryl gets. WHAT: Sammy J & Randy’s Difficult First Album Tour WHEN & WHERE: 15 – 20 Apr, Athenaeum Theatre
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music
SCREAMING OUT Screamer, poet, husband, blogger and positive thinker – Killswitch Engage frontman Jesse Leach is an admirable multi-tasker. As the US metalcore titans head to our shores, he talks to Brendan Crabb about not merely fixating on the darkness.
T
wo years on from returning, and 12 months since unleashing acclaimed Disarm The Descent, existing within the Killswitch Engage fold remains fresh for rejuvenated vocalist Jesse Leach. He also grapples to fully fathom the enormity of it. “I never thought I’d be back,” he humbly gushes. “Then to actually enjoy it as much as I have, it’s not lost on me. It’s still something that shocks me, the amount of love I have for it; I’ll arrive in places across the world and have to pinch myself.” As documented during the (Set This) World Ablaze DVD, Leach departed the then-rising Massachusetts metalcore outfit following 2002’s game-changing Alive Or Just Breathing, citing burnout and the desire to spend time with his new bride. In the meantime, they attained Gold sales, Grammy nominations and undertook numerous world tours. Prior to being re-admitted into the ranks after Howard Jones moved on, Leach managed to get the work-life balance far better in check. Achieving greater mastery over his instrument has helped establish a mindset that’s a far cry from his initial tenure. “Thankfully I regained control of that before rejoining. It’s just a matter of knowing your technique and knowing how to take care of yourself. [It’s about] knowing to cut back on the partying, staying up late and all those things that can really kill your voice.” Despite having adapted, the soulful performer isn’t taking his other half on tour anytime soon. “No, the road is kinda tough to bring the wife out. Between soundcheck and doing press every day, there’s not a lot of free time, and it’s a pretty cramped space with a bunch of smelly guys who are farting and burping all the time. So I’d rather just save my money and my time just for when we have breaks. We can do like romantic stuff,” he laughs. “When you’re a newlywed, you’re madly in love; it’s very different from being 12 years on in a marriage,” he adds, laughing again. “And it’s a good thing; it’s not a negative thing. We’ve grown up a lot.” Taking greater care of himself also facilitates the frontman’s aspirations of being a multi-faceted artist. He’s insistent that Killswitch Engage’s parameters don’t 28 • THE MUSIC • 9TH APRIL 2014
solely define – or confine – him. “I write a lot on the road, but it’s not necessarily lyrics. [It’s] just writing in general; whether it’s poetry, or my thoughts or anything that sort of strikes me. Just being a writer, I think it’s important to capture that stuff. Whether or not you use
put out a book. I think I’m a writer first and foremost, and then sort of metal/hardcore lyricist comes after that,” Leach laughs. “I think [publishing a book is] eventually something I’d be interested in. I have an online column as well, and [I’m] getting ready to launch my own website, which will have a lot of my writing on it, blogs and stuff like that. I love writing, it’s great. It’s a different way to express myself that isn’t inhibited by, you know, three- to four-minute songs.” These aren’t the only endeavours in the pipeline. Times Of Grace – a partnership with KSE axeman Adam Dutkiewicz – will continue. “It’s just a matter
“I CONSIDER MYSELF MORE OF A POET THAN I DO A METAL/HARDCORE SINGER.” it for lyrics; I can always go back to notebooks and look at stuff, just exercising my craft. It’s important to do that. “I consider myself more of a poet than I do a metal/hardcore singer. I think I’m first and foremost a poet; I’ve been writing since I was like 14 years old. But it’s not stuff that I would necessarily want to put out in the public. I’d say maybe one-eighth of it is decent enough where I could potentially
of finding time to do that, but we’re not letting it die. The stuff we’ve already talked about is going to be sort of half-acoustic, and then another half very epic, open, post-metal stuff.” The Empire Shall Fall will also issue new music. “I’m about halfway done [on] an EP with those guys. That’s definitely more mathy, really technical stuff. That has got a lot of poetry in it, really strange stories. And I have solo stuff I’m starting to work on as well, so I’m keeping pretty busy,” he laughs. Maintaining a feverish schedule is as vital as oxygen. “I need it that way. I can’t sit still; it’s just not in my nature. I have absolute gratitude to anyone who has supported what I do, and supported Killswitch. I’m very blessed to do what I do, and it’s all because of the fans and people who support us.” WHEN & WHERE: 13 Apr, Palace Theatre
THE MULTICULTURAL MOTHS ARE COMING! Fusion is everywhere in the arts today but few projects are as mind-bogglingly interbred as The Lepidopters: A Space Opera. A suitably bewildered Paul Ransom speaks to Neil Kelly about musical notation and alien moths.
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TOP PRESS: Alien moth creatures land on Indonesian island. Earth colonisation plan to proceed via interbreeding!
It might sound like the plot of some bizarre pulp sci-fi comic but rest assured The Lepidopters is much more than your standard-issue space opera. With a 40-member choir, a Yogyakarta-based punk art collective and an Australian experimental ‘piano’ ensemble, this is one of
those fusion projects that elevates the mashup idea into something approaching high art. Forming part of The Lepidopters’ cross-cultural, multi-platform mix is Slave Pianos, an act that has always looked to bridge artforms. Indeed, according to chief ‘slave’ Neil Kelly, “We’ve sorta prided ourselves over the years in bringing disparate things together but this one might actually be the most ambitious so far.” With The Lepidopters the various elements range across language, culture, musical notation, film,
visual art and electro-mechanical pianos. However, the work is grounded in two common start points: the scifi of Mark von Schlegell and the spiral art of Robert Smithson. “It’s those common threads that bind it together. Everybody that’s been involved in making the music has worked to some Robert Smithson-inspired brief and we were always quite firm early on about generating a form that worked with one of Smithson’s spirals, a work called The Gyrostasis, which has kinda informed everything. If you sit down and read the three comic books that loosely correspond to our work there is a narrative; but it’s certainly not traditional.”
art
One of the key technical hurdles has been to make Western and Indonesian tunings work together harmoniously. “We’ve got these traditional Gamelan instruments and they have this totally non-Western tuning. So one of the things we’ve done is to write this choral music that involves micro-tonal tuning; and the punk band have new instruments that have been made that have tunings more matched to Gamelan. “It sorta reads like an Australia Council promotional blurb when you talk about these cross-cultural things,” Kelly jokes, “but it’s incredibly fruitful when you bring musicians and artists together that are from completely different universes. It’s a real joy, I have to say.” WHAT: The Lepidopters: A Space Opera WHEN & WHERE: 12 & 13 Apr, Arts House, North Melbourne Town Hall WIN: We have a double pass to give away to the show on 12 Apr. To enter head to themusic.com.au
THE MUSIC • 9TH APRIL 2014 • 29
music
LIVING THE GOOD LIFE Sydney’s Bam Bam, Joel Charma, describes to Kane Sutton how he went from being a breakdancing superstar to an aspiring hip hop artist.
“I
’ve had this piece of toast sitting here for the last two hours and I haven’t had time to eat it because the interviews keep overlapping,” Joel Charma laughs, sounding calm and composed. “I’ve always felt comfortable talking to and entertaining people. I’m not going out on stage and thinking, ‘Oh shit, I’m in front of all these people, I’m shitting myself ’. It’s more like, ‘Fucking get me out there, I wanna be on stage already, ahh!’ you know? It’s great.”
film
It’s astounding to note that he’s only this year embarking on his first headlining Australian tour. While taking the country by storm under the Bam Bam moniker is still a relatively new thing, Charma has in fact already been around the world performing in an entirely different manner and as such, possesses a veteran level of stage familiarity. “Breakdancing was my first passion,” Charma explains. “It was my introduction into the hip hop world and from a young age I put everything I had into it. Music was always in the background as a hobby – I was always doing it, but breaking was my main focus and that became my career – I
mean, we went on to win the Australian Championships a bunch of times and represent Australia against the world a few times. It took me across the world and I was getting paid to do what I loved, which was great.” It wasn’t until Australian hip hop began its build into the mainstream market that Charma realised it was something he desperately wanted to pursue: “I was always doing music on the side but back then, there never used to be a market for Australian hip hop anyway. Fast forward a few years and now it’s massive. 360’s one of my best mates and I saw him explode onto the scene and that got me thinking, ‘Wow, it’s a feasible career path, so I’m gonna have a crack at it’ – so I did, and the ball’s been rolling ever since. Without knowing, the music thing has become more busy than the breaking without even trying to or planning it. I guess I switched careers by accident,” he chuckles. To coincide with his tour, Charma is releasing his debut EP, following up a couple of years’ worth of mixtapes. As its name suggests, The Good Life EP is a celebration – elevating and irrepressibly alive, capturing the excitement and boundless promise of this first major step in his musical career with a collection of party tunes. Interestingly, despite being a hip hop artist, he draws his musical insights from other areas. “Hip hop’s probably the genre I listen to the least. I love it, but I do have a wide variety of taste in music. I listen to everything and just try to draw my favourite things I hear in other genres into what I do. It may or may not translate, but there are hints of things that I’ve converted into a hip hop-esque sense. I’m enjoying what I’m doing and I just hope other people do too.” WHAT: The Good Life EP WHEN & WHERE: 12 Apr, Northcote Social Club
WORLDLY ADVICE Lake Bell not only explores gender in Hollywood in her new film In A World... , but also familial rivalry and the ‘sexy baby vocal virus’, she tells Anthony Carew. n her directorial debut, In A World..., Lake Bell – the film’s writer/director/star – plays an aspiring voiceover actor who yearns to be the first woman to intone the title’s mythical words in a movie trailer. It wasn’t a stretch. “Voiceovers, voices, mimicking announcers’ voices, accents, that was totally my repertoire growing up,” says Bell. “I really did record people with a tape-recorder. And trailers are like the most epic version of voice work; that omniscient ‘Voice of God’ was always remarkable to me. I always used to do that voice, just goofing around – like, if I’d have to go to the bathroom, be like ‘In a world where one woman...’ – and then I realised that I’d never heard a woman’s voice be allowed to be the Voice of God, which became an interesting conversation on men and women, and gender, and Hollywood.”
I
In A World... is the first movie to ever take place wholly within this insider industry. “The Golden Trailer Awards are a real ceremony. There have been lots of people in the voiceover community who’ve reached out to me to say ‘Thank you for accurately depicting my world.’ So many niche industries are super competitive, and people who’ve made their way to the top don’t want to share the pot; that’s just human nature, right? It’s not pretty, but it’s real.” Here, the chief rivalry is between Bell and her own father (Fred Melamed of A Serious Man). “It became like 30 • THE MUSIC • 9TH APRIL 2014
therapy to me, this place where I could explore all these interpersonal relationships from my own family. There’s a universality to it because it’s really a film about a father/daughter relationship, about familial rivalry, and about a egomaniacal patriarch.” And it’s a film about gender; where even in the faceless world of voice work (“You are your voice, and you can manipulate it to be any way, any age, any race, any gender”), old male standards die hard. “This array of headless sounds telling us what to buy or think, that was always mystifying
LAKE BELL AS CAROL IN IN A WORLD
to me. If a woman’s voiceover is used to sell a luxury car, for example, the insinuation is always, ‘if you buy this car, you’ll get to have sex with me,’ never: ‘If you buy this car, you’ll get to be me, a strong, powerful woman’... Exploring this idea made me somewhat obsessed with my own personal problems with how young women vocally depict themselves today, and the vocal trends that exist. Hence the ‘sexy baby vocal virus’, which is something that is my own personal plight.” Young women who dare to write and direct their own films often come up against such gender prejudice, but making In A World…, Bell didn’t encounter any. “When you’re dealing with a budget as low as mine, the stakes are too low,” she says. “When you make an independent movie, you just wanna make sure your mum sees it. Anything that comes after is just a bonus.” WHAT: In A World… In cinemas (Exclusive to Cinema Nova)
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music
WON’T BE A CASUALTY With OFF!, Keith Morris has had something of a punk rock career resurgence. The former Black Flag and Circle Jerks frontman tells Dan Condon he’s having a blast.
“I
’m having the time of my life,” Keith Morris says in his rich Southern Californian inflection. “I’m going to be 59 years old in a few months, which means I’m approaching 60, which would usually mean I was trying to take care of the retirement fund and putting extra money aside in the bank to be able to drive in a Winnebago and see all of the wonderful sights in the United States. “But I’m having a great time; I’m really seriously enjoying myself. Of course there’s a few hang-ups, a few snags, we have a lot of scheduling conflicts; there’s three dads,
three of us play in about seven, eight other bands. I would love it for OFF! to be everyone’s priority but it just doesn’t work that way. So whenever we get together, we’ve got to cram as much action and adventure and music and camaraderie into two weeks here, three weeks there, whenever we get the opportunity. “Consequently that spills over to the energy we put forth in the band. It also is part of the fuel for our performances and the type of material that Dimitri [Coats – guitarist and OFF! co-songwriter] and I write.” The band’s new record, Wasted Years, is classic OFF! - short, heavy, angry songs easy
music
to understand, owing to the fact we are all going through the same shit, no matter where we live. “We go to all these different places and we see all these different things going on. The fact of the matter is that, ultimately, a lot of the stuff that we’re writing lyrics [about] has become a little more universal. The handful of people who control everything, the billionaires, the haves and the have nots, us versus them – it’s a neverending, ongoing, perpetual situation – us against the authoritative figures.” Morris was the original vocalist in the legendary Californian punk band Black Flag, from 1976 to 1979, and recently joined forces with fellow Black Flag members Chuck Dukowski, Bill Stevenson and Dez Cadena and Descendents’ Stephen Egerton to play the songs of that band as FLAG. Morris and Black Flag parted in acrimonious fashion and it sounds as if memories of those days are starting to irk him. “One of the major things that I discovered was that there was a reason for me leaving [Black Flag] – I wasn’t feeling cool about the things that were going on and I finally found out I was going to be kicked out of the band anyways. “With FLAG, a lot of those same things started to come up. I don’t want to diss on FLAG because when we’re playing we’re having a great time and it’s undeniable that we love the songs. With Billy Stevenson we have a guy who is totally into quality control. What I mean by that is we’re not just gonna stand up there and look like a bunch of guys in our mid-50s, late 50s, early 60s – it just doesn’t work for this kind of music.” WHAT: Wasted Years Vice/ADA/Warner
SOMETHING OLD… The debut album from metalcore group Prepared Like A Bride simultaneously crushes and saves. Vocalist Ryan Bowles speaks of the faith, death and inspiration behind Overcomer with Lochlan Watt.
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vercomer has been a long time coming for the Gold Coast five-piece. It’s been worth the wait – from their rough beginnings as young teens, the band’s sound has matured into a highly modern, hyper-melodic and really heavy concoction of metal and hardcore. One of the first questions that springs to mind is what inspired their name? The gently-spoken Bowles explains. “We got the name Prepared Like A Bride from The Book Of Revelations, which is actually the last chapter from The Bible. Revelations is actually quite an interesting chapter which talks about a lot of different things, and it’s very confusing to most people on a quick read of it, and it’s very metaphorical, and it talks about the end of the world. Basically, it says in Revelations that there will be a new heaven and earth, and that it will be ‘beautifully prepared like a bride’.” However, Overcomer is an album borne out of terrible darkness. In November 2012, roughly five months into the writing process, Bowles’ father was suddenly killed. “My dad was flying a light aircraft with another pilot, and basically there was an emergency accident that claimed both of their lives,” he recalls with a remarkable calm. “From there that just stirred up huge, different emotions and feelings, and all sorts of anger and a
32 • THE MUSIC • 9TH APRIL 2014
whole bunch of stuff that we just channelled into this album and into the writing process.” The subsequent writing and recording process “definitely helped [me] vent a lot”, yet despite the devastating turn of events, the album wasn’t simply an exercise in pain relief. “I think it can be taken directly in my circumstance, but on top of that I’ve seen a lot of family members lose battles to cancer, I’ve seen friends lose their lives in terrible accidents, and I know a lot of other people have as well. It’s not just me. The title Overcomer is not just for myself, but for absolutely everybody
and anybody that has had to face horrible circumstances – many that are a lot worse than mine.” Although the band is unified in their own faith, Bowles states, “We’ve never tried to force anything on anyone. We don’t want to just sing to our Christian friends, or otherwise there’s no point in what we do. The whole reason we’re a band is to spread love and to encourage people in every single facet in life. If a CD we write can encourage somebody to push through a hard circumstance, or maybe just get past the brink of suicide and get through another day, that’s what we’re aiming to do, and not just for a Christian market at all. We wanted to write something that is applicable to every single person, no matter what they believe.” WHAT: Overcomer (Faction/Sony) WHEN & WHERE: 12 Apr, Bang, Royal Melbourne Hotel; 13 Apr, Arrow On Swanston (all ages)
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ALBUM OF THE WEEK
★★★★
album reviews
SASKWATCH
RUSSELL MORRIS
Nose Dive
Northside/Remote Control Melbourne soul darlings, Saskwatch, have shaken things up with latest release, Nose Dive, yet in so doing have retained the essence of their sound. By not contenting themselves with simply creating more of what made them so popular to begin with, the group has forged ahead in a slightly different direction, embracing a more guitar-oriented aesthetic. The funkier soul leanings found on their debut LP, Leave It All Behind, have given way to tracks with an up-tempo ‘50s sheen, evoking dance halls and milk bars, pomaded hair and blood-red lipstick, and kudos to the band for expanding on their already watertight, locked-in grooves. Opening with the peppy bounce of Give Me A Reason, the track smacks of an irrepressible verve that weaves through the entire album. Horns have been used sparingly and when they are it’s to highlight song sections tastefully. Latest single, Born To
Van Diemen’s Land Fanfare/Universal
Break Your Heart is as bittersweet as it is memorable, Nkechi Anele singing in a high register that lends the song a fragile charm. It’s not all falsetto vocals, however, as Hands and Is It True? showcase the charismatic frontwoman’s extensive range. Underpinning this is a band that continues to be a solid unit, with all members providing parts that have been meticulously thoughtout and intelligently arranged. More restrained than their debut, Nose Dive is a mature release that quashes the “difficult second album” notion and solidifies Saskwatch’s position as one of Melbourne’s finest young bands. Glenn Waller
Clearly yearning for an old Australia, or at least wanting to have fun with some old myths and styles of old music, Russell Morris has delivered a mellow collection with Van Diemen’s Land. Morris mixes international influences with local references from over time for his latest release. Opener Dexter’s Big Tin Can is like a slowed-down Acca Dacca, mixed with midcareer U2 (especially if Hold Me, Thrill Me, Kiss Me, Kill Me were blues). The title track is a bit more straightforward but with a slight Springsteen edge, while Birdsville takes it to a clear type of rockabilly Americana (complete with a great female vocal and sax solo). We’re clearly back to Australian storytelling with Breaker Morant, though, the famous soldier already immortalised in the Bryan Brown film, and whose own history was rewritten a little
CHET FAKER
OFF!
Opulent/Future Classic
Vice/ADA/Warner
Chet Faker’s debut drops just as he is about to rip it up on a tour of the UK this month. Success seems to come easily to this producer from Melbourne who managed to create a massive buzz of interest across the internet in 2011 with his surprising cover of Blackstreet’s No Diggity. Although eagerly anticipated, Faker has taken his time in getting around to releasing this album. As a result Built On Glass is a well rounded record, finding the producer continuing to think in intricately layered lo-fi textures to create mellow vibes that roll with laidback beats.
If you didn’t like the first OFF! releases then there’s no point trying Wasted Years; they haven’t evolved much. It’s loud and angry punk rock spluttered in short bursts by a seemingly constantly furious Keith Morris, while a tight, punishing band drip evil and punishing, but intricately arranged, hardcore behind him.
Built On Glass
Faker’s capacity to work with elements of R&B, soul, jazz and glitchy electronica to craft forward-thinking pop music is what sets his music apart from the pack. The star of this show is his soulful croon, which aches with emotion as he deals out introspective lyrics that reflect on life and relationships with a 34 • THE MUSIC • 9TH APRIL 2014
★★★ while ago. It’s appropriate then that this track is minimal in its approach, focusing on lyrics and developing story – the “scapegoats of the Empire” lyric left to hang over brushy drums and a weeping guitar. The Witch Of Kings X takes the blues to inner city Sydney (perhaps with a little sleaze thrown in) while Sandakan takes a basic 12-bar with slide guitar, muted trumpet and old-timey mics to channel a proper oldschool pop music approach – lyric “ghosts in the jungle” ‘answered’ by the trumpet forms a fine little duet. A good collection of folk/blues and national myths delivered by a man who knows his way around the local biz. Liz Giuffre
Wasted Years
★★★½ certain melancholy. At times he sings with a weathered bluesy rasp that suggests experience well beyond his years. It’s easy to sink deep into the slow-motion vibes of the album’s opener, Release Your Problems, and once you’ve entered this immersive space Faker guides us through the length and breadth of this album. Elsewhere, Talk Is Cheap revives the art of the “pop” saxophone solo, while the electro lounge stylings of Melt see vocalist Kilo Kish adding a feminine perspective. It’s a dreamy, sensuous sprawl of an album that’s like waking from a dream by the time you reach the last track. Guido Farnell
The album was recorded live in the band’s rehearsal room, so the performances are perhaps slightly looser than before, but it’s barely enough to notice. The sheen has barely been buffed – it doesn’t really sound like a rehearsal room recording – but that’s a good thing. Dimitri Coats’ spiny riffs and the unrelenting blast of the rhythm section of Steven McDonald and Mario Rubacabla mesh so suitably that it feels okay to call OFF! one of the best rock bands in the world right now. Lyrically Morris has never sounded angrier. “Ever feel you’re being used?” he yells in
★★★★ Hypnotized – a veritable epic at two-and-a-quarter minutes – a simplistic line that just about sums up the disenchantment that pumps through every song. Whether he’s yelling about addiction, the distribution of wealth or the inherent inequality in modern life in general, Morris doesn’t even come close to sounding happy and that’s pretty much exactly how we like it. At an average playing time of around 90 seconds, their songs are longer than ever, so if OFF!’s impassioned, unadorned hardcore has turned you on before, it’ll turn you on again with Wasted Years. Dan Condon
singles/ep reviews
★★½
★★★½
★★★½
JOAKIM
LOWELL
The Good Life
On The Beach
I Killed Sara V
Undiscover
Ten To Two
Because Music
Arts & Crafts
Independent
While modern hip-hop tends toward electro backing, The Good Life instead incorporates funk elements including disco-style guitar. In earlier track Bags Packed this results in a thin, unfathomably cheery sound struggling beneath overly enunciated vocals. From a whiny, sexhungry delivery in She Wanna Get Down, it’s a relief to hear Joel Chamaa take a step back. He elects a more solemn melody and rapping style in Find Your Feet, which is underpinned by genuine emotion. This EP feels done to death; pigeonholed in the mid-‘90s. He plays Northcote Social Club on 12 Apr.
This French producer’s restrained EP (which offers one original and three mixes of its title track) blends longing, romantic brass elements into morose electronica. Unique and moreish, On The Beach is a slow grind that comprises twinkling keys and echoing, robotic vocals. While its remixes share strong similarities – maintaining those spooky, otherworldly elements – individually their differences shine. We shift from hazy, tropical undertones (CFCF) to darker techno flavours (Principles Of Geometry), while segments of jarring dance beats in his own frantic Cray 76 remix display resemblances to The Knife’s Silent Shout.
Amid wormy pop melodies and squeaky vocals wrapped up in breezy layers, this Canadian singer presents a feisty example of girl power. She manages to steer away from triteness, however, with the repeated “Hey/Where’d the beat go?” (The Bells) the only obvious point of cringe-worthiness. You definitely feel the MIA influence in her simultaneously gritty and girly vox, as well as the use of minimalist, experimental hip-hop beats. Likewise, opener Cloud 69 incorporates a purposeful obnoxiousness in its killer chorus. But the EP still maintains an original flavour especially in later, more introspective tracks.
Stephanie Tell
Stephanie Tell
Stephanie Tell
TWIN CAVERNS Effortlessly cool with organic, watery drips and clicks under dainty key riffs, guitar hums and hypnotic, calm vocals. This Sydney duo delivers downtempo, minimal electro that ripples slowly through you.
PITBULL FT GRL Wild Wild Love Sony Serious creepy uncle vibes from Pitbull on this one. Ballad-y female vocals over carefree acoustic guitar that suddenly switches to dirty drill beats and Pitbull’s sleazy dancerap just does not work.
THE VERNONS
BAM BAM
Rollin’ Back to You Independent Grainy, pleading vocals with a soulful swagger glide over the rollicking bluesrock guitar chords; it’s comfortingly familiar yet exciting at the same time.
★★★★
★★½
★★★
MAGIC HANDS
STONE CLOCKS
THE DEAD ELECTED
Tone
Knives Out
Cheated:Deleted
Independent
Independent
Independent
Lush and languid, Don’t Pass Me By takes a while to convince but soon enough it gently wraps you up with its romantic guitar slides, dreamy drums, double-tracked serenading and a melody from yesteryear.
Propelled by Lucy Roleff ’s memorable, classically trained vocals and dark, thunderous bass, single Tone conjures images of a storm approaching. It’ll make you want to choreograph an interpretive dance. Two impressive remixes elicit unique feels, focusing on its different musical intricacies. For instance, the Campfire mix plays on its lyrical quality, evoking a traditional folk flavour with a plucked lute sound. The EP rounds off with a treat. Driven by an ominous duet, their sleepy, arty cover of Kylie’s I Believe In You really exemplifies the duo’s unusual style. They play at Grace Darling Hotel on 11 Apr.
Though opener Chasing Tail embarks on a clean, wandering melody, its delicate guitar and basslines are challenged by underlying sloppiness. Frontman Adam Connor’s vocals recall that overused ‘90s penchant for a dirty/ clean rock sound, whereas a gruffer style would inject spirit into this offering. While lyrics generally tend toward boring, Elisa Day is a bizarre tribute to Where The Wild Roses Grow, except in this version, Elisa Day “was not a rose, she was a call girl”. Clichéd and problematic psychosexual issues aside, an original story would serve them better. They play Thornbury Theatre on 26 Apr.
A smooth, stoner alt.rock release, Cheated:Deleted showcases proficiency in its intricate drum patterns and bold, buzzing bass. Though the EP draws on the heavy fuzz and moody notes of Queens Of The Stone Age, its tendency to drift and mull lets it slip past your attention. While Carbon Sea has a becoming, doom-centric focus, Lost Spaceship Opera takes a notable step back, combining cooing, almost-whispered singing with a murky melody and gloomy lyrics. A clear lowpoint on this offering: their gritty, apathetic vocals in stodgy track Girlfriend result in a sound akin to a strangled Jack White.
Stephanie Liew
Stephanie Tell
Stephanie Tell
Stephanie Tell
RITA ORA I Will Never Let You Down Sony Don’t say you’ll do something you can’t deliver, Ora. This is the kind of feelgood pop song that is so safe all aspects of it seem shallow and calculated. An example of how Ora’s straggling behind her contemporaries.
CHATEAU Don’t Pass Me By Independent
THE MUSIC • 9TH APRIL 2014 • 35
live reviews
A$AP FERG, YO! MAFIA Corner Hotel 2 Apr Bucket hats, basketball jerseys and big hoodies are tonight’s uniform as hip hop heads descend on Richmond. YO! Mafia blends old and new hip hop with the occasional pop chorus mashed in and covers ground from Kendrick Lamar to Jay Z, Justin Timberlake to Toto. The curtains draw open to a burst of light and an eerie figure in a gas mask centre stage. During the opening bars of Lord, the mask drops to reveal A$AP Ferg. Dressed in all white with a loosened straitjacket, Ferg delivers his sermons with venomous
one based on crowd judgement while he waxes lyrical on Let It Go. The blokes get a turn too as Ferg finds two (conveniently) talented crowd members for a rap battle. Staged or otherwise, this is yet another example of Ferg’s already honed crowd management skills, which add to his regal rapping ability. Pausing the party along with Cocaine Castle, Ferg sings about drug-afflicted family members. It’s a reminder that a lot of hip hop comes from a place of struggle and proves a real earnest moment within tonight’s display of bravado. However it doesn’t last, and Ferg mashes together Work (Remix), Murda Something and Schoolboy Q’s Man Of The Year for an explosive and exultant end from our Harlem hood cleric. Ryan Butler
A$AP FERG @ CORNER HOTEL. PIC: DAVID HARRIS
believability. Riding the wave of exposure found by fellow A$AP Mob member A$AP Rocky, Ferg is the second artist from the Mob to release an album with his LP Trap Lord. The self-proclaimed “Hood Pope” goes full demented priest as tonight’s congregation chants, “I fucked your bitch, nigga, I fucked your bitch,” along with Ferg during Dump Dump. With tongue planted firmly in cheek, he has the crowd send prayer hands to the sky for a “ASAP/Trap Lord” call and response. It adds a sense of shared jubilation. Introducing Fuck Out My Face by calling out “ugly ratchet bitches” and “broke-ass, loser niggas”, Ferg is beyond politically incorrect. He continues the thread as he drags women up from the crowd to dance, only to begin booting them offstage one by 36 • THE MUSIC • 9TH APRIL 2014
sound desk for those who wish to help themselves. He then busts out a shiny white keytar. Yeo’s Steve Winwood cover (Higher Love) is a showstopper and should conclude his set. As Glass Animals make final soundcheck tweaks onstage, drummer Joe Seaward switches on his Beyoncé fan. It’s a fashionably late start, with bassist/keyboard player Edmund Irwin-Singer wandering through the crowd toward the band room at 10.16pm. Their intro tape kicks in: Notorious B.I.G.’s Hypnotize. “Whassup!?” enquires frontman David Bayley. “We’re Glass Animals!” Psylla opens and a neighbour in the crowd shares that it’s “solid”. Seaward drums in profile. Is this becoming a thing? There are pretty girls in the front rows, which is always a good
A$AP FERG @ CORNER HOTEL. PIC: DAVID HARRIS
GLASS ANIMALS, YEO Ding Dong Lounge 2 Apr There’s a queue outside on the pavement. Yes, even if you’re on the guestlist. Once inside, there are lots of top knots in the building – on ladies and gents – and it’s a who’s who of industry types lured by hype. Yeo supplies some chilled beats while members of Glass Animals are scattered throughout the crowd, watching unharassed. A nearby onlooker weighs in, “I dunno, the music is just, like, very, very old.” That’s a bit harsh, there’s nothing wrong with retro stylings. Yeo tells us he’s left a box of temporary tattoos and download cards at the
punctuation that breathes unexpected life into the original and makes us sway. “I’m sorry to say that we’ve only got nine songs and we’ve played them all, so we’re gonna do…” Bayley coaxes. Crowd: “GOOEY!!!!!” The frontman checks, “Gooey?” And so it is. You know the noise throughout this song that sounds like a rubber duckie being stepped on repeatedly to the beat? It’s triggered via drum pad! There will be a lot of preorders on Glass Animals’ debut album ZABA after tonight. And this will be one of those annoying gigs if you weren’t there, because people who were present are gonna bang on about how wicked it was. Glass Animals better enjoy watching support acts from the audience while they can. Bryget Chrisfield
GLASS ANIMALS @ DING DONG LOUNGE. PIC: ANDREW BRISCOE
sign (even if one is munted and another dances like a stripper). Bayley dances like a marionette doing the Bananarama Venus dance, in the best possible way. The dual background vocals of Irwin-Singer and guitarist/ synth man Drew MacFarlane benefit from their choir backgrounds and add celestial majesty. Bayley intros “a brand new one, no one’s heard it before” and the sample sounds like Pop Rocks exploding in your receptors. Bayley’s lyrics don’t so much matter and could be sung in a foreign language – it’s the tone, melody and rhythms that are so captivating in a Massive Attack kinda way. For an encore, Glass Animals preview their Like A Version for this Friday morning: Kanye West’s Love Lockdown. Their use of samples is inspired, particularly the sharp inhalation
N’FA JONES Ferdydurke 2 Apr It’s rare for an act to throw a listening party for a new album that is open to all, and a free one at that. But N’fa Jones is an MC of the people. Tonight the sometime frontman of Melbourne’s nowdefunct rock-hop outfit 1200 Techniques is launching Black + White Noise, his first solo album in eight years, through mate Drapht’s The Ayems and he’s taken over Wednesday’s Mellow Dîas Thump night at Ferdydurke for the occasion. The clandestine hipster venue is in a loft-like space up two flights of stairs, the walls of which are decorated with urban art (a stencilled Ned Kelly). Jones attracts an impressive turn-out of music figures, among them De La Soul’s Maseo (in town to DJ).
live reviews As we enter, dreadlocked resident Cazeaux OSLO spins classic East Coast boom-bap in an alcove above the stairwell. Jones then welcomes attendees and gives props to supporters in freestyle rap form. Wisely, he lets his music mostly speak for itself. Jones drops the jazzy neo-soul intro Joy Of The Sun which, like much of the album, is co-produced by him (with Sensible J & Dutch). He then plays current single Confidence – a dirty, funky electro-house joint that (appropriately) quotes De La Soul’s Stakes Is High. Jones reveals that Live On was inspired by KRS-One’s Stop The Violence Movement. The album’s head nodding 2013 lead single Life’s A Game (ft Brave) comes almost halfway through. Jones next announces his favourite track on the album, Omnibus To Change, which evokes vintage Jay Z. Jones made two versions of the austerity-era Money Better Come and plays Billy Hoyle’s electro-
ELLA HOOPER, JACK COLWELL & THE OWLS Northcote Social Club
returns to the stage to encore with a sombre-yet-elegant tune she co-wrote with her brother Jesse. Hooper’s fans can look forward to her solo material, which reflects an artist ready to spread her creative wings beyond familiar roots.
4 Apr
Annelise Ball
Jack Colwell & The Owls launch their Far From View single to an audience fast becoming very entertained by the frontman’s interpretative dance moves, flowing mop-top hairstyle and sheer theatrical intensity. Ella Hooper herself is spotted dancing in the crowd before jumping up on stage to join Colwell and perform a way too mock-sexy version of The Motels’ Total Control. Rainbow Chan adds a searing saxophone riff to top off the sweaty action onstage. Ella Hooper (aka Captain Hooper on Spicks And Specks)
GLASS ANIMALS @ DING DONG LOUNGE. PIC: ANDREW BRISCOE
boogie (or Latin freestyle) “edit” of Styalz Fuego’s original. This leads into the album’s experimental second side, Jones explains. Indeed, he partly sings the postdubstep diamond Time Piece. If Jones’ comeback has a pinnacle, it’s the André 3000-ish Fighters (with Sydney polymath Joyride), a synthy number about thwarted or tormented young love that is catchier than winter flu. Should Drake ever hear Fighters then he’ll have something else to be moochy about since it’s better than some of his songs. Fighters segues into Monsters Ballad, which is a wobbly, acidic, post-Yeezus-ish Frankenstein masterpiece. Closing out the sesh is the poetic Pemulwuy, Jones’ spoken word rumination on Indigenous Australian cultural experiences that sounds a little Ursula Rucker, a little cloud rap. Later, Maseo hits the decks with Jones rockin’ the mic. Another happy surprise. Cyclone
BURNT LETTERS, THE ACFIELDS Retreat Hotel 5 Apr Folk duo The Acfields are one of the least pretentious bands you’re ever likely to see and, playing to a room crowded to temperature- and humiditybolstering capacity, their set seems like an accidental victory. The brother-sister combination of Dan and Hannah Acfield pen songs about their grandparents, car and each other, each offering leavened
ELLA HOOPER @ NORTHCOTE SOCIAL CLUB. PIC: DAVID HARRIS
takes centre stage to the delight of her fans who she thanks profusely for being so damn patient with her debut solo album tardiness. It’s a mature, exuberant and confident Hooper onstage tonight previewing tracks from her forthcoming In Tongues set. Hooper performs the electro-pop title track with poise and flair. After admitting she’s feeling inspired by Colwell’s theatrics, Häxan – a sultry, witchcraftinspired track – allows Hooper to “feel it and go there”. A couple of ethereal break-up tracks are slow-burning beauties. A more muted tune gives way to Hooper’s self-proclaimed new “disco track”. The evening ends with first single off the album: a striking tropical/Arabian-type number called Low High, which is performed with Colwell and one-night-only special guest Kira Piru on backing vocals. Hooper
by sterling harmonies. Freely chatting to the audience between (and during) songs, they blur the line between audience and band, giving instruments to the crowd and starting conversations. Songs such as After You, Taking Your Time and Green Mazda earn rapturous applause from a chipper crowd. Opening your set with a singalong of the traditional Down To The River To Pray is an ambitious move for an alt.country duo such as Burnt Letters. If, however, you’ve brought along members of the Melbourne Mass Gospel Choir, it turns out to be a smart one. After turning the pub into a church, singer-songwriters Lou Pine and Kinch Kinski replace the choir with a backing band (spontaneously named “The Roughshod Angels” by Kinski), and rip the tarp off a stellar set.
by Kinski as a song about “The sort of women that stay up all night talking politics and drinking goon”) show off the duo’s songwriting skills and harmonies. The band acknowledge their influences both local and legendary (the rowdy East Brunswick Club) and demonstrate atmospherebuilding skills (Knotted Pine), but it’s their crowd-rousing take on Son Of A Preacher Man that gets the biggest response. A sense of humour and humility combined with excellent songwriting and vocal talent is rare. To see Burnt Letters generate such an enthusiastic response is cocklewarming, like a small-town welcome. Closing with Talk To You, the opening track from the debut EP they launch tonight, the choir returns and Burnt Letters give us another emphatic example of inclusive warmth. Andy Hazel
ELLA HOOPER @ NORTHCOTE SOCIAL CLUB. PIC: DAVID HARRIS
MORE REVIEWS themusic.com.au/reviews/live
MONSTER MAGNET @ 170 RUSSELL. PIC: MATT ALLAN
Naked Bodies @ The Tote Darkside @ Palace Theatre Monster Magnet @ 170 Russell
Quick Against The Moon, Sweet Face and Split In Two (introduced THE MUSIC • 9TH APRIL 2014 • 37
MICF reviews
JANCDKY:
HAADNSNBYA: H
TA
G
PEIRPFOED:CT R T
THE EXHIBITIONIST
KEVIN BRIDGES
AUSTRALIAN SONGS
Town Hall: Supper Room to 20 Apr
Trades Hall: New Ballroom & Town Hall: Main to 20 Apr
Arts Centre: Playhouse (finished)
Join Jack Tandy and his lovely co-host Coco in another edition of Gameshow Gameshow, the slightly sickening parody of Australia’s worst television gameshows. What begins with innocent, if a bit strange, questions about chocolate and biscuits, soon becomes a chaotic nightmare of confusion, as the co-host’s disdain towards Jack is revealed, and starts to affect the smooth running of the show. The two young actors handle the mayhem brilliantly – even with audience interaction throwing a spanner in the works – until we are all left feeling dirty.
The Exhibitionist is about the art of the selfie. From snapshots of Gadsby’s awkward adolescence to classical portraits of historical figurers, not a single shot was left unscathed as she flicked through a slideshow behind her. In Gadsby’s trademark self-deprecating style, the audience is shown a number of unfortunate photos of her, most of them too unflattering to believe. Gadsby certainly knows what’s funny, her material’s witty and informed – she has degree in art history that came through in the discussions about classic painting – however, her segues are a little clumsy, some of the puns a little obvious.
Kevin Bridges saunters out to a full house with wry grin, takes the piss out of the venue and then steamrolls through his set. Bridges fully engages with tonight’s audience, gently targeting those daring to be late or leaving for toilet breaks. He mocks his Scottish homeland for its disposable barbecues and newfound tennis interest, and embraces the positive effect global warming is having on his country’s climate, with an easygoing delivery that makes him a joy to watch.
As a long-time fan of Tripod, this performance left me a little underwhelmed. Don’t get me wrong, musically the show was amazing; the audience lapped up a cappella renditions of some great Australian songs. But for a Comedy Festival gig, it was lacking in the laughs department. The trio plus Eddie Perfect played one of Tripod’s songs Blueprint, a witty nod to some Melburnians we love to hate. But the rest of the setlist was reserved for covers. Yon was the star of the show, pulling out some ridiculous dance moves and mimes. On the whole, was it entertaining? Yes. Belly-aching laughter inducing? Not this time.
Harry Hughes
Ella Mittas
GAMESHOW GAMESHOW Trades Hall: The Front Room to 19 Apr
ANIALI: D ES
Cartman, Desai’s ability to transform himself without props is impressive. After an audience member shuffles up his character cards creating a Director’s Cut, Desai improvises, delivering an energetic and entertaining show. Rachael Howlett
LAST NIGHT AT THE MOVIES The Swanston Hotel: Downstairs Lounge to 20 Apr Anil Desai loves movies; surprising, given he was traumatised by his first film screening, a double bill of Bambi and King Kong. Desai’s show is jam-packed with movie star impressions. He uses this broad repertoire to relate anecdotes about sex, racism and hecklers. From Keanu Reeves to Robert De Niro and Elmer Fudd to
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WAAYKNINE: DE
AIRLINE The Swanston Hotel: Downstairs Lounge to 19 Apr Wayne Deakin is paid to travel the world and tell jokes. It makes sense: he’s pretty funny,
Glenn Waller
Chelsea Attard especially viewed under the right light (in this case, a curious shade of salmon). Airline is a mixture of Deakin’s experiences on his journeys and his views on air travel in general. Given the potential for disaster, he pulls it off quite well. His comic style is almost laid-back; he takes time with his delivery, imbuing it with a sense of gravity. Deakin is conscious of his audience, incorporating them into his performance. An entertaining and very engaging comedian. Marty Shlansky
THE LAW REVUE Forum Theatre: Downstairs to 9 Apr Law Revue delivers exactly what you’d expect: a sketch show bookended by musical comedy, produced and performed by legal professionals, with proceeds going towards charity. The opening number was outstanding but the first few sketches lacklustre in their writing and delivery; for a moment the show threatened tedium. But break-out moments and the enthusiasm of the cast got the revue to stronger content. The writing touches on political satire, social commentary, and absurd shenanigans; absurdity reigns supreme. They’re people taking time out of their careers to perform and they do a pretty damned good job of it. Marty Shlansky
MICF reviews
MORE REVIEWS
FELICITY WARD: THE ICEBERG
FABIAN LAPHAM & THE ACTUAL MUSICIANS
AUNTY DONNA’S WORLD’S GREATEST SHOWBAG
Northcote Town Hall to 18 Apr
Trades Hall: The Music Room to 20 Apr
Surreal. Giddy. Exquisite. Musical comedy and rock opera combine in a delirious vision of a dystopian future. The live music is energetic and melodramatic, while the hilarious, zany lyrics squeeze in as many puns as can safely be digested by audiences. The interweaving storylines are reminiscent of childhood fantasies and the only thing holding back the show is their disparate, jarring tendencies. Yet it all works remarkably well together, perhaps revealing signs of future greatness for Fabian Lapham & The Actual Musicians.
Imagine Mighty Boosh crossed with Flight Of The Conchords, along with many cultural references only Gen Y Australians will understand, and you have World’s Greatest Showbag. The boys take on a variety of personas, from adolescents glassing each other, to radio presenters, and even Ellen DeGeneres. While the semen joke seems a bit cheap, their scripts are perfectly rehearsed and the trio moves from one bizarre scenario to another seamlessly... and sweatily. For lovers of childish, silly and cleverly thought-out humour.
The Iceberg is a show about perspective; part serious, part satirical, Ward voyages into the human psyche to offer an insight into our complex but comical existence. From pop culture to political satire, Ward shows her versatility and despite self-doubt, is a natural on stage. The laughs are constant and her observational comedy is truly embraced by the large crowd. Setting her show apart from the pack, the technical trickery created through lighting, sound effects and pre-recorded segments literally needs to be experienced to be believed and vindicates why Ward’s performances have seen her lauded internationally.
Marty Shlansky
Belinda Healy
Brendan Hitchens
ACMI: Cube & Town Hall: Powder Room to 20 Apr
themusic.com.au/reviews/comedy
PARTY BANANA
Ronny Chieng: Chieng Reaction Tom Ballard: UnAustralian(ish) Kyle Kinane Nick Cody: Here’s Trouble Rose Callaghan and Mates Death In Bowengabbie Kate McLennan: The Duck’s Nuts Sam Simmons: Death Of A Sails-Man
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the guide
TINY RUINS
Photo by: Georgia Craw How did you get your start? Some demos were passed on to Spunk Records. Hollie [Fullbrook] was sent for! Spunk helped bring about the recording of Some Were Meant For Sea and the rest spun on from there. Sum up your musical sound in four words? Ambiguous, spooky, melodic, girls. If you could support any band in the world – past or present – who would it be? The Beatles. You’re being sent into space, no iPod, you can bring one album – what would it be? Tiny Ruins’ Brightly Painted One because it has some of our friends on it and lots of memories of our recent times on planet earth! But if we’re being a little less self-indulgent, Bob Dylan’s Desire. Greatest rock’n’roll moment of your career to date? A guy fainted at one of our shows in the front row, right before us. We had to stop mid-song and it was one of those, ‘Who knows first aid?’ moments. He got carried away and eventually yelled out for us to keep playing, which was a relief. Why should people come and see your band? David Lynch likes us. When and where for your next gig? Apr 14, 7.30pm at Bella Union (plus special guests The Tiger & Me) and Apr 15, 9.30am at RRR Performance Space. Website link for more info: tinyruins.com
THE MUSIC • 9TH APRIL 2014 • 41
eat/drink
DRINKS ‘N’ GENRES Some observations and generalisations. Illustrations Brendon Wellwood.
ROCK’N’ROLL – BEER
CO COUNTRY – WHISKEY W
There’s no messing around with this one. Ladies and gentlemen who love loud guitars are drawn to beer, with variations being indierock with boutique beers and pub-rock with local, working class beers. Serving suggestion: drink three-quarters and spill the rest on the floor in front of the stage or on a fellow punter.
Ramblin’ R Ra a Jack Elliot wa w a all about Cigarettes, was W Whiskey And Wild Wild W Wo Women. Hank Williams, Jr was Whiskey Bent A An n Hell Bound. George And Jo Jon Jones and David Allan C Co Coe liked their Tennessee W Whiskey. Too bad The W Whiskey Ain’t Workin’ for Travis Tritt and M Marty Stuart though. N Ne e we go on? Need
JAZZ – WINE When you’re perched at a little table in a dimly lit jazz club, watching a singer crooning atop a grand piano, you’ve gotta also be nursing a glass of vino while enjoying the ambience. Doesn’t matter if it’s red or white or sparkling; mostly it’s just about the elegant way you hold the glass.
HI HOP – SCOTCH HIP & DRY/GIN & JUICE
DANCE/ELECTRO – JÄGERBOMBS/VODKA/SHOTS OF ANY KIND Because “SHOTS! SHOTS! SHOTS! SHOTS-SHOTS-SHOTS!” And while you can have a vodka mixer while taking a breather, there’s no way you can shake your arse vigorously while also holding a drink, so shots are the most convenient way of getting your alcohol intake. It’s only practical.
Smooth and refined and Sm sex e but must also have sexy, a bit b of grunt. Jamesons an and ginger’s got that little extra spice to it. And when your mind’s on your money and your money’s on your mind, sippin’ on gin and juice will probably help you relax.
ARTISTS’ ALCOHOL The Rolling Stones: Dan Murphy’s and Warburn Estate teamed up to create The Rolling Stones 50th Anniversary McLaren Vale Shiraz. Its bottle bears the iconic tongue and lips logo. You Am I: You Am I and Young Henry’s made a pale ale called Brew Am I. It’s available at limited stores in NSW. Hanson: The golden-haired brothers, in partnership with Mustang Brewing, last year released a beer called Mmmhops. Elbow: Just last month UK band Elbow, in conjunction with Marstons, created a 4.2% ABV ale called Charge, after one of their songs.
42 • THE MUSIC • 9TH APRIL 2014
AC/DC: They’ve got a premium lager beer with the tagline, “Beer for Real Rockers” on top of a wine series with Warburn Estate, featuring AC/DC Back in Black Shiraz, Highway to Hell Cabarnet Sauvignon, Hells Bells Savignon Blanc and You Shook Me All Night Long Moscato.
THE MUSIC • 9TH APRIL 2014 • 43
the guide vic.live@themusic.com.au
SINGLE FOCUS
SINGLE FOCUS will appear on our debut EP scheduled for release closer to mid-year.
LA BASTARD Answered by: Ben Murphy Single title? Promise Me/ In Deep (7” single) How many releases do you have now? La Bastard (LP, 2012), Take Me Away (EP, 2012), Tales From The Beyond (LP, 2013) and Promise Me/In Deep (2014). Was anything in particular inspiring you during the making? La Bastard wanted to try something a bit different to our previous outputs – more of a 1960s garage vibe. French pop personified by artists like Brigitte Bardot and Jane Birkin was a real inspiration!
We’ll like this if we like... The Bellrays, Shocking Blue, Man Or Astro-Man?, The Zombies, King Khan & the Shrines, ‘60s psychedelic garage, early ‘60s surf, garage-soul. When and where is your launch/ next gig? 12 Apr at The Curtin. With support from Ron S Peno & The Superstitions and The Eighty 88s. Website link for more info? labastard.com
What was inspiring you during the song’s writing and recording? I guess our aim was to have distinction between each track on the EP, and as we wrote Numbered last, it allowed us to aim for something with a slightly different feel and focus.
RESIDUAL Answered by: Sam Burtt Single title: Numbered What’s the song about? The idea of someone wasting their youth. Basically someone who spends every weekend getting smashed and being a dick. How long did it take to write/ record? It was probably written over about three to four rehearsals, it was the last song we wrote for the EP and it was tracked with the rest of the EP over six days. Is this track from a forthcoming release/existing release? It is a forthcoming release and
SINGLE FOCUS
We’ll like this song if we like... We’ve been told it reminds people of Boy & Bear, Matt Corby, The Rubens and Kings of Leon. Do you play it differently live? Little variations here and there, purely because we don’t have enough hands to play the song exactly the way it was recorded, but nothing that would be noticeable. When and where is your launch/ next gig? 10 Apr, Beav’s Bar; 12 Apr, The Loft, Warrnambool; 27 Apr, The Toff In Town. Website link for more info? facebook.com/residualofficial
EP FOCUS
song was inspired by hanging around party folk; their lifestyle and adventures inspired me. I like to make up stories about people. The instrumentation just flowed out as always. We’ll like this song if we like... Well, we like whisky, boat rides, long movies, goats and beer.
LEBELLE Answered by: Sheri Motiekaitis Single title? When You Wake Up What’s the song about? Finding love in a one night stand and wanting to take a chance on someone you feel a connection to. How long did it take to write/ record? This song didn’t take long, but the task of tackling an album has taken us over a year to be happy with the final result. Is this track from a forthcoming release/existing release? Yep, this track is the first single from our debut album. What was inspiring you during the song’s writing and recording? The 44 • THE MUSIC • 9TH APRIL 2014
Do you play it differently live? No, we try to be as true to our live sound as possible. Their may be a few sneaky guitar overdubs but we always keep the energy up live. When and where is your launch/ next gig? We are launching the single When You Wake Up at Evelyn Hotel on 11 Apr with our friends Secret Tsunami (EP launch). Website link for more info? facebook.com/lebellemusic
AYE CANDY Answered by: Scott Wilson EP title? Swingers Was anything in particular inspiring you during the making? Our philosophy during the recording sessions was to plug in, turn up, drink whiskey and make music to… eh… drink more whiskey to. Hopefully we still like how it sounds after we’ve sobered up… What’s your favourite song on it? Habit because if you play it backwards at midnight on Halloween the ghost of Elvis will bring you a cheeseburger.
We’ll like this EP if we like... Well made leather shoes, Cuban cigars, European holidays, vintage Chianti, antique furniture, the first sip of your favourite drink on a Friday night, finding $20 in an old pair of jeans. When and where is your launch/next gig? Bar Open on 19 Apr. This one’s gonna be special. Expect pyrotechnics, revolving stages and numerous costume changes. Free entry, great line-up… AND there’s a kebab shop next door! Website link for more info? ayecandy.bandcamp.com
the guide vic.live@themusic.com.au
EP FOCUS
PATRICK WILSON & THE BARE RIVER QUEENS Answered by: Patrick Wilson EP title? Ryan The Moth How many releases do you have now? This is our debut EP. Was anything in particular inspiring you during the making? Having and losing love is consistent in the songs. But we were listening to a lot of Neil Young, Bob Dylan and Van Morrison while it was going on.
We’ll like this EP if we like... Old school country/alternative tunes along the lines of Jake Bugg’s first album. When and where is your launch/ next gig? 20 Apr, Bar Open. Website link for more info? facebook.com/patwilsonmusic
What’s your favourite song on it? Ryan The Moth. It’s always fun to play and people seem to like it.
COMEDY FOCUS What happened the last time you were heckled? You know that scene from Pulp Fiction were Samuel L Jackson recites the Gospel verse before letting loose on the guy? Pretty much that.
SIMON TAYLOR Can you give us a tweetlength summary of your show? This show is a collection of the funniest things I could think of in the past year. I don’t have any other job so I had heaps of time.
What profession do you think would provide the best comic material? Whatever Clive Palmer is meant to be doing. When and where are your shows? Simon Taylor: Funny is on Imperial Hotel to 20 Apr. Website link for more info? mrsimontaylor.com
What was the last thing you couldn’t stop laughing at? My sister laughing makes me laugh. So if I can make her laugh then I too get sucked into an endless whirlpool of our immaturity. What’s your favourite comedy f ilm and why? Anything Adam Sandler does because it’s a reminder that anything seems funny when you’re 12. THE MUSIC • 9TH APRIL 2014 • 45
the guide vic.live@themusic.com.au
FRONTLASH
LIVE THIS WEEK
ZHU TWILIGHTS
Faded by ZHU is awesome. The hi-hats and bass rumbles will remind you of dancefloor domination, but then vocals add further meaning: “Baby, I’m wasted/All I wanna do is drive home to you…” The door has been left unlatched.
FAST RODENTS
UGLY DOLLS
FRIEND ESCAPE
Following a 2013 Europe tour with Chet Faker, Rat & Co (pictured) now release new single Vocal Insanity: a fusion of pitcheddown samples, house beats and underground hip hop. They play Shebeen Bar on 10 Apr with Speed Painters and Planète.
Dirty blues-rockers The Velvets (pictured) launch their Cold Souls & Heartless Dolls EP, bringing their driving guitar riffs, howling vocals and beastly drums to The Public Bar on 12 Apr. They’re joined by The Cherry Dolls, Ugly Kings and Old Fashion.
To raise funds towards their debut album, Esc (pictured) host a show at Evelyn Hotel on 12 Apr. They’ll release a remix of new single Atomic Shadow as well as a sweet personal mixtape.
THE HOUSE FRANKIE BUILT
USE FOR SEX
BALANCE OFF
FAIR RECORDS
Think Frankie Knuckles deserves to be on the cover of Rolling Stone? Sign the petition: change. org/petitions/rolling-stonemagazine-put-frankie-knuckleson-the-cover-of-rolling-stone-2
Riotous surf-soul-rockabilly act, La Bastard play The Curtin on 12 Apr, launching new 7” single Promise Me/ In Deep – a double dose of killer ‘60s-tinged garage. Ron S Peno & The Superstitions and The Eighty 88s support.
Electro-dance-pop trio Art Vs Science are back with a new single Create/Destroy. They’re launching it over a run of tour dates across this country, landing at Corner Hotel on 10 Apr. The night also features Sydney beat maker Kilter.
Collectors and stall holders will present a vast range of CDs and music memorabilia from the past till present; from pop to blues, country, dance and much more at the Essendon Record & CD Fair at Ukrainian House (Essendon) on 13 Apr.
MILDLY HANDSY
FINE CRAFT
BOLD BRASS
Combining the chops of an experimental-pop artist with a lyrical folk songstress, Magic Hands (pictured) launch new single and EP Tone at Grace Darling Hotel on 11 Apr with Totally Mild and WORNG.
David Craft (pictured) comes to Melbourne with a new record in tow. He takes his rich velvet baritone and intricate guitar to Wesley Anne on 9 Apr, Abbotsford Convent on 10 Apr and Some Velvet Morning on 12 Apr.
The Operatives have teamed up with Condensed Milk to present Miles Bonny (pictured) at Howler on 11 Apr. The Kansas City soul singer, songwriter, trumpeter and DJ is joined by Alta, Amin Payne, Cocoa Noire, Able8 and more on the night.
IN UTERO
NIGHT TERRORS
RUNNING CIRCLES
BEACH HEROES
Courtney Love says a Broadway show about the late Nirvana frontman Kurt Cobain is “very likely”. We originally thought this was an April Fool’s joke.
Fuzz-hungry garage fiends, Midnight Woolf continue their month-long residency at Old Bar on 13 Apr with another superb line-up. This time they’re joined by the outrageous Loobs and the deranged, deluded and just plain loud Spacejunk.
The next instalment of Silhouette brings together some fine DJs and producers at Loop on 12 Apr, including Andrew Slattery, Marcus Holder, Q_Sound, Walter Juan and Andre Le Vogue, who’ll supply deep dirty house and tech house grooves.
Local quartet Young Maverick launch their new EP at The Toff In Town on 12 Apr. Holiday Popular encompasses the band’s carefree style while carving a fuller sound from their bouncy rhythms and flashy hooks.
AN ANTICHRIST? Possibly the best casting call in yonks: John Lydon as King Herod! For this North American tour of Jesus Christ Superstar, he will appear alongside Michelle Williams (Mary Magdalene), JC Chasez (Pontius Pilate) and Brandon Boyd ( Judas Iscariot).
RIP FRANKIE KNUCKLES
BACKLASH
ROYAL PAINS IN THE ASS King Joffrey is the only royal youngster we want to see. We don’t give a shit that the British-tax-leeching, Buckingham brat might show its face Down Under.
MOVING PICTURES Video posts on Facebook. They take so long to buffer. Not worth the effort. 46 • THE MUSIC • 9TH APRIL 2014
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THE MUSIC • 9TH APRIL 2014 • 47
the guide vic.live@themusic.com.au
LIVE THIS WEEK
READING SCRIPTURE
GREEK TRAGEDY
FRUIT FORAGERS
Byron Bay quintet Tora (pictured) celebrate their new single release These Eyes with a launch at Evelyn Hotel on 13 Apr, demonstrating their threepart vocal harmonies, layered rhythms and pulsing soundscapes.
Alterative folk-rock outfit Playwrite (pictured) create a wild, haunting wall of sound and energy. In anticipation of their forthcoming debut album, they launch new single Lady Oracle at Shebeen Bar on 11 Apr.
Indie-folk sibling duo Miss Eileen & King Lear (pictured) evoke a sense of familiarity and warmth. Gearing up to release their debut EP Hungry Little Heart, they bring their sweetness and sass to Spotted Mallard on 9 Apr with Merri Creek Pickers.
A SHADY SET
EMPTY FLING
GOOD FOLK
Jam-heavy funk-rock quartet Midnight Shifter is driven by carnal energy and a fearlessness towards experimentation. They release their frenetic energy at Reverence Hotel on 10 Apr with support from Stephen Black Trio and Offspring Of Convicts.
Returning to The Tote for their traditional April residency, the trashing Naked Bodies bring high-flying, cage-rattling, deathdefying feats of music, love and destruction. Their 10 Apr show sees Strangers From Now On and O Littleblood joining them.
Absorbing a traditional folk method and elegantly bastardising it with stories and unceremonious sounds, The Bon Scotts offer something that’s resplendent; their vibe distinct, and their hooks undeniably wicked. They play The B.East on 12 Apr.
TIME INDOORS
TIS THE SEASON
CLEAR DANGER
Loose fuzz-rock trio Pretty City (pictured) bring their swells and rhythms to Ding Dong Lounge on 11 Apr, dropping their new single Piece Of The Puzzle. They’re joined by Sunbeam Sound Machine, My Piranha and Bloodhounds On My Trail.
Uplifting indie darlings Skipping Girl Vinegar (pictured) are celebrated songwriters who deliver their own unique sound. Rich with melody and classic singalong choruses, check it out at Caravan Music Club on 12 Apr. Hollie Joyce supports.
Canberra-based post-hardcore quintet When Giants Sleep (pictured) have released a new EP Lucidity as well as a film clip to lead single New Days. They celebrate with an all ages show on 12 Apr at Wrangler Studios.
ORIGINAL MEMBER
VAST GEOGRAPHY
CROSS-WALK
Having spent 17 years as an integral member of Hunters & Collectors, trumpeter Jack Howard has played with the likes of Midnight Oil, The Living End, Violent Femmes and more. He and his band hit Retreat Hotel on 13 Apr.
Sydney newcomers Little Earthquake hit the Wesley Anne stage on 13 Apr to introduce audiences to their single Planets. Based on the Central Coast, it was while roaming American highways that the brothers began writing together.
Combine the sounds of Slim Dusty and Keith Richards and what you’d get might be very similar to the music that Tim Crossey and Cal Walker make together. Decide for yourself when the two blokes play at Drunken Poet, 13 Apr.
FOR MORE HEAD TO THEMUSIC.COM.AU 48 • THE MUSIC • 9TH APRIL 2014
THIS WEEK’S RELEASES… LIARS Mess Mute/Create Control SASKWATCH Nose Dive Northside/Create Control CHET FAKER Built On Glass Opulent/Future Classic OFF! Wasted Years Vice/AD
opinion HOWZAT! LOCAL MUSIC BY JEFF JENKINS STANDING OVATION Radio legend Billy Pinnell will never forget it. He dropped into South Yarra’s Hatter’s Castle (now known as Arcadia Hotel) to see Peter Cupples. On stage was a young woman singing Ain’t No Sunshine. Billy was blown away. He found out her name was Jo Jo Smith and she was singing every Saturday night at Town Hall Hotel in South Melbourne. Billy became a regular at the residency. “He always requested that I sing Easy by The Commodores,” Jo Jo recalls. She also fondly remembers the band, including Geoff Cox on drums. “Every time he’d break a stick – and he broke a few – he’d toss the broken one out the window. That always cracked me up.” Jo Jo grew up in Dunedin in New Zealand, but moved to Brisbane in 1975. “I do consider myself an Aussie,” she says, “but I still barrack for the All Blacks.” The first Aussie act Jo Jo saw was the mighty Renée
Geyer. She ended up touring with Renée, who says, “Jo Jo has been an inspiration to myself and many other musicians in Australia for many years. She truly sings from the heart.” Billy believes Jo Jo is one of the finest soul singers he’s ever heard (she’s also a pretty nifty drummer). Jo Jo has many fans – in fact, fans funded her new album, Standing In The Lovelight, via a Pozible campaign. “That was an amazing feeling knowing I had such great support out there. I felt blessed and very grateful.” Jo Jo is launching the album at Thornbury Theatre on 11 Apr. The title track pays tribute to the musicians Jo Jo has played with over the years. “It’s a feeling that you can’t explain when you’re standing in the lovelight,” she sings. Jo Jo has done many things in her career – playing at Port Fairy Folk Festival, singing the theme to the Aussie movie Blue Fire Lady and meeting Stevie Wonder – but Standing In The Lovelight is just her fourth solo
JO JO SMITH
Powderfinger announced their split four years ago today (9 Apr). How soon before the reunion rumours start?
Sayer and Andrew Stockdale. And, remarkably, the Rolloways sound is like a cosmic mix of Leo and Wolfmother. This is potent, psychedelic pop. Throw in a cool guitarist and a bass player who looks like he’s stepped out of California in the ’70s and you’ve got a band to watch. Very tasty, indeed.
WIG OUT
HOT LINE
We knew nothing about ’em, except they featured drummer Brett Wolfenden. And any band with the Wolfman will be good. Rolloways were a perfect support for The Stems at Northcote Social Club. Three fine singers, including two gorgeous girls and a guy who looks like Leo
“The wind had stole our breath away, as sharp as a razored knife” – Russell Morris, Van Diemen’s Land.
album. “I suppose I do wish I’d made more albums,” she admits, “but it doesn’t eat away at me. Hopefully this isn’t the last.” BROKEN FINGER
THE MUSIC • 9TH APRIL 2014 • 49
opinion OG FLAVAS
ADAMANTIUM WOLF
WAKE THE DEAD
URBAN AND R&B NEWS WITH CYCLONE
METAL, HARDCORE AND PUNK WITH LOCHLAN WATT
PUNK AND HARDCORE WITH SARAH PETCHELL
Winter is coming… Soul music is getting darker – and more dangerous – with newcomers like American Jhené Aiko and Brit Raleigh Ritchie. Aiko is tipped to be R&B’s next breakout star after her soft release debut EP Sail Out, with guest rappers Childish Gambino and Kendrick Lamar, crossed over in the US late last year. The Cali singer/ femcee was affiliated early with Chris Stokes’ urban teen-pop empire – and B2K – but has since done a Solange Knowles, embracing avant-soul. Her motto is to ‘sail out’, not ‘sell out’. Aiko, a goth Brandy, specialises in subliminal hip hop soul influenced by her pal Drake, cloud rap and, on the track WTH (featuring Ab-Soul), chopped and screwed. Though signed to beatmaker No ID’s ARTium, she’s primarily worked with the mysterious Fisticuffs. The EP’s surreal cover art depicts Aiko stepping into an ocean of mangled sailing ships. Is she the R&B Daenerys Targaryen? Her album Souled Out is expected next month. There’s long been cynicism about actors dabbling in music but Bristol’s Ritchie Raleigh (real name Jacob Anderson) might be exempt, because he stars as Targaryen’s eunuch slave soldier Grey Worm in Games Of Thrones, which everybody loves. Anderson, endorsed by Lamar, has aired two EPs, the latest Black And Blue, with the aptly titled song Bloodsport. He kinda reminds us of Finlay ‘Sunday Shinin’ Quaye, only with less reggae flavour and more indie-pop. UK garage don MJ Cole has remixed the latest single, Stronger Than Ever. An album is due later in the year. @therealcyclone
RALEIGH RITCHIE
50 • THE MUSIC • 9TH APRIL 2014
KING PARROT
I’d just like to take a moment of appreciation for heavy music in all its forms. Metal, punk, hardcore, and everything in between – it’s all fairly damn rad. I have lost count of the amount of times it has saved me, given me something to look forward to, filled me with hope and provided an outlet for all the shitty feelings life contains. To outsiders it may seem bizarre – those types who call it ‘that rah rah slit your wrists and kill yourself music’ – but it’s the expression of those feelings that helps prevent so many of us all over the globe from actually doing things like that. I don’t really keep it a secret that my head can be a downright depressing and even scary place at times, and I’ve had some moments of darkness lately that I would only wish upon a select few bad people. At the end of the day, the tunes are almost as important to me as the people I surround myself with – sometimes it even feels like the music understands me more than any human being ever could. I feel incredibly privileged to work with it as closely as I do. Onwards and upwards! Melbourne chaotic post-hardcore weirdos Bateman have just released their debut album Smut. Inspired by everything from The Chariot to The Bronx, you can grab it for free from batemansuck.bandcamp.com before they hit the road this week with Japanese group Nola. Brisbane’s Idylls are proving themselves to be a little hard to define with their insane new album Prayer For Terrene. Their absolutely suffocating mixture of grind, metal and post-punk is a reflection of true insanity, and was mixed by Converge
guitarist Kurt Ballou. You can purchase a digital copy for as little as $5 from idylls.bandcamp. com, or hold off a few months for the arrival of 12” records. King Parrot isn’t showing any signs of slowing down any time soon. Still firing on all cylinders off the back of 2012’s debut album Bite Your Head Off, the Melbourne-based grind/thrash crossover group is currently on their first-ever tour of the USA for over 40 consecutive shows (or something ridiculous like that). After they’re done bringing bonox to the yanks, they’ll be hitting up Singapore and Indonesia for a second time, coming home to play a couple of shows with US group Origin before heading out all over the nation again on their own in May. Tasmanian technical death metal lords Psycroptic have been hard at work in the studio on their sixth full-length album, which is set to be in the final stages of mixing and mastering by the time their next Australian tour comes around! They’ll be joined by Belgian gore fiends Aborted and Brisbane shred heads The Schoenberg Automaton for ten dates up the east coast this June. In more international touring news, post-metal group Pelican will be back for a run of shows in July, as will revered stoners High On Fire. Don’t forget that metalcore legends Killswitch Engage kick off their tour with Kill Devil Hill this week, and DIY pop-punks RVIVR wind up their huge tour in the southern states this week. We’re also about to get seriously thrashed by Kreator, Death Angel, Toxic Holocaust and Skeletonwitch next week.
There aren’t many things in the world that can get me more excited than the announcement of a new record by a favourite band (delicious baked goods is one of those few things that comes to mind, but this isn’t a food column so onwards…). So, what has me so excited? In this particular instance it’s the announcement by Matador Records of a new record by my favourite Canadians, Fucked Up. It’s called Glass Boys and if the first track to be released from the album is anything to go by, it has a little bit of a different sound going on. The track is called Paper The House and a video for it is floating around online. Reports I’ve read on the album so far say vocalist Damian Abraham is “tackling tougher questions about themselves, their lives and where this is all going” in his lyrics. As a huge fan of the band’s more conceptual work (do I need to blabber on about how genius David Comes To Life is again?), it’ll be interesting to see the band looking at far more personal subject matter than we’ve seen previously, especially when said record has been in the works for 13 months. In the meantime, aside from Paper The House, we do get to hear more new music from the band before Glass Boys drops on 3 June. The band announced they’ll be releasing the sixth edition of their Zodiac Series of EPs with Year Of The Dragon seeing the light of day 15 April. wakethedead@themusic.com.au
FUCKED UP
opinion GOOD TIMING
DANCE MOVES
ROOTS DOWN
A COMIC’S GUIDE TO COMEDY WITH KIRSTEN LAW
NEW CURRENTS WITH TIM FINNEY
BLUES ‘N’ ROOTS WITH DAN CONDON
ADRIENNE TRUSCOTT
It’s halfway through the 2014 Melbourne International Comedy Festival and if you haven’t caught the festival flu yet, think yourself lucky. Of course, that doesn’t mean you haven’t caught festival fever, which, by all accounts, is a good thing. Personally, I’ve got both. But if, like my day-job colleagues claim, you’re feeling overwhelmed by the choice of acts at the festival, consider one of the many panel or guest shows. This way, you can sample the wares of three or more comedians in under an hour and if any appeal you can book into his or her solo show. Such multi-act shows include Lisa-Skye’s Lovely Tea Party, Rose Callaghan And Mates, The Late Night Board Game Slumber Party with host Neil Sinclair, and Alasdair Tremblay-Birchall and Pat Burtscher’s late night variety show Soul Bank. So far for me, highlights worth a mention include Luke McGregor’s I Worry That I Worry Too Much (which wins my award for the best free audience sex survey of the festival) and Oliver Clark and his velvet suit, both of whom suffer from what the French call “panphilia*”. My wish list includes the celebrated Fancy Boy Variety Show at the Imperial Hotel, Bryony Kimmings’ Sex Idiot and Adrienne Truscott’s Asking for It: A One-Lady Rape About Comedy Starring Her Pussy and Little Else!, which is drawing huge crowds (presumably not just because vag live on stage). Yes, this festival is even better than a giant H&M store and you should go to it tonight. *breadlove
I haven’t written about dancehall for a while and the simple reason is complacency: Jamaica’s pop music, like India’s film industry, has a vibe of permanence I readily take for granted, the cyclical stylistic fluctuations and micro-revolutions subsumed within a broader narrative of stable productivity and essential identity. The fundamental problem for dancehall in 2014 is pretty much the same as its enduring appeal, being that it keeps the faith with a certain notion of danceable pop music that has receded into the background in large swathes of the wider world. While the west continues to struggle through a period of monolithic, bludgeoning dance-pop simplicity, dancehall trucks in all things ‘poly’: polystylistic, polyrhythmic, polymorphous, polysemic. Producer Di Genius remains dancehall production’s shining star, a one-man hit factory whose clustered tapestries somehow never feel cluttered or overcooked. His Pon Di Cocky riddim (yes, really), named for the hoarse, high-pitched Aidonia voicing of the same name, is a hypnotic concoction of rhythms and slivering keyboard patterns, the kitchen-sink percussion reverberating around your skull with louche grace. But Di Genius’ perverse takes on traditionalism are just as fascinating: Denyque’s sweetly romantic ballad, Loyal Girl could be Spanish pop but for its disorienting eruptions. Meanwhile Tifa’s Body Up may sidle up to Guetta-style club-pop with its squealing synth riffs, but the tune is distinguished by its seamless slides from sly sensuality to full-on urgency. Her own irresistibility can sound
by turns startled, smug, desirous or overwhelmed, morphing through vocal shifts as finely calibrated as the flick of a wrist. Such performative ambiguity is a technique that female DJs are particularly adept at exploiting: Tanya Stephens’ semi-acoustic Unapologetic may be more familiar musically, but Tanya’s performance – at soulful, sly, defiant and hilarious – reminds that she remains one of the most captivating and charismatic voices in international pop. Dancehall nurturing its points of distinction is the musical equivalent of a nation trying to grow its economy amidst a global downturn. Whereas ten years ago dancehall was inflated with the easy money of stylistic tricks it could steal from the equally vibrant worlds of rap and R&B, today there’s limited international credit producers and artists can access. But dancehall keeps trying: Macka Diamond’s collaboration with Blaxx on Mash Up Di Road for example is an impossibly pulse-racing peaktime tune, propelled by an oddly disconcerting, droning arrangement that gives off a slight edge-of-apocalypse feel, as if the carnival sirens are about to turn into air raid sirens. More broadly, it’s this slightly destructive urgency that provides dancehall’s land bridge to contemporary Western pop. My favourite recent tune is Sean Paul and Konshen’s Want Dem All, which sounds something like Britney Spears’ Work Bitch fed through a Caribbeaniser machine. Importantly, the deployment of ugliness is strategic, kept in its place by a stalking groove that defiantly marks out this music as its own, very alien creature.
TANYA STEPHENS
MISSISSIPPI JOHN HURT
It saddens me to write this, my final-ever Roots Down column, so please afford me the luxury of being even more self-indulgent than usual. I’d firstly like to thank my publishers, Street Press Australia, for allowing me to write this column for so many years. Truth is, blues and roots music isn’t the coolest subject for what this magazine would probably call its key demographic, but this column has remained because those in charge believe there is great value in the music and it deserves the respect of being covered sufficiently. The editorial staff I have worked beside, both past and present, thanks for cleaning up my copy, checking the spelling of those obscure artists I tend to namedrop and basically thanks for doing the thankless task you do. Thanks to every artist who released an amazing record or played an incredible show. Hell, even if you suck, thanks for trying. Lastly, thanks to you, the reader, for giving a shit about this music. I hope that over the past five years I’ve either helped you to understand or helped reassure you that there is great value in blues and roots music. It’s not just great music, but it’s important music that we absolutely must keep alive. Corny as it may sound, I’d hate to think of a generation that doesn’t get to experience the emotional catharsis, as well as the great highs that blues music can bring. Blues is a natural fact. Dan Condon THE MUSIC • 9TH APRIL 2014 • 51
the guide vic.gigguide@themusic.com.au Little Earthquake + Chasing Ghosts + The Evening Cast + Owen Rabbit: The Workers Club, Fitzroy
THE MUSIC PRESENTS Residual: 10 Apr Beav’s Bar Geelong; 12 The Loft Warrnambool; 27 The Toff In Town Sally Seltmann: 11 Apr Caravan Music Club; 13 Kelvin Club The Magic Band, The Grandmothers Of Invention: 11 Apr Corner Hotel Allen Stone: 12 Apr Corner Hotel Bam Bam: 12 Apr Northcote Social Club Calling All Cars: 12 Apr Waterfront Geelong; 17 Easter Festival Bendigo; 18 Mynt Lounge Werribee; 19 The Loft Warrnambool; 20 Torquay Hotel; 23 Karova Lounge Ballarat; 24 Corner Hotel
The Wailers, Sly & Robbie & The Taxi Gang: 23 Apr 170 Russell
Kevin Bridges: Trades Hall (New Ballroom), Carlton Kamahl: Wellers, Kangaroo Ground
Owen Campbell: 23 Apr Bennetts Lane; 24 Beav’s Bar Geelong; 26 Babushka Lounge Ballarat
Refractions: Wesley Anne (Front Bar), Northcote
Steve Earle & The Dukes, Kasey Chambers: 24 Apr Forum Theatre Booker T Jones, Valerie June: 25 Apr Corner Hotel Ozomatli: 26 Apr Corner Hotel
GIG OF THE WEEK: SALLY SELTMANN: 11 APR CARAVAN MUSIC CLUB; 13 KELVIN CLUB
Harmony: 26 Apr Howler KT Tunstall: 29 Apr Recital Centre
Hexham Vox: Kent Street Bar & Cafe, Fitzroy
Art Vs Science + Kilter: Corner Hotel, Richmond
Lilith Lane & Her Many Wives + Cam Butler & The Shadows Of Love + Jimmy Tait: Old Bar, Fitzroy
Guards Of May + High Side Driver + Crash & Burn + Lazarus Mode: Ding Dong Lounge, Melbourne
The Bell St Delays + Sean McMahon: Retreat Hotel, Brunswick
Annie Smith + The Taylor Smith Quintet: Dizzy’s Jazz Club, Richmond
Tom McGowan + Mark Campbell: Some Velvet Morning, Clifton Hill
Tinsmoke + Holy Lotus + Mallee Songs: Grace Darling Hotel (Band Room), Collingwood
Arctic Monkeys: 9 May Rod Laver Arena
Miss Eileen & King Lear + Merri Creek Pickers: Spotted Mallard, Brunswick
Jimmie Vaughan, Nikki Hill: 17 Apr Corner Hotel
Bliss N Eso: 10 May Ballarat Showgrounds; 15 Bendigo Showgrounds; 16 Flemington Racecourse
The Rolling Perpetual Groove Show: The Bendigo, Collingwood
Telescopes + DD & the Damaged Goods + Ariela Jacobs: Grace Darling Hotel (Basement), Collingwood
India.Arie, Joss Stone: 17 Apr Palais Theatre
DZ Deathrays: 15 May Karova Lounge, Ballarat; 16 Corner Hotel
The Soul Rebels: 15 Apr Recital Centre Beth Hart: 15 Apr Corner Hotel Morcheeba, Chali 2na: 16 Apr Corner Hotel Seun Kuti & Egypt 80: 16 Apr Recital Centre Jake Bugg: 16, 17 Apr Palace Theatre
2014 Australia Jazz Bell Awards: 1 May Regent Theatre The Jezabels: 2 May Palais Theatre Stonefield: 2 May The Prince Groovin The Moo: 3 May Prince Of Wales Showground Bendigo The Decline: 7 May The Bendigo; 8 May Reverence Hotel
KC & The Sunshine Band, WAR: 18 Apr Hamer Hall
Frente: 22 & 23 May Arts Centre; 24 Theatre Royal Castlemaine
Robben Ford: 18 Apr Corner Hotel
Kingswood: 24 May The Hi-Fi
Suzanne Vega: 19 Apr Recital Centre Seth Lakeman: 19 Apr Thornbury Theatre North Mississippi Allstars: 20 Apr Corner Hotel Trixie Whitley: 20 Apr Northcote Social Club
Free Your Mind ft Northlane: 31 May, 1 Jun The Hi-Fi Hard Ons: 12 Jun Karova Lounge Ballarat; 13 The Wool Exchange Geelong; 14 Corner Hotel; 15 The Bridge Hotel Castlemaine The Audreys: 14 Jun Ormond Hall
Buddy Guy, Charlie Musselwhite, The James Cotton Blues Band: 21 Apr Palais Theatre
The Beards: 16 Jul Karova Lounge Ballarat; 17 Barwon Club Geelong; 18 170 Russell; 19 Theatre Royal Castlemaine; 20 Spirit Bar & Lounge Traralgon
Aaron Neville, Dr John & The Nite Trippers: 21 Apr Hamer Hall
The White Album Concert: 15 & 16 Jul Hamer Hall
Larry Graham & Graham Central Station: 23 Apr Corner Hotel
Something For Kate: 18 Jul Forum Theatre
Devon Allman, Gregg Allman, Gov’t Mule: 23 Apr Forum Theatre
Wine, Whiskey, Women feat. Emi Day + Loni Rae: The Drunken Poet, Melbourne
The Queen’s Head + Wam & Daz (Will Hindmarsh and Dave Graney) + Milkshake: Old Bar, Fitzroy
Ruth Lindsay: The Pinnacle, Fitzroy North
Arrester + Rich Davies & The Devil’s Union + Oh Pep! (Duo): Retreat Hotel, Brunswick
Lachlan Bryan & The Wildes: The Post Office Hotel, Coburg Strumarama + Various Artists: The Prince (Public Bar), St Kilda Brunswick Brown Owls: The Sporting Club, Brunswick The Germein Sisters + Bryce Wastney + Luke Inglis: The Toff In Town, Melbourne Sagamore + Tom Milek + Sleep Decade: The Workers Club, Fitzroy
Julian Wilson Quartet: 303, Northcote
Evil Beaver + Spew n Guts + Street Fangs: Bar Open, Fitzroy Milkshake + Claws & Organs + Barbiturates: Boney, Melbourne Forever Young - The Songs of Bob Dylan + Various Artists: Caravan Music Club, Oakleigh Empra + The Solicitors + Blackbirds: Cherry Bar, Melbourne
Dizzy’s Big Band: Dizzy’s Jazz Club, Richmond Klub MUK: Edinburgh Castle Hotel, Brunswick Noah Earp + Lanks + Kid Wolf: Evelyn Hotel, Fitzroy The Blue Hotel + Beautiful Beasts + The Divine Fluxus: Grace Darling Hotel (Band Room), Collingwood Wet Lips + Bat Hazzard + Lovers Of The Black Bird: Grace Darling Hotel (Basement), Collingwood
Midnight Shifter + Stephen Black Trio + Offspring of Convicts: Reverence Hotel (Front Bar), Footscray Adam Eckersley Band + Palace Of The King: Revolver Upstairs, Prahran Bang feat. Divide & Conquer: Royal Melbourne Hotel, Melbourne TJ Quinton + Little Wise: Some Velvet Morning, Clifton Hill
Kevin Bridges: Trades Hall (New Ballroom), Carlton
Nicolas Bastiras + Ryan Oliver: The Drunken Poet, Melbourne
Lior: Wesley Performing Arts Centre, Horsham
J Boog + T-Rhythm + Jesse I + Ras Crucial + DJ Pit: The Espy (Gershwin Room), St Kilda
Jarabi: 303, Northcote
WED 09
Hot Dub Time Machine: Northcote Social Club, Northcote
Collage feat. Cleveland Blues + Dennis Jaculli + The Lost Fridays + Mission Brown: The Espy (Front Bar), St Kilda
THU 10
Daryl Roberts + Don Hillman’s Secret Beach: Clifton Hill Hotel, Clifton Hill
Dan Waters: Labour In Vain, Fitzroy
Brooke Russell + Philemon: Bar Nancy, Northcote Chinese Handcuffs: Bar Open, Fitzroy Residual + Pons + City Wolves + Jordan Riddle: Beav’s Bar, Geelong Sneaky Magazine Launch Party with Oisima + Roland Tings + Martin King + Facinator + more: Boney, Melbourne Kylie Auldist & The Glenroy All Stars: Cherry Bar, Melbourne Next feat. Nirvana Cover Band + We Disappear + Divide & Conquer: Colonial Hotel, Melbourne
The New Savage + Danvers + Brandon Bergin + Ben Hooper: The Espy (Front Room), St Kilda Trigger + Deathflight + Zero Natural + Lamb Boulevard: The Espy, St Kilda Van Walker: The Post Office Hotel, Coburg New Archer + Fraudband + Gram Friday: The Public Bar, North Melbourne Everyone’s A Winner + Alice Fraser: The Swanston Hotel (The Downstairs Lounge), Melbourne Mercians + Lanks + David Knight: The Toff In Town, Melbourne Naked Bodies + Strangers From Now On: The Tote, Collingwood
1000S OF GIGS AT YOUR FINGERTIPS. FOR MORE HEAD TO THEMUSIC.COM.AU 52 • THE MUSIC • 9TH APRIL 2014
Fly South + David Carlin + Jane McArthur: Wesley Anne (Band Room), Northcote Random Acts of Grindness feat. Sebatron + Sunny Albeau + Zuch + Guests: Yah Yah’s, Fitzroy
FRI 11
Jamie Hay + Liam White + Darren Gibson + Georgia Maq + Tim Hampshire + Jess Locke: 303, Northcote Laura & Susie: Arts Space, Wodonga Phil Para Band + Elliot The Bull: Baha Tacos, Rye Maids: Bar 291, Brunswick Soul Safari + Kingston Crown: Bar Open, Fitzroy Paul Woseen (The Screaming Jets): Beav’s Bar, Geelong Sally Seltmann + Wintercoats: Caravan Music Club, Oakleigh Spencer P Jones: Cherry Bar, Melbourne Black Aces + Smoke Stack Rhino + Killshott: Cherry Bar, Melbourne The Magic Band + Grandmothers Of Invention: Corner Hotel, Richmond Sunbeam Sound Machine + Pretty City: Ding Dong Lounge, Melbourne Diana Clark + Kerberos: Dizzy’s Jazz Club, Richmond Oliver Paterson: Edinburgh Castle Hotel, Brunswick DJ Steely Ann: Edinburgh Castle Hotel, Brunswick Divide & Conquer: Ev’s Youth Centre (All Ages), Croydon Secret Tsunami + LeBelle + Lucid Planet + The Rolling Perpetual Groove Show: Evelyn Hotel, Fitzroy Zelus Trio: Famous Blue Raincoat, South Kingsville James Reyne: Flying Saucer Club, Elsternwick Magic Hands + Totally Mild + Worng: Grace Darling Hotel (Band Room), Collingwood Left For Wolves + Eyes Wide Open + Shallow Grave + A Call To Anguish: Karova Lounge, Ballarat Birchall & Woolhouse: Medley Hall, Carlton Hot Dub Time Machine: Northcote Social Club, Northcote Empat Lima + The Beegles + DJ Raceless: Old Bar, Fitzroy Tyga + Lazy J: Palace Theatre, Melbourne Hunters & Collectors + The Panics: Palais Theatre, St Kilda
the guide vic.gigguide@themusic.com.au Bada Bing feat. Brand New Eyes + Nirvana Cover Band + Static Revenue: Pier Live (Pelly Bar), Frankston La Danse Macabre with Brunswick Massive: Rainbow Hotel, Fitzroy Heavy Judy feat. Red Light Riot + Damn the Torpedoes + DJ Johnny P: Retreat Hotel, Brunswick
Happy Birthday To Us!! + Suzannah Espie + Sarah Carroll + 3 Kings + Charles Jenkins + Raised By Eagles + Sweet Jean + Chris Wilson + Mikelangelo + more: Basement Discs, Melbourne
Dale Ryder + Gary Eastwood Express + DJ Roc Landers: The Espy (Front Bar), St Kilda
Skipping Girl Vinegar + Holly Joyce: Caravan Music Club, Oakleigh
The Band Who Knew Too Much: The Pinnacle, Fitzroy North
July Days + Kid Zues + The Peeks: Cherry Bar, Melbourne
Back Back Forward Punch + Michelle Xen & The Neon Wild + Albert Salt: Revolver Upstairs (9pm), Prahran
The Morning After Girls + House of Light + Strangers From Now On: Ding Dong Lounge, Melbourne
Playwrite + Guests: Shebeen Bar, Melbourne
The Joe Ruberto Trio + Fem Belling: Dizzy’s Jazz Club, Richmond
Carus Thompson + Jed Rowe: Sooki Lounge, Belgrave Oscar Key Sung + The Bandits: Star Bar, Bendigo Cave-Waits-Cohen + Mikelangelo: The Bridge Hotel, Castlemaine Nai Palm + Clever Austin: The Curtin, Carlton Blue Eyes Cry: The Drunken Poet, Melbourne Kings & Queens feat. A Day Of Storms + Shadows Of Hyenas + Chasing Lana + Coastline + The Maggot Men + Free Burn: The Espy (Gershwin Room), St Kilda Peace & The Plutonian Noise Symphony + N’Fa Jones + Mose + Sensible J: The Espy (Front Bar ), St Kilda Garage AGoGo + Midnight Woolf + The Exotics: The Luwow, Fitzroy Jack On Fire: The Post Office Hotel, Coburg Kitchen Witch + The Vacant Smiles: The Public Bar, North Melbourne Seminal Rats: The Tote, Collingwood Captain Apples + Skyscraper Stan + Mandy Connell: The Workers Club, Fitzroy The Buffalo Club + The Mighty Otto: Town Hall Hotel, North Melbourne Kevin Bridges: Trades Hall (New Ballroom), Carlton The Ska Vendors: Union Hotel, Brunswick Plague Doctor + Ali E: Victoria Hotel, Brunswick Tin Man Trio: Wesley Anne (Front Bar ), Northcote Mikki Michelle + Melissa Main Band: Wesley Anne (Band Room), Northcote Evil Beaver + Wolfpack + Liquor Snatch + Sex Grimes: Yah Yah’s, Fitzroy
SAT 12
Allen Stone: Corner Hotel, Richmond
The Hungry Mile: Edinburgh Castle Hotel (9.30pm), Brunswick Esc + Shimma + Strangers From Now On + Premium Fantasy: Evelyn Hotel, Fitzroy Nick Charles: Famous Blue Raincoat, South Kingsville Laura & Susie: Farouk’s Olive, Thornbury Charles Jenkins & the Zhivagos + Rob Snarski: Flying Saucer Club, Elsternwick Oliver Paterson + 30/70: Grace Darling Hotel (Band Room), Collingwood It’s Only Rock n Roll with The Australian Rolling Stones Show: Hamilton Performing Arts Centre, Hamilton Megan Washington + Special Guests: Howler, Brunswick Holy Lotus + Sacred Flower Union + Bayou + Chief Richards + Orlando Furious + more: Irene’s Warehouse, Brunswick Waz E James: Labour In Vain, Fitzroy Bam Bam + Savo: Northcote Social Club, Northcote Maids + Haltever + Aktion Unit + O Littleblood + more: Old Bar, Fitzroy Bob Harrow + Mat Harrow: Old Bar, Fitzroy Hunters & Collectors + The Panics: Palais Theatre, St Kilda Elliot The Bull: Penny Black, Brunswick The Large Number 12s: Pure Pop Records, St Kilda Wild Turkey + The Bakersfield Glee Club: Retreat Hotel, Brunswick Guards Of May + Crash & Burn + Lung + Arakeye: Reverence Hotel (Front Bar ), Footscray RVIVR + Ouch My Face + Fear Like Us + The Underwires: Reverence Hotel (Band Room), Footscray Buffalo Tales + Amistat + Sam Brittian + Walker: Revolver Upstairs (8.30pm), Prahran
Jaspora: Baha Tacos, Rye
Bang feat. For Today + Prepared Like A Bride + To The Airship: Royal Melbourne Hotel, Melbourne
Manny Fox + The Willie Wagtails: Bar Open, Fitzroy
Sons Et Al + Guests: Shebeen Bar, Melbourne
Darren Middleton: Baby Black Cafe, Bacchus Marsh
Brooke Russell & The Mean Reds: The Drunken Poet, Melbourne
The Twoks: Bella Union, Carlton South
Bateman + Jack The Stripper + Nola + Party Vibe + Old Love: Reverence Hotel (Band Room), Footscray
Tilley + Plum Green: Some Velvet Morning, Clifton Hill
Cal Walker & Tim Crossey: The Drunken Poet, Melbourne
The Hornets: The Post Office Hotel, Coburg
ART VS SCIENCE: 10 APR CORNER HOTEL
David Craft + Laura K Clarke: Some Velvet Morning, Clifton Hill The Ears + The Midnight Scavengers + Suzie Stapleton: Spotted Mallard, Brunswick Epic Youth Festival with Dylan Joel + Let’s Not Pretend + Tully On Tully + more: Stiggants Reserve (All Ages), Warrandyte La Bastard + Ron S Peno & The Superstitions + The Eighty 88s: The Curtin, Carlton The Long Stand: The Drunken Poet, Melbourne The Australian Bon Jovi Show + Def Repllica + To Hell & Back (Meatloaf Tribute): The Espy (Gershwin Room), St Kilda Glass Towers + The Trotskies + Adam Eckersley Band + The Hellhounds + Phil Para: The Espy (Front Bar), St Kilda
The Rusty Pickers: Wesley Anne (Front Bar), Northcote Ben Riddle + Workhorse: Wesley Anne (Band Room), Northcote Divide & Conquer: Wrangler Studios (All Ages), West Footscray Bone + Stations + White Wash: Yah Yah’s, Fitzroy
SUN 13
Thomas Hugh + Puerto Rico: 303, Northcote
For Today + Prepared Like A Bride + Void Of Vision + Proclaim + Hideaway: Arrow On Swanston (All Ages), Carlton The 13 Storey Treehouse: Arts Centre (Playhouse Theatre/11am & 2pm), Melbourne Alone With Tiger + Lady Oscar + The Sturgeons: Bar Open, Fitzroy
Residual + Jordan Riddle: The Loft, Warrnambool
James Reyne + Lester The Fierce: Caravan Music Club, Oakleigh
Kristilee & The Prestones: The Pinnacle, Fitzroy North
Maids + Seedy Jeezus + Darts: Cherry Bar, Melbourne
The Wikimen: The Post Office Hotel, Coburg
King Lucho: Edinburgh Castle Hotel, Brunswick
The Velvets + Old Fashion + Ugly Kinds + The Cherry Dolls: The Public Bar, North Melbourne
Tora + Alta + The Lovely Days: Evelyn Hotel, Fitzroy
The Spasms: The Public Bar, North Melbourne
Centre & The South + Jaju Choir + Sunday Chairs: Evelyn Hotel, Fitzroy
Somebody Call A Wambulance! + Huw Joseph & The Immoral Support Band: The Toff In Town (3.40pm), Melbourne
Vincs & Wakeling: Famous Blue Raincoat, South Kingsville
Young Mavericks + Redspencer: The Toff In Town, Melbourne
Ken Stringfellow + The Wellingtons: Grace Darling Hotel (Band Room), Collingwood
City City City + The Ancients + Evelyn Morris: The Tote, Collingwood
Stephen Cummings: Flying Saucer Club (3pm), Elsternwick
Sally Seltmann + Wintercoats: Kelvin Club, Melbourne
Sun-Dazed - Dub, Afro & World: The Prince (Public Bar), St Kilda Neko Planet feat. Sisen + Gothique Prince Ken + LeLe + NOC.V + MC Melody Doll: The Toff In Town, Melbourne Somebody Call A Wambulance! + Huw Joseph & The Immoral Support Band: The Toff In Town (3.40pm), Melbourne Teenage Libido: The Workers Club, Fitzroy Kevin Bridges: Trades Hall (New Ballroom), Carlton Little Earthquake: Wesley Anne (Band Room), Northcote Trio Agogo: Wesley Anne (Front Bar), Northcote
MON 14
RVIVR + Diploid + Eli Cash + Band: 303, Northcote Tiny Ruins + The Tiger & Me: Bella Union, Carlton South Dear Monday feat. Ayleen + Oliver Friend + Straythread + Tomas Fitzgerald: Retreat Hotel, Brunswick The Shelf with Adam Richard + Justin Hamilton: The Toff In Town (7pm), Melbourne
TUE 15
Sammy J & Randy: Athenaeum Theatre, Melbourne Saskwatch: Basement Discs (In-Store), Melbourne Sexy/Heavy + The Balls: Cherry Bar, Melbourne Beth Hart + Special Guests: Corner Hotel, Richmond The Soul Rebels: Melbourne Recital Centre, Southbank Gaypocalypse + Adam Richard: Melbourne Town Hall (Backstage Room), Melbourne
Music For Blankets with The Keiths + Dear Plastic + Sleep Decade + Atkinson Jones: The Workers Club, Fitzroy
Mountain Goat Beersoaked Sunday + Midnight Woolf + Space Junk + Loobs: Old Bar, Fitzroy
James Reyne: Theatre Royal, Castlemaine
Killswitch Engage + Kill Devil Hill: Palace Theatre, Melbourne
Edward Sharpe & The Magnetic Zeros + Special Guests: Palace Theatre, Melbourne
Paul Woseen (The Screaming Jets): Thornbury Theatre (Velvet Room), Thornbury
Jules Boult & The Redeemers: Rainbow Hotel, Fitzroy
Erykah Badu + Hiatus Kaiyote: Palais Theatre, St Kilda
Jack Howard + The Originals + Amarillo: Retreat Hotel, Brunswick
Ainslie Wills + Amy Alex: Retreat Hotel, Brunswick
Kevin Bridges: Trades Hall (New Ballroom), Carlton Raised By Eagles: Union Hotel, Brunswick The Stetson Family: Union Hotel, Brunswick Richie 1250 & The Brides of Christ + The Braves + Chook Race: Victoria Hotel, Brunswick TJ Quinton: Wesley Anne (Band Room), Northcote
Lindsay Field + Sam See + Gly Mason: Royal Oak Hotel, Fitzroy North Tek Tek Ensemble: Spotted Mallard, Brunswick Spencer P Jones: The Bridge Hotel, Castlemaine The Let Your Hair Down Girls: The Curtin (4pm), Carlton
Destrends + The Cherry Dolls + Janita Klein: Old Bar, Fitzroy
Tiny Ruins: RRR Performance Space, East Brunswick Erykah Badu After Party + DJ Lo Down Loretta Brown (Erykah Badu) + Cazeaux Oslo + more: The Toff In Town, Melbourne Ruby Tuesday feat. Jimmy Junk Heart + Kyaarn + Oscar Galt: The Workers Club, Fitzroy Kevin Bridges: Trades Hall (New Ballroom), Carlton
1000S OF GIGS AT YOUR FINGERTIPS. FOR MORE HEAD TO THEMUSIC.COM.AU THE MUSIC • 9TH APRIL 2014 • 53
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