BSideMagazine-0007

ISSUE 0007 / November 13th - November 19th 2014

IT’S FREE - www.bsidemagazine.com.au

The Hiptones ALSO INSIDE: Tori Amos, Brillig, Thelma Plum Clint Boge, The Workinghorse Irons, Axe Girl plus BOB’s BITS, TOUR GUIDE and LOCAL MUSIC NEWS

AROUND THE TRAPS All-female band Wild Rocket are finally set to issue their long-awaited debut album, Daisy Dream, and will do so with a launch at the Grace Emily Hotel, 232 Waymouth St, on Saturday 22 November with help from Juliette Seizure & The Tremor Dolls.

The Kumfy Klub takes place at Crown & Sceptre, 308 King William St, from 9pm until 3am on Saturday 15 November and will feature The Manuel Portio (live), TrunkFunk Sound System, Juddo, Bos, House Cats and Jason Lee. RSVP on Facebook for an entry fee of only $5.

Adelaide-based piano-driven rock quartet The Cities Alight, who came alight about 18 months ago, will be undertaking a free entry gig from 9pm at The Exeter Hotel, 246 Rundle St, on Saturday 15 November with The Fortunes Of War as special guests.

Timberwolf has set a date of Friday 19 December at which to launch his It Burns single from a forthcoming EP, Flux, to be released early next year. The launch will take place at Jive, 181 Hindley St, with tickets available via Moshtix.

New initiative Music In The Square kicks off on Thursday 13 November in Tarntanyangga (Victoria Sq) from noon as a free entry event. Local musicians will be playing ‘side by side’ between 12-2pm with one act playing two or three songs and the other then playing two or three tunes and so forth until 2pm. Music SA has curated the performances and the event is being put on by Adelaide City Council. See Alex Hosking and Kelly Brouhaha on Thursday 13 November, Banjo Jackson and Brillig on Thursday 20 November, Kaurna Cronin with a full band on Thursday 27 November, John Baker and Mike Bevan on Thursday 4 December and Tom West and Tim Moore on Thursday 18 December to wind up the year.

Soursob Bob and Emma Woolcock will be launching a new offering, March Of The Mincing Poodle, at The Grace Emily Hotel, 232 Waymouth St, from 4pm – an early start – on Sunday 30 November with Courtney Robb as special guest. Tickets will be $10 at the door.

The next AMC (Adelaide Music Collective) Sessions will be taking place on Friday 21 November at Goodwood Institute, 166a Goodwood Rd, Goodwood, and will feature Evan and Idris Jones (of The Mixtures), Peter Combe, The Baker Suite and Laura Hill and will also have Evan, Idris and Peter inducted into the SA Music Hall Of Fame alongside singer Bev Harrell and noted music producer Mick Wordley. Book quickly via <trybooking.com>.

Pete Wilson will celebrate his 45th birthday by launching a new four-song EP, Irresistibilism, with a gig at Hotel Metro, 46 Grote St, on Friday November 14. Joining him for the big celebration will be Four Kings Loud and Satan’s Cheerleaders and Pete will also be spinning some vinyl 45rrpm recordings between sets. All welcome.

Adelaide’s long-running melodic metal band Raven Black Night have returned home from another huge tour and will now play a free entry event at Worldsend Hotel, 208 Hindlley St, from 9.30pm on Friday 14 November with Hidden Intent and Mism as special guests.

Local filmmakers Robert Brokenmouth and Jethro Heller have been busy making a film about iconic Aussie rock band The Beasts Of Bourbon. Following screenings in other states, the completed documentary, The Brass Ring, will now be screened at the Governor Hindmarsh, 59 Port Rd, Hindmarsh, on Thursday 18 December. Book via OzTix or at the venue.

The Armistice Pals is a UK project commemorating the centenary of the start of WW1 and the passing of Pete Seeger in 2014. The majority of these

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events will take place in the UK, but Three D Radio’s Roots & Branches is helping to make it international by producing their own live-to-air versions on Thursday 13 November and also Thursday November 20 on 93.7FM and webcasting via <threedradio.com>. Those scheduled to take part include Jack Brennan, Steve Pederson, David Robinson, Todd Sibbin, Ray Smith, Mary Webb and Emma Woolcock. Tune in from 9pm.

Psych rockers Ride Into The Sun have announced that their final show for the year will take place on Friday 14 November at Worldsend Hotel, 208 Hindley St. Joining them will be Melbourne band Contrast as well as local act Kitten Kong and Blush Response who will be making their live debut.

Brillig have announced their last show for the year and that it will coincide with the launch of their latest single, Ghost Riders In The Sky, which will also feature two bonus offerings. It will happen at the Grace Emily Hotel, 232 Waymouth St, as an all-ages affair from 5.30pm on Sunday 16 November with LeighStarDust as special guest with $10 tickets at the door.

Thom Lion and his brand new band, The Tamers, will launch a new single, Fruition, on Friday 14 November at The Jade Monkey, 160 Flinders St, with help from Sam Brittain and Sasha March & The Dawnhorse. Tickets will be $12 at the door.

Croydon’s trendiest strip, Queen St (next to Croydon Railway Station), will live up to its name when Feast Festival joins forces with local traders and residents to present the retro queer street party of a lifetime from 6pm on Friday 21 November. Hosted by Project Runway runner-up, fashion designer and performer Leigh Buchanan as his alter ego drag persona Barbara Windsor Woo, the event will feature retro fashion parades, roving entertainers, a shopfront decorating competition, stalls by local traders, live music by five piece band Snap Crackle Pop and party tunes from DJ Lush who will be spinning some of her vinyl magic. Full bar facilities will also be available.

Sarah Lloyde, one of Australia’s best kept musical secrets, will be performing at The Promethean, 116 Grote St, on Friday 15 November. Sarah, who has performed with The Flaming Sambucas and very popular childrens’ band The Funkees, will be presenting Luv Fool with some very special guests.

A new singer songwriter night has been launched at The Gaslight Tavern, 36 Chief St, Brompton, from 8.30pm on Wednesday evenings. Drawing from SCALA’s large pool of artists and more, the night, known as Mid Week Melt, will have four local singer songwriters presenting a 30-minute set to showcase their talents. It’s free entry too.

Gorilla Jones have been undertaking some recording for a new album of their upbeat funky, indie soul music due for release next year are having a free entry, month-long Friday evening residency at the Grace Emily Hotel, 232 Waymouth St. It continues with El Caminos on Friday 14 November and These Blessed Bones on Friday 21 November while the final evening of the four-night residency will boast an Adelaide supergroup set to play their debut gig.

Sincerely, Grizzly, who have just signed to Black Night Crash Records for the release of their debut album, Halves, on Friday 14 November, and will officially launch it with a gig from 9pm at Hotel Metro, 46 Grote St, on Saturday 15 November with help from Shivers as well as Sydney band Corpus.

Boutique bar Nook Nosh, 111 Unley Rd, Unley, which is open from 3pm on Wednesdays through to Sundays, have announced their Sunday afternoon music line-up for much of the month of November. Catch Red Willow on Sunday 16 November and Short & Sweet on Sunday 23 November from 5pm. Pop in for sips ‘n’ nibbles.

Local minstrel AP D’Antonio will be saying farewell for a while – he’s traipsing off overseas again – but not before gracing the Grace Emily, 232 Waymouth St, for a free entry gig on Thursday 13 November at which he will be joined by talented blues picker Frets Patrick as well as Courtney Robb.

Local punk rockers Tomorrow Rising will be launching their Oasis EP from 7.30pm at Producers Bar, 235 Grenfell St, on Friday 5 December with help from Slick Arnold, Young Offenders and The Chase as an all-ages affair. The $10 entry fee at the door includes a copy of Oasis or you can book via the band’s Facebook page for a mere $5.

Adelaide punks The Meatbeaters are all set to launch a 12-inch vinyl album, Tug Of Phwoarrr, and will do so on Saturday 22 November with a free entry gig at The Cumberland Hotel, 76 Causeway Rd, Glanville (directly across the road from the train station), with good mates Blue Flame Special and The Toss. All copies of the vinyl sold on the night will also come with a free colour poster but it will also be available from Mr V Music at Semaphore.

Adelaide’s Genghis Cardigan is an innovative alternative to alternative rock that doesn’t always make sense. On Saturday 15 November, as a silly dare, they will be launching chapter one of their self-yelp classic Well Done Finland Well Done! with a free entry gig from 9pm in the front bar of the Governor Hindmarsh Hotel, 59 Port Rd, Hindmarsh with the CD and other merchandise – tour cardigans perhaps? – available on the night.

Roar Evolution is a new, youth networking initiative that will kick off in 2015 and, as an introduction, are hosting a series of open mic afternoons with the first one taking place from noon until 4pm on Sunday 23 November at Voice & Music Studio, 285 South Rd, Mile End. To register, email <john@ voiceandmusicstudio.com.au>.

Left Behind is a monthly event that takes places at The Wheatsheaf Hotel, 39 George St, Thebarton, and the next one will happen on Thursday 13 November.

A mere $10 will get you in to hang out with Lori Bell, Nikki Candy and Jessica Sutherland and laugh at some top notch comics along with a chance to listen to some live musical satire from days of old.

Focus Promotions presents a weekly event under the name Northern Exposure every Thursday evening at The Bridgeway Hotel, 18-20 Bridge Rd, Pooraka? Check it out as the 202 bus from Grote St in the city takes you straight to the front door at Stop 33.

The Fifth Annual Vegan Festival will be taking place on Sunday 16 November from 10am until 5pm as a family and petfriendly event and will feature food stalls and live music from Adelaide band Local Revolution. There will also be guest speaker Robert Cheeke, an author from the US, and it’s just a gold coin donation.

Highly respected locally-based producer and live sound engineer Matt Hills will be celebrating the 20th anniversary of his Hillside Studios with a huge party that will feature some 22 or so local act including The Dunes, Ghyti, Archers and Bad//Dreems and even Peter Combe.

Matt, who has recorded albums for those bands as well as for Horror My Friend, Wolf & Cub, Fire! Santa Rosa, Fire! and so many, many more, has become known as the go-to person for indie groups in this city. The 20th birthday celebrations will take place from noon on Saturday 29 November at Hillside Studios, Torrensville, with tickets on sale now via Moshtix.

OUR PHILOSOPHY Created by veteran Adelaide music guru Rob Dunstan, BSide Magazine is a weekly magazine totally focussed on what’s going on in the Adelaide Music Community.

Every week we will be bringing you the latest news, up-to-date information and entertainment through: Regular music news updates Features and interviews Touring and gig guides Local music industry news Awesome competitions Live music and CD reviews Theatre news and interviews Plus, we welcome the return of BOB’S BITS in print.

Our goal with BSide Magazine is to help rebuild the Adelaide Music Community, to refocus the emphasis on local music and uniting the different tribes encouraging and further enhancing a prosperous live music industry for all.

We want BSide Magazine to be like Gaffa Tape. The thing that will hold everything together.

IN THIS ISSUE Page 2 Around The Traps Our Philosophy Page 4 Heading To Town Page 5 BSide Tour Guide Page 6 Feature Article: The Hiptones Page 7 Clint Boge The Workinghorse Irons Page 8 The Clothesline Page 9 Matthew Mitcham Beau Heartbreaker Page 10 MusicSA CD Reviews Page 11 Brillig Bob’s Bits Page 12 Tori Amos Axe Girl Page 13 Thelma Plum Page 15 The Bizzo Advertising Enquiries Ph: (08) 8346 9899 sales@bsidemagazine.com.au

ISSUE #0007 November 13th November 19th, 2014

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HEADING TO TOWN Cat Canteri, drummer of The Stillsons, also has a solo career as a singer, songwriter and guitar picker and has just issued an album, When We Were Young.

Cat is now touring the album extensively with her band which will bring her to The Singing Gallery, 133 Main Rd, McLaren Vale on Friday 14 November along with an inner-city launch at The Wheatsheaf Hotel, 39 George St, Thebarton, from 9pm on Saturday 15 November at which she will also have Emily Davis as a special guest.

Paul Kelly and a cast of thousands, including Vika and Linda Bull, Dan Sultan, Clairy Browne and Ash Naylor, will be involved when the acclaimed singer songwriter comes to town armed with his 20th album, The Merri Soul Sessions. The launch concert will take place at Norwood Concert Hall, Norwood, on Saturday 31 January with special guests Hiatus Kaiyote. Tickets are on sale now from the usual outlets.

Melbourne rock trio The Peep Tempel are heading to town (pardon the early pun) to launch their new album, Tales, and will do so at Exeter Hotel, 246 Rundle St, on Saturday 22 November with an early start of 5pm.

Rockin’ Melbourne psychobilly combo The Workinghorse Irons will soon be making a road trip that will bring them to Crown & Anchor, 196 Grenfell St, on Friday 21 November with Standard Union and The Villeettes and Gaslight Tavern, 36 Chief St, Brompton, on Saturday 22 November with Loveless and The Villenettes.

New Zealand punks The Datsuns have not hopped across the Tasman for a while with their death rattle boogie, so we can happily report they have announced an Australian tour in support of a new album, Deep Sleep, and will be playing Jive, 181 Hindley St, on Wednesday 10 December. Tickets via Moshtix.

Blues In The Barossa, scheduled for Saturday 15 November in the Barossa and set to feature Dallas Frasca alongside a heap of other acts at Jacob’s Creek Wines, has unfortunately been cancelled.

Ezekiel Ox, formerly of Mammal, is currently touring around the place in intimate solo mode. In Adelaide, the famously wild front-person will be playing the Grace Emily Hotel, 232 Waymouth St, on Thursday 27 November. Book quickly via Moshtix.

Rudely Interrupted, an energetic, sixpiece Melbourne rock band led by Rohan Brooks and featuring members who share a range of physical and intellectual disabilities including blindness, deafness, Aspergers, autism and Down Syndrome, will play the Governor Hindmarsh, 59 Port Rd, Hindmarsh, on Sunday 16 November. Book at OzTix or via the venue.

Melbourne’s Yacht Club DJs have announced a second show at Jive, 181 Hindley St, on Thursday 27 November after the one for Friday 28 November completely sold out. Book quickly via Moshtix.

Melbourne’s Dear Plastic will be launching their The Thieves Are Babes in Adelaide over two shows. On Thursday 13 November they will play Hotel Metro, 46 Grote St, with Ghyti and Naomi Keyte which will be followed by a free entry affair at Crown & Sceptre, 308 King William St, on Friday 14 November at which the band will be joined by Melbourne’s Beloved Elk along with locals Animal Shadows and Orelia.

Orianthi, the Adelaide-born guitarist who has shared the world stage with acts such as ZZ Top, Steve Vai, Steve Tyler, Carlos Santana, Mailyn Manson, Dave Stewart, Adam Lambert, Michael Jackson, Richi Sambora, Bon Jovi and Alice Cooper, is heading home for Christmas. So why not play a gig?

So get set for a very special show at the Governor Hindmarsh, 59 Port Rd, Hindmarsh, on Sunday 21 December.

Book at the venue or via OzTix. Handpicked Festival, set to take place at Lake Breeze Wines, Step Rd, Langhorne Creek, on Saturday 29 November from 2pm until 10pm will boast Jessica Mauboy, Sheppard (in their only SA appearance for 2014), Thirsty Merc, Joshy Willo, Ash Gale, Alex Hosking and DJ Riley. There will also be food trucks by Fork On The Road. Children under 12 years will be admitted free if accompanied by an adult and tickets are now available via <handpicked.com.au>.

Young blues dude Shaun Kirk is on the road again and this time he’s filming material for a live DVD of his Two Hands To The Wheel album. Catch him at The Wheatsheaf Hotel, 39 George St, Thebarton, alongside Cal Williams Jr from 9pm on Saturday 6 December with tickets at $15.

Canberra punks The Vacant Lot and Bladder Spasms are heading to town this month! On Friday 14 November they’ll be joined by Perdition and Fear & Loathing at The Gaslight Tavern, 36 Chief St, Brompton, and on Saturday 15 November, the punk bands will hit The Edinburgh Castle, 233 Currie St, with Ben Gel & The Boneyard Saints as special guests. The Ed Castle gig will also serve as an album launch for Ben’s new band.

Following a recent sold out tour, Sydney band The Preatures have invited Brisbane’s Holy Holy and the Gold Coast’s Redspencer to join them on yet another circumnavigation of the country. Catch them in Adelaide at the Governor Hindmarsh Hotel, 59 Port Rd, Hindmarsh, on Friday 14 November for an all-ages musical affair. Tickets via OzTix or at the venue.

Melbourne-based band Maricopa Wells will be heading over the border to take part in Saved By Summer, a huge musical event set to take place at

Crown & Anchor, 196 Grenfell St, on Saturday 22 November featuring some of Australia’s best indie rock, folk and acoustic punk acts. Also on the bill will be interstaters Fear Like Us and Foxtrot as well as locals such as Paper Arms, The Hard Aches, Heath Anthony, Bec Stevens, Ry Kemp, Abby Howlett, Jake Ward and Anna Jeavons.

Canada’s legendary spoken word artist CR Avery is coming to town to undertake a free entry show with Gemma Boyd.

Avery, said to be, ‘like a collaboration between Beck and Beastie Boys at their most experimental’, and who has toured with Billy Bragg and Tom Waits, plays Wheatsheaf Hotel, 39 George St, Thebarton, from 9pm on Friday 14 November.

Blue King Brown, who’ve recently relocated from Melbourne to sunny Jamaica, will bring their summery grooves to the Governor Hindmarsh, 59 Port Rd, Hindmarsh, on Saturday 17 January.

Tickets are on sale now via OzTix or the venue.

American comedian Doug Stanhope, known for his cynical, controversial comedy style and libertarian political views, is bringing his talents to Capri Theatre, 141 Goodwood Rd, Goodwood, on Sunday 16 November. Tickets are now available via <stickytickets.com. au>.

Bluesfest sideshows have been announced for Adelaide with soul legend Mavis Staples set to play the Governor Hindmarsh, 59 Port Rd, on Tuesday 31 March, Jimmy Cliff set to play the Gov on Monday 6 April, Jake Shimabukuro to play the same venue on Friday 10 April and Gypsy Kings (featuring Nicola Reyes and Tonino Baliardo) to perform at Thebarton Theatre on Saturday 1 April.

Underground hip hop supergroup Deltron 3030, which features Deltron Zero (Del Tha Funky Homosapien), Cantankerous Captain Aptos (producer and remixer Dan ‘The Automator’ Nakamura) and Skiznod The Boy Wonder (turntablist Kid Koala), will make their Australian debut in 2015. In Adelaide they are set to hit the Governor Hindmarsh, 59 Port Rd, Hindmarsh, on Thursday 26 February with tickets now on sale via OzTix. Legendary blues harp player Charlie Mussellwhite, who blew harp on INXS’ Suicide Blonde, is among the first of the acts to be announced for WOMADelaide 2015 which will take place in Botanic Pk from Friday 6 March until Monday 9 March. Charlie will join such other great acts such as Balkan Beat Box, Youssou N’Dour, The Gloaming, Che Sudaka, Neneh Cherry, Lake Street Dive, Rufus Wainwright, Sinead O’Connor, Toumani Diabate & Sidiki Diabate, The Painted Ladies, Astronomy Class, Buffy Sainte-Marie, Emma Donovan, Robyn Hitchcock, Emma Swift, First Aid Kit, FourPlay String Quartet, Max Savage & The False Idols and Robert Forster.

Singer songwriter Mark Wilkinson, who was born in Buckinghamshire, UK, but has

Soursob Bob and Emma Woolcock

march of the mincing poodle

look for “March of the Mincing Poodle” on facebook

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resided in Australia since the age of four, enjoys a loyal following, has seven albums to his credit and has toured with such diverse artists as Eric Clapton, Peter Frampton, Chicago and Seal. Mark is now on his spring solo tour and set to spring into Jive, 181 Hindley St, from 8pm on Friday 14 November with Bec Sandridge as special guest. A previous visit to Adelaide quickly sold out, so grab tickets soon via Moshtix.

Foo Fighters, after an absence from Aussie soil for several years, will now play Coopers Stadium (Hindmarsh) on Wednesday 4 March with special guests Rise Against as part of a world tour.

Tickets go on sale via Ticketek from Thursday 13 November.

Brisbane’s raucous The Gin Club are touring a new single, Dancing With The Ghost, which will bring the outfit to The Wheatsheaf Hotel, 39 George St, Thebarton, from 4pm on Sunday 14 December as part of a national tour at which they will have Adelaide’s Doctor Desoto as special guests.

Australian singer songwriter Kim Churchill will celebrate summer with a comprehensive tour in support of Single Spark, his new single and opening track from his Silence/Win album which has garnered amazing reviews since it was released in May this year. Catch Kim at Jive, 181 Hindley St, on Thursday 5 February with tickets now on sale via Moshtix.

Agents Of Rock, a five-piece band of hard rockers from Melbourne, are embarking on their first interstate tour and are set to hit The Land Of Promise Hotel, 172 Port Rd, Hindmarsh, on Saturday 20 December to play alongside Trench Effect and sTool.

Thelma Plum is bringing her Monsters to cities and towns across Australia as presented by triple j. Having created a beautifully delicate, yet densely layered EP under the guiding hand of M-Phazes, Thelma has since assembled a misfit cast of seasoned musicians to recreate the soundscape on stage and bring her Monsters to life. Catch her at Jive, 181 Hindley St, on Thursday 20 November with Left and Dali. Book at Moshtix.

Brisbane’s Ben Salter, of The Gin Club and The Wilson Pickers, is set to make a return to the Wheatsheaf Hotel, 39 George St, Thebarton, following a triumphant sold out solo affair there back in July. Ben will be make his return from 4pm on Sunday 30 November with special guest Matt Heyward and tickets, via OzTix or the venue, are available for $12.

Gay Paris (Sydney) at Crown & Anchor Stereosonic at Adelaide Showgrounds Shaun Kirk (Melbourne) and Cal Williams Jr at Wheatsheaf Hotel Hayward Williams (US) and The Yearlings at The Singing Gallery (McLaren Vale) Jep & Dep (Sydney) at The Exeter Hotel Powder For Pigeons (WA/Europe) and The Ugly Kings (Melbourne) at Worldsend SUNDAY 7 DECEMBER Joan Armatrading (UK) at Governor Hindmarsh (two shows) FRIDAY 14 NOVEMBER NOFX (US) at Thebarton Theatre The Dead Love (Sydney), Exiles and Andy Roberts at Rhino Room Mark Wilkinson (Sydney) and Bec Sandridge at Jive The Preatures (Sydney) and Holy Holy at Governor Hindmarsh The Vacant Lot (ACT), Bladder Spasms, Perdition and Fear & Loathing at Gaslight Tavern Cat Canteri Band (Melbourne) at The Singing Gallery (McLaren Vale) New Navy (Ulladulla) at Pirie & Co Social Club CR Avery (Canada) and Gemma Boyd at Wheatsheaf SATURDAY 15 NOVEMBER Smudge (Sydney) at Grace Emily Corpus (Sydney), Shivers and Sincerely, Grizzly at Hotel Metro Hand Of Mercy (Sydney), Hellions and Void Of Vision at Fowler’s Live The Vacant Lot (ACT), Bladder Spasms, Perdition and Fear & Loathing at Edinburgh Castle Cat Canteri Band (Melbourne) and Emily Davis at Wheatsheaf Hotel SUNDAY 16 NOVEMBER Tori Amos (US) at Her Majesty’s Theatre Rudely Interrupted (Melbourne) at Governor Hindmarsh WEDNESDAY 19 NOVEMBER Punk Ass Kids: The Urban Chiefs (Tamworth) at Rocket Bar THURSDAY 20 NOVEMBER The Smith Street Band (Melbourne), The Front Bottoms (New York) and Apologies I Have None at Governor Hindmarsh Hey Lady! (Sydney) and Axe Girl (Perth) at Worldsend Hotel 8 Ball Aitken (Sydney) at Gilbert Street Hotel Clint Boge (Brisbane) at Royal Oak Hotel Thelma Plum (Sydney), Left and Dali at Jive San Cisco (Fremantle) at Fowler’s Live FRIDAY 21 NOVEMBER CW Stoneking (Melbourne) at Governor Hindmarsh The Urban Chiefs (Tamworth) at Worldsend MILLIONS (Brisbane) at Pirie & Co Social Club The Workinghorse Irons (Melbourne) and Villenettes at Crown & Anchor SATURDAY 22 NOVEMBER British India (Melbourne) and Magic Bones (Melbourne) at Governor Hindmarsh The Workinghorse Irons (Melbourne) at Gaslight Tavern 8 Ball Aitken (Sydney) at The Singing Gallery (McLaren Vale) Mick Thomas & The Roving Commission (Melbourne) and Charles Jenkins (Melbourne) at Trinity Sessions Clint Boge (Brisbane) at Crown & Sceptre Ne Obliviscaris (Melbourne) at Adelaide Uni Bar Saved By Summer: Maricopa Wells (Melbourne), Fear Like Us, Foxtrot, Paper Arms, The Hard Aches, Heath Anthony, Bec Stevens, Ry Kemp, Abby Howlett, Jake Ward and Anna Jeavons at Crown & Anchor The Urban Chiefs (Tamworth) at Glenelg Jetty Bar Mushroom Giant (Melbourne) at Worldsend The Peep Tempel (Melbourne) at Exeter Hotel

SUNDAY 23 NOVEMBER 8 Ball Aitken (Sydney) at Semaphore Worker’s Club Violent Soho (Sydney) at HQ Trophy Eyes (Newcastle), Endless// Heights, Landscapes and Columbus at Fowler’s Live Mick Thomas & The Roving Commission (Melbourne) and Charles Jenkins (Melbourne) at The Promethean MONDAY 24 NOVEMBER Erik Griswold (Sydney) at Wheatsheaf Hotel THURSDAY 27 NOVEMBER Ezekiel Ox (Melbourne) at Grace Emily Yacht Club DJs (Melbourne) at Jive The Delta Riggs (Gold Coast) at Adelaide Uni Bar FRIDAY 28 NOVEMBER Husky (Melbourne) and Ali Barter at Adelaide Uni Bar Yacht Club DJs (Melbourne) at Jive (SOLD OUT) SATURDAY 29 NOVEMBER Deep South Festival: Kevin Borich (Brisbane), Mojo Juju (Melbourne), Lloyd Spiegel (Melbourne), Claude Hay (Melbourne), The Hiptones, The Streamliners, The Timbers and many more at Governor Hindmarsh Gorgeous Festival: Xavier Rudd, The Waifs and many more at McLaren Vale Golden Features (Sydney) at Electric Circus The Underhanded (Melbourne) at Worldsend

TUESDAY 9 DECEMBER Sleep (US), Hydromedusa and Iron Worzel at Fowler’s Live Cloud Nothings (US) at Adelaide Uni Bar WEDNESDAY 10 DECEMBER The Skatallites (Jamaica) at Governor Hindmarsh The Datsuns (NZ) at Jive THURSDAY 11 DECEMBER Jack Carty (Sydney) at Grace Emily Dead Letter Circus (Brisbane) and sleepmakeswaves at Governor Hindmarsh FRIDAY 12 DECEMBER Illy (Melbourne) and Tkay Maidza at HQ Complex Thy Art Is Murder (Sydney) at Fowler’s Live Luluc (Melbourne) and Naomi Keyte at Jive Willow Beats (Melbourne) and Oisima at Rocket Bar Contrast (Melbourne), Ride Into The Sun, Kitten Kong and Blush Response at Worldsend

SUNDAY 30 NOVEMBER Nick Cave at Festival Theatre, Adelaide Festival Centre Gorgeous Festival: Xavier Rudd, The Waifs and many more at McLaren Vale Deep South Festival: Ray Beadle (Sydney), Hat Fitz & Cara (Brisbane), Glenn Skuthorpe and more at Governor Hindmarsh Sonic Architects National Conference: Hiatus Kaiyote and Remi at Governor Hindmarsh Ben Salter (Brisbne) and Matt Hayward at Wheatsheaf Hotel MONDAY 1 DECEMBER Nick Cave at Festival Theatre, Adelaide Festival Centre TUESDAY 2 DECEMBER Rick Astley (UK) at Festival Theatre, Adelaide Festival Centre Nahko & Medicine For The People (US), Trevor Hall (US) and Dustin Thomas (US) at Governor Hindmarsh WEDNESDAY 3 DECEMBER The Dead Daisies (Sydney/US) at Governor Hindmarsh Sage Francis (US) and Fait Accompli (Sydney) at Adelaide Uni Bar THURSDAY 4 DECEMBER Drawcard (Brisbane) at Worldsend FRIDAY 5 DECEMBER Russell Morris (Melbourne) at Norwood Live Bloods (Sydney) at Ed Castle Stereosonic at Adelaide Showgrounds Ice Cube (US) at Thebarton Theatre The Mark Of Cain and King Of The North (Melbourne) at Governor Hindmarsh SATURDAY 6 DECEMBER Ben Folds (US) and Adelaide Symphony Orchestra at Festival Theatre, Adelaide Festival Centre

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FEATURED INTERVIEW: THE HIPTONES

THE HIPTONES

By Robert Dunstan The Hiptones, once one of this city’s most popular bands, have elected to reform for one night – and it will be for just one night only – to take part in this year’s Deep South Festival, The festival, which hits the Governor Hindmarsh Hotel from Friday 28 November until Sunday 30 November, boasts a strong line-up of local talent including The Streamliners, Huckleberry Swedes, Kelly Menhennett, Zkye, The Bakers Digest, Carla Lippis, Lazy Eye, Steve Brown Band, Filthy Lucre, The Saucermen, Gail Page, Nikko & Snooks, Billy Bob’s BBQ Boys, Tavis Taylor & One More Mile, Glenn Skuthorpe and Sam Brittain.

Interstate performers at the festival will include Kevin Borich, Mojo Juju, Lloyd Spiegel, Claude Hay, Hat Fitz & Clara Robinson, Ray Beadle and Bec & The Big River Trio.

The Hiptones will, however, serve as a major drawcard for the festivities as part of Deep South on Saturday 29 November, so we caught up with vocalist Snooks La Vie just after he’d undertaken a Sunday afternoon gig with guitarist Nick Kipridis (as Nikko & Snooks) at the recently reopened Hampshire Hotel in Grote St. “Dennis Kipridis, the festival organiser, thought it might be a good idea to get The Hiptones back together for the Saturday night,” Snooks says. “But, y’know, I was in two minds because bands are a bit like a marriage in that if you split up, you probably shouldn’t jump back into bed together. It’s something that’s been and gone and people move on.

“But then I thought, ‘Well, it’s a great festival and Dennis is a good guy’,” he adds. “So why not? It’s just for one night.”

Snooks, who says that the band will begin rehearsals next week, is looking forward to the Deep South gig.

“Yeah, because it’s been five or six years now since we last played,” he notes. “And I was never happy with the farewell gig we did. For some reason we did it down at St Francis Winery in McLaren Vale as a sit down dinner show. It sold out and everything but, to me, for some reason or other it didn’t feel quite right.

“I would have preferred to have done a farewell show at Semaphore Workers Club because that’s where myself and the band cut our teeth,” Snooks adds. ‘It’s a very spiritual home for me.”

“But, yeah, I’m now looking forward to The Hiptones doin’ Deep South,” Snooks adds, “but it will feel a little strange doing all those old songs again. It’s been awhile but hopefully that will help give the songs a new lease of life. It’s going to be fun, anyway.

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Chulahoma where Junior, who recorded for the famous Fat Possum label and is said to have fathered 36 children, also used to run a juke joint known as Junior’s Place until it burnt to the ground in 2000.

The Hiptones formed after The Deliverymen folded.

“So we did that but Renée never got around to using them,” Snooks says.

“The Deliverymen were around for a while – the Sunday afternoon residency we had at The Joiner’s Arms became quite an institution after building up really quickly – but it kinda ran its course,” Snooks recalls. “And a few personnel changes meant it kinda morphed into The Hiptones when [guitar player] Steve Smith joined and then left and Mick Garcia came in on drums.

The band eventually ran its course, however, with Snooks moving into more of a country soul direction with his songwriting that didn’t really suit The Hiptones’ sound.

Snooks, who will make another trek over to the US next April, issued a solo album, the Charles Jenkins-produced Another Place In Time in 2011.

As well as playing with The Hiptones at Deep South, Snooks will also be taking to the stage with Nick Kipridis, as Nikko & Snooks, who play regular gigs around the traps.

“And then the bass player left and we got Narmon [Tulsi] in to play left-hand bass on the Hammond and we were going to became a gospel-type thing with vocals, organ and drums,” he says. “But when Narmon joined we started writing songs together and then Steve Smith rejoined on guitar.

“So I need to do another one,” he laughs, “because it’s been way too long. So I’m writing at the moment. And I did write a good one for The Semaphore Songs Project as part of this year’s Semaphore Music Festival.

“And because Nick and I do play so many gigs as a duo all over the place, we’re going to make this quite different,” Snooks announces. “So we’re going to have Dennis Kipridis on double bass and BJ Barker on drums.

‘It’s called Semaphore Angel and it’s a song about my dad because he used to live in Semaphore,” Snooks adds. “My dad lived on Company St down in Semaphore and it’s about him being pulled out of there at 13-years of age and going to work on a cattle station.”

“And I love playing with BJ,” he concludes.

“BJ is such a great musician to work with. He’s certainly one of my favourites because he’s a real musician’s musician.”

“And it all changed from being a blues band to a contemporary, soul and pop kinda thing and that’s when we changed the name to The Hiptones,” Snooks adds.

“And the name came from when I saw a photo of an old radio that only had one tone button on it and I thought, ‘How hip is that?’ So that’s where the name came from.”

Snooks also recently popped up on local singer songwriter Brenton Manser’s new album as a guest vocalist.

The Hiptones recorded an EP, Meet Me At The Sands, locally but ventured over to Melbourne to record a full-length album, Right Now, at Woodstock Studios with James Black, of RocKwiz fame, producing.

“Brenton is quite a prolific songwriter with his own really unique style,” Snooks considers. “And he’s also what I call a joyous musician in that he just plays to have fun.

Upon release, Right Now attracted much attention, including that of major record label Sony/BMG as it was then known.

“And you have to take your hat off to those kinds of people, because, at the end of the day, that’s really what music is all about.

“Yeah, their Adelaide rep, Wayne – ‘Ringers’ as he was called – had heard it and it got passed along and we got picked up,” Snooks says.

The singer says one of the band’s many highlights was scoring a residency at The Rainbow Hotel in Melbourne.

“While we were over in Melbourne recording the album, Chick Ratten, who is sadly no longer with us, offered us a residency at his pub,” Snooks says. “And that was unheard of because Chick never offered any band a residency.

“But I remember us all staying together in the one room in St Kilda which had four camp beds,” he thinks back before adding a weary sigh. “I think it just had a wash basin and a really tiny bar fridge.”

The Hiptones enjoyed much success with many a sold out gig in their hometown and frequent tours interstate as well as appearances on several top-rating televisions shows. They also opened for such acts as Royal Crown Revue, Rod Piazza & The Mighty Flyers, Wendy Matthews and Chris Isaac, who very much liked what he saw, and Australian soul legend Renée Geyer was impressed enough to ask Snooks and Narmon to pen her a song or two.

“And I’ve also just started working with [Hammond organist] Tristan Andrews on a new band called Chesterfield Supper Club which is basically most of the members of GT Stringer,” Snooks reveals.

“It’s like a soulful, swampy pop thing.”

When last over in the US, Snooks recorded with Austin’s CR Humphrey with the results ending up on Old Grey Mule’s album Like An Apple On A Tree.

“They’d seen me at a gig here in Adelaide – it was for Juke Joint at the big old mansion on South Tce – when I was playin’ with Billy Bob & The BBQ Boys,” Snooks says. “So they approached me and asked me to blow some harmonica with them during their set.

“And then, when I went over to the US, I hooked up with them again and did a few gigs in Austin,” he says. “And then we did a road trio to Mississippi and did a bunch of shows with Lightnin’ Malcolm and his drummer Carl – who is known as Stud and is the grandson of Mississippi legend Model T-Ford – so that was pretty cool.

“And I went to Junior Kimbrough’s house because we had to go there for something or other,” Snooks says of visiting the late musician’s home in

“So I got to meet Junior’s son, Kinney, so that was pretty cool as well,” he adds.

Deep South takes place at the Governor Hindmarsh Hotel, 59 Port Rd, Hindmarsh, from Friday 28 November until Sunday 30 November.

Book tickets via OzTix or via the venue.

CLINT BOGE

CLINT BOGE

By Libby Parker Clint Boge, formerly with The Butterfly Effect as front man, is coming to Adelaide and bringing with him his new solo act.

He will also bring a new outlook as the Queensland family man is taking a ‘back to basics’ approach to his new gig.

Despite touring with and recording with new band Like Thieves, Clint says he has found it difficult breaking back into the music scene, but has no regrets.

“I’ve got the best of both worlds so I’ve got Like Thieves and doing the solo thing is pretty cool as well because you’re your own boss,” Clint says. “It’s also scary because you’ve got no one else to rely on and when you’re writing, it’s quite good to bounce off people.”

“Performance-wise it really comes down to you. You haven’t got 20 thousand decibels of noise and three other dudes to look at on stage. It’s quiet and it’s acoustic and it’s very personal and it’s like, ‘Welcome to my bedroom!’

“Which is cool for people with a voyeuristic vibe,” he adds with a laugh.

Spending his time between writing music, touring and looking after his family, Clint has also found time to do some solo cover gigs just to pay the bills which have been an eye-opener for him.

“I became conditioned to playing music, it’s all I knew so I just kept playing. But hats off to all cover musicians out there.

That’s where I came from but I forgot. The amount of ungrateful, nasty, malicious, drunk individuals I’ve encountered is frightening,” he says.

“I went to Mt Isa recently and I jumped up on stage and before I’d even struck a chord, this guy said, ‘Keep it down you f!$king c$%t!’ So I walked up to him after the set and said, ‘Mate, there’s no need to talk to me like that, I’m just doing my job’, and he threw down his knife and fork and tried to throw me through the back wall.”

Not being one to back down from a confrontation, Clint defended himself but took away a new respect for musicians doing the hard yards.

“I used a Judo move and flicked him onto the floor and then he tried to rip out all of my piercings and punch me. I can’t understand how musicians have become so devalued. I have a new appreciation for cover musicians,” he says.

And while he’s not fending off drunken punters at gigs, Clint is writing and producing music for a solo EP. “I’m just trying to put together stuff to record my first EP which I’ve been threatening to do for some time. I’m tossing up whether I just have me and another guitarist, or guitarist and kick drum/snare. But I don’t want to do what’s hip and what’s cool, I want to do what’s been rolling around in my head for years,” he says.

THE WORKINGHORSE IRONS

And the response to those songs rolling around in his head has been pretty good so far so Clint is keen to keep up the tough slog to get his music back out there.

“The feedback I’ve had so far on my solo stuff has been good. It’s funny when you come from being in such a big band, you think there’s still going to be people around to offer you things like record companies, publicists and managers. That doesn’t happen! No one is knocking on my door saying, ‘I want to manage you’ It’s a learning experience,” he says.

Clint is working hard to get back on top after fronting The Butterfly Effect for 12 years and leaving due to creative differences.

The much-publicised tension between the musicians has inspired Clint to pursue his solo career, although he says he still hasn’t resolved his differences with the rest of the band.

“I don’t have anything to do with Ben or Kurt. Glenn is the only one I talk to and will continue to talk to. We’re still really good friends but as far as the rest of the band are concerned, I don’t know what they’re up to. I don’t even associate with anyone who knows them,” he says.

“I’m very happy with my decision.

Someone asked me if I’d do a reunion tour and I said, ‘No way!’ That would be like hooking up with your ex! You can’t do that. You have to make a clean break because otherwise it sends the wrong message. It says, ‘You can treat me like shit and badmouth me the whole way along and I’ll come back and help you out’.”

Enjoying the freedom of being a solo artist and the perks of playing when and where he likes, Clint is particularly looking forward to coming to Adelaide as it’s place he’s always been a fan of.

“I love Adelaide,” he enthuses. “Everyone knows I love Adelaide. It’s one of my favourite places in the whole world. I don’t get to spend as much time as I’d like, but appreciate it when I’m there.

“The people are amazing. We always say to touring bands, ‘Wait ’till you get to Adelaide’. Some of the best crowds in Australia are in Adelaide,” he says.

“My solo gig will be cruisyy, cool and intimate,” Clint concludes. “Just a guy playing acoustic guitar. I’ll try to do some comedy, maybe.

“And ventriloquism. I’ll be a triple threat but with no guarantee of laughter or amazement,” he jokes.

Clint Boge play Royal Oak Hotel, 123 O’Connell St, North Adelaide, on Thursday 20 November and Crown & Sceptre on Saturday 22 November with Baltimore Poet as special guests.

Book quick at OzTix or via the venues.

THE WORKINGHORSE IRONS

By Robert Dunstan

Carnival in 2011 and took the heady plunge.

The Workinghorse Irons are a punkorientated psychobilly combo from Melbourne who are soon making a road trip to Adelaide to tie in with the launch of a new EP.

“That was a bit insane and a real culture shock,” Scott now admits. “It was a fiveday festival that’s 100% psychobilly and surf bands but we also did a handful of our own shows over the course of three weeks as well as the festival.

So we got on the blower to guitarist Scott to have a chat about the rockin’ quartet heading our way once again.

“Yeah, we’ve been over to Adelaide a couple of times now,” he says. “But I can’t remember the names of the places we’ve played. But I reckon one of them had a bar with some stairs going up to the band room.

“Hey, remember the film The Predator,” Scott then asks making me think he’d completely changed the subject. “You do?

Ah, good because this place we played had some Predator-like metal statues on display. There was a whole load of metalwork stuff in the downstairs area.”

Oh, that must have been Enigma Bar! “Yeah, yeah, that’s it,” Scott laughs.

“Enigma! That’s where we played in Adelaide last time we were over.”

Scott says the band have been a going concern for just on four years.

“Myself and the other guitar player, Nick, had a band with a couple of other guys but then they sorta left so we ended up getting in Joe on bass and Mark on drums,” he says. “And then we finally cemented the line-up when Benny [Sharp and also of The Resignators] replaced Mark on drums.”

The guitarist says he grew up listening to Rancid.

“And I still think they are one of my favourite bands,” he says of the Tim Armstrong-led Californian punks who have just issued, … Honor Is All We Know, as their first offering in some five years.

“But I also love The Clash – their version of Vince Taylor’s Brand New Cadillac on London Calling is just brilliant – along with all the other what I call ‘gateway bands’ who led people to other music.

“And I think I was playing in quite a heavy punk band that was influenced by some of the hardcore New York punk bands when someone handed my a copy of a Stray Cats album,” Scott recalls with a laugh. “And from there I got into playing some open chords and getting a bit more technical with my playing.”

The band’s name came from an incident at a tattoo parlour.

“Our old bass player was getting a tattoo and saw that the tattoo gun’s barrel was called a ‘Work Horse Iron’,” Scott says.

“So we all thought that would be a pretty cool band name. But then someone completely stuffed up our logo and put the name as The Workinghorse Irons, so we kinda got stuck with it.”

The band, who often include their version of Motörhead’s Going To Brazil live sets, were invited to play Brazil’s Psycho

“And we got to play with [Denmark’s USbased] Nekromantix and The Griswalds from Holland,” he says. “And that led to us supporting Nekromantix when they last came down to Australia. We did three shows with them – Melbourne, Sydney and Brisbane.”

The band has also been invited to make return visits to Psycho Carnival but are yet to gather enough funds to head over there.

“The airfares are now twice as much as when we went that first time,” Scott sniffs. “So we are going to look at going to Europe next year. And Brazil’s so massive you have to fly everywhere but everything’s close in Europe.

“And we now have friends over in Europe who are involved in the scene,” he adds.

“So The Griswalds have said to us, ‘Hey, come over and we’ll play some shows together’. So that could work.”

Powderfinger guitarist Ian Haug, who now plays with The Church, has taken The Workinghorse Irons under his wing and signed them to his Airlock label.

“Yeah, it sounds like a funny combination,” Scott laughs. “But Ian had seen us play Cherry Bar in Melbourne and liked what we were doing. So he offered to record a couple of songs for us up in Brisbane. So it escalated from there and we’ve now signed a deal with him where he records and produces us and puts our stuff out on his label.

“Ian’s been very supportive and while people might think, ‘Well, that’s not very punk rock to be working with someone from Powderfinger’, he’s just such as super nice guy,” he continues. “And, at the end of the day, we are all working musicians and Ian has some cool ideas.

“For example, because we are all from punk and metal backgrounds, we tend to play everything as fast as we can,” Scott laughs. “But Ian has taught us to pull back a bit on that. So, with Ian’s help, I think the band has evolved quite a bit.

“And just because I play in a pyschobilly band with lots of tattoos doesn’t mean to say I don’t like other genres,” he continues. “And it’s the same with Ian. Just because he played in Powderfinger doesn’t mean he isn’t into some of the bands we like.

“Like us, Ian also likes The Clash, Elvis and The Cramps,” Scott concludes.

The Workinghorse Irons play Crown & Anchor, 196 Grenfell St, on Friday 21 November with Standard Union and The Villenettes and Gaslight Tavern, 36 Chief St, Brompton, on Saturday 22 November with The Villenettes and Loveless.

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OTHELLO

OTHELLO

By David Robinson State Theatre Company Of SA will wind up its 2014 season with a new take on a classic tale of racism, jealousy and revenge, set in a contemporary military environment.

Directed by Nescha Jelk, Othello is deemed one of Shakespeare’s most famous tragedies with Othello being one of literature’s utmost anti-heroes.

The Clothesline speaks with Ashton Malcolm, who performs the role of Desdemona. Being her STC debut, we ask about her experience so far, especially when compared to work with other companies?

“It’s going really well” Ashton begins. “It’s a pretty intense play but I feel like we are in a really good place. The main luxury of working with a company like this is that I just get to act. It’s been really nice having other people organise schedule, costume and all of those things. I get to focus on playing with the other performers and that’s been a lovely luxury for me.

“It’s been great working with a director like Nescha because she is so collaborative, She invites actors to have strong input, so I’m still involved in every process of the work. It’s nice to approach that from an actor’s perspective.”

You’ve worked with Nescha previously, haven’t you?

“When I graduated from Flinders University Drama Centre in 2009, I cofounded Milk Theatre Company with Nescha and two other women – Sarah Dunn and Michal Kedem,” Ashton says.

“A few years ago we did a production of Hamlet together, with another theatre company, and it was pretty amazing. I got to play Ophelia, in a shed in a back yard in Croydon. It’s really exciting to be working with her on Shakespeare again, in another modern adaptation but this time with State Theatre Company.”

How has your association and relationship with Shakespeare’s work developed over time? Is it something special for you, or just another job?

“I’ve always loved Shakespeare, even in high school, where I really loved reading and performing his work,” she replies. “I love contemporary work but there’s something incredible about Shakespeare’s language. It’s so epic; you have to use your whole body and experience to rise to the language.

There’s an amazing freedom in that; one that you don’t necessarily find in other texts.

“These plays were written hundreds of years ago and the themes are still so relevant,” Ashton adds. “With Othello you’re talking about love, jealousy, desperation, racism and sexism.

8

DAAS

Unfortunately all of those things are still entirely prevalent in our society. It takes a pretty amazing playwright to be able to write works that can still be relevant.”

THE DOUG ANTHONY ALLSTARS

By Catherine Blanch

where they think we must be a legend of something… We’re still offensive; we’ve even had walkouts – which are just hilarious,” Tim says.

There is, obviously, an enduring quality about much of Shakespeare’s work.

It was 1984 when The Doug Anthony AllStars began busking on the streets of Canberra, making so much of a nuisance of themselves with their controlled chaos that by 1987 they had taken over the Edinburgh Festival, stamping their mark on the comedy world.

“The show is emotionally confronting and actually better than what we did in the past. It’s certainly funnier in the sense that it’s scarier and, between me and the two Paul’s, we have 100 years’ of comedy experience that we didn’t have before – which is why we used to do a lot of shouting and shirt-fronting people.

Whereas now, we go straight to cockpunch! [laughs] And I’m in a wheelchair so I’m at exactly the right height!

“The themes are so universal. Yet, as an actor, there’s great pleasure in getting to explore such huge emotions with such beautiful language. The language really does do the work for you if you commit to it.”

Othello deals with a range of issues and emotions that are common today.

Is there any particular theme that this production emphasises?

“Often, Othello is seen as “the race play,” Ashton explains. “Something that we’ve all noticed in reading the text is that this play is just as much about gender. In a heavily masculine environment, every woman in this play is treated terribly. Bianca is abused and taken advantage of, Amelia and Desdemona are both killed by their husbands so, to me, this play is just as much about gender as it is about race. It is not only the way that the women are oppressed, but also the way that the men are oppressed – having to fit in to these masculine roles.”

What about the contemporary setting for this production, what does it add to the play?

“I think it adds relevance to the themes,” she says. “By using a contemporary setting, I think most folks realise that this kind of racism, gender oppression and violence is an entirely contemporary problem. I’ve also found it really interesting to explore what contemporary warfare does to men and the way they think; the kind of state that those men are in.”

It must be a wonderful, challenging opportunity.

“It’s incredibly exciting, and it’s such an amazing honour to be playing a role like Desdemona,” Ashton concludes. “It’s the kind of role that you grow up hearing about. It’s really exciting and terrifying to actually put yourself in her shoes and properly explore that.”

Othello runs at Dunstan Playhouse, Adelaide Festival Centre, at various times from Friday 14 November until Sunday 30 November, 2014.

Book at BASS on 131 241.

To read the full interview, go to theclothesline.com.au

Two years later the musical comedy trio performed on ABC’s live-to-air The Big Gig before going on to launch their ABC sitcom DAAS Kapital.

DAAS have confronted and shocked while being loathed and adored for their moral mayhem, with the show being banned in Japan and Germany.

Original members Paul McDermott (Good News Week/GUD) and Tim Ferguson (Funky Squad/Don’t Forget Your Toothbrush) have teamed up with their comedy mentor Paul ‘Flacco’ Livingston (The Big Gig) to unleash themselves onto Adelaide audiences for the first time in 20 years.

We answer Tim’s phone call to the fanfare of Bill Conti’s Gonna Fly Now (theme to Rocky) as Tim welcomes us to the interview in his best macho Triple M voice, setting the hilarious and slightly sarcastic tone for the entire interview.

In another life, Tim is a lecturer at RMIT as well as the author of Carry A Big Stick about his life with MS. We discuss the downsides of people being labelled by their disability rather than by their name, gender or job.

“People can be scared of such things,” he begins. “In the front of their mind when they are dealing with someone who, like me, is travelling in a wheelchair, it’s the first thing they think of and it takes them a while to get used to it.”

So does this mean that you do sit-down comedy these days?

“I do sit-down comedy, get-wheeledaround comedy, I can do stand-up comedy but it just doesn’t make people as scared as being in a wheelchair.

Wheelchairs scare audiences and I kinda like that!”

You guys have always liked to get in people’s faces and push the limits. Is this new scary side of you part of what brought DAAS back to the stage?

“Oh yeah!” he says. “The new show is a reinvention of the AllStars ethos so, it’s still there – baffle, encircle, terrify and destroy – but we just have different subjects now. I mean, we are the old men of Australian comedy; we’re the Travelling Dougburys!”

You’ve also been called the masterful legends of comedy.

“Well, that’s what you say about people like Yoda! We’ve just passed the age

“We’ve had more people weeping during the show than before. We used to have at least one person crying for Godknows-what reason, maybe because we singing some dreary cover ballad, but the narrative of this show much darker.

People sob, weep and laugh; it’s a much harder show to survive intact!”

Why is that? What are you doing to them?

“Maybe we might mention the wrong thing; some topics might be a bit soon for some people,” he says. “But we’re the Doug Anthony-fucking-AllStars and people have had 30 years to get used to what purchasing a ticket to our show means. The idea of these new shows, including when we tour around the world, is to cover material that nobody else can cover – to talk about things that new comedians don’t have any connection with; death, disaster, famine and cruelty still have their charms for us.

Do you judge how well your show goes by the number of walk-outs you get?

“Well, we’ve only had a couple but, who knows, maybe their bladders exploded?” he laughs. “Actually, we base a successful night by the smiles on their faces, the laughter in their hearts and the tears on their cheeks… And also the stiffness of their nipples is another good way to see if people are still awake. Flaccid nipple means you’ve lost them!”

The Doug Anthony AllStars performs DAAS Live! at Her Majesty’s Theatre from 8.00pm on Thursday 20 November and Friday 21 November.

Book at BASS on 131 246 For the full interview, go to theclothesline.com.au.

BEAU HEARTBREAKER

MATTHEW MITCHAM

TWISTS & TURNS

By Bobby Goudie Matthew Mitcham is best known as an Olympic Gold Medallist Diver, but this year his performances have also been on the stage and as Feast Ambassador 2014.

Matthew published his autobiography Twists & Turns in 2012 which provides the basis for his Feast Festival show of the same name.

We speak with Matthew over the phone about his plunge onto the cabaret stage and ask if there are similarities between diving and performing?

“I think that diving itself is more of an artistic sport and I’ve always thrived on competition,” he begins. “The bigger the stage, the bigger the event and the better I perform. I get a real kick out of that adrenalin; I really think that I was born to perform.”

Tell us bout bringing Twists And Turns to the stage.

“Obviously, because it’s autobiographical it starts at the beginning and finishes not that long after the London Olympic Games in 2012. The book has pretty much everything that happened in my entire life in it.”

You’re quite open in your book. Will audiences be treated to that same honesty on stage?

“Totally!” Matthew declares. “I think it’s an even better medium to show that vulnerability. A lot of people do shows about other people or things that aren’t really personal. But mine, because it’s my story, it is so candid, open and raw.

“Everyone goes through periods of depression, anxiety or hardship – be it with relationships or with work – so people can really relate to the experience because they’re just such prevalent issues. They just don’t talk about it that much.”

Matthew began playing the ukulele only four years ago when he was injured and unable to dive. He taught himself how to play by watching videos on YouTube and since then he has completely absorbed himself into music.

“Music is just so wonderfully therapeutic and something that you can have with you for your whole life,” he says. “I now have another way to tell my story using music as a vehicle. It’s so rewarding for me and a real bonus when other people enjoy it.”

What does the title and role of Feast Festival Ambassador mean to you?

“Well, it was great to even be asked to perform at Feast, because it has a really great reputation throughout the country as being a really high calibre, good quality and respectable cultural festival,” Matthew concludes. “And then when Feast artistic director Catherine Fitzgerald actually asked me to be the ambassador it was like, ‘Hell yeah!’”

Matthew Mitcham performs Twists & Turns at Queer Nexus, Lion Arts Courtyard, at various times from Friday 21 November until Saturday 29 November.

For the full interview, head to theclothesline.com.au

BEAU HEARTBREAKER

By Bobby Goudie They say that behind every talented man is and equally-talented woman.

None truer than when singer songwriter Selina Jenkins slips on a beard and hat to instantly transforms into the multi-award winning and endearing Beau Heartbreaker.

The symbiotic pair is performing Beau Heartbreaker at Feast Festival, so we speak with Selina via email.

“Regardless of where I perform this show, nationally or internationally, Beau Heartbreaker comes with a money back quality guarantee. If you see the show and honestly believe the ‘quality’ of the performance to be poor, I am happy to refund the cost of your ticket in full. So far, no one has requested a refund.”

How did you create Beau? Is he based on anyone in particular?

“I wanted to create someone who was convincing and relatable; someone who wasn’t a caricature. I work on keeping Beau as real as I can because I’d like people to forget that they’re watching a character. I’ve tried to combine a ‘recognisably masculine’ exterior with other traits generally deemed of lesser ‘manly’ value, such as vulnerability, empathy, a tender kindness and gentle nature.

types of comedy and performance, but I’m a strong believer that getting a laugh or response doesn’t have to come at the expense of others. Beau is a genuinely lovely individual.

“The idea of a woman performing as a man may be confronting to some, but the reality of Beau could not be less so. The most consistent feedback I receive from audiences is how comfortable they are around Beau, even if the content evokes strong emotions at times.”

What is the strangest response you’ve got from someone that has watched you perform as Beau?

“Where should I start? Audience members wanting to have a beer with Beau after the show and continue getting to know him is relatively common. I don’t blame them; he’s far more interesting than me.

Both women and men ask me who Beau is based on and if they could meet that person.”

Selina Jenkins performs Beau Heartbreaker: One Woman Performing As One Very Endearing Bloke at Caos Café, 188 Hindley St, from 8pm on Wednesday19 November until Friday 21 November.

To read the full interview, head to theclothesline.com.au

“Beau is a combination of many men I’ve known and loved across the years.

I hope for him to be convincing, yet simultaneously challenge gender roles and stereotypes, allowing audiences to express their own vulnerability alongside him.”

Why do audiences love Beau so much?

“Whether I am performing in outback Australia or a big city in the US, the response to Beau has been overwhelmingly positive. And I’m so grateful for that. It certainly makes my job a lot easier. I enjoy many different

9

CD/DVD REVIEWS

CD REVIEWS

THE CITIES ALIGHT Bang Reviewer: Kyle Opie Rating: 3.5/5 Piano rock outfit, The Cities Alight, are a culmination of musicians from several other local groups of various styles. They have recently released ‘Bang’, a five track EP of clean cut pop rock tracks hinting at influences from the likes of the Ben Folds Five.

The sound they have produced in the studio is very clear and well rounded with the vocals in the front of the mix.

Arpeggiated piano lines are found throughout, and are emphasised in tunes such as the driving closer ‘If’, which provides a succinct picture of pianist/ singer-songwriter, David Bowering’s, quality musicianship.

Most often found alongside are rhythm guitar, bass and a very smooth drum sound with a reasonably high pitched snare tone.

Upon opening the physical copy of the album I came upon some very cliché band photo poses, I think this is reiterated in the music, too.

Pop rock fans ought not to be deterred, though, as the group has done well to begin to carve its own niche within the style despite the apparent lack of innovation, and they have done so with variety, articulate performance and emotive prowess.

FAIR MAIDEN Self Titled Reviewer: Michael Hunter Rating: 4.5/5 Ellen Carey (Clue To Kalo etc) has put together what could reasonably be described as an intriguing collection of songs for this album, released under the collective name Fair Maiden.

Joined by Stephanie Crase, Liam Kenny and Joel Carey for the recording, the self-titled release is a varied but hard to categorise delight.

To explain, the opening track ‘India’ has subtle bass and tribal sounding drums, which lead into a quite ethereal song, almost medieval with heavily echoed vocals.

The latter production technique is used throughout to good effect. But as the album progresses, more rootsy elements become apparent as on ‘Lord’ and ‘Wait For You’ which is more country rock but still with an odd “outsider folk” kind of feel to it somehow.

Really nice chord progressions, as well.

‘Poison’ is an amalgam of all the above styles with great use of melody, massed vocals and musical intrigue. However, it was during ‘Darlin’’ I realised the production by Jack Farley is quite subtle – one can tell it has been “produced” but it seems the MO was for the musicians to just play and Farley to capture it as it transpired.

Maybe that’s my imagination, but the recording process adds to the overall distinctiveness in any case.

The closer ‘Lady Of Fortune’ is an atypically energetic song, which works as successfully as the subtler moments.

The performance, harmonies and original songwriting all conspire to produce an album that doesn’t so much get in your face, but seeps under your skin.

10

Music SA is a not-for-profit organisation committed to promoting, supporting and developing contemporary music in South Australia.

We are thrilled to be working with BSide Magazine to bring you reviews of South Australian artists.

Want to see your CD reviewed here? Go to musicsa.com.au for details on how to submit your EP or LP.

JULIA HENNING Fledgling Reviewer: Michael Hunter Rating: 3.5/5 Obviously, there are good reasons why an act is chosen to appear at WOMADelaide, and this album by Adelaide singer and songwriter Julia Henning gives a clear picture as to why she has been given that honour for 2015.

Henning’s list of influences include perhaps obvious ones like Tori Amos, and less so such as Flanders and Swann, although the latter gives a hint as to her understanding of the importance of lyrics, which in her case are generally quite personal.

For example, “Tempest” is a mature, wellstructured song with a contemporary sound and poetic bent. As seems typical with her work, it is also just the right length to capture the listener’s attention while understanding the power of succinctness.

Much of her material is of a ‘modern rock’ style, or post-rock as she describes it, though songs such as “Tall Trees” and “Whispers” are more acoustic in nature, giving Henning’s melodic voice more room to be heard. Likewise, “Another Day” is a lovely song with an engaging performance.

Unfortunately, the production is generally quite flat; lacking in space and dynamics and trying too hard to win the loudness wars, even on quieter tracks.

This is music that needs to breathe and be heard clearly, because there are very good band performances and arrangements to be found here.

Nevertheless, ‘Fledgling’ is an album that clearly showcases the collective skills of Julia Henning and friends, and I’m sure the songs will work at least as well in a live context too.

PETER NIC Here We Be Reviewer: Kyle Opie Rating: 4.5/5 In 2012, Peter Nic (Nicholas) was selected as a scholarship finalist for the James Morrison Generations in Jazz Scholarship. In his final year at the Elder conservatorium he was awarded Top Jazz Guitar Undergraduate and was again a finalist for the scholarship.

His accolades as a skilled Jazz guitarist are stylistcally misleading, although, in the wake of “Here We Be.” Peter has been lucky enough to become acquainted with world reknowned artists such as Derek Trucks, Robert Glasper and John Mayer, the latter of whom has been a very clear influence on the creation this album.

The album features 12 guitar- based pop songs with lacings of beautifully tasteful and toneful blues licks and top quality studio production.

His singing voice is comparable to any world class r&b pop singer, as are, conversely, the quality of the compositions.

As a jazz lover hearing this I was disappointed, simply, that it wasn’t a jazz record, though on the track ‘Starved Heart’ my hunger was satiated with an extended jazz based guitar solo.

As a general music lover I am, however, delighted with what’s on offer here. The only thing the album suffers from is a lack of variety; he has otherwise given himself plenty of options for single material, as he has produced a highly marketable album.

BRILLIG

A bit of house-keeping.

BRILLIG

By Robert Dunstan Adelaide trio Brillig will launch a new single, Ghost Riders In The Sky, at what will mark their final pub gig for the year.

a setting on it called ‘grave’ so lots of spookiness comes out.”

The single’s impressive artwork is down Charlie Roberts who is known to patrons of the Grace Emily Hotel as he does the weekly chalkboard out the front.

So what better way to talk about the launch than for BSide Magazine to meet up with two thirds of Brillig, Matt (vocals and guitar) and Elizabeth (vocals and assorted instruments), at the Grace Emily for some beers and champagne in the venues beer garden?

“And we’d bought one of Charlie’s pieces at a Baldclanger,” Elizabeth says of the hotel’s annual prize for portraiture which only recently took place for this year.

“That would have been in 2012 and we then kept an eye on what Charlie was doing and got him to do our album cover and the last single.

“We released our last album, I Ain’t Ever Gonna See The Sea, as part of Adelaide Fringe in 2013,” Elizabeth begins as we delve into a bit of history.

“And it’s great as it keeps everything local,” she adds. “And I dare say our next release will also feature Charlie’s artwork as well.”

“And since then we’ve done bits and pieces but, because some things move quickly sometimes, haven’t been in the right head space to record our next album,” she continues.

Brillig now have three overseas tours under their belt – New Zealand, Europe and the US – and will look at another trip to Elizabeth’s homeland next year.

“But we wanted to keep on doing stuff so back in July we put out a single – a cover of Bang Bang with a couple of bonus tracks – and we’re now doing the same thing again with Ghost Riders In The Sky,” she adds. “So it will be our last trio show before next Fringe.”

Ghost Riders In The Sky was penned way back in 1948 by American songwriter Stan Jones and has since gone on to be considered a cowboy classic and has been recorded by everyone from its writer through to Burl Ives, Dick Dale, Frankie Laine, Tom Jones, The Shadows, The Ventures, Elvis Presley (albeit in very raw form) and even Adelaide band The Fabulaires on their Apocalypso EP of the late ’70s.

“Because I have family over in the US, it makes it easier,” she says.

“And it was this time last year to the day we were in Nashville,” Matt recalls, “and we had such a great time there and can’t wait to get back.”

Brillig had begun life many years ago as an electro rock band but turned to gothic acoustic music due to a number of reasons.

“The Handsome Family were playing at the Grace and we were offered the support,” Matt says of opening for the dark American alternative country duo.

“But the real inspiration for going acoustic was hearing Johnny Cash covering Nine Inch Nails Hurt.”

“It’s the best cowboy song of all time,” Matt says. “And there have been killer versions over the years by Gene Autrey, Marty Robbins, Willie Nelson and now, of course, Brillig. The list goes on. So we just wanted to be part of that huge list of artists who have covered it.

“We were very much in the Nine Inch Nails camp at that time,” Elizabeth says, “and obviously we had heard of Johnny Cash but never really listened to him. We were more into Bowie and that kind of thing.”

“But we do it in our own way, of course,” he quickly adds, “because that’s the way Brillig roll.”

“And then we heard Johnny Cash doing Hurt,” Matt continues, “and thought to ourselves, ‘Who is this amazing guy?’ So, obviously, we’d missed the boat by about 40 years.

Brillig’s recording of Ghost Riders In The Sky features a special guest in the form of Zac Collison of Adelaide duo Sea Thieves.

Zac, who also operates popular live music venue The Jade Monkey alongside Naomi, also of Sea Thieves, contributes vocals along with a musical saw to the song.

“Zac’s saw gives the song a really eerie sound,” Matt says. “But the whole song has some great instrumentation on it with Elizabeth’s deep accordion and some old guitar.”

“And Zac also thought the musical saw added a certain amount of spookiness to the song,” Elizabeth continues. “It’s very ethereal but underpinning that is the really nice, cowboy campfire-style guitar.

“And there’s some tasty bass [from Brillig member Denni] and the accordion I play is this massive old thing,” Elizabeth reveals. “It’s a huge old Italian instrument that I can’t possibly take to gigs – although I did manage to somehow get it to Adelaide Fringe last year – but it has

“So hearing that one song pretty much changed everything for us,” he adds. “We just wanted to sound like that and that sound became a huge influence on our new direction.

“And it’s funny because ever since I was a kid I’d wanted to play the autoharp,” Elizabeth says of the stringed instrument from 1882 that has a series of chord bars attached to metal clangers.

“So, with Brillig, I now get to do that and play accordion as well,” she concludes.

“And, y’know, I really didn’t ever see that coming.”

Brillig launch Ghost Riders In The Sky from 5.30pm on Sunday 16 November at the Grace Emily Hotel, 232 Waymouth St, with LeighStarDust as special guest with $10 tickets at the door.

Following last week’s column about witnessing Radio Birdman perform back in 1977 and admitting that I could not recall the name of the band, that opened for them, a lady approached me on over the weekend – ironically enough at a gig

by Radio Birdman – to inform me that the support act’s name was The Chris Finnen Offering.

And, following last week’s column about witnessing Radio Birdman perform back in 1977, a gentleman also approached me on over the weekend – ironically enough at a gig by Radio Birdman – to inform me that I had managed to spell Deniz Tek’s name as Dennis Tek. Now, I am not at all Tek-nically minded but I reckon that my oh-so-clever computer being oh-so-clever an’ all, watched me type in ‘Deniz’ and then thought to itself, ‘Bob’s had one too many pints (again)’, and, being oh-so-clever and a bit of a menace, immediately changed ‘Deniz’ to ‘Dennis’.

Anyway.

It’s interesting to note, to some anyway, that this week’s issue should carry an interview I conducted recently over the telephone with US musician Tori Amos as she marks one of the first memorable interviews I ever did.

failed dismally following the release of a self-titled album.

So I made a mental note to avoid any reference to that short-lived musical affair when talking to Tori. And, I do remember the interview going rather well as the artist in question talked rather candidly about being abused as a child, her Methodist upbringing and the fact she had hated childhood piano lessons as the teacher would whack her over the knuckles with a ruler if she played a bum note.

And I do recall that Mat Snow’s published interview with Tori later became the subject of a great deal of attention. In fact it’s highlighted on the internet at <rocksbackpages.com> although you have to be a subscriber to read it and that comes at a cost of £55 for a three-month subscription.

You can freely read my recent interview with Tori, who recently worked with Adelaide-born Sam Adamson on a musical adaptation of the George MacDonald’s The Light Princess for the UK’s Royal National Theatre, for free on page 12 of this free publication.

Tori Amos plays Her Majesty’s Theatre, Grote St, on Sunday 16 November.

Book at BASS.

The year was 1992 and Tori was all set to release her debut album, Little Earthquakes, and, as happened back then I had been furnished with a physical copy of the album in the compact disc format well before the official release date in order to do a phone interview with her to discuss the makings of said album.

I would have also been furnished with what’s known as an artist biography – often more simply called a ‘bio’ in order that I may acquaint myself with what Tori was all about. And Tori’s official bio probably would have been sent to me via a facsimile machine due to the fact that electronic mail, which we all know as email, would not come into common usage until a couple of years later although, apparently, some privileged people had been using email since 1962 via the 1440/1460 Administrative Terminal System.

Anyway, without the aid of the internet doing much research on a new artist proved difficult and while I had toyed with visiting the local library, of which I am a member, and casually asking, ‘Hey, where do you keep your many books full of information about Tori Amos? Are they filed under the letter ‘T’ or ‘A’?’, there was little more research I could undertake other than to read and re-read Tori’s official bio over and over again while eating my morning cornflakes until it sunk completely in.

At the time I was an avid reader of UK rock journal Q magazine as I quite enjoyed collecting the ‘free’ compact discs that every so often graced its front cover. Anyway, a couple of week’s prior to my interview with Tori, Q magazine had published an interview the artist had done with music journalist Mat Snow.

So I read it and noted that they had not got along very well at all as Mat had brought up Y Kant Tori Read, a synth pop band Tori was involved in as a 23-year-old in 1986 alongside Matt Sorum (later of Guns N’ Roses) which

11

TORI AMOS

TORI AMOS

By Robert Dunstan Tori Amos, the somewhat unconventional American musician, is touring Australia and it will bring the singer and her piano to most capital cities.

In Sydney only, however, Tori will be undertaking a very special show at The Opera House at which she will be accompanied by the 42-piece Sydney Symphony Orchestra and which will also kick off her first Australian tour for a number of years.

“I’m really looking forward to that one,” Tori says. “And it was Sydney Symphony Orchestra that invited me to play with them for part of that show. Apart from that, it’s a one-woman show similar to the ones I am currently doing in Europe.”

Tori (born Myra Ellen Amos in North Carolina in 1963) began her music career with the short-lived band Y Kant Tori Read in 1986 but released her first solo album, Little Earthquakes, in 1992 which gained much attention around the world.

The quirky songstress’ Cornflake Girl from her 1994 album Under The Pink remains her most well-known ditty, although Tori has since issued over a dozen albums to varying success with her latest being this year’s Unrepentant Geraldines.

When we spoke, Tori was touring Europe and had just performed in Russia.

“It’s been fascinating because while it’s hard to describe the emotions, the people are very supportive,” she says. “You play to people, not governments, and the Russian people, while it’s quite a complex situation they are living with, have come out in droves.

“And my show in Kiev in the Ukraine was cancelled just before we were supposed to go there and while it was clearly the right decision by the promoter because of the unrest and the danger, people from Kiev came to the show in Moscow,” Tori adds. “So it was very emotional for me to see them all arm in arm at my Moscow show.”

Tori says she is currently only including a couple of songs from new album Unrepentant Geraldines as part of her concerts.

“I do at least two songs from it every night but, because I now have so many albums, the rest is songs I take at the stage door every night as requests,” she explains.

“And I get a lot of those and try and do a variety. And it’s also great that the people talk to me about my songs and what they mean to them and how they understand them. And that’s often when the magic begins because you think to yourself, ‘Well, that’s another way of looking at that song’.

“And it’s usually something you’d never even thought about before,” Tori adds with a laugh. “So each night is different and an experience in itself,” she adds.

This explains why songs such as The Moody Blues’ Nights In White Satin have been featured at recent gigs.

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AXE GIRL

“Well, that one was definitely a request,” Amos laughs.

Amos’ latest offering, Unrepentant Geraldines, has garnered many good reviews and been warmly received by fans as it’s a highly accessible release.

I especially like the jaunty The Giant’s Rolling Pin and wondered if it was based on anything in particular.

“It’s about the whole NSA thing,” she says of former CIA systems administrator Edward Snowden’s 2013 allegations that the US National Security Agency has been spying on Muslim-Americans.

“I also spend a lot of time in Germany and know that the German people think of Snowden as a hero while not so many Americans do. And you have to ask whether his intentions were good and discussions were becoming very heated and I, as a songwriter, thought I needed to bring some levity to it. The whole situation was crying out for that.”

The new album is said to be inspired by visual art, especially the work of Frenchman Paul Cezanne.

“No, no, never him,” Tori suddenly snaps.

“Never Cezanne because I never got him before. But I was looking at his painting, The Black Clock – the one with no hands on it – and the rhythm started for what was to become Sixteen Shades Of Blue.

And Weatherman is the story of a man losing his wife and nature taking pity on him and painting her back to life so that he can feel her presence if only just for a moment.

“And I loved a lot of painters but, you see, with Cezanne I just never heard music when I looking at his stuff, “ she adds.

“But then someone told me that Cezanne had sixteen shades of blue on his palette.

So when I looked at his work and with that in mind I made the connection.”

Sixteen Shades Of Blue addresses the issue that people with university degrees now find it hard to gain employment.

“While I was writing that song I was running into people and hearing all these stories,” Tori says. “The amount of kids who said, ‘Look, if we could have looked ahead four years and saw that we weren’t going to actually get a job in the field we are now qualified in and now owe all this money for studying, we would have done something different’.

“It’s a huge, huge issue,” she sighs, “and I’m listening 23-year-olds who are telling me their future is bleak and I’m thinking, ‘This is just tragic’. It’s irresponsible that the government will take their money to study for a degree but not say, ‘Hey, actually there’s not much work out there in that field anymore, so you may want to look elsewhere for a job’.

“At least tell them the reality before they take their money,” Tori concludes.

Tori Amos plays Her Majesty’s Theatre, Grote St, on Sunday 16 November.

Book at BASS.

AXE GIRL

By Robert Dunstan Axe Girl is a pop punk trio from over in the west fronted by UK-born guitarist and singer Addison Axe alongside Jebediah’s rhythm section of bass player Ness Brett on drums and backing vocals.

The trio have just released a crowdfunded, self-titled album and are now out on the road with Hey Lady!, a duo from Newcastle.

We chatted over the telephone to Addison who began by saying she had ventured over to Australia to take part in a play that was being staged as part of the Perth Fringe Festival.

“Yeah, it was just for a working holiday for three months,” she says, “but then I met Ness and have ended up staying here. I met her through friends of friends at a pub and we got talking then started jamming. And we clicked straight away, especially when Ness got Brett in.

“So it was all going so well that I decided to stay in Australia,” she adds.

Addison played in a band in the UK. “I’d been playing with a band for quite a while and then we broke up,” she reveals.

“And that was actually a really, really hard time for me because I was quite shattered. So I was in a bit of a limbo so I then tried a bit of acting.

continues. “But the response we got from people was mind-blowing. You don’t realise until you ask for that kind of help how generous people can be. So that was really encouraging as well.

“In some ways it can feel like begging,” Addison adds, “but crowd-funding is really just asking people to have faith and give you money before you actually make the record. So I now think crowd-funding is a really good thing because it also creates a nice bond with a band’s fan base.”

Ben Ottwell, of UK band Gomez, sucessfully used crowd-funding to record his second solo album, Rattlebags, but said the only annoying aspect of it was then putting the CD into an envelope and mailing it out to each supporter.

“Yeah, yeah,” Addison laughs. “We spent about three whole days doing all that.”

The album was recorded under the guidance of award winning producer Dave Parkin who has also helmed albums for Jebediah, Snowman, Bob Evans and Abbie May at his Blackbird Studio.

“We did our first EP at Blackbird with Dave when we’d written our first few songs and what an amazing guy he is,” Addison enthuses. “So we knew that when it came time to do a full album, we’d do it with Dave as well.

“So I’d been doing a bit of acting – I was in a play that ran at Edinburgh Fringe and then we brought a new one to Perth Fringe – and that’s what led me here.”

“And Blackbird is an amazing, really creative space where everyone feels totally at ease,” she adds. “And because we’ve been kinda working with Dave since we first got the band together, it really feels like he’s one of us. And because he’s made some amazing records at his studio, there was really nowhere else to consider.”

Being from the UK, Addison had never heard of Perth’s Jebediah who won the National Campus Band Competition in 1995 and went on to enjoy much success on the alternative music scene.

The video for the album’s first single, Give Me Your Teeshirt, was recently aired on The Music Room which is a television program produced in the UniSA Television Studios at Magill Campus and shown via Foxtel.

‘No, I’d never heard of them before meeting Ness,” Addison laughs. “But I think that was a good thing as I might have felt as bit intimidated by Ness and Brett if I had known who they were.”

Axe Girl are touring with Hey Lady!, an edgy duo from Newcastle comprising of Jess Moxey and Stef Threadgate.

Addison goes on to say that the songwriting process is a fairly collaborative one.

“I generally write the lyrics,” she says, “and then everyone else adds to that. But the songs sometimes start off in different ways. Sometimes I go to a rehearsal with a few different ideas and we just start jamming away on them. And then Ness will come up with a bass line and we kinda go from there.”

Axe Girl used a crowd-funding process to raise the required amount to record their debut album.

“We did, yeah,” Addison says, “and it went really well and we were quite overwhelmed with the response. We were desperate to record an album but didn’t have the money and then someone suggested the crowd-funding idea.

“But we weren’t convinced it would work as we needed a fair bit of money,” she

“Hey Lady! have toured with Jebediah in the past so when they were about to tour their single, My Head, My Heart, they asked us to join them,” Addison reveals.

“But we said, ‘Hey, we are just about to tour our first album so why not make it a combined tour and do a really big one?’

So we worked with them to put together a huge run of dates.

“And the great thing is I’ve never ever been to Adelaide before,” Addison concludes. “And everyone tells me it’s a really lovely place. But this whole tour is very exciting for me as I haven’t actually been to many places outside of Perth.

So I’m going to be tourist and do a bit of sight-seeing when I get to all these new places.”

Axe Girl and Hey Lady! play Worldsend Hotel, 208 Hindley St, on Thursday 20 November.

THELMA PLUM

THREE D RADIO TOP 20+1 The 21 most played new releases for the week 31/10/14 – 7/11/14

# 1

THELMA PLUM

By Robert Dunstan

fast-paced for a country kid like me,” she adds with a laugh.

Brisbane-born singer songwriter Thelma Plum has achieved much since uploading a demo of her song Father Said to triple j’s Unearthed just so that her friends could hear it.

The singer engaged Tony Buchen, the producer who has worked with such artists as Gin Wigmore, Blue King Brown, Tim Finn, The John Butler Trio And Loon Lake, to producer her debut EP, Rosie, at the famous 301 Studio in Sydney.

Such was the huge response, however, Thelma was soon ‘unearthed’ by the youth-orientated radio station for their NIMA (National Indigenous Music Awards) Awards.

She became the event’s first ever Unearthed winner when she performed at the awards in Darwin last year alongside Jessica Mauboy and Shellie Morris with Archie Roach being inducted into the Hall Of Fame as well as picking up an Album Of The Year gong.

It would seem Thelma quite enjoyed Darwin as it’s included on the itinerary for her very extensive Monsters EP launch tour.

“Oh, I love playing in Darwin and it’s one of my favourite places to be,” she enthuses. “And I love going there because I get to visit this really cool place called Crocosaurus Cove that has heaps of crocodiles and it’s just awesome.”

Thelma, who kicked off her Monsters tour on Halloween, has hit Adelaide in the past and enjoys performing in the city of churches.

“Yeah, I really do love Adelaide,” she announces. “I’ve played the Grace Emily [with Andy Lowden] in Adelaide before and every time I play there it’s always really good fun and the people are always so nice. In fact, Adelaide was the first town – sorry, city, I should say – where the audience sang my lyrics back to me. That was pretty cool.

“And I was also in Adelaide a while back opening for Emma Louise,” Thelma then says of a show at Fowler’s Live in May of last year.”

The singer is touring alongside Dalli, who has just issued a haunting new single, Down This Road, and Left, an electronica duo from Melbourne who have also just released a new single, When My Body Sleeps.

Thelma was born in Brisbane but, for much of her youth, lived on a farm in rural New South Wales.

“Yeah, I was born in Brisbane but spent a lot of my childhood on my grandparents’ farm which was in Delungra which is just outside of Inverell,” she says. “But I spent a lot of time going back and forth.”

She is now based in Sydney’s inner west.

“Well, I was for a little while,” Thelma reveals with a laugh, “but I recently moved down to Melbourne. That was two months ago now. I tend to move around a bit and I also felt that Melbourne was much more of a music-orientated city than Sydney. There just seems to be so much more going on.

“And I’d found, after just a couple of months in Sydney, that it was a bit too

For her latest EP, Monsters, Thelma selected hip hop producer M-Phazes to helm the recording.

“I just love what Phazes does and I have been a fan for quite some time,” she says of the ARIA award winning Gold Coast hip hop artist who has worked with Illy, Eskimo Joe, Gotye and Kimbra and who produced the song Bad Guy on Eminem’s recent The Marshall Mathers LP 2. “So I decided I really wanted to work with him and basically tried to do everything in my power to make that happen.

“And I also thought that with Phazes being a hip hop producer and me being a folk singer it would lead to something very interesting happening in the studio,” Thelma adds. “And when we finally got together, Phazes thought it would work as well.”

Artist Meatbeaters

Title

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Tug Of Phwoarrr

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Satan's Cheerleaders

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The New Adventures Of Satan's Cheerleaders

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Blood Plastic

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Blood Makes Fantastic Plastic

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Nekkro Electrio

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Diesexual

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Soberphobia

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Nothin'

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Charlie Monsoon

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No Plan Now

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Brenton Manser & The She-Rebels

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Brenton Manser & The She-Rebels

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10 Pete Wilson

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Five Years Of Bedroom Suck Records

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16 The Dunes

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18 Bonnie Prince Billy 19 Lucinda Williams

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Love Replaced By Machine

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The - TOP 20+1 - show Saturdays 7.00 - 9.00pm www.threedradio.com

Local Australian Last week Returned after a week off the chart Fresh entry into the chart

Thelma then goes on to say that things went according to plan in the recording studio.

“Phazes just brought so much out in my music,” she enthuses. “He’s just so intelligent and crazy smart in the studio and while it was a collaborative thing with Phazes, myself and John Castle, all the drums on the album are Phazes’ because that’s his thing as he’s very good at beats.”

Thelma says that pretty much everything that has happened in her short career has been a highlight.

“It’s something I’m often asked but I’ve actually been really grateful for everything that’s happened so far and just take each day as it comes,” she decides.

“And it’s little things too. For example, just being able to go out on tour and take the music to so many places is a highlight for me.”

The singer, who has sold out shows in most capital cities on previous tours, will be touring Monsters with a small combo to help flesh out the songs in a live setting.

“Yeah, I now have a great little band,” she says, “and I like that we can do the songs differently when we play live. If I go to a gig, I don’t really want to hear the songs as they sound on the record.

“I like it to be quite different and my band – two guys, one girl and myself – make it very, very easy to do that,” Thelma happily concludes. “And as it’s the Monsters tour, everything will be based around what’s on the new EP as well as a few of the songs from Rosie.”

Thelma Plum launches her new Monsters EP at Jive, 181 Hindley St, from 8pm on Thursday 20 November with Left and Dalli as special guests.

Tickets at the door or via Moshtix.

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Q: “I can’t be bothered with the clean-up.”

A: Great! Then throw a range of chopped zucchini, carrot, bacon, eggs and any other vegetable you like into one pan, cook it, eat it as it OR if you’re craving carbs throw it into a wrap. One pan cleanup – eat out of the pan or throw it in a wrap for no dishes.

THE BIZZO

Q: “But I’m getting bored with this meal.”

A: Change it up with some natural yoghurt. (It’s a seriously great tasting sauce and works in wraps or straight on the bowl of veg).

Q: “I don’t have a kitchen to cook in – how can I keep eating fruit and veg?”

A: There’s this crazy idea that you could just eat raw fruit and veg but if that doesn’t satisfy your taste buds you can boil an egg in a kettle and sprinkle it with Himalayan salt – tastes incredible!

Musicians: How Not To Go Broke In Five Steps

By Kelly Breuer

How To Eat Healthy (And On A Budget) While Touring

By Kelly Breuer

With government budget cuts seemingly all around, it’s important now more than ever that musicians stand up and call BS on this idea that without funding – we can’t make art.

We all know how hard is it to eat healthy when on tour.

So here it is, the 5 key ingredients to beating the system and funding your creative career.

1. Plan your next course of action Figure out how you will get from where you are to where you want to go.

2. Save some money from the grind gig to invest in that plan Your grind could be ANYTHING that helps you create some cash – from day job, to cover gig – anything. With a bit of luck you’ll be able to find a temporary grind gig that you don’t hate and still allows you some headspace to continue creating throughout it.

3. Find a team to help you make that plan happen While you’re pumping money into your brilliant plan, your team of experts is outlaying the work for you so you can concentrate on the important stuff like making music and playing gigs.

4. School up on traditional business strategies Attention Musicians: You own a business – start running your music business like one. Figure out your cash-flow, your marketing plan, your timelines, how long you’ll need to pump money in and how much to get it moving – really put some effort into GROWING your business strategically as opposed to just doing whatever and hoping that works.

Where do you find a place to cook?

How can you afford to buy all those bits and pieces you have at home, that make your food “taste good”?

How do you keep your energy levels up when your diet involves beer, schnitzels, hot chips and foul bacon and egg rolls from those servos on the side of the road?

Here are some tips to start things off with...

1.

2.

3.

4.

5.

Stay in backpackers - They have cooking facilities.

Buy a small car fridge - It’s a great way to keep your dairy and veggies cold while on the move Have a small food processor in your kit - You can find them for $50 at your local supermarket.

Also consider buying one of those electric hand beaters that attach to the top (see below).

Buy boxed water - On 8 hour drives it saves you spending a whole lot of money on servo bought.

Buy a car kettle from Kmart Because where can you actually buy a nice home made cup of tea? Also stuff paying $4 for a tea bag and some hot water.

How many of you make music because not making music is simply not an option?

To continue making music why not make a new rule?

“I make money out of my music, because not making money out of music is simply not an option anymore.”

And when you’ve had too much healthy eating for a few days and are really craving a decently cooked meal – order the steak at the venue, courtesy of the rider and enjoy the wins of being a touring musician.

Seriously, just ask the venue to include meals whenever possible.

Some typical meal ideas…

Surely the best thing about touring is there are no rules as to what you eat for each meal. Maybe bacon and eggs for dinner or, vegetable wraps for breakfast?

Why not?

Some good meal ideas would be: Vegetable wraps with yoghurt sauce.

Vegetable stir-fry with yoghurt sauce.

Fruits, nuts, cheese, crackers and hummus between meals.

Steak, fish, chicken and veggies at the venue whenever you can negotiate a free meal.

Backup plan if no cooking facility: boiled eggs and fruit and veggie smoothies.

- Eggs - Bananas - Himalayan Rock Salt (the pink kind from the health food shop) - Tuna - Carrots - Zucchini - Spinach - “Nudie Juice” (its natural apple juice, you can find it at Coles).

- Rice noodles - Natural yoghurt - Box water - Nuts

And then ask yourself – are you really happy to settle for a life not doing what you love? Because to me, the only thing harder than running my own business and making money out of music is being so broke I can’t do any of those things, and being so depressed that I don’t actually want to.

Would you like to be the person whinging about the changes in “the system” that supposedly stifle art or would you like to be the person proving that music is so important to the economy that you went and did it anyway – and made it work?

Wash up in the toilet basin (I’ve done this more times than I can count – the trick is to rinse it immediately before stuff sticks).

Shopping list essentials (buy organic where possible – your energy levels will thank you for it)

5. Stop whinging YES, making money out of music is hard.

YES, running your own business is hard.

But ask yourself – what happens when new music stops getting made?

For me, learning to run my business was a simple task of survival. The good news is that all of the information you need is readily available; you just have to go find it.

Or, you can use your food processor to make green smoothies (you can find a power point right?). Include spinach, apple juice and bananas (plus anything else you want to get creative with) and throw it into your water bottle – nutrients all day long.

Once you’ve done that you’re ready to get out on tour and be healthy about it.

Now for the keeping healthy part...

6.

7.

8.

Limit your sugar - You’re probably drinking enough free beer anyway.

Limit wheat and gluten - When you don’t, your diet can quickly turn from balanced into “Oh I’ll just have macca’s for breakfast, and a subway for lunch, and noodle box for dinner. “ Up your water intake

HINT: Add a pinch of Himalayan salt to each litre of water you drink. It acts as a natural PowerAde and helps with all that fluid retention you get from travelling.

Now for the convenience of cooking part...

15

CAREER PATHWAYS 2015

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