The Brag #502

SIDESHOW. WEDNESDAY

TS +WILLOW BEA

incredibleburtmovie.com.au

gathering.

*Transaction fee of $5-$8.50 applies to all bookings, excluding Insiders.

Ngambala Wiji Li-Wunungu: Together we are strong.

Late Nights at Bar Badu.

The Yolngu Experience.

Djawa Burarrwanga.

Haumanu: Breath of the birds.

Late Nights at Bar Badu.

22 – 24 March. Free event.

A unique opportunity to relax, kick back and get up close to the artists and music celebrated in the festival with residents Microwave Jenny, Troy Brady, Hui-A, Street Warriors and guests.

Haumanu: Breath of the birds.

19 – 24 March 2013

Ngambala Wiji Li-Wunungu: Together we are strong.

24 March. Tickets $25*.

Through story and song, award-winning artist Shellie Morris tells of her powerful journey of kinship through the preservation of language, cultural heritage and age-old music.

24 March. Tickets $25*.

The Yolngu Experience.

Ancient tales retold by modern voices, traditional instruments kept alive by modern hands, here are fresh new ways of experiencing a rich musical culture from Aotearoa. An experience like no other.

23 – 24 March. Workshop $30*.

Bennelong point dissolves into North-East Arnhem Land, home to Gurrumul and Yothu Yindi. This is a unique, intimate interaction with Yolngu culture and people – where you learn, observe and participate in new and surprising ways.

For free events & more festival info sydneyoperahouse.com/messagesticks BRAG :: 502 :: 04:03:13 :: 3

PRESENTS

3RD AND ABSOLUTELY FINAL SHOW ON SALE NOW

‘SUGAR MAN’ ‘CRUCIFY YOUR MIND’ ‘I WONDER’

RODRIGUEZ

PERFORMING WITH THE BREAK FEATURING MEMBERS OF MIDNIGHT OIL, VIOLENT FEMMES, HUNTERS & COLLECTORS SEARCHING FOR SUGAR MAN SOUNDTRACK ALBUM 3RD AND FINAL SHOW! SELLING FAST! ENMORE THEATRE TUE 19 MAR SOLD SOLD MON 25 MAR OUT! TUE 26 MAR OUT!

PRESENTS

THE LONG AWAITED RETURN OF

OUT NOW THROUGH SONY MUSIC

“EXTRAORDINARY SONGS, MESMERISING GUITAR PLAYING, AND A VOICE THAT GOES EFFORTLESSLY FROM BRUISE-TENDER TO SCAR-HARD IN A MATTER OF MINUTES ...

SHE HELD THE AUDIENCE SPELLBOUND.”

PRESENTS

JOAN ARMATRADING SETH LAKEMAN SHAWN COLVIN THE GUARDIAN

WITH

AN INTIMATE EVENING WITH

ENMORE THEATRE SUN 24 MAR

THE BASEMENT SUN 31 MAR

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“AN ATOMIC BOMB IN LIPSTICK - THE QUEEN OF ROCKABILLY” BOB DYLAN “SHE’S LIKE MY ROCKABILLY ETTA JAMES. I LOVE HER, SHE’S SO BRILLIANT. ” ADELE FACTORY THEATRE SAT 23 MAR LIZOTTES NEWCASTLE MON 25 MAR 4 :: BRAG :: 502 :: 04:03:13

PRESENTS

“HERE IS THE NEXT MAJOR VOICE OF CONSCIOUSNESS IN MUSIC IN A LONG LINE STARTING WITH BOB MARLEY - THROUGH TO MICHAEL FRANTI AND BEYOND....DON’T MISS THE URGENCY OF THE MESSAGE OF THESE FREEDOM SOLDIERS”

METRO THEATRE FRI 5 APR

PETER NOBLE FESTIVAL DIRECTOR BLUESFEST

TEDESCHI WITH GUESTS

TROMBONE SHORTY

BAND

TRUCKS

& ORLEANS AVENUE

“GENIUS PLAYER” LENNY KRAVITZ “COMPLETELY BLOWN AWAY” JEFF BECK

ENMORE THEATRE SUN 31 MAR BLUE BEAT LIVE DOUBLE BAY TROMBONE SHORTY & MON 1 MAR ORLEANS AVENUE ONLY!

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2013 GRAMMY WINNER: BEST REGGAE ALBUM

‘THE HARDER THEY COME’ ‘MANY RIVERS TO CROSS’ ‘YOU CAN GET IT IF YOU REALLY WANT’

PRESENTS

ROYAL SOUTHERN JIMMY SOUTHERN ROCK SUPERGROUP

THE KING OF REGGAE

CLIFF METRO THEATRE THU 28 MAR

PRESENTS

BROTHERHOOD CYRIL NEVILLE (THE NEVILLE BROTHERS / THE METERS) DEVON ALLMAN (ALLMAN BROTHERS) HIGHLY AWARDED BLUES GUITARIST MIKE ZITO, CHARLIE FEAT

PRESENTS

WOOTEN & YONRICO SCOTT (OF TEDESCHI TRUCKS BAND)

THE BASEMENT THU 28 MAR

PRESENTS

PRESENTS

ALBUM OUT 15 MARCH

US SOUL SENSATION

“TOM WAITS, NICK LOWE AND JOHN PRINE ARE BIG FANS OF HIS ...GAURDIAN THINK ELVIS PRESLEY’S OUTPUT BEFORE HE JOINED THE ARMY” UK “THE DISC WAS RECORDED IN 100% ANALOG AND CONTAINS 100% OUT ROCKABILLY SWAGGER.” TIME NEW YORK

ALLEN

“ALLEN STONE HAS THE BEST EFFING VOICE I’VE EVER HEARD.” MTV “THE SON OF A PREACHER MAN...

PITCH-PERFECT POWERHOUSE” USA TODAY

JD MCPHERSON STONE THE BASEMENT WED 3 APR PRESENTS

BLUE BEAT LIVE DOUBLE BAY SELLING SAT 30 MAR FAST!

RICHARDS “PUT ME IN THE FAN CLUB!” KEITH

COSTELLO “ONE OF THE “ONE OF R&B’S GREATEST ...VOCALISTS.” ELVIS RAITT MOST INCREDIBLE R&B SINGERS SINGING TODAY.” BONNIE

THE FINEST MUSICIANS FROM THE STREET CORNERS OF THE WORLD UNITE ONSTAGE TO CREATE CHANGE.

PLAYING

FOR CHANGE ALSO APPEARING WITH ROBERT PLANT FOR SELECT PERFORMANCES

WITH SPECIAL GUEST

GENEVIEVE CHADWICK

FACTORY THEATRE MON 1 APR

PRESENTS

PRESENTS

& SOUL “ONE OF THE BEST SOUL VOICES EVER.” BLUES

JOHN “RAW, GRITTY. GUT WRENCHING ...

“INCREDIBLE ARTIST” ELTON ONE OF R&B’S BEST KEPT SECRETS.” BILLBOARD “SHE IS GONNA GROHL FOO FIGHTERS STEAL THE SHOW... UNBELIEVABLE.” DAVE

COODER “THE GREATEST FEMALE SOUL SINGER.” RY

“THE CURRENT QUEEN OF SOUL” HITS “THE MOST EMOTIVE, MINNEAPOLIS STAR TRIBUNE EMOTIONAL SINGER IN THE R&B WORLD.” THE

“THERE’S NO-ONE MORE SOULFUL.” CNN

MUSIC MAKER BLUES REVUE! FEATURING

IRONING BOARD SAM MAJOR HANDY DR. PAT WILDER BURT

|

WITH NASHID ABDUL-KHAALIQ ARDIE DEAN | ALBERT WHITE |

BLUE BEAT LIVE DOUBLE BAY THU 28 MAR

BEN

FOLK-INSPIRED SINGER/SONGWRITER AND MERCURY PRIZE NOMINEE

WITH

CAPLAN BETTYE HUFFINGTON LAVETTE POST “HIGH PRIESTESS “MISS OF R&B. ” THE NOW RIVALS

“THE LAST GREAT VERNACULAR BLACK SINGER.” ARETHA “SOME SINGERS SING... THEN THEREFRANKLIN IS BETTYE. AS” THIS THE NEW YORKER JON BON JOVI

“RIVALS ARETHA FRANKLIN AS HER GENERATION’S GENERATITHE OMOST N’SNEW MOSTYORK VIVITAL TALTIMES SOUL SISOUL NGER.”

SINGER” NEW YORK TIMES

LAVETTE FACTORY THEATRE FRI 5 APR

SOLO

THE REAL BLUES

“HER VOICE ... CONTAINS MORE CHARACTER AND DEPTH OF FEELING THAN ... ANY OTHER SINGER THIS SIDE OF BILLIE AND DETROIT SHERYL FREE PRESS “JUST A MASTER” CROW ARETHA.” THE

CAPLAN IS TO FOLKBLUES WHAT SMOKE IS TO BOURBON. RUGGED, RASPY & ROARING WITH CHARISMA AND THE GROWLING INTENSITY OF SEASICK STEVE & TOM WAITS.

BLUE BEAT DOUBLE BAY WED 3 APR

CARUS THOMPSON

BASEMENT TUE 19 MAR

LIZOTTES SYDNEY THU 21 MAR LIZOTTES CENTRAL COAST FRI 22 MAR LIZOTTES NEWCASTLE SAT 23 MAR BRASS MONKEY CRONULLA SUN 24 MAR

VISIT BLUESFESTTOURING.COM.AU FOR TICKETING ARTISTS ALSO INFO OR CALL 02 6685 8310 ALL APPEARING AT BLUESFEST

ALSO TOURING:

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WEDNESDAY31JULY FOR EXCLUSIVE PRE-SALE INFO AN AWESOME WAVE album out now feat. ‘Breezeblocks’ 6 :: BRAG :: 502 :: 04:03:13

altjband.com

HORDERN PAVILION all ages show

VISIT FRONTIERTOURING.COM

BRAG :: 502 :: 04:03:13 :: 7

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

five things WITH

DAY RAVIES Growing Up The Music You Make All of our parents are artistic in some way Our music is honestly pretty diverse 1.

4. and influenced us positively growing up. Most between songs because we have three aren’t musicians but Lani’s dad is a drummer.

Caro’s dad also plays guitar and he’s heaps into gear and stuff. He has a soundproof studio in the basement of his house, which is where we rehearse. You can’t get much better parental support than that.

Inspirations Sam got into a deep ’60s phase as a 2. teenager; for Nev it was hardcore, Caro dug The Ramones, Lani was an Elliott Smith fanatic. We came to shoegaze and stuff a bit later. Between us we have a few all-time favourites: My Bloody Valentine, Yo La Tengo, BJM, The Clean. We’re all a bit different, but pretty much on the same ‘guitar-pop’ page.

Your Band We are Sam (guitar), Caro (bass), Nev 3. (drums) and Lani (keys). Caro and Lani went to Newtown High together and Sam and Nev met on the Northern Beaches where they used to live (we’re all inner-westies now).

We’ve been together two years now, and we put our first EP out a bit over a year ago. We recently finished recording our forthcoming album with our friend Wade Gilmour at JMC and we’re having it mixed as we speak by another friend, Pete Beringer.

songwriters/singers. When we started out, we were a bit more jangly. Lately the tunes have been drowned in sound a little more, but we really don’t limit ourselves to one style. Our live shows can be pretty noisy but underneath it every song is just a pop song.

Music, Right Here, Right Now The scene now is ah.ma.zing. We all 5. play in at least one other band ‘cos we love it. A lot of the bands we love are mates – half because our friends make great music, and half because if we see a band and love them, we try to make friends. We think some of the best Australian bands right now are Unity Floors, Beef Jerk, and Housewives in Sydney; Velcro, Chook Race, and The Stevens in Melbourne; Blank Realm in Brisbane… and heaps more. Like us, a lot of them are pretty new and haven’t put much out yet, so there’s heaps to look forward to.

With: East River, Through The Forest Door When: Thursday March 14 Where: Brighton Up Bar / 1/77 Oxford St, Darlinghurst

BREAKING THE MOULD

PUBLISHERS: Adam Zammit & Rob Furst EDITOR IN CHIEF: Adam Zammit 9552 6333 adam@peergroupmedia.com EDITOR: Dee Jefferson dee@thebrag.com 02 9690 2731 ASSISTANT EDITOR: Caitlin Welsh STAFF WRITERS: Benjamin Cooper, Alasdair Duncan NEWS: Nathan Jolly, Chris Honnery ART DIRECTOR: Sarah Bryant GRAPHIC DESIGN: Alan Parry SENIOR PHOTOGRAPHER: Tim Levy SNAP PHOTOGRAPHERS: Katrina Clarke, Averie Harvey, Ryan Kitching, Ashley Mar, Pedro Xavier COVER PHOTOGRAPH: Ken Leanfore ADVERTISING: Ross Eldridge - 0422 659 425 / (02) 9690 0806 ross@thebrag.com ADVERTISING: Les White - 0405 581 125 / (02) 8394 9027 les@thebrag.com

Wanna hear the most perfect piece of power pop ever produced? Go and listen to Sugar’s ‘If I Can’t Change Your Mind’ (on your older sister’s Walkman, obviously) then quickly buy tickets to see Bob Mould this Saturday (March 9 at The Factory Theatre) or Sunday (March 10 at The Annandale).

He’s the voice/brain behind that song, and also behind the entire Hüsker Dü catalogue, which that sneering, pierced guy behind you on the train right now will assure you are one of the most infl uential bands in the history of alternative/punk/hardcore music.

Sydney power pop merchants Knievel will be supporting, which makes sense considering Mould’s set will lean heavily on the excellent Copper Blue record (he once commented, quite rightly, “It’s one of those records that sounds like it’s 20 years old; it sounds like it’s 50 years old; it sounds like it was made last week”) and his recent album, Silver Age.

GIG & CLUB GUIDE CO-ORDINATOR: Conrad Richters - gigguide@thebrag.com (rock) clubguide@thebrag.com (dance, hip hop & parties) ONLINE & SOCIAL MEDIA: Tanydd Jaquet AWESOME INTERNS: Natalie Amat, Katie Davern, Tanydd Jaquet, Mina Kitsos

THE RUBENS

Last year, Michael Gudinski called us up and ranted at length down the phone about a brilliant new band called The Rubens who he’d just signed and who were going to be the biggest band in the world. It looks like that’s turning out to be very true, with the news that they have signed to Warner Bros USA (home of the Space Jam franchise) and that their debut record has gone Gold in Australia. I guess what we are saying is you should catch them on their Never Be The Same tour, which hits the Enmore Theatre on May 24 (with support from Americans Walk The Moon and Sydney babes Bloods), because once America gets a hold on them, things will never be the same…

REGULAR CONTRIBUTORS: Nat Amat, Ian Barr, Simon Binns, Christie Eliezer, Chris Honnery, Nathan Jolly, Lachlan Kanoniuk, Jody Macgregor, Alicia Malone, Chris Martin, Jenny Noyes, Hugh Robertson, Rebecca Saffir, Jonno Seidler, Rach Seneviratne, Roland K Smith, Luke Telford, Rick Warner, Alex Sol Watts, Krissi Weiss, Caitlin Welsh, David Wild

KINGFISHA

Please send mail NOT ACCOUNTS direct to this address 8a Marlborough Street, Surry Hills NSW 2010 ph - (02) 9552 6333 fax - (02) 9319 2227 EDITORIAL POLICY: The views and opinions expressed in this publication are not necessarily those of the publisher, editors or staff of The BRAG. ACCOUNTS RECEIVABLE: Stephen Forde : accounts@furstmedia.com.au ph - (03) 9428 3600 fax - (03) 9428 3611 Furst Media, 3 Newton Street Richmond Victoria 3121 DEADLINES: Editorial: Wednesday 12pm (no extensions) Artwork/ad bookings: Thursday 12pm (no extensions).

Ad cancellations: Tuesday 4pm Published by Cartrage P/L ACN 104026388 All content copyrighted to Cartrage 2003 DISTRIBUTION: Wanna get The Brag? Email distribution@ furstmedia.com.au or phone 03 9428 3600.

PRINTED BY SPOTPRESS: www.spotpress.com.au 24 – 26 Lilian Fowler Place, Marrickville NSW 2204 Win a giveaway? Mail us a stamped and addressed envelope, and we’ll send your prize on over...

8 :: BRAG :: 502 :: 04:03:13

The Rubens

Beth Orton

GOD BLESS ORTON

Beth Orton is like Kurt Cobain in that there has never been a bad photo taken of her. Unlike Cobain, however, Beth Orton is coming to Australia as part of the incredible Heavenly Sounds series, which puts artists in beautiful cathedrals and churches around the country, even though pop music is the devil’s music and pleasure is a sin. (But oh Christ, the acoustics in those places!) Orton’s most recent record Sugaring Season is simply stunning, and as long as she peppers the set with tracks from Central Reservation and Trailer Park as well, we’ll be there with bells/ prayer beads on. May 14 it happens, at St. Stephen’s Uniting Church in the CBD.

Jah bless! Amazing Brisbane dub/reggae band Kingfi sha have taken to the road in support of their new single ‘Digging For Fire’, and will be swinging by Spectrum on April 12, with the perfectly-named Dubmarine as the main support, and Kinsky and Foreign Dub letting the entire bill down in the name department, but more than making up for it in the musical sense. Tickets are $15 at the door – don’t be that guy who pays with all coins. “What? It’s still money.” That doesn’t make it okay, jerk.

WALK THIS WAY

Remember when Aerosmith were living in that cramped apartment next door to Run DMC, and the two of them kept practicing their music too loud until the only logical conclusion was to break down the adjoining wall and invent rap rock? Little did they know of the horrible ramifi cations of such a simple act. 28 Days. Linkin Park. Rage Against The Machine (While Being Signed To A Multinational Corporate Label). Well, they’ll more than make up for opening that Pandora’s Box with a massive show at ANZ Arena on April 28, in which they will not only pluck hits from their enviable catalogue, but will bring along Wolfmother, Grinspoon, Spiderbait and The Dead Daisies. We

assume they’d been listening to that Livid ’98 CD in the van (Aerosmith tour in a van, right?) and fi gured, “Let’s get some of these guys, plus that band who sings that ‘Woman’ song we heard on the radio before and briefl y thought was something we recorded in the ’70s while on a drug binge and totally forgot about.” Tickets via Ticketek, on sale at high noon on March 4.

WHAT A MAVERICK

You know how Billy Idol’s ‘Rebel Yell’ roars at you like a freight-train (with a novelty horn that roars)? And how the guitar from ‘Dirty Diana’ is so sleazy and slinky it could be charged with sexual harassment? And how the music from Top Gun makes short guys the world over think they can achieve amazing, fist-pumping feats of bravery? Well, that’s all the work of enigmatic guitar hero Steve ‘Stevo’ Stevens, who spent the ’80s and the ’90s ruling the world of rock, before settling down to a quiet life as a reality show star, on the unintentionally hilarious Married To Rock. He and his wife Josie are coming to Big Music in Crows Nest on March 25 for a ‘Clinic and Conversation’, which will see him showcase (read: shred like a motherfucker on) the latest gear from Roland and BOSS, plus chat, answer questions, and all that fun stuff.

Dress as Maverick, and hit on his wife, he likes it. Tickets from rolandcorp.com.au

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rock music news

free stuff

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

FREESTUFF@THEBRAG.COM

five things WITH

WILCO

DOM FROM MILLIONS Your Band Ted and Campbell were high school 3. friends, and I got to know them and James in 2010 from working at a call-centre. I was actually good friends with Ted’s younger brother growing up – he was the guy we would ring up to buy us alcohol on the weekend. To be honest the band just happened; I don’t think we ever thought about taking it even semi-seriously. We definitely have some varying music tastes – James loves to blast Justice when we are on tour trying to sleep.

The Music You Make Garage, guitar pop. A little ’60s, a little 4.

Stax, a little bit 90’s at times. I think we’re still working it out. We’re into bands like Yuck and Girls but also local outfits, our friends from a few bands in Brisbane.

Growing Up I remember listening to CDs in my 1. mum’s car on the way to primary school – The Monkees, Frank Sinatra, Rolling Stones… and the Bridget Jones soundtrack.

Neither of my parents played music but we had an old electric keyboard at home. Ted grew up in the UK and his dad was the singer in a band called Squeeze – Ted failed to pick up the vocal gene but he learned how to play guitar from his dad. I asked Campbell what he remembers, and he sais “testing” the first weed he ever bought before Bluesfest was the highlight of his youth.

Inspirations Music, Right Here, Right Now I think this is something that constantly 2.

There are a lot of bands everywhere but 5. changes. At the moment I’ve been listening if you actually have a keen interest in music to OK Computer a lot, as well as San Diego dudes The Soft Pack. Ted spent his teenage years listening to The Libertines, and right now Connan Mockasin and the new Foxygen album. James listens to a lot of old soul records, Miles Davis, and loads of hip hop.

He’s the kind of guy you want to avoid in a conversation about music because he will talk and talk and talk and you just nod your head and pretend you know where he’s coming from.

and not just the idea of it then it’s pretty easy to sort the good from the bad. We all really like Step-Panther, and DZ Deathrays are always a lot fun.

With: Cub Scouts, Pear Shape (all-ages show) When: Sunday March 10 from 3pm Where: The Lair @ The Metro Theatre

from their back catalogue, at the Factory Theatre on March 12. Grab tickets now and don’t actually wear a giant Afro, please, because it’s rude to short people.

DELTA RIGGS

“Melbourne turns out a truckload of wannabe rock stars – these guys are something else altogether – ferocious and infectious…”

That’s what our sister publication BEAT (kinda like BRAG, but they distribute to Lou’s Pub and Lassiter’s, while we go to the Summer Bay Surf Club, and the diner where Ailsa died) said about Delta Riggs, and soon the entire country will know about their scruffy rock as they get set to shoot their debut record Hex.Lover.Killer into the stratosphere (and stores, too). Their national tour in support of this record hits Goodgod Small Club on April 27.

ODE TO JOY

Big Scary

Vance Joy isn’t the latest skincare range from Clinique, but the latest signing to Liberation, and he is one of those earnest

One of the best things Wilco have ever done (aside from being dumped by their label, maintaining the rights to their record, then re-signing to a different Time Warner subsidiary, effectively making the company pay for the same album twice) is when Jeff Tweedy uses the word ‘assassin’ as a verb in ‘I Am Trying To Break Your Heart’. Of course, amongst the other good things they have done is releasing eight sparkling studio albums that run the gauntlet from jaunty pop through to alt-country then all the way to Velvets-inspired noise-jams. In short, Wilco are amazing, which is why we are giving you the chance to win a double pass to their second show at Sydney Opera House, on Wednesday April 3.

To win, simply tell us what your favourite Wilco song is, and why.

CAITLIN PARK

What are you doing this Thursday (March 7)? If the answer is, “Well, I was going to go and see Caitlin Park play some of the material from her eagerly-awaited second album at The Vanguard, only I haven’t the funds or the wherewithal to pull off such a move. By the way, I noticed that you crazy BRAG kids seem to gush about Caitlin and her wonderful music at every given opportunity. Good on you, it’s great to see you supporting such a great local talent!” – well, yes we do, and thanks, and by the way you may be in luck, as we have a few double passes to this show to give away. To win, simply tell us the name of her debut album, then make up a stupid back-story as to why she called it that.

Points are given for LOLz and ROFLz. singer-songwritery types that girls will swoon over, and guys will like because he is downto-earth and wears shoes on stage and everything. His debut EP God Loves You When You’re Dancing is quite lovely, as you’ll hear for yourself at his April 18 launch at The Vanguard. Tickets are $10 plus booking fee from the venue’s website. Burritos are $12 over the road and down a little bit. “Not beef, bean! BEAN!”

GRISWOLDS

We’re pretty annoyed at Sydney indie pop band The Griswolds because every time we hear their cracking new single ‘The Courtship Of Summer Preasley’, we want to watch the charming indie fl ick starring Blake Lively that we invented in our heads to go with the amazing title (Spoiler alert: a roguish Milo Ventimiglia learns that sometimes you only think you know what you want). On May 2 we will pitch our fi lm idea to the band, complete with sample dialogue and blocking ideas, when they launch the single at Oxford Art Factory that evening.

BIG SCARY

There’s an episode of This American Life in which Phil Collins speaks so candidly about the heartbreak he felt when his first wife left him that you just wanna hug him and love him, despite all the terrible crimes he has inflicted upon the wider world of music. Despite it not being about that episode, Melbourne indie-pop band Big Scary have gone ahead and released a new single called ‘Phil Collins’ and are launching it April 24 at Goodgod with the ever-amazing Sydney songwriter Caitlin Park in support. Get there early to see her. Buy her album Milk Annual if you haven’t yet. (And enter our competition to win tickets to her show.) Also buy Big Scary’s forthcoming album Not Art. And kiss a stranger.

And then kick on, because it’s Anzac Eve, ya drongo.

UNIDA!

DRAGON-FORTY

Even though I defi nitively and unquestionably know more than anyone else ever about Cold Chisel, I learnt an amazing new fact about them recently: right at the start of 10 :: BRAG :: 502 :: 04:03:13

their beautifully hollow epic Saturday Night (which is only sorta ruined by the presence of saxophone), buried in the noise in the intro is a snippet of Rain by Dragon, which was accidentally recorded as Don Walker strolled by a pub while taping the nightlife of Kings Cross. So, we’ll be at Dragon’s 40th anniversary shows on April 13 and 14 at Sydney Opera House, yelling at Todd Hunter, “Sue Don Walker, sue Barnesy, sue Mossy!” which we’re confi dent won’t be at all confusing out of context. Also, YouTube Dragon’s song ‘Young Years’ – so underrated!

AFROSWEET

When you are hanging out in a Brooklyn warehouse, probably the only good idea you will have is, “Hey, let’s form a 12-piece Afrobeat group.” Unlike most people though, the members of Antibalas actually made this a reality, and are widely credited for bringing Afrobeat to a global audience. (Funny, we read they formed in 1997, yet Vampire Weekend didn’t invent the genre until 2008.

Hmmph.) Last year Antibalas released Dirty Money, their first record in fi ve years, and they are performing it, and other classics

Alt-J

ALT-YAY

Alt-J have been to Australia twice within the past year, and sold all their shows out in less than five minutes both times. The Leeds band were visibly stunned and chuffed that people who lived half a world away knew the words to songs they wrote, and it was extremely endearing – plus the fact that the lead singer looks like Andy from Parks And Recreation and the bass player looks like Gareth from The Office (the funny, clever version of The Office, we mean) helped us love then even more. Australia is their biggest market in the world, which makes it exciting but not really a surprise that they will be back, yet again, on July 31 – this time playing the Hordern Pavilion because they are an epic, world-beating arena band, even if Australia are the only ones smart enough to realise it. Frontier presale from 2pm Wednesday March 6; general public March 13, at the crack of 9am.

Alt-J photo by Ken Leanfore

In the skull-crushing Southern Californian desert, a band called Kyuss reigned for a brief period before disintegrating in a mess of infi ghting and tuned-down guitars.

Founding member John Garcia emerged from a peyote-fuelled month and discovered that he had formed a new stoner-rock outfi t called Unida! Also that the soul of a Native American had gotten inside him, and life is meaningless, and all we have is right now… but mainly that he had formed a new band.

The group went on hiatus in the early twothousandies, but have since emerged, more rumbly and elastic and droney than ever, and are coming to Australia for the first time ever, teaching uni kids how to make a bong out of an apple on May 10 at the Manning Bar, with the two best-named bands ever [Guinness World Records, 2013 ed.], Truck Fighters (Sweden) and Kiwis Beastwars, in support. Tickets from oztix.com.au.

BRAG :: 502 :: 04:03:13 :: 11

The Music Network

themusicnetwork.com

Music Industry News with Christie Eliezer

THINGS WE HEAR * Laneway Festival is about to launch in America. It will unveil details at South By Southwest in Texas on March 15. * Tour notes: only four years after calling it quits, Trent Reznor has resuscitated Nine Inch Nails and could be here next year …

2DayFM breakfast duo Kyle and Jackie O claimed a “reliable source” told them that all five Spice Girls will tour here 2014 (But Victoria Beckham said she’s not)…

Adelaide has so many art and sports events happening through March that Soundwave acts are having problems getting hotels and have to fly to Perth after their sets, claimed The Advertiser. * The skate-punk festival Warped Tour is making a third attempt to get a foothold in Oz. This time Soundwave’s AJ Maddah is its local promoter for a December run.

Previous tries were with Frontier Touring and Chugg Entertainment. * Dates: the Gillard government’s longawaited National Cultural Policy will be launched on March 13 … Homebake is set for Saturday December 7, for a “massive 18th birthday” … On Wednesday March

GEORGE ASH PROMOTED TO ASIA PACIFIC PRESIDENT Universal Music Australia’s global success with Gotye, Wolfmother and Tame Impala – not to mention breaking André Rieu here bigtime – has paid off for its president George Ash. He’s been promoted to the newly created role of president of Universal Music Asia Pacific. He’ll handle the entire Asia Pacific region, excluding Japan. “I’m very positive about Asia Pacific’s unprecedented growth potential,” Ash said.

CHANGES AT SHOCK Craig May takes over this month as the new general manager of Shock Records. He succeeds Leigh Gruppetta, who steps down from the role after eight years of service. May has been working for record companies for 14 years, including EMI, Sony, Stomp, and most recently, Dew Process.

6, triple j will reveal where the One Night Stand will be staged this year. Flume, The Rubens, Ball Park Music and Seth Sentry are confirmed. * Rihanna and Chris Brown to marry in July in the Caribbean? * Arch-vegetarian Morrissey pulled out of US chat show Jimmy Kimmel Live after hearing that stars of a duck hunting show were also guests. * The dry banter between Paul Kelly and Neil Finn at their sublime show in Brisbane may have left some of the crowd with a “what the…?” look. But after Finn performed Kelly’s ‘Deeper Water’ (about a 17-year-old doing it for the first time in a back seat), he recalled his first time was similar. But in his case, he was just about to climax when the girlfriend’s kid sister knocked on the car window and yelped “Mum wants you to come inside!” * Thom Yorke is being taught to surf by Atoms For Peace bandmate Flea. * Four Byron Bay nightclubs – Cocomangas, Aquarius, Cheeky Monkey's, and Woody’s Surf Shack – have to explain promotions which police believe are encouraging drinking. All four are members

CRAWFORD X PLEDGEMUSIC Fan-funded music platform PledgeMusic has appointed Scot Crawford as its GM for Australia and NZ. Crawford has been in the biz for 20 years, most recently as GM of Shock Entertainment. His role includes label integrations, fulfillment solutions, and key artist development.

ANNA FITZGERALD AT MOS Anna Fitzgerald is new National Promotions & Publicity Manager at Ministry of Sound Australia, replacing Luke Brunsdon.

She is contacted at anna.fitzgerald@ ministryofsound.com.au. Fitzgerald has had senior publicist roles at Sony Music Australia, Warner Music Australia and Channel 7.

MADONNA, SPRINGSTEEN, TOP MONEY MAKERS Madonna is the highest earning musician,

of Byron Liquor Accord. * Orchestral art rock band The Red Paintings will open for Mindless Self Indulgence on their US tour in April. * David Guetta’s ‘Titanium’ has hit 1 million sales in the UK, one of the few to reach that figure there in the last few years. * Queen fans may have found the secret grave of Freddie Mercury: a plaque written in French in Kensal Rise cemetery, marked Farrokh Bulsara (his real name) and featuring the correct birth and death dates. Meanwhile, a poll by UK radio station Planet Rock placed Led Zeppelin as the most influential band of all time, followed by Queen and Black Sabbath. But not The Beatles, who changed the world. * Ke$ha won’t have to worry about what her mother thinks of her new song about her vagina – Mum helped her write it. * With Guy Sebastian and Mel B pulling out as judges of The X-Factor, some columns are saying that ex-LMFAO frontman Redfoo is to be signed up. Which explains why Channel 7 shamelessly gave so much coverage to his courtside appearances to watch girlfriend Victoria Azarenka during her Australian Open matches.

according to Billboard’s Money Makers 2013 list, which estimated her fortune as $34.5 million. The Girl Gone Wild raked in US$305 million globally from her MDNA tour, of which she pocketed $32 million, while her album went to #1 in various places. At #2 was Bruce Springsteen ($33.4m), followed by Roger Waters ($21.1m), Van Halen ($20.1m), Kenny Chesney ($19.1m), Dave Matthews Band ($18.9m), Tim McGraw ($18.3m), Jason Aldean ($17.5m), and Coldplay ($17.3m), with Justin Bieber rounding off the Top 10 list with earnings of $15.9m. As this list shows, live concerts are where the money is. According to Billboard, touring made up 93.5% of Madonna’s revenue, 92% of Brucie’s and 93.6% of Roger’s. The entire top 10 averaged 84.2% of their income from concerts. The number would’ve been higher, but Bieber’s 60.1% dragged down the average. Interestingly, most of the Top 10 don’t sell as many records as they used to.

Their over-50 fans see the shows but don’t stream the music.

TICKET SCAMMER FACES COURT Ticket scammer Michael Gregory Shelton, 22, pleaded guilty to 14 charges of fraud in Campbelltown Local Court. He ripped off ten consumers who’d placed ads in free classified Gumtree site wanting tickets for sold-out concerts, raves and sports finals, charging up to $500 in one case, all for the sale of tickets which he didn’t have. Police became suspicious when Shelton, who gets $250 a week from Centrelink, had $17,000 in three bank accounts. He will be sentenced in April.

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Just Announced

This Week

SE LL IN G

FA ST

LEICHHARDT <3 ANNANDALE

Frightened Rabbit (UK) Tue 30 Apr

Avant (USA) Sat 23 Mar

George Clinton & Parliament Funkadelic (USA)

Tim Rogers & The Bamboos Thu 7 Mar

Fri 8 Mar

Ensiferum (FIN) Fri 15 Mar

Dinosaur Jr + Redd Kross (USA) Sat 16 Mar

Mutemath (USA) Sun 24 Mar

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Jon Spencer Blues Explosion (USA) Sat 9 Mar

SE LL IN G

SE LL IN G

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Coming Soon

Hungry Kids of Hungary

28 Days

Otep (USA)

Example (UK)

Wed 24 Apr

Thu 25 Apr

Fri 26 Apr

Fri 5 Apr

Enhanced (UK)

Norma Jean (USA)

Born Of Osiris (USA)

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Fri 3 May

Sat 18 May

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Leichhardt mayor Darcy Byrne’s interest in supporting the local music scene is paying off. Last week he proposed his Good Neighbour Policy, which aims to end legal action against music venues. It was adopted

by Leichhardt Council, and he’s urging other councils to adopt similar measures. “The reign of the fun police at Leichhardt Council is officially over,” Byrne said. “From now on, Council will take responsibility for resolving noise complaints amicably instead of forcing music venues to shut their doors.” The idea is for residents to meet with venue operators over a drink to sort out issues rather than pursuinging legal action.

Byrne also met with Ferrier Hodgson, receivers of the Annandale (which has spent $250,000 on legal battles) and invited them to submit an application to extend trading hours to make it more financially viable as a music venue. It is part of Byrne’s vision to make Parramatta Road Sydney’s gig capital.

He said of the Ferrier Hodgson meet-up, “It was a very positive meeting – the two representatives were very open to the idea of keeping the hotel’s doors open. They are, of course, considering any options that will increase the Annandale’s viability as a live music venue and allow it to trade its way out of trouble. They are particularly interested in extending the hotel’s trading hours, perhaps back to the 3am closing it has traded under in years past.”

But all this was a bitter pill for former co-owner of The Annandale Matt Rule, who in an online spray bitterly remembered how the former Council “put us through unimaginable amounts of stress as we

scratched every day to figure out how to pay the bills and keep the doors open”. He accused Council of “gifting the receivers […] a late license the minute we are out on our arses,” while it “ultimately contributed to us losing a business we struggled to for 13 years to keep alive, our family losing money and my brother and I stone motherless broke.” Rule challenged the new Council to return the $500,000 he and his brother Dan had spent on the venue. Byrne agreed that the Rules had every right to be pissed at the old Council.”

RECORD STORE DAY The Australian Music Retailers Association (AMRA) holds its fifth Record Store Day Australia on April 20. The day is to remind fans the role that record stores play in finding and buying music. On the day there will be in-store gigs, specials and deals.

See recordstoredayaustralia.com.au. In the run-up to the day, AMRA will feature an album and clip, along with who nominated it, on its Facebook page, facebook.com/ RecordStoreDayAustralia.

FREE MUSIC NSW WORKSHOP: PRODUCERS SPEAK MusicNSW’s first free workshop for 2013 is this Wed, March 6. In The Studio will see producers Scott Horscroft, Lachlan Mitchell, Jean-Paul ‘JP’ Fung and Straight Arrows’ Owen Penglis hold forth on making records, DIY versus studio, and contracts, including producer points.

It starts at 6.30pm at The Standard, 3/383 Bourke St, Darlinghurst. Register by emailing samantha@musicnsw.com.

IGGY LANDS UK DEAL Sydney-born Los Angeles-based rapper Iggy Azalea, who signed with Grand Hustle Records in America, also landed a UK deal with Mercury Records.

IVY LEAGUE SIGNS GEORGI KAY Ivy League Records’ latest signing is 19-yearold Perth singer-songwriter Georgi Kay. After winning two songwriting competitions, she emerged as singer and co-writer of Ivan Gough & Feenixpawl’s smash hit ‘In My Mind’, which was nominated for a Grammy for Best Remix. Kay also acts in the Jane Campion miniseries Top Of The Lake, premiering March 24.

Lifelines Expecting: Arcade Fire’s Régine Chassagne and Win Butler, their first.

Engaged: at a tour afterparty, Peace frontman Harrison Koisser got so excited during a DJ set by tour-mates Palma Violets that he got down on one knee and asked his girlfriend to marry him.

Ill: Frenzal Rhomb frontman Jay Whalley revealed why they withdrew from The Descendents’ tour: he collapsed in January and was taken to hospital for a check-up, where a 1cm tumour was discovered on his brain. The tumour, in fact, turned out to be an egg from a pig tapeworm he picked up on a jaunt through Central America.

Ill: an English woman suffers from a rare form of tinnitus. She keeps hearing the 1953 song ‘(How Much Is) That Doggie In The Window?’. She tried therapy, a hearing aid and a CD of bird noises to drown it out, but alas, no go.

Jailed: Bobby Brown, sentenced to 55 days for drink-driving while on probation.

Sued: Akon by a festival worker who says he is physically disabled after the rapper fell on him during a stage dive.

Died: Melbourne’s DJ Ajax, after being struck down by a truck last Thursday in the suburb of Parkville. He died at the scene.

A founder of the Bang Gang crew, Ajax (born Adrian Thomas) consistently ended up in the Top 5 of inthemix.com.au's annual Top 50 DJs poll, and set up Sweat It Out Records.

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Words by Benjamin Cooper Photo by Ken Leanfore

Human After All

P

VT has never done what is expected.

Formed in 1999 by brothers Richard and Laurence Pike, the group spent six years as a five-piece, releasing their debut Make Me Love You to widespread critical acclaim. The 2005 album received serious airplay – including a nomination for the very first J Award, though it lost out to Wolfmother’s all-conquering debut – and attracted the attention of seminal electronic label Warp Records. Feeling the need to shift and adapt, the group that was then known as Pivot changed personnel later that year to focus solely on the work of the Pike brothers alongside electronic artist Dave Miller.

“We knew we had to get Dave into the band,” Richard says, down the line from his current home in London. “Back in 1998 there were very few gigs that you’d go to where people were using a laptop on stage; if they were it was really boring music and it was even more boring to watch. Then we saw Dave up there, dancing away and having a great time behind the screen and we knew we had to get him involved, if only for the amazing dancing.”

The years following the transformation of the group into a trio allowed them to solidify their reputation as artistic experimentalists and intense live performers both at home and abroad. Continued interest from Warp led to them being the first Australian signing by the New York label, in 2008, which allowed them to release their first EP, In The Blood, followed by the album O Soundtrack My Heart in August that year. Both releases followed a period of intense international touring that saw the band refine the disparate elements of their shared musical heritage alongside their evolving preference for a harder-edged live show. Eventually they decided to abandon the material from their first album during performances – a choice that still rankles some fans, and occasionally causes angst for PVT themselves.

“It’s a choice we had to make, and it’s hard when people want us to play the first record because we don’t do that these days,” Richard says. “We’re an entirely different band now. I love that record, and it’s tough sometimes because I’d like to be able to do those songs, but it just can’t happen. If I had to explain it, I’d say it’s like putting on an old shirt: you don’t wear it anymore, and it used to be your favourite, but it’s just not who you are now. You still see the appeal, and even the beauty in it, but you’re living somewhere else and [moving] towards something else now.”

After establishing a solid European base following the album’s release – at one point most of the group were living in the UK – Pivot came home in mid-2009 to play the first Luminous festival (now called Vivid LIVE) at Sydney Opera House, at the behest of no less than pop god Brian Eno.

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When Church With No Magic was released a year later, they’d shed the vowels from their name – the result of a rather frustrating litigious action from an American rock group. They’d also shed some of the more esoteric elements of their electronic wanderings, replaced by the propulsive samples and beats evident in tracks like ‘Timeless’ and ‘Window’. Richard’s voice was also used to much greater effect than on previous outings, such as O Soundtrack’s ‘Sing, You Sinners’; gone was the showy sonic manipulation, replaced with thrusting vocals that led the melody rather than just augmenting it.

The band have always known how to trick out a song: it’s there on the rhythmic shifts that govern O Soundtrack’s titular track, as well as the pounding menace of Laurence’s breakdown on ‘In The Blood’. Yet their more vocals-heavy output on Church and this year’s Homosapien has pushed them closer to becoming a fully-fledged pop act – albeit one that shows no sign of sacrificing their trademark weird and wonderful bent.

“I think that our adventurousness is the thread that runs through everything we do,” Pike says. “If you look at the albums we’ve made, there is always that desire to push ourselves. Regardless of what the particular direction is that we are pushing in, however, it’s still our ears determining where we go.

Our sense of rhythm and melody is all in there, because if the music is quiet and ambient it’s still ridiculous on some level. It’s still us. People seem to appreciate that.”

Homosapien is their first record since leaving Warp, and the first to be released on Brooklyn-based imprint Felte Sounds.

It was recorded at the same crumbling country manor used by Jack Ladder and Gareth Liddiard on their most recent albums. “It’s this sheep station a while outside Yass that’s quite evocative all on its own,” says Richard. “We rolled up with all our gear and stood outside this three-

storey mansion that seemed to be falling apart in front of our eyes. It was pretty cool.”

The band’s decision to record outside the city for the first time afforded them privacy and isolation from distraction. The trio found themselves struggling to keep up with the pace of engineer Ivan Vizintin (ex-Ghoul). “Ivan did an amazing job: he has the most incredible work ethic, where he’s the first up in the morning and the last to bed. He worked his arse off, and it kinda made us feel a bit bad,” Richard laughs.

“The way we approached this album was completely different. The way we’ve approached recording in the past has been a lot more improvisational. Church is a pretty sprawling kind of record, so we wanted to sit back and assess where we were, and are, as a band. I think you can hear that difference in our approach on the new album. We actually went into this session with about twenty different songs and ideas. We then walked away with fifteen that we felt were okay, which meant we had to kill some things that we really cared about. That’s hard to do, because we’re all in different places when we’re recording at home and throwing around ideas. But we make it work. We’ve had a lot of practice.”

The band has been able to work on the new tracks while on the road with the great new hope of Australian pop – Gotye. “We’ve just come off a tour with him in Europe that was really awesome,” says Richard. “That song of his is so monolithic, and he brings such a wide range of people to every show. But they’re all really loved-up, and warm and fuzzy. It’s always strange playing to rooms with ten thousand people singing along.

I guess it makes you think about where you’ve come from.”

With: Collarbones When: Thursday March 28 Where: Oxford Art Factory And: Homosapien is out in Australia through Create/Control

San Cisco photo by xxx

“It’s hard when people want us to play the first record… it’s like putting on an old shirt: you don’t wear it anymore, and it used to be your favourite, but it’s just not who you are now.”

At the time they were working on material for the follow-up to O Soundtrack with Sydney producer Burke Reid (The Mess Hall, Papa Vs Pretty).

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The Mark of Cain Willing and Able By Benjamin Cooper

“If you’ve got a story to tell, then you tell it, regardless of whether it’s going to sell a few thousand copies.”

In the years following the recording of Songs Of The Fourth And Fifth, the guitarist experienced significant personal change.

“After 2008, it took me about a year or two to sort things out. I split up with my wife and sold my house; I was really reduced back to ground zero. I definitely didn’t get to go in and finish the album as I would have [been able to do] if I were existing in a stable zone. I think Stanier had almost given up that the bloody thing would be released at all,” he laughs.

T

Getting the opportunity to record back in 2008 was something of a minor miracle in itself.

Scott and his brother Kim, who founded the band in 1984, both reside in Adelaide, but drummer John Stanier is kept busy offshore.

The American came to the group in 2000 after a decade in metal group Helmet; he is also an active member of the Mike Patton-fronted Tomahawk, and the famously-high-cymbalplaying sticksman for math rockers Battles.

“Stanier’s a busy man, so we have to take any time we can get with him. Luckily his other groups tour here occasionally, and we had some time back in ‘08 where we locked him down and just went for it. When we’d finished recording we were talking about the album’s release, and touring it, and we were all pretty excited. Then we realised there were all these other concerns, like when it came time to release it would we be able to tour together, or somehow do it without John? As things turned out,” Scott says quietly, “we didn’t need to worry about any of that for a while.”

Does he attribute the album’s positive reception to the zeitgeist of popular music finally catching up to the hard rock trio? “I’d politely suggest we’re about the furthest from any kind of zeitgeist,” he laughs. “Maybe it’s down to a bit of a maturing on our part.

Generally speaking, though, people seem to be a lot more receptive to heavier music.

When you switch on the TV the commercials are soundtracked with stuff that never would have happened before – I think I saw one with a cricketer selling solar panels the other day, and in the background there was this

The upcoming tour in support of the album is the band’s first in more than six years. Stanier won’t be able to join the brothers due to prebooked touring commitments with his other bands, but they’ve found a more than capable replacement in young Eli Green. The 22-yearold Adelaide local plays in screamo outfit Life Pilot, and the Scott brothers “absolutely couldn’t be happier with how it’s all worked out,” says Scott. “Obviously we’d love to be touring with John, but Eli has really brought something else. When we first started doing stuff together it was just so he could help Kim and I get up to speed rehearsal-wise. We hadn’t played properly in a good two years before we started rehearsals, and we were just hoping to get someone who could do a rudimentary job and keep the beat, help us work up to match fitness. But this young drummer is absolutely eating up everything we throw at him. We’ve been very, very lucky in the end.”

The tour will see them visit a number of venues from their past. They’ll have an opportunity to dwell on the memories of an extensive musical career, but Scott says they’ll temper nostalgia with aggressive performances. “Nostalgia is useful, to an extent, but keep in mind this will be the first time in a whole lot of ways: it’ll all be new for Eli which is pretty exciting, and it should be fairly loud for everyone. Kim and I decided a while ago that when we’re on tour we’re going to lap it up and enjoy every single minute of it. There doesn’t seem to be much point in doing things any differently.”

With: Blacklevel Embassy, Zeahorse Where: Metro Theatre / 624 George St, Sydney When: Saturday March 23

Xxxx photo by Xxx

he Mark of Cain’s fifth studio album experienced a protracted, and at times painful, birth. Songs Of The Third And Fifth was released in November last year; it had been more than a decade since its predecessor, the Andy Gill-produced This Is This..., dropped.

The Adelaide trio hadn’t spent the intervening years sitting on their hands, though. “We actually finished it in 2008, and we’ve been trying to get it out there ever since,” frontman John Scott explains. “It was a little tricky... Real life sometimes gets in the way.”

When the album was finally released it was to wide acclaim – Local critics from magazines and broadsheet newspapers were effusive in their praise for the LP, which Scott produced with Tim Pittman. Perhaps more significantly, old and new fans rushed out to purchase it, making it the highest-selling release for Fuse Group last year. “It’s a bit weird for me, how well it’s been received,” Scott says. “I’m obviously hugely grateful, but the reason I say it’s weird is because it’s nothing different to what we’d normally do, or what we’ve done before. Somehow this time – and really, God knows why or how – people were more receptive. We didn’t aim for that kind of reception. I don’t think any band should aim for that kind of thing. If you’ve got a story to tell, then you tell it, regardless of whether it’s going to sell a few thousand copies.”

really heavy riff crunching away. Very strange.”

Birds Of Tokyo Season Of Rebirth By Alasdair Duncan

T

hree years ago, Perth band Birds Of Tokyo experienced massive success with their self-titled album, especially the stirring single ‘Plans’. When it comes to following up a defining record like this, many bands get spooked – but not these guys. “We weren’t at all nervous about it,” says lead singer Ian Kenny. “We’ve been doing this for some time now, and we’re comfortable making what we feel are the right decisions about our music. I’m not saying that we’re complacent or that we play it safe or anything like that,” he adds, “it just means we have a bit of faith in ourselves these days. That’s purely based on the fact that we want to be the best songwriters we can be. Every time we put out a record, we want to say as much as we can, we want it to be the absolute best it can be.”

of the band for the past four years or so,” Kenny says, “and when it came to writing for this record, it was great to have him as a full-time member.

We felt like we had space – the synths gave the songs a real feeling of weight, a sense of sonic gravity.” Playing around with patches and pads opened up a new world of possibilities. “While we were writing this record, we were thinking about anthemic rock songs,” Kenny says. “We wanted to make an album of those, but dress them in a different way than we have in the past.

Having more keyboards on the album was a way to make it sound grand without totally slamming things in people’s faces.”

deeper than that. “We were just about finished writing the record in March last year,” Kenny says, “so it felt appropriate for that reason. That was around that point when the record had really revealed itself – we understood what we had on our hands, and it was starting to feel really good and really right. The fact that this happened during March, during the change of seasons, gave us a lot to think about.” The band got to pondering ideas of rebirth and change, and how these things related to their sound. “Out of that concept came the name March Fires,” Kenny says, “and as soon as that phrase was said, we knew it was exactly the right title for us.”

Touring keyboard player Glenn Sarangapany became an official member of the Birds Of Tokyo lineup before March Fires – “a fully-fledged bird”, Kenny says with a laugh – and his input helped shape and define the album. “Glenn’s been part

March is the start of the colder months in Australia, and the songs on the album certainly have a very stately, wintry feel to them. The title, March Fires, does indeed refer to the change of seasons, but the significance goes somewhat

‘Lanterns’ is the first song that most have heard from the album, and it’s just as rousing and earnest as you could possibly hope for in a big Birds Of Tokyo ballad. “A lot of the songs on the record have humble beginnings,” Kenny explains, “and that was certainly the case with ‘Lanterns’.

We had some chord progressions on our mind that, even in the very early stages, we were really excited about; we knew that there was really something interesting going on. We knew we had to pay attention to them.” When writing, Kenny tells me, Birds Of Tokyo talk to their

“Every time we put out a record, we want to say as much as we can, we want it to be the absolute best it can be.”

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songs until the songs finally start talking back, and after a great deal of work, ‘Lanterns’ finally arrived at this point. “The song itself is just about connecting with people,” he says. “It’s about us as a society, and our journey, as a collective and as individuals. It seems to be doing its job.

People are really reacting to this song.”

Birds Of Tokyo are all set to introduce the album to fans this month, on their first national tour in nearly two years. “We want to get back in front of our people,” he says. “We’ve been missing it. That’s always the way, though – while you’re in the studio, you miss getting out there in front of people, and then when you’ve been touring for five or six months, you miss the creative and the recording process. It feels right now like it’s time to get back into the live arena, and let everybody know where the band are, creatively.”

With: Regular John, The Guppies Where: Enmore Theatre When: March 16 (sold out), March 17 And: March Fires out now through EMI

Birds Of Tokyo photo by Kane Hibberd

That confidence shows through in their new album, March Fires. Out this week, it’s a big record in every sense. It takes on big themes and big ideas, but in much simpler terms, it just sounds enormous – the choruses are stirring, the arrangements grand, with pulsing keyboards filling out every corner. Like anything worth doing, getting it just right took a good deal of effort. “A lot of time went into discussion of the songs, and the record as a whole,” Kenny says. “It took about a year and a half to write this album, and there were a lot of questions about the bigger picture – we’d always be asking ourselves ‘Why are we making this record, and why do we make music?’ The songs themselves took more time and attention, as we tried to work out the right sound and character for each. I think we gave them the attention they all deserved, and the results are on the record.”

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Lowrider Passing the Test By Jody Macgregor

A

delaide soul band Lowrider have a live show that’s famous for its energy and ability to win over people who might not ordinarily think that dancing to a soul band is the way they want to spend their night. It’s given them enough of a reputation to earn them support slots for touring internationals like Alicia Keys, Lupe Fiasco and even, a bit oddly, Christina Aguilera. With their latest release, Black Stones, they wanted to do a better job of getting that live sound down in the studio. Drummer, producer and self-confessed band “control freak” Paul Bartlett convinced the rest of the band to take a different approach to recording this time. “[On] past albums, we took the approach of creating the songs for the album,” he says during a break from rehearsing for their next tour. “Then, once the album was done, we would look at how we were gonna take them to the stage. Whereas this time around, we jammed them a lot more and created live songs that sounded really cool in the room and then just put them down on the album. They were still pretty produced and worked on but we wanted to make sure that they had that live feel to begin with.”

That live feel they’ve captured originally came about through hard work. Before Lowrider played

their first ‘real’ gig they’d performed almost 800 times, having found a sure-fire way to book paying gigs even though nobody knew who they were. “Very early on we kind of found a loophole in the Adelaide circuit,” Bartlett explains.

“Basically, we marketed ourselves as a cover band and did one or two covers that we changed up and then jammed on originals. We were playing four or five nights a week all around Adelaide doing that. There’s not a lot of [venues] in Adelaide, so I think we almost played in all of them. So we did that and built up a following and then did our own shows after that.”

That Beatles-in-Hamburg period of constant gigging was useful as more than just a way of tightening their act, according to Bartlett. “That was also a good way to figure out whether you can stand being with the same people for that long.” Helping out on that front is the fact that his brother, John, plays keys in the band. But is it necessarily better having that close connection to one member of the band? “We’ve always had a super-close relationship and always made music together,” he says. “We’ve been in other bands together and at home it’s always been us just dicking around making music. It’s definitely a much better thing. The chemistry between us is fantastic and so enjoyable, and being able to share the journey with him, it’s great.”

The Snowdroppers Trouble In Paradise By Chris Martin

That journey had its start when Paul was ten and John six, and not much has changed.

Back then they were jamming together and recording it, just like they are now. “Putting on stupid little concerts for Mum and Dad in the lounge room, that whole thing,” is how he describes it. “I remember we borrowed a little four-track recorder the school had, somehow talked the music teacher into

lending it to us. All of a sudden it’s like, ‘Wow, we can record stuff!’ Since we were kids, man.”

When: Friday April 12 Where: The Annandale Hotel And: Black Stones is out now through Illusive

Wild Nothing No Big Thing By Liz Brown

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he Snowdroppers burst onto local stages, dripping with sweat, back in 2009 with the release of their swamp-stomping debut Too Late To Pray. It was a record that dosed vintage musical concepts – blues, bluegrass, country, rock‘n’roll – with adult themes and a spirit of self-flagellation. ‘Bottom of the Trough’ was a barnyard two-step about drinking to the point of impotence; the rollicking ‘Rosemary’ had the protagonist’s girlfriend sprung in a porn movie with the devil. It’s generous and good-humoured material, setting up The Snowdroppers for a career in making fans spill drinks, laugh and dance the up-tempo blues.

Only that’s not how it’s turned out. “We’re not a bluegrass band,” says frontman and lyricist Johnny Wishbone. “We’re not a country band, we’re not a blues band – we’re just not that good musicians,” he chuckles. “I realised we were a rock group with those influences. So the songwriting was a lot more honest this time round.”

The Snowdroppers’ change of heart has spawned Moving Out Of Eden, a new album led out by the single ‘White Dress’. And Wishbone isn’t joking – from the opening moments of ‘White Dress’ and across the record as a whole, the band trade in their Americana leanings for

something substantially different; something full of big riffs, pounding drums and, most noticeably, Wishbone’s broad Australian vowels.

In short, it’s an album aimed at The Great Australian Sound – whatever that is.

“I was thinking about this a lot before we recorded the album, I was speaking to a friend of mine and we were trying to work it out,” says Wishbone. “Like The Triffids, they sound inherently Australian, The Saints sound inherently Australian – different genres, but they sound Australian – so what is it? It’s not that John Williamson thing of, ‘Rip Rip Woodchip’, it’s not, ‘Hey, there’s a kookaburra!’ It’s really hard to define, to be honest, man… And maybe it’s getting harder in that we were influenced by these [older] Australian bands because they had that underlying ‘Australianness’. Which perhaps now in the kind of culture we live in, where we’re constantly trying to emulate what’s going on in America – especially from a music business perspective – I think we’re losing some of that.

It’s a global market now and people want to fit in.”

One thing about which Wishbone is certain is that Moving Out Of Eden is a much better reflection of where The Snowdroppers are at right now. “We’re a completely different band from the band that recorded Too Late To Pray,” he says. “For the first album I think you just throw shit against the wall and see what sticks – you record your set, basically. And we were very much playing up to a certain style, whereas this time round we didn’t. We wrote a few songs after the release of Too Late To Pray, and when we started to think about writing a new album, that were just playing up to what we thought people wanted us to sound like. And it was like, ‘That’s just fucking ridiculous. I’m in a band to play songs that I want to play.’”

“If we’re not happy with the songs, how is anyone else going to be? We figured that if we just wrote Too Late To Pray Part II, some people would like it and some people would hate it. But if we made the album that we wanted to make, some people would like it and some people would hate it,” Wishbone says with a laugh. “So you might as well write the album that you want to write.”

18 :: BRAG :: 502 :: 04:03:13

“We were touring Europe and I got so sick a week into the tour – I didn’t know what was up. I thought I just had a cold but it just kept getting worse and worse to the point where my entire throat was swollen and my glands were totally destroyed,” he recalls. “They were so puffy and white.

I didn’t know what to do.

We were in Europe and it felt so far from home. The idea of going to a doctor just seemed impossible for some reason. So I just kept playing – every show, every night. I would just sleep all day long and take tonnes of ibuprofen. When I got home I ended up finding out both of my ears were infected.

I had glandular fever as well. It’s the kind of thing that if you get it when you are growing up your parents take you out of school but I was playing shows every night. I’m surprised that I can still sing, to be honest.”

A 21-year-old Tatum recorded his first release, Gemini, in 2010 as a distraction from his college communications degree. During that time, he would spend nights mucking around with different instruments and writing songs.

“In a lot of ways Gemini was a record that I really made for myself”, he explains. US label Captured Tracks stumbled across his demos, and suddenly Tatum was an online lo-fi indie phenomenon – all in a matter of months. “It was pretty hard to get used to. There was a lot of scary moments. A lot of moments where I didn’t have anywhere to live – I was staying at my parents’ house. It was crazy. It all happened so quickly.”

The most satisfying aspect of his success, he explains, is that it has legitimised his choice to be a musician. “I feel like I can work on music full time now. It’s all that I could ever ask for. Before Gemini came out, and even for a long time afterwards, a lot of stuff seemed so completely out of the question.

I would think – there is no way I can afford that. There is no way that anyone would trust

me. Nowadays if I am working on a song I have all these things available that I would never have had before. ” The pressures that come with a successful debut don’t seem to manifest themselves on his 2012 release, Nocturne. “Nocturne is a record I’m definitely proud of. I don’t think I could have expected much more from it.”

Tatum seems to have hit the bullseye, creating a second album which sees the band grow, while retaining the same beauty and nostalgia that permeated his first release.

“Whenever I listen to Gemini – which isn’t very often…it feels like such a ramshackle record,” he laughs. “I still can’t believe sometimes that people responded to it the way they did. But I guess that was one of the big reasons that people responded to it in the first place. It didn’t have any preconceived notions of what it should be. It just was what it was.”

When: Friday March 8 Where: Oxford Art Factory Also: Playing Golden Plains Lucky Seven, Saturday March 9 – Monday March 11 at Meredith Supernatural Amphitheatre, with Cat Power, George Clinton and Parliament Funkadelic, Dinosaur Jr and heaps more

Xxx photo by Xxx

With: Little Bastard, The Pieter Van Den Hoogen Band Where: The Standard When: Friday March 22 And: Moving Out Of Eden is out March 22 through Four Four Music

A

side from the name, there is very little ‘wild’ about Wild Nothing, and frontman Jack Tatum is the first to admit it. “[F]or the most part we are pretty much just professional dudes. We’re not the most rock’n’roll band. It’s not really our style.” The one road story Tatum does offer, in any case, is more a testament to his own work ethic than the band’s party ethic.

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VPOP0065_FPC_BRAG BRAG :: 502 :: 04:03:13 :: 19

The Darkness Nothin’ But A Good Time By Nick Mason

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lam-rock gods The Darkness are set to bedazzle Australian crowds, as the band return for their second tour in under a year. The flamboyant four-piece, their hiatus now ancient history, continue to enjoy their rejuvenation. “It’s been a bit of a journey of discovery for ourselves, I suppose,” explains guitarist Dan Hawkins. “We kind of lost it all and we’re starting to get a lot of the best things about it back. It took a while for us to get our confidence back to 100%... but we’ve got to the point where I think all really good bands should be, which is where they just can’t give a fuck anymore.”

Of course, it was difficult to ignore the groundswell surrounding their return. “It probably made us play a lot faster!” Hawkins laughs. “It was definitely exciting. I think we’ve come on from there – we were still, in a way, trying not to fuck things up, whereas these days we know we’ll almost purposely try to fuck things up.”

“Every gig that we did in America on the last tour, something completely random and ridiculous would happen on stage – usually instigated by my brother [flamboyant frontman Justin] – and

that used to happen all the time. Quite a lot of the set was spent watching things unfold and pissing myself laughing. But we were concentrating on the songs and the performance in the first tour when we came back, whereas now it’s gone to another level, I think.”

Roughly half a decade separated The Darkness’ demise and their eventual reunion. A different dynamic – or, rather, lifestyle – emerged as the band worked their way back into the spotlight.

“The most notable difference was the absence of hangovers, which kind of makes everyone get along a lot more, it makes people less moody and makes the whole touring experience a lot more enjoyable,” says Hawkins. “It’s just a good laugh. I think we enjoy hanging out with each other more than living in our own little bubbles, which is certainly how we used to exist.”

The first single since their split, ‘Nothing’s Gonna Stop Us’, successfully reintroduced The Darkness to the world. “We didn’t think it’d have much of a splash,” confesses Hawkins. “We wanted something upbeat, just to say, ‘Hi, we’re back!’ Nothing’s going to stop us... I think nothing is going to stop us. From doing what is the question, though, really!

Unclogging drains? Maybe. Being number one in America? Possibly not! Who knows?”

The single was the first taste of their new album, Hot Cakes. According to Hawkins, the band took a straightforward approach to recording. “I think the primary objective, which was agreed to from the start, was to make sure it wasn’t shit,” he laughs. “We just did not want to make a shit album. It was really important to us to have something that we were proud of, at the end of the day, rather than something that was just there to release. If we hadn’t had the songs or felt like it was up there with our previous releases, I don’t think we’d have bothered even doing a single gig.”

“I think the primary objective, which was agreed to from the start, was to make sure it wasn’t shit... We just did not want to make a shit album.”

On the surface, The Darkness don’t appear to be a band that take themselves too seriously – you need only refer to their Flashdance-inspired video for ‘Girlfriend’, or the clip for ‘Everybody Have A Good Time’ (in which a lingerie-clad, bear-suited man crashes a boardroom meeting, performing a striptease). “I think that’s just a reflection of us as people. I think we’re quite honest, really, when we make music,” Hawkins says of the band’s trademark sense of humour.

“Another interesting thing is with us getting from A to B, musically, quite often it’ll be something that makes us laugh as much as something that moves us. It’s not like this band is just a vessel for some moody frontman just to write down all his inner thoughts that no-one really gives a fuck about. It’s more like a club... it is a good vibe. It’s hard to explain, really; being something that’s a bit outrageous is something important to us. It’s not always, ‘How do we make this the best song ever written?’, it’s quite often, ‘How do we do the shittest song ever written?’” Hawkins laughs.

“That’s the truth of the matter!”

Fans might be surprised to read of plans for a 2014 follow-up to Hot Cakes – Hawkins certainly was. “Especially since I was the one who said it – I was like ‘Where the fuck did that come from?!’” he laughs. “I think I might have been misquoted there but yeah, we’ll stick to that. That’s fine! But yeah, I think it’s important to follow Hot Cakes up pretty quickly. I don’t think we can leave our fans waiting for another two or three years. Fuck that. We are planning to go in in 2014, very early, and record it, and we do plan to have something released by the end of it. I just think it’s a different sort of climate these days. You can’t just sit on your arse for a-year-and-a-half writing a record and whatnot.”

WELCOMEZION.COM 20 :: BRAG :: 502 :: 04:03:13

With: Joan Jett and The Blackhearts, with support from Jackson Firebird When: Friday April 5 Where: Hordern Pavilion / 1 Driver Avenue, Moore Park

The Darkness photo by Scarlet Page

For now, though, the band are excited to be returning to our shores. “I wouldn’t blow smoke up your arse... but we always have a great time in Australia. Even on the second album when we were struggling in Europe for some reason and we weren’t getting that much love, we were embraced by Australia... and it’s like nothing has changed. We do have a real affinity with Australia.”

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arts frontline

free stuff email: freestuff@thebrag.com

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

five minutes WITH Portrait of Kathleen Hanna

ELIZA SARLOS & GRACE LEE up, but mostly from women around me rather than public figures. I thought times had changed but since having a kid I was shocked there were so few kids’ books that had strong and diverse female role models. I wanted my son to grow up with plenty of these, so I decided to make this book for his first birthday. I have the drawing skills of a moose, so I couldn’t make it a reality without someone else. Grace immediately came to mind when I decided I’d love to get someone to illustrate it. She’d never drawn people before, but I bugged her for long enough she finally said yes!

How did you decide who made the cut? ES: This was so tough! I spent a lot of time racking my brain to come up with a range of women who had done, and continue to do, incredible things. A lot of people missed out though, so I’m kinda pumped the response has been so great for Part 1 – it means Part 2 could be a reality!

avi Gevinson, Kathleen Hanna, Mum Shirl, Gloria Steinem, Aung San Suu Kyi: amazing babes indeed. They’re just some of the women featured in the forthcoming crowdfunded picture book Amazing Babes – the brainchild of Underbelly Arts Festival’s Artistic Director Eliza Sarlos, and a gorgeous showcase for the charming work of illustrator Grace Lee, who both took five to chat to BRAG about the project.

How great are we talking? ES: Ridiculous.

Amazing. I had no idea people would get so behind the project. The whole thing was funded in less than 11 hours, which completely floored us. It means we’re definitely making the book, but we’re also in this great position where we can think a little bigger. Any money we raise on top of the goal, we’re going to invest in getting the book in stores, and maybe even get some cash into the kitty for #2. So please, continue to support this project! And thank you!

How did this project come about? ES: I’d had really strong female role models when growing

Grace, what’s your background/ training as an artist? GL: I studied Visual

T

SWEET SIXTEEN

Tamarama Rock Surfers celebrate 16 years of indie-theatre awesome this year, and they also leave their home in Woolloomooloo’s Old Fitzroy Theatre to take up their new digs in Bondi Pavilion Theatre, which they have been curating for the past two years. They’re kicking off the celebrations this week with the launch of their 2013 season. Highlights include David Williamson’s The Removalists; Nick Coyle’s first-ever (arguably) kids' show; Benito Di Fonzo and Lucinda Gleeson’s kaleidoscopic imagining of the 13 days cult comedian Lenny Bruce spent in Sydney during his disastrous 1962 tour; TRS Artistic Director Leland Kean directing Toby Schmitz’s new play; and Tin Shed Theatre Company's Scarlet McGlynn taking on Lally Katz’s Goodbye Vaudeville Charlie Mudd. For the full season lineup, see rocksurfers.org

TEN OUT OF TEN

MOP Projects celebrates its 10th anniversary this week, with a group show called Ten Out Of Ten, featuring work by ten established

THE MASTER! DVD! WIN!

Communications at UTS, and my first design job was as a T-shirt print designer. I worked as a creative services designer and editorial designer for Inside Out before moving to Japan. I gave up on design last year and began illustrating as a career.

What was the brief for the illustrations? GL: Until this book, I had never drawn people. It took some convincing from Eliza, but I trusted that she wouldn’t have asked me if she really didn’t believe in this project or my work. We both agreed [on] something simple with some handwritten type; Eliza provided me with the references and a little write-up on each of the women and I went from there.

Tell us about your favourite image from the book. GL: The main woman I knew initially from Eliza’s list was Kathleen Hanna. I always thought she was such a cool woman. I only knew her from Le Tigre, so it was great to learn about the stuff she had done with zines and her other music as well. As soon as I saw the reference Eli gave me, I knew I’d love drawing her. It took me a lot longer than I thought it would. Her lips were really hard to get right… not even sure if they are now. Most of the portraits took the same amount of time – about half a day.

What: Amazing Babes Where: Fundraising via Pozible More: pozible.com/project/16445 / graceleeillustrator.com

artists with close ties to the gallery: Adam Norton, Newell Harry, Mitch Cairns, Christopher Hanrahan, Ms & Mr, Emma White, Gemma Smith, Rob McHaffie, Justin Trendall, and Daniel Mudie Cunningham.

Formed in 2003 by a group of artists frustrated by the lack of ARIs in Sydney, MOP has presented around 300 shows over the last ten years, changed location from its original Redfern warehouse to its current Chippendale space, and is now part of a thriving Sydney independent arts scene. Yaaay. Ten Out Of Ten opens Tuesday March 5 and runs 'til March 24 at 2/39 Abercrombie Street. mop.org.au

CRAFT PUNK

We thought craft punk was appliqueing your own Misfits jacket patches. Not so!

Head along to Craft Punk: Waste Not at the Powerhouse Museum on March 23 and 24 to inject a little self-made radness into your life. You can drop in between 10am and 4pm both days to decorate your own vintage plate for free using porcelain pens and stencils, or book in for one of the workshops – for $45

Lovable hitmen Vincent Vega and Jules Winnfield in Pulp Fiction.

CLASSIC DENDY!

New movies are great and all, but Sydney’s sadly short on the awesome second-run theatres where people on American TV always seem to go on dates. Lucky for us, Dendy Newtown is bringing back its awesome Cult Classics season. Every Monday at 10am and 6pm, they’re screening killer films from the '70s, '80s and '90s, for just $12 a ticket. They’re starting with Tarantino, screening Reservoir Dogs on March 4 (tonight, early-bird readers!), followed by Oliver Stone's Natural Born Killers (March 11), Pulp Fiction (March 18), the Tarantino-Rodriguez double-feature Grindhouse (March 25), Scorsese's Taxi Driver (April 8) and Goodfellas (April 15), The Godfather I & II (April 22/29)... For the full lineup (Spielberg!) and tickets, see dendy.com.au

you can make your own DIY quilt lampshade from recycled materials under the tutelage of Tamara Maynes of the Supercyclers sustainable design collective, or learn Punk Ikebana (flower arranging/sculpture) with Sydney floral sculptor Tracey Deep. Check out powerhousemuseum.com for more information and to book in – quick!

GAME OF THRONES FEASTS

You’d be surprised at who works at the MCA; or maybe you wouldn’t, coz you know, where does an artist work to make the ends meet? Anyway, the upshot is that their annual staff show is a treasure trove of talent: established photographers Garth Knight and Adam North, emerging installation artists Ella Condon and Tristan Derátz, photographer/performer Bridie Connell, video and installation artist Kate Brown… and 39 other artists and graduates of CoFA and SCA. To see what they’ve been up to, head along to Interplay, showing at 107 Projects (107 Redfern Street, Redfern) until Sunday March 10 – when it closes with a suitably raucous party. For the full lineup, see interplay2013.com.au

22 :: BRAG :: 502 :: 04:03:13

We’re excited about the third season of GoT (March 31!) – but we may be even keener for the new Game Of Thrones feasts at Potts Point’s Gastro Park, to celebrate the second season hitting your DVD players this week. The first feasts, held last year, included suckling pig served on godswood, mozzarella-filled eyeballs, and dragon eggs crowned with liquid gold; this year’s main course pays tribute to the epic Battle of the Blackwater, and we think onions, squid, and hot pies could also make an appearance. Five courses sets you back $100 (not including drinks), and you have to book in groups of four, and you have to do it SOON, and we’d suggest watching the whole season ASAP so as to avoid spoilers. The feasts run March 14 – April 25, call 8068 1017 to book.

SUPANOVA

This year’s Supanova pop culture expo sports a lineup of special guests set to patiently respond to your incredibly specific

and trifling plot quibbles – including Margot Kidder, Superman’s original Lois Lane; iconic fantasy author Raymond E. Feist; Edward Furlong (Terminator, American History X); James and Oliver Phelps, better known as the Weasley Twins; Alan “Wash/Steve The Pirate” Tudyk (Firefly, Dodgeball, Dollhouse); and Torchwood’s Eve Myles and Kai Owen.

Add to that the Madman National Cosplay Championships, the Australian Timezone Supanova Pinball Championships, and the fact that this is only the first announcement... and you’ve got a very exciting weekend to plan. It’s on June 21-23 at Sydney Showground, start planning your costume. supanova.com.au

UNDERBELLY CALLOUT

No, we’re not inviting you to audition for an Australian true-crime drama (although there are nine a year, so if you’re into that sort of thing you’re probably in luck). The splendiferous Underbelly Arts Lab and Festival are looking for the people who will make the 2013 fest better than all those other years – artists doing things that are new to them or the world, who are pushing themselves, who are collaborating and taking risks and all that good stuff. Check out underbellyarts.com.au for all the details on their criteria and how to apply – submissions close March 18. Underbelly is set to take place in July on Cockatoo Island, helmed by new Artistic Director Eliza Sarlos.

Bridie Connell: Spin Spin Sugar 2013 / mixed media (plaster, acrylic paint) / image courtesy and © the artist

Spin Spin Sugar by Bridie Connell

MCA STAFF SHOW

Anyone else think The Master was robbed this awards season? We think Paul Thomas Anderson’s epic, unlikely love story, set against the backdrop of post-war America and the rise of Scientology, was one of 2012’s most audacious, moving, visually stunning films – not to mention those shattering, raw performances by Joaquin Phoenix, Phillip Seymour Hoffman and Amy Adams. But don’t trust us (but really, do) – we have five copies up for grabs to check it out on DVD, when it's released on March 13. To get your hands on one, email us with the name of one other PTA film (and your postal address).

TIX AT B I G S CA RY .NET

WITH CAITLIN PARK A P R I L D AT E S FREMANTLE P E RT H

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Short Film Competition entryo ftoorm

G .au ncpic.org d an a lo n w to do entry form

closing date

All entries mu be received bst 18 October 20 y 13 accompanied by an entry form

The National Cannabis Prevention and Information Centre (NCPIC) Short Film Competition gives young people between the ages of 15 and 25 years the opportunity to showcase their creative talent and express their thoughts and ideas around cannabis issues.

Brief

The film can be in any style or genre (i.e. drama, comedy, documentary, science-fiction, etc) but must be a 30 second TVC (i.e. in the style of a TV commercial) and creatively explore the issues and risks surrounding cannabis and driving.

Prize Money There will be one national

winner selected, with prize money offered of $5,000 for the producer of the winning entry. There will be two runner-up prizes of $2,000 each.

BRAG :: 502 :: 04:03:13 :: 23

Life As We Know It

[COMEDY] Cheeky To The End By Benjamin Cooper

[THEATRE] Wisdom Of The Elders By Rebecca Saffir Rosie Dennis & June Hickey in Driven To New Pastures

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or all the posturing to the contrary, it’s not all that often that art sends us out of our comfort zones. Traipsing the theatrical triangle from Walsh Bay to Kings Cross and over to Surry Hills for Sydney’s mainstages, it’s easy to forget how many stories might be happening elsewhere – which is why it’s good to be reminded about things like Urban Theatre Projects, a Bankstown-based theatre company who have been making and staging work for over 30 years. “We put stories on stage that might not otherwise be told,” says Artistic Director Rosie Dennis.

Fitting neatly into that philosophy is the upcoming Life As We Know It: a contemporary performance piece featuring seven performers and two musicians on stage. So far, so fringe festival. But the stage is a vertical garden – “planted out with lettuce, marigolds, parsley, strawberries, basil and mint”, says Dennis – and all the performers are in their sixties and seventies.

Urban Theatre Projects is also proud of its Western Sydney location, and has a strong commitment to telling the stories of its community. To that end, the seven senior citizens appearing in Life As We Know It are all Campbelltown locals.

“A few of the performers have worked with me before on Driven to New Pastures and Minto:Live,” says Dennis, referring to previous Sydney Festival works.

“However, on the whole they don’t have a lot of [performance] experience.

It’s been a terrific experience for me working with them on this show, there’s a huge amount of trust and respect between us all, which makes my job easier.” Community response has been strong, with the Campbelltown season almost booked out.

Luckily for the urban dwellers amongst us, the show will also be coming to Carriageworks. It may be more neatly within our geographical orbit, but it will hopefully still gently nudge us outside our usual experience of who and what gets to speak on stage.

“When do audiences ever see seven people in their sixties and seventies on stage?” asks Dennis. But she doesn’t think audiences will find it hard to connect with the performers. “The project began its life when I was having afternoon tea with two of the performers towards the end of 2011. We were talking about relationships and kids and I remember thinking to myself, ‘There’s almost 40 years age difference between us, and here we are gasbagging and laughing like old friends, seeing each other’s lives (past and future) reflected in our stories.’”

The wisdom of age is something we hear a lot about, but might not get to directly experience all that often. With grandparents far away or no longer with us, good old-fashioned courtship advice, or time-honoured tips on when the best time to plant spinach is, might be becoming a rare commodity. But Dennis reminds me not to forget the most important take-away from time with our community elders: “Not so much pearls of wisdom, but a swag of terrible, unfunny jokes.” If everyone loves a dad joke, a granddad joke is surely twice as good.

What: Life As We Know It When: March 8-10 (Campbelltown) / March 13-16 (Carriageworks) Where: Campbelltown Arts Centre, Cnr Camden and Appin Rds / Carriageworks, 245 Wilson St, Eveleigh

R

ussell Peters is that rare comedian who occupies the tricky ground of being both genuine and hilarious in conversation. The Canadian comic fl ips topics constantly – moving with ease from his current state of hydration to being the biggest comedian to perform in Dubai – yet there’s no calculated mean-spiritedness, or attempts to puff up his own ego. As the conversation progresses it becomes clear that Peters is simply excited to be working the circuit, almost a quarter of a century after he first debuted in his hometown of Toronto. “I’m a joyous guy,” he says. “I’m really an instant gratifi cation kinda guy, and it constantly surprises me that I’m popular anywhere so when I hear that people really like my show I get super joyous. It’s a good way to be.”

Of course it probably helps that Peters can play his show pretty much anywhere he wants these days; the only condition is that the city in question has to have a stadium large enough to house his hordes of fans. Since a clip of Peters performing on Canada’s Comedy Now! in 2004 went viral a few years ago, his popularity has soared.

He’s gone from playing club shows across North America to selling out massive arenas in South Africa, Malaysia and Canada as part of his Notorious World Tour. His shows at Dubai’s World Trade Centre last March sold out in less than eight minutes; all the more signifi cant given he sold more tickets in the city than a certain iconic pop star.

“I’ve been doing this for 24 years, and it’s pretty great to fi nally be able to say that I beat Madonna at something,” Peters says.

“If you’re going to beat Madonna then Dubai is defi nitely the place to do it. If anything the show actually wasn’t good enough when I was there. A year later I can’t help but think about how much they’d love it now we’ve straightened out all the little problems.”

His appearance in Sydney will be his first in three years and marks a triumphant return to a city and venue that has shown him ample love in the past. His show in 2010 set an attendance record for the largest single comedy audience in Australia, with more than 13,000 people in attendance.

“Audiences in Sydney are great laughers: they get irony, and they get sarcasm because they just get it all,” he says. “We’re choosing to fi lm the performance in Sydney for exactly that reason – the people are just so switched on, and you know they’re really down for everything. The last special [2010’s The Green Card Tour Live From The O2 Arena] was a little more ‘look at me up on the stage’, but I think the demographic in Sydney is a bit more suited to what we’re

doing on this show. Australians remind me a little of Canadians in that sense.”

And does Peters plan to use his next trip to Australia to engage with any of the typical tourist sights and sounds? “I very much doubt I’ll have even a second to myself,” he says ruefully. “This is a huge production.

Having said that, if I am lucky enough to get some time to myself I’ll probably look to meet a nice lady and ask her back to the hotel. I’ll take that experience over anything else.”

When: Friday March 15 Where: Allphones Arena / Sydney Olympic Park Tickets: ticketek.com.au

Slow Dances For Fast Times [DANCE] Pop Art By Emma McManus album’; it is comprised of 12 short solos by different Australian dancers, choreographed to recorded tracks taken mostly from popular music, including hits from the likes of ABBA, Jimi Hendrix and Radiohead.

Del Amo’s relationship with pop music developed through his solo work. He recalls how performing short solos to pop songs gave him flexibility in his practice and allowed him to create performances at untraditional performance venues, such as clubs and parties.

M

artin del Amo is a fixture of the Sydney performance scene, best known for solo performance works such as Never Been This Far Away From Home (2007) and It’s A Jungle Out There (2009), where he fuses spoken word, intimate storytelling and dance. He has extended his practice to choreography and has been building up a body of work in this area for the last few years – most notably, his critically acclaimed 2012 Sydney Festival show

24 :: BRAG :: 502 :: 04:03:13

Anatomy Of An Afternoon, which reimaged Vaslav Nijinsky’s legendary ballet L’Aprèsmidi d’un Faune (The Afternoon Of A Faun) with dancer Paul White (who won a 2012 Helpmann Award for Best Male Dancer for his performance).

Del Amo’s new work, Slow Dances For Fast Times, continues his exploration of the solo form but in a very different format. Simply put, Slow Dances is del Amo’s take on a ‘concept

In Slow Dances, the use of pop music is a way for del Amo to connect with his audience.

“Contemporary dance has a bad reputation [for being] quite impenetrable for people who aren’t interested in it,” the choreographer explains, “and so I wanted to see if I could artistically explore what I was interested in – in terms of a movement language and also in terms of the investigation of the solo form – but have it in a format that is accessible and that will be fun.

One thing that is really great about performing to popular music is that the songs are instantly recognisable, and each audience member has a direct connection with the song.”

To perform his suite of solos, del Amo chose 12 dancers who are all known individually in their own right, through their work with companies such as Chunky Move and The Fondue Set. The group is geographically, culturally and demographically diverse, and the dancers come from very different backgrounds and styles of dance, from musical theatre to

contemporary. “Everyone represents a different part of the Australian dance scene,” says del Amo, “which was, for me, very exciting.”

It’s also exciting – by virtue of being unusual – to have so many dancers in an independent work. This has been made possible by the fact that the work is comprised of short solos, and therefore the rehearsals, taking place over the last three years of the work’s development period, have taken place usually with only one dancer at a time. It’s not until the dress rehearsal that the entire cast will be together, del Amo says.

At the end of our interview, he takes me into a rehearsal room so I can observe a part of the rehearsal. I watch two of the dancers, Raghav Handa and Jane McKernan, as they go through their routines. The choreography lends itself to the pop music, treading a line between something beautifully serious and parody, depending on, as del Amo points out, the audience’s individual relationship with that song. Slow Dances celebrates the individuality of performer and audience alike, using these 12 solos, as del Amo explains, to act as “a point of difference in an environment of perceived sameness... In some ways these pieces are like mini-acts of solitary defiance.”

What: Slow Dances For Fast Times When: March 6-9 Where: Carriageworks / 245 Wilson St, Eveleigh More: carriageworks.com.au

Life AS We Know It photo Jamie Williams

In a culture that fetishises youth, a critical mass of people over 40 on a stage is a rare thing. “[They’re] sharing advice on all aspects of suburban life from gardening to life long companionship,” says Dennis. “The show is set in the garden and they weave stories and memories (fiction and some fact) of relationships, dreams and loneliness.”

Russell Peters

MISS BURLESQUE

NEW SOUTH WALES Fri 8 Mar - Final ΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄ THE FACTORY THEATRE 105 Victoria Road, Marrickville NSW 2204

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

■ Film

SIDE EFFECTS

Rooney Mara and Channing Tatum

In cinemas from February 28 Steven Soderbergh has had a prolific, diverse filmmaking career – popular highlights include the landmark indie Sex, Lies, And Videotape, the rollicking Ocean’s Eleven, the sprawling drug war epic Traffic, and directing Jennifer Lopez in her only good performance, in 1998’s Elmore Leonard adaptation Out Of Sight. I’ll also throw in a shout for the underrated revenge drama The Limey and the hilarious, Dadaist experiment Schizopolis; there’s really something for everyone across a body of work that has spanned nearly 25 years, until his recent announcement that he would retire from filmmaking. The new pharmaceutical-industry thriller Side Effects happens to be his last, and it’s less a go-outwith-a-bang swan song than a proficient Hollywood thriller that nonetheless displays all of Soderbergh’s gifts as a craftsman and stylist.

It opens on a doomy note; bloody footprints on the floor of an apartment, which are followed to a couch holding a model yacht atop an opened gift box. Cut to three month earlier, as Emily (Rooney Mara) awaits the release of her husband Martin (Channing Tatum) from a four-year prison sentence for insider trading. Depressed and disillusioned even upon his release, she drives her car into a wall in a suicide attempt.

When subsequent sessions with psychiatrist Jonathan (Jude Law) and anti-depressants fail to improve her condition, he prescribes her the experimental drug Ablixa, which seems to be working swimmingly, until a sleepwalking episode leads to a fatal event.

■ Theatre

MRS WARREN’S PROFESSION Until April 6 / Wharf 1, STC Lizie Schebesta and Helen Thomson

While the film begins as a character study – or rather, a mood piece in the key of despondency – the rug is pulled from under us in the film’s second half. It’s a shame, since it does such a good job at building empathy for its two flawed central characters, the damaged Emily and the well-intentioned Jonathan. In a recent online interview with Vulture, Soderbergh cited Hollywood’s “tyranny of narrative” as a motivating force behind his retirement, and it shows in this film – what begins as an intelligent, even compassionate psychodrama eventually devolves into a serviceable, if far-fetched, twisty corporate thriller. The elegant, precise filmmaking of Side Effects reminds us that Soderbergh will be missed, but this isn’t the film we’ll miss him for.

Ian Barr While at its core this play is essentially a challenge to the options open to women in a patriarchal capitalist society (sounds like a ball, I know), Shaw layers the story with romance and comedy to keep you engaged.

Vivie Warren (Lizze Schebesta) has just finished college (where she exceeded all possible expectations) and is ready to embark into the frighteningly exciting world of actuarial work. However, with a surprise visit from her mother (Helen Thomson), she learns that her comfortable life has been funded from the profits of a lustful business. As the witticisms fall by the wayside, a harsh argument occurs about how Vivie can live her life in light of this revelation.

The production is solid, and set designer Renee Mulder’s flowery backdrop is dazzling. The only real low points are some rather laboured scene changes that seem to only exist for necessity.

When George Bernard Shaw wrote Mrs Warren’s Profession in 1883 it was considered unperformable.

Seen by the censors of the time as a justification of prostitution, it was four decades later in 1925 that it had its first London production. It is perhaps because Shaw was ahead of the game that the play still feels quite modern more than a century later, for while the costumes and accents seem old and odd, the relationships and dynamics seem all too familiar.

Shaw’s succulent language gives birth to some fantastic performances, with Simon Burke showing his class, making the words sound as they were written for his mouth; and Eamon Farren proves that he can play more than just drug addicts, swanning about the stage as the young Frank Gardner. But it is Thomson in the title role who is the unquestionable highlight of the show; having made an art form of period acting in plays such as In The Next Room and Summer Of The Seventeenth Doll, she perfectly pitches the mother of ill repute who plays the lady.

Henry Florence

■ Theatre

THE LAST SUPPER Until March 9 / Carriageworks Reading about UK contemporary theatre group Reckless Sleepers’ decade-old work The Last Supper in preparation for attending, I imagined the show to be quite ‘in yer face.’ A work about last words and the last meal requests of death row inmates? I was ready to be confronted.

What I saw, however, was a welcoming show that was almost dreamlike in its presentation.

Performed by Mole Wetherell, Leen Dewilde, and Tim Ingram (with food prepared by Adam Bratt of foodbytruck fame), the show begins when you enter Carriageworks’ warehouse-like Track 8 and see that it has been transformed into a gorgeous restaurant. Ingram greets us and offers us a ticket number, which corresponds to a seat, to which we are then led by either Wetherell or Dewilde. Couples are split up, but this blow is softened by a complimentary glass of wine. Once everyone is seated, the evening beings with a toast.

While the form is beautiful, the performances don’t quite live up to the conceptual strength of the work. However, the sense of camaraderie that is created in the audience is palpable, with most people staying for at least half an hour afterwards to discuss and eat the food. It is a remarkable achievement for a truly unsettling and compelling show. (Speaking of, get there early and check out Sarah-Jane Norman’s awesome installation Unsettling Suite.)

Henry Florence

See www.thebrag.com for more arts reviews 26 :: BRAG :: 502 :: 04:03:13

Xxxx photo by Xxxx

What follows is relatively simple: the cast recount the deaths of various public, not so public and downright fictional people and then read out their last words, which are printed on rice paper. As each is spoken, the words are also eaten. This recounting of deaths is punctuated by the announcement and arrival of various lavishly presented meals. They are placed in front of various audience members, and vary in size from a glass of

water to a birthday cake and two salads. The shine is taken off the excellent cooking by the knowledge that these meals were the last thing ever eaten by condemned prisoners.

Arts Snap

Street Level At the heart of the arts

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

WITH

THE WAU WAU SISTERS

T

photostart opening night

PICS :: TL

he Wau Wau Sisters are two of the most badass burlesque performers out there – patrons who turned up to their performance at the Brisbane Festival last year had to walk through metal detectors because a threat had been made against the Sisters.

Might have been from a hardcore Christian group; might have had something to do with their Last Supper sketch involving a two-headed female Jesus; might also have had something to do with all the nudity and sex and swearing and whatnot. There are absolutely no holds barred in a Wau Wau show, so leave Grandma at home (or they’ll probably put her in the act). We managed to keep them from backflipping around their neon-pink sex dungeons long enough to answer a few questions about their show at The Standard this week.

21:02:13 :: Australian Centre for Photography :: 257 Oxford Street Paddington

What are your respective backgrounds in art and performance? Since we were kids, we have been making shows not unlike the shows we make now, which is to say, including comedy, acrobatics, nudity, song and dance, sequins and asinine costuming, food, and general absurdity and tomfoolery.

Except when we were little the shows took place in our living rooms and now they are in venues around the world, and perhaps a little dirtier! We also have college degrees in dance, performance, busking, stripping, theatre and women’s studies, and we are recent graduates of your local espresso school.

How long have you been performing together? Tell us about the first-ever Wau Wau show. A century today as a matter of fact! We’d love to tell you about it if we could remember it. We believe it included two guitars, a pony, a dog and a trapeze.

art month launch

What’s the plan for your solo show on Tuesday? There will be some excerpts from our latest show, The Wau Wau Sisters Come Together, some old chestnuts, fancy cowgirl costumes, some new songs and a live threesome!

What would you never do or say onstage?

Never say never!

How do your shows here compare to the rest of the world? Our experience is that Australian audiences are more fun, bar none!

What: The Wau Wau Sisters Come Together When: Tuesday March 5 Where: The Standard / Level 3, 383 Bourke St, Surry Hills And: Performing as part of La Soirée at The Studio @ Sydney Opera House, nightly until March 10 (no show Monday March 4)

PICS :: TL

What does the show look like in 2013?

How has it changed since you started?

We started off doing short spots and now we do evening-length shows featuring some of

our trademarks, which include outrageous audience participation, chaos, sexual freedom, original music whilst turning tricks – smart, booze-fueled fun. Surprisingly, this award-winning combination has landed us in such brilliant places as the Sydney Opera House performing with La Soirée!

28:02:13 :: Carriageworks :: 245 Wilson St Eveleigh

Arts Exposed What's in our diary...

The Collector’s Space

Xxxx photo by Xxxx

March 7 – 23 / 125 Kent St, Sydney CBD It’s really nice that people like to buy art from artists, but it’s really sad that the art is then usually squirreled away in some dude’s house where we can’t enjoy it.

Luckily, as part of Art Month, Natalia Bradshaw has curated a wonderfully diverse and unique exhibition consisting entirely of works from the incredible private stashes of six art collectors, both emerging and established, including Pat Corrigan AM. Featuring work by Annie Leibovitz, AES+F, Hany Armanious, TV Moore, Jasper Knight, Lindy Lee, Shaun Gladwell and heaps, heaps more, the show is called The Collector’s Space. There will also be some great talks from Bradshaw, John Kaldor and other notable collectors and gallerists during the run – check out artmonthsydney.com.au/collect/collectors-space for details.

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

ALBUM OF THE WEEK SONGS

A welcome return for an underrated Aussie band.

Malabar Popfrenzy

bands; losing members, lacking direction, considering hanging up their boots for good.

It’s great news, therefore, that core members vDoyle and bassist Ela Stiles have produced Malabar after all.

The first Songs record happened to come out at a time when every other band in Australia was trying too hard to be interesting and different, and it succeeded in being both of those things simply by existing. The stock-in-trade for Songs, aside from being basically un-Googleable, was repetition.

They constructed shimmering, moody riffs and built them into slow-burning, sensual alternative rock songs that lingered long after, not unlike the images front man Max Doyle produced in his day job as a photographer for Vogue.

Malabar extends the sonic template of Songs, beyond tightly coiled, upper-fret guitar licks and off-kilter melody, into something far juicier for the listener. Their tracks no longer dwell on one idea for a few minutes, and if they do, they incorporate new sounds (flutes! Hammond organs!) and veer more towards psych than shoegaze, like on the mind-blowingly epic ‘Looking Without Seeing’.

Somewhere along the line, they went through a series of setbacks that often befall still-young

The playing sounds more solid, too; backed by a new drummer and guitarist, both Doyle and Stiles sing more confidently and interact with the music

7BIT HERO

APPARAT

JAMIE LIDELL

We Eat Loot Independent

Krieg Und Frieden (Music For Theatre) Mute/EMI

Jamie Lidell Warp/Inertia

With the growth of festivals such as Blip, the chipmusic world is in full redmushroom-fuelled bloom. 7bit Hero’s We Eat Loot provides a glimpse into that world, wrapping up the chiptune style in an undeniably polished shell.

Anthemic lead single ‘Come On. Stand Out.’ has strong indie pop sensibilities augmented by a sweet digital vibe. ‘Side Quest: Hear Love Speak Truth’ and ‘Playing Games With My Heart’ are both superbly crafted and vocally warm; ‘Main Menu Screen’ plays like its name suggests – title music to a game you played in the mid-’90s – but is really just an excuse for the band to sing about themselves.

The closing three tracks are all chiptuned remixes of the EP’s previous tracks that feel like unneeded padding, or perhaps a prelude of the soundtrack to 7bit Hero’s forthcoming computer game.

At no point does We Eat Loot feel like 8-bit for 8-bit’s sake – the music is built in so strongly and with such confidence that you can’t help but listen. That said, at moments it feels like there is an element of the experience that is missing. Given the nature of 7bit Hero’s interactive live shows, it’s likely their live performance is what fills that gap but it’s not entirely present on the EP. The biggest takeaway from We Eat Loot is that chiptune is not just a gimmick genre playing on aginggamer nostalgia. It’s an increasingly self aware and entertaining style, and 7bit Hero use it to augment their pop music deftly.

We Eat Loot is an achievementin-waiting – no speed run, but a carefully considered leap into an exciting sound that’s hopefully no final fantasy.

Alex Watts

Armed with a 30-piece orchestra and a boundary-pushing, anti-establishment theatre director named Sebastian Hartmann by his side, Sascha Ring AKA Apparat delivers his latest album, Krieg Und Frieden (Music For Theatre).

Commissioned for the daunting task of scoring a stage production of Leo Tolstoy’s epic War And Peace for the prestigious Ruhr Festival last year, Ring cast aside the guitar, sequencer and brooding pop sensibility that was heard on his 2011 LP The Devil’s Walk and replaced it with a brittle soundscape as sparse as it is textural, as austere as it is beautiful.

For context, this is a musical score crafted for visual accompaniment.

The ten tracks on Krieg Und Frieden (which translates, of course, to War And Peace) were purpose-built to underscore the movement and emotion conveyed on a stage. Yet, heard separately, the compositions ignite the imagination – you can almost visualise what is taking place on that stage.

The two album openers ‘44’ and ‘44 (Noise Version)’ are mournful numbers, laden with strings and fragile beauty.

The machine-like ‘PV’ transforms into the boldest song on the album when Ring introduces a (rare) loping drumbeat and harrowing brass wails.

‘K&F Thema (Pizzicato)’ and ‘K&F Thema’ are sombre, relaying a sense of longing despite their up-tempo plucked strings and glockenspiel. The use of Ring’s unassuming vocals in ‘LightOn’ and album closer ‘A Violent Sky’ are about as close as you’ll get to hearing anything akin to the sounds on The Devil’s Walk.

At first listen, the droning is overhelming; but with every listen, the noise is peeled back to reveal something more. There’s an understated beauty to Krieg Und Frieden unlikely to surprise fans of Apparat’s previous studio work.

Rick Warner

Producer/multiinstrumentalist/vocalist Jamie Lidell’s multiple personalities are best displayed on his 2005 breakthrough second album, aptly titled Multiply – Sunday-morning soul, glitchy loop-based electronica, sly funk, and the list goes on. On each subsequent album Lidell has explored each of his musical personas in more depth. 2008’s Jim is wonderfully straightforward, spot-on piano soul; the Beck-produced Compass (2010) was a sprawling collection of dark stompand-glitch pop; and now comes his first self-titled record, which is packed full of witty, unselfconscious funk grooves.

Lidell, who produced the album himself at his Nashville studio, hasn’t quite gone the full Chromeo here, but it’s less sly and more unabashedly referential than he’s ever been. The production is big and fun, full of gated snare sounds, propulsive Tron synths, vocoder and fat, bubbling bass effects. He’s also more open to commercial electro sounds: there’s a drop on ‘So Cold’ that sounds dubsteppy at first but mellows neatly into a deep, menacing funk groove; the same grimy, subterranean growl drags along the bottom of ‘What A Shame’, with a chorus that could sit nicely on a self-flagellating Kanye track.

‘Big Love’ is the most ’80s he’s ever sounded – glass-smooth jungle percussion, string synths, handclaps and falsetto choruses give it that secretgem-on-the-Pretty-Woman-soundtrack feel. And the cheeky ‘why_ya_why’ features Lidell affecting a glowering bass timbre for the intro (“Why ya why ya why ya wanna stay at home tonight / when you got so many dresses and you got so many lives?”) before a strangely satisfying combination of muted Dixie trumpet and loping beats winds around the melody.

Eyes Like The Sky Flightless/Fuse It’s rare that an emerging band will truly step up to the challenge of a second LP. Too often they’ll produce overthought, overwrought exercises in repetitious watertreading. But sometimes, we get a fictitious spaghetti western soundtrack.

Barely six months after their excellent debut 12 Bar Bruise, the rambunctious

28 :: BRAG :: 502 :: 04:03:13

Jonno Seidler

HUNGRY KIDS OF HUNGARY

EX COPS True Hallucinations Shock

You’re A Shadow Stop Start/EMI It’s been three years since Hungry Kids Of Hungary’s critically acclaimed debut, Escapades, and after time spent touring and time apart, the cohesive quartet have crafted a seamlessly orchestrated album.

Unlike their debut, there’s less of a feeling that HKOH are out to prove that they can plate up playful indie tracks next to soulful R&B songs followed by wistful ballads. Rather, the Brisbane outfit have clearly spent time trying to focus their sound via a different, no-fuss production style, aided by producer Wayne Connelly.

But make no mistake: there is no shortage of energy here (you need only listen to the first five seconds of ‘Sharp Shooter’ to know that), and the album is diverse, but less blatantly so.

HKOH’s signature harmonies, executed with delicate precision, are liberally scattered over the album; they're especially evident in ‘Memo’ whose heavenly “ahhs” sound like sighs of long-awaited realisation and tap into something unnamed yet familiar. ‘When Yesterday’s Gone’ contrasts sweet melodies and vocals which make you swing side-to-side like an infatuated schoolgirl, with something more ominous in the final echoes of “You’re a shadow”. Being the first co-write for the two singersongwriters, Dean McGrath and Kane Mazlin, it makes you wonder why on earth they don’t write together more often.

‘Do Or Die’ is a standout track; towards the end, it reaches impressive emotional heights and resonating pangs of grown-up sadness which will stay with you long after the last guitar strum.

It may be winter in New York right now, but this Brooklyn duo-turned-quintet has captured summer in their debut album. Not just the stereotypical happy summer days, but the long hot nights, the heartbreaks, the mistakes, the real summer. True Hallucinations is mellow and a little sad – in a nostalgic way – but the choruses open up with a powerful energy.

If you were going to pigeonhole Ex Cops you could say they’re an easy-going Jebediah, or you could draw flattering comparisons to The Shins. The chords are simple, the drums are punchy and the melodies catchy, so at first it seems like standard indie-pop. This is because it’s not an in-your-face album. It just swirls around the back of your head and lodges itself in your psyche until you’re humming along. You could play this as background music to a sunny afternoon, cold beers situation – but you could also seek it out deep into a Melbourne winter to warm you up.

‘James’, ‘You Are A Lion, I Am A Lamb’, and ‘Spring Break’ are all totally radio-worthy; they’re short, sweet, and weightless until anchored by sentimental guitar lines. The reverb used throughout True Hallucinations creates a smooth transition from song to song and contributes to the warm atmosphere.

The album takes its foot off the pedal towards the end for a couple of ballads and never really picks up the momentum again. Despite that minor quibble, it’s really a brilliant debut.

Though Jamie Lidell lacks the consistency of Jim or the surprising variety of Multiply, few artists do throwback pastiche this well.

Masters of the catchy melody, HKOH are shaping their indiepop sound into something that surpasses former pleasantries.

Young bands have a tendency to awkwardly sticky-tape their best material together for their first release, but this is a cohesive, conceptually solid album.

Caitlin Welsh

Katie Davern

Scott Gary Williams

INDIE ALBUM OF THE WEEK KING GIZZARD AND THE LIZARD WIZARD FEAT. BRODERICK SMITH

rather than pasting themselves on top of it. It’s as diverse as it is unique and still couldn’t have come from anywhere else, but Malabar will undoubtedly win Songs a new cachet of fans. And good for them – they earned it.

garage-psych seven-piece get Broderick Smith (Dingoes frontman and dad of King Gizzard’s harmonica player) to narrate a tale over the band’s Ennio-Morriconemeets-Dick-Dale atmospherics. It’s a story about cowboys, Indians, blurred morality, betrayal and death come before its time.

A guy gets shivved in the neck. Another guy’s head explodes.

The music perfectly matches the evocative brutality of the story and Smith’s understated rasp. Whistling, dive-bombing spring-reverb guitars, sleigh bells, anvil sounds, barking dogs, pounding drums and eerie honky-tonk pianos, all played as if in some southwestern rock’n’roll barroom – King Gizzard pull out all the stops and demonstrate a total mastery of the form

with a full, fleshed-out and vital sound. You can easily imagine it being the best thing about a 1970s sub-Leone fan-film.

The story itself captures a bunch of spaghetti western tropes but is a little too quick and nasty to have lasting resonance.

However, the whole thing ends before there’s any risk of it becoming an overlong novelty, giving us all time to realise that no one else in Australia comes to mind as doing anything quite like this, let alone doing it so well.

The musical equivalent of a well-made genre film, and a second album that is delicious and audacious.

Laurence Rosier Staines

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

TAYLOR SWIFT - Red FRANK OCEAN - channel ORANGE WEEZER - The Green Album

JONI MITCHELL - Blue INDIGO GIRLS - Indigo Girls

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

SOUNDWAVE FESTIVAL Sydney Showground, Olympic Park Sunday February 24 As the sound of guitars and distortion merged between stages at Olympic Park last Sunday, it was easy to forget the blemished lead-up and weather for Soundwave Sydney 2013. To all the detractors and naysayers who blame Soundwave Touring for the drummers who pulled out or didn’t make it, for the floods that forced Garbage off the bill and changed set times, or even for the security who let people hiding flares in their bags into the grounds: condemning promoters who put Metallica, Linkin Park, Blink 182 and A Perfect Circle all on the one tour only makes you a part of the problem.

For fans of twee, short beards, pop punk, the eponymous early-‘90s television show, and universal acceptance, you can’t go past The Wonder Years. During ‘Summers In PA', ‘Living Room Song’ and ‘Came Out Swinging’, the band had their modest crowd singing and hugging in the rain.

Billy Talent were as on-point as ever; ‘Fallen Leaves’ and ‘Devil On My Shoulder’ sounded as crisp and trained as they did on their respective records. This was made more impressive by the fact that they were one of the few bands on the bill to have their gear stuck in flood-stranded trucks – they, Sum 41 and Flogging Molly were forced to hire new gear for the day.

Pop-punk mainstays Sum 41 knew exactly what a festival set was about: all killer no filler (yeah, pun intended). The Canadian band performed well-known tracks like ‘In Too Deep’, ‘Fat Lip’, ‘Still Waiting’, and thankfully little from 2011’s Screaming Bloody Murder.

With the recent firing of

drummer Dave Lombardo, the good men of Anthrax loaned their own fill-in, Jon Dette, to Slayer at Stage 1B. The band are renowned as one of the leaders in their genre, so a rookie drummer couldn’t have even stunted the performance; fortunately, Slayer’s sonic tension and demonic demeanour imbued every fast-as-fuck riff with ferocious charm.

With a meticulous setlist, smooth sound and more heart than any other act I caught, Linkin Park were the standout performance of the day. Taking us through their weighty back catalogue with tracks like ‘Somewhere I Belong’, ‘Waiting For The End’, ‘Breaking The Habit’ and ‘One Step Closer’, the band didn’t treat us like another leg of a festival stint – it was as if we’d all spent our hardearned money on the Living Things Tour.

As a headliner, there are a few responsibilities you must endeavour to adhere to. Your lights must not be outshone, your sound must trump your predecessors, your back-screen footage should take your crowd on a journey, and your setlist should be lengthy and all-encompassing. If it weren’t for the dingus who endangered the crowd (and Bring Me The Horizon) with a flare over on Stage 4B, Metallica would have had the most talked-about light show of the day... Booked for a two-hour set, the furious four knew how to make time fly. The ‘Metallica family’ united and refrained from whining when they played one new track.

“See, that wasn’t so bad!” laughed James Hetfield after ‘Broken, Beat & Scarred’.

Metallica kept their audience in pieces and their legend intact. To end a Soundwave with such a behemoth of an act rebuked the fault-finders and confirmed the festival’s place as Australia’s biggest live music event.

Poppy Reid

EINSTÜRZENDE NEUBAUTEN, MICK HARVEY The Enmore Theatre Friday February 22 Mick Harvey has the air of one of your dad’s mates who used to be in a famous band and still regales you with stories to that effect when you’re both invited ‘round for dinner. It always seems like talk until he puts his glass of wine down and picks up a guitar, at which point you realise that there’s more than a little magic still burbling beneath the surface. Some of Harvey’s songs fall short of the mark tonight – ‘Summertime In New York’ comes off as a lazily put-together blues number that lends itself too well to the ‘dad rock’ impression – but others are stunning. The best tune pairs calmly insightful lyrics with slow chords to form a ghostly ballad. Harvey’s backing band (upright bass and another guitar) illustrates it well; the guitar evokes a distant train, while the bassist bows plangent, heavy shapes into the Enmore’s cavernous hall. “Something to tell your grandchildren about. Definitely,” says Harvey.

Based on what I’d heard and read about Einstürzende Neubauten, I was expecting some unrelentingly coarse and staunchly Teutonic industrial music.

The gear on stage reinforced this – in addition to towering amplifiers, there was a hefty weight of scrap metal (a towering spring, an enormous tubular metal drum, tightly stretched wires, aluminium sheets) arranged variously as percussion

JOSÉ JAMES The Standard Saturday February 23 Onto the stage, amidst a flurry of crashing cymbals, trumpet squeals and organ trickery, walked a man, short in stature but emanating Brooklyn swagger. The appearance of José James, clad in a navy blue Yankees cap, green army jacket and black-lensed Wayfarers, made me recall an interview I’d read with the singer where he professed to be not merely a hip hop artist playing jazz or vice versa, but an artist out to redefine the fickle boundaries of musical genre. Opening with the sparse ‘It’s All Over Your Body’, James’ jazz sensibilities were on show from the get-go, with his smooth, soulful baritone gliding perfectly atop bassist Solomon Dorsey’s seemingly unbreakable groove.

For a moment James’ cool showmanship seemed like it would be upstaged by the only Japanese guy I’ve seen with an Afro, as trumpeter Takuya Kuroda pulled scaling licks from some unearthly place. Nonetheless, James reasserted himself as what my friends and I could only describe as Nat King Cole possessed by hip hop in ‘Trouble’, as his sharp rhythmic vocals leapt out at the audience. It seemed as though his voice was

NICK CAVE & THE BAD SEEDS Sydney Opera House Tuesday February 26 Next door in the Joan Sutherland Theatre tonight, Opera Australia is running a production of Giuseppe Verdi’s Il Trovatore.

They needn’t bother. Nick Cave & The Bad Seeds have taken over the Sydney Opera House’s larger Concert Hall, and they deliver 20 mini-epics to that melodramatic old Romantic’s one. Here, Cave plays king, jester, hero and fiend in equal measures.

The set begins with a run through new Bad Seeds album Push The Sky Away, including a colossal take on ‘Jubilee Street’, before shifting in energy towards a fulfilling exploration of the group’s vast older catalogue.

HING PHOTOGRAPHER : RYAN KITC

The strength of tonight’s performance lies in its transparency – the way these musicians tease masterpieces out of bare materials right before our eyes. And it’s not just Cave and the fabulously dishevelled Warren Ellis who are at work up there. Aside from the five other Bad Seeds, they’re joined by members of the Sydney Symphony and a children’s choir whose youngest member

instruments. But the music was something else altogether. It was certainly confronting and identifiably ‘industrial’ in places, but none of the corrosive elements ever threatened to subsume Neubauten’s graceful, melancholic songs. If power tools were taken to sheet metal, or steel vibrators to the replica of a jet engine’s innards (“it sounds like a vibraphone from outer space”), then it was treated as another instrument or texture in the mix rather than a confronting performance art statement. Vocalist Blixa Bargeld balanced malevolence and charm well throughout, purring with German inflection one minute, conjuring a frightening banshee wail the next.

The core of the group is the bassist.

Sporting a wifebeater, tattoos and an enviable handlebar, Alexander Hacke’s immovable bass lines formed the bedrock atop which the group’s sonics could flail or recoil as needed.

It’s difficult to explain the exhaustive diversity of beauty in this set. From the intensely theatrical cigarette lighting in ‘Silence’, through the pummelling industrial moments, to an unsettlingly funny monologue about the existential dread of middle-aged ennui… there’s more to this band than any newcomer could imagine.

Chaotic but strictly regimented; balladic, yet punishing; humourous and terrifying. Highly recommended.

Luke Telford

an extension of his body as he playfully conducted the syncopated lyrics for the audience, while deep below, the band simmered with untapped energy. This was released in ‘Sword + Gun’ (a collaboration with the absent Hindi Zahra), when the band began a polyrhythmic clapping routine where their expertise was on full show, and it felt like we’d landed in some distant African church service.

The ballad ‘Do You Feel’, my favourite track from the new album, was softly sensual, with the punctuated pauses in the hi-hat and organ pulling the audience along the ascending melodic journey laid out

by James. Solomon Dorsey’s bass solo was mind-blowing – he sang out each note before he played it, as if channelling George Benson. Finally, Bill Withers’ harrowing ‘Ain’t No Sunshine’ was turned into a soul jam by the band as James came to the end of a set that had effortlessly waded through over half a century of R&B’s stylistic repertoire. This was not as much a performance as a musical statement, with James’ unique fusion of genres encouraging an exploration that more should dare to try.

Zac Seidler

can’t be beyond six years old. Still, the extra musicians respond solely to the alternating whims of Cave and Ellis, who conduct proceedings with but a point of a finger or a fist thrust to the heavens.

Some of the Push The Sky Away material is rawer than the rest – a few of these newer songs are straitjacketed by pre-recorded loops, which the band has difficulty following as tightly as one would expect. Later, on ‘The Ship Song’, Cave seems like a passenger, outshone by the choir and strings. Once the larger ensemble departs, though, the focus is on Cave and Ellis alone. Songs begin in a flurry of gestures and intense eye contact, as if the pair is perched precariously at the edge of a mountain and each is daring the other to lean back into free-fall. When inevitably they do, the music takes off as well, and seeing where it all eventually lands is the fun of it. In just this way, ‘Red Right Hand’ and the ‘Stagger Lee’ encore are the second-act highlights of an invigorating night; a relentless examination of physical, dynamic and rhythmic freedom set on the foundation of visionary songwriting.

Chris Martin

BRAG :: 502:: 04:03:13 :: 29

snap sn ap

hobo bordeaux

PICS :: AM

up all night out all week . . .

josé james

PICS :: KC

22:02:13 :: Brighton Up Bar :: Level 1/77 Oxford St Darlinghurst 9572 6322

ross de chene

PICS :: KC

23:02:13 :: The Standard :: 3/383 Bourke St Darlinghurst 9331 3100

blink-182

PICS :: AM

23:02:13 :: FBi Social :: Kings Cross Hotel 248 William St 9331 9900

jonathan boulet

PICS :: PX

20:02:13 :: Allphones Arena :: Sydney Olympic Park 8765 4321

21:02:13 :: Goodgod Small Club :: 53-55 Liverpool St Chinatown 8084 0587

21:02:13 :: Oxford Art Factory :: 38-46 Oxford St, Darlinghurst 9332 3711 RKE :: AVERIE

:: KATRINA CLA S : TIM LEVY (HEAD HONCHO) OUR LOVELY PHOTOGRAPHER :: PEDRO XAVIER MAR LEY ASH :: HING KITC HARVEY :: RYAN

30 :: BRAG :: 502 :: 04:03:13

party profile

gimme shelter

PICS :: PX

sam amidon It’s called: Sam Amidon It sounds like: Nick Drake playing footsie with Bon Iver.

Who’s playing: Sam Amidon, Packwood, and Leroy Lee Sell it to us: You’ll never get to see Sam in a venue this small again. His Sydney Festival show in January 2012 sold out super quickly. With Pitchfork, Rolling Stone and Bon Iver singing his praises, you’d be silly not to come see what the fuss is all about!

The bit we’ll remember in the AM: Wild banjo playing, incredible storytelling, the best sense of humour you’ve ever heard from an American. Alt-folk at its finest.

Crowd specs: As in capacity? 200… As in spectators? Cardigan-clad hipsters to sultry seniors… This shit ain’t discriminatory – real music for real music fans.

Wallet damage: $20 (+ bf) if you buy in advance!

Where: FBi Social @ Kings Cross Hotel When: Thursday March 7

BRAG :: 502 :: 04:03:13 :: 31

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

pick of the week George Clinton

FRIDAY MARCH 8 The Hi-Fi Sydney, Moore Park

George Clinton & Parliament Funkadelic (USA), NTSC, John Cawley, Peter Glass $99.60 8pm all-ages MONDAY MARCH 4 ROCK & POP

The Monday Jam: Danny G Felix & the Monday OGs Ginger’s, The Oxford Hotel, Darlinghurst free 8pm

JAZZ

Rosie Henshaw 505 Venue, Surry Hills $10 8.30pm

ACOUSTIC & FOLK

Helmut Uhlmann, Chris Brookes, Massimo Presti, Jonnie Jötunn Kellys On King, Newtown free 7pm

TUESDAY MARCH 5 ROCK & POP

Goon Squad Scruffy Murphy’s, Haymarket

32 :: BRAG :: 502 : 04:03:13

free 10pm Jed Orient Hotel, The Rocks free 9pm Jonathan Devoy Botany View Hotel, Newtown free 7.30pm Moonshakes: Julia Why, Tanktwin, Mope City, Sleep Debt Flinders Bar, Darlinghurst free 8pm Myra Flynn (USA) Café Lounge, Surry Hills free 7pm Purity Ring (CAN), Headaches (CAN), Fishing Oxford Art Factory, Darlinghurst sold out 8pm

7.30pm Darren Bennett George IV Inn, Picton free 7.30pm Peach Montgomery, Starr Witness Newington Inn, Petersham free 7pm The Tallest Man On Earth (SWE) Sydney Opera House, Circular Quay $20-$39 (+ bf) 8pm

JAZZ

ROCK & POP

Old School Funk and Groove Night 505 Venue, Surry Hills free 8.30pm

ACOUSTIC & FOLK Angelene Harris, Michael Kerr Five Dock Hotel free 7.30pm Champagne Jam – Open Mic Night Dundas Sports Club free

WEDNESDAY MARCH 6 Ange Beach Bar, Coogee Bay Hotel free 9pm Audley’s Nest, A Lost Sense Of Direction Valve Bar and Venue, Tempe 7pm Bad Valley, Wheat Fields, Raindrop, Helvetica Brighton Up Bar, Darlinghurst $5 8pm Fields Of Mars, The Steaks,

Jody The Vanguard, Newtown $15.80 8pm Garbage (UK/USA), Private Life The Star Event Centre, The Star, Pyrmont $79.50 7pm Live & Local: Francesca Sidoti Lizotte’s Restaurant, Dee Why $10 8pm Mark Travers Orient Hotel, The Rocks free 9pm Money For Rope, The Grease Arrestor Gallery Bar, Oxford Art Factory, Darlinghurst free 6pm Musos Club Jam Night Bald Faced Stag Hotel, Leichhardt free 8pm Old Man River, MAPELS, Magicsteven FBi Social @ Kings Cross Hotel $15 8pm Purity Ring (CAN), Headaches (CAN), Fishing Oxford Art Factory, Darlinghurst sold out 8pm Reckless Scruffy Murphy’s, Haymarket free 10pm Steve Hogan’s Americana Show The Basement, Circular Quay $20 (+ bf) 7.30pm The Stone Roses (UK), Zane Lowe (UK) Hordern Pavilion, Moore Pavilion sold out 7pm Twinsy, Willow Beats, A Game Beach Road Hotel, Bondi free 8pm

JAZZ

Jazz Trumpet Meets The Orchestra: James Morrison Sydney Opera House, Circular Quay $35-$94 (+ bf) 6.30pm Steve Hunter Band 505 Venue, Surry Hills $15$20 8.30pm

ACOUSTIC & FOLK

Andrew Denniston Royal Hotel, Springwood free 7.30pm Helmut Uhlmann UTS Loft, Broadway, Ultimo free 6pm SongsOnStage – Best Of: Jacob Pearson, Selftort, PAN, Daniel Hopkins Brass Monkey, Cronulla $15 7pm TAOS, John Chesher, Gavin Fitzgerald, Chich, Frankie Francis Coach & Horses Hotel, Randwick free 7pm

THURSDAY MARCH 7 ROCK & POP

Balmain Blitz The Bridge Hotel, Rozelle $15 7pm Ben Gunn Newport Arms Hotel free 8pm Caitlin Park, Boatfriends The Vanguard, Newtown $13.80 8pm Calling Mayday Imperial Hotel, Erskineville free 7.30pm Castlecomer Hotel Hollywood, Surry Hills free 8pm Chris Smither (USA) Blue Beat, Double Bay $39 (+ bf) 8pm fun. (USA) Enmore Theatre $79.90 7pm Heath Burdell Beach Bar, Coogee Bay Hotel free 9pm Hot Damn!: Heroes For Hire, The Sweet Apes, Deadlights, Jacobide, Hot Damn! DJs Spectrum, Darlinghurst $15$20 8pm Hot Spoke The Workers, Balmain free

8pm HOWL, Upside Down Miss Jane, 400KW Monsters, Hang Dai, Archaic Revival Valve Bar and Venue, Tempe 7pm Jep and Dep. Piers Twomey, Achoo! Bless You Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm MxPx (USA), Nerdlinger, Batfoot!, Seek The Silence Manning Bar, University of Sydney, Camperdown $44 (+ bf) 8pm Popstrangers (NZ), Bored Nothing, Bearhug Goodgod Small Club, Sydney $10 (+ bf) 8pm Post Paint, The Carraways, The New Orleans, Lost In Space Annandale Hotel $5 7.30pm Rockets, Bad Pony, The Nectars Brighton Up Bar, Darlinghurst $10 8pm Sam Amidon (USA), Packwood, Leroy Lee FBi Social @ Kings Cross Hotel $25 8pm Sheena Uncovered Scruffy Murphy’s, Haymarket free 10pm The Snowdroppers Moonshine Bar, Hotel Steyne, Manly free 7pm Sons Of Sun – The Sam Phillips Story Brass Monkey, Cronulla $23.50 7pm Tiffany Britchford, Audley’s Nest, Milwaukee Sydney Livehouse @ Lewisham Hotel $12 8pm Tim Rogers and The Bamboos The Hi-Fi Sydney, Moore Park $50.50 7.30pm Toro Y Moi (USA), Jonti, Yukon Snakes The Standard, Surry Hills $43 (+ bf) 8pm White Bros Orient Hotel, The Rocks free 9pm White Knuckle Fever, Monte Cassino, Cameron, Cameron Lawler, James Fitch Live at the Wall @ Bald Faced Stag Hotel, Leichhardt $5 8pm

JAZZ

Abuka, The Marin Bros 505 Venue, Surry Hills $10 8.30pm Jazz Trumpet Meets The Orchestra: James Morrison Sydney Opera House, Circular Quay $35-$94 (+ bf) 6.30pm Peter Head Harbour View Hotel, The Rocks free 8pm

ACOUSTIC & FOLK

Daniel Hopkins Olympic Hotel, Paddington free 7.30pm Peach Montgomery, Tommy D, Starr Witness Forest Lodge Hotel, Glebe free 7.30pm

FRIDAY MARCH 8 ROCK & POP

031 Rockshow Cock ‘n’ Bull, Bondi Junction free 9pm Anthems of the UK Scruffy Murphy’s, Haymarket free 10pm The Beatnix Lizotte’s Restaurant, Dee Why $44 8pm Blood Letter, Ex Curia, Til Rapture, Severence Sydney Livehouse @ Lewisham Hotel $12 8pm The Bosons, Mulder Brighton Up Bar, Darlinghurst $10 8pm Chicks On Speed (GER),

Ghetto Pussy, O.t.t.

The Red Rattler, Marrickville $30 (+ bf) 8pm The Chitticks, Disco Is Dead, The Dark Hawks Candys Apartment, Kings Cross 8.30pm Circle Jerk #4: Black Vanilla, Darren Cross, Matt Banham, Magic Hands, Foxtrot (NZ) The Sly Fox, Enmore free 8pm Damien Leith Castle Hill RSL $40 7pm Duelin’ Piano Show Rock Lily, The Star, Pyrmont free 9pm Ellie Goulding (UK) Metro Theatre, Sydney $54.70 7pm all-ages George Clinton & Parliament Funkadelic (USA), NTSC, John Cawley, Peter Glass.

The Hi-Fi Sydney, Moore Park $99.60 8pm all-ages Gimme Shelter: Thieves, The Mountains, Oxblvd, Sons Et Al, Gang Of Youths Oxford Art Factory, Darlinghurst $10 8pm Goldsmith, Gang Of Youths, The Bosons, Mulder Brighton Up Bar, Darlinghurst $10 8pm Hey Big Aki, Disgusting People Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm Hue Williams Avalon RSL free 9pm In-Cyde, Rome Live at the Wall @ Bald Faced Stag Hotel, Leichhardt $8 8pm Kyle Brady Chatswood RSL free 5.30pm Los Straightjackets (USA), Captain Reckless, Lost Souls The Standard, Surry Hills $25 (+ bf) 8pm Marty Simpson Customs House Bar, Circular Quay free 7pm The Offspring (USA) Enmore Theatre $76.40 7.30pm Party Vibe, Johnny Rock Beach Bar, Coogee Bay Hotel free 9pm Richard Calabro’s Alpha Omega Brass Monkey, Cronulla $19.90 7pm Rising Phoenix 2013: Topnovil, 51 Percent, Hawk Kestrel, DIS Funkshen, Mike DeWitt Valve Bar and Venue, Tempe 6pm Sabotage: Hailer The Forbes Hotel, Sydney $10 9pm Sea Legs, Fushia, Louis London Goodgod Small Club, Sydney $10 8pm Skullsquadron, Machine Machine, Small Town Incident, Ramps The Square, Haymarket $10 8pm Staff Picks: The Khanz, Mary & The Banks, Stars of Addiction, The Nectars Annandale Hotel $5 7.30pm Twinsy, Gang Of Youths, Jordan Sly, Myra Flynn (USA), Bernie Dingo Upstairs Beresford, Surry Hills free 6pm Vulgargrad, The Rusty Spring Syncopators The Vanguard, Newtown $28.80 8pm Wild Nothing (USA) Oxford Art Factory, Darlinghurst $40 (+ bf) 8pm

JAZZ

Daryl Pratt Sextet The Sound Lounge, Seymour Centre, Chippendale $10-$20 8.30pm Goran Bregovic Sydney Opera House, Circular Quay $79-$109 8.30pm Jazz in Hip Hop

g g guide gig g send your listings to : gigguide@thebrag.com 505 Venue, Surry Hills $15 8.30pm Kriola Collective Camelot Lounge, Marrickville $20 (+ bf) 7.30pm Ross McHenry Future Ensemble Blue Beat, Double Bay $25 (+ bf) 8pm Yuki Kumagai, John Mackie Well Co. Café / Wine Bar, Leichhardt free 7pm

ACOUSTIC & FOLK

Brett Winterford, Renny Field The Basement, Circular Quay $20 (+ bf) 7.30pm Pete Scully Mars Hill Café, Parramatta $15 8pm

SATURDAY MARCH 9 ROCK & POP

Baby Doll Arms, Velopus, J-Flat Squared, The Mankoos Sydney Livehouse @ Lewisham Hotel $12 8pm Bin Juice Brighton Up Bar, Darlinghurst $10 8pm Blind Valley, The Hollow Bones Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm Bob Mould (USA), Knievel, Royal Chant The Factory Theatre, Marrickville $49 (+ bf) 7pm Chris Duke & The Royals, Ebolagoldfish, Batfoot!,

Ivan Drago The Square, Haymarket $8 8pm Dave Mason with Reel Big Dog Lizotte’s Restaurant, Dee Why $35 8pm Edith Grove & The Crawdaddies Gladstone Park Bowling Club, Balmain free 7.30pm Fornax Chemica (NZ), Ungus Ungus Ungus, Dr Kong & The Stem Cells, The Cupcake Conspiracy Valve Bar and Venue, Tempe 7pm Gang Of Youths, Tim Fitz, Cold Hiker FBi Social @ Kings Cross Hotel $10 8pm Gay Paris, King Of The North, She Rex, Greta Mob The Vanguard, Newtown $18.80 8pm Hue Williams The Bay Sports Club free 8pm Jon Spencer Blues Explosion (USA), Moon Duo (USA), Gooch Palms The Hi-Fi Sydney, Moore Park $58.50 8pm King Tide, Elliot The Bull, 1929 Indian, Kristy Lee Upstairs Beresford, Surry Hills free 6pm Kittens: Colorstarr, Belle And The Bone People, VioletG, Kittens DJs Spectrum, Darlinghurst $10 9pm La Fiesta Grande: To The Grave, I The Hunter, Lycanthrope, Postal, Staunch, Disasters Live at the Wall @ Bald Faced Stag Hotel, Leichhardt $10 5.30pm The Last Waltz Revival Brass Monkey, Cronulla

$37.75 7pm Late Shift Scruffy Murphy’s Haymarket free 10.30pm Metal Meltdown: Fenrir, Disintegrator, Head In A Jar, Metreya, Paralysis, Dead Life, Abacination Valve Bar and Venue, Tempe 12pm Nick Cave & The Bad Seeds Enmore Theatre sold out 7pm Party Anthems Paragon Hotel, Circular Quay free 9pm Ryan Thomas, Craig Thommo Beach Bar, Coogee Bay Hotel free 9pm Stray Birds The Factory Floor, The Factory Theatre, Marrickville $15 (+ bf) 8pm Title Fight (USA), Luca Brasi, Hazards Annandale Hotel $28 8pm

JAZZ

Bembeya African Dance Club: The Majestics, Karifi The Red Rattler, Marrickville $10 8pm Blue Moon Quartet Fairfield RSL free 7pm Dereb The Ambassador Camelot Lounge, Marrickville $22 (+ bf) 7.30pm The Idea Of North Blue Beat, Double Bay $29$34 (+ bf) 8pm Michelle Nicole 505 Venue, Surry Hills $15$20 8.30pm Peter Head Harbour View Hotel, The Rocks free 5pm Roil The Sound Lounge,

tue

05 JED Mar

(9:00PM -12:00AM)

wed

Mark Travers 06 Mar

(9:00PM - 12:00AM)

fri

Greg Byrne 08 Mar

thu

White (9:00PM Bros 07 - 12:00AM) Mar + Reckless (9:30PM - 1:30AM)

(4:30PM - 7:30PM)

sat

G J Donovan + 2 Fold 09 Mar (4:30PM - 7:30PM) sun

U2 Elevation 10 Mar

(4:30PM - 7:30PM)

(9:00PM - 12:00AM)

+ 3 Way Split (8:30PM - 12:00AM)

St Patrick’s Day Festival Upstairs from 8am!

sun

Irish

($45)

17 +Breakfast bottomless Irish Guiness Mar

+ The

Killarney Trio LIVE 8:00AM – 12:00PM

Stringy Bark ................................... 8:00AM-10:30AM The Blarney Boys + Fiddle .....11:00AM-1:00PM U2 Elevation ..................................... 1:30PM-4:00PM The Moonshiners .......................... 4:30PM-6:30PM Dublin Up......................................... 7:00PM-10:30PM Lonesome Train.............................11:00PM-1:00AM + PARTY DJ TILL L ATE

BRAG :: 502 :: 04:03:13 :: 33

g g guide gig g send your listings to : gigguide@thebrag.com Seymour Centre, Chippendale $10-$20 8.30pm Vince Jones The Basement, Circular Quay $25 (+ bf) 7.30pm

ACOUSTIC & FOLK Muddy Feet The Belvedere Hotel, Sydney free 9pm

SUNDAY MARCH 10 ROCK & POP

34 :: BRAG :: 502 : 04:03:13

JAZZ

Peter Head Band Harbour View Hotel, The Rocks free 4pm

ACOUSTIC & FOLK Elevation U2 Acoustic Orient Hotel, The Rocks free 4.30pm Joanne Hill, Emilee Devitt, the Mad Pride, Ethan Blencowe, Dan Usher, Melissa Tierney, Hayley Neal & Lucy Mills Corrimal Hotel free 6pm Peach Montgomery Salisbury Hotel, Stanmore free 2pm Replika Huskisson Hotel free 4pm

up all night out all week...

TUESDAY MARCH 5 Purity Ring (CAN), Headaches (CAN), Fishing Oxford Art Factory, Darlinghurst sold out 8pm The Tallest Man On Earth (SWE) Sydney Opera House, Circular Quay $20-$39 (+ bf) 8pm

WEDNESDAY MARCH 6 Bad Valley, Wheat Fields, Raindrop, Helvetica Brighton Up Bar, Darlinghurst $5 8pm Old Man River, MAPELS, Magicsteven FBi Social @ Kings Cross Hotel $15 8pm The Stone Roses (UK), Zane Lowe (NZ) Hordern Pavilion, Moore Pavilion sold out 7pm

THURSDAY MARCH 7 Caitlin Park, Boatfriends The Vanguard, Newtown $13.80 8pm fun. (USA) Enmore Theatre $79.90 sold out 7pm Popstrangers (NZ), Bored Nothing, Bearhug Goodgod Small Club, Sydney $10 (+ bf) 8pm Post Paint, The Carraways, The New Orleans, Lost In Space

Annandale Hotel $5 7.30pm Sam Amidon (USA), Packwood, Leroy Lee FBi Social @ Kings Cross Hotel $25 8pm Tim Rogers and The Bamboos The Hi-Fi Sydney, Moore Park $50.50 7.30pm Toro Y Moi (USA), Jonti, Yukon Snakes The Standard, Surry Hills $43 (+ bf) 8pm

FRIDAY MARCH 8 Chicks On Speed (GER), Ghetto Pussy, O.t.t.

The Red Rattler, Marrickville $30 (+ bf) 8pm Ellie Goulding (UK) Metro Theatre, Sydney $54.70 7pm all-ages George Clinton & Parliament Funkadelic (USA), NTSC, John Cawley, Peter Glass The Hi-Fi Sydney, Moore Park $99.60 8pm all-ages Gimme Shelter: Thieves, The Mountains, Oxblvd, Sons Et Al, Gang Of Youths Oxford Art Factory, Darlinghurst $10 8pm Staff Picks: The Khanz, Mary & The Banks, Stars of Addiction, The Nectars Annandale Hotel $5 7.30pm Wild Nothing (USA) Oxford Art Factory, Darlinghurst $40 (+ bf) 8pm

Bob Mould

SATURDAY MARCH 9 Bob Mould (USA), Knievel, Royal Chant The Factory Theatre, Marrickville $49 (+ bf) 7pm Jon Spencer Blues Explosion (USA), Moon Duo (USA), Gooch Palms The Hi-Fi Sydney, Moore Park $58.50 8pm King Tide, Elliot The Bull, 1929 Indian, Kristy Lee Upstairs Beresford, Surry Hills free 6pm Nick Cave & The Bad Seeds Enmore Theatre sold out 7pm

SUNDAY MARCH 10 Millions, Cub Scouts, Pear Shape The Lair, Metro Theatre, Sydney $12 (+ bf) 3pm all-ages Neil Finn and Paul Kelly, Lisa Mitchell Sydney Opera House, Circular Quay sold out 8pm Neil Young and Crazy Horse (CAN/ USA) Sydney Entertainment Centre, Darling Harbour $108.20-$157.90 7.30pm The Tea Party (CAN) The Factory Theatre, Marrickville $60 Xxx

Blunt Force Trauma, How To Survive A Bullfight, Steel Swarm, Hivemind Live at the Wall @ Bald Faced Stag Hotel, Leichhardt $10 6.30pm Bob Mould (USA), Further Annandale Hotel $49 8pm The Colors Tribute Band Union Hotel, Newtown free 4pm Cory McAbee, Mojo Juju (solo) The Vanguard, Newtown $23.80 8pm Green Beaver, Bared Souls, Exploding Happiness Valve Bar and Venue, Tempe 2pm Johnny Gretsch's Wasted Ones Botany View Hotel free 5.30pm Millions, Cub Scouts, Pear Shape The Lair, Metro Theatre, Sydney $12 (+ bf) 3pm allages Muddy Feet Beach Bar, Coogee Bay Hotel free 7pm Neil Finn and Paul Kelly,

Lisa Mitchell Sydney Opera House, Circular Quay sold out 8pm Neil Young and Crazy Horse (CAN/USA) Sydney Entertainment Centre, Darling Harbour $108.20-$157.90 7.30pm One Night Only: Ethan Carter The Basement, Circular Quay $25 (+ bf) 7pm Rick Price Brass Monkey, Cronulla $23.50 7pm The Spooky Men’s Chorale Camelot Lounge, Marrickville $25 (+ bf) 6.30pm The Tea Party (CAN) The Factory Theatre, Marrickville $60 7pm Title Fight (USA), Luca Brasi, Yo Put That Bag Back On Annandale Hotel $28 12pm all-ages Weekend Warriors Big Gig Lizotte’s Restaurant, Dee Why $10 12pm

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free stuff

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

FREESTUFF@THEBRAG.COM

five things WITH

Kele

ELI VERVEINE (SWITZERLAND) Growing Up My grandfather gave me 1. a radio when I was four and I

and vision is quite similar and this was a good condition for our studio work together.

loved that little red thing to bits.

Later I had a cassette tape deck and I had so much fun recording music from the radio. My musical taste was always diverse and I loved and still love to dance.

I discovered the underground techno and house scene in Zurich when I was 19 and this totally changed my life. I started to buy records, organising small parties, and I absorbed every bit of information I could get about this music like a sponge.

Inspirations There are a lot of musicians 2.

I really appreciate and love. But the moment back then when I discovered Moritz von Oswald and Mark Ernestus was mind-blowing.

They are still a big inspiration to me.

Your Crew I started last year a label 3. called Tardis with my good friend and partner in crime Oscar Schubaq. We’ve known each other for many years now and always shared the love for the good old vinyl. Our musical taste

The Music You Make The first release on Tardis 4. was by Oscar Schubaq and myself. I’m passionate about Chicago house, Detroit techno, old German minimal, dubby techno, deep heat beats and so on. When I DJ I don’t like to stay all the time on the same level, otherwise it gets boring. A DJ set of mine has always a dramaturgy.

5.

Music, Right Here, Right Now At the moment I’m inspired by artists like Fred P., STL and Mr. G and also by the raw sounds from labels like Appointment or LiveJam. I also love to dig deep for old and lost records; this has the same inspirational effect on me, because it`s like finding a “new” record.

With: Trinity & Magda Bytnerowicz, Hans Kempster & Trebek, David Mummery.

When: Friday March 8 Where: Goodgod Small Club / 53-55 Liverpool Street, CBD

FMF JACK SHACK

Our old mate Jack from Tennessee is smuggling his world-renowned brand of whiskey into Future Music Festival this Saturday, March 9 at Royal Randwick Racecourse. The Jack Daniel’s Barrel House and White Rabbit Saloon, authentic replicas of both venues in the US, will celebrate the success of the meticulously crafted drink that has reached 135 countries since 1866. Kele, Rudimental, Van She, Christo and Jonny Croft will pour out the beats, right before a secret headliner takes the stage.

The JD mantra is “Every day we make it, we’ll make it the best we can”, and we reckon a Double VIP Pass valued at over $400 (bourbon and cokes are your shout) would make your Future the best ever...

Just email us and tell us your favourite Jack D’s concoction.

IAN POOLEY + WBEEZA Davide Squillace

Sunday clubbing institution S.A.S.H. has an impressive list of internationals lined up over the next month, including German producer Ian Pooley and Wbeeza, who will both be spinning on Sunday March 31. Pooley started producing way back in 1991 with his schoolmate DJ Tonka under the name Space Cube, and has proceeded to release more than 50 singles, 370 remixes and seven studio albums. And his sound has lost none of its salience, as demonstrated by his latest LP What I Do, which spawned summer anthem ‘CompuRhythm’. Wbeeza is a South London house producer who has forged a strong alliance with Detroit-affiliated London record label Third Ear. Highly rated by those in the know, Wbeeza hasn’t quite ‘broken through’ yet on the scale that he seems destined to. S.A.S.H happens Sundays at The Abercrombie, kicking off in the afternoon.

Elizabeth Rose

PERET MAKO

CIRCOLOCO EASTER

The lineup for the Easter Sunday Circoloco bash at the Greenwood Hotel has been announced. Italian Circoloco poster boy Davide Squillace will be throwing down, alongside the trio behind the Apollonia label: Dyed Soundorom, Shonky and Dan Ghenacia, the latter making his Australian debut.

Ardent clubbers will know Ghenacia as the fellow behind the Freak n’ Chic imprint, who carved out a niche in the Paris club scene when filter house and French touch were all the rage by offering a sound that was a different, deeper, trippier, and altogether more after-hours take on house. Shonky is a fellow Parisian who made his mark through singles on labels like Freak n’ Chic and Crosstown Rebels. His moniker is influenced by how his older brother used to tease him – ‘cochon’ is French for ‘pig’, you see, and ‘Shonky’ is apparently the ‘Pig Latin’ variant of the put-down… but I digress. The party kicks off at midday on Sunday March 31, and presale tickets are available online.

AOKI + LIL JON

Steve Aoki and Lil Jon will back up from Future Music Festival to perform on Saturday March 9 at Marquee @ The Star Sydney. Aoki is an extremely popular fashionista/producer/party boy DJ who released a new album, Wonderland, last year featuring collaborations with Chiddy Bang and Lil Jon, LMFAO and even Blink-182’s Travis Barker. Over the course of his career, Aoki has remixed The Killers, Robin Thicke, Lenny Kravitz, Duran Duran and, on the fashion side of things, developed lines for KR3W Apparel, Supra Footwear, sunglasses with Ksubi, and a brand new mens/women’s range with his supermodel sister Devon Aoki. Presale tickets can be secured for $40, with the revelry commencing at 9pm.

PACHANGA BOYS

The Pachanga Boys are producers Superpitcher and Rebolledo, and they make “hippie dance” – peace, love, dancing ‘til you fall over. They’re in Australia for the first time, playing Picnic at The Abercrombie with Ivan Smagghe on Thursday March 28. Superpitcher is also doing a long-overdue solo show on Cockatoo Island’s Island Bar on April 1.

ELIZABETH ROSE

Sydney-based purveyor of pop-electronica Elizabeth Rose will embark on a national tour in support of her newly released Give In remix EP, and will perform a show in Sydney on Saturday March 30 at fundraising party Major Raiser. Rose is fresh from releasing her debut EP Crystallise in October 2012, which capped off a year in which she was named as a triple j Next Crop artist, and was the only female featured in Radar Radio’s Top 20 Aussie Electronic Artists You Need to Know In 2012. Rose’s latest EP features remixes from Ghost, Moses MacRae, Sinden and Morgan Zarate, and is out now through Inertia.

Xxxx

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Sydney veteran Peret Mako will headline the Spice Cellar on Saturday March 16. Having produced for Alphatown Collective and Little Beasties and remixed the likes of Swag and Multiball, Mako is renowned amongst Sydney’s music cognoscenti. He was responsible for one of the finest electronic releases in The Devil’s In The Detail, an LP that finally saw the light of day in ’08 through a release on the Future Classic label.

An extremely talented and versatile musician, he has supported everyone from Optimo to Charles Webster, Theo Parrish, DJ Krush, and Blackalicious, as well as playing saxophone for Jamie Lidell’s live show in Sydney. You can expect Mako to traverse hip hop, techno, jazz and deep house influences in his DJ set. He’ll be supported

by Jaded and Gabby.

We has internets!

Extra bits and moving bits without the inky ďŹ ngers.

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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

SIMON BRAYFORD Growing Up I guess you could say I grew 1. up in a musical family – my father has a large collection of old and obscure vinyl and from a young age I was exposed to a diverse range of genres and encouraged to learn a variety of instruments.

During high school I studied music, played in a band and at the time, listened to a lot of Chemical Brothers and Daft Punk.

Homework played a big role in developing my love of house music. Such a great album – I still have the vinyl!

Inspirations My inspiration to begin 2.

DJing actually came when I first started going to the big, outdoor festivals and the seeing the likes of Carl Cox or James Zabiela on the dance stage and being blown away by the energy one guy can inject into a crowd of people armed with only a set of turntables. These days I’m inspired by the hunt for new, exciting sounds to push my own sets in new directions.

Your Group Nothing beats partying with 3. a group of like-minded people who

For me, DJing is a way to go one step further and actually contribute to the overall vibe and sound of a party.

The Music You Make From deep house to tech 4. house. I want my sets to grab people from the start, maybe challenge them along the way, but ultimately give them something to take away from the dancefloor that they may not have heard before.

5.

Music, Right Here, Right Now 2012 was an amazing year for Sydney’s music scene, and things don’t appear to be slowing down!

Whilst on any given weekend one has to make a tough choice of what top-notch internationals to experience, I’m constantly blown away by the support sets being delivered by our local talent, Gabby, YokoO and Sam Arellano being a few names that instantly spring to mind having supported some absolutely huge acts recently. If things continue to grow and evolve the way they are, we’re looking at a very healthy music scene for 2013 indeed.

are in it solely for the music. This is what I love about my crew who are out and about every weekend.

MIAMI THURSDAYS

Kicking off the weekend celebrations a night early – you can survive one bleary-eyed day of working hungover, surely – Miami Thursdays is a new weekly party held every Thursday, 8 ‘til late, at the Goldfish in Kings Cross. Miami Thursdays will be curated by resident DJ Jay-J, a renowned San Franciscan house producer and Grammy nominee who has collaborated with the likes of Kaskade, Miguel Migs, Chris Lum and Random Soul over the course of his career. Local DJs such as Liam Sampras, Yogi & Husky, Illya and Phil Toke will all be spinning on a regular basis.

What: S.A.S.H We Like Where: The Abercrombie Hotel When: Sunday March 10

SHUT UP AND PLAY THE HITS

If listening to ‘I Can Change’ gets you a bit teary, then you’d better have a box of tissues on standby: helping you relive the 48 hours surrounding LCD Soundsystem’s last and most captivating performance at Madison Square Garden is concertfilm-doco Shut Up And Play The Hits, directed by Dylan Southern and Will Lovelace. The film gets up close and personal with dance music’s postpunk professor James Murphy, and might give you greater insight into why one of New York’s coolest acts decided to call it quits at the peak of their musical success. Thanks to Vendetta Films, we have five copies to give away before the official DVD release on March 13; grab one by telling us what you would give to see LCD Soundsystem get back together.

MACEO PLEX DJ-KICKS

American-born, Spain-based Eric Estornel, who produces as Maceo Plex and Maetrik, has mixed the latest in the DJ-Kicks mix series, a compilation that will be released on April 29. Estornel promises that his mix will be a “little more deep and futuristic” than the throwback ’90s house that is currently dominating the scene. The tracklist is heavy on exclusive Estornel edits, and includes cuts from the likes of Move D and Detroit’s DJ Stingray, along with an exclusive new track from Estornel himself entitled ‘Galactic Cinema’.

THE DEMIGODZ

Hip hop collective The Demigodz – comprised of Apathy, who introduced himself to the world on Jedi Mind Tricks’s The Psycho-Social... LP, and Celph Titled, who made his debut during the indie 12”-vinyl craze with Equilibrium and Walkmen – will headline The Factory Theatre in Enmore on Wednesday March 27. Since bursting onto the scene in the late ’90s, Celph Titled and Apathy’s solo careers have soared through successful solo albums and group projects with Jedi Mind Tricks/Army of the Pharaohs, Linkin Park/Fort Minor, Get Busy Committee and Buckwild of D.I.T.C. The Demigodz’ latest album, KILLmatic, drops on March 5, and includes guest spots from Esoteric, Blacastan and Motive along with productions from DJ Premier, Marco Polo, Snowgoons and Apathy himself.

A-Trak

Apathy

VYDAMO

PACHA FT A-TRAK

Canadian turntablist extraordinaire A-Trak will headline Pacha at The Ivy this Saturday March 9. A DMC World Champion while still in his teens, A-Trak is also the brother of Dave 1 from Chromeo. A-Trak was selected by Kanye West to be his tour DJ back in ’04, and performed with Yeezy at The Grammy Awards and MTV Video Music Awards. This paved the way for him to become something of a streetwear icon, collaborating with Nike, Kidrobot and Zoo York. A-Trak will be supported by emerging French act Madeon. Doors open at 6.30pm, with entry $35 at the door.

TWINSY

Duo Twinsy will perform a free show at The Beach Road Hotel in Bondi on Wednesday night, March 6. Twinsy is made up of Ballarat natives Guy Chappell (from Yacht Club DJs) and Michael Belsar (of Hunting Grounds); they’ve

steadily built up a strong Twinsy fanbase while playing sold-out tours and festival appearances with their other acts. Their debut single ‘Water Bombs’ was the third most-played song on triple j for 2012. Supports on the night include Willow Beats and A Game – and it’s FREE. Thx Sosueme.

RIP AJAX

A man who was voted Australia’s number-one DJ on multiple occasions over the past decade, Adrian Thomas, AKA Ajax, passed away late last week. A charismatic, humourous, intelligent and hugely popular figure in the Australian club scene, Thomas was a brilliant DJ who sent many a dancefloor into delirium over the years. His In The Mix double CD, a split release with Tiga, remains a nostalgic favourite from back in ’05. He’ll be deeply missed by friends and dancers alike.

Xxx

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One Mr Jim Finn (yes, with a J), whom you may recognise from his antics with Art Vs Science, is embarking on a solo dance-pop adventure that he’s called Vydamo. Having wooed punters with his irresistible single ‘Gonna Make It’, Finn will be taking himself on his inaugural East Coast tour next month, with a live band in tow, so go have a dance at Oxford Art Factory on Friday April 19, because that’s where he’ll be that night...

Drapht Rising Up By Jo Campbell

A

fter going to ground after last year’s Big Day Out tour and the success of his fourth album, West Coast hip hop purveyor Drapht (AKA Paul Ridge), has resurfaced with some new tracks and the announcement of an Australian tour that will see him performing 20 gigs in one month. You won’t catch the Perth native big-noting himself in interviews any time soon, though – he does an actual spit-take at the idea that he’s even a little bit famous.

“I always try to be as humble and down-to-earth as possible. I don’t like to put myself up on a pedestal and I feel when people do, it’s a little bit uncomfortable for me; I shy away from that a little bit,” he explains. “Obviously, I appreciate and want to broaden my listenership as much as possible but I want to take all the wank away from that.”

His fourth studio album, The Life of Riley, hit number one in the ARIA charts, taking out Best Urban Album for 2011. It was also the debut release on his own imprint, The Ayems, and solidified his position on the national stage, showing he could back up the success garnered with 2008’s Brothers Grimm LP, from which the smash hit ‘Jimmy Recard’ was born.

turning into some cross-genre where no-one has the intention to do anything different and push themselves as artists, because they’re comfortable within this one particular formula that’s getting radio play.”

‘1990s’, which rides a soul vibe helped along by producer Ta-ku, originally sounded very different to the final product. “Ta-ku had this beat that had been sitting there for a while and it was actually the Back To The Future theme track, and he made this crazy beat from it,” says Ridge. “That was the original beat that we wrote. We recorded it and were set to release it and then Seth [Sentry] came out with his record and he had a hoverboard on it! It was such an incredible track that I couldn’t have people take anything away from the song, so I had to start from scratch again and marry it up to another beat and rework it.”

With: N’fa Jones, Seven x Mr Hill When: Friday March 22 Where: UNSW Roundhouse / Gate 2, High St, Kensington

Since then, the now 31-year-old Ridge has undergone a period of personal reflection, witnessed in The Life of Riley track ‘R.I.P J.R’, in which his Jimmy Recard alter ego of the previous LP was revisited. These days, he manages himself, has set up his own label, and has led a life of sobriety for the last two years.

“It’s been a journey; it’s been my biggest period of growth, personally, during the last three or four years,” he acknowledges. “There were a lot of things that I had to learn, on a personal level.

I was just so dependent on alcohol for my career, and for about four or five years that would just knock the edge off before I played a big festival or my own show. I got to a point where I’d partied hard – as hard as anyone – using booze and other substances, and I’d just reached a point in my life where I realised my body just couldn’t deal with it anymore. It was time to grow up a little bit and put my life in perspective.”

“Everyone is writing to the same fucking formula... No-one has the intention to do anything different and push themselves as artists, because they’re comfortable.”

Ridge still resides in his hometown of Perth, choosing to stay in the two-bedroom place he’s lived in for some years – although he’s now turned one room into The Ayems Studio headquarters.

Surprisingly, he has plans to open an holistic café called Solomon on Mount Lawley’s café strip, which he says will open in April after the tour.

“It was an idea I came up with in Bali,” he explains.

“I suffer from food intolerances and just thought it would be a great idea to open up a place in Perth that catered for people with the same problems as me.” Ridge will be as hands-on as possible in the venture, which will cater for vegetarian and vegan diets.

Ridge has just recently released two tracks, ‘Tasty’ and ‘1990s’, with close hometown friends N’fa Jones and Ta-ku – his first offerings since the hype from The Life of Riley finally died down.

Some might call that a long time between drinks.

“The industry is just so fickle at the moment in regards to social media and the Internet in general,” says Ridge. “You have to watch how long you are away for, and a year is a long time. That’s why I’m sort of playing with these couple of new songs – just testing the waters. I’m going back to taking all the pressure off having to produce a whole album.

“You’ve got these young artists and even older ones spending a whole year or even two on an album, and putting their blood, sweat and tears into the project – and then, when they release it, it gets some love for a week and then a week later, it’s all over. That’s absolutely soul-crushing, and not something that I want to be a part of. So I went with the approach of not writing for anyone but myself and releasing songs when I felt the need.”

FRIDAY 22ND MARCH UNSW ROUNDHOUSE STUDENT DISCOUNTED TICKETS AVAILABLE FROM UNIBAR, Arc RECEPTION, THE WHITE HOUSE ALL OTHER TICKETS AVAILABLE FROM WWW.TICKETEK.COM.AU

Of ‘Tasty’, Ridge says he was trying to separate himself from what he sees as being a currently all-too comfortable hip hop scene.

“I feel that everyone is writing to the same fucking formula within our genre, and it’s BRAG :: 502 :: 04:03:13 :: 39

Julio Bashmore Shut Up And Drive By Jo Campbell

B

eing signed to Claude VonStroke’s influential Dirtybird label in 2009 put the highly eclectic Julio Bashmore house sound on the radar. While the man known to his postman as Matthew Walker now resides in London, in the late 2000s he was going against the bass-oriented grain that had firmly lodged in his hometown of Bristol, preferring the finesse of house. Walker admits he sometimes felt like the black sheep.

In 2009, Walker was all set to start a sound production course at university when an email from VonStroke dramatically transformed his life.

“It was a week before I was supposed to start [uni] and I’d been talking to my brother, saying I was going to do the course and maybe in three or four years then try to get signed to Dirtybird,” he recalls. “Then literally a week or two later, I checked my email and there’s one from Claude VonStroke saying ‘I want to sign some of your tracks’ and I was like, ‘No way – I’ve just bypassed five years’ worth of work.’”

He’s now gone on to set up his own label, Broadwalk Records; the first single on the imprint, last year’s ‘Au Seve’, was an instant club hit. Walker has a broad vision for the label, with plans to sign grime, techno and house artists, mimicking his own hard-to-pin-down style. “It’s not gonna be straight-up house music,” he explains.

“It’s not just the old Chicago and New York sounds that I listen to and want to make... I listen to a hell of a lot of Prince and lots of French stuff, so it’s going to be the usual eclectic mix – not just straightup house.”

As a testament to his underground appeal, Walker was invited to play LA’s

The Sky’s The Limit By David Wild Boiler Room just before Christmas last year – although he confesses he felt off his game.

“I was literally just off the plane, straight into this crazy, mad club, God knows where in LA, and all these people dancing behind me. I got my manager to stand behind me so I could focus,” he laughs, “so it was just head down, in the mix, so I could just knuckle down and commit.”

Have a listen to Netsky’s brand of bass music – some describe it as liquid funk – and it’s easy to see why the mainstream came calling. His sound, call it what you will, is accessible, melodic and soulful. “I grew up back at home with my dad being a huge record collector,” Daenen says. “He’s got a big soul collection. I used to listen to all the Motown stuff; Marvin Gaye and stuff like that.”

His production has also garnered commercial success, with Jessie Ware’s ‘If You’re Never Gonna Move’, for which he made the beats, making it to the UK Top 40 recently. The track was written three years ago in Bristol, when Walker was still living with his parents. He also cameos in the video clip, jumping in a vintage car as Ware drives them through the countryside of Surrey.

After experimenting with house music at the age of 15, Daenen soon became entranced by the energy of DnB. In 2009, several moderately successful singles were released on small labels before Netsky found himself part of the revered Hospital Records family, alongside the very artists that got him into the genre in the first place, High Contrast and London Elektricity.

“That wasn’t my idea,” he laughs. “That was Jessie’s idea. I’d have loved to have driven the car but we didn’t have the insurance because I was under 25.” So her driving wasn’t a womanon-top thing? “Well, it turned out that way,” he admits. “But yeah, I was absolutely gutted because I turned up expecting to be driving but they said ‘Sorry, you’re too young’.”

Luckily, Walker is back in the driver’s seat with the re-emergence of Velour, his side project with Hyetal. The duo have just released ‘Speedway’, a single with an ’80s electro vibe, which boasts a video-clip featuring cut-up NASCAR footage. “We’ve always been into this really sleazy, synth-based sound, cos we got together through a mutual appreciation of synthesiser stuff – so that’s why we make stuff like that.”

With: T. Williams, Lancelot, Slowblow When: Saturday March 16 Where: Oxford Art Factory / 38-46 Oxford St, Darlinghurst

“We don’t see each other that much anymore because everybody’s really trying to focus on their own stuff,” he admits. “It’s great to see everybody working so hard but it’s a shame we’re not hanging out as much as we used to. But we all really get on with each other and it feels like a big family. Hospital Records feels like home.”

Crucially for Daenen, he is given artistic freedom. “I can’t even imagine a record label telling you what to do,” he says. “They’ve never said no to anything. It’s always me saying no. They say, ‘You should give that a try,’ but they’ve never declined a tune. They’re really open-minded and I trust them and, yeah, I like that.”

I

n a little over three years, Boris Daenen has progressed from bedroom DJ to international DnB heavyweight. It’s not a wholly unfamiliar story these days, but things are about to get a lot more interesting for the 23-year-old Belgian native, better known as Netsky: he’s going pop.

“I’m producing for some other people right now,” he says, “they’re really big names; there’s one pop name and one hip hop name.

It’s just really exciting to work with people like that.” He won’t name those names, but it is clear Daenen is loving working on other artists’ album tracks and potential hit singles.

“It took me a while to be confident enough as a producer to actually explore what you really want to do yourself and what genres you want to experiment with,” he says. “And I think this is what I want to do in the future – I can’t see myself being on stage until my seventies.

I’m really excited to be working in this side of the music business as well.”

Next up for Netsky is the Australasian leg of an ambitious live tour. Never one to shy away from a challenge, rather than take the easy route and rock up with a memory stick and a midi controller, last year Daenen assembled a full live band to showcase songs from his second album, 2. The show has already sent audiences across Europe into a frenzy, so Australian fans are in for a treat. Daenen even suggests you might want to turn up just to witness his drummer, Michael Schack, doing his thing. “I hooked up with Michael after I saw him playing drum and bass on YouTube – he’s so amazing. He’s just really good with electronic beats, so amazing with the click, he’s really tight, he’s really fast. He’s the backbone of the shows.”

What: Netsky (live), Royalston, A-Tonez When: Wednesday March 20 Where: Upstairs Beresford, Surry Hills

Oddisee Can’t Stop The Hustle By Jonno Seidler

B

ideas into songs, but also re-records them into an entirely new medium.

rooklyn-via-Washington D.C. rapper/ producer Oddisee – who put out his first ‘official’ record last year after a swathe of mixtapes, instrumental records and guest features – likes to fly under the radar.

But following the release of his acclaimed debut album People Hear What They See, it doesn’t look like Oddisee, the nom de tune of Amir Mohamed el Khalifa, is going to be enjoying anonymity for that much longer.

An instant classic that takes sample-based culture and flips it on its head by reworking the hooks using live instrumentation, People… showcases a hip hop ‘slashie’ who seemed to emerge fully formed, if not for all the years of work he’d done on the sidelines. And that’s before you even get to the lyrics – beautiful, dense stories that seem to tumble out of Khalifa’s mind faster than Kerouac could scrawl them onto a page.

That specific skill is something Oddisee puts down to his restlessness; he composes all of his rhymes while walking through the streets of New York City. “I really like writing outside, for many reasons. One of the most important is that there’s too many things to distract me at home. It’s where I record and I’ve got the internet there, beats there – there’s so many other things I could do, so when I’m out in the street, the goal is to write. There’s something about being in motion that really helps with writer's block. I find that rhymes come to me a lot slower when I’m sitting down at home.”

Taking inspiration from everything from international politics to minute social interactions, Khalifa melds together his narratives on the fly, his beats in his ear and his mind open to possibility. But it’s his

40 :: BRAG :: 502 :: 04:03:13

“Samplers have really, really well-tuned ears,” he explains. “We listen to records the way you would look at something through a microscope, but we do it with audio. When the sampler listens to a record they’re looking for very minute things that the average person won’t hear. And when they get it, they stop immediately and grab it, sample it, manipulate it. So when a player does the same thing live, I instantly know when to grab it. “ This conveniently helps Khalifa sidestep the copyright and royalty issues which have dogged the genre for decades: “If I sample a four-part harmony, which is four separate notes, in order to get away with that I have to replay that harmony and change one of the notes. That means three of them are still similar to the record but one of them is now new. That’s a completely different phrase just by changing one note. There’s only so many keys in one octave!”

Oddisee is convinced that through the deviation, he comes up with even newer, better ideas with which to fuel his work. So don’t be surprised if you see him walking around the streets of Sydney this weekend, typing furiously. recording process that’s truly where you see some of his best work come to life, as he interacts with different groups of live players depending on the situation. “I play with a lot of live instrumentalists who play over the top of my production,” he says. “I can’t read music but I’ll sing or whistle or hum it until they can play it. I then combine that with sample-

based material and put that over the top of my beats.”

Oddisee comes from a sample-based background; he grew up seeing other artists lift segments or snatches from other records and work them into something completely new. By using instrumentalists, he not only melds brief

With: Olivier Daysoul, plus support from Jones JNR, Katalyst, Suff Daddy, Myele Manzanza, Huwston and JC When: Saturday March 9 Where: Civic Underground, 388 Pitt St, CBD

Xxx photo by Xxx

“Of course, now there’s literally house nights everywhere, in the way that five years ago, there was dubstep nights everywhere,” he says.

“It’s amazing how much has changed in the past year; it’s really mad.”

Netsky

presents

Eli Verveine SWITZERLAND TARDIS

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Simon Brayford Cur.l

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YokoO Vlada Dan Watts Matt Weir Kerry Wallace

BRAG :: 502 :: 04:03:13 :: 41

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

club pick of the week

MONDAY MARCH 4 Scruffy Murphy’s, Haymarket Mother Of A Monday DJ Smokin’ Joe free 7pm The World Bar, Kings Cross Latin Jazz DJs free 7pm

Sven Väth

FRIDAY MARCH 8

Metro Theatre, Sydney

Cocoon Heroes Sven Väth (GER), Ricardo Villalobos (Chile), Seth Troxler (USA), $40-$50 (+ bf) 10.30pm Seth Troxler

TUESDAY MARCH 5 Establishment, Sydney Rumba Motel Salsa DJ Willie Sabor free 8pm Scruffy Murphy’s, Haymarket I Love Goon Resident DJs free 7pm Trademark Hotel, Kings Cross Coyote Tuesday – One Hit Wonderland Nukewood, John Glover, Raye Antonelli, Oakes & Lennox, Matt Ferreira, Jace Disgrace 9pm The World Bar, Kings Cross Jam Jam DJs free 8pm

WEDNESDAY MARCH 6 Beach Road Hotel, Bondi Twinsy, Willow Beats, A Game, Bernie Dingo, DJ Tai Daniels, DJ Rumfoord, Rave Doss free 8pm Enmore Theatre Azealia Banks (USA), Nina Las Vegas $72.10 7pm allages Kit & Kaboodle, Kings Cross KIT Wednesdays Fear Of Dawn, Alex Preston, Chris Coast 10pm The Lewisham Hotel Garbage '90s Nights Resident DJs free 7pm The Ranch Hotel, Epping Hump Wednesdays Resident DJs 8pm Whaat Club, Potts Point Whip It Wednesdays Vertigo DJs free 9pm The World Bar, Kings Cross The Wall Resident DJs $5 8pm

THURSDAY MARCH 7

Ricardo Villalobos

42 :: BRAG :: 502 :: 04:03:13

The Cool Room, The Australian Brewery, Rouse Hill We Love Thursdays Troy T, Bill Will 8pm Exchange Hotel, Darlinghurst Hot Damn! Hot Damn! DJs 8pm Goldfish, Kings Cross Miami Thursdays Resident DJs free 8pm Hordern Pavilion, Moore Park The Prodigy (UK), Borgore (Israel) $92.30 7pm all-ages Kit & Kaboodle, Kings Cross Resident DJs free 10pm Sapphire Lounge, Kings Cross Loud Resident DJs 8pm Trademark Hotel, Kings Cross Swag Resident DJs $10 9pm UNSW Roundhouse, Kensington Start of Session Circus Party DJs $5-$15 5pm Whaat Club, Potts Point Chakra Robust, Camo free 9.30pm The World Bar, Kings Cross Propaganda Propaganda DJs free (student)-$5 9pm

FRIDAY MARCH 8 Beach Road Hotel, Bondi Fresh Fridays Reggae & Hip Hop Party Slippery MC, Pittsthekid, Kidd Sham, DJ Secret Weapon, DJ Georgia, DJ Greg Perano free 8pm Chinese Laundry, Sydney The Mane Thing, Zeke, Kyro & Bomber, Kid Sample, Open Eye, Iwell, Ramske $15-$20 10pm Cohibar, Darling Harbour Gimme Five Shamus, DJ Anders Hitchcock free 5pm Goodgod Front Bar, Sydney Yo Grito! Yo Grito! DJs free 9pm Goodgod Small Club, Sydney Eli Verveine (Switzerland), Magda Bytnerowicz, Trinity $15 (+ bf) 11pm Holland Studios, St Peters Linkwood (UK), Steve Spacek, Inkswel, Edseven, Henry Compton, Fred Tectonic $25 8pm Home Nightclub, Darling Harbour The Guestlist Resident DJs 9pm Ivy Pool Club, Sydney Moonshine Alley Oop, Sam Francisco, Parkside DJs $20 9pm Jacksons On George, Sydney DJ Rain Julz, DJ Aron Mana, Resident DJs free 9pm Kit & Kaboodle, Kings Cross Fridays Resident DJs 9pm Marquee, The Star, Pyrmont Hardwell (NL) sold out 9pm Metro Theatre, Sydney Cocoon Heroes Sven Väth (GER), Ricardo Villalobos (Chile), Seth Troxler (USA) $40-$50 (+ bf) 10.30pm Omega Lounge, City Tattersalls Club, Sydney Unwind Fridays DJ Greg Summerfield free 5.30pm One22, Sydney P O S T Max Gosford vs Preacha, Pri Ze, Gemish, Kato vs Tape2Tape, 40Love vs Nick Bennett, Karen Alvarez, Paul Villena, Thomas Gillmann $10 10pm The Ranch Hotel, Epping Retro Fridays Resident DJs 9.30pm Sapphire Lounge, Kings Cross MILF Retro Party Willi, Nemz, Alex Borello, Daniel Berti, A Stylez, MC Rocamic 8pm The Spice Cellar, Sydney Debonair (UK), Pink Lloyd, Dreamcatcher $10 11.59pm Trademark Hotel, Kings Cross Trademark Fridays Mo, Damn, Ziggy, MC Deekay free 9pm The Watershed Hotel, Darling Harbour Bring On The Weekend!

Candidate, DJ Matt Roberts free 5pm A-Trak

Whaat Club, Potts Point Think Fridays Peeping Tom, Matty Whells, Jaimie Lyn $10 8pm The World Bar, Kings Cross MUM MUM DJs $10-$15 8pm

SATURDAY MARCH 9 Beach Road Hotel, Bondi Falcona Saturdays Devola, DJ Tai Daniels, Hansom, DJ Rumfoord, DJ Andy free 8pm Candy's Apartment, Kings Cross Disco! Disco! Sherlock Bones, Tova, Stalkers, Matty Bixx, Mindtricks, Digital T, Bunker Bar, Blow Out DJs, Stu, Jaimie Lyn $20 8pm Chinese Laundry, Sydney Official Future Festival After Party Rudimental (UK), A-Tonez, Offtapia, U-Khan, Kerry Wallace, Matt Weir, Magic Bird, Raulll, Tigerstyle, Fingers, Spenda C, Mr Belvedere $25-$35 9pm Civic Underground, Sydney Oddisee (USA), Oliver Daysoul (USA), Jones Jnr, Katalyst, Suff Daddy, Myele Manzanza, Huwston, JC $35 (+ bf) 9pm Club 77, Woolloomooloo Starfuckers Future Kick On Starfuckers DJs 10pm Cohibar, Darling Harbour Yellow Sox DJ Brynstar free 8pm Collaroy Beach Hotel Behave Merch (UK), Kurt Alexander (UK), James Darton (UK), Scott Rotton (UK) free 4pm FBi Social @ Kings Cross Hotel Hands Up! Staggman, Clockwerk free 11.30pm Goldfish, Kings Cross Osunlade (USA), Phil Toke, Michael Zac, Eddie Ramia, Phil Hudson, Matt Cahill, Johnny Gleeson, Venuto $20 9pm Goodgod Small Club, Sydney Nina Las Vegas, Ta-ku, Lewi McKirdy $20 (+ bf) 10pm Holland Studios, St Peters UTR #022: Toy Soldiers Lorna Clarkson, Prize & Sofie Loizou, D&D $25 10pm Home Nightclub, Darling Harbour Homemade Saturdays Resident DJs $20-$25 9pm The Island, Sydney Harbour Never Mind The Balearics!

Numero Seis Co-Op DJs, Bryan O’Callaghan, Downtown Brown, Pete Dot, InnerWest Soul $65 (+ bf) 2pm Ivy, Sydney Pacha A-Trak (CAN), Madeon (FRA), Ember, Danny T, Matt Nugent, Mo’Funk, Fingers, Pat Ward, Cassette, Kristy Lee, Pablo Calamari, E-Cats, Adam Bozzetto, Backhanderz, Kid Crookes, Deckhead, Gmod $35-$40 6.30pm Jacksons On George, Sydney DJ Simon Laing, DJ Michael Stewart free 9pm Kit & Kaboodle, Kings Cross Kitty Kitty Bang Bang Devola, Starjumps, Steve Frank 9pm Marquee, The Star, Pyrmont Steve Aoki (USA), Lil’ Jon (USA) $50 (+ bf) 9pm Metro Theatre, Sydney Official Future After Party Cosmic Gate (GER), Super 8 & Tab (FIN), Thomas Knight, Nick Arbor, VLN,

club guide send your listings to : clubguide@thebrag.com Joey Lee, Swayson Phoenix Bar, Darlinghurst Up Dayclub Resident DJs 5am Royal Randwick Racecourse Future Music 2013 Avicii (SWE), The Prodigy (UK), The Stone Roses (UK), Psy (KOR), Dizzee Rascal (UK), Bloc Party (UK), Azealia Banks (USA), Steve Aoki (USA), Rita Ora (UK), Boys Noize (GER), Hardwell (NL), The Temper Trap, Fun. (USA), Sven Väth (GER), Richie Hawtin (UK), Ricardo Villalobos (Chile), Madeon (FRA), Rudimental (UK), Ellie Goulding (UK), Cosmic Gate (GER), W&W (NL), A-Trak (CAN), Gypsy & The Cat, Seth Troxler (USA), Feed Me (UK), Zeds Dead (CAN), Kill The Noise (USA), DJ Fresh (UK), Nervo, Zane Lowe (NZ), Borgore (Israel), Magda (USA), Dimitri Vegas and Like Mike (BEL), Tydi, Andy Moor (UK), Super 8 & Tab (FIN), Ben Gold (UK), Emma Hewitt (NL), The Stafford Brothers, Bombs Away, Timmy Trumpet, Tenzin sold out 12pm Selina’s, Coogee Bay Hotel Live Fridays 11 AD, Cissy Strut, Robbie Santiago, James Mack, Adam Jacob, Digital Love 9pm Soho, Kings Cross Usual Suspects Official Future Afterparty Nervo, Borgore (Israel), Oakes & Lennox, Night Dimension, Lights Out, Mike Rukus, Heke, Bounce Crew DJs, J-Squad vs Rain, Devola $30 9pm The Spice Cellar, Sydney Moodymann (USA), Simon Caldwell, Robbie Lowe, Murat Kilic, Morgan $50 (+ bf) 10pm Trademark Hotel, Kings Cross Trademark Saturdays I Am Sam, Nacho Pop, Mista Kay, Cadell, Def Rok 9pm The Watershed Hotel, Darling Harbour Skybar Saturdays Resident DJs $20 9pm Whaat Club, Potts Point After Dark Aydos, Robust, Harper $10-$15 8pm The World Bar, Kings Cross Cakes Resident DJs $15-$20

SUNDAY MARCH 10

club picks up all night out all week...

8pm

Abercrombie Hotel, Broadway S.A.S.H Sundays ‘WE LIKE’ Simon Brayford, Cur.l, YokoO, Vlada, Dan Watts, Kerry Wallace, Matt Weir $10 2pm Beach Road Hotel, Bondi Omar Varts, Richie Ryan, DJ Andy Glitre free 3pm The Beresford Hotel, Surry Hills Beresford Sundays Resident DJs free 3pm Ivy Pool Club, Sydney Kinky Disco 2013 The Franchi Brothers, Jaded, Dan Baartz, YokoO, Cameron Cooper $10$20 2pm Jacksons On George, Sydney Aphrodisiac Resident DJs free 5pm Kit & Kaboodle, Kings Cross Easy Sundays Resident DJs free 10pm Oatley Hotel Sunday Sessions DJ Tone free 7pm Royal Randwick Racecourse Good Life Festival Avicii (SWE), Cosmic Gate (GER), Hardwell (NL), Dimitri Vegas & Like Mike (BEL), W&W (NL), Nervo, Stafford Brothers, Timmy Trumpet, Will K, Lil’ Jon (USA), Havana Brown, Pez, Ruby Rose, DJ Nino Brown, Troy T, DJ Willi , Kill The Noise (USA), Boys Noize (GER), Mobin Master, Slice n Dice, Polyfonik, Will Sparks, Scndl, SDee, Ravine, Zennon, Supie & Pulsar, Benny Dees, Jordan Magro, Wrecks, Nathan Galenovs Adam Syme, Spintz, DJ Grex, Calcio, Roomah, Konvex, Jay Soundz, Truman $95-$120 (+ bf) 1pm under-18s Sapphire Lounge, Kings Cross Sapphire Sundays Hair & Make Up Ball DJ Dim Slm, Tony Shock, Teknik, Bobby Digital free 8pm The Spice Cellar, Sydney Spice After Hours Murat Kilic $20 4am Tatler, Darlinghurst Dust Toby Neal, Brendan, Gerrit Oliver, James Taylor $10 10pm The Watershed Hotel, Darling Harbour DJ Brynstar free 2pm

Azealia Banks

Holland Studios, St Peters Linkwood (UK), Steve Spacek, Inkswel, Edseven, Henry Compton, Fred Tectonic $25 8pm

Steve Aoki

SATURDAY MARCH 9 Chinese Laundry, Sydney Official Future Festival After Party Rudimental (UK), A-Tonez, Offtapia, U-Khan, Kerry Wallace, Matt Weir, Magic Bird, Raulll, Tigerstyle, Fingers, Spenda C, Mr Belvedere $25-$35 9pm Civic Underground, Sydney Oddisee (USA), Oliver Daysoul (USA), Jones JNR, Katalyst, Suff Daddy, Myele Manzanza, Huwston, JC $35 (+ bf) 9pm Goodgod Small Club, Sydney Nina Las Vegas, Ta-Ku, Lewi McKirdy $20 (+ bf) 10pm

WEDNESDAY MARCH 6 Beach Road Hotel, Bondi Twinsy, Willow Beats, A-Game, Bernie Dingo, DJ Tai Daniels, DJ Rumfoord, Rave Doss free 8pm Enmore Theatre Azealia Banks (USA), Nina Las Vegas $72.10 7pm all-ages

THURSDAY MARCH 7 Hordern Pavilion, Moore Park The Prodigy (UK), Borgore (Israel) $92.30 7pm all-ages

FRIDAY MARCH 8 Goodgod Small Club, Sydney Eli Verveine (Switzerland), Magda Bytnerowicz, Trinity $20 (+ bf) 11pm

The Island, Sydney Harbour Never Mind The Balearics! Numero Seis Co-Op DJs, Bryan O’Callaghan, Downtown Brown, Pete Dot, InnerWestSoul $65 (+ bf) 2pm

Rita Ora

Ivy, Sydney Pacha A-Trak (CAN), Madeon (FRA), Ember, Danny T, Matt Nugent, Mo’Funk, Fingers, Pat Ward, Cassette, Kristy Lee, Pablo Calamari, E-Cats, Adam Bozzetto, Backhanderz, Kid Crookes, Deckhead, Gmod $35-$40 6.30pm Marquee, The Star, Pyrmont Steve Aoki (USA), Lil’ Jon (USA) $50 (+ bf) 9pm Royal Randwick Racecourse Future Music 2013 Avicii (SWE), The Prodigy (UK), The Stone Roses (UK), Psy (KOR), Dizzee Rascal (UK), Bloc Party (UK), Azealia Banks (USA), Steve Aoki (USA), Rita Ora (UK), Boys Noize (GER), Hardwell (NL), The Temper Trap, fun. (USA), Sven Väth (GER), Richie Hawtin (UK), Ricardo Villalobos Rudimental

(Chile), Madeon (FRA), Rudimental (UK), Ellie Goulding (UK), Cosmic Gate (GER), W&W (NL), A-Trak (CAN), Gypsy & The Cat, Seth Troxler (USA), Feed Me (UK), Zeds Dead (CAN), Kill The Noise (USA), DJ Fresh (UK), Nervo, Zane Lowe (NZ), Borgore (Israel), Magda (USA), Dimitri Vegas and Like Mike (BEL), Tydi, Andy Moor (UK), Super 8 & Tab (FIN), Ben Gold (UK), Emma Hewitt (NL), The Stafford Brothers, Bombs Away, Timmy Trumpet, Tenzin sold out 12pm The Spice Cellar, Sydney Moodymann (USA), Simon Caldwell, Robbie Lowe, Murat Kilic, Morgan $50 (+ bf) 10pm

Boys Noize

SUNDAY MARCH 10 Abercrombie Hotel, Broadway S.A.S.H Sundays 'WE LIKE' Simon Brayford, Curl, YokoO, Vlada, Dan Watts, Kerry Wallace, Matt Weir $10 2pm

iam Neeson, as the meme goes, trained Batman, is a Jedi, and fights wolves – so why do people keep thinking taking his family away will work out well for them? In the sequel to the smash hit Taken, the mobsters who kidnapped Bryan Mills’ daughter (Maggie Grace) in the first film are out for revenge, and this time they’re after Mills (Neeson) and his wife (Famke Janssen).

Taken 2 is out on Blu-Ray and DVD from March 6, and we have TEN triple-play copies up for grabs (you get the Blu-ray, DVD and a digital download code in one). If this sounds like your kinda thing, email freestuff@thebrag. com with the funniest Liam Neeson/Tom Jane/Harrison Ford Wants His Family Back meme you can find (and let us know your postal address too).

S AY W EA IV G

TAKEN 2! TRIPLE-PLAY! WIN! L

BRAG :: 502 :: 04:03:13 :: 43

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Deep Impressions

up all night out all week . . .

Underground Dance And Electronica with Chris Honnery

Steffi

PICS :: TL

the brag 500th issue party

D

etroit producer Omar-S will release his third full-length ‘proper’ album, Thank You For Letting Me Be Myself, in a few weeks’ time. Always one for a solipsistic album title – his last LP was called It Can Be Done, But Only I Can Do It – Omar has rapidly grown in stature since he dropped his breakout track ‘Psychotic Photosynthesis’ back in ’07 to become a vaunted figure in the underground club realm. Omar’s subsequent contribution to the Fabric mix canon – keep reading for news of the most recent addition – put him on the radar of a broader listening public, and his own productions have continued to hit the mark over the ensuing years. Omar-S also runs the FXHE label, which has also released material from the likes of OB Ignitt and Luke Hess and is coming off a watershed year in 2012. While there was a period of six years between Omar’s debut album Just Ask The Lonely and its follow-up, thankfully we don’t have to wait so long for LP number three, a 14-tracker that Omar-S describes as “a good listening album from beginning to end”.

And who are we to doubt him?

mac miller

PICS :: AH

22:02:13 :: The World Bar :: 24 Bayswater Rd Potts Point 9357 7700

Dutch producer Steffi, the renowned resident DJ of Panorama Bar who made her Australian debut a few months back courtesy of 4our, will release a new mix compilation, Panorama Bar 05, in early May. Following on from Cassy, Tama Sumo, Prosumer and Nick Höppner in curating the fifth installment in Ostgut Ton’s ‘upstairs’ mix series, Steffi will combine cuts from Fred P, Dexter and DJ Skull, and the compilation includes six exclusive tracks. Going ‘on the record’ and discussing the release, Steffi said that she “really liked the idea of contributing to the series,” asserting that the mix’s emphasis was on artists currently inspiring her, not just a collection of “old school” tracks. That old school thing is so passé, right?

20:02:13 :: The Enmore :: 118-132 Enmore Rd Newtown 9550 3666

flosstradamus & lunice

PICS :: AM

DJ luminary Sasha, who recently toured Australia and delivered what was by all

reports a rip-roaring set at the Rainbow Serpent Festival, will release the eagerly anticipated Involver 3 on March 18. The previous instalments in the Involver mix trilogy transcended the dancefloor to create immersive atmospheres that are appropriate for listening in all environments, blending Sasha’s own intricate re-edits of carefully selected tracks. The same formula has been implemented by Sasha for Involver 3, with cuts from the likes of The xx, Little Dragon, Foals, ThermalBear, Blondes, and Taragana Pyjarama exclusively remixed to create what looks on paper to be the ultimate ‘bar’ mix. (If only Sydney had a bar culture where venues were open to pushing interesting electronic sounds outside the typical Café Del Mar mould – but that’s another rant entirely.)

Along with Michael Mayer’s Immer trilogy of mixes, the Involver compilation series is a must for music lovers of any genre; the previous mixes still sound cuttingedge when played today, and I would be surprised if the forthcoming Involver were to buck this trend in even the slightest way.

Finally, a recommendation: I urge all readers to wrap their ears around the recently released Fabric 68 compilation

by Romanian house ‘oddball’ producer Petre Inspirescu – it’s the best mix I’ve heard so far this year. Recorded at home and arranged solely from Petre’s own productions, the mix suffuses classical sounds with immersive rhythms, layered arrangements and subtle bass manipulations. The result is a showcase of Petre’s distinct sound that, when blended together for well over an hour, creates a result that is significantly more than the sum of the individual tracks – the mark of any good mix, irrespective of the quality of the tracklist on paper.

Fabric 68 is clearly influenced by Petre’s classical leanings, which he explores through his Yojik ConCon imprint, and should also hit the spot for fans of the Romanian contingent Raresh and Rhadoo, as well as those who enjoyed Ricardo Villalobos’ Fabric mix. Diehard Ricardo fans should take note that he is playing a Future Music sideshow this Friday March 8 at The Metro.

LOOKING DEEPER FRIDAY MARCH 8 Ricardo Villalobos The Metro Theatre

SATURDAY MARCH 9 HAHA pres. UTR22 Holland St Studios

THURSDAY MARCH 28 Ivan Smagghe and Pachanga Boys The Abercrombie

SUNDAY MARCH 31 INXEC, Ian Pooley, Wbeeza The Abercrombie

Sasha

23:02:13 :: Chinese Laundry :: 111 Sussex St Sydney 8295 9999 INA CLARKE :: AVERIE

:: KATR S : TIM LEVY (HEAD HONCHO) OUR LOVELY PHOTOGRAPHER LEY MAR :: PEDRO XAVIER ASH :: HING KITC RYAN :: VEY HAR

44 :: BRAG :: 502 :: 04:03:13

Deep Impressions: electronica manifesto and occasional club brand. Contact through deep.impressions@yahoo.com

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09:00 ANDY MOOR 07:00 COSMIC GATE FEAT. EMMA HEWITT 05.30 W&W 04.30 TYDi 03.30 SUPER8 & TAB 02.00 BEN GOLD 01.00 VLN 12.00 THOMAS KNIGHT & NICK ARBOR

08.00 SVEN VATH 06.00 RICHIE HAWTIN 04.30 RICARDO VILLALOBOS 03.15 SETH TROXLER 02.00 MAGDA 01.00 MURAT KILIC 12:00 GABBY JACK DANIEL’S BARREL HOUSE 08:00 PREACHA & BEN FESTER 07:00 RUDIMENTAL (DJ SET) 06.10 GYPSY & THE CAT (LIVE) 05:40 MIKE WHO 04:40 KELE (BLOC PARTY) (DJ SET) 03:50 VAN SHE 03:00 JOHNNY CROFT 12:00 CHRISTO

STRONGBOW SUMMER FOAM PARTY

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snap up all night out all week . . .

It’s called: The Official Future Music Festiv al Afterparty It sounds like: The best of the festival sound s on one of the best sound systems in Sydney.

Who’s playing? Rudimental (UK), Spenda C, A-Tonez, Kerry Wallace and Matt Weir (S.A.S.H.) U-Khan, Raulll, Offtapia, Tigerstyle,F ingers, Mr Belvedere, Magic Bird.

Three songs you’ll hear on the night: Rudim ental – ‘Not Giving In’ (Bondax Remix); Rudimental – ‘Feel The Love’; Julio Bashmore – ‘Ah Seve’ And one you definitely won’t: ‘Gangnam Style’/’Don’t You Worry Child’ mashup Sell it to us: Those who saw Rudimental at their last performance will tell you they are incredible – so much so that we dubbed their last show the set of the year at Chinese Laundry. It’s just a pure party set. We have also assembled a huge lineup of locals across three rooms, including the fi rst-ever performance at Laundry by the S.A.S.H. DJs. The bit we’ll remember in the AM: Massive sing-along moments when Rudimental perform their hit singles.

Crowd specs: Everybody who likes to party in a non-pretentious environment with awesome tunes.

Wallet damage: $25/$30/$35; discounted entry for everyone coming from Future!

Where: Chinese Laundry / 111 Sussex St, CBD When: Saturday March 9 from 9pm

back to the future o fest

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party profile

future music festival afterparty

23:02:13 :: Oxford Art Factory :: 38-46 Oxford St, Darlinghurst 9332 3711

agwa yacht club afterparty

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how to dress well

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22:02:13 :: UTS :: 15 Broadway Sydney

night slugs

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the soda factory launch 22:02:13 :: Goodgod Small Club :: 53-55 Liverpool St Chinatown 8084 0587 46 :: BRAG :: 502 :: 04:03:13

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23:02:13 :: The Burdekin :: 2-4 Oxford St Darlinghurst 9331 3066

21:02:13 :: The Soda Factory :: 16 Wentworth Avenue Surry Hills 8096 9120 RIE

:: KATRINA CLARKE :: AVE S : TIM LEVY (HEAD HONCHO) OUR LOVELY PHOTOGRAPHER XAVIER RO PED :: MAR LEY ASH :: HARVEY :: RYAN KITCHING