The Brag #483

Presents Presents

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BRAG :: 483 :: 08:10:12 :: 9

rock music news welcome to the frontline: what’s goin’ on around town... with Nathan Jolly

five minutes WITH

JOE FROM ROYAL HEADACHE the tour about eight months before we were scheduled to go, and three weeks out from our first show our visa application was denied, as US immigration believed we didn’t have enough “international appeal” to warrant us touring their country. We had to appeal that decision, which drew out the whole process further; basically we spent each day cancelling shows, waiting for our application to be processed again. We got approval in the afternoon of Friday June 1 and had a festival to play in Texas on June 2, so we re-booked flights to leave as soon as possible. Had to fly from Sydney to Melbourne (there were no more flights Sydney to LA), Melbourne to Los Angeles and then LA to Texas, we got off the plane after 24 hours of being in transit, and had an hour and a half before we played.

Needless to say, we were great.

T

Music, Chet Faker and The Jezabels), Best Independent Album (with DZ Deathrays, The Jezabels and Temper Trap), and Breakthrough Indie Artist Of The Year (with Chet Faker, San Cisco, Husky and The Rubens.)

You just came back from America – what was the highlight?

The biggest highlight of the trip was actually getting into America. We started planning

Congratulations on the Jägermeister Independent Music Awards nominations.

Why do you think awards like this are important for Aussie indie bands?

Thanks. I guess it means a band like ours, who nobody has heard of, will get mentioned a few times in different publications, giving the illusion that we’re more important/popular than we actually are. I don’t know if that results in people actually listening to our band though... We’re still going to have to work full-time jobs to support

If you could have nominated other artists for the Jägers, who would they be?

If I had to list my favourite Australian bands, they’d be Woollen Kits, Kitchen’s Floor, Model Citizen, Dick Diver, Straight Jacket Nation, Loose Grip, Soma Coma, Zond, Whores, Dead Farmers, The UV Race, Total Control, Golden Staph, Bed Wettin’ Bad Boys. None of them are artists though, so they’re probably ineligible for these awards.

What’s next for Royal Headache?

Win the AIR awards. Play in some Entertainment Centres with The Black Keys to thousands of people wondering who let us on stage. Record our next album. Win the AIR awards in 2013.

What: The 7th Annual Jägermeister Independent Music Awards When: Award ceremony is held on Tuesday October 16 at Revolt in Melbourne; for more info, check out air.org.au More: Royal Headache are supporting The Black Keys at Sydney Entertainment Centre on Monday October 22 (sold out) and Tuesday October 23.

Xxxx

he Jägermeister Independent Music Awards, presented by AIR, supports the Australian indie music scene – so we support the Jägers. Back for their seventh year, the 2012 Awards’ nominees list reads like a Who’s Who of BRAG’s favourite bands. Chet Faker, The Jezabels, Lanie Lane, 360, Husky, DZ Deathrays and Oh Mercy are all represented, and Royal Headache are up for the Big Three: Best Independent Artist (with 360, Ballpark

ourselves; you can’t pay a rehearsal studio in awards.

Xxx

BFKC!

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10 :: BRAG :: 483 :: 08:10:12

Bleeding Knees Club

KIRIN J: THIS WEEK

Those ageing musicians on Behind The Music documentaries always speak about the studio as if it is a magical place where miracles are carved and some holy spirit takes over and guides proceedings, but in actuality it’s 40% finding good drum sounds, 35% repeating the same two-noteparts over and over, 20% troubleshooting, and the remaining 25% is just pure mathematics. That is to say, it’s all quite boring and mind-numbing – which is why Kirin J Callinan is taking a break from recording his debut record to play a sneaky OAF gig this Thursday October 11. He’s mindblowing live and it’ll be his last Aussie show for quite a while, so unless you love missing out on things, you should go to this.

TIGERTOWN

Sydney’s Tigertown are going to be the biggest band in the country within a year. That’s a big prediction, but the odds are you won’t remember we made it unless we are correct and we constantly remind you of our Nostradamus ways.

Listen though: their percussive, lush, harmonydriven new EP Before The Morning makes the case fairly strongly, as does their live show, which you really should see for yourself this Thursday October 11 at Brighton Up Bar. Get there early: Tourism and Gnome are supporting, and Tourism have a British frontman who sounds like Alex Turner. It’s all very good, basically.

Bleeding Knees Club are heading to The Standard on Friday November 23 to launch the final single from their debut record, Nothing To Do. The track is called ‘Let It Go’, and the Brisbane duo explain that it is about “keeping your cool, and not stressing out,” which is pretty much what their entire album (and for that matter, all slacker rock) is about.

The album version features ‘60s back-up vocals from members of The Like and Vivian Girls – who are two of the best ‘60s-lovin’ posses around, and who you should therefore get to do such a job.

REEL BIG FISH

Do you hate downstrokes? Do you love upstrokes? Do you believe that brass isn’t just an alloy of copper and zinc, but a way of life? Able to get to UNSW Roundhouse on December 1? Well you’re in luck, ‘cos three of the world’s finest ska bands, Reel Big Fish, Goldfinger and Zebrahead, are teaming up for a massive Australian tour which stops in at the university on the first evening of summer to set the bar so joyously high that the rest of the season will be a sunken ship, comparatively speaking. Tickets go on sale this Thursday October 11.

HUSKER DU, COPPER BLUE!

As Hüsker Dü hurtled towards their own demise, each record became a little more poppy than the last, showcasing Bob Mould’s knack for a classic melody, despite fans clinging desperately to the earlier, rawer-but-ultimately-more-embryonic material (don’t worry you guys, Nirvana is coming to finish it off). But Mould’s masterstroke came with the band Sugar and their legendary debut album Copper Blue, which was a full-tilted blast of power pop. On the right day (say, a summer’s day filled with beer and Dixie Drumsticks), ‘If I Can’t Change Your Mind’ might just be the greatest pop song of the ‘90s. Bob Mould is playing the record in its entirety on March 9 at The Factory Theatre – and he’ll be playing a whole mess of Hüsker Dü tracks, too.

SPEKTOR III

There’s this Strokes B-side (remember B-sides, iPeople?) called ‘Modern Girls’ that features Regina Spektor on vocals, and it basically works as an easy shortcut to understanding what is so damn adorable about her. Understanding what is so heartbreaking and wonderful about her, on the other hand, can be achieved by listening to her greatest track ‘Samson’, or her entire new album What We Heard From The Cheap Seats.

And understanding why everyone raves about her amazing live show can be achieved by going to her third Sydney show, which happens December 8 at the Enmore at Sydney Opera House (the other two shows sold out swiftly). Tickets are on sale this Friday October 12.

My Bloody Valentine

MBV FTW

My Bloody Valentine haven’t been in Australia for two decades, so it’s safe to say most of the MBV fans reading this would never have seen them play live. But we’ve heard stories of ear-splitting volume, mind-bending glide guitars, hypnotic drumming and the overwhelming godliness of it all, which is why we are excited beyond belief for their February 18 show at The Enmore Theatre. Tickets go on sale Thursday October 18 from midday, via Ticketek.

Listen to ‘Honey Power’ – the guitars sound like a heartbroken Godzilla.

BRAG :: 483 :: 08:10:12 :: 11

rock music news

free stuff

welcome to the frontline: what’s goin’ on around town... with Nathan Jolly

FREESTUFF@THEBRAG.COM

five things WITH

LISA MITCHELL

PETER FROM KOOII Kooii. I actually started Kooii as a duo with the now lead singer of Kingfisha, Anthony – but he left to develop that group.

The Music You Make Paulie B engineered and 4. co-produced, with myself, the Call Out EP that we’re just about to release. He did the same for our first two albums.

He’s been a massive part of translating our live sound to the studio, and continues to produce stellar recordings for many bands around Brisbane and surrounds. Part of his success is because he’s right there with you, understanding and feeling and seeking to be in this state.

1.

Growing Up I’m the youngest of four kids, and we all chose an instrument to learn when we reached about 10. I chose the trumpet. I was always experimenting with writing, and I was stoked when I discovered I could overdub things using my brother’s double tape deck. I remember writing a song about cane toads, trying to make it sound like Nirvana.

My dad also bought, for himself and me, what was perhaps the first MIDI computer set-up for common peeps: the ‘Notator’

program on an Atari STE. I spent hours on it, writing stuff and listening back.

2.

Inspirations I keep coming back to Stevie Wonder. Maybe I’m a bit stuck, but I honour his relentless letting go. Songs In The Key Of Life is one for times of big sadness and joy. Tinariwen are an inspiration, as are Hugh Masekeela, Miles and Midnite.

But the biggest inspirations are among the fellas and women I play with, and those around us.

3.

Your Band I met the fellas in Kooii through music circles that intertwine. Dom (drummer), Tom (bassist) and Lach (guitarist) were rockin’ and swingin’ in a group called Kafka, which still rears its head these days. It was partly through jamming with this group that I got to know the guys, as well as Darcy, our sax player, who occasionally makes it up from Melbs to join us. Conan, our rhythm guitarist, is another old schoolmate of theirs, who they played with in bands previous to

With a name like Willis Earl Beal, this lad wasn’t about to get into real estate. Instead, he was destined to move to the desert with a beaten-up acoustic guitar and a shitty cassette recorder (and probably some snacks or something too) to create something really important. While making his music, he distributed handdrawn flyers with his address and phone number – ‘Call me and I’ll sing you a song.

Write to me and I’ll draw you a picture’ – and after it was picked up for the cover of Found magazine, he got enough media attention to land him a record deal and send him on tour. The amazing Acousmatic Sorcery sounds like how reading someone else’s diary feels – it’s precious and hushed and brilliant – and he plays Goodgod Small Club on January 3.

Willis Earl Beal

PONY FACE

“There’s a late-night-ness about Hypnotised, a dank, draggy, pleasantly introverted quality to even the more driving tracks,” said BRAG’s very own Caitlin Welsh of Pony Face’s second record (it was our Indie Album Of The Week!).

If that sounds like your kind of thing, catching them at the Green Room Lounge this Friday October 12 when they launch the record might just be the best decision ever. Bambino Koresh are in support, and make laconic Neil Young sounds mashed with Smudge-esque sounds, all filtered through a guitar-wielding Argentinean frontwoman. Three ticks.

ELECTRIC LIME

Northern Beaches lads Lime Cordiale cashed in on that whole cats-without-faces fad of 2012 with their Faceless Cat EP. It caught the attention of Electric Empire, who’ve asked the young band to join them on their national tour, which stops in at Oxford Art Factory on November 2. Meanwhile, Electric Empire are getting quite a big of overseas buzz: Q Magazine love them, the BBC have made room on Coldplay Sundays to feature them and, even though neither Posh Spice or Prince Harry play in the band, The Sun reports on them too.

TARA SIMMONS

Tara Simmons

musician than just playing music.

It’s always good to remember to ask yourself why you’re doing what you’re doing, and to check that it’s what you want to do.

What: Call Out EP is out on October 8, through Vitamin With: The Strides (Ft. MC Mana), Sky Lounja, Bam Bam Boogie!

Where: Blue Beat When: Saturday October 13

DICK DIVER @ FBI SOCIAL

Melbourne’s Dick Diver deal in widescreen Australian jangle-pop which dips its toes into Velvet Underground territory at times, but generally sounds all elastic and lovely. We could have sworn that we spent a lot of evenings in 2012 bopping along to their live show, but that must have been wishful thinking because they tell us their first Sydney show for the year is happening this Saturday October 13 at FBi Social, and that Bed Wettin’ Bad Boys, Beef Jerk and Yard Duty are coming along to prejangle you before the main-event jangle.

FIRST AID KIT

“Two Swedish sisters travel across the world to sing their own songs at the Sydney Opera House to an adoring, sold out audience” sounds like the premise for the worst musical of all time, but instead it’s just what will be happening when the super-excellent First Aid Kit tour Australia after a sold-out tour of their super-excellent second record The Lion’s Roar earlier this year. Their show at Sydney Opera House on January 3 doubles as a Falls Festival sideshow, and tickets are available now.

GOT MY MOJO BACK

Mojo Juju has been knocking about speakeasys and taverns and the like for many years now, so it comes as a surprise to realise she is only just now releasing her swingin’, sultry, debut solo album. She’ll be playing a mass of shows in support of it, ‘cos that’s how the cycle goes; one of them happens on November 9 at The Red Rattler, and we’ll be up the front sloshing red wine on red lounges.

BEACH HOUSE TOUR

Beach House are one of those stunning mood bands: every album sounds like a better version of the last, and the tempos glide along in that hypnotic way, like Slowdive’s Souvlaki or the Twin Peaks soundtrack. It’s a warm bath, a cool breeze, and it’s even more immersive live, which you’ll find out for yourself at their Falls Festival sideshow, on January 3 at The Enmore. Tickets on sale now.

Tara Simmons, that Brisbane babe who dabbled in down-tempo, glitchy sounds on her debut album, must have fallen in love of late, because her second album (It’s Not Like We’re Trying To Move Mountains is out now) is all happy, driving synths and pop tunes and smiles and a leap forward in every way. Which is why it makes perfect sense for her to co-headline a tour with Sydney’s Pluto Jonze, whose ‘See What The Sun Sees’ is an amazing blast of Sean Lennon/ MGMT/Bowie pop, and quite possibly the best Australian pop single of the year so far that Ricki-Lee didn’t sing. They play FBi Social together on Friday October 26.

REGULAR JOHN

It’s that time of year again, when the temperature gets bipolar, you’re forced to swap your fat pants for a pair of Never Nudes, and your hay fever kicks in… It’s spring! And Sydney psychedelic doompop quartet, Regular John, are here to provide your spring party playlist, with their second album Strange Flowers, released on September 14 through Chatterbox Records. To celebrate, Regular John will hit the highways of Australia, stopping off at The Annandale on Saturday October 13 to take fans on a psychotropic journey with tracks including lead single ‘Slume’. For your chance to become the proud owner of a double pass to the show, which features Songs and Glitter Canyon in support, tell us the name of the band’s last release.

Regular John

BONDI: AVALANCHE CITY

If you’re anything like the BRAG team, you probably surf to and from work, which makes this Wednesday October 10’s show at Beach Rd Hotel in Bondi totally on the way home. So drop in and check out Avalanche City, The Falls and The Conics. If you can only make it in time for the headlining band, then you are the worst and probably missed You Am I at that Crowded House farewell show, but we understand: surfing is both unpredictable and tubular. Avalanche City have travelled all the way from New Zealand to folk you out, and a cursory listen to last year’s beautiful Our New Life Above The Ground will be enough to convince you this is a worthwhile venture. Free entry, too. Hang ten, cowabungas!

THE HIVES, ALL-AGES

Back when The Vines and The Hives ruled America briefly, the two were teamed up at the MTV Awards for a ‘rock versus rock’-type thing, or something horrendously reductive and lazy like that, and after The Hives played their song, the vocalist Pelle announced, “Okay, you can turn your TVs off now,” as if the night’s viewing had peaked – which of course it had. Although the idea of rock as a fad is hilarious (The Beatles were told that guitar bands were on their way out when they attempted to get signed early in the piece), we are pleased and sorta shocked that The Hives are still kicking about. Last time they were in Australia they thoroughly ruled, so we can only imagine their January 7 show at The Metro Theatre will be even more amazing. It’s all-ages too, so blow the mind of your 15-year-old cousin and do your bit for the world. Tickets go on sale this Friday October 12 through Ticketek.

HELLO FESTIVAL SEASON!

There’s campaign going around for those who buy Carlton Dry or Carlton Dry Lime through October and November; every 24 hours, they have a chance to win one of 20 double passes to nine music festivals. These aren’t those weird little cheesecloth-filled boosh-doof festivals, either; we’re talking Big Day Out, Future Music Festival, Stereosonic, Summadayze, Splendour In The Grass, Summafieldayze, Groovin’ The Moo, Homebake and Southbound. You enter through the Carlton Dry website or mobile app. “For many Australians, the lead-up to summer poses one of life’s great questions: should I buy some Carlton Dry? Or should I buy festival tickets? Well for at least 1200 people (and their lucky friends), we’d like to think we’ve solved that thorny dilemma,” says Andrew Meldrum, Carlton Dry’s GM of marketing, Sounds like a win-win to us – unless you don’t enter, in which case you can’t win. So: enter!

“I’ve got a quart of milk and some sound advice. I’ve got trees that are fake but they smell so nice” - BECK 12 :: BRAG :: 483 :: 08:10:12

Willis Earl Beal photo by Jamie James Medina

WILLIS EARL BEAL TOUR

Music, Right Here, Right Now 5.

There’s so much more to being a

Usually when us mere mortals make a mess it’s embarrassing, awkward and gives our nearest and dearest license to mock us for all eternity. But if you’re a muchacclaimed musical ingénue, the rules are probably a little different. Folk-popette Lisa Mitchell returns with a new album Bless This Mess, and she’s bringing it on the road for a tour that criss-crosses our fair isle. She’s playing The Metro Theatre on October 19 with support from Alpine and Danco; to score a double pass to the gig and a copy of her new album, tell us about the last mess you got yourself into.

E HIFI 1300 TH COM.AU THEHIFI.

your Favour

ite Festivals!

Coming Up SE LL IN G

SE LL IN G

FA ST

FA ST

This Week

Tortoise (USA)

Everclear (USA)

Gomez (UK)

Thu 11 Oct

Fri 12 Oct

Fri 19 Oct

Alt Rugby Commentary

Jed Thian

SE LL IN G

FR EE SH O W

FA ST

Sat 20 Oct

District 7 Fest Feat: The Getaway Plan Leb I Sol (MKD) Tuneboy, + More

Sun 28 Oct

Sat 27 Oct

Fri 26 Oct

Sat 3 Nov

All Allocations Exhausted FA ST

The Living End

O PE NE R AL NI BU G M HT

Thurston Moore (USA)

SE LL IN G

Wed 21 – Tue 27 Nov

Mahalia Barnes & Prinnie Stevens Sat 10 Nov

Omar Rodriguez Lopez Group (USA)

White Noise Wed 21 Nov Roll On Sun 25 Nov

State of Emergency Thu 22 Nov The Living End Mon 26 Nov

Modern Artillery Fri 23 Nov The Living End Tue 27 Nov

The End Is Just The Beginning Repeating Sat 24 Nov

Turbonegro (NOR)

65daysofstatic (UK)

Maximo Park (UK)

Thu 6 Dec

Wed 2 Jan

Thu 3 Jan

SE LL IN G

FA ST

Sat 1 Dec

Marduk (SWE)

Crystal Castles(CAN) Kerser

Sat 12 Jan

Thu 17 Jan

Sat 2 Feb

An Evening with The Hoff (USA) Fri 15 Feb

ENTERTAINMENT QUARTER, BUILDING 220, 122 LANG RD, MOORE PARK, SYDNEY

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BRAG :: 483 :: 08:10:12 :: 13

“I’ve just turned 29.

You have friends who are getting married and having kids, and you see them and you’re like, ‘What? That guy’s still dumb!

He’s raising a child now?!’ That’s what this show is about.”

Treat Yo’ Self

By Steph Harmon

Baruchel, Rihanna and Michael Cera all playing themselves. “That was SO fun!” Ansari says of the shoot. “We’re all friends in real life – it’s a small clique of people – and it’s a pretty rare thing for us all to be in the one place like that.”

While we’re on the topic of the movie biz, I ask Ansari what ever came of the three film ideas he sold to Judd Apatow back in 2009. “We’ve turned in outlines and scripts and all this stuff, but the movie business just operates at a snail’s place,” he says with a sigh. “You look at a movie like Bridesmaids or something: it seems like it just came out of nowhere, right? But they were developing that for like five years. Or like Pineapple Express, that took seven years.

Superbad – those guys were writing that since they were 15 years old… So who knows what will happen with that [Apatow] stuff?

“That’s why I always try to make stand-up a part of my career,” he continues. “I feel like there’s an immediacy to it, I can write about whatever I want, and I don’t have to deal with anyone else.

It’s the most independent art form I can think of, as far as comedy goes, because I don’t have to pitch anything or do anything for anyone else.

I can just write material and then, if I think it’s good, I can put it together and have an hour and tour it.”

Ansari’s current hour is Buried Alive, which he’s bringing to Sydney as part of Just For Laughs 2012. The show is themed around his resistance to adulthood. “I’ve just turned 29. I’m kind of hitting that age where people are starting to get married and have children, and I feel like that stuff is all very far away in my life and it doesn’t seem like I’m ready for it to happen,” he explains.

“What do you do if all that stuff is still very bewildering to you and seems so crazy? You have friends who are getting married and having kids, and you see them and you’re like, ‘What?

That guy’s still dumb! He’s raising a child now?!’

And that’s kind of what this show is about.”

Buried Alive is his favourite comedy hour to date, and the audiences seem to be responding in kind. “I’ve never gotten more feedback along the lines of, ‘I feel that same way, thankyou for saying that,’ – or, ‘I think it’s crazy that all of my friends are having kids and getting married too, and I feel like everyone should kind of slow down’. This feels like the most relatable show I’ve done.”

A

The internet plays a huge role in Ansari’s life.

He’s one of a new generation of independent comedians whose online success helped them break through, without needing to run the old gauntlets: being invited onto Johnny Carson’s couch after a stand-up set on The Tonight Show, or, more recently, getting a solo hour on Comedy Central. Ansari’s big break came from Human Giant, an online sketch show he co-created and starred in, which got picked up by MTV for two seasons. It was here that he honed his comedic style, filled with pop-culture references and a

hyper-enthusiasm that translates well to Twitter and Tumblr, both of which Ansari populates with glee. It’s no surprise, then, that he and his characters would be the subject of so many memes, from Tom Haverfoods (inspired by the food nicknames of his beloved character Tom Haverford, on NBC’s cult-favourite Parks & Recreation) to Emceez Ansari (popular rap album covers, featuring his face). He was also one of the first comedians, after Louis C.K., to self-produce his stand-up hour and distribute it online; Dangerously Delicious was released on azizansari.com earlier this year for a $5 download fee, cutting out the middle man and assuring Ansari’s complete independence.

But while stand-up remains Ansari’s favoured outlet (“STANDUP IS THE BEST!!!!!!!” he told a Reddit ‘Ask Me Anything’ a few weeks back), most know his name for his TV work.

Born in South Carolina to Indian immigrant parents, he played the confused, racist fruit vendor from Flight Of The Conchords (“Too bad New Zealanders are a bunch of cocky A-holes descended from criminals and retarded monkeys”), and Ed Dhandapani on Scrubs, who sucked at medicine but was great at starting new catch-phrases. At the moment, though, he’s known from Parks & Recreation: Tom Haverford is a misguidedly cocky small-time public servant, who sees himself as the next hip hop mogul;

Season five of Parks & Recreation has just started to air in the US; when we speak it’s a Sunday, and Ansari is taking a break from a hectic shooting schedule that saw our interview pushed back multiple times through the week.

“Ben Schwarz, who plays Jean-Ralphio, is coming back for a couple of episodes – we just shot some of those,” Ansari tells me. JeanRalphio is Haverford’s BFF, a self-described pickup artist and baller who seems to only speak in slang (“Turn that frizown upside-diggity!” is a personal favourite). The pair have some of the best scenes, schemes and handshakes of the entire show. “The stuff we’ve shot I think is some of the best Tom and Jean-Ralphio stuff we’ve done. It’s really fun.”

Despite being in the throes of shooting a wellloved TV show, he’s keeping busy in the film world too. Ansari, who voiced a slug in the upcoming 3D animation Epic and a palaeolagus in Ice Age 4, has a cameo in Seth Rogen’s forthcoming co-directorial debut, End Of The World. The apocalypse comedy opens at James Franco’s star-studded Hollywood house party, with Ansari, Emma Watson, Paul Rudd, Jay

What: Aziz Ansari’s Buried Alive Where: Just For Laughs @ Sydney Opera House When: Friday October 12, at 7pm and 9.30pm More: For tickets, and for more information about the Just For Laughs program, head to jfl.sydneyoperahouse.com

extravagant, excitable and of lovably diminutive stature, he’s an aggressive sartorialist with more themed “looks” than he has horrifying ideas for new men’s fragrances.

“In the time of chimpanzees I was a monkey. Butane in my veins so I’m out to cut the junkie” - BECK 14 :: BRAG :: 483 :: 08:10:12

Aziz Ansari photo by Colin Patrick Smith

ziz Ansari has been hassling Arnold Schwarzenegger. The week we talk, he was Tweeting at the former Governator, trying to convince him to record his voicemail greeting – until Arnie re-Tweeted with a simple “On the case.” “Yeah! I started Tweeting at Schwarznegger and he randomly saw it!” Ansari tells me excitedly, and I can almost hear his eyeballs widening down the line from L.A. “I just think it’s really fascinating that now, if you’re a little kid, you can just Tweet at these huge celebrities and they’ll actually see it a lot of times. If I was a little kid, he would probably be someone I would Tweet just to see if he’d ever see it, you know? I guess I was kind of re-living my youth.” The verdict? “I think he’s gonna make me a voicemail! Buuuuuut we’ll see what happens.”

Relatable is an interesting word for Aziz Ansari to use. The internet almost ate itself last year when Kanye West and Jay-Z’s film clip for ‘Otis’ came out, featuring a surprising cameo: a be-suited Ansari rolling around in a torn-up $350,000 Maybach, who proceeded to dance like a dingus behind Ye and Jay as they rapped to camera. Kanye and Ansari became friends a few years ago, after Kanye came to one of his shows and invited him out to a club after; the surreal night ended with Aziz, drunk, being coaxed by his hip hop idol to present a stand-up show in the rap star’s living room. He’s hung with Kanye, Jay-Z, Rihanna and Bieber, and he’s even on Obama’s radar (“I’ve got more Twitter followers than you, man,” the President said on stage at a fundraiser in March). But when I ask what the most starstruck Ansari’s ever been, there’s a very long pause, followed by an even longer thinking-hum. “I guess when I was first starting out, when I first met Chris Rock, I was pretty starstruck. He was someone I really looked up to coming up, and he was a big influence on me when I was younger. Him, maybe.”

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Benjamin Gibbard A Hard One To Know By Steph Harmon question for the Republicans is, which side of history do you want to be on?” he says to me. “I mean it’s going to happen, whether or not you agree with us, because it’s the right thing to do…

This is a very cut and dry issue: do you support equal rights for everybody? If the answer is yes, come on over.”

His political opinions are just one of many sides to a fascinating Benjamin Gibbard, and it’s been a huge few years for the artist. After releasing 2008’s Narrow Stairs, a bigger, darker and more depressing Death Cab album than anyone had expected, he kicked a serious drinking problem that had become difficult to ignore. He replaced the booze with marathons (when we speak he’s training for a 26.2 mile run), and his relationship with Zooey Deschanel became public; the pair were married the following year. Out of this much brighter outlook came 2011’s Codes & Keys which, while just as epic as Narrow Stairs, is perhaps the most hopeful album in the Death Cab oeuvre.

“I

only become aware of what a divided country we are around election time,” Ben Gibbard tells me from his Washington home. When we speak it’s the week of the Democratic National Convention, and the Death Cab For Cutie frontman has politics on his mind. “I’m watching Bill Clinton’s speech last night and he’s, well, the guy’s amazing, killing it, and they’re cutting to the crowd and you see women, black people, Latinos, gay and lesbian people – I look out into this crowd and I see what our country truly looks like to me. When I was watching the Republican Convention, not only do I despise virtually everything that these people stand for, but you cut to the crowd and all you see are white people. Old white people.”

I called Gibbard to talk about Former Lives, his debut solo offering; an anthology spanning almost ten years of songwriting, comprising tracks that never quite fit with the Death Cab catalogue but were too good to leave behind. I really want to talk about these songs, actually, and what they mean to the frontman of a band

that featured in the celebrated Seth Cohen Starter Pack – a band that’s affected so many people so deeply over the last 20 years. But Gibbard just wants to talk about policy. “What I cannot get past is just the flat-out bigoted position on issues of gays and lesbians,” he says. “To me, that’s just the most egregious, hateful, bigoted position to have: that somehow my sister and her wife’s marriage is not as valuable to this country. That is just complete and utter bigoted bullshit.”

Gibbard has made his views on gay marriage public more than once; his was the first essay published in Dave Eggers’ ‘90 Days, 90 Reasons’, a new web project that has names like Paul Simon, David Lynch, Judd Apatow and Jonathan Franzen following up a catchy Tweet with a lengthy exposition on a reason to re-elect Obama. Gibbard’s piece focused on gay marriage – indeed, his thoughts on the issue have seen the Westboro Baptist Church hate group publically target him, hilariously (and shockingly), as a “major fag-enabler”. “The

And now there’s Former Lives, Gibbard’s first solo release under his own name. The songs, some of which are almost ten years old, play out like windows into his mindset at each specific time of writing, with moods that shift as restlessly as the output of his band. There’s a lot of nostalgia wrapped up in it of course, and for anyone who misses the old Death Cab – the raw, lucid yearning of ‘A Movie Script Ending’, ‘Summer Skin’ and most of Transatlanticism – look no further than ‘Lily’, ‘Dream Song’ and ‘A Hard One To Know’. “I’ve always tucked these songs away and enjoyed them for myself, so [releasing them] feels a little bit like empty-nest syndrome. Which is fine. I’d rather have this record be out than have sat on these songs for another eight years.” Putting the songs behind him also ties a neat bow around a particular period, he says, and you can read into that what you will – he’s talking to me from his home in Seattle, where he moved to from L.A after Deschanel filed for divorce. “At this point, with these songs out, it’s all about looking forward,” he says.

As always with Gibbard’s writing, Former Lives is deeply lyrical, drenched in markers

“What I cannot get past is just the flatout bigoted position on issues of gays and lesbians. This is a very cut and dry issue: do you support equal rights for everybody?”

– names, places, times – which let listeners pull meanings out of the most unlikely places.

“A perfect example is ‘A Movie Script Ending’ [from 2001’s The Photo Album],” he says. “That song started out as a love song to Bellingham, Washington and it’s like, nobody knows that!

Nobody listens to that song and thinks about the prices of beer inflating at the Beaver Tavern, or being on the cross street of Railroad and Holly… But somehow they find something in it that connects with them, and that’s pretty amazing.”

The highlight of Former Lives is ‘Bigger Than Love’, a duet with Aimee Mann that could be about any young and artsy couple, drunk and fighting in New York (“We’re on 59th Street, we quarrelled and broke the bathroom door”). But in a typical Gibbard twist, it turns out the song was actually written about Zelda and Scott Fitzgerald. “The first verse is [set in] the roaring ‘20s of New York; and then they move to Paris in the period of Hemingway’s A Moveable Feast, and all that kind of craziness; and then there’s this tragic end, when she’s in an institution in Nashville and he’s out in California writing screenplays,” Gibbard says, incredulous. “One of the greatest writers of the 20th Century writing a fucking screenplay! There’s just nothing that could more devalue a great literary talent than to flush him down the Hollywood sewers like that.”

What: Former Lives is out this Friday October 12, through Spunk Records

Tortoise Hellish Miasma By Luke Telford

“What we’re most concerned with is just keeping things fresh and new for ourselves, and if we can do that, then at least there’s that – and if people like it, then that’s great.”

I

t must be tough being Tortoise. Things can’t possibly be simple for a band that has, over 22 years, repeatedly rewritten the rulebook on how to create forward-looking instrumental music. Most groups would earmark an album like Millions Now Living Will Never Die as a career highlight, but the Chicago group have issued a slew of records arguably as good or even better than that since 1996. The only difference is that the rate of release has slowed, which makes you wonder whether the band’s working process is struggling to keep up with their extraordinarily inventive track record.

“It’s democratic, sometimes to a fault,” says drummer John Herndon from his home in Chicago, through what sounds like a nasty head cold. “It seems like it takes so long for anything to happen, because everybody’s giving everybody so much space and shit that it seems like, sometimes, nothing ever gets done. But eventually it does get done – it takes its time to figure itself out. But generally everybody’s pretty happy with the end results.”

16 :: BRAG :: 483 :: 08:10:12

The group’s most recent missive, Beacons Of Ancestorship, was the longest between drinks, following a five-year gap. Given that this silence had only been broken by the monumental compilation, A Lazarus Taxon – a 33-track slab with tombstone grey artwork – some were beginning to worry that the band had wound down for good. The truth is they were just busy, and becoming more accustomed to working slowly. “[Beacons] was a crazy one, because we made the record and then most of the band was like, ‘I think we’re done. I think we’re done, yeah,’ and some of the band was like, ‘I don’t think we’re done.’

But the I-think-we’re-dones won the argument,” says Herndon. “So they made a sequence of the album with the mixes and everything, and we went home with it and gave it to our record label – and then they and all of our friends were like, ‘I don’t think you’re done’. So we went back in and recorded a bunch of new material, remixed almost all of the material on the record, threw some stuff out, added some stuff.

Then, after that happened, everybody in the band, including everybody else, was like, ‘Okay.

Now we’re really fucking doing it.’”

What’s extraordinary about Beacons is how fresh it sounded. Tortoise have always been a relatively experimental outfit, but much of their back catalogue feels bound by a peculiarly militant discipline; no guitar twang or vibraphone note ever felt out of place. Beacons, on the other hand, sounds like the work of a band reassessing their very purpose. Sweeping instrumental passages drop into abstruse fusion jams. Dulcimers replace vibes. There’s a cerebral punk tune composed on a children’s instrument. Most importantly, it was good – not just by the band’s (and their friends’) standards, but by those of critics and fans too.

“I think what we’re more concerned with is just keeping things fresh and new for ourselves, and if we can do that, then at least there’s that – and if people like it, then that’s great,” says Herndon.

“We’ve been lucky so far that sort of pleasing ourselves and making things interesting and challenging for ourselves has found an audience of people who are hanging there with us. So the challenge, for the most part, is a personal and musical one, and I think that’s what we pour our energy and attention into.”

Beacons came out in 2009, and Herndon confirms the suspicion that there is no pending follow-up on the horizon. He’s quick to point out that none of them have exactly been bored – apart from innumerable side projects,

Tortoise’s members converged last year to compose the soundtrack for Lovely Molly, a horror film about demonic possession. “It was directed by Eduardo Sánchez, who was the director of The Blair Witch Project. It’s really fucking creepy and good. You should watch it,” says Herndon. “The stuff that I’ve found doesn’t mention that we did the soundtrack. I don’t think they put that in their press release.

We did all of the music for the whole film, and it’s really good and super creepy.”

This should come as a surprise to anyone even passingly familiar with Tortoise – their music has always seemed to opt for ‘cerebral’ or ‘lush’ over ‘spartan and horrifying’. “We definitely had to change it up producing the music for that, and get into full ‘creep’ mode,” he laughs. “It’s a lot of drones, actually. There’s not a lot of Tortoise songs, but there’s a lot of droning and creepy, suspenseful, spooky ‘ghost’ sounds or whatever.”

It turns out Herndon, though predictably a big post-punk and jazz fan, is also quite into the more confronting end of the avant-garde spectrum. When probed for recommendations, he singles out fellow Chicagoan Kevin Drumm, whose 2002 landmark Sheer Hellish Miasma basically does the aural equivalent of what the title says. “The sound he gets is just fucked,” says Herndon. “We toured with him, so seeing him perform every night was amazing. He’ll just have like an oscillator and a mixing board or something, maybe something to process, and then he just gets these feedback loops going through the board. I don’t even know what the hell he’s doing, but he just gets this massive sound, and it’s just complex and interesting… And he’s a hilarious dude to hang out with. Super hilarious, and he knows like every punk rock and hardcore and black metal group in the world. And he just has great taste in music, and has a really dry and off sense of humour, and he likes to get drunk.” Apt company for a band of resilient experimentalists, then.

With: The Laurels, Sleepmakeswaves Where: The Hi-Fi When: Thursday October 11

Lisa Mitchell In The Present By Zoë Radas

T

he eclectic, spiritual and spectral nature of Lisa Mitchell’s influences are salient in everything she has to say about her forthcoming sophomore album, Bless This Mess. Due to drop at the end of this week, Mitchell is full of excitement about the beauty and strength of her new sound, which includes less of the daintiness of former LP Wonder and far more definitive themes of the present, and being aware of oneself and the moment.

Sitting in a little vaulted room of Warner Music in Melbourne, Mitchell re-curls her thick brown wrap over her arms, tucks her silvery laceup brogues behind her, and breathes her agreement.

“I was reading a lot of Eckhart Tolle,” she says, quietly smiling. “I love him, it made a big imprint on me. ‘The Present’, for example, there’s the chanting mantras in it – obviously that’s quite an Indian kind of style. And the power of that is that it really starts to sink into your brain, and reprogram your thought patterns. So it had this Indian flavour and I thought, ‘Oh, we need sitar!’”

This chanting is echoed in opening track ‘Providence’, with the repeated line “We’re here, we’re here, we’re here” bolstered by many voices, among other incantations. It has a very Beatles bearing, and Mitchell explains that her producer Dann Hume is a giant Beatles fan.

“He’s as obsessed with The Beatles as I am with, oh, Patti Smith or Regina Spektor. Just ob-sessed – [he] would buy anything they put out, even if it was a re-issue or re-mastered. ‘I can hear it, it’s slightly different,’” she mimics Hume with a laugh, and answers as herself: “‘Honestly Dann, it’s the same song.’”

The Beatles flavour continues through standout track ‘The Story Of The Raven And The Mushroom Man’, which is a “little tangent” that Mitchell imagined and wrote as an extension to the beloved 1943 novella by Antoine de SaintExupéry, The Little Prince. Extracting characters from the tale, she decided to use its metaphor of “the rat race of society” to create her own story. “It’s human compassion; it’s that darkness of life and death that connects you back to here,” she says with a click of her fingers. “You’re like, ‘Gucci and shit doesn’t matter right now’, do you know what I mean? ‘I’m just going to help you.’”

Mitchell employed her own symbols to tell the story, most notably the raven, which she often uses in her songs as a sign of hope, despite its sombre tradition. “I think people are so scared of being dark,” she explains, “but that’s where your truth is. Because when you go dark, you have to really ask yourself questions: ‘Why am I dark? What am I not happy about? Am I okay in my life?’ You know, all these big questions that don’t confront you unless you really go there.”

The track ends with the death of one of its main characters. “But the last line in the song is that a rose grows from the seed of hope that’s been planted,” Mitchell says. She’s almost whispering when she speaks, but at times she’ll burst into a loud, delighted laugh at a joke, or simply at the falderal of herself.

“People are so scared of being dark, but that’s where your truth is. Because when you go dark, you have to really ask yourself questions: ‘What am I not happy about? Am I okay in my life?’”

Xxx photo by JXxx

The final track of the album is somewhat hidden – as hidden as is possible in this digital age, anyway. There’s a strange, constant instrument which builds like layers of cloud, and it sounds like a cello perhaps artificially sustained. Mitchell’s eyes widen and she says with joy, “It’s a harmonium! The first time I saw one I was in a yoga class in New York, and I was like, ‘What is that? Get me one now. Can I have that?’” She stops laughing just long enough to add: “There was the most beautiful pregnant woman playing it and I was like, ‘Guh! Give me a baby and a harmonium and I’ll be happy.’” She chortles again, then re-focuses. “Isn’t it great? Just the most amazing drones.”

The leading single from Bless This Mess is the title track, with the clip’s premiere held just a few weeks ago. “It’s very moody, very sexy, very kind of dark, and just very different from anything I’ve done in a visual sense before,” says Mitchell. The video is true to its aural

inspiration, which employs thumping toms, tambourine, vocals that are strong but tender, and a chorus of female backers singing the dominant fifth of Mitchell’s tonic. Perhaps not so incredibly, the 22-year-old isn’t familiar with romantically dusky and very ‘80s icon Belinda Carlisle, whose best work the song invokes (but she writes Carlisle’s name on her list of things to investigate).

Mitchell had what she describes as a “dream list” of engineers, producers and other creatives she wanted to work with for the album, but she soon realised there was so much expertise in her native Melbourne, with producer and close friend Hume at the head of this pack. “I don’t want to nick off,” Mitchell says earnestly. “I really want to use the local talent. I mean, how cool, to work with your friends.”

What: Bless This Mess is out on Friday October 12 With: Alpine, Danco Where: The Metro Theatre (all-ages) / Wollongong Uni Bar When: October 19 / October 20

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The Paper Kites Flying High By Alasdair Duncan

W

hile there are benefits to life in a fivepiece band – you get to have a lot of your buddies around, and draw straws for who has to do the next round of press – there are also challenges. Indie folk group The Paper Kites feel this the most when it comes to playing live. “We like to tour with a lot of instruments,” singer and guitarist Sam Bentley tells me, “and we’re bringing even more than usual this time. It can be an absolute nightmare for our sound man and it takes up a lot of stage space, but it’s definitely worth it.

Having all of us up on stage with that plethora of instruments is a big part of what makes our show so unique.”

The brand new Paper Kites EP, Young North, came out just a few weeks ago, but as Bentley tells it this is an EP that almost never happened at all. “We were gearing up to do an album, but we had so many songs sitting in our pile that we just decided to do this as a bit of a stepping stone.” It’s been over a year since the band’s last EP, and this spur-of-themoment release proved to be a good way of keeping in touch with their fans. “When you only release five or six songs at a time, people can have a certain idea of what you sound like, so it’s always nice to bring out some new music and bring people up to date with what

we’ve been working on and where we’re at musically.”

The Paper Kites have shared stages with Josh Pyke and Boy & Bear over the past year, and each one of the shows they played was a valuable learning experience. “We were pretty much babies when we were first asked to do the Josh Pyke tour,” Bentley says with a laugh.

“We didn’t know anything about touring, we were doing everything on our own, and we were really nervous, because we didn’t want to do the wrong thing – you know, making sure we didn’t sneak upstairs to drink their rider or anything like that – but Josh and his crew turned out to be really great people. They were really keen to pass down their experiences of life on the road to us, and we were really eager to learn.”

Boy & Bear were similarly inspiring. “I remember arriving at the venue on the day of our first gig with them,” Bentley says. “They were on stage rehearsing, but they jumped off and came over to introduce themselves. That’s the kind of guys they are.” Boy & Bear and The Paper Kites ended up spending a lot of time together on that tour. “They were in our green room more than they were in theirs!” Bentley tells me. “We had a great time just hanging out.

They just gave us a lot of advice about how to navigate the music scene, how touring works.

I really admire and respect them still, and that was a great and fortunate experience.”

So has this set the model for how The Paper Kites will treat their own support acts, Art Of Sleeping and Battleships, when they set off on the road? “Absolutely,” Bentley says. “We know now what it’s like to be a young band on tour for the first time, what it’s like to be a bit nervous and a bit overwhelmed, so we

really want to do what Josh and Boy & Bear did for us, and pass down the things we’ve learned.”

What: Young North EP is out now With: Art Of Sleeping, Battleships Where: Oxford Art Factory When: Friday October 12 More: Also supporting Bombay Bicycle Club on Monday January 7 at The Enmore Theatre

Something For Kate Brothers Grim Punch In The Ear By Mel Roach

This Is The Life For Me By Dijana Kumurdian three of us got together to play this record, I felt like a very different kind of musician.”

Leave Your Soul To Science certainly is different, trading in their go-to heavily tracked recordings for a simpler, roomier style, which made way for instruments seldom used by the band. “In the past there were just too many guitars. I just didn’t know when to stay stop!” Dempsey admits jovially.

“Hopefully I’ve learned my lesson. We were just really willing to experiment, because it’s been five years since our last record and it all feels really new. When we were writing the songs, we knew that there were things that we had done in the past that we wanted to avoid doing in the same way. We definitely tried to keep space in the songs and not layer up too many instruments. We didn’t want it to be as dense and heavy as some of our previous records; we wanted it to breathe. And we wanted to really experiment with different sounds as well. So knowing all of those things, we then chose to work with John Congleton [The Walkmen, David Byrne, Smog, Erykah Badu], because we knew that he was going to help us achieve that.”

H

When it came out, Desert Lights was a permanent fixture on my iPod – but when I admit to Dempsey that a few office mates and I dorked-out about the interview, I immediately cringe. Before I have the chance to backpedal, Dempsey laughs: “I enjoy the fact that when people admit to each other that they’re Something For Kate fans, they call themselves dorks.” Oops.

But while they’re no Tame Impala, and no one would ever see them strut around like overconfident rock pigs, Something For Kate have certainly made their mark on the Australian music scene – which they’re poised to do once again when they launch the new album on Friday night. “Writing and making this record and being back together as a band has all been fantastic, but it really comes together when we’re playing live shows,” he says.

“We just want to punch you in the ear with our sound,” Grim explains. “Every single band has something different to offer, and I just find it exciting to tour that.” With a different lineup in each city, Grim aims to showcase not so much a local outfit as a local community. “I guess there’s a few aims of doing this. One: to celebrate this diverse [genre] that we’re all a part of; two: to have exceptionally great live bands on the bill; and three I guess was to showcase each city to every other city. So in Melbourne we’ll have Sydney bands, in Sydney we’ll have Melbourne bands, and in Brisbane we’ll have both Melbourne and Sydney bands and so on.”

This is all James’ project; he has spent the last while checking out some explosive live groups, and he wanted to share his finds with the country. “There was a whole heap of bands that I loved, but I wanted to pick the best live acts. It’s one thing to be a brilliant band, but it’s another thing to be a brilliant band and rip it apart on stage,” he explains. From Jackson Firebird, Gay Paris and Mother & Son, to Brothers Grim & The Blue Murders themselves (plus many more), it’s set to be a true killer

of a festival – and with a humble heart, Grim concedes that a lot of his fellow lineup may even out perform himself. Being competitive is not the name of the game, after all. “There’s absolutely no need to be competitive,” he says.

“The idea of ‘making it’ in music in Australia is – well, if you want the bling then you’re in the wrong business, you know? It’s about playing music, and playing music to people. There shouldn’t be anything competitive about that.

We are all here to support each other.

“I just don’t want to be some guy with a bunch of dogs sniffing around my crouch. I want to be a dog too, and all the dogs are running around chasing each others’ assholes,” he laughs.

“We just help each other, and in doing that we’re also supporting the next generation of musicians that are coming through. It’s great!”

Mostly, it’s refreshing to see so many musicians, venues and outlets supporting such a supportive idea. “I am 100% behind every single one of these bands, and the venues and media are just as important to me as the bands are,” says Grim. This really is a movement, and a move in the right direction for Australia’s music scene. You can get in on the action for a fraction of the price you would cough up for any other festivals, and you know that these guys are doing it purely for the love of music. “I’m not running this [festival] like a business. It’s for the people, all for the people.”

What: The Drunken Moon Spring Festival With: Brothers Grim & The Blue Murders, Jackson Firebird, Gay Paris, Mother & Son, Papa Pilko & The Binrats and more Where: Manning Bar, Sydney University When: Saturday October 13

What: Leave Your Soul To Science is out now through EMI Where: The Metro Theatre When: Friday October 12

“Temperature’s dropping at the rotten oasis. Stealing kisses from the leperous faces” - BECK 18 :: BRAG :: 483 :: 08:10:12

The Brothers Grim photo by Jay Hynes

olding out for a new Something For Kate record was a bit like waiting for news about the Arrested Development movie: we know it’s coming, so just give it to us already. The Melbourne trio’s latest album Leave Your Soul To Science is their first since 2006’s Desert Lights, and comes three years after frontman Paul Dempsey’s debut solo record Everything Is True, which he’d been touring while living in the States for the better part of two years. Though writing with his long-time bandmates again came easily, Dempsey tells me that their time off definitely changed his approach. “I think playing all the solo shows changed me a lot as a musician and as a songwriter,” he says. “You have to approach things really differently when you’re on stage by yourself for an hour or two and there’s nothing else to hide behind. Especially in America, because when you’re playing shows people usually have no idea who you are, so it’s like every night is your first show. I got into the habit of drinking a bunch before I got on stage so that when I was up there playing I was also talking a lot, and just generally trying to be entertaining. By the time the

Of course it still sounds like Something For Kate, with their unmistakeable dynamic and all of Dempsey’s signature croon and pointed, articulate lyrics. “Yeah, well, there’s no getting around my voice,” he says humbly. “I think we could make a record with no electric guitars and use only instruments from the sixteenth century, but because of my singing voice it’d still sound like Something For Kate, for better or for worse.”

B

oasting more then your average man both in beard and creativity, the papa bear and frontman of Melbourne’s sex-voodooblues-a-billy outfit Brothers Grim And The Blue Murders gives much more then he takes on the musical front. James Grim is talking to me after giving birth to one of Australia’s more grounded, unwholesome, sweat-dripping and groin-thrusting movements, The Drunken Moon Spring Festival. Rubbing up against four cities with some of Australia’s greatest live blues artists, and with the Melbourne and Brisbane shows done and dusted, Sydney has been given our notice.

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MODULAR D J S www.viavision.com.au I *While Stocks Last BRAG :: 483 :: 08:10:12 :: 19

Regular John Strange Powers By Krissi Weiss

R

egular John’s guitarist Ryan Adamson and bassist Caleb Goman met as kids in the rural NSW town of Manilla, bonding over Smashing Pumpkins and The Beatles’ White album. Collecting drummer Ryan McDonald and former guitarist Brock Tengstrom along the way, the young band moved to Sydney’s Inner West and, after a host of jams, recorded their debut EP, Marrickville 2204.

The chaotic influence of modern and vintage sounds have been a part of Regular John’s sound from this very beginning, and even in their infancy they attracted the attention of acts like Dinosaur Jr, Helmet and The Bronx. 2009’s The Peaceful Atom Is A Bomb launched them onto a larger audience and a generous amount of critical acclaim – and then they seemed to disappear. Nothing’s ever that simple, bands don’t just fall out of the space/time continuum, but in these days of fickle audiences with increasingly short attention spans, any time away can seem like an eternity.

“I think there are people who are in love with the idea of being in a band, and they don’t really put much effort in,” Adamson says, as he starts to explain the band’s absence and

his own creative crisis. “That’s cool – if they’re getting joy out of it then nothing matters – but that’s not how we roll. [For us, music] is a necessity; it’s a thing in life that has to happen… If you had overnight success, you’d have no concept of the work that it took to get to where you are, so you’d probably easily take it for granted. But if it’s something that’s taken you through ups and downs and you put all of your hopes into it, then I think you’re always going to have a good perspective on it. You’re aware of the hardships and the good times; you know better than to spit on it.”

Original guitarist (and good friend) Brock Tengstrom left the band in mid-2010. Adamson is tight-lipped on the reasons, discussing the period with sensitivity, but it seems clear that Tengstrom’s departure led to Adamson rethinking his own position as a musician. “I can’t speak for everyone but there was a point, around the time of Brock leaving the band, that I – well, music was always my escape, and I was at the point where I wanted to escape from my escape,” he admits. “That’s a horrible way to live, when your one light is causing you pain.

At that point, I could’ve easily stopped doing it for at least a couple of years. But I fell back in love with music and it was awesome because that time made it easier to run, not in a new direction exactly, but to have less rules and to go with our hearts. As shit as things might’ve felt at the time, it was worth it in the end.”

“ I’m really into ambient music, black metal, Stereolab, Krautrock...

You’re never in one mood all of the time, so why would you listen to just one kind of music, and why would you express just one kind of sound?”

Bands are a little like a relationship, and when things go sour, there needs to be time to grieve, refocus, and eventually move on. “It’s a crazy thing, and it is that full on,” he says. “We got back in the jam room for a while and it was awesome, it was so free – just as a threepiece. You’d think there’d be more options with more instruments, but we were able to make it possible to go from being a house to a mansion.

We could see what someone else would be able to bring to the sound. We got to a point where no one had to compromise, which made it a really pure album, I think.” What exactly needed to be compromised in the past? “It’s hard to say without offending someone,” he says meekly.

“Just maybe that we had to simplify some ideas in the past, without sounding harsh. I’m sorry, it’s just a really hard thing to talk about. I know it’s your job, so that’s fine. Sorry.”

Miles Devine was recruited into the lineup, and Strange Flowers began to take shape. The resultant album is a collision of influences that somehow sit harmoniously within the overall Regular John sound. “I’m really into ambient music, black metal, Stereolab, Krautrock, and country music, and it’s not on a level that people would notice, but I can hear all of those influences creeping in through sonic textures and trinkets,” he explains. “We’re all really big music fans and I think, on our first record, no two songs sounded the same, and it’s the same on this one.

In some ways it can appear as inconsistence, because you love so much stuff and you wanna make so much music, but at the same time I can see that there’s a really common thread there.

“The thing that brought me around to being comfortable with the idea of expressing so many different ideas was [Smashing Pumpkins’ 1995 LP] Mellon Collie And The Infinite Sadness. That’s a prime example of diversity, where you’ve got ‘X.Y.U.’, which is blisteringly heavy, and then a song like ‘Lily (My One And Only)’ that’s like a ‘30s love song – and yet it all makes sense together. That set the standard for me as to what an album should sound like. You’re never in one mood all of the time, so why would you listen to just one kind of music, and why would you express just one kind of sound?”

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What: Strange Flowers is out now through Chatterbox Records With: Songs, Glitter Canyon Where: The Annandale When: Saturday October 13

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arts frontline

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arts, theatre and film news... what's goin' on around town and more...

five minutes WITH HANNAH

GADSBY

Wants A Wife will explore the wonderful world of these mysterious creatures.

So let’s get the serious stuff out of the way first: what’s your position on marriage equality in Australia? I’m going to give you a moment to reflect on the title of my show. Then I will give you another moment to congratulate yourself for working out my position. Well done! I mean, we really need to allow any two consenting adults to get married and enjoy the legal and societal privileges that go with that CHOICE, so we can get onto the more important task of allowing people to marry their dogs. Let’s get this ball rolling!

What was the genesis of this show? It’s a show about gay marriage and the history of marriage in general, and I use a 15th century painting to illustrate my points. If this sounds daunting, I also use pictures of boobs. It has jokes too. Gosh it’s great. I wish I could go.

Y

We saw your show at Mrs Chuckles at Belvoir last year – have you improved at all at the small-talk? No. Generally I don’t see the point of saying obvious things. Sometimes I listen to people talk and I think, 'Wow! I

Rhys Darby

You’d also had quite a lot of injuries at that point in your life – have you been accidentfree in the last 18 months, or added to that impressive/daunting list? I have been injuryfree for over two years, if you don’t count the Rottweiler scratch. I’m quite tense. Something is lurking...maybe a bear attack. I love bears and I am lonely, so I don’t trust I won’t get too close.

And just so we can help the cause: what are you looking for in a wife? She probably should like my company. Maybe she should have a face and some opinions. Maybe she could be a bear.

I don’t want to narrow it any further.

What else are you up to for the rest of the year? I am doing a whole bunch of writing for future projects, but in more exciting news I am preparing to do the Overland Track in Tasmania. It’s a crime I haven’t done it before, but I just had to make sure there are no bears.

What: Hannah Wants a Wife When: October 10-14 Where: Sydney Comedy Store, Entertainment Quarter More: Tickets available now from Ticketek or The Comedy Store

Snnnnnootchie bootchies, to be sure to be sure!

Jay and Silent Bob – aka Jason Mewes and Kevin Smith – are back in DVD format after their brilliant world tour, which reached our shores this year in the form of Jay and Silent Bob Get Old. Something tells us the show took on a slightly different vibe when it reached Ireland – after all, nobody’s ever visited that green isle and not gotten into some trouble.

If you’re keen to grab a copy of Jay & Silent Bob Get Irish on DVD, tell us the name of the fictional universe where Jay and Bob reside.

WUTHERING HEIGHTS Andrea Arnold’s electric new take on Wuthering Heights is not your mum’s BBC period drama. The British director, whose previous film Fish Tank drew the kind of rave reviews that practically shoot rainbows out of the page, has reinvented the wildly romantic Emily Bronte classic with an achingly bleak and beautiful aesthetic, and those in the know say it’s not to be missed. Wuthering Heights opens at Dendy Newtown and Palace Chauvel on Thursday October 11, and we’ve got some double passes to distribute to you fine people – just tell us which loopy pop icon recorded a song of the same name.

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ou know her from RAW Comedy, In Gordon Street Tonight and generally being funny all over the place, but have you ever noticed that funny lady Hannah Gadsby seems sort of shabbily dressed and lacking in freshly-made sandwiches? She’s heard that marrying a lady can help with such things, which is why her new show Hannah

How’d your run at Edinburgh go? Edinburgh was great fun but it was also incredibly hard work. I did not sign up for hard work so that was disappointing. My favourite thing I saw was Swamp Juice. It was a shadow puppet show and it was awesome. It was also for kids, so I think we can work out where my state of mind was at.

would never have thought to express that out loud. Was that necessary?' Sometimes I give stating the obvious a go but I forget to modulate my voice so I just sound like Life's Creepy Commentator.

JAY & SILENT BOB GET IRISH

Arts Lab & Festival have opened a brand new Expression Of Interest round for their 2013 return to Cockatoo Island. This round is for those of you who have a large-scale work that’s new and challenging, but requires a longer lead time to get those creative juices flowing. Providing a unique platform for new perspectives and audiences, the Lab and Festival will run over a three-week period, involving up to 150 artists from all disciplines.

Applications close October 22.

dedicated to making as many movies as possible in just 32 hours. Participants gather at Kino HQ, who’ll provide locations, actors, equipment and mentors to help the next dayand-a-half of creative brilliance come to life, and then it all ends with a themed boozy screening party. Sound like your idea of a good time? It’s happening on the last two weekends of November and the first weekend of December, you can get in for just $50 until November 1, and more details can be found at www.kinosydney.com/kino-kabaret-2012

TROPFEST 2013

It’s time to dust off your dreams and your driver’s licence, as the world’s largest short film festival is back. Whether you’re a beginner or seasoned professional, there's never been a better time to enter: Tropfest's partner Toyota are adding a brand new car to the winner’s swag of goodies, along with $10,000 cash, a Nikon camera, and a trip to LA. There will be a new category for DSLR lovers and all flicks must feature the Tropfest Signature Item: a balloon. Entries close January 3 2013, and the festival kicks off on February 15.

SYDNEY BIKE FESTIVAL

JUST FOR LAUGHS 2012: HIGHLIGHTS

Just For Laughs is nearly upon us! It hits Sydney Opera House from Friday October 12 – Monday October 22, and as usual we’re here to help you work out where to point your face for maximum laughingness. Highlights include moustache-with-man-attached Sam Simmons (October 18-20), Conan O’Brien favourite Ed Byrne (October 21), Dave Gorman’s PowerPoint Presentation (October 21), which we’re sure will be hilarious and not at all excruciating because why would they do that to us, and the guaranteed-to-makesomeone-cry The Nasty Show (October 18-21), hosted by "one man verbal assault unit" Jeff Ross. There’s also our cover star, Parks & Rec’s Aziz Ansari (an early and a late show on October 12, so you can see him before or after your ‘zerts), Adam Hills hosting the colourful International Comedy Gala (October 21), Noel Fielding hosting his own gala (October 19), and Rhys Darby (aka Flight Of The Conchords' hapless manager Murray), who's assembling some Kiwis for an all-NZ night (October 21) to show there’s more to their skills than just saying things in their normal voice and wondering why we're laughing at them. Hit up their website for more info: jfl.sydneyoperahouse.com

BLACK CHERRY TURNS SIX

A sixth birthday wouldn’t be complete without some hoop wielding and fire eating, right?

Sydney’s biggest night of rock’n’roll debauchery, Black Cherry, certainly agree, and are celebrating their special day with a Halloween/ Mexican Day Of The Dead extravaganza at The Factory Theatre on Saturday October 27.

There will be every genre of rock’n’roll under the Mexican sun with bands Mikelangelo And The Tin Star, Los Capitanes and Neon Heart taking the stage, and aerial/burlesque stars Tank, Mark Winmall and Kelly Ann Doll bringing a whole lot of movin’ and shakin’.

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CABINET

For an afternoon of downward dog, stories of self-help and a game of projected Snake (yes, like on your 1997 Nokia), Underbelly Arts presents the next in the Cabinet series (their last for 2012). On October 14, Red Rattler plays host to new art and performances at various stages of development, including drone yoga, Pip Smith’s new project Harry Crawford Is Uncertain and work from Annaliese Constable, Adriano Cappelletta and James Domeyko. BYO yoga mats.

UNDERBELLY E.O.I.

While we’re on the topic, The Underbelly

Didn’t quite make the Tour de France? It’s OK, you can celebrate your love of all things bike-like at the Sydney Bike Festival.

Presented by The Spokes People as part of Sydney Rides Festival, you can get involved at six events across Sydney, including crowd favourites the Bicycle Film Festival and Gold Sprints. There will also be a spooky Halloween ride and a delicious street fair!

Whether you’re clad in lycra or chilling on your fixie, you can support Clover's Sydney’s growing bike culture from October 13-27; check out thespokespeople.com.au

JESSE WILLESEE DOES HALLOWEEN

So your super-realistic eviscerated Walking Dead zombie costume didn’t go down too well at your niece’s Halloween party last year?

Don’t worry, you can go all-out at the epic Halloween happening by Sydney art-party institution Jesse Willesee. He’s taking over all five levels of The Kings Cross Hotel on Wednesday October 31, with interactive fashion and music photo shoots, interactive spooky installations, the one-off performance of Kirin J Callinan’s Bargain Basement, and a raucous Hand Games Mixtape launch at FBi Social, featuring Teenage Mothers, Kill City Creeps and more. The drinks will be cheap, the costumes OTT, and entry's just a tenner.

KINO KABARET

When you think of a movie marathon, you probably imagine settling in for a weekend of binge-watching and popcorn. But Kino Kabaret is another story entirely. Presented

by Sony, it’s a series of three weekends

MEDEA AT BELVOIR

A tale of betrayal, revenge and tragedy comes to the Belvoir St Theatre with Euripides’ Ancient Greek tragedy, Medea. Proving as relevant now as it was in 431BC, the story's been re-imagined by Kate Mulvany and Anne-Louise Sarks, and produced specially for the Downstairs Theatre. Centred on two ill-fated boys in their final moments, an intelligent, sentimental light is shed on a regular family in an extraordinary situation. Medea runs from October 13-25.

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Between Two Waves [THEATRE] Fear Of The Future By Alasdair Duncan Between Two Waves began life as a film script before Meadows decided to transfer it to the stage, and it has retained certain cinematic elements. The play moves very quickly – very short, sharp scenes, with quick transitions – and it runs for around 100 minutes, the average length of a film. Given Meadows’ film and TV background (you may have seen him in Rush, or before that, in Home And Away), he was excited to bring the immediacy of the screen to the stage, while also exploring possibilities that only the theatre can offer.

There are a lot of dystopian and magical realist elements in the story, including floods and other calamities that play out, and the stage offers a good deal of scope to be imaginative. “I’ve just seen some of the things the design team came up with, and they’re really exciting,” he says. “The Stables is an incredible space, and seeing some of their designs in there, I was blown away. It’s great to have that imagined space, those dreams and that dystopia, realised on stage. There are parts of the play that are quite voyeuristic – we really want you to feel like you’re right there with the characters in their lounge room, and the design team have done a great job of realising that.”

Ian Meadows

What: Between Two Waves When: Friday October 12 – Saturday November 17 Where: SBW Stables Theatre, Nimrod Street, King’s Cross

Fallout

[FILM] Roll On By Sasha Petrova

I

f Freud chucked the word “roller” out during a word-association session, the majority of Australians would offer a dull “skate” or “coaster” – but there would be a thousand or so who’d burst into a loud and confident “DERBY!”.

This group may indeed prove to be the hardest, and perhaps one of the more fascinating, to diagnose.

According to Daniel Hayward, the director of new documentary This Is Roller Derby, the sport (or theatre, depending on who you ask) “doesn’t attract just a certain sort of person. It attracts anyone and everyone.” Clearly Hayward is including himself in this statement. While the filmmaker didn’t sign up to become a Derby Girl in one of the 68 leagues that have rolled out in Australia since Adelaide started in 2007, he immersed himself in the derby phenomenon in a more analytical manner. “The thing that attracted me to it, other than loving the sport and the spectacle of it, was how new it was. You could tell it was going to get bigger and more popular as soon as people started to hear about it and see it, so I thought it was really important to start documenting it while it was really grassroots-y.”

So in 2009, the two-man team of Hayward and cameraman David Hawkins went to Texas to trace the origins of the unique phenomenon. In Dallas, they picked up some history, contacts and a voiceover girl (April Ritzenthaler), and then headed back to the little Victorian town of Ballarat. “The Adelaide League already had a year and a season under their belt. They were at where we ultimately wanted to finish with Ballarat. So it was juxtaposing those two leagues, to see a smaller league building up and then see this bigger league where they’re at and where they’re headed as well.”

A few years later the final product emerged as a respectful, fly-on-the-wall narrative about the trials and tribulations of the Ballarat newbies.

Occasionally, Hayward throws back to the colourful and established leagues in Texas,

offering a view of fast-paced bouts (that’s what the games are called), where sweaty, tattooed women in fishnet stockings slam against each other to country-punk tunes. As one of the characters in the doco puts it: “It’s girls in short skirts knocking each other over.”

But there’s more to it than that. Derby isn’t just a sport – it’s fast becoming a sub-culture; a rockabilly lifestyle in which each derby girl has her own alias. These include Grimy Knickers, Rolla Junky, Skate Bush, Kissy Suzuki and Barrelhouse Bessy. They’re tough, pierced and feminist. There’s an attitude to roller derby that Hayward compares to bikie gangs, carrying around their ideology, always displaying their colours and logos. “A couple of the girls did joke that it was kinda like a mini mafia”, Hayward says.

“We heard of a couple of occasions in America where there were skaters who had gotten divorced or moved interstate to play derby, so there were these extreme examples of women who are like, either stay married or play derby.”

The discarded husbands have even coined a term for this state of affairs: they’ve become Derby Widows. There are other terms too, like that of Derby Wives – girls who have Derby Weddings to others in their league so they can have each other’s backs.

This richness of subject matter is what distinguishes This Is Roller Derby from a sports documentary – in fact, the two aren’t even in the same league. “I didn’t want to just make a film which had a shitload of skating in it. I wanted it to be fun, a good time to watch. It was really about getting to know the women and their motivations and reasons for wanting to do the sport, and then seeing on a day to day level some of the crap that they had to go through,” says Hayward.

Where: Hoyts, Penrith and Hoyts, Entertainment Quarter Moore Park When: Thursday October 11 – Sunday October 14

Fallout

[THEATRE] Just Grow Up By Dijana Kumurdian

M

aree Freeman’s characters aren’t grounded in particulars. They’re types, hyperextended amalgams of traits, at once coarse and raw and uncomfortably pervasive. The Sydney-based writer’s sophomore play Fallout, which debuts at the Old Fitzroy Theatre on October 17, is her second collaboration with Tamarama Rock Surfers (TRS), after last year’s original production Pictures Of Bright Lights. Though still a newcomer, Freeman’s play sees her continue to cultivate her style through uncanny archetypes that represent the crippling anxiety of transitioning into adulthood.

“Pictures Of Bright Lights was looking at that same moment of growing up,” says Freeman, “but that play in particular was looking at the idea of sexual awakening and finding the words to tell your own story. [Like Fallout] it had a very much non-real world kind of setting: I think those are more the spaces that I like to write in. I don’t like to name characters: within my plays I feel like there’s more freedom to let the characters go on a darker journey or a harder journey, maybe, if they’re unnamed. They exist more as a metaphor or an archetype that way.”

Fallout opens to three battered and wounded teenagers in a claustrophobic playroom littered with the artefacts of childhood. It was important for Freeman to make their surroundings seem timeless and impermanent. “There’s an element of old memories and broken toys.

It’s very much a pre-digital feel; it’s more an abacus world than a calculator world. There’s

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a real utilitarian sense to the design concept in that sense of being institutionalised, being left behind, being left to your own devices. Being left to work things out for yourself.”

There is a sense that these characters are being watched, and Freeman is not afraid to let the resulting tension put the audience on edge. A fourth child is noticeably absent and an atmosphere of morbidity weighs on the scene as we come to discover that the children are suffering from an unknown sickness. “They’ve got some sort of illness,” she explains. “And they have to demonstrate somehow – through their behaviour in relation to each other – that they have somehow gotten over this illness.

The power struggle comes to be centred on violence and around human connections, and whether violence may be the key to escape or whether actually forging a connection with somebody or showing that you’re cured is the key. It’s really not set in our world – it’s set in an imagined world, a world where these teenagers, as they are trying to be well or be better, are trying to imitate their idea of what an adult is.”

As well as receiving support from TRS, Fallout adopted a crowd-funding strategy, which Freeman considers a significant part of bolstering the emerging theatre scene. “It’s really challenging working in the independent sector in terms of trying to find funding for projects. We’re working on a really small budget. TRS is being really fantastic in giving us some funds for artists’ fees, which is great,

but we’re trying to supplement that with our Pozible campaign. It’s been really helpful when it comes to getting an independent project up, and yeah, we’ve nearly reached our goal, which is fantastic.

“I think that’s it’s great to be in the position, as an emerging artist, being given a place to tell a new story,” Freeman continues. “That’s how all plays come to be! Somebody somewhere takes a chance – this has happened all throughout history – and says that this director, this writer, this artist, has got something to say, and I will create a space for them

to explore that. I just think that as a whole artistic community we should make sure that there’s a healthy balance between new work and established work, and different cultural perspectives as well.”

What: Fallout Where: The Old Fitzroy Theatre, Woolloomooloo When: Previews from October 11; Season October 17–November 3 More: Donate funds to pozible.com/fallout, and buy tickets at rocksurfers.org

Between Two Waves photo by Katie Kaars

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C

ritics have already begun to describe Between Two Waves, which opens at the Stables Theatre this month, as a story about climate change; but this bothers its creator and star Ian Meadows, who insists that this is not the case. Meadows spent seven years developing the script, the last few of these with the Griffin Theatre Company, and to him it’s a story about human relationships. The lead character, Daniel, is a climate scientist, who is caught between his disturbing visions of the future and the people around him in the present.

A catastrophic flood hits Sydney and sends Daniel into a tailspin, as his work and his life are thrown into chaos. “To me, the play is about how a man’s anxieties about the world can affect his relationships with those closest to him,” Meadow tells me. “As I was creating the character, I was reading a lot of literature about climate change, and the two ideas began to merge. Climate change is the backdrop to the play, but the real question is one of how you can prepare for the future while still living in the present.”

The process of developing the play was a long one, and Meadows credits the Griffin Theatre Company and its studio program with helping him to see it through. Director Sam Strong – whose work Meadows had previously seen and admired at the Belvoir St Theatre – was instrumental in the process.

“Sam had started working with me on Between Two Waves when it was at the film script stage,” Meadows explains, “and when he joined Griffin, he invited me to be a part of the studio program, and I really can’t speak highly enough about that whole process.”

Aside from workshopping with other writers, the program allowed Meadows to stage several readings of the script, a key part of the creative process. “We’ve had about six or seven of those, with great actors coming in to read, so you immediately know what works and what doesn’t. I’m really happy with how the play has developed, which is a huge thing as a writer – I’ve been lucky enough to go through a rigorous development process to get it to this point. The people who support the studio program gave the play every opportunity to get the piece where it needs to be.”

This Is Roller Derby

Film & Theatre Reviews Hits and misses on the silver screen and the bareboards around town.

Private Lives

Arts Snap At the heart of the arts Where you went last week...

■ Theatre

SEX WITH STRANGERS

Reviewed Wednesday September 26 / Belvoir St Theatre Benedick and Beatrice. Ross and Rachel.

George and Martha. The sparring couple sits at the heart of some of the best comedy – and drama – that we have on offer. Add to that list Elyot Chase and Amanda Prynne, once married to each other and now to others. Horror of horrors, they’ve turned up at the same hotel for their new honeymoons.

Within minutes, their attraction to each other is obvious and they have absconded to Paris together, leaving their brand new spouses behind to sort out the mess.

It seems like an inherently comedic setup, and Private Lives has rightfully earned its reputation as a brilliant comedy. But this new production, directed by Ralph Myers, doesn’t shy away from the darkness lurking not-so-hidden around the edges.

Toby Schmitz was probably born to inhabit the blithe and charming, but also deeply frustrated and controlling, Elyot; his performance is nuanced, controlled and subtle. Zahra Newman gives just as good as she gets with her sharp, witty, sexy Amanda.

There are weak spots, however. Alice Babidge’s set works brilliantly for the first act but doesn’t carry the transition to Amanda’s apartment in Paris well. Myers has elected to have the actors speak in their natural voice, but lacks the directorial nous to keep Coward’s trademark wit sparkling in the inherently flat Australian accent. Schmitz and Newman are experienced enough to carry it off, but Eloise Mignon suffers as the pitiable Sibyl, and it would have been nice to see Toby Truslove (as Victor) pushed beyond his usual hapless schtick.

What it’s also not is a particularly incisive or subtle examination of relations between the pre- and post-Facebook/ Twitter generation, or between the sexes.

Those things seem to play out in rather clichéd gags about the young guy who is constantly texting or tweeting or partying with his mates, and the older woman who prefers to stay at home and read a book, and is confused by all this ‘newfangled technology’. That’s not to say that those parts of the play don’t raise a chuckle – they do, and they are pitched perfectly by both actors, who are just delightful on stage. And Eason’s characters work because they prove themselves to be far more multifaceted than these facades.

But it’s all rather low-hanging fruit. One of the play’s more interesting notions – that we now live in a world where we can Google our lovers and thus circumvent the bittersweet process of getting to know them through trial and error and exploration – gets lost in the melee of other words and ideas.

The crux of the play, though, is the relationship between Elyot and Amanda, and it’s pretty easy for anyone who’s ever fought with a lover to understand and fall in love with these two. It’s a story of toxic love, and along with seducing each other, they seduce us, too – even when you know it’s a terrible idea, you’re still rooting for them to make it.

Sex With Strangers works best perhaps as an examination of how writers relate to each other and the world (augmented by a slew of quotes, projected onto the stage, about writing, writers, sex and love by everyone from Ernest Hemingway, Sylvia Plath and Marguerite Duras, to David Foster Wallace and enfant terrible Tucker Max, on whom Corr’s character is probably at least partially based).

The punchline of the play, and its most poignant – “I fell in love with you because of your book, and you fell out of love with me because of mine” – makes all the discussion of whether said books should be e-books or cloth-bound seem like window dressing.

Veronique Valerio

Dee Jefferson

jurassic lounge

25:09:12 :: The Australian Museum :: 6 College St Sydney

a cut stitch

26:09:12 :: The Tate Gallery :: The Toxteth Hotel 345 Glebe Point Rd Glebe

reign of error

PICS :: TL

PRIVATE LIVES

PICS :: TL

■ Theatre

Given its title and the marketing materials, I was sort of relieved to find that this wasn’t a broad comedy built entirely on a gen-tech-divide gimmick.

Laura Eason’s feted play, commissioned by and debuting at Chicago’s Steppenwolf Theatre Company, is rather more substantial than that: it’s a play about an unlikely relationship between a gifted but underachieving writer/teacher in her late 30s (played here by Aussie screen treasure Jacqueline McKenzie), and a roguish upstart who’s trying to convert his overnight success into a more meaningful writing career (played by cheekily handsome small-screen star Ryan Corr). Each has something to gain from the other, and the game – for each other and the audience – is reading between the lines to see just how much of their blossoming relationship is about romance, and how much about exploitation. But it’s not a fun game; it’s a rather poignant one.

PICS :: TL

Until November 24 / Wharf 1

26:09:12 :: Firstdraft Gallery :: 116-118 Chalmers St Surry Hills

Arts Exposed What's in our diary...

LIVING IN A GLASS HOUSE

Gay Is Good by HEESCOE

Sex With Strangers photo Brett Boardman

Until November 2 GLASSHOUSE Shopping Centre, Pitt St Mall

Sex With Strangers

See www.thebrag.com for more arts reviews

Bringing a visual delight to Sydney’s CBD are some of Australia’s most talented street artists with a new exhibition, Living In A Glass House. GLASSHOUSE and aMBUSH Gallery will present a collection of 50 urban and contemporary works at the GLASSHOUSE Shopping Centre until November 2. The show features new and original works from Brisbane artist Benjamin Reeve, some of Melbourne’s AWOL posse – Adnate, Itch, Lucy Lucy and Slicer – as well as Sydney’s own Brett Chan, Bei Badgirl, Bridge Stehli and plenty more. You can expect photorealism, cutesy pop art, girls with animated attitude, and personified animals. As the city starts to buzz and summer slowly creeps up, the exhibition has something to inspire everyone, from your everyday city slicker to the iPhone-happy tourist.

Having already hosted a live paint-off, and taken part in GLASSHOUSE’s 3 Day Festival (where all proceeds went to the Blackdog Institute), be sure you don’t miss the dynamic style of Sydney’s newest public art space. Oh, and all works are available to purchase from aMBUSH’s online catalogue, with every dime going to the artist.

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Album Reviews What's been crossing our ears this week...

ALBUM OF THE WEEK TAME IMPALA Lonerism Modular I knew about ten seconds in to ‘Be Above It’, the opening track on Lonerism, that this album was going to be good.

Just how good, though, wasn’t totally clear until halfway through track four, ‘Mind Mischief’, when I realised: really fucking good. The groove of that song – and the way the riff makes the guitar sound like it’s singing – is spectacular. The entire album is guided by the layered, at-times distorted harmonies of psychedelic warrior and frontman, Kevin Parker. He steers this magical mystery tour with the perfect balance of precision and whimsy.

I had forgotten that you can dream while you’re awake.

Lonerism marks the bands most experimental effort to date. The skate-surf-psych-rock has morphed into a more serious hallucinogenic trip of a sound that The Beatles would be proud of. Through driving drums

DIE! DIE! DIE! Harmony Records Etcetera With each album that Dunedin trio Die! Die! Die! release, they prove themselves to be the complete opposite to a one-trick pony. Each record strives forward from the last, displaying an evolution and maturity in the band’s composition abilities, all the while maintaining the raw aggression they became known for way back in 2005.

And with album number four on the loose, they have once again taken a giant stride forward without forgetting the past.

'Erase Waves' is confronting, the guitar sharply piercing its way through. Frontman Andrew Wilson doesn’t just seem to spit out his words, but hurls them out like barbed projectiles. In a similar vein to ‘Sideways Here We Come’, which was sandwiched between two relentless punk songs on their 2008 album Promises Promises, ‘Seasons Revenge’ is the closest to a croon that Wilson has ever been.

Michael Prain’s rolling drum rhythms are matched with the distorted and lamenting guitar, making for a song that's aesthetically romantic.

and spacey synths, Tame Impala take you to other worlds on this album. Each track is a journey, like ‘Apocalypse Dreams’, a six-minute mind-bender of a song. It seamlessly shifts from an up-beat tempo to a weightless drift, like falling through clouds. Space age sound effects shoot through ‘Why Won’t They Talk To Me?’, as the phrase is repeated over and over until it’s wrapped around your mind so many times that unraveling it will take weeks.

Tapping into your subconscious, Lonerism modernises psychedelia in the same vein as MGMT’s Congratulations.

Sound shifts between speakers, creating a aural surge like a florescent Mexican Wave, as the album explores and expands without self-indulging. There are traces of their dirtier past, like the hypnotic future dancefloor classic ‘Elephant’, but for the most part: prepare for major jam sessions.

Erin Bromhead

HENRY WAGONS

FRIGHTENED RABBIT

Expecting Company?

Spunk Records

State Hospital EP Warner Music

There’s more than a touch of Scott Walker in the opening track of Henry Wagons debut solo outing, Expecting Company?. The opener and (almost) title track, ‘Unwelcome Company’ is dramatic, theatrical and bombastic. It’s immediately clear that Henry has stepped away from Wagons, the altcountry band he’s made five records with, to record a mostly overblown album of duets – and thank Willie Nelson he did, because this may just be his best work yet!

Despite the high calibre of the guests lining up to share Henry’s beer-soaked microphone – and there are a few of them, including Alison Mosshart, Patience Hodgson, Sophia Brous, Gossling and Robert Forster – no one ever outshines the Man In Brown.

In fact, his co-stars only ever serve to further highlight the appeal of his smooth baritone.

Harmony continues to fluctuate with ‘No One Owns A View’, where Wilson returns to his spiteful delivery of words and harsh guitar. ‘16 Shades Of Blue’ begins with waves of light sound, a little white noise breathing in and out, before being abruptly woken from the dream by Wilson’s voice, some angry guitar and Prain’s hasty drums all at once, making for an antagonistic yet completely memorable pop song. Die! Die! Die! have managed to create an abrasive and unforgiving punk album that effortlessly oozes a pop sensibility.

Vocally, Henry sounds as confident as he has on his last two (brilliant) albums, but where before his confidence may have come across as arrogant bravado, he now sounds sincere and genuine.

Sure, he’s still peddling the Nick-Cavein-a-jolly-mood schtick, but with each release that schtick becomes more and more his own. The tone of his voice on ‘A Hangman’s Work Is Never Done’ gives the song a sense of menace, while on ‘Give Things A Chance To Mend’ that same voice allows the song a certain depth and brevity. ‘I Still Can’t Find Her’, a playful story about a broken family tree, posses the best melody on the record. Henry must think it’s pretty good too, because he reprises it, sort of, for the solo acoustic album closer ‘Marylou Two’.

Harmony is a collection of ten brash punk songs that you can sing along to, and Die! Die! Die!’s ability to recreate their brazen live energy is enough to keep you nervous for more.

At the end of Expecting Company?, you’re left feeling emotionally satisfied, thoroughly entertained, and with the sense that Henry Wagons’ masterpiece may be just around the corner.

Alexandra Duguid

Roland Kay-Smith

Listening to Frightened Rabbit’s latest EP, State Hospital, I get that sinking feeling you get when you hear a clever, talented band wave their hands frantically in the direction of radio-play. It’s a common theme: that third or fourth album trade of credibility for airtime.

State Hospital makes me feel the same way I felt hearing Snow Patrols’ Eyes Open for the first time. It’s the sound of a band readying themselves for Grey's Anatomy.

Title track ‘State Hospital’ builds to a climactic release, with each song following cinematic-anthemic-climactic suit. Vocalist Scott Hutchison wails “All is not lost” on the opener, and there are brief moments throughout the EP where his word rings true. Highlight track ‘Boxing Night’, for instance, skips along like a stone skimming water, creating a ripple of ingenuity on the release.

Lyrically, however, Hutchison sounds young and depressed. With a darkness he doesn’t embody, he throws around doomed lyrics like “Walking around like a soldier who’s home from war / Lost in the barren landscape I used to know” on ‘Home From War’, and “As the earth eats itself / Swallows us whole / We will sever ourselves / Switch everything off” in the apocalyptic track ‘Off’.

State Hospital ends on a risky note, with a spoken word introduction to 'Wedding Gloves' featuring Aidan Moffat of Arab Strap, before the song collapses into yet another anthemic rock sing-along. What is most disappointing here is reveling in a song like ‘Swim Until You Can’t See Land’, from 2010 album The Winter of Mixed Drinks, and then hearing the band's five newest tracks...

Coldplay dealt the same hand with X&Y. The honesty is gone, and you can hear when pain is forced.

There is an art to translating a dynamic live sound to the recorded format.

Even well-oiled musical machines like The Roots have struggled at times to bring their raw live appeal to their albums. For some bands, studio recordings just won’t do their sound justice, no matter how talented they may be – especially for a band that relies on crowd participation and enjoys improvisation. While their namesake may be elusive, Melbourne nine-piece Saskwatch have no trouble showcasing their unbridled soulful live sound over the twelve bristling tracks of their studio debut.

The fact that this ensemble has a tight chemistry and have managed to capture it on Leave It All Behind is evident from the first moment, when the opening instrumental track ‘The Delinquent’ kicks in. After the espionage tinged vibes have set the stage, they take the tempo down a little for the slow-burning, lovelorn anthem ‘Don’t Wanna Try’.

Like all classic soul divas, lead vocalist Nkechi Anele delivers every word with a guttural and sensual intensity. Reminiscent of the likes of Bette Davis, Anele’s vocal chops are best showcased on cuts like the standout title track, and the hard-driving ‘Second Best’. The only downfall is a generic one: as a live soul outfit with a sound inspired by classics, it is at times hard to avoid that dreaded tribute or cover band trap, as heard on retro-tinged tracks like ‘Strange Things’. The fact that the album features a cover of the Kylie and Robbie duet ‘Kids’ may not help.

All in all, Saskwatch have delivered a cracking testament to their undeniable talent for crafting nourishing and party-starting soul music.

Andrew ‘Hazard’ Hickey

Erin Bromhead

A Year At Sea HUB The Label/ Inertia There is a lot to be found in the corners of this album if you’re willing to look a little deeper.

The band call their music “songs of the modern wilderness”, a description that certainly rings true here. The sprawling tracks would be equally at home in the Appalachian Mountains as on a sunny Sydney balcony. Winter People may not be the first band to marry folk and rock, but they make an immersive job of it.

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The debut album of the Sydney six-piece, A Year At Sea is a richly evocative study of grief and loss.

It was produced by Tim Whitten (The Go-Betweens) and Peter Katis (The National, Frightened Rabbit), and follows the release of their EP Gallons earlier this year. Singer and chief songwriter Dylan Baskind has cast the net wide when it comes to influences, which keeps things interesting, but he also maintains a thread of consistency that runs through the whole album.

Opening track ‘The Banker’s Lament’ has echoes of Interpol and Editors, and the all-in feel of first single ‘Wishingbone’ recalls the collaborative sound of Arcade

Fire, while maintaining a tone all their own. ‘Two’s Company’ is another highlight, which features lush strings and full-bodied harmonies rising to a noisy rock finish.

The wistful nostalgia of ‘Time Out Of Mind’ complements the gentle picking and honeyed harmonies of ‘Winter Coat’, and the mournful lament of ‘Gallons’ builds and drops off in a teasing relay. On sprawling album closer ‘The Antidote’, strings swell alongside electric guitar, building to a Mogwai-esque wall of sound.

A Year At Sea gently spins desolate tales of loss and woe, but with warmly layered instrumentation that draws you in and lingers long after.

Natalie Amat

Out Of The Black Pod/Inertia

Leave It All Behind Northside/Shock

INDIE ALBUM OF THE WEEK WINTER PEOPLE

BOYS NOIZE

SASKWATCH

Out Of The Black could be held solely accountable for my wanting to submerge myself in nu-disco and electro house again; remember those all-weekend benders, cavorting to beats in subterranean venues around Sydney’s Pink Triangle? Well, I do.

But this is a sound less insistent than The Midnight Juggernauts circa2008, a sound which comes from an acclaimed tastemaker in the dance arena.

The brainchild of German DJ, producer and label head Alexander Ridha, Boys Noize has returned with a tome of a new record, a breathless 14 tracks long. It is derivative as much as it definitive; as soon as you think you can predict what each track will segue into, Ridha reels into new terrain. He unabashedly reveals a penchant for Euro-techno with ‘XTC’, employs overdrive-rock elements with ‘Rocky 2’, and deliberates on classic hip hop half-time with ‘Circus Full Of Clowns’.

His use of samples is elegant; particularly impressive are his drum samples, with a recording technique that favours porous as well as highly polished sounds. It is not a record of beat burn-outs, and it plays with a narrative of space as well as chaos. One area in which Ridha could experiment more is his use of drop-downs for the middle 8 sections; cutting out all bass and building crescendos time and time again becomes monotonous after a while.

There are a host of crowd favourites peppered throughout the record, Snoop Dogg, Siriusmo and Gizzle to name a few. Yet the star power behind it doesn’t eclipse the fact that Boys Noize himself is still a trailblazer in the EDM scene.

This is buzzsaw-electro at the forefront: taut, stylistically assured, and cattle-prodding me to dance.

Elle Kennard

OFFICE MIXTAPE And here are the albums that have helped BRAG HQ get through the week...

DELICATE STEVE - Positive Force KING TUFF - King Tuff JESSE BOYKINS III & MELO-X - Zulu Guru

KISHI BASHI - 151a NICHOLAS JAAR - Space Is Only Noise

Remedy

More Than The Cure Since 1989 with Murray Engleheart

CRY ON FIRE

It’s not often we tear up, but sometimes it’s such a pleasure to bear witness to particular moments in life that a bit of duct action is simply unavoidable. Standing before High On Fire at the Manning Bar was such an instance. They were absolutely magnificent, with a wall of raw power metal that spanned their entire career and confirmed that they own a space just as unique and important as the likes of Poison Idea, Saint Vitus, Pentagram, Goatsnake and Black Flag.

And Matt Pike’s voice maybe the greatest fit for a band since Lemmy began croaking up into the mike for Motörhead, or since Tim Hemensley fronted The Powder Monkeys.

And we’re pleased to say that his new-found sobriety hasn’t diminished the great man’s physical appearance one bit; he still looks like a roadie from one of Sabbath’s early tours. Bottom line is this: High On Fire deserve to be rich, to be making 3D movies, having their own festival, shooting a film about inner dysfunction, having huge art collections and only drinking the very best red wine. That would be right and proper.

But in all honesty, and yes, quite selfishly, we’re happy for them to remain the greatest underground metal band on the planet.

Precious? Us? You bet.

SILLY BILLIE

We’ve thought for quite a while that Green Day can do whatever the hell they want.

That includes multiple Use Your Illusion-type slab extravaganzas with the Uno!, Dos! and Tre! trilogy over the next few months – and Broadway musicals. We don’t care.

Their hearts and integrity are in tact, and we happen to think that when the rapture comes, Billie Joe Armstrong will stand head and shoulders over his contemporaries as one of the great songwriters of the age in

any genre. But then he had that turn in Las Vegas a few weekends back, kicked down all his promise and hard work, and placed himself right back at square one. Sigh…

A subsequent remark by Trevor Dunn, nowadays of Melvins Lite, on Spin.com: “That guy’s main problem is that he doesn’t realize that he is Justin Bieber.”

ROCK’N’SOUL

The Jon Spencer Blues Explosion are back with a God-, fire- and bright sunlightfearing vengeance with their long-awaited new LP, Meat And Bone. We didn’t think it was possible for anyone to re-tap the howling lo-fi garage raunch’n’roll chaos of the Blues Explosion’s early carnage – least of all these guys themselves – but that’s what they’ve done, and in a most righteous manner. They’re back and they’re bug eyed, testifying for real rock’n’soul once more. It’s Orange and Extra Width all over again, with a renewed sense of blood, sweat, semen and dirty fingernails; it’s what the world’s been missing, basically. They reportedly destroyed at a small club show in London on September 26, and with fuel like Meat And Bone that’s hardly surprising.

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THE MARK OF CAIN

The Mark Of Cain’s mind- and speakerblowing new slab, Songs Of The Third And Fifth, will be out on November 2. It finally shows everything that these guys do so well in the proper light and focus, and is the recording that they’ve been carrying deep inside from day one. If you have worshipped TMOC in the past, you best start working on a new submissive position. And if you’ve been wondering if Henry Rollins is still a proud card-carrying fan of the trio, wonder no more: Hank guests on a track called ‘Grey 11’.

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On the Remedy turntable is Swans’ new epic, The Seer, which is simply the most powerful symphony of extreme sounds we’ve heard in a long while. Actually, it’s probably the most powerful music – period – that we’ve taken in in years. The centrepieces are three very long songs including the title track, which clocks in at 32 minutes and sounds like one of those controlled building collapses placed on a tape loop. The music heaves from one place to the next, or slowly builds one, at first barely noticeably, beat or pattern at a time. Elsewhere on the shorter material there’s a tone and ambience that’s fragile at times, almost pretty – but it’s the heavy metal Wagner thunder that had us utterly rooted to the spot. If the original convulsion-inducing funeral march rhythms of Swans left you cold, The Seer is a whole other beast, and might well be the best way to come to grips with the modern day greatness of Michael Gira. But be warned: you will need two hands to get a firm hold. Maybe more.

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TOUR AND INDUSTRY NEWS Bob Mould, the former Hüsker Dü dude, Sugar man and wrestling nut who, while working for what became the WWE, once drew the short straw and was despatched to tell Hulk Hogan what his new storyline was going to be, will be back in Australia in March. Better still, he’ll be playing Sugar’s Copper Blue album from start to finish along with stuff from his new effort, Silver Age. He’ll be at The Factory Theatre on March 9.

My Bloody Valentine will be at The Enmore on February 18. Would you like tinnitus with that?

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On February 22, Einstürzende Neubauten will be at The Enmore.

The Doomsday Festival returns in October with headliners The Atomic Bitchwax, from New Jersey. The festival hits the Sandringham on October 12, with Clagg, Daredevil, Arrowhead and Law Of The Tongue in support. Then on October 13, they head down to the ANU Bar, Canberra with Mother Mars, Fattura Della Morte, Law Of The Tongue and Marcus DePasquale.

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Send stuff to remedy@ozemail.com.au by 6pm Wednesdays.

Pics to art@thebrag.com www.facebook.com/remedy4rock

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W W W. L I ZOT T E S.CO M.AU BRAG :: 483 :: 08:10:12 :: 27

live reviews what we've been to see...

THE PRESETS (SECRET SHOW)

SOUND SUMMIT: TWERPS, GOOCH PALMS, HIGH WOLF

It was their first non-festival show since 2009, and The Presets, who took over the Hi-Fi last Wednesday night, were obviously psyched to get back to playing in their hometown. The show was kept secret until a few hours before doors, and those who got to attend were privy to a “dress rehearsal” of the energised performance they were to give at Parklife the following Sunday. Sydney DJ/producer Beni opened with a glam house/electro set which lasted for more than an hour, so by the time it was over the now-imposing crowd was squirming for The Presets to start.

It was a 32-degree spring afternoon on the Friday of Labour Day weekend, and I was stuck (virtually parked) on a road somewhere between Sydney and Newcastle, trying to make it in time for Sound Summit’s Friday night showcase.

(Worse than that, my cargo – or as he’d rather be called, my "friend" – had put on his “Wuss Rock” playlist, which quickly degenerated from Marcy Playground and Natalie Imbruglia’s pop brilliance to a former Spice Girl’s nasal falsetto). The point is, the drive took a while, which means we missed out on openers Secret Birds and caught only a few songs from Adelaide synthstress Stacey Wilson, aka Rites Wild.

As we walked in, the crowd stood transfixed, barely touching their enormous Zamkowes, letting Wilson’s spooky, reverb-coated vocals and doomy keys build before them like an ominous wave. She’s kind of like a one-woman Bauhaus.

The Croatian Club, Newcastle Friday September 28

The Hi-Fi Wednesday September 26

DEFEATER, BLACKLISTED The Annandale Saturday September 29

Defeater is one of those bands whose live shows are consistently met with pants-wetting excitement by the kind of people who like hardcore, but are also totally cool with feeling feelings (is post-hardcore the one where it’s okay to cry?).

This time, fellow Americans Blacklisted joined as main support, bringing with them the requisite aggressive brevity, as well as some surprisingly lengthy ‘90s-style tracks from their most recent album, 2009’s No One Deserves To Be Here More Than Me. People seemed suspicious of the newer material, particularly the balladic track that bewilderingly happened midway through the set; aside from the throbbing horde of diehards up front, the crowd was a sea of Instagram-checking and uninterested beer-sipping. But the more straight-up, tough guy stuff (aka meathead-core) reeled people back in, especially George Hirsch’s antics, encouraging gang vocals by shouting “I have nothing to prove!” or treating the mic like it was a calisthenics ribbon.

Just like their 2011 tour with Miles Away and Fires Of Waco, Defeater’s live show didn’t disappoint. The bulk of the setlist consisted of songs from last year’s Empty Days & Sleepless Nights, delivered with as much conviction as they could possibly muster. Kids in the mosh tapped into their teen angst and threw limbs like they didn’t need them anymore, thrashing around to Andy Reitz’s relentless and precise drumming, encouraged by the eloquent intertwining of melodic guitars.

New album Pacifica had never been performed live before, and this was clearly what people had come to see. The anthemic vocals and tombashing of ‘Ghosts’ and the dark chanting and wriggly synths of ‘A.O.’ got people dancing, but it was ‘Youth In Trouble’, with its huge buildto-bass-drop pay-off and frenetic light show, that really killed (and would’ve ruled at Parklife). Julian Hamilton’s voice was just as great as I remembered it from their Beams tour, and this time was supported

by Kim Moyes playing a giant xylophone between manning the effects board or supplementing backing tracks with elemental disco drumming.

Up next, Cleveland loop-wizard Radio People created a swarm of layered synth parts which would have had any Sydney crowd losing their shit at 2am (unfortunately, 8pm at the Croatian Club didn’t really suffice).

After that, the ever-elusive French guitar shaman High Wolf impressed the cross-legged crowd with his hypnotic, psychedelic solo set.

And now for the fun bit. The Gooch Palms’ set proved Leroy and Kat know exactly how to command their hometown stage in all their brazen fuck-you-we’re-freaks glory. What they call “Shit Pop” involves naked Ramones covers (expect to see some shaft), early-punk power chords, and a cute girl playing drums and Theremin at the same time. It was awesome, and really set the mood for Melbourne’s Twerps, whose dreamy garage romanticism is always met by an ecstatic crowd. Everyone hurled “oooh"s towards the stage during ‘Coast To Coast’, undeniably proving that these experimental-musicfestival-goers were revelling in their communal cry: “Fuck yeah, Australian music!” See you next year, Newcastle.

Most interesting for me was the way the guys adapted their older material to fit with Pacifica and the live show that goes with it. ‘Are You The One?’ was different than I’d ever heard it before – it was much darker and gloomier, but elicited no less excitement in its syncopated, clap-filled breakdowns. ‘I Go Hard, I Go Home’ was another Beams classic given Pacifica treatment, but ‘This Boy's In Love’ and ‘Kicking And Screaming’ stayed pretty true to their originals. ‘Talk Like That’ was a satisfying exercise in delay/reverb, and as expected, one of their most successful commercial singles, ‘My People’, was delivered to a huge response. Without a doubt, The Presets are glad to be back – and their fans are glad to have them.

Dijana Kumurdian

Dijana Kumurdian

INA CLARKE

OUR PHOTOGRAPHER :: KATR

Derek Archambault’s just-about-to-cry vocals dominated the show, apart from the change of pace that happened during the customary acoustic section that the band’s become known for.

Archambault’s bandmates left the stage as his scream dissipated for ‘I Don’t Mind’, which I was genuinely surprised didn’t elicit a raised-lighter tribute from the misty-eyed crowd. Defeater’s is a satisfying show for their tightness as a band, but also for their versatility, which allows a crowd to both thrash around and swoon over a dude’s sweet singing voice.

REGURGITATOR, SENYAWA, HEDGEHOG The Hi-Fi Sydney Saturday September 29

Regurgitator’s longevity in the music business is nothing to be baulked at. Their success has not only spanned the length of two decades, but also the width of an audience cross-section that has taken in pop, electro, dance, hard rock, alternative, rap, and experimental music fans. You can only imagine, then, how hard many found it to select the perfect outfit for Saturday’s show.

Dijana Kumurdian

Those clad in indie garb were not at all self-conscious throughout first support Hedgehog’s set. The Beijing trio demonstrated enough prowess with effects boards and sample pads that, if your eyes were closed, you could easily assume you were listening to a 30-piece electronic orchestra – one held together by an astonishingly accomplished indie/ soft-rock drummer who just so happened to be a girl, around five foot tall, named Atom.

The fashionable blunders of the crowd became irrelevant when Indonesian experimental duo Senyawa took to the stage.

Corporate suits, AFL jerseys, metal shirts and paisley frocks united in drooling over vocalist Rully Shabara’s multi-octave range, yelps and growls, and the home-made instrument hand-crafted by Wukir EISERMANN OUR PHOTOGRAPHER :: SASKIA

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INA CLARKE OUR PHOTOGRAPHER :: KATR

Suryadi out of one long piece of bamboo, which features “guitar pick-ups, amplified and processed through several effects pedals, but is at times played as an acoustic instrument, percussion instrument or bowed like a cello”.

The crowd almost didn’t have a chance to process the matching acid-wash doubledenim ensembles of Regurgitator (including ‘Gurge-patched biker jackets available at the merch desk) before they slammed their way straight into Tu-Plang’s ‘I Sucked A Lot Of Cock To Get Where I Am’. Later on we were momentarily blinded by the skin-tight silver polyester suits as the band launched into Unit opener ‘I Like Your Old Stuff Better Than Your New Stuff’ (a sentiment echoed by a young lady in the bathroom, who declared she liked Regurgitator’s “old-old stuff better than their old stuff”.)

The dazzlingly absurd costumes were only part of the sheer awesome that was Regurgitator’s 'Retroteching' live show, as they presented their two first and most successful albums back to back. Visual projections of everything from Polyester Girls to giant genitals, bursts of ridiculously tight rap from both Quan and Ben, a deafening audience sing-along of ‘Black Bugs’, a spontaneous circle pit during ‘I Piss Alone’ and an unexpected encore of ‘Bong In My Eye’ were highlights, punctuating a wall of energy that didn’t falter even slightly during the two hours. Most importantly, it was an energy that matched, if not surpassed, that of their heyday.

Sheridan Morley

snap

mum's 5th b'day

PICS :: TP

up all night out all week . . .

bec & ben

PICS :: TL

28:09:12 :: World Bar :: 24 Bayswater Rd Kings Cross 9357 7700

peter combe

PICS :: PX

28:09:12 :: Brighton Up Bar :: 1/77 Oxford St Darlinghurst 9361 3379

29:09:12 :: Oxford Art Factory :: 38-46 Oxford St, Darlinghurst 9332 3711

party profile

kooii It’s called: Call Out EP launch It sounds like: Soul of this time and place, speaking and dancing through music pieced together with fragments of African, reggae and funk reflections.

Acts: Kooii, The Strides (featuring MC Mana), Sky Lounja (NZ), and Bam Bam Boogie.

Sell it to us: Two of the country’s finest cultivators of roots music, Kooii and The Strides, come together with the injection of New Zealand’s MC Mana (of Salmonella Dub and Shapeshifter), his group Sky Lounja, and the local dancing hearts of Bam Bam Boogie. The show will celebrate Kooii’s third release over their ten-year existence, an EP named Call Out. It’ll also celebrate the gathering of these great musicians and performers together for the sake of music-making, dance-generating and good times in the concrete jungle.

The bit we’ll remember in the AM: Eyes.

Crowd specs: Have a pumpin' heart.

Wallet damage: $20 Where: Bluebeat / 16 Cross Street, Double Bay When: Saturday October 13

:: NOHMON ANWARYAR :: ANNA S : TIM LEVY (HEAD HONCHO) :: THOMAS PEACHY :: OUR LOVELY PHOTOGRAPHER MAR LEY ASH :: KIA EISERMANN BROWN ::KATRINA CLARKE :: SAS PEDRO XAVIER

BRAG :: 483:: 08:10:12 :: 29

snap sn ap

we come out at night

PICS :: PX

up all night out all week . . .

king gizzard & the lizard wizard

PICS :: AB

the script

24:09:12 :: Metro Theatre :: 624 George St Sydney 9550 3666

PICS :: TL

30:09:12 :: Q Bar :: 2/44 Oxford St Darlinghurst 9360 1375

28:09:12 :: Oxford Art Factory :: 38-46 Oxford St, Darlinghurst 9332 3711

emergenza party profile

It’s called: Emergenza's Battle Of The Bands It sounds like: New South Wales’ finest rock, indie and folk acts duking it out for the Emergenza title.

Acts: Halfway Homebuoy, Paratopia, DryDock, Tiger & The Rogues, Justine, Burning The Blue Sky, Auribus & Cascade.

Sell it to us: Big venue, rocking bands, and booze. Lots of booze. Halfway Homebuoy will also be launching their brand new single ‘Kings Cross’, so come and hear it before everyone starts talking about it.

The bit we’ll remember in the AM: You’ll remember some of the hardest working bands in NSW playing killer sets – and then you'll look up where they'll be playing next, so you can get out and support them all again.

Crowd specs: Rockers, freaks, and a bunch of geeks.

Wallet damage: $28 at the door / $20 from the band if you hit them up for presale.

Where: The Factory Theatre

goodgod b'day: smash hits

the standard

PICS :: KC

29:09:12 :: Goodgod :: 53-55 Liverpool St Sydney 8084 0587

29:09:12 :: The Standard :: 3/383 Bourke St Darlinghurst 9331 3100 30 :: BRAG :: 483 :: 08:10:12

:: NOHMON ANWARYAR :: ANNA S : TIM LEVY (HEAD HONCHO) :: THOMAS PEACHY :: OUR LOVELY PHOTOGRAPHER MAR LEY ASH :: NN RMA KIA EISE BROWN ::KATRINA CLARKE :: SAS PEDRO XAVIER

PICS :: PX

When: Thursday October 11, 7pm

BRAG :: 483 :: 08:10:12 :: 31

g g guide gig g

send your listings to : gigguide@thebrag.com

THURSDAY OCTOBER 11

Tortoise

The Hi-Fi, Moore Park

Tortoise (USA), The Laurels, Sleepmakeswaves $45 (+ bf) 7.30pm

Ian Blakeney Dee Why RSL Club free 6.30pm Verge Arts Festival 505 Venue, Surry Hills $10 8.30pm

Mandi Jarry Duo Maloney’s Hotel, Sydney free 8.30pm Nick Van Breda, Nathan Martin Botany View Hotel, Newtown free 7.30pm OMG Scruffy Murphy’s Hotel, Sydney free 10pm Reality Bites, The Jerks, Old Spiced Boys The Three Wise Monkeys, Sydney free 9pm Rob Henry The Observer Hotel, The Rocks free 8.30pm Songwriters Association Open Mic Bald Faced Stag, Leichhardt free 7pm

ACOUSTIC & FOLK

JAZZ

TUESDAY OCTOBER 9

ACOUSTIC & FOLK

MONDAY OCTOBER 8 ROCK & POP

Carl Fidler The Observer Hotel, The Rocks free 8.30pm Monday Jam Lansdowne Hotel, Chippendale free 8pm

JAZZ

Russell Neal, Eva-Maria Hess, Massimo Presti, Collin Gosper, Samantha Johnson, Jon Needham, Chris Brookes Kellys On King, Newtown free 7pm

OCK & POP

Adam Pringle and Friends Downstairs, Sandringham Hotel, Newtown free 8pm Bernie Segedin Dee Why RSL Club free 6.30pm Home Blitz (USA), Raw Prawn, Drum Drum The Square, Haymarket $12 8pm Jurassic Lounge: Mrs Bishop, Phebe Starr, Golden State, Slow Blow, DJ Danny The Austalian Museum, Sydney $14 5.30pm

DIG (Directions In Groove), Jade Bootay Brass Monkey, Cronulla 7pm Jazzgroove: Ben Carr Trio, 10 Guitar Project 505 Venue, Surry Hills $8 (conc)–$15 8.30pm

Andrew Denniston, Peter Williams Harbour View Hotel, The Rocks free 7pm Australian Songwriters Association The Bald Faced Stag Hotel, Leichhardt free 7pm Carolyn Woodorth, Jonno Read, the Backyard Bandicoots, James Seymour, David Sattout, Ross Bruzzese, Michael Scott, Cathryn Dorahy Merton Hotel, Rozelle free 7.30pm Darren Bennett, James Stewart Keene, Peter Phelps George IV Inn, Picton free 7.30pm

Russell Neal Taverners Hill Hotel, Leichhardt free 7pm

WEDNESDAY OCTOBER 10 ROCK & POP

Andy Mammers Duo Maloney’s Hotel, Sydney free 9pm Avalanche City (NZ), The Falls, Conics Beach Road Hotel, Bondi free 8pm Brendan Deehan The Observer Hotel, The Rocks free 9.30pm Conversations With Ghosts: Paul Kelly, Genevieve Lacey, James Ledger Capitol Theatre, Haymarket $99 8pm Dereb The Ambassador Macquarie Hotel, Sydney free 8pm Directions In Groove (DIG) Brass Monkey, Cronulla 8pm The Drifting, Dan Hopkins & the Generous Few, NatashaEloise Andrade Notes Live, Enmore $15 7pm Flyte The Orient Hotel, The Rocks free 9pm Gang Of Brothers, Lionel Cole Rock Lily, The Star, Pyrmont free 7pm Jamie Lindsay Northies, Cronulla free 7.30pm Josh McIvor Mean Fiddler, Rouse Hill free 6pm Live And Local: Where And Back, The Lyrics, The Bopulaters Lizotte’s Restaurant, Dee Why $15 7.30pm Musos Club Jam Night

JAZZ

Jo Elms Dee Why RSL Club free 6.30pm Tal Cohen Quartet, Jamie Oehlers 505 Venue, Surry Hills $10 (conc)–$15 8.30pm

ACOUSTIC & FOLK

Andrew Denniston Cat and Fiddle Hotel, Balmain free 7pm Brett Winterford, Paul Greene, Melanie Horsnell The Newsagency, Marrickville 8pm Captain Obvious Acoustic Night Noodle Markets, Hyde Park North, Sydney free 8pm The Folk Informal: Anabelle Kay, BowTie, Alex Watts, Charles Buddy Daaboul FBi Social @ Kings Cross Hotel $10 6pm Greg Sita, Naomi Crain Cookies Lounge and Bar, North Strathfield free 6.30pm Helmut Uhlman The Loft, UTS, Ultimo free 6pm Russell Neal, Gavin Fitzgerald, Ken Mclean, John Chesher Coach & Horses Hotel, Randwick free 7pm

THURSDAY OCTOBER 11 ROCK & POP

031 Rockshow Scruffy Murphy’s Hotel, Sydney free 10pm 3 Way Split Scruffy Murphy’s Hotel, Sydney free 11pm Anthems Of Oz The Orient Hotel, The Rocks free 9pm Bang!: The Cairos, Underlights, The Nectars Annandale Hotel free (early bird)–$10 7.30pm Blake Pardey, Broken Hands, Night Attack Valve Bar & Venue, Tempe 7pm The Eastern (NZ) Camelot Lounge, Marrickville $15 7pm Edward Deer, Piers Twomey, Miss Little The Green Room Lounge, Enmore free 8pm Goldsmith, Arcade Mode, Young Mayfair, Amy Rose FBi Social @ Kings Cross Hotel $10 8pm Guerre, Nakagin, Wooshie The Standard, Darlinghurst $5 8pm The H.P Coronados Harold Park Hotel, Glebe free 7.30pm Hat Fitz & Cara Robinson Lizotte’s Restaurant, Dee Why $24 8pm Hot Damn!: Skyway, Built On Secrets, Monuments, Your Weight In Gold, The

Playbook Spectrum, Darlinghurst $15 (guestlist)–$20 8pm Kade & The Karneez, Five Coffees, Aaron Cornelius, Dane Overton, Kristie Mellor Sandringham Hotel, Newtown $10 6.30pm King Tide, Righteous Voodoo, DJ Soup Rock Lily, The Star, Pyrmont free 6pm Kirin J. Callinan Oxford Art Factory, Darlinghurst $15 (+ bf) 8pm Mick Aquilina Bankstown Sports Club free 8pm Musos Club Jam Night Carousel Hotel, Rooty Hill free The Phonies, Big Village Guests Macquarie Hotel, Sydney free 8pm Richard Calabro’s AlphaOmega Guitar Trio Brass Monkey, Cronulla $19.90 7pm The Rockwells Downstairs, Sandringham Hotel, Newtown free 8pm Strangers, King Of The North The Lansdowne Hotel, Chippendale free 8pm Sydney Sound Big Band Rockdale RSL Club free 8pm Teal, Aerials, Cuervo Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm Tenniscoats (JPN) The Square, Haymarket $15 8pm Tigertown Brighton Up Bar, Darlinghurst 8pm Tortoise (USA), The Laurels, Sleepmakeswaves The Hi-Fi, Moore Park $45 (+ bf) 7.30pm

JAZZ

Brazilian Love Affair 505 Venue, Surry Hills $10 (conc)–$15 8.30pm The Glenn Miller Orchestra State Theatre, Sydney $79.90–$98.90 8pm Keyim Ba (West Africa), Epizo Bangoura The Basement, Circular Quay $25 (+ bf) 7.30pm Lionel Robinson Dee Why RSL Club free 6.30pm Orly, Carrie Lakin Blue Beat, Double Bay $18 (+ bf) 7pm Peter Head Harbour View Hotel, The Rocks free 8pm

ACOUSTIC & FOLK

Captain Obvious Acoustic Night Noodle Markets, Hyde Park North, Sydney free 8pm Joanne Hill Corrimal Hotel free 7.30pm Russell Neal Forest Lodge Hotel, Glebe free 7.30pm TAOS, Laura Bishop, Spencer McCullum, Nick Domenicos Kogarah Hotel free 7pm

FRIDAY OCTOBER 12 ROCK & POP

The Beautiful Girls Mona Vale Hotel 8pm Blues Control, Ruined Fortune Band, Mob & Jon Hunter, DJ Melblank The Square, Haymarket $15 8pm Cade, Stolen Memories, Adam Tripodi Band, Lady In Wait Valve Bar & Venue, Tempe 7pm Collarbones, Naysayer & Gilsun, Gnome The Standard, Surry Hills $12 (+ bf) 8pm The Dead Love, Blackbreaks, The Hungry Mile, Safer With Wolves Annandale Hotel $15 8pm Diesel The Cube, Campbelltown $40 8pm Doomsday Festival: The Atomic Bitchwax (USA), Clagg, Daredevil, Arrowhead, Law of the Tongue Sandringham Hotel, Newtown $30 (+ bf) 8pm Everclear (USA) The Hi-Fi, Moore Park $55 (+ bf) 8pm The Fearless Vampire Killers, Oxbvld, Black Lakes FBi Social @ Kings Cross Hotel $10 (+ bf) 8pm Finn Edgeworth Tavern free 8.30pm First Ladies of Soul: Jo Elms, Kit Hart, Liza Ohlback Notes Live, Enmore $34.70 7pm The Foodcourt Allstars, Pretend Eye, Dead Johnny Roxbury Room, The Roxbury Hotel, Glebe $10 8pm Gang of Brothers Macquarie Hotel, Sydney free 8pm Go With Colours, Tales In Space, Alice Terry The Lansdowne Hotel, Chippendale free 8pm The Green Day Show Scruffy Murphy’s Hotel, Sydney free 10.30pm Hat Fitz & Cara Robinson (IRE) Camelot Lounge, Marrickville $18–$20 7.30pm Hue Williams Tea Gardens Hotel free 8.30pm The Headliners Westmead Tavern free 6.30pm James Parrino The Orient Hotel, The Rocks free 5pm JD’s Trio Dooleys Lidcombe Catholic Club free 8.30pm Josh Pyke, Jack Carty Fitzroy Hotel, Windsor $30 (+ bf) 8pm Jukebox Jive Rockdale RSL Club free 8pm Josh Pyke

“I think we’re going crazy. Her left eye is lazy. She looks so Israeli. Nicotine and gravy” - BECK 32 :: BRAG :: 483 : 08:10:12

Tortoise phot by Jim Newbery

pick of the week

Bald Faced Stag, Leichhardt free 8pm Nicky Kurta Summer Hill Hotel free 7.30pm Olympic Ayres FBi Social @ Kings Cross Hotel free 1pm Reverse Grip (CAN), Trush, Rattlesnake, Become the Catalyst Valve Bar & Venue, Tempe 7pm Senani The Basement, Circular Quay $15 (+ bf) 7.30pm Steve Tonge Duo O’Malley’s Hotel, Darlinghurst free 9.30pm The Widowbirds, Amy Vee The Green Room Lounge, Enmore free 8pm

g g guide gig g send your listings to : gigguide@thebrag.com

Brothers Grim & The Blue Murders Kate Lush, Miss Elm, Ali Penney & The Money Makers The Eastern Lounge, Roseville $17 (presale)–$20 7pm Koppen Terrace Ramsgate RSL, Ramsgate Beach free 8pm La Vista Petersham RSL Club free 8.30pm MUM: Damn Terran, Bang Bang Rock ‘n’ Roll, Danger Dannys, Doc Holiday Takes The Shotgun, Thunderthief, Jeff Chinky Fanclub, Colonies, Wolfden DJs, MUM DJs The World Bar, Kings Cross $10-$15 8pm The My Tys Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm New Empire, Goldsmith, Karl Broadie, Kristy Lee Upstairs Beresford, Surry Hills free 6pm Oliver Goss Duo Customs House Bar, Sydney free 7pm Original Sin INXS Show, Swingshift Cold Chisel Show Penrith RSL free 9pm The Paper Kites, The Art of Sleeping, Battleships Oxford Art Factory, Darlinghurst $18 (+ bf) 8pm Pink Chevys Bankstown Sports Club free 9pm Pony Face, Bambino Koresh The Green Room Lounge, Enmore free 8pm Powderfinger Show Ettamogah Pub, Kellyville free 9pm Prog Corps: Caligula’s Horse, Hemina, Avarin, Carmeria The Bald Faced Stag Hotel, Leichhardt 8pm Proud Mary – Creedence Clearwater Revival Tribute Lizotte’s Restaurant, Dee Why $43 8pm Reckless The Orient Hotel, The Rocks free–$5 9.30pm Roots Spectrum, Darlinghurst $10 8pm Sharon O’Neill (NZ) Brass Monkey, Cronulla $30.60 7pm Shit Weather, Thorax, Spoonfed, Osedax, Laughter is Bourgeois The Red Rattler, Marrickville 8pm Small Town Incident, Wedgetail, The Dave Fletcher Band, Blood Relative Black Wire Records, Annandale 7.30pm Smotherbox, Bollywood/ Tollywood Sydney Livehouse @ Lewisham Hotel $12 8pm Something For Kate, Ben Salter Metro Theatre, Sydney sold out 8pm The Stage Door Johnnies Lizotte’s Restaurant, Dee Why $54–$96 (dinner & show) 8pm Thumper, Noliver Fig, Particles, Beef Jerk Annandale Hotel free 8pm

A Tribute To John Lord: Organ In Rock, Lachy Doley Old Manly Boatshed $18 (+ bf) 8pm The Trobes, Busy Kingdom, Brother Funk, Jordan C Thomas Trio The Lair, Metro Theatre, Sydney $10 (+ bf) 8pm

JAZZ

Directions In Groove (DIG), Laura Stitt, Righteous Voodoo The Basement, Circular Quay $35 (+ bf) 7.30pm The Glenn Miller Orchestra State Theatre, Sydney $79.90–$98.90 8pm Matanza Blue Beat, Double Bay $20 (+ bf) 7pm Sonic Mayhem Orchestra 505 Venue, Surry Hills $15 (conc)–$20 8.30pm Ten Part Invention The Sound Lounge, Seymour Centre, Chippendale $20 (student)–$25 8.30pm

ACOUSTIC & FOLK

Captain Obvious Acoustic Night Noodle Markets, Hyde Park North, Sydney free 8pm Russell Neal, Vanessa Heinitz, Matt Lyons, Steve Clark Cat and Fiddle Hotel, Balmain free 8pm

SATURDAY OCTOBER 13 ROCK & POP

At Last: The Music of Etta James: Billy McCarthy, Iny, Elana Stone, Sally Stevens The Basement, Circular Quay $30 (+ bf)–$84.80 (dinner & show) 7.30pm B-Massive Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm Bandits Band Ramsgate RSL, Ramsgate Beach free 8pm The Beautiful Girls Mona Vale Hotel 8pm Berkshire Hunting Club, I Am Duckeye, Ugly Bich, Swine, Hivemind, Pickled Tink The Square, Haymarket $15 7pm Bigphallica, DJ Urby Rock Lily, The Star, Pyrmont free 7.30pm Bonny Read, Fire Till Dawn, Footsie & The Psychos, Asthena Roxbury Room, The Roxbury Hotel, Glebe $12 8pm Bushwackers Cat & Fiddle Hotel, Balmain $15 (conc)–$20 8pm The Crawford Brothers Ruth Cracknell Room, Sydney Theatre, Walsh Bay free 8pm Darren Percival Newport Arms Hotel free 3pm The Dead Heads, The Hollow Bones, BXF, Blind Valley Annandale Hotel $10 8pm The Defects, Bastard Squad Sandringham Hotel, Newtown 8pm

Dick Diver, Bed Wettin’ Bad Boys, Beef Jerk, Yard Duty FBi Social @ Kings Cross Hotel, Darlinghurst $12 8pm Drillsaw, Gore Reaper, Til Rapture, From Death Till Rebirth Sydney Livehouse @ Lewisham Hotel $12 8pm Drunken Moon Festival: Brothers Grim & The Blue Murders, Gay Paris, Jackson Firebird, Mother & Son, Howlin’ Steam Train, Papa Pilko & The Bin Rats Manning Bar, Sydney University, Camperdown $25 (+ bf) 7pm Endless Summer The Orient Hotel, The Rocks free–$5 9pm Festering Drippage, Dark Horse, New Blood, Burial Chamber, Throat of Dirt, Infested Entrails, The Holiday Project Valve Bar & Venue, Tempe 6pm Funpuppet Penrith Panthers free 10pm Geoff Yule Smith Sir Stamford, Circular Quay free 6.30pm Girls Of The Golden Age Of Rock: The Starliners Sutherland United Services Club free 8pm Grooving Hard Campbelltown RSL free 9pm Hue Williams Crown Hotel, Sydney free 8pm Ipanema Bankstown Sports Club free 9pm Jimmy Bear The Orient Hotel, The Rocks free 4.30pm Kissteria Notes Live, Enmore $30 (+ bf) 8pm Kooii, The Strides, MC Mana (NZ), Sky Lounja (NZ) Blue Beat Bar & Grill, Double Bay $20 (+ bf) 7pm Maroon 5 (USA), Evermore (NZ), The Cab Sydney Entertainment Centre, Darling Harbour $99.95 (+ bf) 7.30pm Mekare-Kare (JPN), Dead China Doll, Bamodi, Making Black Wire Records, Annandale $10 7pm allages Mick Aquilina Regents Park Sporting & Community Club free 6.30pm Original Sin INXS Show Hurstville RSL Memorial Club free 9pm The P!nk Show Richmond Inn free 10pm Peter Northcote’s Drive, Brydon Stace, Virginia Lilye Brass Monkey, Cronulla $29.60 7pm Petulant Frenzy Play Frank Zappa Live at the Brewhouse, King St Wharf, Sydney $25 (+ bf) 7.30pm Pickpockets And Rascals: Michael O’Donnell And His Orchestra Of Thieves, Olivia Jea, Kay Proudlove The Red Rattler, Marrickville $10 7pm Re-groove Duo Dooleys Lidcombe Catholic Club free 8.30pm Regular John, Songs, Glitter Canyon Annandale Hotel $12 (+ bf) 8pm Rock Chicks Scruffy Murphy’s Hotel, Sydney free 10.30pm The Rockin’ Eddie Band Rockdale RSL Club free 7.30pm The Spitfires The Lansdowne Hotel, Chippendale free 8pm The Stage Door Johnnies (USA) Lizotte’s Restaurant, Dee Why $54–$96 (dinner & show) 8pm

Stormcellar Jannali Inn free 7.30pm Time Machine Petersham RSL Club free 8.30pm The Vaudeville Smash, I Am Apollo, Alisa Fedele & The King Bees, Bert and Bernie Upstairs Beresford, Surry Hills free 6pm Winter People, Founds, Jordan Leser The Factory Theatre, Enmore $15 (+ bf) 8pm

JAZZ

Blue Moon Quartet Supper Club, Fairfield RSL Club free 7pm The Glenn Miller Orchestra State Theatre, Sydney $79.90–$98.90 5pm, 8pm Marialy Pacheco Trio, Cameron Undy Trio 505 Venue, Surry Hills $20 (conc)–$25 8.30pm Mark Isaacs Trio The Sound Lounge, Seymour Centre, Chippendale $10 (student)–$20 8.30pm Peter Head Harbour View Hotel, The Rocks free 5pm Yuki Kumagai, John Mackie Well Connected Café & Wine Bar, Leichhardt free 7.30pm

ACOUSTIC & FOLK

Andrew Denniston Crown on McCredie Hotel Motel, Guildford free 8.30pm Brad Myers, Tommy Pickett, Johnny Wildblood, Richie St. James Mars Hill Café, Parramatta The Buck & Deanne Band, Chelsea Gibson The Factory Floor, The Factory Theatre, Enmore $25 (+ bf) 7pm all-ages

Chris Gudu (Zimbabwe) Macquarie Hotel, Sydney free 8pm Dane and Aaron Cookies Lounge and Bar, North Strathfield free 8pm Le Vent Du Nord (Quebec) Camelot Lounge, Marrickville $22-$25 7.30pm

SUNDAY OCTOBER 14 ROCK & POP

50 Million Beers Downstairs, Sandringham Hotel, Newtown free 4pm Continental Robert Blues Party, Kevin Bennett Rock Lily, The Star, Pyrmont 2pm Finn Bald Rock Hotel, Rozelle free Human Rights Rock: The Omissions, Erik The Red, Annie McKinnon, Salta, John Vella Annandale Hotel $15 5pm Joanna Capetinakis Ramsgate RSL, Ramsgate Beach free 2pm Jonny Gretsch’s Wasted One Botany View Hotel, Newtown free 6pm Katz Trio The Orient Hotel, The Rocks free 8.30pm Mojo The Orient Hotel, The Rocks free 4.30pm No Brakes Marrickville Bowling Club free 4.30pm Robert Susz & The Continental Blues Party Rock Lily, The Star, Pyrmont free 3.30pm

Ron Ashton Dooleys Lidcombe Catholic Club free 4pm Steel Swarm, Armorial, Parenthia, Blackened Beneath, Emergency Syndrome Valve Bar & Venue, Tempe 5pm Suite Az, DJ Kitsch78 Rock Lily, The Star free 8.30pm Sunday Blues Jam: Mark Hopper Artichoke Gallery Cafe, Manly free 8pm Tigertown Brass Monkey, Cronulla $14.30 7pm Vibrations At Valve Semi Finals Valve Bar & Venue, Tempe 1pm Wes Carr Introducing Buffalo Tales Lizotte’s Restaurant, Dee Why $20 7.30pm

JAZZ

Mara!

Camelot Lounge, Marrickville $20-$25 6.30pm Peter Head Trio & Friends Harbour View Hotel, The Rocks free 4pm Sunday Arvo Jazz Harold Park Hotel, Glebe free 3pm

ACOUSTIC & FOLK

Brad Myers Cookies Lounge and Bar, North Strathfield free 6pm Don’t Think Twice: Hayfever Annandale Hotel free 3pm Russell Neal Matraville Hotel free 6pm Russell Neal Salisbury Hotel, Stanmore free 2pm

wed

10 Oct

(9:00PM - 12:00AM)

thu

11 Oct

(9:00PM - 12:00AM)

fri

12 Oct

(5:00PM - 8:00PM)

(9:30PM - 1:30AM)

SATURDAY AFTERNOON

sat

13 Oct

(4:30PM - 7:30PM)

SATURDAY NIGHT

(9:00PM - 12:00AM)

SUNDAY AFTERNOON

(4:30PM - 7:30PM)

sun

14

SUNDAY NIGHT

Oct

(8:30PM - 12:00AM)

BRAG :: 483 :: 08:10:12 :: 33

gig picks

up all night out all week...

THURSDAY OCTOBER 11

The Cairos

Something For Kate

Bang!: The Cairos, Underlights, The Nectars Annandale Hotel free (early bird)–$10 7pm Edward Deer, Piers Twomey, Miss Little The Green Room Lounge, Enmore free 8pm Tenniscoats (JPN) The Square, Haymarket $15 8pm Tigertown Brighton Up Bar, Darlinghurst 8pm

TUESDAY OCTOBER 9 Home Blitz (USA), Raw Prawn, Drum Drum The Square, Haymarket $12 8pm

WEDNESDAY OCTOBER 10 Avalanche City (NZ), The Falls, Conics Beach Road Hotel, Bondi free 8pm Conversations With Ghosts: Paul Kelly, Genevieve Lacey, James Ledger Capitol Theatre, Haymarket $99 8pm

34 :: BRAG :: 483 : 08:10:12

FRIDAY OCTOBER 12 Edward Deer

Drunken Moon Festival: Brothers Grim & The Blue Murders, Gay Paris, Jackson Firebird, Mother & Son, Howlin’ Steam Train, Papa Pilko & The Binrats Manning Bar, Sydney University, Camperdown $25 (+ bf) 7pm

Collarbones, Naysayer & Gilsun, Gnome The Standard, Surry Hills $12 (+ bf) 8pm

New Empire, Goldsmith, Karl Broadie, Kristy Lee Upstairs Beresford, Surry Hills free 6pm

Everclear (USA) The Hi-Fi, Moore Park $55 (+ bf) 8pm

The Paper Kites, The Art of Sleeping, Battleships Oxford Art Factory, Darlinghurst $18 (+ bf) 8pm

The Fearless Vampire Killers, Oxbvld, Black Lakes FBi Social @ Kings Cross Hotel $10 (+ bf) 8pm

Something For Kate, Ben Salter Metro Theatre, Sydney sold out 8pm

Kooii, The Strides, MC Mana (NZ), Sky Lounja (NZ) Blue Beat Bar & Grill, Double Bay $20 (+ bf) 7pm

SATURDAY OCTOBER 13

Regular John, Songs, Glitter Canyon Annandale Hotel $12 (+ bf) 8pm

Dick Diver, Bed Wettin’ Bad Boys, Beef Jerk, Yard Duty FBi Social @ Kings Cross Hotel, Darlinghurst $12 8pm

Winter People, Founds, Jordan Leser The Factory Theatre, Enmore $15 (+ bf) 8pm

MUM: Damn Terran, Bang Bang Rock ‘n’ Roll, Danger Dannys, Doc Holiday Takes The Shotgun, Thunderthief, Jeff Chinky Fanclub, Colonies, Wolfden DJs, MUM DJs The World Bar, Kings Cross $10$15 8pm

BRAG’s guide to dance, hip hop and club culture

brag beats

inside

âme

tzu

slugabed

in the moment

theesatisfaction als + club o: + club guide sn + week aps colum ly n BRAG :: 483 :: 08:10:12 :: 35

dance music news

free stuff

club, dance and hip hop in brief... with Chris Honnery

FREESTUFF@THEBRAG.COM

on the record WITH THE TONGUE The First Record I Bought: Public Enemy’s Muse Sick1.

N-Hour Mess Age. This record

The Last Thing I Recorded: 4.

The last thing I recorded was a

blew my mind. It was like a movie, so animated and funny and funky and angry... Amazing.

demo for my new album, which will be out in 2013. I can’t reveal too much other than to say that this album is my best work yet. It’s produced completely by a young beat-maker from Brisbane named Cam Bluff.

He’s like Kanye in his prime – a mountain of talent.

The Last Record I Bought: Homebrew’s self-titled 2. album. They’re a three-man rap crew from NZ, and this album just went #1 over there. I had to review it, and was just blown away. I won’t bother describing their music, but put simply it’s great beats and a rapper with a lot to say. Soul music.

The Record That Changed My Life: 5.

Delta’s The Lostralian. This is the album that convinced me there was a place for me in hip hop. The Lostralian has deep content, huge beats and, most of all, a lyricist who speaks from the heart on all manner of subjects. One of the few front-to-back classic Oz hip hop albums.

3.

The First Thing I Recorded: A song called ‘Counterfeit Cheques’. It was the first thing I ever recorded, and it ended up on the one and only triple j Hip Hop Show compilation, back when Maya Jupiter was hosting. Getting that initial exposure was a big deal for me at the time – it’s one thing to write a rap in your room, it’s another to see it on a CD in stores. Shouts to triple j for that.

MAD RACKET’S 14TH BIRTHDAY

Sydney institution Mad Racket is celebrating its 14th birthday with a headline slot courtesy of one of their favourite sons, Sheffield’s acid house and techno don, Chris Duckenfeld.

Duckenfeld released his first record on the Warp sub-label Nucleus way back in ‘91, and is also known for his work alongside Richard Brown as Swag; the pair released four EPs and an album on London’s prestigious Junior Boys Own and its sister imprint, Jus’ Trax, before founding their own Version Music label. Swag have remixed the likes of Björk, Ian Pooley, Herbert and Blaze, and their output has been compiled on a Best Of downloadable compilation, details of which are available through swaguk.net. Also spinning on the night will be resident Racketeers Ken Cloud, Zootie, Simon Caldwell and Jimmi James, with the party having a sporting styles dress code. It happens at Marrickville Bowling Club on Saturday October 27, and $40 presales are available online.

With: Ellesquire, Jackie Onassis Where: Bang! @ The Annandale Hotel When: Thursday October 18

are all in the running to take out the two winning spots, which will now be determined in the cauldron of public opinion – you can read about the finalists, hear their music and cast your vote through fbiradio.com/northernlights. The winners will be announced on Monday October 15.

Fishing

OUTSIDEIN FESTIVAL

There’s a new kid on the festival block that has all the right stuff. With their powers combined, tastemakers Astral People and record label Yes Please are launching the inaugural OutsideIn Festival next month, celebrating ‘left-field talent and underground superstars’. Featuring the likes of Smoke DZA, Oliver Tank, LV, HTRK, Fishing, Holy Balm, Evenings and Collarbones, it’s shaping up to be a boutique day of acclaimed, experimental and raw, blissed-out beats. It’s on Saturday November 10 at The Factory Theatre and we have a double pass up for grabs – to win tell us the name of Collarbones’ new record.

Hiatus Kaiyote

Chance Waters

Chris Duckenfeld

HIATUS KAIYOTE CHANCE WATERS FOR INFINITY

FBI NORTHERN LIGHTS COMPETITION FINALISTS

The finalists have been announced for FBi Radio’s Northern Lights Competition, which offers two aspiring producers the opportunity to embark on a trip to Reykjavik for the Iceland Airwaves festival, to meet musicians and set up collaborations. Lanterns, Luchi, Moon Holiday, Moonbase Commander, Mammals, Nakagin, Thomas William and Unkle Berry 36 :: BRAG :: 483 :: 08:10:12

Sydney hip hop artist Chance Waters, formerly Phatchance, is gearing up to release his sophomore album Infinity on November 2. Chance’s debut album Inkstains saw him crowned a triple j Unearthed featured artist and touring the country regularly, both as a headline act and in support of international heavyweights such as Method Man and De La Soul, and Australian mainstays like Bliss N Eso, Illy, Drapht, Pez and 360. Chance also released the mixtape Approaching Infinity, featuring his remix of Gotye’s ‘Somebody That I Used To Know’, which was apparently picked up by radio stations around Europe. Chance Waters will perform at Goodgod Small Club on Friday November 9.

Melbourne four-piece Hiatus Kaiyote will play FBi Social on Thursday November 22 as part of a national tour courtesy of Niche Productions. Formed in mid-2011, Hiatus Kaiyote have enjoyed a breakout year thanks to the release of their debut, self-produced album Tawk Tomahawk, a remix album featuring reworks by Mark de Clive-Lowe, Shafiq Husayn (Sa-Ra Creative Partners), MFP and Anthony Valadez. Described as “more than darlings of just the beat and hip hop/neo-soul scenes,” Hiatus Kaiyote have attracted comparisons to groups like The Roots and Little Dragon, and have previously performed alongside the likes of Taylor McFerrin, Clark, Harmonic 313 and Brainfeeder’s Lapalux.

ENO RETURNS

Widely regarded as one of the most influential figures in modern music, production maestro Brian Eno, who has worked with Roxy Music, Talking Heads and U2, will release a new album on UK label Warp Records next month. Entitled LUX, the LP is Eno’s first solo outing since 2005’s Another Day On Earth – though his relationship with Warp has been established in the ensuing years through the collaborative albums Small Craft On A Milk Sea, an effort with Jon Hopkins and Leo Abrahams, and Drums Between The Bells, produced with

Rick Holland. LUX is a 75-minute composition in 12 sections that evolved from a work currently housed in the Great Gallery of the Palace of Venaria in Italy, and supposedly expands upon “the types of themes and sonic textures” present on Eno’s classic ambient albums Music For Films, Music For Airports and Apollo. Enophiles should also check out his recently-launched iPad app, Scape, which allows users to create atmospheric music by designing pictures to generate sounds. “I might retire now I’ve found a way to make myself redundant,” Eno quipped when discussing the app.

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dance music news

free stuff

club, dance and hip hop in brief... with Chris Honnery

FREESTUFF@THEBRAG.COM

five things WITH

Future Classic DJs

PREACHA Your Crew I co-host Low Motion Sunset every 3.

Tuesday from 6–8pm on FBi Radio, 94.5 FM, alongside my main man Max Gosford. I’m also a part of the Astral People family, and you can catch me at most of their parties.

The Music You Make I’m really feeling the UK funky sounds of 4.

Brackles, Champion and Walton right now. I don’t really like to plan my sets and prefer to just go off the vibe in the room, but I usually find a way to work in something with a Cassie vocal at some point, too.

Music, Right Here, Right Now Sydney’s looking pretty good right now, 5. with lots of quality local nights, and crews like Astral bringing out some incredible international acts. We’re also blessed to have top-notch producers like Dro Carey and Cliques getting the attention of the major players in the UK right now, and representing our sound the right way.

Growing Up Inspirations My earliest memories are of going record I remember hearing ‘Critical Beatdown’ 1.

2. shopping with my dad. He had a massive

by The Ultramagnetic MCs, and just being record collection, ranging from Prince to Black Sabbath to Run DMC and early house, and I used to spend hours and hours going through it all. He also put “disc jockey” as his occupation on my birth certificate, even though he never spun in his life. Big up the DJ Koming every time!

Oliver Tank

blown away by the production and how bugged out they were on the mic. People like Kool Keith, who aren’t really concerned with the mainstream and do their own thing, have always been a big inspiration. Supporting him at his Sydney show a few months back was a dream come true.

instincts, I challenge you to forgo the clichéd lions, zebras and (Playboy) bunnies and consider more exotic animals as the basis for a costume: pangolins, tapirs, narwhals and sasquatches all have serious dancefloor-pulling power.

ELEFANT TRAKS REVAMP DR. SEUSS(!)

BEATS NOMINEES FOR 2012’S JÄGER AWARDS

Nominations for the seventh Annual Jägermeister Independent Music Awards have been announced, with awards set to be presented for the ‘Best Independent Dance / Electronic Album’ (Hermitude, Chet Faker, Jonti, Oliver Tank, T-Rek, Sampology) and ‘Best Independent Hip Hop/Urban Release’ (360, Funkoars, Katalyst, The Herd, Yung Warriors). Electronic-beatpop newcomer Chet Faker leads the pack with five nominations (Best Independent Artist, Breakthrough Independent Artist Of The Year, Best Independent Single Or EP, Best Independent Dance/Electronica Album), closely followed by hip hop artist 360 earning four (Indie Artist, Indie Album, Indie Single/EP, Indie Hip Hop Album). Previous winners The Herd and The Jezabels also garnered nominations this year. The awards will be held in Melbourne on Tuesday October 16; for more info, head to air.org.au

On Sunday November 11, Sydney hip hop record label collective Elefant Traks will bring the whimsical world of Dr. Seuss to life in a musical tribute, Dr. Seuss Meets Elefant Traks, as part of the third annual GRAPHIC Festival held at Sydney Opera House.

Over 25 Elefant Traks performers, from hip hop and electronic outfits such as The Herd, Hermitude, Urthboy, Sietta, Unkle Ho, The Tongue, Joelistics and Jimblah, will put a unique sonic spin on classic Dr. Seuss stories – think ‘The Cat In The Hat,’ ‘The Lorax’ et al – in an exclusive GRAPHIC commission, with $29 tickets available now. (In related news, Urthboy will be hitting up 567 King Street in Newtown this Saturday October 13 for an all-ages signing of his new album, Smokey’s Haunt, which comes out October 23 and was co-produced by Hermitude and Countbounce.)

With: Slugabed, Ikonika, Dro Carey Where: One22 When: Saturday October 13 More: Also playing at OutsideIn Festival on Saturday November 10 at Factory Theatre, alongside Smoke DZA (USA), LV (UK/ Hyperdub), Evenings (USA), HTRK, Flume, Shitego (USA), Africa Hi-Tech, Holy Balm, Fishing and loads more

FUTURE CLASSIC DJS

Time machines, personal jetpacks, selflacing Nikes and robot maids are all things the future promised, but hasn’t yet delivered.

But Future Classic DJs are bringing the future to the present, returning to the hallowed halls of Goodgod Small Club – and this time they’re promising “Another Epic Long Set” (the last one finished at 6am). Warm-up duties have gone to La Fresh (AKA ‘DJ Modern Fairytale’), so mark Friday October 12 in your Filofax for this murky, mystical tour. To get your paws on one of two double passes, tell us what your favourite future invention will be.

BROTHER ALI + SEAN PRICE

Brother Ali and Sean Price will make up a hip hop double bill at The Factory Theatre in Enmore on Thursday November 22. Brother Ali will return to Australia for the first time since his 2008 Falls Festival appearance with Atmosphere, while Sean Price will be making his first ever trip Down Under (and the first for any Duck Down label artist). Brother Ali’s career began with the release of a cassetteonly demo tape called Rites Of Passage, back in the sun-kissed spring of 2000. Ali then dropped a series of LPs with label mate and Atmosphere producer Ant, garnering accolades for his “politically charged and empathetic deliberation” ahead of his recent fourth LP, Mourning In America And Dreaming In Color.

Ali’s fellow headliner, Brooklyn rapper Sean Price, has been a staple in the New York underground hip hop milieu for almost two decades, initially as one-half of the duo Heltah Skelta and a core member of the Boot Camp Clik collective, before establishing himself as a solo artist in more recent years. By the time Price lands in Australia, his upcoming album Mic Tyson will have hit shelves – fans should make note of its release date of October 30. Presale tickets can be procured online.

Doctor Werewolf

DIRTY SOUTH JOE, LOW BUDGET AND MAJOR TAYLOR

Three of Philadelphia’s finest hip hop proponents, Dirty South Joe, Low Budget and Major Taylor, will throw down at the Jawn Control Party at Spaceport-One Warehouse in Marrickville on Friday October 19.

Dirty South Joe started out in the early ‘90s at Washington D.C.’s infamous 9:30 Club, where he was influential in pioneering the “anything goes” style of DJing. Low Budget is best known for starting the Hollertronix parties along with Diplo back in the early ‘00s, and was also M.I.A’s tour DJ during the ‘Paper Planes’ era. Meanwhile, Major Taylor is an influential member of the scene that spawned Spankrock, Amanda Blank, Low B, and Diplo, and has been referred to as “the DJ for folks that love to dance but don’t like nightclubs.” Local DJs Sammy The Bullet, Luny P/FLIP DJ’s, Jamie What, BES, and Trent Hardwood will also be spinning in support of the international triumvirate.

Dirty South Joe

SPICE CELLAR TURNS ONE

The Spice Cellar turns one this October, celebrating with a landmark themed party based around the concept “Your Animal Instinct”.

The venue will apparently be converted “into a jungle playground strictly for adults only, with cage dancers, animal DJs”, and a lineup crowned by a live performance from aptly named Melbournian Andras Fox, half of the duo Fox + Sui. A lengthy local lineup featuring Murat Kilic, Robbie Lowe, Nic Scali, Matt Weir, Gabby, James Taylor, Steven Sullivan, Morgan and YokoO will also be spinning, with the organisers urging punters to be “creative and ostentatious with your outfit,” as no effort equates to no entry. For anyone wondering how to be creative in channelling your animal 38 :: BRAG :: 483 :: 08:10:12

HARBOUR PARTY NYE WORLD BAR HALLOWEEN FT. DOCTOR WEREWOLF + HABSTRAKT

For this All Hallows Eve, which falls on Wednesday October 31, weekly World Bar institution The Wall is playing host to 22-year-old French producer Habstrakt and the aptly-named Doctor Werewolf, who have released on Kid Kenobi’s Klub Kids music label and are surely perfectly suited to an occasion such as this. Also featuring on a DJ lineup that will be spread out to cover the darkest corners of The World Bar are The Archaic Brothers and Hubble, along with Fingers, Clockwerk and Deckhead, with Lights Out and Tigerlilly throwing down in the Tea Room.

It’s never easy deciding on a New Year’s Eve plan, and Harbour Party – the annual festival that calls in huge international names to help you ring in the New Year at Luna Park – just made the choice a little bit harder. The first lineup was announced a few weeks back, packed with huge names who’ll be ushering in 2013 amongst the harbour views, and it’s a big one: popstress Ricki-Lee, London’s Marvin Priest, The Aston Shuffle, the UK’s Luciana, and Ivan Gough, one half of Aussie dance duo TV Rock. There are a bunch more names still to be announced, and first release $99 tickets go on sale this Tuesday October 9, at 9am.

TZU Moment Of Truth By Benjamin Cooper

T

hey may have a reputation as fun lovin’ nice guys, but it turns out TZU have a very strict dress code. “There’s only one rule in my studio: you must wear your daggiest and comfiest trackies, at all times,” Yeroc commands.

It seems an odd stipulation on the part of TZU’s percussionist and sample wizard, but he’d deadly serious about what he does. The man his mother calls Corey McGregor has been making beats in his inner-Melbourne abode for over a decade, and is understandably particular about the kind of influences, sartorial or otherwise, that seep into his space.

The Victorian crew have just released their fourth studio album, Millions Of Moments, and although he may reign over the beats, Yeroc acknowledges that the recording process is a democratic one. “[Frontman] Joelistics makes a bit of noise, as you’d expect, but we’re all fairly vocal when it comes to recording,” Yeroc explains, ducking outside the whoops and yells of the studio for a quick chat. “I’d like to say I enforce a ‘no-jeans’ policy on Joel, and everyone else can wear what they want, but the truth is there’s really no restrictions: you could rock up in a bathing suit or a leotard if it’ll help you work.

Actually, maybe don’t print the leotard part... I don’t want anyone getting weird ideas.”

Yet weird ideas are flowing aplenty on Millions Of Moments. The album revolves around a character called Persephone, who tests out a new drug called Chronos that allows her to travel to different moments in Australia’s history.

It may seem a little bit out there, but Yeroc reckons it’s just as adventurous and playful as their previous work. To him, it’s the album that they had to make. “Obviously this record is so very different,” he says. “We’ve all been working on our own projects and collaborating with different people recently, so when we sat down to work on this record we decided we really wanted to trick it out. We’ve been doing this for a few years now, so when people started throwing around concepts, [this one] just seemed like a fit.

We just thought, ‘Let’s do it!’

“We were all just hitting the canvases with every style we had, because we wanted to walk away feeling like we’d made the greatest thing we could. It was an artistic purge of the highest order.”

Xxx photo by JXxx

Screaming hordes at sun-bleached festivals and sweaty club shows have been baying for more TZU since their awesomely-titled and supremely cheeky debut EP, Um... Just A Liddlbidova Mic Check, back in 2001. After releasing the Computer Love LP in 2008, they made the radical choice to hand over all tracks to be remixed and released as the (oh-so-clever anagram) Cover Up Motel in 2009. The remixes and cover work were created by a group of artists and producers including Hermitude, Blue King Brown and M-Phazes, and Yeroc admits to the difficulties the group experienced in releasing creative control. “I will happily describe myself as a studio rat,” he says, “so it’s always difficult to drop off the master tapes at someone else’s house. Thankfully we were giving our tracks to people we really trust and admire, so there was less anxiousness.”

Fast-forward three years and the group are feeling quietly content following the last stages of their new record’s production. “I feel really resolved in one sense, actually, which is weird for me. I think because this project was such a massively drawn-out process it feels really good to have that sense of resolution. I felt like I’d been locked away in a bunker with these guys for years. That tends to make you a go a bit crazy after a while,” he says. “But this record was so different to anything we’ve done before, so I think it ended up making us hungrier and hungrier for it. Like I said, I’m a studio rat, so normally I’m the most keen to be pushing things around and trying things out, but this time there was this innate drive to keep working [that was] propelling us all. It’s like we were all just hitting the canvases with every style we had, because at the end of it we wanted to walk away feeling like we’d made the greatest thing we could. It was,” he starts, pausing for dramatic effect with tongue firmly in cheek, “an artistic purge of the highest order.”

but it’s on the road that his band have carved out their enviable reputation as party starters, with their catchy live instrumentation a welcome change to the usual MC and DJ combination of most Aussie hip hop acts. How will he cope with being forced to shed his tracksuit pants and abandon his creature comforts? “Well, if anything there are less actual comforts in the studio: no Tweeting, and we don’t have any Facebook access. I purposely made it like that, and it’s not a problem for me because I can focus more without the distractions.” As for the live shows themselves? “[They’ll] be a lot of fun.

We’re always reinterpreting and tweaking what we do to make it more interesting. The problem for me is that I’ll be on the road agonising over our record, wondering about possible changes that we can’t make to the studio version any more. I suppose the great thing about live shows is that it means that the record is never finished.

It just continues on this whole new life.”

What: Millions Of Moments is out now through Liberation Where: The Standard When: Saturday October 13

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Yeroc may be most comfortable in the studio, BRAG :: 483 :: 08:10:12 :: 39

ÂME

Slugabed

Inner Vision By Krissi Weiss

Finding That Oomph By Henry Andersen

KB: Frank, Dixon and myself manage the label together, plus we have two employees at our office. We decide everything together, and everyone has to do different kinds of jobs concerning distributing, licensing, A&R…

of all-embracing logic, where it feels like any sound or influence could surface at any moment.

Duke Ellington let people know that “it don’t mean a thing if it ain’t got that swing”. Some decades later, Slugabed claims that “if music hasn’t got that ‘oomph’ that makes you want to shake something, then it’s not worth a whole lot.” ‘Oomph’ is a difficult characteristic to pinpoint in music, but an impossible one to deny. It’s that visceral quality of sound that moves dancefloors and nods heads; in Slugabed’s music, it’s the way the beat staggers and lurches, it’s the stacked lines of sub bass that crawl through the tracks’ low end, and it’s the way the side-chained kick drum pulls the rest of the tracks around it like a cloak.

Time Team, released earlier this year, was received well enough to send Slugabed our way. He’s touring with fellow British producer Ikonika, who has released on Hyperdub and Planet Mu in the past, and founded her own label, Hum+Buzz, with Japan’s Optimum – a label which unleashed Sydney’s own Dro Carey onto the world. He’ll be joining Slugabed and Ikonika at their upcoming show.

I

t’s no secret that the digitisation of music has allowed producers working today to sample from any point in recorded history.

Add to that the yet-unheard worlds made possible through synthesisers, and you’ve got a pretty deep pool of sounds to draw on.

Slugabed makes the most of this, creating an intoxicating blend of sounds from a huge array of sources.

It is often said that electronic music, with its endless possibility of sound and its remove from the concrete world, is especially adept at conjuring abstract moods such as the ones Slugabed describes. He insists, however, that the construction of the music is more key than the choice of sounds in creating mood. “What really conveys the most complex and abstract emotions is the composition,” he says. “The melodies, harmonies and rhythms are what’s most important, and that’s something that is ubiquitous across all genres.”

What: Time Team is out now through Ninja Tune Records With: Ikonika (Planet Mu/Hyperdub), Dro Carey (Hum+Buzz) Where: One22 When: Saturday October 13

How are you able to reconcile the expectations of an amped-up, club-oriented audience with your own desires to create more complex compositions?

KB: That’s hard to answer, but you have to take risks sometimes. Also, in a club situation you will often be surprised how people react. I think a lot of artists underestimate the audience very often, and the mixture between raw and minimal and more complex music must be a healthy one.

K

ristian Beyer, one half of German-based DJ and production duo ÂME, is heading to our shores for a DJ set at Spice Cellar this Saturday night. Combining a love of Detroit techno, Stevie Wonder, Weather Report and a host of other influences, Beyer and Frank Weidemann first crossed paths at Beyer’s record shop, Plattentasche. With fellow producer Dixon, ÂME run Innervisions, a label that’s been central to the renaissance of deep house – and with Henrik Schwarz, all four started A Critical Mass: a collaborative project that’s since evolved into a studio. With a love of the past and an eye on the future of electronic music, ÂME have found a multitude of extremely creative ways to engage with their audience.

How is the ÂME live environment shared between yourself and Frank?

Kristian Beyer: Frank does the live show alone as we don’t like two-person laptop acts. If we perform with Henrik Schwarz and Dixon together as a full band, I am on board too. I’m a DJ who likes to play long sets, so a live act is limiting myself too much.

Exactly what role do you take within the record label/community Innervisions?

Can you tell me a little about the work of A Critical Mass?

KB: A Critical Mass is also like Innervisions – another brand for everything we are doing together as friends, but including Henrik Schwarz. We are different characters, but music-wise we are on the same wavelength.

It started as a live project, and now we are running a studio together.

In order for your various projects to stay sustainable, and to be such an important part of dance music culture for so long, have you had to calm down the partying side of things over time?

KB: I think I have a good balance between my job, which includes the party lifestyle, and my private life. You have to party with the people sometimes, otherwise you’re just a servant, but then I live very healthy in my free time.

Out of all of the massive club nights you have been a part of (Lux, Fabric, etc), which one do you enjoy the most?

KB: I played in a lot of great clubs around the world, but our regular nights at Panorama Bar in Berlin or Robert Johnson in Frankfurt are still my favourites. It’s a great crowd full of friends with great sound and light, which makes it very special.

Who: ÂME (Kristian Beyer DJ set) Where: The Spice Cellar When: Saturday October 13

THEESatisfaction Personal Politics By Henry Andersen we are black, queer women. We’re story tellers at the end of the day, and we’re just trying to tell a story about us and our experiences.”

The couple met back when they were both students in Seattle. “I used to go crash parties at the University of Washington,” says HarrisWhite. “I went to a small arts college not too far away and they just didn’t have the same sorts of events. I’d be crashing these parties and bumping into Stasia a bunch of times.

We became friends from there and eventually started dating. When we were both in our senior year in college, Stasia went on a ‘study abroad’ trip to Cape Town. I started messing around on GarageBand and sending her stuff. Meanwhile she was writing a bunch of poetry, and when she came back we were just so done with school, and we just needed a way to release.”

S

tasia Irons has two song titles tattooed on her arms. On one arm is South African, anti-apartheid anthem ‘Senzenina’, which Irons first heard while studying in Cape Town. On the other is Michael Jackson’s hit-single ‘Thriller’. The music which Irons makes in THEESatisfaction with her band-mate and lover Catherine Harris-White is born of a similar counterpoint: one part revolutionary message of black,

40 :: BRAG :: 483 :: 08:10:12

feminist and homosexual empowerment; one part feel-good dance groove.

“Social change has always been a part of [music]. It echoes all the way back. Even in the days of slavery, the slaves would be out in the field making music,” Irons explains before Harris-White chimes in (the pair often finish each other’s thoughts): “Naturally, this album is going to be about black, queer women because

After several free mixtapes on Bandcamp, the duo broke some serious ground with a cameo on Shabazz Palaces’ 2011 album Black Up, followed shortly by a signing to Sub Pop records and the release of THEESatisfaction’s debut full-length, awE naturalE. Such is the gravity of Shabazz Palaces in Seattle’s still nascent hip hop scene that many reviews of awE naturalE treat the album and its makers as something of an adjunct to Black Up. This couldn’t be further from the truth. Whist Black Up occupies a synthetic, nocturnal, somewhat sinister sound world owing much to current trends in bass music, awE naturalE is an altogether livelier, more organic experience. Off-beat hip hop collides with Erykah Badu-esque neo-soul; there are samples of old jazz records and warm vinyl crackle. The overall

aesthetic belongs more to the legacy of ‘60s and ‘70s soul and jazz than to club music. “We like to think that we were alive in the ‘60s and ‘70s in another life,” laughs Harris-White. “We just really love listening to music from that time, looking at pictures, watching footage from Soul Train. We listen to Curtis Mayfield, Gil Scott Herron, Chaka Khan…” “And the speeches too!” Irons interrupts, “Stuff like Malcolm X. We listen to a lot of that.”

The breadth of sources from which THEESatisfaction draw is impressive.

Musically, it’s not hard to find evidence of all of the defining genres of black America – jazz, soul, hip hop, blues etc. Lyrically, the duo name-check Orson Welles and Archie Bunker, or spill Egyptian mythology into Bible references. If you had to sum up THEESatisfaction, you would come equally close with the revolutionary call to arms of ‘Earthseed’ – “THEESatisfaction couldn’t give a fuck about the fascists!” – as you would with the refrain from ‘QueenS’ – “Whatever you do, don’t funk with my groove.” That both these lines appear in the album some 40 seconds apart is all the more indicative of THEESatisfaction’s duality. From the political to the personal, the sound of awE naturalE is passionate, heady and convinced. This is a band that wears their hearts on their sleeves and their influences in the ink on their arms.

What: awE naturalE is out now Where: Goodgod Small Club When: Friday October 19

xxx photo by xxx

Slugabed, or Greg Feldwick by day, is a producer based in Brighton and signed to the illustrious Ninja Tune label. As is to be expected from any Ninja Tune act, his music is a maximal mash of sounds from any number of different sources – there is the studied shuffle of hip hop producers like J Dilla and Flying Lotus, the shuddering low end of UK dubstep, and endless folds of 8-bit Gameboy synthesisers. Slugabed’s great skill as a producer is to pull all of these influences together with a sense of joy and abandon; his debut album, Time Team, creates a kind

Slugabed describes Time Team as a record that deals with “deep feelings about mostly inexpressible things – like when I’m gazing out of a window of a train and everything is whizzing past real quick and I’m not thinking about anything in particular. I don’t necessarily feel happy or sad, I just feel a wave of stuff that isn’t really attached to anything.” The same frantic pacing courses through Slugabed’s tunes, waves of sound that aren’t necessarily connected to one another, each spilling into the next and overflowing to heady effect.

Is Innervisions strictly a business venture, or more of a way to create a community around which music and opportunities are shared?

KB: Innervisions is a company we founded together, and we strongly believe that we will work together for the next 20 years – but we don’t know if it will be still a music label or maybe something else by then. Innervisions is just the platform for whatever we will do together in the future.

Deep Impressions Underground Dance And Electronica with Chris Honnery

Luke Slater

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A

techno survivor who’s been at the coalface of the club milieu for over two decades, Luke Slater will make his first appearance in Australia for 15 years, to headline a New Year’s Day techno spectacular at the Abercrombie Hotel, courtesy of Disconnected and Strange Fruit. One of the few UK producers to emerge during the early ‘90s whose output remains relevant (read: cutting edge) today, Slater regularly throws down at some of the world’s foremost techno dungeons, such as Berghain and Fabric, and is responsible for one of the better instalments in the venerated Fabric compilation canon. Slater’s back catalogue comprises the windswept ambience of his seminal 7th Plain pseudonym – encapsulated in the classic mid-’90s album The 4 Cornered Room – through the nosebleed severity of his X-Tront releases and the widescreen techno of his Morganistic project to his more recent dubby outings as L.B. Dub Corp. But Slater is arguably best known for his work

LOOKING DEEPER Losoul

SATURDAY OCTOBER 20 Losoul One22

SATURDAY OCTOBER 27

Mad Racket ft Chris Duckenfield Marrickville Bowling Club

SATURDAY DECEMBER 1 Michael Mayer Oxford Art Factory

TUESDAY JANUARY 1

Luke Slater The Abercrombie Hotel

as Planetary Assault Systems, releasing his most recent album under that moniker, The Messenger, on Ostgut Ton at the end of last year.

Ever since the release of debut Planetary Assault Systems album The Electric Funk Machine back in that acid-washed summer of ’94, Slater has used the project to create ‘all-purpose’ techno that has a sufficiently strong thematic unity so that it can be appreciated in any context. While the club cognoscenti celebrate Slater’s mastery of dynamic, futuristic techno, his command of the ambient genre is something that is not as commonly acknowledged. The Four Cornered Room is a must for anyone curious about electronic soundscapes that diverge from the dancefloor. “I love to inject art into techno, going avant-garde obscure in places, because when it comes down to it that’s what I find interesting,” Slater elucidates. “I have always tried to keep my head down and get on with it, try not to sell techno so much. You can dress it up and give it an image, but people will find their own way to it if they are interested.”

With Slater slotted to play for (at least) four hours as part of a 15-hour party that will also feature local DJs such as Defined By Rhythm, Marcotix and Ben Dunlop (from midday – 3am across two rooms of the Abercrombie), you should have no difficulty finding your own way to the New Year’s Day techno degustation. Secure your attendance by purchasing a presale ticket through Resident Advisor.

The resurgent Tresor imprint, which is affiliated with the longstanding Berlin nightclub of the same name, have announced a new mix series, the first of which will be mixed by Parisian Cyril Etienne, AKA DJ Deep, the monsieur behind the Deeply Rooted House imprint.

Entitled KERN, the new mix series intends to “provide an insight into the tastes and personal histories of some of the scene’s leading lights, allowing artists free rein to weave their own story through a mixture of rarities and brand new material”. In accordance with this creed, Etienne’s mix collates tracks from the Tresor archives, unreleased tracks from his own label, and a serving of classic garage and Chicago acid from the likes of Kerri Chandler and Armando, in addition to cuts from DJ Gregory and Skudge. KERN Vol. 1 will be released in the second week of November.

Finally, for anyone who missed it, muchvaunted musical prodigy Nicolas Jaar has finally been lured Down Under for the Laneway Festival in early February. The son of Chilean-born artist, architect, and filmmaker Alfredo Jaar, Nicolas Jaar is still only in his early 20s, but has built up a strong following among lovers of electronic music. Jaar Jr. rose to prominence through the success of memorable cuts such as the plangent ‘Time For Us’ in the lead-up to his debut LP, Space Is Only Noise, which dropped late 2010 on Jaar’s own Clown and Sunset imprint. There is no word as to whether he will play a Sydney sideshow, so your options are either to grab a Laneway ticket, or to hold out and see if a solo show is announced.

Deep Impressions: electronica manifesto and occasional club brand.

Contact through deep.impressions@yahoo.com BRAG :: 483 :: 08:10:12 :: 41

club guide send your listings to : clubguide@thebrag.com

club pick of the week IKONIKA

Scouts, The Griswolds, Jimi Needles, Def Rok, Heke, Pat Ward, Devola, Mean Dartin, Anujual, Mr. Belvedere, The Masters $20 (member)-$30 4pm The World Bar, Kings Cross Propaganda Propaganda DJs, Spice Cube DJs, Urby, Conrad Greenleaf free (student)-$5 9pm

FRIDAY OCTOBER 12

SATURDAY OCTOBER 13

One22, Sydney

Slugabed (UK), Ikonika (UK), Dro Carey, Preacha, Astral DJs $30 (+ bf) 9pm MONDAY OCTOBER 8 Scruffy Murphy’s Haymarket Mother Of A Monday DJ Smoking Joe free 8pm The World Bar, Kings Cross Latin Jazz DJs free 7pm

TUESDAY OCTOBER 9 Establishment, Sydney Rumba Motel Salsa DJ Willie Sabor free 7pm Scruffy Murphy’s, Haymarket We Love Goon Tuesdays DJ Podgee, DJ Smoking Joe free 8pm Trademark Hotel, Kings Cross Coyote Tuesday I Am Sam, Mr Bongolicious $10 8pm The World Bar, Kings Cross Jam Jam DJs, Ali & Chris free 8pm 42 :: BRAG :: 483 :: 08:10:12

WEDNESDAY OCTOBER 10 Epping Hotel DTF Resident DJs free 8pm Ivy, Sydney Salsa at Ivy DJ Dwight ‘Chocolate’ Escobar free 7pm Lansdowne Hotel, Chippendale Frat House Frat House DJs free 8pm The Marlborough Hotel – Cellar Bar, Newtown Student Night DJ Pauly free 10pm The Marquee, The Star, Pyrmont Assembly Wednesdays Cassian $10 8pm The Ranch, Epping Hump Wednesdays Resident DJs free 8pm Sapphire Lounge, Kings Cross Cream Resident DJs 8pm The World Bar, Kings Cross The Wall Emalkay (UK), Glovecats, Subaske, Bocue, Pat Ward, Big Dogs, Clockwerk, WhatIs? 9pm

THURSDAY OCTOBER 11 The Cool Room, The Australian Brewery, Rouse Hill We Love Thursdays Big Will, Troy T free (early bird) 8pm Greenwood Hotel, North Sydney Greenwood Thursdays Resident DJs free 8pm Kit & Kaboodle, Kings Cross Resident DJs free 8pm Q Bar, Darlinghurst Hot Damn Hot Damn DJs $15$20 9pm Sapphire Lounge, Kings Cross Rewind Resident DJs 8pm Strike Bowling, Chatswood The Alley DJs free 8pm Trademark Hotel, Kings Cross Swag Resident DJs $10 9pm UNSW Roundhouse, Kensington UNSW Oktoberfest 2012 Tonite Only, Rufus, What So Not, Naysayer & Gilsun, Tenzin, Northeast Party House, Alley Oop, Sosueme DJs, Daily Meds, True Vibenation, Cub

Oxford St, Darlinghurst Warp Speed – Turn Up The Bass Bzurk, Gill 9pm 34B, Exchange Hotel, Darlinghurst Psychic Deli Luke Psywalker, Chmcl Mssngr, Kierra Jade, Raptor, Galaktik $20 10pm Abercrombie Hotel, Broadway Totally Barry Bad Barry DJs free 9pm Beach Road Hotel, Bondi Modular Fridays Slow Blow (DJ Set) free 8pm Burdekin – Viper Room, Darlinghurst All About The Music Spring Party Ben Morris, +One, Raissa, Torbynik, Aron Chiarella, Luffafly, Filthy $10$15 8pm Candys Apartment, Kings Cross Liquid Sky Chickflick, 2busy2kiss $10 9pm Chinese Laundry, Sydney One Love Bass Xplosion Tour A-Tonez, The Mane Thing, Royalston, Linken, Hydraulix, Detektives, Diskoriot, Astrix Little, Big Deal Gillespie $15$25 10pm Civic Underground, Sydney Volar Volar DJs 10pm Cohibar, Darling Harbour Gimme Five Candidate free 9pm Enmore Theatre Steve Aoki (USA) $79.90 7pm Goodgod Front Bar, Sydney Yo Grito! Yo Grito! DJs free 9pm Goodgod Small Club, Sydney FC@GG! Future Classic DJs, La Fresh aka Modern Fairytale $10 (pre-sale) 10pm Home Nightclub, Darling Harbour Home Fridays Pee Wee Ferris, MC Suga Shane 8.30pm Ivy Pool Club, Sydney Moonshine Softwar, Alley Oop, Jimmy2sox, Magic Happens 9pm Jackson’s On George, Sydney DJ Ivan Drago, DJ Rain Julz free 9pm The Marlborough Hotel – Cellar Bar, Newtown DJ Simon Laing free 10pm Nevada Lounge, Darlinghurst DJ Hayden free 6pm No Vacancy Lounge Club, Potts Point Grand Opening Weekend Recess, Rogers Room, Oh Glam, Dance Club 9pm One22, Sydney Stalled – A Dean Dixon Record Fund Party Simon Caldwell, Eric Downer, Magda Bytnerowicz, Dave Fernandes, Dean Dixon $10 10pm Rock Lily, The Star, Pyrmont Check Your Head Stan Walker free 6.30pm Space Nightclub, Sydney Zaia Resident DJs 9.45pm The Spice Cellar, Sydney Otologic, Pink Lloyd, DJ Dreamcatcher $10 10pm Vegas Bar, Darlinghust The Final The Egyptian Jack Horner, tobey Thompson, Pele free 11pm The Watershed Hotel Bring On The Weekend! DJ Matt Roberts free 5pm The World Bar, Kings Cross MUM Damn Terran, Bang Bang Rock ‘n’ Roll, Danger

Dannys, Doc Holiday Takes The Shotgun, Thunderthief, Jeff Chinky Fanclub, Colonies, Wolfden DJs, MUM DJs $15$15 8pm

SATURDAY OCTOBER 13 169 Oxford St, Darlinghurst SFX Summer Festival Warm Up Party Bzurk, Markm, Absynth 9pm Abercrombie Hotel, Broadway Strange Fruit Strange Fruit DJs free 9pm Beach Road Hotel, Bondi Falcona Saturdays Alison Wonderland, Olympic Ayres, The Holidays DJs free 8pm Bella Vista Cruise Boat, King St Wharf, Darling Harbour Ship Faced Cruise Tom Deluxx (FRA), Ajax, Sufur, Go Freek, Swiss Dub, A-Tonez $55 (+ bf) 11.30am Candys Apartment, Kings Cross Disco! Disco! Sherlock Bones, SMS, Scott Cole $20 9pm Cargo Bar, King St Wharf Kick On Resident DJs free 6pm Chinese Laundry, Sydney Rudimental (UK), Defined By Rhythm, Kid Sample, U-Khan, Whitecat, King Lee, Goodfella, Bounce Crew DJs, Mike Hyper $15-$25 8pm Club 77, Darlinghurst Starfuckers Starfuckers DJs 10pm Cohibar, Darling Harbour Yellow Sox DJ Toby Neal free 9pm The Cool Room, Australian Brewery, Rouse Hill Saturday Nights At The Brewery DJ Koffee 8.30pm FBi Social @ Kings Cross Hotel Hands Up! Staggman, Clockwerk free 11.30pm Gladstone Hotel, Chippendale Homegrown Freqs 2012 – Sydney Heat Pete Mac, Double Robin, DJ Speaks $10 10pm Goldfish, Kings Cross Jack In The Box DJ Mes (USA), Sonny Fodera, Random Soul 8pm Goodgod Small Club, Sydney SOS Haus Rave: ’87-’93 Gloves, Bad Ezzy, Tyson, Power Suit, Sex Azza Weapon $10 11pm The Green Room Lounge, Enmore Vinyl Solution DJ Nic Dalton free 7pm Home Nightclub, Darling Harbour Homemade Saturdays Nick Skitz, Aladdin Royaal, James ‘Saxman’ Spy, Suga Shance MC, Venuto, Dane Dobre, John Young, I.K.O, Flite, Seiz, Dave Austin, J-Reyes, Kidd Kaos MC $20 9pm The Imperial Hotel, Erskinville Bacchanalia House Energy Revenge DJ Paul Holden $15 10pm Inner City Warehouse Oasis, Sydney One Night Stand – Ladies Night Valerie Yum, Alley Oop, Cassette, Perfect Snatch, Morgan, Sam Francisco, Bad Ezzy, Kali $15 (+ bf) 10pm Jackson’s On George, Sydney Lunacy DJ Michael Stewart, DJ Simon Laing free 9pm Kit & Kaboodle, Kings Cross Kitty Kitty Bang Bang! Isbjorn, Mr Belvedere, David Neale, Playmate, Devola, Pat Ward, Handsome, Kristy Lee 8pm The Marlborough Hotel – Cellar Bar, Newtown Resident DJs free 10pm Nevada Lounge, Darlinghurst DJ Hayden free 6pm

No Vacancy Lounge Club, Potts Point Grand Opening Weekend Recess, Rogers Room, Oh Glam, Dance Club 9pm Off Broadway Hotel, Broadway Lange, Heatbeat, Nick Arbor, Thomas Knight, James Brooks, Big J, Duress, Krish Titan, Rossco, VLN, Byjon $25 10pm One22, Sydney Slugabed (UK), Ikonika (UK), Dro Carey, Preacha, Astral DJs $30 (+ bf) 10pm Oxford Art Factory, Darlinghurst Ear Porn Tom Deluxx (FRA), NatNoiz, Pablo J & The Lobsterettes, Everto, Karma Coma, Fiktion, Obey, FTT 9pm Phoenix Bar, Darlinghurst Halfway Crooks October: On That Waaaaave! Captain Franco, Levins, Elston $10 10pm Pier 2/3, Dawes Point Fashion vs Music Junk, Hollie Colquhoun, DJ Mel, DJ Valentine, Keeda, Amber Maxwell, Cherri $70 6pm The Rooftop, Coogee Rooftop Saturday Day Party Carl Bee (Malta), Juliet Fox, YokoO, Ben Ashton, Scuba Stew, Nathan Cryptic, Dean Zlato $25 (+ bf) 2pm The Sly Fox, Enmore Kris Keogh, Baerfrens, KiMono, Dred Jenson, Hagbard Celine vs Loz Nonsense, Simo Soo free 9pm Soho, Potts Point Usual Suspects Denzal Park, Lights Out, Jack Bailey, Danny Lang, MissingNo., Skinny, Bouce crew DJs, Here’s Trouble, 14th Minute 9pm Space Nightclub, Sydney Masif Saturdays Resident DJs 10pm The Spice Cellar, Sydney Ame (DE) $25 10pm The Standard, Darlinghurst TZU, Sietta $20 (+ bf) 8pm The Watershed Hotel Watershed Presents… Skybar $20 9pm The World Bar, Kings Cross Cakes Sampology, Blaze Tripp, What So Not, Chris Arnott, Katie Valentine, Pipemix, Bentley, Mike Hyper, MK1, Smokin’ Joe, Ctrl Alt Delicious, Tokoloshe, Ben Morris $15$20 8pm

SUNDAY OCTOBER 14 Abercrombie Hotel, Broadway S.A.S.H Sundays – Laundry Murray Lake, Whitecat + Nergal, Raulll, Matt Weir, Kerry Wallace $10 2pm The Beresford Hotel, Surry Hills Beresford Sundays Resident DJs free 3pm Cargo Bar, Darling Harbour You+1 After Party DJs 9pm Hugo’s Lounge, Kings Cross Sneaky Sundays DJs 8pm Kit & Kaboodle, Kings Cross Easy Sundays Resident DJs 8pm Q Bar, Darlinghurst Daydreams Daydreams DJs 4.30am Sapphire Lounge, Kings Cross Sapphire Sundays Resident DJs 8pm The Spice Cellar, Sydney Spice After Hours Robbie Lowe, Nic Scali $20 4am The Starship, King St Wharf, Darling Harbour You+1 Floating Boat Party Steve Aoki (USA), Rudimental (UK), Flight Facilities 4.45pm The Watershed Hotel Afternoon DJs DJ Brynstar free 2pm The World Bar, Kings Cross Soup Kitchen Cotolette, Manjazz, Ethan Winzer, Deli, Junior free 7pm

snap

club picks

up all night out all week . . .

up all night out all week...

Cassian The World Bar, Kings Cross Propaganda Propaganda DJs, Spice Cube DJs, Urby, Conrad Greenleaf free (student)-$5 9pm

FRIDAY OCTOBER 12 Beach Road Hotel, Bondi Modular Fridays Slow Blow free 8pm Chinese Laundry, Sydney One Love Bass Xplosion Tour A-Tonez, The Mane Thing, Royalston, Linken, Hydraulix, Detektives, Diskoriot, Astrix Little, Big Deal Gillespie $15-$25 10pm Enmore Theatre Steve Aoki (USA), Tenzin, Vengence $79.90 7pm Goodgod Small Club, Sydney FC@GG! Future Classic DJs, La Fresh aka Modern Fairytale $10 (pre-sale) 10pm

WEDNESDAY OCTOBER 10 The Marquee, The Star, Pyrmont Assembly Wednesdays Cassian $10 8pm The World Bar, Kings Cross The Wall Emalkay (UK), Glovecats, Subaske, Bocue, Pat Ward, Big Dogs, Clockwerk, WhatIs? 9pm

THURSDAY OCTOBER 11 UNSW Roundhouse, Kensington UNSW Oktoberfest 2012 Tonite Only, Rufus, What So Not, Naysayer & Gilsun, Tenzin, Northeast Party House, Alley Oop, Sosueme DJs, Daily Meds, True Vibenation, Cub Scouts, The Griswolds, Jimi Needles, Def Rok, Heke, Pat Ward, Devola, Mean Dartin, Anujual, Mr. Belvedere, The Masters sold out 4pm Steve Aoki

One22, Sydney Stalled – A Dean Dixon Record Fund Party Simon Caldwell, Eric Downer, Magda Bytnerowicz, Dave Fernandes, Dean Dixon $10 10pm The Spice Cellar, Sydney Otologic, Pink Lloyd, DJ Dreamcatcher $10 10pm

SATURDAY OCTOBER 13 Beach Road Hotel, Bondi Falcona Saturdays Alison Wonderland, Olympic Ayres and more free 8pm Chinese Laundry, Sydney Rudimental (UK), Defined By Rhythm, Kid Sample, U-Khan, Whitecat, King Lee, Goodfella, Bounce Crew DJs, Mike Hyper $15-$25 8pm Goodgod Small Club, Sydney SOS Haus Rave: ’87-’93 Gloves, Bad Ezzy, Tyson, Power Suit, Sex Azza Weapon $10 11pm One22, Sydney Slugabed (UK), Ikonika (UK), Dro Carey, Preacha, Astral DJs $30 (+ bf) 10pm Phoenix Bar, Darlinghurst Halfway Crooks October: On That Waaaaave! Captain Franco, Levins, Elston $10 10pm The Spice Cellar, Sydney Âme (DJ set) (DE) $25 10pm The Standard, Darlinghurst TZU, Sietta $20 (+ bf) 8pm The World Bar, Kings Cross Cakes Sampology, Blaze Tripp, What So Not, Chris Arnott, Katie Valentine, Pipemix, Bentley, Mike Hyper, MK1, Smokin’ Joe, Ctrl Alt Delicious, Tokoloshe, Ben Morris $15-$20 8pm

SUNDAY OCTOBER 14 Abercrombie Hotel, Broadway S.A.S.H Sundays – Laundry Murray Lake, Whitecat + Nergal, Raulll, Matt Weir, Kerry Wallace $10 2pm

parklife 2012

PICS :: TL & :: AM

Emalkay

30:09:12 :: Parklife :: Moore Park Sydney

BRAG :: 483 :: 08:10:12 :: 43

snap

sharam

PICS :: AM

up all night out all week . . .

assembly w/ canyons

PICS :: PX

29:09:12 :: Chinese Laundry :: 111 Sussex St Sydney 8295 9999

pepperpot

PICS :: AM

26:09:12 :: Marquee :: The Star Sydney, Pyrmont 9657 7737

30:09:12 :: The Spice Cellar :: 58 Elizabeth St Sydney 9223 5585

It’s called: Cakes at The World Bar It sounds like: House, techno, hip hop, trap, bass, breaks, fun, party, classics, electro, fun and excellent. Yes… Excellent.

Acts: Sampology, What So Not, Chris Arnott , Blaze Tripp, Valentine and more!

Three songs you’ll hear on the night: Floss tradamus – ‘Rollup (Bauuer remix)’, Sampology – ‘Around The Globe (feat. Seroc ee)’, TNGHT – ‘Higher Ground’.

And one you definitely won’t: Carly Rae Jepso mething – ‘Call Me Maybe’.

Sell it to us: It will be a raunchy, bass-filled, debaucherous, excellent super fun happy time, because Sampology is a god, What So Not are ridiculous, Blaze Tripp, Chris Arnott and Valentine are legendary – and if you don’t like that, we’ve got three other rooms of Greatness.

The bit we’ll remember in the AM: Probably some seriously scantily-clad people.

Crowd specs: People who appreciate a good solid house party romp!

Wallet damage: $15 before 10pm, $20 after Where: The World Bar, Kings Cross When: Saturday October 13

44 :: BRAG :: 483 :: 08:10:12

goodgod b'day: all stars 30:09:12 :: Goodgod Small Club :: 53-55 Liverpool St Chinatown 8084 0587 :: NOHMON ANWARYAR :: ANNA S : TIM LEVY (HEAD HONCHO) :: THOMAS PEACHY :: OUR LOVELY PHOTOGRAPHER MAR LEY ASH :: KIA EISERMANN BROWN ::KATRINA CLARKE :: SAS PEDRO XAVIER

PICS :: AM

party profile

cakes

AKMaL BRAND NEW SHOW

A-LIST ENTERTAINMENT PRESENTS

“An explosion of laughter and entertainment” The Daily Telegraph “No one wanted the show to stop... he seemed to own the stage” Sydney Morning Herald

STARTS THIS WEEK...

FRIDAY 12TH OCTOBER SATURDAY 27TH OCTOBER FRIDAY 16TH NOVEMBER Mounties Hornsby RSL Club The Juniors 9822 3555 mounties.com.au 9477 7777 hornsbyrsl.com.au 9349 7555 SATURDAY 13TH OCTOBER FRIDAY 2ND NOVEMBER thejuniors.com.au Castle Hill RSL Club Norths Leagues Club SATURDAY 17TH NOVEMBER 8858 4800 9245 3000 norths.com.au Wentworthville castlehillrsl.com.au SATURDAY 3RD NOVEMBER Leagues Club FRIDAY 19TH OCTOBER Dee Why RSL Club 8868 9200 Penrith Panthers 9454 4000 dyrsl.com.au wentyleagues.com.au 4720 5555 FRIDAY 9TH NOVEMBER FRIDAY 23RD NOVEMBER penrith.panthers.com.au Rooty Hill RSL Club Burwood RSL Club SATURDAY 20TH OCTOBER 9625 5500 9741 2888 Revesby Workers Club rootyhillrsl.com.au burwoodrsl.com.au 9772 2100 rwc.org.au SATURDAY 10TH NOVEMBER SATURDAY 24TH NOVEMBER FRIDAY 26TH OCTOBER Canterbury Club Central Menai Campbelltown RSL Club Hurlstone Park RSL 9532 1800 4625 1408 campbelltownrsl.com.au 9559 0000 chprsl.com.au clubcentralmenai.com.au

WIN TICKETS! to the Classic & Wooden Boat Festival anmm.gov.au/cwbf to enter

Visit

FAMILY FUN DAY & NIGHT AT DARLING HARBOUR FREE for children (15yrs & under) $10 Day ticket $20 Night ticket ARIA award-winning Clare Bowditch will perform under the stars Saturday 13 October Special appearances by Dorothy the Dinosaur and Captain Feathersword Day and night performances by familiar faces from The Voice such as Danni Da Ros and Carmen Smith Hurrica V which features in the upcoming film The Great Gatsby starring Leonardo DiCaprio Over 70 classic boats, competitions, kids workshops, marine art and crafts, boat rides, pop-up bar and much more!

12-14 OCTOBER 2012 AUSTRALIAN NATIONAL MARITIME MUSEUM 2 Murray Street Darling Harbour 02 9298 3777 © 2012 The Wiggles Pty Ltd. The Wiggles and Paul Paddick do not appear at this event.

BRAG :: 483 :: 08:10:12 :: 45

snap up all night out all week . . .

africa hitech

PICS :: SE

party profile

island bar festival It’s called: Sailor Jerry presents The Island Bar Festival It sounds like: A showcase of Sailor Jerry’s music program. Everything from punk to rockabilly, garage to thrash, and plenty of good ol' rum-drenched rock’n’roll.

Acts: Samoan Punks, Pirates Alive, Twincest, Bec & Ben, Chicks Who Love Guns, Fait Accompli and Pat Capocci.

Sell it to us: Cheap drinks, tasty food, arm wrestling, corn in the hole, tattoos, barbers, bands, roller derby girls, a helluva lot of Airstream. If you don’t know what this is, you’ll rum and, of course, the Sailor Jerry just have to come see for yourself.

The bit we’ll remember in the AM: The taste of spiced rum left on your lips.

Crowd specs: Expect to see a lot of tattoos.

We’ll leave it at that.

Wallet damage: It’s FREE!!!

Where: The Island Bar, Cockatoo Island (a ferry ride from Circular Quay) When: October 11 & 12 from 5pm; October 13 & 14 from 12pm

musik matters

PICS :: PX

29:09:12 :: Marrickville Bowling Club :: 91 Sydenham Road Marrickville 9557 1185

the cool room

PICS :: NA

29:09:12 :: The Goldfish :: 111 Darlinghurst Rd Potts Point 8354 6630

hip hop legends tour

PICS :: PX

27:09:12 :: Australian Brewery :: 350 Annangrove Rd Rouse Hill 9679 4555

propaganda

PICS :: DM

30:09:12 :: Metro Theatre :: 624 George St Sydney 9550 3666

27:09:12 :: World Bar :: 24 Bayswater Rd Kings Cross 93577700 46 :: BRAG :: 483 :: 08:10:12

:: NOHMON ANWARYAR :: ANNA S : TIM LEVY (HEAD HONCHO) :: THOMAS PEACHY :: OUR LOVELY PHOTOGRAPHER MAR LEY ASH :: KIA EISERMANN BROWN ::KATRINA CLARKE :: SAS PEDRO XAVIER

BENAROYA PICTURES AND FILMNATION ENTERTAINMENT PRESENT IN ASSOCIATION WITH ANNAPURNA PICTURES A DOUGLAS WICK/LUCY FISHER PRODUCTION A BLUMHANSONALLEN FILMS PRODUCTION A JOHN HILLCOAT FILM SHIA LABEOUF TOM HARDY GARY OLDMAN MIA WASIKOWSKA JESSICA CHASTAIN JASON CLARKE AND GUY PEARCE “LAWLESS” DIRECTOR OF COSTUME MUSIC CASTING BY FRANCINE MAISLER, C.S.A. KATHLEEN DRISCOLL-MOHLER DESIGNER MARGOT WILSON MUSIC BY NICK CAVE AND WARREN ELLIS SUPERVISORS DAVID SARDY AND JORDAN TAPPIS EDITED BY DYLAN TICHENOR, ACE PRODUCTION DESIGNER CHRIS KENNEDY PHOTOGRAPHY BENOIT DELHOMME AFC EXECUTIVE CO - EXECUTIVE PRODUCERS CLAYTON YOUNG JAMES LEJSEK CO-PRODUCERS JOHN ALLEN MATTHEW BUDMAN PRODUCERS DANY WOLF RACHEL SHANE JASON BLUM SCOTT HANSON CASSIAN ELWES LAURA RISTER ROBERT OGDEN BARNUM TED SCHIPPER RANDY MANIS BEN SACHS PRODUCED BY DOUGLAS WICK, P.G.A. LUCY FISHER, P.G.A. MEGAN ELLISON MICHAEL BENAROYA BASED ON THE BOOK “THE WETTEST COUNTY IN THE WORLD” BY MATT BONDURANT SCREENPLAY BY NICK CAVE DIRECTED BY JOHN HILLCOAT www.lawlessmovie.com.au

Strong bloody violence

IN CINEMAS OCTOBER 11

GARY OLDMAN

Strong bloody violence

MIA WASIKOWSKA

JESSICA CHASTAIN

AND GUY PEARCE

IN CINEMAS OCTOBER 11

www.lawllessm ess ov ovie.com.au au

SHIA LABEOOUF TOM HARDY GARY OLDMANN MIA WAASIKOWSKA JESSICA CHASTAIN JASON CLARKEE ANAD GUY PEARCE “LAWLESS” CACASTSTIING BY FRANCINE MAIISLERR, C.S.A. KATHLEEEN DRISCOLL-MOHLER COCOSTSTUMUMEE DEDESISSIIGNG ERE MARGOT WILSON MUMUSIC BY NICK CAVE AND WARREN ELLIS MUSIC SUPERVISORS DAVID SARDY JOHNA N ALLELLENEN MATTHHEWEW BUBUDMA DMMAN EXEXECECUUTIVE PRODUCERS DANYY WOLF OLFF RACHELS HEL SHANE JASON BLUM UM SCO SCOTOTTHT HANSON ANSON CASSIANNELELLWES LAURURA RISTER STERR ROBERERTRT OGDENBN BARNUM TEDSC D SCCHIPPER RANDNDY MANINIS BEEN SACHS PRPRODODUCUED BYY DODOUGLAS WICK, P.G.A. LUCY FISHER, P.G.A. MEGAN ELLISON MICHAELL BENAROYA ONN THTHEHE BOOOOKK “THE WETTESTCOU T UNTY IN THE WORLLD” BY MAATT BOONDUURAANT SCRESCCRREEENE PLP AYAY BYBY NICK CAVE DIDIRER CTCTEDEDD BYB JOHN HILLCOAT

LAWLESS

TOM HARDY

BENAROYA PICTURES ANA D FILMNATION ENTERTAINMENT PRP ESESENNTT IN ASSSSOCOCIATIT ON WITHTH ANNAPURNA PICTURES A DOUGLAS WICK/LUUCY FISHER PRODUCTION A BLUUMHANSONA LMS PRPRODO UUCCTIT OONN A JOHN HI AND JORDANN TAPPIS EEDDITEDED BYY DYLAN TICHENOOR, ACACE PPRRODUC ODDUCCTIT ONN DDEESIS GNG ER CHRIS KENNED EDY DIRECTRECTOROR OOFF PPHHOTOGGRAR PHHY BENOIT DEDELHO LHOM OMME AFC CO-EXEXECXECUTI ECUT CUTIIVE PPRRODO UUCCERERSRS N YOUNG JAMES LEJSEK

SHIA LABEOUF