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BRAG :: 519 :: 01:07:13 :: 5

rock music news welcome to the frontline: what’s goin’ on around town...with Nick Jarvis and Natalie Amat

speed date WITH

SIMON “SHOWBIZ” MCCONNELL OF THE DELTA RIGGS away and enjoy the experience. We want to turn people on. (Plus you never know, you might get hit by a bus in a few hours.)

Keeping Busy We released our debut album 2. in April, did a national tour in support and have been busying ourselves working on a new visual bonanza that will accompany our next single ‘America’. We have already started recording album number two. We’ve taken a left hand turn at the traffic lights, it’s exciting, I can’t wait for people to hear these new sounds. We want to get it out by the end of the year. We enjoy creating, so why slow down?

Best Gig Ever Recently we played a show 3. in Adelaide then drove after the

What Do You Look For in a Band?

1.

An entertaining musical slap across the face that combines elements of the past and the future. Things

need to have personality, be exciting, unpredictable, sexy, unique, mysterious, slightly whimsical, and the individuals should never take themselves too seriously. We want

to take people by surprise and encourage people to leave their troubles at the door when they come to our shows. Simply relax and lose yourself in the music. Put your iPhone

gig overnight to Melbourne. Upon arrival in Melbourne we had to go straight to sound check. We had no time to sleep and were human shells five minutes before we hit the stage – we were out of our minds. But it was a hometown show and everything just came

alive when we walked onstage – us and the crowd. After such a shit day of hurdles it was a moment of clarity and everything just made sense. But even if it had fallen apart it would have been a highly entertaining cabaret experience.

Current Playlist I’ve been fiending for new 4. music lately. Enjoying the newest records by Thundercat, How To Destroy Angels, Major Lazer, Kite Club, Death Grips and Toro Y Moi, as well as receiving the usual Oasis, Beastie Boys and Calexico injection.

Your Ultimate Rider A tattoo gun and a blindfold.

5.

The ghost of Hunter S. Thompson.

A backpack filled with doves. A dartboard with Jared Leto’s face on it and just the usual stuff we always ask for like heroin infused bananas.

Where: Beach Road, Bondi / Hotel Steyne, Manly When: Wednesday July 3 / Thursday July 4

BOY & BEAR

EDITOR: Nick Jarvis nick@thebrag.com 02 9212 4322 ARTS EDITOR: Lisa Omagari lisa@thebrag.com 02 9212 4322 STAFF WRITERS: Benjamin Cooper, Alasdair Duncan, Jody Macgregor NEWS: Nick Jarvis, Natalie Amat, Chris Honnery ART DIRECTOR: Sarah Bryant GRAPHIC DESIGN: Alan Parry SENIOR PHOTOGRAPHER: Tim Levy SNAP PHOTOGRAPHERS: Katrina Clarke, Averie Harvey, Capital H AKA Henry Leung, Ashley Mar, Amath Magnan COVER PHOTO: Cara O’Dowd ADVERTISING: Ross Eldridge - 0422 659 425 / (02) 9212 4322 ross@thebrag.com ADVERTISING: Les White - 0405 581 125 / (02) 9212 4322 les@thebrag.com PUBLISHER: Rob Furst GENERAL MANAGER, FURST MEDIA: Patrick Carr patrick@furstmedia.com.au, (03) 9428 3600, 0402 821 122 DIGITAL DIRECTOR/ADVERTISING: Kris Furst kris@furstmedia.com.au (03) 9428 3600 GIG & CLUB GUIDE CO-ORDINATOR: Katie Davern, Blake Gallagher, Therese Watson, Rachel Eddie - gigguide@thebrag.com (rock) clubguide@thebrag.com (dance, hip hop & parties) AWESOME INTERNS: Natalie Amat, Mina Kitsos, Blake Gallagher, Rachel Eddie, Therese Watson, Charli Hutchison REGULAR CONTRIBUTORS: Nat Amat, Shannon Connellan, Simon Binns, Katie Davern, Marissa Demetriou, Christie Eliezer, Chris Honnery, Kate Jinx, Lachlan Kanoniuk, Jody Macgregor, Alicia Malone, Chris Martin, Hugh Robertson, Jonno Seidler, Rach Seneviratne, Simon Topper, Rick Warner, Krissi Weiss, David Wild Please send mail NOT ACCOUNTS direct to this NEW address 100 Albion Street, Surry Hills NSW 2010 ph - (02) 9212 4322 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: Luke Forrester: 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 Furst Media P/L ACN 1112480045.

All content copyrighted to Cartrage P/L/ Furst Media P/L 2003-2013 DISTRIBUTION: Wanna get The Brag? Email distribution@furstmedia. com.au or phone 03 9428 3600.

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6 :: BRAG :: 519 :: 01:07:13

After absolutely destroying 2011 with their five ARIA-winning debut Moonfire, Sydney’s world-conquering indie-folk five-piece Boy & Bear have seconded themselves to the studio to record follow-up Harlequin Dream, to be unleashed on Friday August 16. They’re also booking in a 16-date tour across the country, stopping by the Enmore Theatre on Friday October 25 (all ages) – tickets on sale now from boyandbear.com.

HAIM

A DAY ON THE GREEN

Sarah Blasko and Bob Evans have already been announced for this year’s very civilised booze-and-tunes-in-a-winery shindig A Day on the Green, but now you can add Bernard Fanning to the lineup and (even more excitingly) Tex Perkins and the lads of The Cruel Sea! Locally they hit the Bimbadgen Winery in the Hunter Valley on Saturday November 2, tickets on sale next Monday July 8.

SNAKADAKTAL TOUR

Dreamy Melbournians Snakadaktal are back with a new record Sleep in the Water due out on August 2, and first tastes ‘Hung On Tight’ and ‘Ghost’ are sounding world-class and gloriously tranquil. Closely following the record’s release they’ll be trekking it around the country, stopping by the Bar on the Hill in Newcastle on Wednesday August 28 and the Metro on Friday August 30. You can book tickets and prepurchase the album now.

JOSH PYKE TOUR

Beardy strummer Josh Pyke is jumping in his giant guitar boat and motoring his way from the Great Bight right around the country and back to Perth with his new record The Beginning And The End Of Everything in tow. Catch him in Newcastle at the Small Ballroom on Thursday August 22 and the Enmore Theatre on Friday August 23 – tickets on sale now.

Massive Attack

BEACH ROAD HOTEL

The Bondi mainstay has an epic July coming up, with Wednesday night sets at Sosueme from Alpine and Clubfeet, DJ sets from much-loved indie-pop babes HAIM, Peter Mayes of Pnau, What So Not (AKA Flume and Friend) and many more. Things kick off this Wednesday with bona fide rock’n’rollers The Delta Riggs, trap-and-rock masher Mailer Daemon (live) and triple j Lunch host Lewi McKirdy with his Art Art Tour, melding a DJ set with cut up video and more turtleneck sweaters than you can poke a pair of tortoiseshell half-rims at. As always, ‘tis free!

HARVEST!

Indie legends Eels and Neutral Milk Hotel had already been leaked for this year’s Harvest festival, taking place Saturday November 16 at The Domain (yay, no fighting for a train home this year!). Now we can add another epic closing set for the third year running, this time from trip hop heroes Massive Attack, as well as another two revived classic ’90s rock bands, Superchunk and The Wallflowers.

Add to that titillating list the angular Glaswegians Franz Ferdinand, the dirty slap bass of Primus, electro goddess Goldfrapp, distortion wizards Black Rebel Motorcycle Club, Brazilian party kids CSS, local barnstormers The Drones, Conor Oberst sideproject Desperacidos!, M Ward and Canadians Walk off the Earth and you have one tasty Saturday within the city limits. Join the Harvest mailing list for presale info.

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BRAG :: 519 :: 01:07:13 :: 7

rock music news

free stuff

welcome to the frontline: what’s goin’ on around town...with Nick Jarvis and Natalie Amat

email: freestuff@thebrag.com

five things WITH

Baptism Of Uzi

CHRIS COLLINS FROM TIGERTOWN and I making recordings in our bedroom after we got married and now it feels pretty real with our brothers and sisters involved.

Touring is probably the most fun part at the moment.

The Music You Make We love an old fashioned 4. pop song. Ones that last through the years. With our most recent EP (not out yet) we spent a lot of time with the Fleetwood Mac catalogue. I think they made amazing pop music in such a cool way. They also did the boy/ girl thing really well, as that can be cheesy.

Music, Right Here, Right Now 5.

Australian indie music seems to

Growing Up My brother and sister and 1.

I grew up with Mum and Dad singing to us. From home videos I know there was a lot of old Australian folk tunes and there are still a stack of ABC For Kids songbooks on our piano stool at home. Charlie and Kurt grew up in Tamworth so I’m pretty sure they were given a guitar and cowboy

hat in preschool. When the five of us get together, Tigertown is what you get.

Inspirations My biggest creative 2. influence is Michael Jackson. I used to go to sleep listening to Dangerous on cassette tape.

Stoked when I got a tape player with auto-reverse. Charlie grew

up on some pretty real artists.

Johnny Cash is her number one and she got to play with artists like Kasey Chambers when the Country Music Festival came to town.

Your Band We’re really loving playing 3. and recording as a band these days. It started out with Charlie

be more widely celebrated at the moment. When I was at school, we all still listened to what the big labels told us to listen to. I guess that’s the internet. I love that when we put on something to listen to in the van, most of the time it’s a local band. There’s so much great music in the local scene and it makes it nice to play with bands that we’re fans of.

Where: The Vanguard When: Friday July 5

CLOUD CONTROL TOUR

The best thing to come out of the Blue Mountains since the Great Western Highway, the nowLondon-based Cloud Control have a brand new LP, Dream Cave (out August 9), recorded in bucolic Kent. They sold out Vivid recently and their upcoming string of national dates will be last time you can catch them locally before their return to the northern hemisphere. Catch them with Palms in support at the Bar on the Hill in Newcastle on Wednesday September 11 and at the Metro (their last Australian show) on Thursday September 12 (all ages). Tickets on sale this coming Wednesday July 3.

DESMOND AND MOLLY JONES SESSIONS

Regular John

BLACK CHERRY WINTER WARMER

The spectacular Black Cherry is back to heat up the Factory Theatre on Saturday July 20.

Rolling Stone darlings Regular John and rugged rockers Jackson Firebird are hitting the stage along with Melody Black, Los Capitanes, King Of The North and Flyying Colours, plus Howlin’ Steam Train and Papa Pilko And The Binrats will be rocking the spanking new Swingin’ Swamp Shack. And of course lovely ladies Kelly Ann Doll (Miss Burlesque NSW), Rosie Rivette and Memphis Mae (as Bettie Page and Tempest Storm), Laura La Reyna and Cherry Blossom will be bringing the burlesque. Plus there’ll be DJs and punk rock karaoke, and “angel-faced tyrant” Lauren La Rouge will be MCing the debauchery. Early bird tickets are already gone, but general release are available from factorytheatre.com.au.

PEACE TOUR

Much-lauded Brummy indie band Peace (the never-hyperbolic NME said they’d made “the best album of the year,” while the Guardian called them the “future of indie”) are coming our

way! Think The Stone Roses and Foals, and go have a listen to their recent debut In Love, then head over to Moshtix from Monday July 1 to pick up tickets for their gig at Oxford Art Factory on Saturday September 21.

Snappy Albion Street hair salon Desmond and Molly Jones is turning its well-appointed two levels into a gig venue for a second season from this July. Last year saw Palms, Andy Bull and Peppercorns play in the downstairs salon – this year they’ve got a mystery guest kicking things off on Saturday July 20 (think iconic Brisbane muso), with Ginger & the Ghost following up on July 27 and Jenny Broke the Window on August 3. There are only 150 tickets, to be given away through sponsor FBi and the Desmond and Molly Jones Facebook.

‘GHOST’ OF THE VOICE

Legitimate indie muso and sometime contestant on the nation’s favourite musical chairs show (that’s The Voice, not Question Time, natch) Nicholas Roy is playing the Factory Theatre on Friday July 19 to launch his new single ‘Ghost’. Fellow “Team Seal” mate Jac Stone and “Team Ricky” gal Imogen Brough will be there for moral and musical support. We’re yet to hear if the fantastically manicured mentor will be in attendance, but we’re not ruling out a duet of ‘Fly Like An Eagle’

BAPTISM OF UZI

Rejoice! Melbourne rock quartet Baptism of Uzi have just released latest EP Stray Currents through Cobra Snake Necktie/ Love & Theft Records. With the EP’s titular lead single receiving heavy rotation on triple j, as well as securing a spot in FasterLouder’s top 30 songs of 2013 so far, Stray Currents is a swirling fivetrack, 17-minute exploration of the band’s impressively curious indie-pop aesthetic.

We’ve got five copies of the EP to give away – just email us at freestuff@thebrag. com and tell us what you think the name “Baptism of Uzi” refers to.

SPLASHH

Did you see Hackney psych-rock band Splashh play GoodGod last Thursday? If so (or even if not) you might fancy a copy of their debut album Comfort, which we said was “an exhilarating and self-assured debut that channels the past while also taking hold and sculpting it into their own technicolour soundscape.” Want a copy?

Email freestuff@thebrag.com and tell us what you listen to for comfort.

against a projection of the motion picture classic Space Jam just yet. Cross your fingers just in case though when you’re getting tickets from factorytheatre.com.au.

GET SOCIAL

FBi Social delivers the goods this week, repping a slew of East Coast artists. Thursday July 4 offers a smorgasbord of local hip hop with the launch of Shazza T’s (half of Fat Kontrollerz) new mixtape, with Mr Ruckman, Beastside and Subsketch in support. On Friday things get grungy – there’ll be sets from Melbournians Going Swimming and local stars The Tsars, along with Service Bells and Sydney facemelters Jugular Cuts. Groovin’ Moovers APES bring the garage rock come Saturday, with The Faults and New Brutalists, before DJ Clockwerk and friends take over the joint from “11:30 til death” for Hands Up! fbiradio.com has all the deets.

UPSTAIRS BERESFORD

Dry July is pretty much the worst idea ever – why would you want to lay off the boozing in the most miserable month of the year? Fortunately the Upstairs Beresford is here to rescue your evenings with eight gigs in 22 days. Let’s power through this: Friday 5 July has Cash For Gold with their punk-funk styles and horn section; Fat Rabbit and friends deliver funk and soul on Saturday 6; indie rock outfit Dancing Heals launch their new album on Friday 12; partystarters Jakubi throw shapes on Saturday 13; excellent Wollongong psych-rockers The Walking Who drop in on Friday 19; and on Saturday 20 Polar Nation redefine electronica with an urban twist; then to cap things there’s Tales in Space’s “electro-dynamo-pomo-disco-rock” on Friday 26 and soul-reggae bros Leisure Bandits on Saturday 27. More at merivale.com.au/ upstairsberesford.

FBI TURNS TEN!

Hermitude

8 :: BRAG :: 519 :: 01:07:13

Can you believe it’s already been ten years since FBi 94.5 started - what on earth did we do before? They’re celebrating a massive decade of being the catalyst in Sydney’s creative culture by throwing a big fat party at Carriageworks on Sunday September 8, with four stages and more than 35 acts, including some of the biggest groups that FBi helped to launch, like Hermitude, The Presets and Decoder Ring (for the first time in years!), plus tons more of Sydney’s best indie, punk, hip hop and electronic acts. It’ll be a smorgasbord for a tasty $49 – tickets on sale now.

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Industrial Strength Music Industry News with Christie Eliezer

THINGS WE HEAR

* Alistair and Sally Cranney who run Adelaide’s Gorgeous are launching this year’s event at a Sydney industry function on July 2 – aside from a live set from Patrick James there will also be lots of wine from SA’s McLaren district. * Followers of America’s NBA basketball series may like to know that Imagine Dragons had something to do with the Miami Heat winning the championship.

Their main player LeBron James kept playing ‘Radioactive’ to psyche up. * In a bid to get more people into Newcastle’s central business district, the city held an answer to the Sydney Vivid light festival on Watt St. * triple j Unearthed added four bands to Splendour – Baptism of Uzi, Postblue, Potato Potato and The Hated. Kingwood tweeted to the Uzi, “Congratulations legends. Welcome to the best club ever.

They give you a sword each as well.” * Nova has increased its ads by 80% in the past three years, its parent company DMG Radio’s CEO Cathy O’Connor revealed in a radio debate last week.

Sophie Monk, filling in on 2DAY FM, revealed on air she didn‘t wear knickers with her tight jeans – and that she once got stuck in them, and had to have a hotel concierge pull them off for her.

* Eels jumped the gun on the official Harvest Festival announcement by letting slip on their website that they’re on the bill. * Empire of the Sun’s Ice On The Dune debuted at #3 on the ARIA chart and #20 in America. * Peter Garrett said he is quitting politics at the upcoming election. * The Sydney launch of the Australian Road Crew Association at the Bald Faced Stag on July 21 looks like being another runaway success. About 150 had RSVP'd by the weekend when the deadline kicked in. The Melbourne launch, late last year, drew 250 after organisers expected about 30 or 40. * Sydney’s Dead In A Second are looking for a drummer on the eve of the release of their second EP and heavy duty touring.

If your style is inspired by Papa Roach, Deftones and POD, email their manager Michael Matthews at mpmatthews@ bigpond.com. * After the success of triple j’s One Night Stand in Dubbo, NSW (which pumped $3 million into the local economy), its mayor Matthew Dickerson is having a chinwag to Groovin The Moo to include the town on its 2014 run.

FUNDING CONFIRMED FOR COMMUNITY DIGITAL RADIO

SHOCK TEAMS WITH QUARTER FOUR FOR COMPILATIONS

Congratulations to the successful Commit to Community Radio campaign, which was run by the Community Broadcasting Association of Australia (CBAA) to source money for community radio to offer digital services. The Federal Govt. promised $6 million over three years. Over 43,000 supporters of the campaign sent tens of thousands of emails to local MPs, then Treasurer Wayne Swan, Finance Minister Penny Wong and then Communications Minister Stephen Conroy. CBAA president Adrian Basso thanked the media, saying, “It wasn’t an easy journey, but together we got there. Thank you for your unwavering support throughout it all.”

Shock Records has gone into partnership with exec Liam Teer to create and distribute compilation albums in Australia and NZ. The deal is through Teer’s new label Quarter Four. When Teer worked at EMI Music Australia between 2003 and 2013, he came up with more than 250 compilations, which have total sales of 8.5 million. Two of these went double platinum, 29 were platinum and 53 were certified gold. They included titles NOW, 100% Hits, Housework Songs, Floorfillers and the popular Beer Songs and 101 series. Shock’s General Manager Craig May said, “that something like one in two Australian households owns one of his compilations is phenomenal, and a

reflection of (Teer’s) genius.” Teer added, “with the advent of the mp3 file, the compilation album was widely expected to become a redundant format, yet it’s not only survived, but seems to have found a brand new lease on life in the digital age.”

should contact organisers immediately to book. Call Alison on 9519 3978 or email burgess_ventures@bigpond.com.

DAYNA YOUNG JOINS SELECT MUSIC

The Annandale’s new owners The Oscars Group plan to keep it going as a live music venue when they take over in August, operators Dan and Matt Rule said. Music Booze and Stuff will handle bookings at music@musicboozestuff.com.au.

Dayna Young joins Select Music as Senior Agent, bringing with her ShockOne, The Aston Shuffle, Miami Horror, Dcup and Sampology. She most recently oversaw the roster at Archery Club. Before that she was at Jam Music managing the Jam Agency roster in addition to being involved in the programming of Good Vibrations. She has also worked for Ministry of Sound’s UK based, International Touring Division, where she was responsible for staging MoS branded events worldwide. Young currently books around 25 acts. Select Music’s roster includes Boy & Bear, Passenger, Ball Park Music, Josh Pyke, Bluejuice, Seth Sentry, Emma Louise and San Cisco. Select directors Stephen Wade and Rob G say; “Dayna is a perfect fit for what we are building here at Select Music. She is well respected by both her artists and the industry, and has an amazing ability to pick artists and help grow their careers in the live arena, which is what we are all about.”

FORMER JACKSONS MANAGER SUES SONY

While The Jacksons’ legal biffo against promoter AEG continues, the band’s former lawyer and manager has sued Sony Music Entertainment for $10 million for lost royalties. Richard Arons became the Jacksons’ attorney in 1969 just as they began their rise. In 1972, he and their father Joe became co-managers agreeing to split 15% of gross earnings from all sources. In 1978, Joe and Arons had a dispute: the result was that Arons would continue to get 7.5% only from recorded music. In 1991, there was another dispute, this time with Michael, who stopped his payments. They settled, with Arons dropped as manager but laying claim to his percentage of all records before 1983 like Thriller, Off The Wall, Victory and The Jacksons Live. Arons says Sony paid him some but not all, and won’t provide proper accounting.

BIRDS OF TOKYO HAVE TOP PLAYED TRACK ON RADIO

Commercial radio only plays about 25% Australian music. So it’s nice to see ‘Lanterns’ by Birds of Tokyo as the most played track on radio so far in 2013, according to monitoring service AirCheck.

It is followed by ‘Just Give Me A Reason’

by Pink, ‘Ho Hey’ by The Lumineers, ‘When I Was Your Man’ by Bruno Mars, ‘Stay’ by Rihanna, ‘Impossible’ by James Arthur, ‘Can’t Hold Us’ by Macklemore & Ryan Lewis, ‘Everybody Talks’ by Neon Trees and ‘Troublemaker’ by Olly Murs.

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Just Announced

This Week

Stratovarius (FIN)

HTC & Speaker TV Presents

Fri 25 Oct

Hungry Kids of Hungary

FOXTIX CLOSING, MOSHTIX SOLD TO MANAGERS

Sat 6 Jul

SO LD

O UT

Coming Soon

Hardcore 2013

Saint Vitus (USA) & Monarch! (FRA)

Sat 13 Jul 18+ Sun 14 Jul All Ages

Nejo Y Dalmata (PUR) Fri 26 Jul

Haim (USA) Wed 24 Jul

Fri 19 Jul

Airbourne Sat 27 Jul

D-Block & S-te-Fan Sat 10 Aug

Rupert Murdoch’s News Corp Australia (formerly News Ltd) is closing its threeyear-old reserved seating site Foxtix, and sold ten-year old ticketing business Moshtix to its chief executive Harley Evans and his business partner Vanessa Bond on the weekend. It is part of News Corp Australia’s move to focus on its core businesses of publishing and broadcast.

“Harley and the team have done a sterling job in building Moshtix – it really is a terrific business,” News’ chief financial officer Stephen Rue told The Australian.

OPPORTUNITY KNOCKS #1: MUSICOZ

Blues & Grooves feat. Phil Emmanuel Fri 16 Aug

The independent and unsigned competition Musicoz is back, with application entries closing on July 31 at musicoz.org. Normally the awards, held this year on November 7, receive about 500 entries for 18 categories. The finalists and winner get support advice, mentoring and skills development through the year.

OPPORTUNITY KNOCKS #2: ST GEORGE SCREAM

& Havana D’ Primera (CUB) Sat 7 Sep

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Fri 6 Sep

Sun 17 Nov

Alexander Abreu

Anberlin (USA)

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

10 :: BRAG :: 519 :: 01:07:13

St. George Scream is the latest young band competition from Burgess Ventures, which starts this Thursday (July 4) at The Forest Inn Hotel, Bexley. The final is on Thursday October 17, with the winner getting six hours of recording at A Sharp Studios. Bands interested in playing

NEW BOOKER AT THE ANNANDALE

FORBES CELEBRITY 100

Lady Gaga is rated the most powerful musician on US business magazine Forbes’ 2013 Global Celebrity Power list. The list is made up of earnings, how often they are mentioned in print and on TV, their internet presence, how they’re viewed by US consumers and how marketable they are considered. Gaga is ranked #2, behind Oprah Winfrey, for her Born This Way world tour that grossed US$168 million, and her huge social media presence with 38 million Twitter followers and 58 million fans on Facebook. At #3 is Steven Spielberg, then Beyoncé, Madonna, Taylor Swift, Bon Jovi, Roger Federer, Justin Bieber and Ellen DeGeneres at #10. The highest Brits were Coldplay at #15. Adele who made the list last year at #24 dropped out as she didn’t tour.

Lifelines Married: former Stone Temple Pilots frontman Scott Weiland and photographer Jamie Wachtel.

They met in 2011 shooting videos for his Christmas album.

Injured: Jessie J has to undergo ankle surgery at the end of the year. She injured it two years ago and, despite surgery, is still in pain.

Injured: Motörhead’s Lemmy Kilmister has been diagnosed with a hematoma, a blood clot that forms outside the body’s veins or arteries.

In Court: a US Appeals Court insisted that college student Joel Tenenbaum must pay $675,000 for illegally downloading and sharing 30 songs online.

Jailed: US rapper Fat Joe for four months for not paying tax on US$2.9 million earned between 2007 and 2010.

Charged: R&B singer Chris Brown, over an alleged hit and run incident in LA. He insists he stopped and exchanged information with the driver, but she saw the paparazzi “and wanted to make a scene,” he claimed.

Died: US southern soul and blues singer Bobby “Blue” Bland (‘Further On Up The Road’), 83, after a long illness. He was called “the Sinatra of the South”.

Died: Australian blues singer Wendy Saddington, early 60s, from cancer. Fronting Chain and Jeff St John’s Copperwine, her sassy outspoken style paved the way for female singers in the late ‘60s.

Died: highly acclaimed stage designer Mark Fisher, 66, after a long illness. He designed Pink Floyd’s The Wall, the spaceship stage of U2’s 360 stage and many of the Rolling Stones’ massive stages.

Died: US jazz guitarist Johnny Smith, whose Moonlight In Vermont was voted 1952’s jazz record of the year. He wrote ‘Walk, Don’t Run’ an early surf-rock hit in for The Ventures in 1959.

Died: Alan Myers, the third and best known of Devo’s drummers, to cancer. Devo’s current drummer Josh Freese says that Myers’ drumming was so metronomic that fans thought his work on ‘Whip It’ and ‘Freedom of Choice’ was by a drum machine.

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BRAG :: 519 :: 01:07:13 :: 11

Whitley

Truth In Pop

By Jody Macgregor

I

n April of 2010 Lawrence Greenwood gave an interview to Mess+Noise explaining why he’d given up on the Whitley name – that it was a tool he didn’t feel the need to use anymore, that his music was changing, and that he was leaving the country for a fresh start in Europe. He would still make music, but would release it under a new name, perhaps even his own.

But three years later he’s back in Melbourne, has released a single as Whitley (a jittery dream called ‘My Heart Is Not a Machine’) with an album to follow (called Even the Stars Are a Mess), and is planning a tour. What changed?

“I felt very out of control of the Whitley thing,” Greenwood says, “and wasn’t enjoying myself and how things were run, so I thought it would be easy enough to change. I manage myself now and it’s a very DIY vibe and that gives me a lot of control and enjoyment that I wouldn’t have otherwise gotten. So I gradually leant towards doing it again, but I think when the album was done it was very obvious to me that it was a Whitley album. I thought it would be kind of bullshit if I didn’t put it out under the name Whitley.”

As well as sounding like his previous Whitley albums – he says that it shares their hopeful themes and “production-wise it’s very much a mixture of the two albums” – there’s also a more pragmatic reason for releasing the new album with the old brand on it. “Half of the people who listen to my music seem to come from the United States and I don’t have the capacity to advertise that I have a new album to them. I think because it’s a moniker they might not necessarily be able to search that I’m releasing an album under the name Lawrence Greenwood, or whatever I chose to release it under, so I thought that maybe it would be best if it was similar, in an aesthetic sense, to have it easily reachable by those people as well. It’s a multifaceted thing really.”

When Greenwood quit being Whitley back in 2010 he went on the road one more time with his old band, a farewell tour to give his fans a chance to say goodbye.

The experience surprised him with its intensity. “It was insanely emotional,” he says. “I think I, up until this point, I’d never really considered the people that listen to the music. I think artists get an inflated view of their own selfimportance by habit, but in one regard I didn’t have that, which was thinking everybody loved me.

I assumed that everybody kind of hated what I did.”

“I still lack the capacity to not write autobiographically...

I get too sentimental and have to make it about me.”

One of those final shows was at Splendour in the Grass, which was emotional for a different reason. “We went and watched The Vines after that,” he says, “like, we ran to go and see The Vines. When I was younger I was a massive Craig Nicholls fan. He’s a genius: pop wizard.” Completing the circle of life, this year Whitley’s on the Splendour bill again as part of the comeback tour. At first he doesn’t think there’s anyone

“There’s actually a food van that I’ll run to see, which is the Beatbox Kitchen. I’m really excited about that. They do a shroomburger that’s off the fucking chain.” But then he remembers one band sharing the bill who do have him suitably pumped. “Oh shit, The Polyphonic Spree doing fucking Rocky Horror Picture Show! That’s gonna be amazing. I’m actually thinking of bringing out a Frank-N-Furter outfit just to have some fun.”

The comeback tour comes with a comeback album, one that was written while travelling the world (he wrote the single while snowed in at a house in Tuscany). Like all of his music, it’s very personal. “I still lack the capacity to not write autobiographically,” he confesses.

“I just can’t do it; it seems insincere to me. I don’t have that level of emotional abstract thinking that you have to be capable of. I get too sentimental and have to make it about me.”

But no matter how much honesty he’s packed into his music, Greenwood feels like he was misunderstood last time around. “I think that happens when you write pretty ambiguous pop songs,” he says. “People don’t really want to research a pop song most of the time, unless they’re music fans. They just want to hear that fucking piano hook again. But I think there was an element of people thinking maybe I was just there to write pop music to be popular, which is not the case. I really, really, really love pop music.

I love the aesthetic, I love the craft behind it, I love the history and I love it as a medium for expressing a connectedness that people can feel. I’d just like people to understand that I guess.”

Greenwood traces his love of pop back to a particular song, heard when the family got a shiny new CD player back when CD players were shiny and new. The song that he fell in love with was ‘The Obvious Child’ from Paul Simon’s 1990 album The Rhythm of the Saints. “It was fucked-up pop,” is how he describes its appeal. “It had a huge Brazilian samba drum band and this beautiful story about a guy called Sonny who is dealing with ageing and trying to still attain a sense of freedom through ageing. Even at that young age it resonated with me: the theme, the mixing of different cultures, yet still having that structure. That was when pop structure revealed itself to me. It was really beautiful, a really beautiful moment. I still listen to that song now when I need a kick.”

So Greenwood has come back, to the pop music he wants to make, to the Whitley name he’s comfortable making it under again, and to the country where it all began. Although he says that missing his family was the main motivation for moving home, he jokes that there’s one other reason to prefer Australia over Europe. “Europe is just the pits for good cafes. London’s OK, but the only places that everyone’s ‘You have to go and try fucking XYZ!’ you walk in there and it’s either a Kiwi or an Aussie running it.”

Where: Oxford Art Factory / Splendour in the Grass When: Thursday July 18 / Saturday July 27 And: Even the Stars Are a Mess out Friday July 5 through Dew Process/ Universal xxx

12 :: BRAG :: 519 :: 01:07:13

Far from it – his fans were dedicated and passionate, as were the members of his band.

“I assumed they weren’t 100% into playing [with me]. Then there was this one moment on the last tour when I turned around and Andy [Reed], the drummer, was playing this incredible shit on the drums, it was amazing, and I just could see tears coming out of his eyes. It really hit me then that this was actually a big thing that was stopping, whereas before it was just as if I was quitting a job.”

he’ll race to see like he did The Vines in 2010, even suggesting he’s more interested in the catering.

BRAG :: 519 :: 01:07:13 :: 13

Gilby Clarke Hard Rock Life By Nick Jarvis

I

f you’ve ever entertained thoughts of being a rock star, chances are Gilby Clarke has already gone and lived your fantasy. The celebrated rock and metal guitarist has built a career as one of the finest session and touring musicians in rock, with a Rolodex that’s the envy of many a tattooed pretender.

Fear Factory Re-manufacture By Peter Hodgson

I

t’s hard to overstate the importance of Fear Factory’s Demanufacture. The landmark 1995 album came along at a time when metal was in danger from within (the influence of nu metal was beginning to swell) and without (grunge was in its final throes and pop punk was picking up speed).

Fans didn’t know it yet but Sepultura were about to abandon their death metal heritage with the tribal Roots, and while Pantera had re-energised the genre in the early ’90s with Cowboys From Hell and Vulgar Display of Power – and scored a Billboard #1 with Far Beyond Driven in 1994 – the metal world needed a new voice to take the genre forward. Fear Factory provided that voice.

It was probably one of the most difficult records to make, Cazares explains, although not because of the writing process. All of the songs were already written, and the sessions were originally booked for Chicago Tracks, “a very famous place where bands like Ministry and Skinny Puppy recorded. We wanted to get that industrial sound, so we wanted to go to the famous industrial studio.”

But the sessions weren’t quite the direct line into industrial history that Cazares and co hoped for.

The console started to fall apart, the channels were messed up and the computer wasn’t saving

The band felt that the sounds Richardson was getting were too typical, too generic. So they fired him. Then they had to go back to the label and ask for more money to work on the album in LA, where they felt they should have started from the get-go. “So we had to fly back to LA with all the tapes, and we asked the record label for more money.”

They managed to score a new team – mixer/ producer Greg Reely and Rhys Fulber, a mixer who also did all the keyboards for the record. Once those two guys were on board and they saw the vision Fear Factory had, it all just gelled. “It was like butter after that,” Dino says. “Burt went and did some of the vocal tracks over and everything started to really gel together. And when we were mixing it, we’d rented a place in Los Angeles down the street from where I live now, and it was a place where they did film scores, so they had a gigantic film screen in front of the console. So we’re mixing the record and putting Terminator and Blade Runner on, and we were like, ‘wow, that fi ts!’

Because those were the movies that inspired the record and gave us the overall vision of what we wanted to sound like. We wanted to sound like the future. And that record was definitely ahead of its time.”

Where: Performing Demanufacture with Twelve Foot Ninja in support at UNSW Roundhouse When: Friday July 5

You might also remember Clarke from the TV show Rockstar, where he joined up with Tommy Lee of Mötley Crüe and Jason Newsted of Metallica to find a singer for their supergroup Rockstar Supernova.

After touring the world for nearly two and a half decades with a host of huge bands, Clarke has seen everything from tiny shows in the back rooms of bars to the opulence of private jets and groupies.

Between lending his axe skills to some of the biggest names (and biggest heads of hair) in the business, Clarke has also kept up a steady output of solo material; from his solo debut Pawnshop Guitars in 1994 to 2007’s Gilby Clarke, he’s put out seven albums and EPs, and it’s this deep back catalogue that he’ll be digging into when he comes out to Australia for a series of solo acoustic shows this month.

“It’s a nice challenge, going back to acoustic,” Clarke says. “I wish I was a better singer, but I put more emphasis on the songwriting when it’s acoustic and try to make it fun, not stuffy and boring. This time I’ll be mostly playing songs from my own records, but there’ll also be some Guns ‘n Roses, Rolling Stones, and Bowie in there – the good stuff.”

Where: With Devine Electric at Hermann’s Bar, Sydney When: Saturday July 6

“There are still times when we get the private jet and relive the decadent times,” Clarke says, “but for the most part, rock’n’roll is very different now, and it’s hard to play a show and party it up afterward and then do another show the next day. The drinking and partying is hard on your voice and body when you’re in your 50s. You have to be more responsible to your fans and not just show up and say ‘I have a hangover, sorry’. People pay good money to see you at your best!”

Looking at Clarke’s CV, you can imagine the kind of anecdotes he must have stored away in his memory, but he’s not dishing any dirt up just yet.

“I’ve thought about writing an autobiography – maybe some day. I do think I have an interesting story that hasn’t been told – not just another Guns N’ Roses story, but of a kid from Cleveland who had Kiss posters on the wall and dreamt of being in a great rock’n’roll band; the struggles, successes and the ups and downs of life as a working musician. And I also lived through the fun ’80s Hollywood rock’n’roll scene and remember most of it.

Fear Factory photo by Stephanie Cabral

By combining death metal precision and brutality with a gothic sense of melody and an industrial approach to rhythm and atmospherics, Fear Factory created a sound that stood apart. The crisp production was a world away from the stripped down, blunted rock of the era, and by being a Fear Factory fan you felt like you were signing on to be a part of something; like you’d found that you weren’t alone in filling your head with a postmodern mix of metal, art, literature and film. Being a Fear Factory fan meant you got it. The band are heading our way in July to perform this modern classic in its entirety, and Brag caught up with guitarist Dino Cazares to talk about Demanufacture’s influence and enduring appeal.

anything. And on top of that, “drug deals were going down in the studio and we were like, ‘Okay, we’ve gotta get out of here,’” Cazares says. “So we left there, and the second studio was a place called Bearsville. And of course the record label, Roadrunner, had to keep putting up money for us. We tracked most of everything there, and then we kinda didn’t see eye-to-eye with the producer, a guy named Colin Richardson. We just thought he didn’t see the picture. He didn’t see what we were trying to create.”

Starting out in Los Angeles’ decadent early ’80s hair metal scene, Clarke first courted success as the lead guitarist and vocalist for metal bands Candy and Kill For Thrills. In the ’90s he kept busy as the touring guitarist for incredible bands like MC5, Heart, Nancy Sinatra and Slash’s Snakepit, as well as famously serving a three year tenure as the rhythm guitarist for Guns N’ Roses, replacing Izzy Stradlin at the height of GNR’s powers (and excess).

playing a 50 Watt Marshall Half Stack – and my personality clashed.”

“Of all the bands I’ve played with, Guns ‘n Roses was the most fun to tour with; but playing those MC5 songs on guitar live and loud was pretty much guitar heaven. Playing with Heart was challenging, just because I heard the songs differently from how they did.

I always thought of Heart as a rock band, with those wonderful vocals and harmonies, but I was bit loud for them – even though I was only

Dead Radio Live Transmission By Shannon Connellan

S

ydney’s Dead Radio came up with their nom-de-plume in a set-up fit for psychedelia – communal listening to an underrated Australian legend. “There’s a Rowland S. Howard record called Teenage Snuff Film,” member Dave Couri says. “At the time we’d booked our first show and you know, hundreds of silly names were flying about the room and we were listening to Roland’s record.

The song that happened to be on was called ‘Dead Radio’ and everyone just went quiet for a moment...everyone just tuned in.”

Four fifths of the band – members Shaun Donovan, Dave Couri, Duncan Harrex and Sam Scheding – came from Sydney shoegaze outfit The Prayer Circle, and after the demise of that band they kept right on playing.

“We were jamming with a fellow by the name of Matt [Neville] who plays drums. He was in a group that we gigged with a lot [Driftwood Drones] and we decided to keep jamming and writing new songs. At some point we got offered a show so, you know, from that point on we were a band.”

After making a few cameos on local compilations, Dead Radio finally released their debut EP Crystal Moth late last year, recorded in their own Ultimo studio. Crystal Moth isn’t as future-pop as Sydney’s Jagwar Ma and sidesteps the full-on sitar zone-outs of 14 :: BRAG :: 519 :: 01:07:13

Murwillumbah’s The Otchkies or the straight ’60s pop homage of Geelong’s The Frowning Clouds, instead picking up a country swagger that has them consistently compared to The Velvet Underground, The Brian Jonestown Massacre and The Black Angels. With such an eclectic neo-psych, alt-country sound, it’s difficult not to take a stab at what might be found in Dead Radio’s record crates.

“Our influences are pretty varied and wide,” says Couri. “Bands like Dead Meadow, The Black Angels. But we really like the 60s and 70s-inspired psychedelia, 90s Britpop, shoegaze…everything from country and folk music through to Gary Numan and The Cure.”

The support-network for the Australian psych scene is sizeable, with plenty of local love shared around by Dead Radio buddies The Laurels, Day Ravies and The Otchkies. With international superstars Tame Impala thrusting psych back into the charts, the revival has loudly droned its way out of the basement.

3. But it really is having some kind of revival again at the moment, it’s probably just like twenty-year cycles that music goes through.”

Couri believes it’s an inevitable return. “Look, it’s ‘the third incarnation of psychedelic music,’ I’ve heard somebody say. There’s just a natural cycle that happens in music. I don’t think this music’s ever gone away. Obviously through the late 60s and early 70s it certainly had a time, also in the late 80s and early 90s with bands like The Jesus and Mary Chain and Spaceman

Dead Radio are making waves in the global psych-rock scene, and in fact are enjoying more success overseas than in their own backyard, selling more records in Scandinavia, Europe and the US than in Australia. But the band won’t be waiting long to melt faces locally and make more fans. Dead Radio join Gang of Youths, Shady Lane, Atom Bombs, Hailer and

more local favourites at this week’s birthday celebrations for Brighton Up Bar, a spot which has long supported Sydney psych. “What they’ve contributed to the local scene in terms of putting on a really good venue has been magic,” says Couri. “So we’re really happy to go and support them.”

What: Play Brighton Up Bar First Birthday with Atom Bombs, Shady Lane and more When: Saturday July 6

Wavves This Band Should Be Really Famous. Or Not. By Benjamin Cooper

“W

e’re just in the living room, man.

The finals are on, so we’re catching as much ball as possible in between – and during – today’s interviews.”

It’s a frank – but not entirely unexpected – admission from Nathan Williams, who forms one third of the creative core of American band Wavves. Williams and his band mate Stephen Pope are watching game six of the NBA encounter between the Los Angeles Clippers and Memphis Grizzlies. They are so engrossed that there is little chance of them taking a break for anyone, but they’re happy to have a quick chat during halftime. They are clearly two dudes who do it their way.

To say that the Californian surf punks have had a tumultuous career is something of an understatement. Williams commenced proceedings in 2008 with two home-recorded 7-inch vinyl releases, before continuing in a flurry by dropping his debut self-titled record the same year. September 2008’s Wavves is a dark and dirge-heavy affair; cuts like ‘California Goth’ and ‘Vermin’ caught critics off-guard with rough and ready instrumentation that unexpectedly justified the early online hype.

“We’re a little tired from that, so we’re resting up for the next little bit. Having said that, we did go hiking yesterday.” That sounds very healthy, and dare I say it, bordering on the wholesome. Is this a whole new band? “Well, it was only a small hike,” Pope says, “and you know, we still had a good amount of fun…”

The band has high hopes for the third Australian tour. “Australia is actually Stephen’s favourite place,” Williams says.

“That sounds like bullshit, but it’s actually true.” “We want to be the biggest band in Australia,” Pope says, warming to the theme.

“We think the title of this article should be This Band Should Be Really Famous. Or not.

It’s really all up to you guys.”

“Seriously, though,” Williams interrupts: “We really are looking forward to getting out there.

It’s a magical place where you live. I get there, and I just feel like anything is possible.”

Where: The Standard with Unknown Mortal Orchestra / Splendour in the Grass When: Thursday July 25 / Friday July 26

Less than six months later Williams gifted Wavvves to the waiting masses. The album’s title involves an extra ‘v’, and the Fat Possum release packs far more snarl than its predecessor. ‘Killr Punx, Scary Demons’ and ‘To The Dregs’ recall the pure noise heroics of vintage era Sonic Youth, while poppier songs like ‘So Bored’ kept toes tapping.

As their catalogue kept growing, so did the infamy surrounding Wavves’ live shows.

They were touring constantly and – perhaps inevitably – Williams suffered a breakdown on stage at 2009’s Primavera Festival in Barcelona. The singer admitted to having an addiction to alcohol, and the band went on hiatus.

Fast-forward a year and things were back on track. In August 2010 King of the Beach was released on Fat Possum, with an all new lineup including the late Jay Reatard’s former rhythm section of bassist Pope and drummer Billy Hayes. The album blew up, and lifted the band from middling scuzzy punks to festival and radio favourites. In Australia the titular track became a triple j anthem, and many of the album’s hooks were heard on the soundtracks of popular television programs in America.

King… is undoubtedly their most designed pop offering, and they happily admit that the band’s aesthetic shifts are not accidental. “I would definitely not want to ever be treading water with how we do things,” Williams says.

“I’m not sure that it is our best record, but maybe that’s how we need to be thinking.

Gotta keep it on the up, you know?”

The album took them into strange territory. Not only were they cool, but they had somehow become hugely popular. In October of that year the band were invited to play at CMJ Music Marathon in New York, alongside luminaries such as Dirty Projectors, Phoenix and a surprise appearance by some other famous Frenchmen.

“That was pretty weird,” Pope says. “We were at Madison Square Garden, and there’s 20,000 people who are all there for Phoenix. And then we’re up there, doing our thing, and confusing the hell out of people. But Daft Punk show up for the main event, and everybody just loses their shit. That was pretty funny.” Are the band fans of the dynamic French duo’s latest funk inspired work? “Stephen’s mum is really into that ‘Get Lucky’ song,” Williams laughs.

The band’s pop bent has moved in a slightly different direction on 2013’s Afraid of Heights, for which Hayes was replaced by Jacob Cooper (The Mae Shi). The San Diegan’s fourth record is produced by John Hill (Rihanna) and his steady hand is obvious from opener ‘Sail To the Sun’. After tinkling carillons usher in the track, Williams’ vocals roar to life. He is still whining, and it all seems slightly manic, but there is an appealing clarity to the product. The album is clear without being clean, and has a muscled musicality that allows it to avoid being viewed as a rejection of their recent successes.

2013 is shaping as Wavves’ most successful year to date. They’re playing Splendour in the Grass, as well as co-headlining shows with Unknown Mortal Orchestra. Their Australian tour will come hot on the heels of their second visit to Japan, and their first to Taiwan. Yet they insist such trailblazing is being done with a measure of rest and relaxation, in order to avoid the mishaps of the past.

“We just got off a six week tour,” Williams says.

BRAG :: 519 :: 01:07:13 :: 15

Clairy Browne & The Bangin’ Rackettes

Hardest Working Band in Showbiz? By Krissi Weiss

“W

hat we’re trying to do is play good music. I think in the past we’ve been mistaken for a cabaret act or something that’s more theatrical or somehow related to burlesque.

It’s not a throwback thing jazzed-up with costumes, we put a lot into our music,” front woman Clairy Browne says. Ain’t that the truth. If you somehow missed the soul of their debut album, Baby Caught The Bus or even just the smashingly catchy energy of their lead single ‘Love Letter’ don’t mistake Clairy Browne & The Bangin’ Rackettes for some nostalgia or tribute band. Their music may hark back to the soul sister vibe of the ‘60s but their take on it is thoroughly modern.

Browne and co. have recently released their debut album in the US – 20 months after the Australian release – and although they’ve been playing these tunes for a long time, Browne is in no way sick of them. “I’ve grown new appreciations for the songs,” she says. “I think the songs became a bit laboured after playing them live in Australia for so long and Australian audiences can be really tough – you’ve really gotta earn their interest – but when I went over to LA and listened to the album again, not just hearing it on stage, I discovered a new fondness for it. It’s also good because we’re looking at making the second album now and I was listening to the first album thinking about how we could do things differently this time around and maybe try some things that we didn’t feel cool about the first time.”

They’ve seen some amazing places as a touring band – taking on Europe with the Cat Empire in 2010 – but sets at SXSW and more pivotally House Of Blues and The Troubadour in the US (among many others) was like ticking off a dream list of iconic US venues for Browne. “It was like a surreal dream to play in the States; it was like a long, washed out acid trip,” she laughs. “You’re travelling to these wild and amazing places that you see in the movies but you’ve never dreamed you’d play at and the crowds are so unique. It’s just its own flavour and it’s different again to playing in Europe. The best thing about touring is that you’re not just playing but you’re getting

to experience people’s culture. Because we just get in a bus and go from place to place playing music, that’s the segment of culture we’re getting exposed to – how people respond to a show.”

The candid attitude of the audiences they met was something that spoke to Browne’s own straightforward personality. “People in the States aren’t afraid to say what they feel and that appeals to me as a performer,” she says. “Meeting people after the show is really

the thing that makes you feel like what you’re doing is worthwhile.”

While home – as the cliché goes – is where the heart may be, Browne and the band are nowhere near reaching tour burnout.

“You kinda get your tour legs and you just go. It makes me feel alive and I get a little anti-climactic afterwards. It has its pros and cons though… One of the best things to come of a project that has nine people is that each person’s music is dynamically

eclectic and has so many different infl uences. But the logistical stuff is hard; it’s not just about getting nine people around the world, it’s also hard enough just to get nine people a table at a restaurant to eat before the show!”

Where: Lizotte’s, Newcastle / The Vanguard / Clarendon Guesthouse, Katoomba When: Tuesday July 9 / Wednesday July 10 / Friday July 12

Georgi Kay Top of the World By Alasdair Duncan

I

t’s been a huge year for Perth singersongwriter Georgi Kay, but a role in Jane Campion’s drama series Top of the Lake was one highlight she could never have predicted. Kay admits that she was unfamiliar with Campion’s work before a friend suggested that she audition for the part of a musician in the show. She turned up not knowing what to expect, and was terrified when she found out that the part also called for her to act. “I was flipping out, but they said that Jane wanted someone natural for the part, with minimal acting experience. I was scared and still really didn’t know who she was or what I was doing, but I went for it.”

A week or so later, Kay found out from Jane Campion herself that she had won the part. Her character is called upon to play an acoustic cover of the Björk song ‘Joga’ during a particularly emotional funeral scene. “I would never have thought of covering that song myself,” she says. “I was nervous before I did it, because I love Björk. She’s unique, she’s her own entity, and I didn’t know how easy it would be to offer my own take on one of her songs. I didn’t want to defile it or ruin it. It’s had a really good response so far, from fans and people who’ve watched Top of the Lake. I love performing it.”

Since appearing in the show, Kay has been spending time in the UK, working on tracks for her upcoming album. She tells me that the sound of her new material is a cross between Depeche Mode and Florence and the Machine, a combination she experimented with on her recent In My Mind EP. “Working on music in the UK has been really good fun,” she says. “I was born in London, and I was very young when my mum and dad moved to Australia, so I feel like I’ve missed out on a bit of my childhood there. I’ve been working in a converted church in Somerset, and it’s been great to go back.”

16 :: BRAG :: 519 :: 01:07:13

“I was fl ipping out, but they said that Jane Campion wanted someone natural for the part.”

Kay has collaborated with a number of heavy-hitting pop songwriters on her new material, including Justin Parker, who has penned tracks for the likes of Lana Del Rey and Rihanna. The input of her collaborators, along with the beauty of the Somerset setting, has made for something of a dream recording process. “We went there to get away from distractions, so it’s been great,” she says. “I’m a very visual writer – I like to imagine what would be happening in a film if a song was playing in the background. I’m drawing a lot of inspiration from the landscape and the scenery around me, and it’s a pretty amazing feeling.”

While she puts the finishing touches on the album, Kay is touring the country for a series of shows in support of her In My Mind EP. I ask about her aspirations for after the album is out, and she doesn’t hold back. “I would love to be selling out shows all around the world,” she says. “I’d love to be an international success, have a big fan base, travel the world, meet and collaborate with new people. There are so many things I want to do, and so many things I don’t even know I want to do yet.

It’s a big adventure that I’m looking forward to going on.”

What: In My Mind out now through Ivy League/Mushroom

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arts frontline

free stuff enter at: thebrag.com

arts news...what's goin' on around town... With Lisa Omagari and Natalie Amat

five minutes WITH

ELIZA SARLOS OF UNDERBELLY ARTS framework has been established in Underbelly Arts for doing this – which makes my job kinda easy!

U

nderbelly Arts Lab and Festival brings to the fore an incredibly far-reaching lineup of contemporary artists working across a diverse range of mediums.

Founded in 2007 as a response to the number of artists working out of their bedrooms and warehouses, Underbelly Arts forged new relationships between the artists themselves and us, the audience.

Now, six years on, Underbelly Arts are almost ready to present their 2013 program combining a week long artists’ residency program (Lab) and showcase of finished projects (Festival). We caught five with Artistic Director Eliza Sarlos

to get the low down on what to expect.

You joined Underbelly Arts in 2012. What kind of legacy have you been left with and how will the program evolve in future years? Founding Artistic Director Imogen Semmler built an incredible platform for artists to develop, take risks and showcase their work to a broad audience and I feel incredibly lucky to be able to continue down that path. My particular interests are in finding and supporting the next generation of great artists and introducing them to as many people as I can. I think that the

Underbelly Arts has just announced its final 2013 lineup.

Key highlights? If I had to pick a couple of works I’d say that the collaboration between Archibaldnominated artist Abdul Abdullah and his brother Abdul-Rahman is one I’m particularly excited about, as they explore their shared experience of having an Islamic upbringing in an Australian context for their work Project HOME. Also Assemblage, which is a work that really focuses on encouraging you to engage with the other projects – getting audiences to really explore how the works are made through deconstructing and essentially playing with the offcuts!

Underbelly Arts comprises the Lab and Festival itself.

Explain. It’s an incredibly broad program, where there really is something for everyone. The Lab itself encourages punters to go behind the scenes, welcoming audience members into the process of art making across this development period, while the Festival itself showcases the work that’s been developed on the Island. There’s installation, performance, sound works, you

ZHANG RUI

Saif Almurayati

SAIF ALMURAYATI

The story of Iraqi refugee Saif Almurayati is inspirational. After fleeing his country due to political persecution, he spent several years between refugee camps in Iran and Turkey before migrating to Australia in 1998. Almurayati then managed to graduate from the National Art School in Sydney before going on to win the MUA Blake Prize for Human Justice.

A collection of the artist’s work will be on display at Janet Clayton Gallery (2 Danks Street, Waterloo) from Wednesday July 3 through Saturday July 27. Almurayati works with acrylic on both canvas and wood to explore the definitions and limits of individual identity beyond social, cultural and political boarders. For more information visit janetclaytongallery. com.au

4A Centre for Contemporary Asian Art has just unveiled its latest exhibition, One Year by Chinese-born painter Zhang Rui. As the title suggests, Zhang’s work explores experiences had over the course of her first year in Australia. As a way of engaging her new surrounds, the artist draws on images sourced from the internet; in the uncertain political climate of today, Zhang’s work embodies her understanding of and reaction to corrupt governments from around the world. The artist’s representational works may for some seem simple, but feature implicit references to incidents of internet censorship, womens’ rights violations and the role social media plays in shaping contemporary societies. One Year is currently showing and runs until Saturday August 17. 4A is committed to promoting the innovation in contemporary Asian art. Visit 4a.com.au for more information.

ALASKA PROJECTS

This month car park-fabulous Alaska Projects is launching a fresh program of installation and performance art. The lineup features a new exhibition concerned with the artistic ‘what if?’ called The Carpentry of Speculative Things: An Art Experiment; the talents of artists Prue Gibson, Rochelle Haley, David Eastwood, Stephen Muecke, Amy Ireland, Baden Pailthorpe and Jacqueline Drinkall will e on display from Tuesday July 2 through Sunday July 7. Then performance artist Kate Blackmore presents a new body of work Top Down, which explores our relationship with power and control, launching on Wednesday July 10 and showing until Sunday July 21.

Visit home.alaskaprojects.com for details.

A Letter to Momo

can have therapy spelled out for you via film narratives, play a video game where the players are real, take home a 3D print of your brain activity and you can even get transported to Cockatoo Island in the 1880s via a smartphone app.

Cockatoo Island hosts much of the festival’s central action… We really like to encourage artists who work site specifically as Cockatoo Island is such an incredible site and can push artists in really interesting directions. There are a number of works that do this quite literally – engaging with any of the multiple histories that inhabit the Island, and then there are the projects that try and interrogate the idea of history itself, like Applespiel’s Stations of the Southern Cross which is building a new, ‘true’ history of Cockatoo Island.

Underbelly Arts Lab and Festival’s 2013 vision is…

Introducing you to the next great Australian artists. We can’t wait for you to meet them.

What: Underbelly Arts Lab and Festival Where: Cockatoo Island When: Lab: July 24-31/ Festival: August 3-4 More: underbellyarts.com.au

BINGO UNIT

Do you know your CSI from your SVU? Did the cancellation of Blue Heelers leave a gaping hole in your heart that has yet to be filled? For those who don’t like to just sit and watch their theatre Team MESS have joined Performance Space to present Bingo Unit, an interactive theatre project that takes audiences behind the scenes of the pilot shoot of an imaginary police drama. Crime buffs can take part in five scenes shot around Sydney from July 2-6, email admin@performancespace.com.au for more details. Then there’ll be public performances from July 10-13 at Carriageworks for the curious armchair detectives. More info can be uncovered at performancespace.com.au

STEPHEN LYNCH

Stephen Lynch claims to be a “musician trapped in the body of a comedian”. Returning for his second Aussie tour in August, Lynch will dish up a dose of his musical-based comedy at the Enmore Theatre on Tuesday August 20, The Tivoli in Brisbane on Wednesday August 21 and Athenaeum Theatre in Melbourne on Thursday August 22. Since scoring a BA in Drama, taking to the Broadway stage in the title role of The Wedding Singer and releasing five albums, Lynch has also toured with comedy royalty like Lewis Black and the late Mitch Hedberg. Tickets on sale from Thursday July 4.

For more information visit stephenlynch.com

GEORGE R. R. MARTIN

Wowza! Game of Thrones writer George R.R. Martin is headed our way in November as part of Sydney Opera House’s Ideas At The House and he’s bringing cleverly

A LETTER TO MOMO

Attention anime fans: Hiroyuki Okiura’s A Letter To Momo has been confirmed as the third feature to screen at Reel Anime 2013. After winning Best Animated Feature’ at the Asia Pacifi c Screen Awards last year, the fi lm joins the festival lineup alongside Evangelion: 3.0 You Can (Not) Redo and 009 Re: Cyborg.

The sweetly odd tale follows a young girl’s quest to fi nd out what her absent father was trying to tell her in a mysterious letter he left behind.

Also announced: a special screening of the second installment of the Golden Age Arc trilogy, Berserk Movie 2: The Battle For Doldrey at Dendy Newtown on Sunday July 7. Head to reelanime.com for more info.

Everyone loves twins. Little Li- Lo in The Parent Trap, trying to play cupid to her (their?) divorced parents; Fred and George Weasley in Harry Potter, causing magical mischief; Danny DeVito and Arnie in Twins.

There’s just something freakishly cool about two individuals looking so similar!

Everybody Has A Plan sees artillery and a murder thrown into the mix when Agustín, a man fed up with his life in Buenos Aires, attempts to solve the mysterious death of his twin brother through plunging himself into Argentina’s crime ring. We have ten double passes to give away, just head to thebrag.com to enter!

Liam Benson, VB Sticker

COLLABORATEURS

For nine consecutive days from July 3-11, Artereal Gallery will present its ambitious curatorial project, Collaborateurs: nine artists, nine collaborative projects and nine exhibitions openings. Designed to harvest new social and artistic relationships, participating artists will work within the confines of a 3x3 square meter white cube to develop concentrated and alternative collaborative processes.

Audiences can expect performance and installation from collaborations between Ella Barclay, Liam Benson, David Capra, Bridie Connell, Tully Arnot and Charles Dennington, Nola Diamantopoulos, Leahlani Johnson, Sylcia Schwenk and Karina Wikamto. For further details head to artereal.com.au

sarcastic dwarf Tyrion (Peter Dinklage) with him. Historical fantasy fans can discuss the winter that is perpetually threatening Westeros (along with mythical beasts, greedy lords and sadistic bastards) with Martin who will also talk all things Stark, Iannister and Targaryen (dragons). We advise you set your alarm for early Friday July 19 for this is when tickets go on sale at sydneyoperahouse.com

NEW SMART OBJECTS

Artist Andre Hemer may hail from New Zealand, but we won’t hold it against him. His vivdly colourful paintings and mixed media works traverse the space between “detritus of digital culture [and] conventions of painting”, combining new technologies like QR codes and 3D renderings with more traditional paint and canvases. Surry Hills’ Chalk Horse Gallery is showing an exhibition of his work titled New Smart Objects. The exhibition opens Thursday July 4 and runs until Saturday August 3. chalkhorse.com.au has all the details.

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EVERYBODY HAS A PLAN! TIX! WIN!

WED JUL 10 THU JUL 11 THE VANGUARD SAT JUL 27 THE BASEMENT SUN JUL 28 BRASS MONKEY BRAG :: 519 :: 01:07:13 :: 19

Reality

[FILM] Everyone Plays A Part By Alasdair Duncan murderer, he is currently serving a prison sentence for gunning down three rival gang members in Naples in 1991. While imprisoned, Arena developed an interest in acting, and it was in a prison theatre company where Garrone first saw him performing. “I knew immediately I wanted to work with him,” Garrone says. “It wasn’t easy – there were many complications, but I was very thankful when the judge finally gave permission.” Arena was given provisional release to shoot Reality – the film crew had to provide police with a complete shooting schedule, and the star was taken back to prison every night, but Garrone says that all the trouble was worth it.

Reality atteo Garrone’s Reality, the story of a fishmonger who becomes blinded by the lights of reality TV, was awarded the Grand Prix at last year’s Cannes Film Festival. Garrone sees the film as something of a companion piece to his previous work, the acclaimed mafia film Gomorrah. “Both of them are about victims,” he says. “Gomorrah is a film about a criminal syndicate, told from the point of view of the victim, and Reality is a

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movie about show business, told from the point of view of the victim. Reality is a much more colourful film. We used the great comedies of the ’50s and ’60s as references of Fellini and Visconti. We show a brighter and more decadent side of Naples, but at heart, the two movies have a lot in common.”

The film’s star, Aniello Arena, is anything but your conventional leading man. A convicted

“I think Aniello brings something unique to the performance, thanks to his past,” Garrone says.

“The character of Luciano discovers a new world in the film – he has surprise and wonder in his eyes in every scene. Aniello had spent 20 years in prison before making this film, so every day on set, he was discovering new things about the world, and he put this aspect of his life into the character, and gave an emotion to the audience that was truly unique.” Arena remains in prison, where he has several years of his sentence left, but Garrone was grateful for the chance to work with him. “I think it was a great opportunity to show how a prisoner can find his way,” he says, “and can become a new person and go back into society as a reinvented man.”

The River Eats

Reality starts out as a comedy as Luciano is tempted by the world of reality TV, but as his obsession with stardom grows, the film’s tone becomes more paranoid and insular. “We never really set out to make a straight comedy,” Garrone tells me. “We knew the story would become a lot darker as Luciano began to lose more of his identity and more of himself.” Garrone and his writing partners were interested in exploring the notion of an innocent being corrupted by powerful temptation. “I remember my reference for that part was The Tenant by Roman Polanski, a comedic film that increasingly becomes a lot darker.”

Garrone insists that Reality is not so much a critique of reality TV as it is a comment on the modern condition. “Stardom can make ordinary people famous and rich,” he says. “Luciano’s friends and family want that for him, so they push him to try out for the TV show. The pressure comes from the society where he lives, more than from him. To succeed, he invents a new character, that he feels will allow him to be much more successful than the real him. The character he invents is like a saint, and that’s the beginning of his tragedy, because he starts to lose himself, and to lose his sanity.”

What: Reality opens in cinemas on Thursday July 4.

Justin Shoulder as Pinky

[PERFORMANCE ART] Dancing With Digital Demons By Amelia Saw

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inky is an internet demon, born from social networking and online shopping.

His skin is the colour of fairy floss and he’s got a head of wild, crimped pink hair.

When he smiles, he reveals a mouth of jutting USB sticks – he uses these to devour his diet of diamantes, adoration and electricity.

Born and raised in Sydney, the Digital Media Honours graduate spent his early 20s living in an urban world, dominated by tech-speed and virtual spaces. Following university, he worked full-time as a photo retoucher.

“The repetition of working on a computer dulled my senses,” Shoulder says, “it shut off my imagination. I didn’t feel very alive.”

In desperate need of self expression, the performance artist started showcasing his ‘Fantastic Creatures’ at nightclubs as well as

Shoulder’s The River Eats introduces the audience to two of his ‘Fantastic Creatures’.

There’s Pinky, the Gen Y, need-for-speed digital demon and OO who represents all that is natural, primal and grounded. The visual spectacle of the show comes from Shoulder’s transformation between the two characters: from the synthetic Pinky to OO, a multi-winged black, white and pink patterned creature inspired by a butterfly Shoulder saw while visiting The Amazon.

While doubtless Shoulder’s performances are original, his work falls in line with a long lineage of fantastical fictional characters that are used to reflect and warn on real life issues. In ancient times, characters such as Medusa put fear into the heart of the Greeks by telling a ferocious tale of a woman’s power to castrate a male, while more recently Bram Stoker used Dracula to voice the anxieties of the Victorian age.

Shoulder believes that this ancient mythological language still has power today because it allows artists to “approach core issues from a fresh

perspective”. The River Eats does not take a moral stance condemning technology, he insists, but rather invites audiences to think about what it is and means to live in a digital age.

“It’s a lifestyle of speed and never having the time to think or appreciate simple things,” Shoulder says. He suggests that to be balanced we need both Pinky and OO elements in our lives. We need a balance between the synthetic and the organic, the frenzied and the peaceful – an insatiable need for more and the capacity to appreciate what we have.

The River Eats, 2013 photo by Jordan Graham

OK so Pinky’s a little over the top, but performance artist Justin Shoulder who will present his new piece The River Eats at Carriageworks from July 3-13, readily admits that subtlety is not his forté. One hour of arresting live performance will see Shoulder use the character to explore the contemporary ego, technology and material obsession.

working with drag cabaret troupe The Glitter Militia.

The River Eats comprises drag, dance, maskwork and spectacle. It transports audiences to an alternative realm by mixing humour with suffering, beauty with unsettling ugliness, and the glimmer of fantasy with barefaced truth. In Shoulder’s words, “It’ll bend your mind”.

What: The River Eats by Justin Shoulder Where: Carriageworks When: July 3-13 More: performancespace.com.au

Mrs Warren’s Profession [THEATRE] Feminism At Its Best By Simon Binns

B

efore the creative team behind Sydney Theatre Company’s Mrs Warren’s Profession had even put their heads together earlier this year, the production had sold out. The subscriber base went nuts for it and when single tickets went on sale there weren’t many left to grab. The only fair solution? An extra season in the middle of the year.

Lizzie Schebesta plays the young Vivie Warren, daughter of the play’s namesake and attributes the production’s enormous public appeal to three factors – Bernard Shaw, Helen Thomson (who plays the eponymous Mrs Warren) and the fact that it’s a period piece with decadent costumes. “I think people are really excited to see a period piece done in its time because there hasn’t been a lot of that recently,” she says.

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Set in 1890, the story revolves around Vivie who is one of the first women in England to study at Cambridge; after she graduates, her mum wants her to move home and in the course of discussing this possibility, Vivie realises that her independent and comfortable lifestyle has been paid for by her mum’s rather ‘unorthodox’ profession. The play then spirals into a complex mix of questions about mother/

daughter relationships, issues of class and privilege, and the forever-debated question of moral relativism.

For Schebesta, who came to theatre by the way of dance before realising what she really loved was dramatic expression, Shaw’s debate was the core joy of the play. “[He] has such compassion for both characters’ perspectives – that’s what I love.” Unfortunately she found the audience weren’t always so compassionate towards Vivie, a character who she had come to really admire. “I would get audience members afterwards saying ‘I really wanted to just slap your character across the face, I just hated her!’” she Schebesta. “That was such a shock to me. I felt an obligation for me to go out into the audience each night and fight for my character.”

For all actors, but particularly young actors who often work more regularly in the independent scene, it’s a rare opportunity to have the chance to revisit a play after a short run. Normally the process is to rehearse in a flurry, perform as many shows you can, then move on to the next thing. “It’s exciting to return to it, because the process is so frenzied that half the time you’re just running on reserve energy,” says Schebesta. “It’s been

really nice to step away from it for a bit and let it settle.” That being said, the team don’t have long to get back into the world of 1890s England as Schebesta admits, “we only have a week.”

With feminism on that national agenda, Shaw’s discussion about the limited options available to women seems disarmingly modern. By placing a strong mother and daughter on the stage, Mrs Warren’s Profession feels at odds with much of our cannon. For Schebesta, it was an opportunity to take on the sort of role that is normally reserved for young males in classic dramas.

“She’s almost like a Hamlet… it’s not often that women play roles that are that opinionated. She doesn’t cry which is very rare for classical females and I found that really refreshing. As a person it made me a bit more outspoken. Her persistence and audacity affected me.”

What: Mrs Warren’s Profession by George

Bernard Shaw Where: Sydney Theatre Company When: July 4-20 More: sydneytheatre.com.au

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

Man Of Steel

■ Film This is Where We Live

MAN OF STEEL In cinemas now

■ Theatre

THIS IS WHERE WE LIVE Until July 13 Seventeen-year-old Chloe (Ava Torch) is starting again – another small town, another new school, another man in her white trash mother’s life. Although initially presenting a façade of pure bravado, Chloe’s inability to read and her unstable home life soon reveal her vulnerability. Chris (Yalin Ozucelik) has his own problems as he struggles to satisfy his overbearing father. When Chloe and Chris meet, their relationship becomes a vehicle to rid themselves of societal and circumstantial expectations. But are these factors something anyone can truly escape?

This Is Where We Live is the latest award winning play by Vivienne Walshe (God’s Last Acre, Birth Nation). Recipient of 2012’s Griffin Award which recognises works displaying authentic, inventive and contemporary Australian voices, the production doesn’t disappoint.

Walshe’s script has a consistent pulse thanks to poetic pacing and literal, rhythmic descriptions of the characters’ world. Audience investment is boosted as performers impulsively fling their inner most thoughts at the crowd.

Although Walshe’s script successfully provides the canvas, it’s Torch and Ozucelik who deliver the nuanced and detailed brushstrokes that elevate this work.

Treading the line between self-conscious hormonal teenage boy and naïve, downtrodden soul, Ozucelik’s lines are the funniest in the work. His humour and honesty make the audience cackle before awkwardly realising they’ve related too much in a room full of strangers.

While not eliciting as many hoots from the crowd, Torch holds steady as the backbone of the narrative. Her thought provoking monologues are striking and she delivers all facets of her multi-layered character with captivating ease.

I remember coming out of the fairly woeful swords-and-sandals-meets-special-effects bonanza Immortals and thinking ‘Henry Cavill as a leading man? It’ll never work.’ I eat my hat. Many producers and directors eat their hat this month as Cavill, who has received far more knockbacks in his career thus far than roles, busts into the box office stratosphere as the titular Man of Steel.

Mind you, there’s still something frustratingly opaque about his performance: for all his good looks and easy charm, and despite an emotionally meaty script co-written by Christopher Nolan, you never feel like you’re seeing past the jaw-bone. He’s a great Superman, however: the polite, earnest young man you’d bring home to your parents; the perfect gentleman; the one-in-a-million person who, given superpowers, won’t abuse them.

This is the heart of the Superman story in all its permutations to date: the moral dilemma of a ‘God’ walking among men. Nolan & Co. are well aware of it (there’s even a scene that has the young Clark reading Plato’s Republic, one of the first texts dealing with this kind of myth; the heavy-handed Jesus comparisons tip the hat to another).

Consequently, the better parts of Man of Steel are the earthly encounters between Clark and people good and bad – and the intergalactic war plot looks rather wan by comparison.

Still: the stakes have to be high for this particular drama machine to work, and what’s higher than a planet in the balance?

The front end of the film careens madly from one plot point to the next, setting up the backstory, taking us from childhood to manhood – just to get us to the moment where Clark has to choose between his own ‘tribe’ of Kryptonites and his adopted home, Earth. Battle scenes ensue, shit explodes, people die – and it turns out even victory is soaked in blood.

A relatable story presented in a unique way, This Is Where We Live has a poetry all on it’s own and eloquently contemplates whether we can choose our own destinies.

There’s an actual simplicity to Man of Steel that’s really satisfying – even engulfed in the 3D rainbow shit-storm of spaceships, explosions and a scenery-chewing Michael Shannon (playing General Zod). If they slimmed down some of those over-long battle scenes, I’d totally probably even watch this again.

Lee Hutchinson

Dee Jefferson

East is East Night Markets Every Thursday 6.30pm - 9.30pm Tap Gallery, 278 Palmer Street, Darlinghurst

Starts 18th July!

Beautiful handmade and vintage crafts all under $100!

FROM THE DIRECTOR OF GOMORRAH A F I L M B Y M AT T E O G A R R O N E

Fellini-esque...

See www.thebrag.com for more arts reviews

- CINE-VU E .COM -

A jewel of a film

Arts Exposed

- E D S U L L I VA N , T H E O B S E R V E R -

What's in our diary...

Perceptive, unpredictable & very funny

Sydney Moderns Opens Saturday July 6 Art Gallery of New South Wales, Domain

- R O B B I E C O L L I N , DA I LY T E L E G R A P H -

This week, the Art Gallery of New South Wales launches blockbuster Sydney Moderns: Art For A New World on Saturday July 6. The exhibition will offer up work by some 180 artists whose work explores the making of a modern city. The retrospective presents a diverse selection of works produced between 1915 and 1941 and boasts a lineup of the era’s most iconic modernists such as Grace Cossington Smith, Margaret Preston, Roy de Maistre, Ralph Balson and Harold Cazneaux. For more information on tickets, dates and complementary lecture series visit artgallery.nsw.gov.au

Aniello Arena is outstanding.

— T O M DAW S O N , T O TA L F I L M —

Grace Cossington Smith, The Bridge in-curve, 1930 (detail)

OPENS JULY 4

EXCLUSIVE TO CHAUVEL CINEMA

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bread&thread Food & Fashion News

Jeremy Neale

BROOKLYN HIDE

Mmm New York City bagels.

Where to find the authentic goods sans the hefty airfare? Sydney’s latest nod to the Big Apple’s doughy favourite, Brooklyn Hide (226 Commonwealth St, Surry Hills), seem to have pulled it off.

Co-founders Daniel Littlepage and Matthew Forsdike are all about mastering the traditional taste of these bready delights; Brooklyn Hide’s bagel recipe is based on New York principles of boiling before baking. With a neighbourhood-inspired selection of toppings like Chinatown (crab, egg, XO sauce) and Midtown (corned beef, Jarlsberg, sauerkraut, mustard), the joint’s certainly doing something right. Find out more about Brooklyn Hide at facebook.com/brooklynhide

THE APPRENTICE Necklace by Milk Saloon

EAST IS EAST NIGHT MARKETS

A new hand-made night market is about to land in Darlinghurst at The Tap Gallery. Spearheaded by trendoid Liz Raleigh, East is East Night Markets guarantee a smorgasbord of goodies and will run every Thursday from 6.30-9.30pm starting on July 18. The best part? All products are hand-made and under $100.

The bar at Tap will also be open on market nights so why not meander through aisles of jewellery, paper crafts, clothes, textiles, ceramics, vintage ware, accessories and housewares with tipple in hand? Lineup highlights include Etsy sensation Seventh Tree Soaps, ceramics from hotshots Niharika Hukku and Mudslinger Ceramics, screen-printed tees and accessories from Uncle Fritz and jewellery by Milk Saloon. For more info visit facebook.com/ EastIsEastNight

FIT FOR A KING

Throughout the month of July, The Animal at Newtown Hotel is encouraging us to keep warm by pretty much offering punters the option of self-inflicted food coma.

For 40 bucks, diners can tuck into a Greek feast of spit-roasted lamb

and pork as well as veggo and non-veggo share plates. And hey if you still manage to get legless, The Animal’s taking their RSA pretty seriously so is including cab fares to and from the venue for you and your mates! Visit newtownhotel. com.au for all the details.

Fancy yourself a whiz in the kitchen, a master of the grill, best slicer and dicer about town, maneuverer of whisks, spatulas and other cookery gadgets? Aspiring to all or any of the above? Well, William Angliss Institute might just be the answer you’re looking for.

They’re running free, yes free, fourweek long Chef Pre-Apprentice Programs in Commercial Cookery starting this month. “During the four weeks, students will gain the basic knowledge and practical skills involved in working in a commercial kitchen,” says program leader Cain Slater. More info at angliss.edu.au

THE EASTERN

This month, Bondi Junction’s The Eastern will launch three new eating and drinking destinations.

Breathing new life into the area’s pub-heavy booze scene will be Chimmi’s (second floor), a South American-inspired bar, and The Publican (ground floor), a beer geek’s paradise with over 100 craft

LABELSTATE X JEREMY NEALE

Sydney-based online band t-shirt gurus LabelState.com are bringing Jeremy Neale to the party for a live gig at their pop-up store (118 Oxford St, Darlinghurst) on Saturday July 6 at 2pm. The ’60s pop maestro and Velociraptor frontman will lead a full-band set which will also be broadcast live by our pals over at FBi Radio. Fashun and music.

What more can you want? Head to labelstate.com for more info.

beers and ciders on offer which both open on Tuesday July 9.

The Eastern’s third addition will be Anatoli, an upmarket restaurant on the establishment’s first floor, which is set to open mid July. Then of course there’s El Topo atop for your fix of Mexican fare up on the rooftop terrace. Visit theeastern. com.au for more information.

CHUR BURGER RETURNS

For those of us lucky enough to gobble down one of Chur Burger’s early-days masterpieces before the joint burned down earlier this year in March after just six weeks in operation, one thing’s for sure: we’ve been waiting oh so patiently for the venue’s reopening! Taking over the Albion Street Kitchen site at 49 Albion Street (literally just a couple doors down from BRAG HQ!), Chur Burger is the handiwork of Kiwi lad Warren Turnball who’s interested in one thing: delivering the tastiest burgers in town. And the get you salivating hear this: grilled beef, cheese, tomato jam, mustard mayo, pickle-marinated grilled chicken, minted slaw, spiced chickpea fritter, pulled pork, aiolicrumbed fish fillet. Hells yeah, we thought you’d be keen. More at churburger.com.au

MISS PEACHES

INDEPENDENT NORFOLK

It’s not much fun celebrating American Independence Day on a school night we reckon and we’ve found a likeminded booze outlet to help us out by celebrating two days late on Saturday July 6.

The Norfolk will help you adopt the federal holiday by serving up buckets o’ wings and hot dogs while the bar quenches will be happy to quench your thirst with $20 Americana Jugs all day. Of the liquid variety that is, lads.

Jug flavours include Alabama Slammer, Uncle Sam, American Pie and Stars ‘N’ Stripes. Want more? Go for the $5 Budweisers!

Up for getting trollied? Try a Bud and Bourbon shot for 10 smackaroos. Visit thenorfolk.co for more info.

bar profile Something to start with Crawfish pies are an absolute winner.

201 MISSENDEN ROAD, NEWTOWN WEDNESDAY – SUNDAY 5PM – MIDNIGHT

The main course: Grits and gravy beef is a dish cooked slowly and lovingly overnight.

Get in on the action!

Care for a drink? The Rum and Raisin Root Beer Float is a delicious mix of rum, spicy house-brewed ginger beer, a squeeze of lime, and home-made molasses and Sailor Jerry ice cream.

The team: Miss Peaches is the latest establishment by creative hospo team Richie Haines, Marty Routledge and Luke Della Santa. The team are also responsible for venues The Vic and The Projects Enmore.

The grub comes courtesy of head chef Ernie Priestley (Merivale, Keystone, Drink’n’Dine) with tipples being mastered by bar manager Jimmy Snelgrove (The Bentley, Merivale).

The Basics: Newtown’s latest bar/eatery combo, Miss Peaches, takes as its inspiration the soul food and romp stompin’ blues of the Deep South. Think fried chicken, gumbo, catfish all washed down with rustic cocktails

22 :: BRAG :: 519 :: 01:07:13

and an extensive offering of top-shelf whiskies. With vintage vinyl, mason jars and traditional sign painting aplenty, the venue’s a welcome addition to Newtown’s home-made hangout repertoire.

Flavours: Miss Peaches shares with Sydneysiders her secret family recipes including gumbo and catfish, plus fried and mapled goodness that is synonymous with the deep south of the US of A.

Room for dessert: Miss Peaches bakes a selection of sweet pies daily. Currently on the menu is a sweet pumpkin pie with whiskey cream.

The bill comes to: Approximately $38 for an average feed.

Make us drool: Miss Peaches is a blues infused bar offering music (including Ray Beadle live every Thursday), cocktails and an extensive menu of home-cooked soul food in the heart of Sydney’s latest bar hopping circuit, Newtown. Miss Peaches brings you down and dirty grit of the southern states’ most authentic drinking establishments. www.misspeaches.com.au

WITH SPECIAL GUESTS

THU 25 JUL OXFORD ART FACTORY TICKETS ON SALE NOW Presented by Secret Sounds by arrangement with WME

deapvally.com | secret-sounds.com.au

BRAG :: 519 :: 01:07:13 :: 23

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

ALBUM OF THE WEEK YOU AM I

Reissues of: Sound As Ever; Hi Fi Way; Hourly, Daily Sony Music

Three of the strongest Australian albums of the past Xxxx 20 years are spit-shined up and embellished with dozens of bonus tracks from the vaults.

You won’t stop grinning.

Every reissue of a classic album has two very different audiences – the long-time fans and the curious newcomers. For many of us 90s kids around Australia, the reissue of Sound As Ever (1993), Hi Fi Way (1995) and Hourly, Daily (1996) will be the first time that albums that meant everything to us are given the official ‘classic reissue’ treatment. Kids, it will happen to you one day too.

Fans will need no assurance that these albums hold up as timeless, and little has been brought to the front through remastering. Newcomers who only know the hits may be surprised at the R&B groove

found under Sound As Ever’s dirty guitars (‘Adam’s Ribs’, ‘Coprolalia’), the emergence of Tim Rogers’ cocky/awkward juxtaposition on Hi Fi Way (‘Pizza Guy’, ‘How Much Is Enough’), and the sublime jangle and suburban bittersweetness that inhabits Hourly, Daily (‘Soldiers’, ‘If We Can’t Get It Together’). If there are faults to the original albums, perhaps each could have been shortened by one or two songs, but only the most contrary will quibble over the necessity of an ‘Off The Field’ here or a ‘Heavy Comfort’ there.

Where the reissues really surprise is in the bonus material – not just a couple of songs tacked on the end, but an extra 65 tracks across the three albums. There’s little truly unheard material – the unreleased Posies-ish track ‘Up Against It’ and an early demo of ‘Tuesday’. However, only the most avid collectors would be across the deep well of gold that comprises B-sides, 7” singles, original bonus discs,

live recordings and covers of forebears like Big Star, New York Dolls, The Who and The Easybeats. As a fan, having these cast-offs finally assembled is an absolute treasure. Newcomers, you’re being handed a box of everything we scraped together over our youth, so ensure you’re not overwhelmed and listen to the albums first.

Simon Topper

BIG SCARY

ALUNAGEORGE

HOUNDMOUTH

THE ALMOST

Not Art Pieater/Inertia

Body Music Island UK/UMA

From The Hills Below The City Rough Trade/Remote Control

Fear Inside Our Bones Tooth and Nail

Big Scary have returned with their first release in a while; moodier and more intelligible than their previous EPs. The evolution of the Melbourne duo’s sound on their second album No Art reflects a more measured approach.

After an outwardly prolific period of releases, Tom and Jo became pretty quiet, focusing on touring since their 2011 debut Vacation.

No Art is a cyclic album that rises and falls almost like an ocean rhythm.

It fades in with ‘Hello, My Name Is’, a sprawling introduction that emerges from the deep with clashing percussion and pounding guitars, and fades out with the twinkling piano trills and hushed “ooh oohs” of ‘Final Thoughts, With Tom And Jo’.

In between, ‘Luck Now’ is a stirring, mournful rumination on fading love, and ‘Belgian Blues’ invokes Jeff Buckley with its wailing chorus and psych-garage guitars. This echoes into the processional sound of the stunning ‘Phil Collins’, a reverent homage to an ancient hymn (with surprisingly little in the way of snare fills). ‘Long Worry’ is a simple ballad peppered with warmth and gentle layers of brass and guitar, contrasted with a tragic tale of quiet desperation.

There are a few instances that – while not exactly jarring – do pull away slightly from the flow of the album. ‘Why Hip Hop Sucks In ‘13’ is a discordant track, with vocals after Polyserenaera Katie Noonan, but it doesn’t have the weightlessness needed to float that sound. ‘Harmony Sometimes’ is similarly distracting in its incongruous blend of rhythm and vocals.

London based duo AlunaGeorge have been making waves after their triumphant collaboration on Disclosure’s single ‘White Noise’, as well as reaping plenty of praise for their breakthrough EP ‘Your Drums Your Love’.

Body Music is the first long player for Aluna Francis and George Reid and there is no denying that the pair are on to a good thing. The record is an easily digested blend of R&B-styled grooves and robot pop, as well as house, UK bass and garage influences liberally applied throughout. There’s even a cheeky bonus version of ‘This Is How We Do It’ by Montell Jordan, which is given a sassy noughties revamp; Francis’s vocals surprisingly complement the 90s classic.

Sophomore single ‘Attracting Flies’ is cleverly crafted pop for people who insist they can’t stand pop music; there’s a hint of early Lily Allen to the lyrics and it gives what could have easily been an utterly pedestrian tune some grit and guts. What becomes glaringly apparent throughout the course of Body Music is the ability of Francis’s vocals to go from girlish and sweet to plain annoying. This isn’t helped by the banality of some of the lyrics, which seem to revolve more or less around failed relationships, among other well trodden themes, but interest in the lyrical content wanes too quickly to warrant much more attention.

However, tracks like ‘You Know You Like It’ keep things from falling too far below board; a tight R&B groove pared back with modern touches like fluttering synths and a robust bass line show that the pair can really nail their pastiche of influences when they’re not getting carried away with trying to be too quirky.

No Art has a moodier, darker sound than we’ve heard before from Big Scary, but it’s developed and the album is gorgeously coherent, with the songs flowing into each other with ease and a sort of assured inevitability.

It’s a great shame that the standouts on Body Music are buried in amongst some incredibly disappointing and average filler material when there’s so much potential for something great here.

Natalie Amat

Marissa Demetriou

Houndmouth are born from the altcounty tradition of The Band and Whiskeytown, paired with the pop-folk sensibility of the Lumineers. Expect storied organ-driven ballads woven from honeyed harmonies and lonesome guitar. It is near faultless in its execution of ‘Americana’, so much so that it’s rendered shiny and flat. On most tracks the warmth and heart is buried by the slick production, but they sound like a band that really hits their stride playing live.

Album opener ‘On The Road’ is a great song, though, stirring and stamping, all simple instrumentation knitted together just right. Overall these are simple songs; in the lyrics the titles are repeated often, which runs the gamut from endearing (‘Hey Rose’) to mildly annoying (‘Penitentiary’). At times things border on the overly referential, like closer ‘Palmyra’ – “she took a Kentucky shower / In the pouring Tennessee rain” – (there are a lot of geographical references on this record, but unfortunately they don’t really take us anywhere).

The tales the songs tell are tragic and tainted, but they’re missing the poetry and heart of the alt-country records that have become modern classics.

What makes albums like Heartbreaker and O.C.M.S so great is the balance between acknowledgement and innovation – they’re very much “genre” albums, but they manage to be so while bringing something unique to the table.

This is where From The Hills… stumbles.

It feels as though the band has a wistful nostalgia for Americana and is assured and aware of the tradition, but as a whole it sounds like a very polished exercise, with none of the cracks and grooves that give you something to hold onto and explore.

It’s always interesting when a rap record makes no pretence of its sleazy, crass and ostentatious intentions, and former chef and wordsmith extraordinaire Action Bronson does just that on Saab Stories.

The gravelly texture of Gillespie’s voice remains consistent throughout the record, reflective of its subtle bluesy undertone. The eponymous ‘Fear Inside Our Bones’ plays on the empowering, yet clichéd, idiom of the relationship between fear and nature: “We were made with fear inside our bones.” The instrumental crescendo and Gillespie’s shriek of “This makes us feel alive” involuntarily loses most of its effect due to this slightly corny moment of enlightenment. The rockabilly ‘I’m Down’ is a favourite, with its aggressive blues overtone and spontaneous cowbell.

Sounding more like something off a Gary Clark record, this song is really groovy, a relief from an almost stagnant repertoire.

There’s a pervasive sense that Bronson doesn’t really care for good taste (unless it’s food) and the gleeful relish with which he sprays lines like “hold my dick while I take a piss” serve only to elicit guffaws from the lads.

As the LP progresses, though, the instrumentation starts to sound the same – thickly distorted guitar riffs that seem to go nowhere.

From The Hills Below The City is enjoyable and well produced, but lacks the depth and personality to make it a classic.

This third release does justice to its preceding records, outweighing them in terms of versatility and experimentation, and it would most definitely be appropriate for a hardcore gym workout, however it doesn’t raise any of those tiny hairs.

Natalie Amat

Dina Amin

The Ash & Clay ANTI-

their previous stuff, this record drips with sweet harmonies accompanied by intricate rhythmic strumming that sets the atmosphere for all those feeling a nostalgic ache for peaceful afternoons swept underneath the sun.

/ Let’s come home tonight.” The song begins with what sounds like a soft flowing stream of delicate guitar picking along with a pairing of vocals; at times you almost forget there are two people singing.

With two albums already under their belt, Californian folk duo The Milk Carton Kids now return with their third record, The Ash & Clay. Following the success of Retrospect and Prologue back in 2011, Kenneth Pattengale and Joey Ryan have crafted a sound that pays homage to Simon and Garfunkel.

There’s a simple rawness and warmth that goes along with their dry humour on stage. Not too different in tone from

‘Memphis’ resonated with me. The song is a perfect example of two guitars and two voices weaved together to form an achingly beautiful folk song. “I guess it’s been a long decline / God bless the souls that shook up mine.” As supple as this song is, the lyrics melded with its haunting melancholy tone add a depth of poetry – taking you back to a moment in time of tender loss. Meanwhile, ‘Ash & Clay’ adds a layer of hope. “Let’s come home before the girls are grown

The album as a whole is a stripped down effort, highlighting the striking vocal melodies and guitar lines that intertwine over one another, and when combined form music with a timeless appeal.

24 :: BRAG :: 519 :: 01:07:13

Simplicity is a nice and often undervalued quality. In this case, less is more.

Kiera Thanos

Saab Stories EP Atlantic Records

Having recorded this album live in the fast tracked span of just five days, you would expect The Almost’s latest release to be gritty, raw and covered in sweat and blood.

As predicted, it is. Fear Inside Our Bones, The Almost’s third LP is a bunch of fierce confessional tracks, composed by lead vocalist and lyricist Aaron Gillespie. This latest installment from the post-hardcore outfit is more versatile than its predecessors.

Collectively, it contains an underlying echo of blues, with sporadic appearances of rockabilly and folk sensibilities. ‘Ghost’, the opening track, kicks off with a heavy drum and bass guitar prelude, followed by Gillespie’s hoarse vocals as he confesses a manic desperation to escape the past.

INDIE ALBUM OF THE WEEK THE MILK CARTON KIDS

ACTION BRONSON

The EP’s served well by Harry Fraud’s well rounded, luscious and bodacious beats; there are some trap influences on ‘Alligator’, but for the most part Fraud keeps his beats nice and elastic.

What is most striking about Saab Stories is the unapologetic filth that dominates practically each and every verse; yes, it’s a rap record, but there’s interesting story telling and then there’s gratuitous grubbery, which Bronson embraces wholeheartedly here.

As well as seemingly un-ending references to vaginas, it wouldn’t be an Action Bronson record without food analogies woven throughout. Lines like, “That’s right / I eat right out the motherfucking pot / Fuck a spoon / I’ve been eating hand to mouth my whole life” (‘72 Virgins’ ft. Big Body), bring some clever respite from all the gutter talk.

Elsewhere, ‘No Time’ with its whimsical sing-song chorus is far and away one of the stand outs on the record, while unfortunately ‘The Rockers’ featuring Wiz Khalifa falls flat on its face. ‘Strictly 4 My Jeeps’ thankfully, picks up things up to an Action Bronson standard.

When Bronson isn’t trying so hard to elicit cheap, frat boy style gags, he has some surprisingly insightful moments with Saab Stories.

Marissa Demetriou

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

TV ON THE RADIO - Return To Cookie Mountain THE NATIONAL - Boxer FRIGHTENED RABBIT - Midnight Organ Fight

DISCLOSURE - Settle BOY & BEAR - Fall At Your Feet (cover)

snap sn ap

up all night out all week . . .

LV L 3 , 3 8 3 B O U R K E S T S U R RY H I L L S

L I V E M U S I C , V I S U A L A R T, T H E AT R E , CO M E DY, B U R L E S Q U E & B O O Z E

COME IN WE’RE OPEN TIL 3AM!

breaking orbit

PICS :: AM

FRI 05 JUL 22:06:13 :: Annandale Hotel :: 17 Paramatta Rd Annandale 9550 1078

‘THE BULLSHIT ASIDE’ SINGLE TOUR

FRI 12 JUL SAT 13 JUL RUSTY SPRING SYNCOPATORS LO CARMEN / PETER HEAD

BLOODS AND BEC & BEN

THU 18 JUL FRI 19 JUL

AC PRESENTS

EDEMA RUH IBIS NIXON AND THE COWBOY ZEALOTS THE PROPHETS OF IMPENDING DOOM GENERAL PANTS AND THE PRIVATES

Coming Up

PICS :: TL

bearhug

20:06:13 :: Brighton Up Bar :: Level 1/77 Oxford St, Darlinghurst 9572 6322

IN JULY

24th ROBERT DELONG 25th WAVVES / UNKNOWN MORTAL ORCHESTRA 27th THE PROTOMEN & MC FRONTALOT

DON’T MISS...

GLASS TOWERS / DARWIN DEEZ / JAGWAR MA / DIAFRIX GALLERY BURLESQUE / FACEBOOK.COM/THESTANDARDSYDNEY TICKETS ON SALE NOW AT WEARETHESTANDARD.COM.AU PICS :: HL

fbi + rice is nice + popfrenzy present

22:06:13 :: Oxford Art Factory :: 38-46 Oxford St, Darlinghurst 9332 3711 BRAG :: 519 :: 01:07:13 :: 25

snap sn ap

kora

PICS :: TL

up all night out all week . . .

20:06:13 :: Oxford Art Factory :: 38-46 Oxford St, Darlinghurst 9332 3711

BORIS

Manning Bar Friday June 21 The curtains drew back and a smoke machine hot-boxed the entire bar before Boris appeared onstage. Drummer Atsuo stood before a massive gong structure – the centrepiece of the stage – and struck it with his mallet to signify the beginning of the Boris ritual.

Silhouetted by red lighting and heavy smoke, Wata’s thin frame and Les Paul guitar was barely visible as she opened into the sludgy riff of ‘Huge’. To the right, the contours of a floating hand played Takeshi’s custom double-neck bass/guitar, until he moved into the light. Powered by enough cabinet amps to satisfy an outdoor festival, the sound was colossal. This is a band that in the past has shattered glass with their soundwaves alone.

However, their guitars are down-tuned to such an extent that the low frequencies of their music keep one’s eardrums intact.

It seems everything up to this point was a warm-up for the highly anticipated performance of Flood in its entirety. As Wata opened into the delay intro, Manning Bar was ready. After the build up of ‘Part I’, the crowd fell silent throughout the lengthy, minimalist ‘Part II’. I have never seen an audience jolted like that before, and for me, it was the apex of their set. ‘Part III’ developed into a heavy drone, its texture thicker than anything prior, before fading into ambience at ‘Part IV’. To finish, Boris blasted into noise, as Atsuo battered the gong once again. The ceremony was over.

It might be said that in imposing notions of genre over a piece of music, we attempt to make sense of abstract noise. Doing so is a process of confirming our understanding and expectations, by which we seek guidance. Boris proves that no genre is self-contained. To experience Boris live is to be put under a sort of hypnosis, where the terms we employ to categorise music are no longer disparate; rather, they become an assemblage in constant flow.

This band can do no wrong.

Harris Mackenzie-Boock

PICS :: AM

dappled cities

Moving into ‘Rainbow’ – a softer, psychedelic song – Wata took over on whispery vocals. Her electrifying fuzz-solo was met with great praise and devil horns.

Then, almost antithetically, the fast-paced ‘Pink’, featuring wailing backing vocals

by Atsuo, and renditions of ‘Vanilla’ and ‘Statement’ before we returned to vast open space with ‘Angel’ and ‘Cosmos’,

and blissful use of Wata’s analogue tapedelay.

black springs

PICS :: KC

20:06:13 :: The Hi-Fi :: Entertainment Quarter 122 Lang Rd Moore Park 8683 2301

21:06:13 :: Brighton Up Bar :: Level 1/77 Oxford St, Darlinghurst 9572 6322

26 :: BRAG :: 519 :: 01:07:13

PHOTOGRAPHER : ASHLEY MAR :: KATRINA CLARKE :: AVERIE S : TIM LEVY (HEAD HONCHO) OUR LOVELY PHOTOGRAPHER :: MAR LEY ASH :: NAN MAG TH AMA HARVEY :: HENRY LEUNG ::

snap sn ap

up all night out all week . . .

NG PHOTOGRAPHER : HENRY LEU

sosueme ft strange talk

19:06:13 :: The Beach Road Hotel :: 71 Beach Rd Bondi Beach 91307247

Oxford Art Factory Wednesday June 19 You would never label Toy’s music groundbreaking, but the London fivepiece’s krautrock and psych-garage inspired sound has definite accessible appeal. Widely compared to The Horrors – due to their mutual appreciation of 60s garage and thin, pale, androgynous Shoreditch look – their live set was precise and rhythmically taut, neatly demonstrating the potential for similar success.

Playing to a mostly industry audience at the Bulmers Underground event, Toy’s compact nine track set opened with the euphoric ‘Colours Running Out' lifted off last year’s self-titled record. Tom Dougall’s disengaged vocals worked a treat on the chorus line, “it’s not that easy, your colour’s running out,” playing off Dominic O’Dair’s piercing, urgent guitars and Alejandra Diez’s gritty synths.

‘Left Myself Behind’ came next, their first ever single, and its more robust nature showcased the band’s formula of pulsating walls of sound filled with evocative guitars and post-punk percussion that comes to a

swirling climax while enmeshed in a sea of mournful keyboard effects.

Observing Toy’s faultless live display, it’s unsurprising that three of the members had previously played together in the short-lived hype band Joe Lean & The Jing Jang Jong.

My personal highlight of the set was the rumbling ‘Dead & Gone’, which began with an ominous bass riff leading into a jagged, angular post-punk track featuring vocals reminiscent of seminal 80s British groups such as Wire and Magazine. The group also paid homage to their sugary 60s pop sensibilities on their latest single, the rather lyrically sappy ‘My Heart Skips a Beat’, which drew a favourable response from the crowd.

Closing with the narcoleptic nine-minute jam ‘Kopter’, the group unleashed wave after wave of reverb and feedback, while creating the unique visual effect of four fringed heads bobbing up and down – seemingly lost yet finding comfort in the fuzzed out noise. It was a dissonant end to the short set as the audience streamed out, ears jarred yet ringing with a smug sense of satisfaction.

Larry Lai

fbi + broken stone

PICS :: AM

TOY

22:06:13 :: Oxford Art Factory :: 38-46 Oxford St, Darlinghurst 9332 3711 :: KATRINA CLARKE :: AVERIE S : TIM LEVY (HEAD HONCHO) OUR LOVELY PHOTOGRAPHER :: MAR LEY ASH :: NAN TH MAG HARVEY :: HENRY LEUNG :: AMA

BRAG :: 519 :: 01:07:13 :: 27

g g guide gig g

send your listings to : gigguide@thebrag.com

pick of the week

Uhlmann + L J Phillips + Ruby’s Toy + Main Sequence + Chris Brookes + Massimo Presti Kelly’s On King, Newtown.

7:00pm. free.

Amy Vee

Atom Bombs

SATURDAY JULY 6

TUESDAY JULY 2 ACOUSTIC/ COUNTRY/BLUES/ FOLK

Song Quest Semi-Final 3 Ft. Angelene Harris + Sarah Wilkins + Jade Imogen Ambroze + Jane Malone + Sundown Shamans + David White + Dan Cochrane + Satoru Tea Garden Hotel, Bondi Junction. 7:00pm. free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Old School Funk And Groove Night Venue 505, Surry Hills.

8:00pm. free.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Brighton Up Bar Darlinghurst

Brighton Up Bar First Birthday Atom Bombs, Shady Lane, Bearhug, Corpus, Hailer, Dead Radio, God K, Bad Valley, SPOD (DJ Set), Day Ravies (DJ Set), Bec & Ben (DJ Set), The Jones Rival (DJ Set) 5:00pm free.

MONDAY JULY 1 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Latin & Jazz Open Mic World Bar, Kings Cross.

7:00pm. free.

28 :: BRAG :: 519 : 01:07:13

INDIE, ROCK, POP, METAL, PUNK & COVERS

Frankie’s World Famous House Band Frankie’s Pizza, Sydney.

9:00pm. free.

Liverpool Idol Ft.The Catalyst + Wunderground + Global Language + Another Avenue + Turn From Temptation + Karmic Dirt

+ Kid Troy + The Band Of Mercane’s Collingwood Hotel, Liverpool.

7:00pm. $15.

ACOUSTIC/ COUNTRY/BLUES/ FOLK Buffalo Tales Venue 505, Surry Hills.

8:00pm. $10.

Songsonstage Ft. Helmut

Carl Fidler Observer Hotel, The Rocks.

8:00pm. free.

Co-Pilot Orient Hotel, Sydney. 9:00pm. free.

Ziggy Pop Tuesdays Ft.The Lockhearts + Blackbird + Because They Can Brighton Up Bar, Darlinghurst, Sydney.

8:00pm. $5.

WEDNESDAY JULY 3 ACOUSTIC/ COUNTRY/BLUES/ FOLK

Muso’s Club Jam Night Bald Faced Stag Hotel, Leichardt. 8:00pm. free.

Pulp Kitchen And Folk Club Ft. Live Rotating Folk Bands Soda Factory, Surry Hills.

5:00pm. free.

Songsonstage Ft. Angelene Harris + Patrick Arnold + Guests The Cat & Fiddle, Balmain, Sydney. 7:00pm. free.

Songsonstage Ft. Taos + John Chesher + Gavin Fitzgerald Coach & Horses Hotel, Randwick. 7:00pm. free.

Songsonstage Ft. Chris Raicevich + Satoru Ruby L’otel, Rozelle. 8:00pm. free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Dave Jackson Quartet + Visual Artist Linda Radcato Venue 505, Surry Hills.

8:00pm. $15.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Aimee Francis + Johnathan Devoy + Angel Awake The Brass Monkey, Cronulla.

7:00pm. $13.

Souled Out Orient Hotel, Sydney. 9:00pm. free.

Vibrations Ft. Good Griefs + A.M.O.R.A + Wunderground + Belltoll + Nest + November’ Oath Valve Bar, Tempe. 7:00pm. $15.

THURSDAY JULY 4

FRIDAY JULY 5

ACOUSTIC/ COUNTRY/BLUES/ FOLK

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Jo Jo Smith + Sue Toterdell Lizotte’s Dee Why, Dee Why. 7:00pm. $34.

Muso’s Club Jam Night Carousel Inn Hotel, Rooty Hill.

8:00pm. free.

Myra Flynn (NYC) Venue 505, Surry Hills.

8:00pm. $15.

Paul Greene And The Other Colours Camelot Lounge, Marrickville.

7:00pm. $20.

Songsonstage Ft. Peach Montgomery + Hugo Murray + Satoru Forest Lodge Hotel, Forest Lodge. 7:30pm. free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Fado Night W/ Fado In Australia Camelot Lounge, Marrickville.

6:00pm. $15.

Myra Flynn (NYC) Venue 505, Surry Hills.

1:30pm. $15.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Best Of The Bee Gees The Brass Monkey, Cronulla.

7:00pm. $38.

Calypso Toad + The Darkened Seas + The New Orleans Brighton Up Bar, Darlinghurst, Sydney. 8:00pm. $10.

Galactic 4th July Party Ft. Calypso Toad + The Darkened Seas + The New Orlans Brighton Up Bar, Darlinghurst, Sydney. 8:00pm. $10.

Ginger And The Ghost + Amy Vee The Standard, Surry Hills.

8:00pm. $15.

Joe Echo Duo Orient Hotel, Sydney. 9:00pm. free.

Paul Greene Camelot Lounge, Marrickville.

8:00pm. $20.

Rabid Zulu + The Bitter Sweethearts Valve Bar, Tempe. 7:00pm. free.

St George Scream Forest Inn Hotel, Bexley.

7:00pm. $15.

Stormcellar Jannali Inn, Jannali. 7:30pm. free.

The Owls + The Black Zeros Oxford Art Factory, Darlinghurst, Sydney. 8:00pm. free.

Marsala (Gypsy Dance) Venue 505, Surry Hills.

8:00pm. $25.

Polymorphic Orkestra Sima, Seymour Centre, Chippendale. 8:30pm. $20.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Bonez + Teenage Hand Models + Particles Oxford Art Factory, Darlinghurst, Sydney. 8:00pm. free.

Cambo Observer Hotel, The Rocks.

10:30pm. free.

Carl Fidler Observer Hotel, The Rocks.

6:00pm. free.

Cash For Gold + Iluka + Kristy Lee Upstairs Beresford, Surry Hills. 6:00pm. free.

Cath & Him Coogee Bay Hotel, Coogee.

11:00pm. free.

Closure In Moscow Goodgod Small Club, Sydney.

8:00pm. $15.

David Agius Duo Kings Cross Hotel, Kings Cross. 11:00pm. free.

Flux Rock Lily, Pyrmont. 10:30pm. free.

Heath Burdell Clovelly Hotel, Clovelly.

8:00pm. free.

Hornsby Hotshots Ku-ring-gai Pcyc Performing Art Centre, Hornsby. 7:00pm. $15.

Jamie Lindsay Kings Cross Hotel, Kings Cross. 7:00pm. free.

La Dispute + Pianos Become The Teeth + Clipped Wings Metro Theatre, Sydney.

7:00pm. $40.

Lime Cordiale The Standard, Surry Hills.

8:00pm. $10.

Manic Street Preachers + Hungry Kids Of Hungary Hordern Pavilion, Sydney.

7:30pm. $89.

Metal Evilution Presents “Metal” Ft. Slaying The False + Malakyte + Fenrir + Enter Vi Valve Bar, Tempe. 7:00pm. free.

Michael Mcglynn Crows Nest Hotel, Crows Nest. 6:30pm. free.

Outlier Crows Nest Hotel, Crows Nest. 10:00pm. free.

Psuedo Echo The Brass Monkey, Cronulla.

g g guide gig g send your listings to : gigguide@thebrag.com Hills. 6:00pm. free.

Lily Dior Venue 505, Surry Hills.

8:00pm. $20.

Snafu And Alex Silver Quintet Sima, Seymour Centre, Chippendale. 8:30pm. $20.

The Transylvaniacs Camelot Lounge, Marrickville.

9:00pm. $25.20.

Lime Cordiale

INDIE, ROCK, POP, METAL, PUNK & COVERS

7:00pm. $38.

Rob Henry Observer Hotel, The Rocks.

8:30pm. free.

Steve Edmonds Band + Experience Hendrix The Factory Theatre, Marrickville, Sydney. 8:00pm. $85.

The Tsars + Going Swimming + Service Bells + Jugular Cuts FBi Social, Sydney. 8:00pm. $10.

ACOUSTIC/ COUNTRY/BLUES/ FOLK Bandsonstage Ft. The Count’s Trio + Tiger & The Rogues + Satoru + Leaf Nightingale + Peach Montgomery

The Cat & Fiddle, Balmain, Sydney. 8:00pm. $15.

Jim Conway’s Big Wheel Camelot Lounge, Marrickville.

8:00pm. $25.

Paul Greene And The Other Colours Old Manly Boatshed, Manly.

9:00pm. free.

SATURDAY JULY 6 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Fat Rabbit + Meow Kapow + Brett Hunt + F.R.I.E.N.D/S Upstairs Beresford, Surry

Apes + The Faults + New Brutalists FBi Social, Sydney. 8:00pm. $10.

Brighton Up Bar First Birthday Ft. Atom Bombs + Shady Lane + Bearhug + Corpus + Hailer + Dead Radio + God K + Bad Valley + Twist & Shout DJs + Fools Gold DJs + Spod (DJ set) + Bec & Ben (DJ set) + Day Ravies (DJ set) + The Jones Rival (DJ set) Brighton Up Bar, Darlinghurst.

5:00pm. free.

Black Diamond Hearts Rock Lily, Pyrmont. 9:30pm. free.

Carl Fidler Observer Hotel, The Rocks.

4:30pm. free.

Dave White Experience Crows Nest Hotel, Crows Nest. 10:30pm. free.

Geoff Rana Observer Hotel, The Rocks.

8:30pm. free.

Gilby Clarke + Devine Electric Hermann’s Bar, Darlington.

8:00pm. $32.50.

Greg Agar Trio Northies Cronulla Hotel, Cronulla. 9:00pm. free.

Hotel California -- A Tribute

To The Eaglies The Brass Monkey, Cronulla.

7:00pm. $25.

Hungry Kids Of Hungary The Hi-fi, Moore Park, Sydney.

8:00pm. $25.50.

John Vella Duo Engadine Tavern, Engadine.

9:30pm. free.

Leon Fallon Observer Hotel, The Rocks.

9:30pm. free.

Renae Stone Northies Cronulla Hotel, Cronulla. 5:30pm. free.

Steve Edmonds Band + Experience Jimi Hendrix The Concourse , Chatswood.

8:00pm. $85.

The Belligerents Spectrum, Darlinghurst.

8:00pm. free.

Tony Williams Kirribilli Hotel, Milsons Point.

8:00pm. free.

Tounge & Groove Oatley Hotel, Oatley. 8:30pm. free.

Evening Star Hotel, Surry Hills. 2:00pm. free.

Satellite V Marrickville Bowls Club, Marrickville. 4:30pm. free.

INDIE, ROCK, POP, METAL, PUNK & COVERS Ben Ottewell (Gomez) Lizotte’s Dee Why, Dee Why. 7:00pm. $31.50.

Courtney & Blaine Oatley Hotel, Oatley. 2:00pm. free.

Greta Mob Semi-Acoustic Show Ft. Tim And Rhyece From Greta Mob The Midnight Special, Newtown.

5:00pm. free.

Heath Burdell Northies Cronulla Hotel, Cronulla. 8:00pm. free.

Marty Simpson

Northies Cronulla Hotel, Cronulla. 4:00pm. free.

Metal Madness Ft. Balescream + Torch The Village + Hematic + The Defiant Few + Enfield + Terrorential + Cryptic Scorn + Dead Deities + Freelance Fuckwits + Harmony Of Hate + Atomesquad + Hazmat + Overproof Grovoove Valve Bar, Tempe. 12:00pm. free.

Rob Henry Observer Hotel, The Rocks.

8:00pm. free.

The Momos, Garry David + The Momos + Garry David Botany View Hotel, Newtown.

7:00pm. free.

Three Wise Men Observer Hotel, The Rocks.

4:00pm. free.

Ben Ottewell

SUNDAY JULY 7 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC The India Flamenco Project Camelot Lounge, Marrickville.

7:30pm. $25.

ACOUSTIC/ COUNTRY/BLUES/ FOLK

Blues Recovery Ft. Jack Bloak’s Jug Stompers + Amy-Lee Wilson + Andrew Denniston + Russell Neal + Daniel Hopkins

N I Q U E

tue

02 July

(9:00PM - 12:00AM)

wed

03 July

(9:00PM - 12:00AM)

thu

04 July fri

TEMPORARY SALE STORE

(9:30PM - 12:30AM) (4:30PM - 7:30PM)

309 KING STREET NEW TOWN

05 July

(9:30PM - 1:30AM)

SUNDAY AFTERNOON

SATURDAY AFTERNOON

sat

06 July

(4:30PM - 7:30PM)

SATURDAY NIGHT

(9:30PM - 12:30AM)

sun

07 July

(4:30PM - 7:30PM)

SUNDAY NIGHT

(8:30PM - 12:00AM)

WE’RE HERE FOR A GOOD TIME, NOT A LONG TIME. NIQUE SAMPLE AND STOCK CLEARANCE | CURRENT WINTER COLLECTION 2013 w w w . n i q u e . c o m . a u

BRAG :: 519 :: 01:07:13 :: 29

gig picks up all night out all week...

MONDAY JULY 1

THURSDAY JULY 4

Buffalo Tales Venue 505, Surry Hills. 8:00pm. $10.Monday 1 July

Galactic 4th July Party Ft. Calypso Toad + The Darkened Seas + The New Orlans Brighton Up Bar, Darlinghurst, Sydney. 8:00pm. $10.

TUESDAY JULY 2 Ziggy Pop Tuesdays Ft. The Lockhearts + Blackbird + Because They Can Brighton Up Bar, Darlinghurst, Sydney. 8:00pm. $5.

Closure In Moscow

Ginger And The Ghost + Amy Vee The Standard, Surry Hills. 8:00pm. $15.

The Owls + The Black Zeros Oxford Art Factory, Darlinghurst, Sydney. 8:00pm. free.

FRIDAY JULY 5

Kids Of Hungary Hordern Pavilion, Sydney. 7:30pm. $89.

Bonez + Teenage Hand Models + Particles Oxford Art Factory, Darlinghurst, Sydney. 8:00pm. free.

Psuedo Echo The Brass Monkey, Cronulla. 7:00pm. $38.

Cash For Gold + Iluka + Kristy Lee Upstairs Beresford, Surry Hills.

6:00pm. free.

Closure In Moscow Goodgod Small Club, Sydney.

8:00pm. $15.

La Dispute + Pianos Become The Teeth + Clipped Wings Metro Theatre, Sydney. 7:00pm. $40.

Clipped Wings Metro Theatre, Sydney. 7:00pm. $40 .

Lime Cordiale The Standard, Surry Hills. 8:00pm. $10.

Hungry Kids Of Hungary

30 :: BRAG :: 519 : 01:07:13

Manic Street Preachers + Hungry

The Tsars + Going Swimming + Service Bells + Jugular Cuts FBi Social, Sydney. 8:00pm. $10.

The Belligerents Spectrum, Darlinghurst. 8:00pm. free.

SUNDAY JULY 7 Ben Ottewell (Gomez) Lizotte’s Dee Why, Dee Why. 7:00pm. $31.50.

SATURDAY JULY 6 Lily Dior Venue 505, Surry Hills. 8:00pm. $20.

Apes + The Faults + New Brutalists FBi Social, Sydney. 8:00pm. $10.

Gilby Clarke + Devine Electric Hermann’s Bar, Darlington. 8:00pm. $32.50.

Hungry Kids Of Hungary The Hi-fi, Moore Park, Sydney. 8:00pm. $25.50.

Gilby Clarke

brag beats

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

dance music news xxx photo by CXxx

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

speed date WITH

Zomby

BARNEY OF WORDLIFE

OUTSIDEIN

What Do You Look For Best Gig Ever in a DJ? Supporting Ryan 1.

3.

We’re not afraid to take Hemsworth at the Astral risks and deliver a full service starting with a medium to long foreplay followed by an adequate amount of banging leading to a fulfilling climax with a good sense of humour thrown in the mix.

2.

Keeping Busy Our Breakthrough / Small Talk EP is about to drop on Club Mod in a hot minute and hopefully blow a few minds. We’ve also been turning down heaps of remix requests to focus on recording a bunch of new original music with the likes of Daniel Merriweather, DJ Funk, Anna Lunoe and Joyride. Soon we’re off to LA to work with a bunch more new vocalists but never fear, we’ll still be dropping hot sweaty dancefloor tracks again very soon on Club Mod, Motorik and So Solid.

Xxxx

ARABIAN PRINCE

People first birthday was off the hook – it was the first time we played a full set of our own music, and a packed house at GoodGod Small Club is a beautiful thing. We can’t wait to return to the Danceteria for our launch on July 6 .

You can never really have a ‘worst gig ever’ if there’s a microphone around, because at least then you can crack in-jokes and give shout-outs to all six people in the crowd personally, make love song dedications, order drinks from the bar without having to leave the stage – it just goes on and on… SERIOUSLY! MICROPHONES WE LOVE YOU!

4.

Current Playlist London-based producers SOPHIE and Romare (look them up please), the new Sound Pellegrino label compilation is dope, Jagwar Ma’s album

Red Bull Music Academy, the incubator program of music workshops and lectures, is hosting a series of club nights around Australia this month, including a free party at GoodGod Small Club this Thursday July 4 headlined by Arabian Prince. As a founding member of N.W.A. (with Ice Cube, Dr. Dre, Eazy-E, MC Ren and DJ Yella), Arabian Prince participated in the birth of the gangsta rap genre and cut electro classics like ‘Something 2 Dance 2’, ‘Panic Zone’ and ‘Dope Man’. As a producer he cut the classic ‘Supersonic’ for JJ Fad (that was reworked

by Fergie in 2007) and a slew of other hits on Dream Team Records and Macola, while as Professor X he extended his electro legacy with 12s ‘Saga’ and ‘Statix’ on iconic labels like Techno Kut, Street Dance and Clone. Would-be dancers can ensure your attendance at this Thursday’s festivities merely

is all killer, Yeezus obviously, some new demos from the Motorik cats, Percapella version of George Michael and Aretha Franklin’s ‘I Knew You Were Waiting (For Me)’, and it was amazing to catch DJ Rashad live the other night too.

As previously reported, on Saturday September 21 Astral People and Yes Please return to the Factory Theatre for the second chapter of their OutsideIn Festival. Now for the lineup: the UK’s clever bass dude Zomby is heading things up with hyped Indiana rapper Freddie Gibbs (showing more love for gravel-voiced MCs with cloudy beats, after booking the Kushed God Smoke DZA last year). Also set to represent are the classically trained jazz musicians who play Odd Future and Waka Flocka Flame tunes, BADBADNOTGOOD, future techno maestro Jam City, Objekt (peddling the sound of Berlin’s underground circa 5am), the techno-space-soul of Laurel Halo, the Warp Records endorsed Mark Pritchard, headphone-music-makers Cosmo’s Midnight, Oisima and Andras Fox with future soul singer Oscar Key Sung, and local crafter of electronic pop Rainbow Chan. However, most exciting of all is Astral People presents Since I Left You. Casting aside the 12 and a half-year gap since we last heard from The Avalanches, Astral People have brought together their top roster to recreate the all-time classic album live on stage (with the blessings of The Avalanches). Tickets on sale now, with further info available through outsideinfestival.com.

Nicolas Jaar

5.

Your Ultimate Rider We definitely require two giant rabbits that we could ride on stage, or rather sit on their backs while they hop on stage, a couple of baby elephants, 20 backup dancers from Atlanta’s finer establishments (booty clubs), a cheese platter, some tropical fruit, heaps of booze and a hug each from Beyoncé.

What: EP Launch with Indian Summer DJs, BK2M, CSMNT61 and Ben Fester Where: GoodGod Small Club When: Saturday July 6

by clicking ‘attending’ through the Facebook event, then all you have to do is turn up at 8pm with your dancing shoes. If you’re feeling antisocial or just can’t attend for whatever reason, you can take some consolation in the fact that the party will be recorded and broadcast on RBMA Radio.

MAD RACKET

Sydney techno posterboy Rick Bull, AKA Deepchild, will headline the next installment of Mad Racket this Saturday July 6 at Marrickville Bowling Club – and the word on the grapevine is that this could be the last Mad Racket at the iconic copper-ceilinged venue for the foreseeable future! Bull will be showcasing his live show for new record Neukölln Burning, and will be supported by the resident Racketeers. There’s a Cops and Robbers fancy dress theme, so wear your most convincing law enforcement outfit and if you have a canine, bring them along (maybe don’t do that).

DAFTSIDE

Production wunderkind Nicolas Jaar has turned his attention to Daft Punk’s divisive recent album Random Access Memories, remixing it in its entirety with cohort Dave Harrington, who he usually produces with under the banner of Darkside. This time, however, the pair has tweaked their title slightly, remixing Daft Punk under the mantle of Daftside (get it?). While the consensus on the French duo’s latest album has been varied, the word on Daftside is that it should please those who were left feeling disappointed by Random Access Memories. As one would expect from Jaar, the remixes aren’t short on ingenuity, with each of the original tracks rendered virtually unrecognisable: ‘Contact’ is refracted through a surfeit of feedback; and ‘Giorgio By Moroder’ is turned into a brutish stonker. Daft Punk are currently prepping their own remixes of Random Access Memories, but the Daftside remixes will be hard to top – you can stream them online at soundcloud. com/daftside-2.

BRAG :: 519 :: 01:07:13 :: 31

dance music news

free stuff

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

email freestuff@thebrag.com

MELBOURNE UNDERGROUND

speed date WITH

KITE STRING TANGLE generates their own style because it’s very rare that people learn production in the same way, everyone seems to have a different story about why they started making music on a laptop.

Keeping Busy The last few months have 2. seen me writing a lot of music, doing the occasional show here and there and touring with other bands. I’m really excited to embark on a tour really soon. It’s a vital part of developing a live show and getting it to the level that you want it.

3.

What Do You Look For in a DJ/producer?

1.

I like pretty much all computer music. Everything from really deep house and minimal house to the amazing local underground stuff that is popping

up everywhere like Guerre, Nakagin, and Charles Murdoch. I like to make beats influenced by anything I hear and then try to make it cohesive with my vocals and my style of production. I think every producer automatically

Best Gig Ever I did a gig last year at the Electronic Music Conference which was really cool because it was in front of a bunch of people that I knew would be down with the style of music. It was at some crazy venue that Calvin Harris had played the week before or something and the bathrooms looked like they were made for some sort of space god. A visual and tactile experience.

Current Playlist I’m sort of revisiting a 4. whole bunch of music that I should’ve been into a few years ago but never got round to, so I’m actually listening to a bunch of SBTRKT, TEED, Trentemøller, Disclosure and more local stuff like Chet Faker, Rufus, Elizabeth Rose and Cosmo’s Midnight. You know the kind of stuff. Awesome stuff!

Your Ultimate Rider Ultimate rider…hmm… It 5. would have to be some sort of extravagant red wine or perhaps a Moёt & Chandon just to feel like the classiest cat around, maybe a haloumi platter. I can’t imagine ever being too fussy, but perhaps I could ask to only be addressed as ‘Your Highness’ and ask for the stage to be made of sequins or something, just to be an asshole.

Unlikely though...

Where: GoodGod with Mammals and Rat & Co When: Friday July 12

What, exactly, is the ‘Melbourne sound’?

Think that harder-edged contemporary take on electro-house, with really dirty basslines, bouncing beats and wiggly bits, pulling influence from old school Dutch hard house and even happy hardcore. Think the perfect music to chew your face off in front of the speaker, glowsticks in hand, or crank at Petersham Maccas. Jumping on the south-of-the-border zeitgeist, ONELOVE Recordings have put together their inaugural Melbourne Underground compilation, featuring exclusive tracks and remixes from over a dozen Melbourne producers including Will Sparks, Orkestrated, Chardy, Acid Jacks and much more. The compilation is out now, and we’ve got five copies to give away. To win, email us at freestuff@thebrag.com and tell us, what single proved a massive hit for Melbourne’s Will Sparks late last year?

BLISS N ESO

Circus In The Sky, the newbie from Aus hip hop royalty Bliss n Eso, is picking up acclaim from all quarters – we said they’re “classy ringleaders [who] provide plenty of entertainment,” while Rip It Up said that the album confirms that “the Sydney trio are officially among the best musicians that Australia has to offer.” We’ve got a couple of copies of the record to giveaway, along with two Circus In The Sky stubbie holders – for a chance to win, just tell us the name of the Queensbridge-born, Greatest Of All Timecontender who lends a guest verse to the record.

Wax Wars

HORROWSHOW

In the lead-up to the release of their new album King Amongst Many, local hip hop troupe Horrorshow have announced a series of headline performances, including an all-ages show at the Metro Theatre on Friday September 20. Horrorshow originally burst onto the scene when their debut album The Grey Space garnered an Aria nomination, before their follow-up LP, The Space In Me, was featured as both triple j’s ‘Album of the Week’ and FBi Sunsets’ feature album. It’s been a four year wait but Horrorshow are now finally set to release their new record on August 2, having already launched the leadoff single ‘Unfair Lottery’, a catchy and soulful number that’s been backed by critics and listeners alike.

Horrorshow will be supported by New Zealand hip hop crew Home Brew, whose 2012 self-titled debut album topped the NZ charts, and Jimblah, who is due to release his new album on Elefant Traks in September.

Horrorshow

Yuksek

JULY AT LAUNDRY

Local club-spot Chinese Laundry has announced its July program, which draws on an array of local and international acts. This Friday, Culprate performs with MC Maksim, before the Aston Shuffle throw down on Saturday with support from Light Year and the crew from Motorik. On Friday July 12, Yahtzel and Samrai share top billing, while on Saturday Isaac Tichauer from U.S label French Express, Pnau’s Peter Mayes and Chinese Laundry favourite Kid Kenobi will all be representing. Fast forward another working week to Friday July 19 and Sampology commands top billing, followed by progressive maestro Guy J and France’s Yuksek performing on Saturday. To close out the month, DJ Butcher, Spenda C and Doctor Werewolf will perform on Friday July 26 at the launch of the Klub Kids Trap Bombs compilation, while Xaphoon Jones and The Only take headline honours on Saturday July 27.

32 :: BRAG :: 519 :: 01:07:13

WAX WARS

THE TONGUE

Renowned Australian hip hop impresario Xannon Shirley, AKA The Tongue, has announced a nationwide tour in support of his third album Surrender to Victory, which dropped in March on Elefant Traks. Snaring the coveted ‘Album of the Week’ slot in this very publication, Surrender to Victory featured guest spots from fellow hip hop heavyweights Thundamentals, Suffa of Hilltop Hoods, Sky’High, Spit Syndicate and Jimblah. As part of his national tour, The Tongue will play The Basement in Circular Quay on Friday July 19, before backing up the following night with a show at the Mona Vale Hotel.

HAHA

Headlining HAHA this Friday July 5 at GoodGod is Birmingham producer Mark

E, who first made his ‘mark’ – pun intended dear readers, I’m here all day – through his re-edits, with his ten-minute rework of Womack & Womack’s ‘Baby, I’m Scared Of You’, piquing the ears of one Giles Peterson, who then introduced it to thousands of receptive listeners. Mark E soon graduated towards original productions and remixes, launching his own label MERC, and using it as a forum to hone a sound that conflated house and disco. Acclaimed remixes of Cagedbaby’s ‘Hello There’ and Matthew Dear’s single ‘Little People (Black City)’ introduced Mark E to the Ghostly/ Spectral fold, and it was through that label that he released his first artist album, Stone Breaker, back in 2011. Simon Caldwell, Magda Bytnerowicz and HAHA residents D&D will also be spinning in support on the night, with $20 presale tickets available online ahead of the event.

Name This Bar on Oxford Street kicked off the first of a series of Wax Wars turntablist battles last Thursday. For those who missed the event, worry not – there will be eight live Wax Wars events taking place weekly on Thursday nights running from 8pm till midnight. Each week’s event will feature DJ sets from The Crown Street Cut Collective before the battle rounds begin, and local street artists will entertain patrons by creating live art all night. The battle rounds consist of five threeminute rounds between two up-andcoming turntablists, with each battle hosted by a special guest MC and judged by crowd-vote. The winners of the weekly heats go onto quarter finals and semi finals, before the competition culminates with the top two squaring off in a grand-final on Thursday August 15. For more info on Wax Wars head to facebook.com/ waxwarsaustralia.

Deepchild Back To The Source By Alasdair Duncan

R

ick Bull, the Australian techno producer otherwise known as Deepchild, has spent the last several years living in Berlin. If it seems you’re constantly hearing stories about local musicians who’ve opted to up sticks and move there, well, there’s a good reason – the city is one of the most creatively vital places around. He’s taken up residence in the bohemian borough of Neukölln, and soaks up its influence every day.

“We’ve been living here for four years, but I’ve been playing here a lot longer than that,” Bull tells me. “I love learning the language, I love the reserved German temperament, and I love being part of a community. People live in blocks of flats in Berlin, and there are a lot more communal spaces, so you get to know your neighbours. I like that sense of community. The city is liberal, and openminded, and just really beautiful. It’s an idea as much as it’s a physical place, and the sense of excitement you feel from new people who come here reminds me of the excitement I felt when I heard techno for the first time.”

The newest Deepchild album, Neukölln Burning, was inspired by the area of town he now calls home. “There are little fragments of Middle Eastern music that come through on the album, samples and rhythms,” Bull says. “Those elements reflect the strong Turkish and Moroccan population of the area.

I grew up in Saudi Arabia, and so there’s always been a sense of familiarity to Neukölln that reminds me of my young years. It’s an unexpected confluence – Berlin’s a new place,

but it reminds me of the places I knew when I was really small.”

middle of a cold winter in a new place was tough.”

“The excitement you feel from new people who come to Berlin reminds me of my excitement the fi rst time I heard techno.”

The album was also inspired by the bitter cold of German winters. “Coming from a warmer climate to somewhere like Berlin takes a lot of adjustment,” Bull says. “It was very cold when I was making the album, and it was a time when some other personal things weren’t going too well, so there’s a sense of darkness and insistency that informs a lot of the music.” At the time he made the record, Bull was attempting to kick some medication he’d been taking for a long time. “That was a bit of a disaster,” he says with a rueful laugh. “Coming off meds in the

Bull’s next Sydney show will be a live performance for the Mad Racket crew, and he promises plenty of new material. “Mad Racket is a very special one for me,” he says. “It’s been years since I played a live set for them, so this time around I’ll be playing bits and pieces of the new album, but the majority of the set will be new material that nobody will have heard yet.

I have a couple of bits that are supposed to be coming out on a label called Convex Industries.”

I ask what the new tracks sound like. “The material I’ll be messing around with is noisy

techno, a little bit industrial-sounding. My love of dub techno has been resurfacing of late, so there’s a bit of that in there. I have DJ friends in Berlin who have been playing a lot of older, darker, harder stuff in their sets. When I’ve been DJing lately, I’ve been playing a lot of Robert Hood and Joey Beltran and LFO, those really hanging tracks.” He tells me that his own new material is along similar, much darker lines. “I think Mad Racket will be kind to me.”

Where: Mad Racket ‘Cops and Robbers’ at Marrickville Bowls Club When: Saturday July 6

Bliss n Eso

The Journey So Far By Tara Capel

“It’s all these sounds, artists, collaborators and vibes all coming together to paint this amazing circus in the sky.”

“It’s a very diverse sounding record, lots of different moods, themes, topics and soundscapes. We’re all about variety when we make our albums, we like to take the listener on a journey but still maintain a cohesive record where all the songs fit together. This one in particular has expanded and evolved a little more on that whole philosophy. We’ve collaborated with quite a few different artists [including Nas, Drapht, Seth Sentry, 360, Pez, Sarah Blasko, Emma Louise and comedian Alex Williamson] on this one to paint this kind of metaphor…it’s all these sounds, artists, collaborators and vibes all coming together to paint this amazing circus in the sky.”

From their earliest days Bliss n Eso were adamant about keeping up a relentless touring schedule, travelling to places in Australia that hip hop had never been before.

“We’ve been touring for years now and some of the tracks have been in the playlist for a long time. Some of them we’re giving a little break to make way for some of the new songs on Circus In The Sky. This is the first time we’ve ever played these songs so we’re pretty excited, it’s always great when you’ve got a whole bank of new material.”

T

here was a time in Australia when hip hop was so unheard of you’d be lucky to find one hip hop album in a CD store, let alone a whole section. It was during this time that Jonathan Notley (Bliss) moved from America and met Max MacKinnon (Eso), the only other guy in their high school to know what hip hop was.

“I was growing up in the States and everyone in school was into hip hop so I was just immersed in it. It just so happened when I came over in high school, only one other guy in the entire school knew what hip hop was and that was Eso, so we became friends,” Notley says.

MacKinnon later met Tarik Ejjamai (DJ Izm),

who Notley describes as “the missing piece of the puzzle,” and the three formed Bliss n Eso. From rehearsing in Ejjamai’s lounge room opposite a blank wall to performing in front of thousands of people, their 13-year journey has all been leading up to their latest album, Circus In The Sky.

Where: Enmore Theatre, Sydney When: Thursday July 4 (all ages) / Friday July 5 (all ages) And: Circus In The Sky out now though Illusive/Mushroom

BRAG :: 519 :: 01:07:13 :: 33

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

club pick of the week Arabian Prince

8:00pm. free.

Hot Damn Ft. Hod Damn DJs The Exchange Hotel, Darlinghurst. 8:00pm. $15.

Kit & Kaboodle Ft. Resident DJs Kit & Kaboodle, Kings Cross.

10:00pm. free.

Miami Nights Ft. Jay-J + Husky + Liam Sampras + Tom Kelly Goldfish, Kings Cross.

9:00pm. free.

Pool Club Thursdays Ft. Resident DJs Ivy Bar/lounge, Sydney.

5:00pm. free.

Propaganda Ft. Gillex + DJ Moody World Bar, Kings Cross.

9:00pm. $10.

Rewind Ft. Resident DJs Sapphire Lounge, Potts Point 9:00pm. free.

Take Over Thursday Ft. Resident DJs Trademark Hotel, Potts Point.

9:00pm. $10.

FRIDAY JULY 5

THURSDAY JULY 4

Goodgod

Red Bull Music Academy

Arabian Prince (AKA Professor X) + Mike Who 8:00pm. free.

MONDAY JULY 1

WEDNESDAY JULY 3

THURSDAY JULY 4

CLUB NIGHTS

HIP HOP & R&B

HIP HOP & R&B

Mother Of A Monday Ft. DJ Smokin’ Joe Scruffy Murphy’s Hotel, Sydney. 7:30pm. free.

The Wall Ft. Resident DJs World Bar, Kings Cross.

8:00pm. $5.

CLUB NIGHTS

TUESDAY JULY 2 CLUB NIGHTS

Chu Ft. Various World Bar, Kings Cross.

7:30pm. $5.

Coyote Tuesday Ft. Resident DJs Trademark Hotel, Potts Point.

9:00pm. free.

I Love Goon Ft. Resident DJs Scruffy Murphy’s Hotel, Sydney. 7:00pm. free.

Rumba Motel Salsa Ft. DJ Willie Sabor The Establishment, Sydney.

8:00pm. free.

Ziggy Pop Tuesdays Ft. Guest DJs Brighton Up Bar, Darlinghurst, Sydney.

8:00pm. $5.

34 :: BRAG :: 519 :: 01:07:13

Garbage 90s Night Ft. Garbage DJs Lewisham Hotel, Lewisham.

7:00pm. free.

Kit Wednesdays Ft. Resident DJs Kit & Kaboodle, Kings Cross.

10:00pm. free.

Salsa Ft. Resident DJs Ivy Bar/lounge, Sydney.

8:00pm. free.

The Supper Club Ft. Resident DJs Kit & Kaboodle, Kings Cross.

10:00pm. free.

The Wall Ft. Various World Bar, Kings Cross.

8:00pm. free.

Whip It Wednesdays Ft. DJs Camo + Snillum + Jaimie Lyn Whaat Club, Kings Cross.

9:00pm. free.

CLUB NIGHTS

$5 @ 5 On Fridays Ft. Resident DJs Jacksons On George, Sydney. 5:00pm. free.

Culprate + MC Maksim + Misfits Of Zion + Blackmale + Brown Bear + Hatch + Hubble Chinese Laundry, Sydney.

10:00pm. free.

Dom Pérignon Masquerade Party Ft. Martini Club DJs + Bands Marquee at the Star, Pyrmont. 6:00pm. free.

Factory Fridays Ft. Resident DJs Soda Factory, Surry Hills.

5:00pm. free.

Fridays Ft. Resident DJs Kit & Kaboodle, Kings Cross.

10:00pm. free.

Haha Presents Mark E (UK) + Simon Caldwell (Mad Racket) + Magda Bytnerowicz (4our) + D&D (HaHa) Goodgod Small Club, Sydney. 11:00pm. $20.

Mashed Fridays Ft. DJ Ric C Oatley Hotel, Oatley. 8:00pm. free.

Mashup Fridays Ft. DJ Power Marquee At The Star. $20.

10.00pm Mum Ft. Mum DJs World Bar, Kings Cross.

8:00pm. $10.

Soho Fridays Ft. Kronic + Skinny + Zannon Rocco + Fingers + Pat Ward Soho Bar & Lounge, Potts Point. 9:00pm. free.

Something Wicked Ft. DJs Robust + Prolifix + Harper + Audio Trash Candy’s Apartment, Potts Point. 8:00pm. $10.

TGIF Ft. Resident DJs Trademark Hotel, Potts Point.

10:00pm. free.

The Guestlist Ft. Various Home Nightclub, Darling Harbour. 9:00pm. $15.

Twin Turbo Lifestyle Rave Ft. Phil Keiran, CSMNT x VIVI, Kato, Matt Aubusson Club 77, Darlinghurst $15 10.00pm Unwind Fridays Ft. DJ Greg Summerfield Omega Lounge, Sydney.

5:30pm. free.

SATURDAY JULY 6 HIP HOP & R&B

Grey Ghost Oxford Art Factory, Darlinghurst, Sydney.

8:00pm. $12.

Ty (UK) + Mike Who & Frenzie + Saywhut + JC Funkdafied The Basement, Circular

Quay. 11:00pm. $25.

CLUB NIGHTS

After Dark Ft. Resident DJs Whaat Club, Kings Cross.

8:00pm. $15.

Argyle Saturdays Ft. Resident DJs The Argyle, The Rocks, Sydney. 5:00pm. free.

Homemade Saturdays Ft. Resident DJs Home Nightclub, Darling Harbour. 9:00pm. $25.

Jacksons Saturdays Ft. Resident DJs Jacksons On George, Sydney.

9:00pm. free.

Simon Patterson Oxford Art Factory, Darlinghurst, Sydney. 9:00pm. $30.

Skybar Saturdays Ft. Resident DJ The Watershed Hotel, Sydney.

9:30pm. $20.

Soda Saturdays Ft. Resident DJs Playing Disco And Funk Soda Factory, Surry Hills.

5:00pm. free.

The Aston Shuffle DJs + Gemellini + Katie Valentine + Wrecks + Motorik Crew + Fingers + DJ C-Bu + King Lee Chinese Laundry, Sydney.

9:00pm. free.

The Suite Ft. Resident DJs Sapphire Lounge, Potts Point.

8:00pm. Free.

Wordlife + Indian Summer DJs + BK2M (Formerly Rachel Haircut) + CSMNT61 (Motorik) + Ben Fester Goodgod Small Club, Sydney.

11:00pm. $10.

SUNDAY JULY 7 CLUB NIGHTS

Beresford Sundays Ft. Resident DJs Upstairs Beresford, Surry Hills.

3:00pm. free.

Easy Sundays Ft. Resident DJs Kit & Kaboodle, Kings Cross.

10:00pm. free.

S.A.S.H. Sundays Ft. Rickstar + Mia Lucci + Dean Relf + Mealo + Matt Weir + Kerry Wallace + Hannah Gibbs The Abercrombie, Sydney.

2:00pm. $10.

Soup Kitchen Ft. The Soup Kitchen DJs World Bar, Kings Cross. 7:00pm. free.

Spice After Hours Ft. Steven Sullivan + Murat Kilic And Guests The Spice Cellar, Sydney.

4:00am. $20.

Sunday @ Gay Bar Ft. Resident DJ The Gay Bar, Darlinghurst.

3:00pm. free.

Sunday Sessions Ft. DJ Tone Oatley Hotel, Oatley. 7:00pm. free.

Sunday Sessions Ft. DJ Tone Oatley Hotel, Oatley. 7:00pm. free.

The Wonder Years Soho Bar & Lounge, Potts Point. 7:00pm. free.

Red Bull Music Academy (Arabian Prince AKA Professor X) Ft. Arabian Price (MC/DJ Set) + Mike Who Goodgod Small Club, Sydney.

8:00pm. free.

Shazza T (Album Launch) + Mr Ruckman + Beastside + Sketch FBi Social, Sydney. 8:00pm. $10.

Trapped Ft. Rapaport + Laxe And Nowhere Society + Simo Soo (DJ Set) + No Good Mischief + Suicidal Pranks Oxford Art Factory, Darlinghurst, Sydney.

8:00pm. $10.

CLUB NIGHTS

Balmain Blitz Ft. Various Bridge Hotel, Rozelle.

7:00pm. free.

Chakra Thursdays Ft. Robust + Brizz Whaat Club, Kings Cross.

9:30pm. free.

Dip Hop Ft. Levins And Guests Goodgod Small Club, Sydney.

Culprate

Mark E

Deep Impressions

club picks

Underground Dance And Electronica with Chris Honnery

up all night out all week...

MONDAY 1 JULY Mother Of A Monday Ft. DJ Smokin’ Joe Scruffy Murphy’s Hotel, Haymarket.

7:30pm. free.

TUESDAY 2 JULY Chu Ft. Various World Bar, Kings Cross. 7:30pm. $5.

Ziggy Pop Tuesdays Ft. Guest DJs Brighton Up Bar, Darlinghurst.

8:00pm. $5.

WEDNESDAY 3 JULY The Wall Ft. Various World Bar, Kings Cross. 8:00pm. free.

Whip It Wednesdays Ft. DJs Camo + Snillum + Jaimie Lyn Whaat Club, Kings Cross. 9:00pm. free.

THURSDAY 4 JULY Red Bull Music Academy Ft. Arabian Price AKA Professor X (MC/DJ Set) + Mike Who Goodgod Small Club, Chinatown.

8:00pm. free.

Zion + Blackmale + Brown Bear + Hatch + Hubble Chinese Laundry, Sydney. 10:00pm. free.

Dom Pérignon Masquerade Party Ft. Martini Club DJs + Bands Marquee at the Star, Pyrmont. 6:00pm. free.

HaHa Presents Mark E (UK) + Simon Caldwell (Mad Racket) + Magda Bytnerowicz (4our) + D&D (HaHa) Goodgod Small Club, Chinatown.

11:00pm. $20.

Twin Turbo Lifestyle Rave Ft. Phil Keiran, CSMNT x VIVI, Kato, Matt Aubusson Club 77, Darlinghurst $15 10pm

SATURDAY 6 JULY Grey Ghost Oxford Art Factory, Darlinghurst, Sydney. 8:00pm. $12.

Ty (UK) + Mike Who & Frenzie + Saywhut + JC Funkdafied The Basement, Circular Quay.

11:00pm. $25.

SUNDAY 7 JULY

Trapped Ft. Rapaport + Laxe And Nowhere Society + Simo Soo (DJ Set) + No Good Mischief + Suicidal Pranks Oxford Art Factory, Darlinghurst, Sydney.

8:00pm. $10.

S.A.S.H. Sundays Ft. Rickstar + Mia Lucci + Dean Relf + Mealo + Matt Weir + Kerry Wallace + Hannah Gibbs The Abercrombie, Ultimo. 2:00pm. $10.

FRIDAY 5 JULY

Spice After Hours Ft. Steven Sullivan + Murat Kilic And Guests The Spice Cellar, Sydney. 4:00am. $20.

Culprate + MC Maksim + Misfits Of

Thomas Muller

S

ubsonic’s ‘Sub Club’ offshoot returns to the Burdekin on Saturday July 13 for a bash headlined by highly touted French producer Thomas Muller. Muller cut his teeth laying down beats with compatriots Okain and Paul Ritch – who have similarly since gone on to ‘make it’ – before being signed by Ellen Allien to her BPitch Control label five years ago. Muller has subsequently chalked up noteworthy EPs such as Neurones and remixed the likes of Telefon Tel Aviv and Allien herself. In his forthcoming performance at Sub Club, Muller will be showcasing his live set, dishing it out to Sydneysiders only a week after performing at the renowned German clubbing colosseum that is Panorama Bar. A hefty DJ support cast has been assembled across two floors of the venue in support of the headliner, with New Zealand’s Logan Baker, the entrepreneurial Edoardo Perlo and Subsonic main men MSG and Marcotix all set to spin.

Presale tickets are available online for $15, with Subsonic also preparing for their festival launch party, which according to my sources is slotted for August.

Elusive Montreal-based producer Marc Leclair, best known for his output as Akufen, will release his first full-length album under his less utilised Horror Inc. moniker, entitled Briefly Eternal, at the end of the month through Perlon Records. Leclair pioneered his own cut-up microsample heavy house sound through his work as Akufen in the early part of last decade, making music through a process he likened to “a child playing with scissors, paper, and glue…the results are extremely naïve and playful.” Under the Akufen banner, Leclair released the excellent album My Way and helmed a Fabric mix before going into a production hibernation that can be linked to the birth of his child (and the necessary prioritising of one’s personal life that comes with such a landmark). Given Leclair derived the Akufen moniker from “acouphène”, the French word for tinnitus that describes a ringing in the ears that torments many musicians and music fans alike, it is appropriate that he’s going to release his new album under a less self-deprecating title, though the decision to release the LP under a different banner is more reflective of a shift in sound and sensibility. (Horror Inc. “is much closer to me than Akufen will ever be,” Leclair is on the record as saying.) Leclair has only released three EPs as Horror Inc. over the years, and none since 2010, though following his recent remixes of Brandt Brauer Frick and Canson, Leclair has now clearly decided

to up the ante with the imminent release of the ten-track album. Leclair describes Briefly Eternal as a “very personal trip through the depths of ‘Booh’” – your guess is as good as mine on that one!

While weekly party Strange Fruit has built its following around delivering consistently impressive local DJ lineups every Saturday, it has been known to have the odd dalliance with an international headliner. In such instances, it only goes for the very best – remember it has hosted Mano Le Tough and Luke Slater this year, for instance. That list has now been added to, with Hamburg producer &ME and Sydney techno export Deepchild set for an international doublebill on Saturday August 3 within the familiar confines of the Abercrombie. &ME is the co-founder of the Berlin label/collective Keinemusik, and has cemented his standing at the forefront of the German house scene, notching up remixes of Tiefschwarz and Adam Port along the way. Meanwhile Rick Bull – AKA Deepchild – moved from Sydney to Berlin four years ago and has made himself a regular guest at two of Berlin’s foremost techno arenas: Berghain and Tresor. Last year Bull released his first album since relocating, Neukölln Burning, and is now returning home to tour the album, which was apparently a cathartic response to some of the producer’s personal struggles. Melbourne’s Volta and Strange Fruit main man Jordan Deck round off the bill, with presale tickets available for a mere ten crabs.

LOOKING DEEPER FRIDAY JULY 5 Mark E Goodgod Small Club

SATURDAY JULY 13 Sub Club ft Thomas Muller The Burdekin

SATURDAY JULY 20 Juan Atkins The Basement

SATURDAY AUGUST 3

Strange Fruit ft &ME and Deepchild

Akufen

Deep Impressions: electronica manifesto and occasional club brand. Contact through deep.impressions@yahoo.com BRAG :: 519 :: 01:07:13 :: 35

snap

h/a\m + mike q

PICS :: AM

up all night out all week . . .

bass mafia ft xilent

PICS :: AM

22:06:13 :: Goodgod Small Club :: 53-55 Liverpool St Chinatown 8084 0587

toydeath

PICS :: TL

21:06:13 :: Chinese Laundry :: 111 Sussex St Sydney 8295 9999

20:06:13 :: FBi Social :: Kings Cross Hotel 244-248 William St Potts Point 9331 9900

Sundays 16 07 JUNE JULY Ben Morris Mia Lucci Dean Relf Alan Thomas Mealo Jon Jak Matt Weir Kerry Wallace Kerry Wallace

Supper set Supper set

Hannah Gibbs Simon Brayford

darkbeat 10yr anniversary

PICS :: HL

Thomas RickstarGandey

22:06:13 :: The Goldfish :: 111 Darlinghurst Rd Potts Point 8354 6630 :: AVERIE HARVEY :: HENRY S : TIM LEVY (HEAD HONCHO) OUR LOVELY PHOTOGRAPHER :: LEY MAR LEUNG :: AMATH MAGNAN :: ASH

36 :: BRAG :: 519 :: 01:07:13

BRAG :: 519 :: 01:07:13 :: 37

snap

PICS :: AH

horrorshow

marquee

PICS :: AM

up all night out all week . . .

21:06:13 :: Marquee :: Star City Pyrmont 9657 7737

21:06:13 :: The Annandale Hotel :: 17 Parramatta Rd Annandale 9550 1078

Trapped party profile

It’s called: Trapped.

It sounds like: Bass heavy hip hop. The night will bass heavy MCs, producers and DJs that Sydne bring together the best y has to offer.

Acts: Rapaport, Laxe, Nowhere Society, Simo Soo (DJ set), Astrix Little (DJ), No Good Mischief (DJ), and Suicidal Pranks (DJ).

Three songs you’ll hear on the night: 1.

‘Anaconda’ – Rapaport 2.

‘Blue Milk’ – by Big Chocolate 3.

‘Blueberry (Pills & Cocaine)’ – by Darq E. Freak er ft. Danny Brown Sell it to us: Trapped is bringing together every thing that is hip hop – there’ll be live art and amazing DJs, producers and MCs. Get down early to get some cheap drinks and dance the night away.

The bit we’ll remember in the AM: Vibrations from all the basssssss!

Crowd specs: all walks of life coming togeth er for the love of hip hop and its culture.

Wallet damage: $10 or $5 with a good old student card (can even be out of date).

future classic djs

PICS :: AM

Where: Oxford Art Factory (main room).

When: Thursday July 4. Doors at 8pm.

s.a.s.h

PICS :: AM

chinese laundry 23:06:13 :: The Abercrombie Hotel :: 100 Broadway Ultimo 9280 2178 38 :: BRAG :: 519 :: 01:07:13

PICS :: AM

21:06:13 :: Goodgod Small Club :: 53-55 Liverpool St Chinatown 8084 0587

15:06:13 :: Chinese Laundry :: 111 Sussex St Sydney 8295 9999 :: AVERIE HARVEY :: HENRY S : TIM LEVY (HEAD HONCHO) OUR LOVELY PHOTOGRAPHER :: LEY MAR LEUNG :: AMATH MAGNAN :: ASH

SOLD OUT