BSideMagazine0013

ISSUE 0013 / January 8th - January 14th 2015

IT’S FREE - www.bsidemagazine.com.au

paris combo ALSO INSIDE: Adelaide Ukulele Appreciation Society Mere Machine, Mark Steiner, River Deck Sessions, LonelySpeck Plus BOB’s BITS, TOUR GUIDE & LOCAL MUSIC NEWS

AROUND THE TRAPS Trent Worley will be playing a special free entry, two-hour acoustic show at The Exeter Hotel, 235 Rundle St, from 9pm on Saturday 10 January.

Touriffic Prospect comes to Prospect Rd, Prospect, as a free entry all-ages event from 7pm on Monday 19 January and will feature local bands Fusion, Jungle City, The Dirty Chins and The Prophets Of Impending Doom. There will, of course, also be lots of stalls, food and drink and it’s to be a non-smoking, dogfree event. For more info, contact 8269 5355.

Due to the recent bushfires, many establishments, including The Hampshire Hotel (on Sunday 11 January), Governor Hindmarsh Hotel (on Saturday 10 January), Brew Boys (on Sunday 11 January) and Gaslight Tavern (on Friday 9 January), have announced they will be hosting fundraising events. Keep an eye on BSide Magazine’s Facebook page as they will be announced when confirmed details come to hand. More details can also be found in Bob’s Bits on page 11 of this publication.

Washed Up is a regular new punk rock event coming to The Producers Hotel, 235 Grenfell St, with the first one to take place on Saturday 10 January in the venue’s beer garden featuring Down With The Ship, Drown This Fury, What Happens After Dark, Jordan Slattery and Lake Scarlet as well as punk DJs until late and lots of drink specials. It kicks off at 8pm and $6 will see you through the door. Appomattox Run, Glass Indian and Misiits Of Sythia will also rock out in the band room of Producers Bar on Saturday 10 January.

Boutique bar Nook Nosh, 111 Unley Rd, Unley, open from 3pm on Wednesdays through to Sundays, have announced their Sunday afternoon music line-up for the first half of January. Catch David Robinson from 5pm on Sunday 11 January and Short & Sweet from 5pm on Sunday 18 January. Pop in for sips ‘n’ nibbles.

Beaver will next play Crown & Anchor Hotel, 235 Grenfell St on Saturday 10 January at which they’ll be headlining an extravaganza of punk rock (with a small seasoning of folk punk thrown in for good measure) taking in both the front bar and the band room with Secondhand Squad, Dilettantes and Line 39. Front bar tunes supplied by Ry Kemp, Melbourne’s Tim Hampshire and peoples’ champion Mackey Whaleboy (of The Spatchcocks).

Admission to the band room is a measly $5!

Adelaide guitar wizard Davide Mazzocchetti (AKA Foxx Qu) will be performing at The Cancer Council Of SA’s Hope For A Yellow Cause Charity Ball from 7pm at Cypriot Community Centre, 5-8 Barrpowell St, Welland, on Friday 6 February alongside illusionist Nicholas Tweedy, singer songwriter Alex Hosking and Hyperdance Dance Crew. For more information, contact The Cancer Council Of SA. Secret Sound Sessions is set to happen at the Grace Emily Hotel, 232 Waymouth St, from 7.30pm on Wednesday 14 January and will feature Thom Lion & The Tamers, Famous Will, Kyle Taylor, Sasha March and Davy Simony. Grab tickets via <stickytickets.com.au> or buy at the door for $10.

Punk bands Perdition and The Dirty Chins will play alongside the legendary Black Chrome at Gaslight Tavern, 36 Chief St, Brompton, on Saturday 10 January with a $10 entry fee.

Local songstress Kelly Breuer is hosting an open mic evening every second week commencing from Thursday 8 January at Café Komodo, 118 Prospect Rd, Prospect.

Registration is from 6pm and the festivities conclude at 9pm. Pop along.

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Rockabilly bands The Satellites, Dead Lucky and The Silverados will be rockin’ it up at the Governor Hindmarsh, 59 Port Rd, Hindmarsh, on Friday 9 January.

Tickets via OzTix or at the door.

Kaurna Cronin, recent recipient of The Emily Burrows Award, and Myles Mayo and his band will play Trinity Sessions at Church Of The Trinity, 317 Goodwood Rd, Clarence Pk on Friday 16 January.

Tickets via <dramatix.com.au>.

Let There Be Folk 3 will take place from 6pm at the Grace Emily, 232 Waymouth St, on Sunday 11 January and will feature a great folking line-up of The Timbers, Duncan Turner, White Lightnin’, Adie Haines, Josh Baker and Heath Weber.

Tickets will be $10 at the door.

Skeleton Club, Devlin Tree and The Tangled Bank will undertake a free entry affair from 9pm on Thursday 8 January at Crown & Sceptre, 308 Hindley St, while Spark & Ember, The Nation Solo, Ray Gun and Lonely Mollusc & The Hillcats will hit the same venue on Saturday 10 January. Both are free entry with drinks specials to also be had.

Gaslight Tavern, 36 Chief St, Brompton, is set to host a Battle Of The Bands which will run for nine weeks and kick off on Saturday 24 January. Please contact Pete at the pub for more information about how to register and all that.

The Whitmore Hotel, 317 Morphett St, will play host to a free entry gig of original rock from Tim Prestwich & 100% Proof from 8pm on Saturday 10 January, while Ragged But Right will serve up some free entry country ditties on Sunday 11 January from 3-7pm.

The Dunes will be presenting their psych rock alongside The Blueberries’ fuzz pop and Hello, Lovers’ dreamy folk in the band room of Hotel Metro, 46 Grote St, from 9pm on Friday 9 January.

Relatively new Adelaide band Velvet Moth, featuring members of The Streamliners and GT Stringer, will kick off a month-long January residency at the Grace Emily Hotel, 232 Waymouth St, on Friday 9 January at which rockin’ duo Filthy Lucre will serve as special guests.

It continues on Friday 16 January with special guests St Morris Sinners, Friday 23 January with Ride Into The Sun and finishes up on Friday 30 January with Vic Conrad & The First Third. All shows are free entry and set to kick off at 9pm.

Metal band Awaken Cicada will launch their new EP, In The Shadows, from 6.30pm at Cavern Club, North Tce, on Saturday 10 January with Alkira and Sever Hill as special guests. It’s to be a licensed all-ages affair with $5 drink specials all evening.

Fresh from storming to victory in the publicly voted Favourite Artist and Favourite Song gongs at the recent Fowler’s Live Awards, South Australian songstress Julia Henning has released her newest single, Drifter, and plans to back up her recent national tour with another east coast run as the new year breaks. Catch her at The Promethean, 116 Grote St, on Friday 9 January with special guest Maggie Rutjens.

Sunday 25 January with special guests Cherry Grind. Book at OzTix or via the venue and don’t forget that the following day is a public holiday for most.

Brothers Demons & Angels is The Angels’ founders John and Rick Brewster with their sons Sam Brewster (bass), Tom Brewster (drums) and Harry Brewster (guitar).

The show is about the musical journey of Rick and John Brewster taking fans on a musical journey back to pre-Angels days when the Brewsters first surfaced as The Moonshine Jug & String Band. The show also covers The Angels era and then onto their Brewster Brothers time. Catch the show at The Promethean, 116 Grote St, on Friday 30 January.

Dreamy Adelaide electronica outfit Flamingo have just announced their first ever headline tour. Last year included spots at Groovin’ The Moo and Splendour In The Grass as well as support slots with Rufus, Bonobo and Classix. Flamingo also released their debut EP, Heavy Load, in July so catch ’em drip away at Jive, 181 Hindley St, on Saturday 21 February. Book at Moshtix.

East Texas have a slew of upcoming gigs commencing with a performance at Tanunda Hot Rod Show from 6pm on Sunday 17 January, Hotel Metro, 46 Grote St, from 3pm on Sunday 1 February, The Gaslight Tavern, 36 Chief St, Brompton, from 5pm on Sunday 15 February with The Pumpin’ Piano Cats and The Cadillacs and a free entry front bar gig at The Governor Hindmarsh Hotel, 59 Port Rd, Hindmarsh, from 9pm on Saturday 21 March.

Fresh from yet another European jaunt, much-loved bearded Adelaide band The Beards have announced a show at the Governor Hindmarsh, 59 Port Rd, on Saturday 28 March. Tickets via OzTix or at the venue.

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: Paris Combo Page 7 Riverdeck Sessions Page 8 The Clothesline Page 9 Mark Steiner Mere Machine Page 10 MusicSA CD Reviews Page 11 Bob’s Bits LonelySpeck Page 13 Adelaide Ukulele Appreciation Society Page 15 The Bizzo BPlus: Under Suburbia Advertising Enquiries Ph: (08) 8346 9899 sales@bsidemagazine.com.au

World Wild will launch a new single, Coast To Coast, at Rocket Bar, 142 Hindley St, on Friday 9 January with help from Madworld, Valleys and the resident Cats DJs. Adelaide singer Kevan Keeler (of Hollywood Gun Club fame) recently issued the album Five O’ One Nine for which he enlisted the services of famed US drummer Gregg Bissonete and his brother Matt Bissonete (currently playing in Elton John’s band). Following a sold out launch at Semaphore recently, Kevan Keelor & The Five O’ One Nine Band, a group made up of talented local players, will hit the Governor Hindmarsh, 59 Port Rd, Hindmarsh, on

ISSUE #0013 January 8th January 14th, 2015

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HEADING TO TOWN Melbourne rock band Riff Fist are set to hit Glenelg Backpackers on Friday 9 January at 9pm for a free entry gig with The Dead Bells and The Raging Monkeys. The following evening, Saturday 10 January, Riff Fist will hit Worldsend Hotel, 208 Hindley St, at 9pm with Inwoods and Gun It with a $7 entry getting you through the door.

Tickets will be strictly limited to 200 when The Ape, featuring Tex Perkins, hit Crown & Anchor, 196 Grenfell St, Adelaide, on Saturday 31 January with special guests Sloe Ruin and Kitchen Witch. Tickets now available at the usual outlets.

Down On The Plains will feature contemporary folk musicians Kieran Ryan (of Melbourne), Julia Jacklin (of Sydney) and locals Delia Obst and Naomi Kristini and will take place at the Wheatsheaf Hotel, 39 George St, Thebarton, on Saturday 7 February from 8pm.

Sydney-based loop pedal maestro Lyall Moloney has announced he’ll be returning to The Governor Hindmarsh, 59 Port Rd, Hindmarsh, for his first ever headline show on Friday 16 January.

Lyall, who won many new fans when he was at the Gov opening for Sticky Fingers, will be previewing material from his upcoming album. Book at OzTix or via the venue.

Atlanta-based hardcore act Norma Jean will visit Australia for the first time in a couple of years and are set to play Fowler’s Live, 68-70 North Tce, on Saturday 11 April with special guests to be announced soon.

The Crown & Anchor, 235 Grenfell St, will play host to Melbourne riff merchants Don Fernando on Sunday 25 January when they play alongside local rockers Emergency Rule and Thirteen Black.

Tickets will be $10 at the door.

Here’s a thing. Melbourne rock band Dallas Crane were set to slug it out at a suburban venue in SA on Monday 26 January but are now hitting Jive, 181 Hindley St, on that same day. Book quickly at Moshtix.

Melbourne-based hard rockers Triumph Over Logic are heading over to Adelaide early next year for their first visit.

Catch them on Thursday 8 January at Pooraka’s Bridgeway Hotel with Emergence, Izera and Deadview, Friday 9 January at North Tce’s Cavern Club with Beyond The Picture, The Profiteers and Hekyl and on Saturday 10 January at Rhino Room, 13 Frome St, with Trench Effect and Differential.

Gwyn Ashton, a Welsh-born, award winning guitar player who spent his formative years in Adelaide before relocating to Sydney and then Europe, has announced an Australian tour for 2015. Catch him at The Whitmore Hotel, 317 Morphett St, on Friday 6 February, Old Spot Hotel, 1955 Main North Rd, Salisbury Heights, on Monday 9 February, Gaslight Tavern, 36 Chief St, Brompton, on Tuesday 10 February, The Wheatsheaf Hotel, 39 George St, Thebarton, on Wednesday 11 February and McLaren Vale’s The Singing Gallery (with Chris Finnen) on Thursday 12 February. Gwyn will also be inducted in the SA Music Hall Of Fame during his visit.

Victor Valdez & The Real Mexico Mariachi Band, who have played WOMADelaide and Adelaide Cabaret Festival, are set to present a Mexican Fiesta at the Governor Hindmarsh, 59 Port Rd, Hindmarsh, on Saturday 24 January alongside Soul Macumbia. Book at OzTix or via the venue.

Geelong-based singer songwriter Nathan Seeckts is coming to town and will ply his musical wares with his band, The

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Dead City Lights, alongside locals Bec Stevens, Heath Anthony and Ry Kemp at The Exeter Hotel, 246 Rundle St, on Saturday 17 January. Nathan also plays Pirie St’s The Bluebee Room on Friday 16 January alongside Mad Maxman & The Heck Yeahs, Tiger Can Smile and Peter Dixon.

Harry Howard is set to return to town with his band, Near Death Experience, which features Dave Graney, and they will once again play Hotel Metro, 46 Grote St, on Saturday 21 February.

Sweden’s Truckfighters, who play classic desert rock and can count Josh Homme of Queens Of The Stone Age as a fan, have announced a tour that will bring them to The Ramsgate Hotel, 328 Seaview Rd, Henley Beach, on Wednesday 21 January with special local guests Inwoods and Filthy Lucre.

Israeli psytrance act Infected Mushroom have nine albums to their credit and are known for legendary live shows. Catch ’em at the Govenror Hindmarsh, 59 Port Rd, Hindmarsh, on Wednesday 11 February. Book via OzTix or at the venue.

Get set for a night of ghostly music when Queensland’s Ghost Notes launch a new album at Hotel Metro, 46 Grote St, from 9pm on Friday 23 January with help from Tiger et Ghost and Blood Plastic.

Tasmanian post rock band Lewes are set to play Jive, 181 Hindley St, on Friday 16 January, while the same venue also boasts the return of explosive rock duo King Of The North, fresh from touring with The Mark Of Cain, on Friday 30 January. Book for both shows at Moshtix.

Highly popular comedian Josh Wade will be making his way to the Ramsgate Hotel, 328 Seaview Rd, Henley Beach, on Thursday 22 January. Doors swing open wide at 7pm with tickets getting snapped up now via Moshtix.

Canadian indie soul songstress Ann Vriend has just released a new album, For The People In The Mean Time, as well as announcing an extensive Australian tour.

Catch her at the Wheatsheaf Hotel, 39 George St, Thebarton, on Saturday 24 January.

Gooch Palms, a duo of garage rockers from Newcastle who are soon relocating to the US, will be making their way to Hotel Metro, 46 Grote St, on Saturday 24 January with special guests to be announced soon. Stay tuned.

Much-respected Melbourne-based hip hop artist Seth Sentry will be making his way to the Governor Hindmarsh, 59 Port Rd, Hindmarsh, on Saturday 21 March with tickets available at the venue or via OzTix. American electronic violin sensation Lindsey Stirling is set to return to Australia next year. Picking up the violin at five-years-old, classically trained Lindsey has created a futurist world of electronic big beats and animation, garnering huge attention with more than half a billion views on YouTube and with Billboard chart-topping hits and sell-out world tours. Catch her at Fowler’s Live, 6870 North Tce, on Monday 16 February for a licensed all-ages affair.

The Getaway Plan will spend time finishing off a new album, Dark Horses, at Melbourne’s Sing Sing Studios before embarking on a huge national tour that will bring them to Fowler’s Live, 68-70 North Tce, on Friday 29 May. Tickets via OzTix. Creative Arts Collective, formerly known as The Jam Room, will kick off 2015 with the all-ages event Mollusc Jamboree at Russell’s Pizza in Willunga from 3-9pm on Sunday 11 January. It will feature live sets from triple j’s Sarah Howells, Bobby Alu and Nick Saxon, with an open-air photography exhibition from Elliston and Byron Bay photographer Lahni Rose Tomlinson. Tickets are $30 (which includes roaming pizza platters)

and available via Moshtix with children under 12 freely admitted if accompanied by an adult.

Great Cynics and Melbourne band Apart From This helping make it a great rock gig. Tickets via OzTix or the venue.

Noel Fielding, star of multi-award winning comedy duo The Mighty Boosh, will return to Australia for a national tour in April of 2015. Expect a magical mix of his unique brand of stand up comedy, live animation, music and some of Fielding’s best-known television characters including The Moon and Fantasy Man. There will also be muscular support from the loose stylings of Mike Fielding of Naboo/Smooth. Catch all the action at Thebarton Theatre on Friday April 17 with tickets on sale now via <ticketmaster.com.au>.

WOMADelaide, which will take place in Botanic Pk from Friday 6 March until Monday 9 March, have just added acclaimed reggae, hip hop and dancehall producer Mista Savona, Sydney-based nine-piece brass ensemble Hi Tops Brass Band (featuring Shazza T) and CW Stoneking to its already extensive bill that includes 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, Orquestra Buena Vista Social Club, Emma Swift, First Aid Kit, FourPlay String Quartet, Max Savage & The False Idols and Robert Forster.

Fresh from playing Gorgeous Festival late last month, Bondi’s The Beautiful Girls have quickly announced a headline show at the Governor Hindmarsh Hotel, 59 Port Rd, Hindmarsh. It will take place on Thursday 15 January with tickets now on sale via OzTix or at the venue.

After recently taking home their second ARIA for Best Heavy/Hard Rock Release, Brisbane thrashers DZ Deathrays will hit the road again next year. In Adelaide, see ’em at Fowler’s Live, 68-70 North Tce, on Thursday 5 March with US band Bass Drum Of Death as well as Hockey Dad. American soul singer and Daptone Records recording artist Charles Bradley, who wowed people at Adelaide Festival earlier in the year, has announced that he will be performing at the Governor Hindmarsh Hotel, 59 Port Rd, Hindmarsh, on Monday 30 March.

Tickets via OzTix or at the venue.

Fresh from a completely sold out caper at the Governor Hindmarsh recently, Melbourne punks The Smith Street Band will make a quick return to play the Port Rd venue on Saturday 28 February and also Sunday 1 March. Not only that, they will also have Canada’s Pup, the UK’s

SATURDAY 14 NOVEMBEER The Veronicas (Brisbane) at Adelaide Entertainment Centre Theatre L.O.U.D. Fest 2015: Dellacoma Rio (US), Love Cream and more at Bridgeway Hotel Bernard Fanning (Brisbane) at Bird In Hand Winery Chocolate Starfish (Melbourne) at Governor Hindmarsh SUNDAY 15 FEBRUARY Peter Hook & The Light (UK) at Governor Hindmarsh MONDAY 16 FEBRUARY Lindsey Stirling (US) at Fowler’s Live THURSDAY 8 JANUARY Triumph Over Logic (Melbourne), Emergence, Izera and Deadview at Bridgeway Hotel FRIDAY 9 JANUARY Triumph Over Logic (Melbourne), Beyond The Picture, The Profiteers and Hekyl at Cavern Club Riff Fist (Melbourne), The Dead Bells and Raging Monkeys at Glenelg Backpackers SATURDAY 10 JANUARY Sounds By The River: Hoodoo Gurus, Mondo Rock, James Reyne and Daryl Braithwaite at Mary Ann Reserve (Mannum) The 1975 (UK) at Thebarton Theatre The Matches (US) at Fowler’s Live Riff Fist (Melbourne), Inwoods and Gun It at Worldsend Triumph Over Logic (Melbourne), Trench Effect and Differential at Rhino Room TUESDAY 13 JANUARY Marduck (Sweden) and Inquisition (US) at Enigma Bar THURSDAY 15 JANUARY Mark Steiner (US) and Tom Redwood at Hotel Metro Every Time I Die (US), Touche Amore and A Ghost Orchestra at Enigma Bar The Beautiful Girls (Sydney) at Governor Hindmarsh FRIDAY 16 JANUARY Lyall Moloney (Sydney) at Governor Hindmarsh) Lewes (Tasmania) at Jive Nathan Seeckts (Geelong) at Bluebee Room SATURDAY 17 JANUARY Blue King Brown (Melbourne/Jamaica) at Governor Hindmarsh Nathan Seeckts (Geelong), Bec Stevens, Heath Anthony and Ry Kemp at Exeter Hotel SUNDAY 18 JANUARY The Underscore Orkestra (US) at Governor Hindmarsh TUESDAY 20 JANUARY Passenger (Melbourne) and The Once (Canada) at Adelaide Entertainment Centre Theatre WEDNESDAY 21 JANUARY Truckfighters (Sweden), Inwoods and Filthy Lucre at Ramsgate Hotel THURSDAY 22 JANUARY Shonen Knife (Japan) at Jive FRIDAY 23 JANUARY Lizzard Wizzard (Brisbane), Hydromedusa, Watchtower (Melbourne) and Tombsealer at Crown & Anchor Magic Bones (Melbourne) and Harts (US) at Pirie & Co Social Club Ghost Notes (Brisbane), Tiger et Ghost and Blood Plastic at Hotel Metro SATURDAY 24 JANUARY Ann Vrend (Canada) at Wheatsheaf Hotel Victor Valdez & The Real Mexico Mariachi Band (Melbourne) and Soul Macumbia at Goverenor Hindmarsh The Gooch Palms (Newcastle) at Hotel Metro Mid Coast Meltdown 7: Cosmic Psychos (Melbourne), Filthy Lurcre, The Lizards, Psycho Green, Sector III, Iron Feather and more at Pt Noarlunga Football Club mewithoutYou (US) at Adelaide Uni Bar SUNDAY 25 JANUARY The Wanderer’s Australia Day Party: Linda Gail Lewis (US), Anne Marie Lewis

(US), Hank’s Jalopy Demons (Melbourne), Lucky Seven, The Lincolns, Lady Voodoo, Memphis Suns and Shades Of Blue at Published Arthouse Don Fernando (Melbourne), Emergency Rule and Thirteen Black at Crown & Anchor MONDAY 26 JANUARY Sounds @ Serafino: Icehouse (Sydney), James Reyne, Diesel (Sydney), Wendy Matthews, 1927 at Serafino Winery (McLaren Vale) The Amity Affliction (Melbourne), In Hearts Wake, Confession and Antagonist AD at Bridgeway Hotel Adam Brand (Melbourne), The Wolfe Brothers, Jasmine Rae and Matt Cornell at Hahndorf Old Mill Carpark Dallas Crane (Melbourne) at Jive THURSDAY 29 JANUARY Nas (US) and Dusk at Thebarton Theatre FRIDAY 30 JANUARY King Of The North (Vic/SA) at Jive SATURDAY 31 JANUARY The Reprobettes (Melbourne) and The Villenettes at The Jade Monkey Red Emmett & The Katz (Sydney) at Governor Hindmarsh The Ape (Melbourne), Sloe Ruin and Kitchen Witch at Crown $ Sceptre

TUESDAY 17 FEBRUARY One Direction (UK) at AAMI Stadium Roxette (Sweden) and Boom Crash Opera at Adelaide Entertainment Centre FRIDAY 20 FEBRUARY Jo Quail (UK) at The Trinity Sessions Aled Jones (Wales) at Her Majesty’s Theatre SATURDAY 21 FEBRUARY Jo Quail (UK) at The Trinity Sessions Harry Howard’s Near Death Experience (Melbourne) at Hotel Metro TUESDAY 24 FEBRUARY Angus & Julia Stone (Sydney) at Adelaide Entertainment Centre Theatre WEDNESDAY 25 FEBRUARY Stephen Malkmus & The Jicks (US) at Governor Hindmarsh THURSDAY 26 FEBRUARY Ruth Moody (US) at The Trinity Sessions Deltron 3030 (US) at Governor Hindmarsh FIRDAY 27 FEBRUARY Megan Washington (Melbourne) at Governor Hindmarsh

SUNDAY 1 FEBRUARY Pete Cornelius (Melbourne) at Semaphore Workers Club MONDAY 2 FEBRUARY Johnny Marr (UK) at Governor Hindmarsh TUESDAY 3 FEBRUARY Suzi Quatro (US) at Thebarton Theatre THURSDAY 5 FEBRUARY Kim Churchill (Merimbula) at Jive FRIDAY 6 FEBRUARY Laneway Festival at Harts Mill (Port Adelaide) The Searchers (UK) at Her Majesty’s Theatre Chase City (Melbourne) at Exeter Hotel The Vanns (Sydney) at Rocket Bar Gwyn Ashton (UK) at Whitmore Hotel SATURDAY 7 FEBRUARY Leo Sayer (UK) at Her Majesty’s Theatre Kieran Ryan (Melbourne), Julia Jacklin (Sydney) and Delia Obst at Wheatsheaf Hotel SUNDAY 8 FEBRUARY Sting (UK), Paul Simon (US) and Sarah Blasko at Coopers Brewery Shane Howard (Melbourne) at The Trinity Sessions Lamb (UK) at Fowler’s Live MONDAY 9 FEBRUARY Gwyn Ashton (UK) at Old Spot (Salisbury Heights) TUESDAY 10 FEBRUARY Gwyn Ashton (UK) at Gaslight Tavern WEDNESDAY 11 FEBRUARY Kenny Rogers (US) and Amber Joy Poulton at Adelaide Entertainment Centre Yngwie J Malmsteem (Sweden) at HQ Complex Gwynn Ashton (UK) at Wheatsheaf Hotel Infected Mushroom (Israel) at Governor Hindmarsh THURSDAY 12 FEBRUARY Gwyn Ashton (UK) and Chris Finnen at The Singing Gallery (McLaren Vales)

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While studying at The Paris Conservatory, David also premiered a new works for the trumpet with N.A.M.E. (New American Music In Paris), a collective, before he cofounded the group Crescent.

PARIS COMBO

David then became the trumpeter with Manu Dibango’s group with which he did much touring as well as undertaking a historic South African tour in 1993. He has since worked with such artists as highly popular Belgian singer and actor Maurane before he began penning music for theatre and cabaret that then led him to join Paris Combo.

The combo, who were in hiatus for a few years from 2005, enjoy much success in the US. “Yeah, yeah, we do,” David readily agrees.

“It’s been a major market for us in the US ever since 1999 when we first toured there. And I think we’ve toured the US every year since.”

PARIS COMBO

By Robert Dunstan Paris Combo, a classy jazz outfit led by singer Belle du Berry and based in Paris, are one of several acts to be announced for the 2015 Adelaide Cabaret Festival.

The 15th such festival, which runs at the various Adelaide Festival Centre venues from Friday 5 June until Sunday 20 June under incoming artistic director Barry Humphries, will announce its full program in April although acts such as Lisa Fischer, fresh from being a back-up singer on The Rolling Stones’ recent visit, Paris Combo and Karrin Allyson Quartet have already been confirmed.

Paris Combo formed in Paris in 1994 and have since released half a dozen wellreceived albums including a double live offering in 2005 and toured the world, especially the US, many times. They have also won numerous awards and their song, Terrien d’Eau Douce, won Best Word Song at the annual Independent Music Awards.

I’d interviewed Paris Combo’s Australianborn trumpeter and occasional pianist, David Lewis, when they first toured Australia many, many years ago which had them performing a relatively low-key concert at the Governor Hindmarsh in 2002 and again in 2003 when they first played Adelaide Cabaret Festival.

“Yes, I know,” David laughs down the line from Paris. “When I was told you were interviewing me I looked back – I keep all of our press clippings in a scrap book – and saw that you had interviewed us before.

“And we’re delighted to back at Adelaide Cabaret Festival after 11 years,” he continues before adding that it was the Govenor Hindmarsh show which led to them being picked up for the following year’s Adelaide Cabaret Festival. “It’s such a great festival and completely suits what we do.

“It kind of depends on your point of view,” David then laughs when I ask if, after all their time together, Paris Combo were soon due to celebrate some kind of anniversary.

“It’s been 20 years since I joined the band that became Paris Combo,” he continues.

“That all came from a show called Cabaret Sauvage at la Villette in Paris which is when I first met [singer and accordion player] Belle du Berry. That was the tale end of 1994 when she introduced me to guitarist Potzi and percussionist FrançoisFrançois who are core members.

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“But Belle, Potzi and François-François go back much further than that because they’d already been playing music together for a number of years,” David adds. “I think they have all known each other for over 25 years now.

David, born in Hamilton, Victoria, had been playing in school bands but, following a short stint at Melbourne University, had then ventured to Paris to study trumpet in the early ’80s.

“That was at The Paris Conservatory but basically I had just gone over to continue studying under a teacher I had in Australia,” he reveals. “And then I was having private lessons with another trumpet teacher who suggested I take the entry exam to get into The Paris Conservatory.

“So I did that and got in,” he adds with a laugh, “and while Paris was a bit of a culture shock, before that I’d been living in Sweden for a little while and that was much more of a culture shock.

“To go from a sparsely populated town in Victoria to somewhere like Sweden was quite a shock,” David recalls. “But I do remember that the first few weeks of living in Paris was like getting a sudden burst of oxygen.

“The city was so vibrant, so exciting and there was always something going on when I first arrived,” he continues. “And that’s still true now. And Paris is also such a cosmopolitan place as well which only adds to its vibrancy. That’s one of the secrets of its appeal.”

Paris has been a mecca for world music artists as well as the many American jazz players who once flocked to the city.

“And that was still true when I first came here in the ’80s,” David says. “There were still some major American players coming here or just passing through. I’m talking about people such as saxophonist Steve Lacy and while that’s certainly dropped off over the last 20 or so years – the golden age was from the late ’30s through to the early ’80s – there is still lots of that American jazz history here.

“And with the world music artists, a lot of that happened due to France being part of a lot of African colonies such as Mali so those people often headed to Paris,” he says. “So there’s been a big African scene ever since I came here to Paris.

In fact, there’s now an area south of where I live that has the largest African population outside of the country,” David adds.

Talk then turns to the popularity of releasing any new material on vinyl.

LEFT BANK WALTZ

“We are yet to do that but have been noticing that a lot of other artists are,” David says. “And a lot of people have suggested to us that our style of music would very much suit being released on vinyl.

In 2006, David Lewis’ mother, Elaine Lewis, published Left Bank Waltz, a book of her experience as an Australian expat in Paris as she pursues her dream to create the Australian Bookshop, a hub for Australian arts and culture in Paris.

“We’re not that sure if there’s much commercial potential in vinyl due to the huge cost, but it’s worthy of investigation,” he continues. “And while I don’t know what it’s like in Australia, over here in Europe there’s still a big market for a psychical CD.

The book is richly details Paris Combo including the musicians’ early careers the Parisian music and arts scene and the combo’s first gig.

“Three-quarters of all the stuff we’ve release we sell as actual CDs and they are still very popular to sell at concerts, especially in America.

“But it’s great that such a sympathetic music medium such as vinyl is becoming popular again because it gives you hope,” David adds. “I collected most of my music on vinyl although, of course, due to travelling so much a lot of it has become lost or left behind.

David laughs when I ask if they have already decided what the combo will be playing as part of Adelaide Cabaret Festival.

“I’m not exactly sure but I do know we’ll be playing some of the songs from a new album we put out this year [2014] and hope to have available in Australia very early next year [2015],” he then suggests.

“And I’d definitely think we’ll be playing some songs from the Living Room album that we had out in Australia all those years ago when we first came over. And by that time it’s also likely we’ll have some new songs.

“Basically it’s just exciting that we are coming back to play two nights at Adelaide Cabaret Festival as Paris Combo after such a long, long absence.

“And I say that because Belle and I came out to play the festival as a duo in 2008,” he says. “And we came back as a duo the following year to play Melbourne Recital Centre.

“That was when Paris Combo were having a bit of a break,” he concludes. “So Belle and I recorded a duo album, Quizz, while all that was going on. So, yeah, it’s going to be great to come back to Adelaide Cabaret Festival as Paris Combo again.”

Paris Combo will play Dunstan Playhouse, Adelaide Festival Centre, on Sunday 7 June and Monday 8 June as part of Adelaide Cabaret Festival.

Book at BASS.

RIVERDECK SESSIONS

RIVER DECK LIVE MUSIC SESSIONS

By Sian Williams Adelaide Festival Centre, located on the banks of the beautiful Torrens, has a new outdoor summer venue.

The River Deck Sessions, which opened on Friday 2 January, has already a legion of adoring fans. Who doesn’t love a chilled beverage with a platter while listening to live music with the river glistening nearby?

To celebrate the opening of the new River Deck bar, a symphony of good taste for our outdoor loving lifestyle and arts enthusiasts, a special series of live music is taking place every Friday and Saturday night throughout January. These free events will showcase a plethora of mainly local singer songwriters who have been carefully selected to fit the ambience of this beautiful space, the evenings settle seamlessly from live and acoustic music into some cool beats with well-known local DJs. One of the guest artists is local lad Kaurna Cronin, recent recipient of The Emily Burrows Award, who has had a busy past few years, performing recently in Australia’s Festival Of The Sun, Fleurieu Folk Festival, Nannup Music Festival and Germany’s StadtFest and Breminale while also performing at Clipsal 500. Cronin has also played Adelaide Fringe over the last three years earning fabulous reviews. At age 22, he has certainly managed to cram a lot in. We ask Kaurna about his musical and performing background “I’ve always played; it’s the most amazing way to express myself,” he begins. “I guess I’m lucky enough to have been around artists my whole life, so the music I write could probably be shown to be on the Folky side, if you had to describe a genre. I’m really happy; everything has suddenly gotten crazy all at once. I’m lucky that I get the opportunity to play every day’.’

We hear that a lot – that people ‘suddenly’ get on this really fast moving train; the musical career can sometimes really take off. You have obviously done a lot of groundwork.

“Yes, I guess it is a combination of a few lessons; a bit of self-learning and a bit of musical encouragement from the family,” Kaurna says. “My parents are both artists.

Mum is a textile artist and dad dabbles in playwriting, children’s arts events and the like, so I spent a great deal of time trawling the folk festival circuit, like Port Fairy and [Canberra’s] National Folk Festival.

“You see a lot of musicians and that has definitely influenced my songwriting style, although the musical side of things is often padded out and collaborated on with the guys in the band.”

You recently recorded with Jordan Power, who has also worked with Bruce Springsteen.

“Yes, that was pretty cool,” he enthuses.

“Jordan is a really relaxed guy and so great to work with. He encourages capturing the exact moment and feeling, and works until he gets it right. At the

same time he is relaxed and great fun.

“This all makes it easier to record and a great experience. He did our last EP at 301 Studios in Byron Bay.” You have a crazy year with a European tour of over 50 shows! Where exactly will this take you?

“Firstly, we’re heading to Ireland and the UK, and then we’ll be mostly in Germany, Belgium and Stockholm. We’re a fivepiece band and we don’t strip down for touring or anything. The only exception to this is the River Deck Session, which is deliberately a more relaxed threepiece, to set the scene of a more intimate setting. I have played with these guys forever and we love collaborating together.”

How do you feel when people try and type-cast you into specific genres, as you don’t seem kind who would enjoy being boxed into a label?

“I don’t really like the idea of people trying to restrict me or others for that matter in any way, and that includes having to describe in great detail what kind of music we play,” he agrees. “I mean, it is Folk for sure, but we have different moods and depending on the album, the sounds can be very different.

“What I like about the music industry is that it allows so many creative people to participate in so many ways.

Photographers, sound technicians, printers; it’s great. Everyone gets to be involved.”

Your three album covers are all really unique.

“That’s what I mean; I carefully research different artists and then give them my music and allow them to represent themselves and my music however they may feel about it. It is their interpretation.

“Nothing is worse that an artist of any kind being restricted,” he adds. “I let them do whatever they like.”

As well as your River Deck gig, you have an upcoming show for the Trinity Sessions with Myles Mayo, formerly of Special Patrol. Do you enjoy that venue?

“It is really different. You know that people are coming to listen as it is a lot more intimate and more of a concert. I’ve done a previous Trinity Session, but with Rory Ellis and it was fabulous.”

Kaurna is a passionate advocate for expressing oneself, without restriction.

His music is evocative and touches a nerve, if not for the beauty of his voice but his warbling harmonica and gorgeous acoustic guitar. He’s sure to put on an amazing show.

Kaurna Cronin and band perform at The River Deck Session, Adelaide Festival Centre, from 6.30pm on Friday 9 January.

Kaurna Cronin and Myles Mayo and his band will also play Trinity Sessions at Church Of The Trinity, 317 Goodwood Rd, Clarence Pk on Friday 16 January.

Tickets via <dramatix.com.au>.

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DOCTOR WHO SYMPHONIC SPECTACULAR

DOCTOR WHO SYMPHONIC SPECTACULAR

By David Robinson The Doctor Who Symphonic Spectacular returns to Australian shores this month, with a brand new show that aims to thrill audiences with a memorable blend of music, video and live monsters from the iconic Doctor Who television series which recently celebrated its 50th year.

The Clothesline speaks with composer Murray Gold, who will team up with the Adelaide Symphony Orchestra for the show, and asks why he feels the combination of Doctor Who sights and sounds works so well.

“I think the multiple tones of the show, which go from space invasion to family saga, from slapstick comedy to melodrama, make a really rich kind of music possible,” he begins. “It’s ultravivid. Everything that happens has an emotional hit-point. The twists and turns of tone really suit the writing of music. It’s really fun; really good subject matter.

“I think people watch the Doctor Who like dreaming of the idea of travelling in time, and then they go to the concert and the music represents that fantasy, and the joy of that possibility. It becomes a really fun thing if it works; it’s got a huge amount of emotional potential in it.”

People must love it. Especially the Doctor Who cognoscenti. They must be in their element, in the midst of something they have only previously been able to see on their television screens.

“I don’t even know that it is just the Doctor Who cognoscenti,” Murray suggests.

“Those people tend to be in their 30s and 40s, and a lot of the audience are parents and their children. Doctor Who scores very big with children; it always did.

This is not something where parents are saying ‘Oh, I really want you to come and see this’ and the children are resisting [laughs], it’s more like the children are dragging the parents along. It’s good because they are actually getting to see a massive orchestra and actors in monster costumes.

There are 145 people on the stage and about 85 of those are playing instruments. From a musical point of view, it’s great for the kids to see that, to experience that quality of sound.”

Audiences will be treated to the public debut performances of some Peter Capaldi-era compositions as part of this new Symphonic Spectacular. Will the bulk of the music come from the latest series?

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“We would love to have kept the show the same as our 2012 performances because people really enjoyed it,” Murray says. “But we are also happy that half the music that audiences will hear has never been performed before. Adelaide will be the first place on Earth to hear and experience it. We’ve had to throw out, temporarily maybe, a lot of things that we really love, just to make it feel really new and bring the tone of the new Doctor into the live show.”

How does the process of taking the individual pieces of music from the show, and turning them into a two-hour performance, actually happen?

“In the case of the Capaldi stuff, nobody can do it except me,” he laughs. “It’s just been written, doesn’t have a name, it’s only on my computer, I’ve got the master tapes – I’m the only person who knows what the Capaldi theme is, where to find it and how to bring it to Adelaide.

“When you ask how it works, I guess it’s like a lot of big projects; it all somehow comes together, because we have to get it done. But I’m not really sure how it happens [chuckles]!”

Ron Grainer’s Doctor Who theme is one of the most immediately recognisable pieces of music in popular culture. How have you enjoyed the challenge of working that into your own music for the show?

“It was such a perfect piece of music, the Delia Derbyshire version,” Murray says. “I enjoyed writing my music to the drama, but changing something that was perfect in the first place is an ordeal to some extent.

“The only thing is, we needed to have something with a lot more body and substance tonally, than the original version which was very ghostly,” he adds. “Because the nature of the show has changed and because it’s now a thundering adventure in a lot of ways, it needed a lot more body, a lot more dynamism, and I added that. It’s changed in tone but probably nothing will beat the original.

Doctor Who Symphonic Spectacular runs at Adelaide Entertainment Centre from 2pm and 7.30pm on Saturday 24 January.

Book at Ticketek on 132 849.

THRILLER LIVE

THRILLER LIVE Adelaide Festival Theatre, Thursday 31 December

By Catherine Blanch and Susanne Sarre

crew also showed off her own dancing skills. Wayne Robinson and J Rome were smooth, sassy and very animated in all of their performances. Solo or together, all of these performers had their moments to shine but without scene-stealing. They are the perfect combination.

Thriller Live is the concert spectacular that has been taking London’s West End by storm for more than six years, making it the 20th-longest running show in the history of England’s theatre precinct.

The Jackson Five’s ABC, performed by five fit young men in stripy pants was very entertaining, bordering on risqué and a just little cheesy, but all in good fun.

But, let’s face it, the disco era was cheesy with their flared pants, open shirts and medallion – but not as unforgivably so as the uber-cheesy ’80s.

With more than two hours of hits from the extensive music catalogue of Michael Jackson and The Jackson Five, Thriller Live is not a theatrical reproduction of the life and music of Jackson, but a musical extravaganza that pays homage to the 45year legacy of song and dance in Jackson’s illustrious career!

The opening night performance saw five main singers take the stage as each performed solo and group songs that perfectly suited their voices and music styles. Jackson had such a broad vocal range that it was an excellent idea to have several artists share the set list.

Having a female singer not only gave new depth to some of the songs, but highlighted that fact that show is a fantastic tribute not an impersonation.

Consisting of vocalists and dancers from the West End London Cast, as well as Australian singers Prinnie Stevens [The Voice Australia] and MiG Ayesa [Rock Of Ages], Thriller Live delivered a dynamic performance; even the quieter songs oozed with the subdued passion that the singers, and dancers, felt for the music and lyrics.

Alex Buchanan was amazing in his vocal likeness to Michael Jackson. Close your eyes and you could be forgiven for believing it was really him, right down to his intonation and inflections.

Sean Christopher did a fantastic job of representing all those dance moves synonymous with Jackson. Billie Jean was really good and Thriller – complete with Zombies – was pretty cool. Smooth Criminal in white suit and maroon socks and shirt was a highlight and a real audience favourite.

MiG Ayesa has a great stage presence, voice and feel for Jackson’s music, but he could afford to physically relax when performing She’s Out Of My Life and let his natural ability to sing the emotion of the song to take centre stage. This is probably more of a choreographic issue than anything else.

Prinnie Stevens did a fine job with many of Jackson’s songs. Her pop voice completely suited her rendition of P.Y.T and the choreography with the dance

There were a few interesting song choices between Jackson’s lesser-known hits and the massive blockbusters that kept Jackson at the top of the music charts: The Love You Save, Dancing Machine, Blame It On The Boogie, Bad, Dirty Diana, Rock With You, They Don’t Really Care About Us… The staging looked fantastic, from the split-level stair-riser that secretly housed the band, to the hanging screens that projected some stunning 3-dimensional images from disco glitter balls, basketball hoops and some stunning lighting effects that complement the onstage action.

John Maher’s band was outstanding in their musicianship. The dancers were hard working, entertaining and very talented. One in particular was a standout comic relief with some obvious adlibbing adding to the already entertaining moments on stage. His split pants ‘wardrobe malfunction’ was a perfect example of this and quite possibly an unintentional tribute to Janet Jackson.

There were a few moments of audience participation where people were coaxed on to their feet to dance and boogie on the spot. Little kids stood on their seats and some people didn’t want to sit down – such is the testament of the atmosphere created in this concert.

Thriller Live was the perfect way to see out 2014; a high-energy, musically and aesthetically outstanding performance that was bound to have you singing Jackson songs for hours after the show ended. Michael Jackson definitely is the undisputed King Of Pop! In the words Molly Meldrum, ‘Do yourself a favour…’ and have a thriller, Thriller night.

Triller Live continues at Festival Theatre at various times until Sunday 11 January. Book at BASS on 131 246

MARK STEINER

MARK STEINER

By Robert Brokenmouth Mark Steiner will be making a rare trip to Australia to perform with Zürichbased Argentinian Henry Hugo, who also co-produced Mark’s lovely new LP, Saudade, as well as Valentina Giosa, AKA Valentina Veil (from House Of Light and collectively known as Mark Steiner & His Problems.

Here’s the A-Z of Mark Steiner “A is for Abba. Abba was the first band I recall listening to as a child as with most Scandinavian households in the ’70s, Abba made its inevitable way onto the family cassette player, even if they were Swedish.

“Although I now live in Norway, I was born and raised a New Yorker, doing piano lessons as a child, but that was more a chore than a formative experience and perhaps explains why I still toy with the idea of rendering a dark version of Mamma Mia. “But the real musical journey began at grammar school when I and a handful of other students were led down the hallway to a room I had never been in. Across the room three other confused children struggled and grappled with a giant stringed instrument each. I suddenly found myself in total awe of the cello. The instructor then handed me a violin and despite my feeble protest that I wanted something larger and deeper, I gave in and played the violin. F is for fiddle.

“Seven years later, still fiddling at the age of 14, I convinced my parents to pay for private guitar lessons and they bought me an acoustic nylon six-string.

As I began learning some simple chords and some Beatles and Cream and other boring songs, I began wondering why I couldn’t make my guitar sound like the music I was digging at the time such as The Police, The Clash and Bauhaus as well as some really awful stuff.

“One afternoon my guitar instructor showed up with a silver sunburst Les Paul electric guitar. I knew right then that this was the new instrument I wanted to dive into. G is for guitar. E is for electric. Yes, I’m well aware that E preceeds G. “Abandoning the violin in my school locker, and conveniently forgetting the acoustic guitar at the side of the pool, I waded through ’80s new wave, punk and goth, occasionally coming up for air to slam dance at CBGBs on The Bowery and to watch bands at the old Ritz.

“I saw tons of bands during those years and Iggy Pop blew my mind one night even though he reportedly ‘sold out’ with Blah Blah Blah. He also pulled my girlfriend onstage and crooned Cry For Love to her as I gazed on with delight from front row centre.

MERE MACHINE

performed a sexy, sultry version of Venus In Furs. Indeed, I was now slowly headed for deeper, darker and more troubled waters. By the time I became a senior in high school, the Les Paul became too heavy a burden, so I decided to become a singer and began fronting a goth-punk cover band called Unified Division.

“Terrible name, but it was a lot of fun while it lasted. The bass player, Jason, introduced me to some Nick Cave & The Bad Seedsand although I did find it appealing, it wasn’t until I went away to college the following year that I finally had my epiphany moment.

One evening at Upstate Films in Rhinebeck, New York, I saw Wim Wenders’ Wings Of Desire and it was during the scene where Crime & The City Solution performed Six Bells That Chime that I felt truly aware of where I was headed. I finally held my breath, and dove head first down into that germridden deep dark end of the pool.

“I soon discovered other bands such as These Immortal Souls and Die Haut and other like-minded artists who swam and swim in that beautiful dark subterranean magical wormhole between New York, Melbourne and Berlin. Along the line, I discovered that many of their influences were mine too, like Cash and Holiday, Simone and Gainsbourg, Hazelwood and Sinatra (both father and daughter) and once again I made them my own as well.

“And I never stop learning, never stop discovering new music. Especially noir music that walks the fine line in the late night blue hour between darkness and dawn. The Spanish call that ‘madrugada’ which in turn makes me think of the late great Norwegian band. M is for Madrugada. N is for Noir. RSH is for…

Well, at least many Australians are proud to know those initials and so they should be.

“And here I am through the magical wormhole once again drenched in saudade. S is for Saudade, the title of my latest album. Saudade is a Portuguese word which implies a strange melancholic sense of joy in that which remains when someone or something truly loved is gone.

MERE MACHINE

By Libby Parker The city of Adelaide is set to sizzle this Friday night with some hot summer entertainment from Mere Machine, Ben Gel & THe Boneyard Saints and Surviving Sharks.

Crown & Anchor, home of much of our state’s live and loud scene, will play host to the evening, which promises to be a smashing good time.

Tom and Rose from Mere Machine are ready to take the stage and bring with them their power vocals and massive riffs reminiscent of a bygone era. An era where pub rock reigned supreme and music didn’t need a manufactured image, it just needed to be loud, live and sweaty.

“We’re big flag wavers for real music, real vocals, real everything. People who go into the studio and use auto-tune and that sort of stuff, good for them but it’s not our bag,” Tom says.

“A lot of the stuff these days in the mainstream market all sounds the same.

It sounds like the same production team BS the same songwriters. We are big advocates of being a band and entertaining you just with that. No fireworks, no dancers.”

things are from a visual aspect, which is important, but he just got up was a part of the crowd and it feels like he’s playing just for you and it gave me this clarity,” Rose says.

“It all made sense. If you can perform and entertain people for four hours and keep people engaged without pyrotechnics, you’re seasoned and you’re pretty special.”

“Yeah, no fluff, no nothing, just a rock band on stage playing for four hours,” Tom adds.

Armed with a desire to create a real experience for their audience, Mere Machine are ready to take their music on the road.

“We are planning on recording an album this year. Then we’ll get some tours happening. We’ll go around Australia and see what happens,” Tom says.

“We’ve been focussing on our writing and honing our craft. Every band member has played for so long that when we play together, it just clicks,” Rose agrees.

Mere Machine is a passion for the musicians who have been an integral part of the professional music scene in Adelaide since the nineties. They are keen to climb to great heights with this band.

The concept of Mere Machine has been rolling around for about a decade but Rose says it came to fruition after the married couple performed at a legendary American venue.

“The main thing we want for Mere Machine is to get as far as we can. We want longevity, good album releases, good tours and good advertising dollars,” Tom laughs.

“The initial idea for this band was about 10 years ago and it went through a few members, but this line up is three years old,” she says.

The gig on Friday night was arranged by the band’s drummer, Travis who invited Surviving Sharks and Ben Gel & The Boneyard Saints to join the bill. The bands have all known each other for a long time and have all been playing the gig circuit in Adelaide for around twenty years.

“Tom and I were overseas and a friend of ours asked us to play at the Whiskey A Go Go. After that, we had a chat about it and I’d always wanted to record a live album so we came back and did it.”

Mere Machine was then born from Rose’s dream and a flick through Roget’s Thesaurus to choose the perfect band name.

“This brings me to the last letter of the (English) alphabet which stands for Z-Man Records, the Australian label which generously released my last album, Broken, back in 2009.

The band headed to Thebarton Theatre to record in the round collecting band members on the way: Rose’s brother Frank on rhythm guitar, Travis on drums and Tzan on lead guitar.

“So much has happened since then it’s a whole other alphabet. But that was five years ago and in many ways I feel as if I’m starting over yet again. Perhaps A now stands for Adelaide?”

“We went to Thebby Theatre, set up in the round and filmed and recorded a live album. It’s on YouTube. It’s such a great venue and it was so cool to record a live album,” Tom suggests.

Mark Steiner & His Problems play Hotel Metro, 46 Grote St, on Thursday 15 January with Tom Redwood as special guest.

The couple have been playing around Adelaide as professional musicians for a long time and you might recognise Rose’s soulful vocals from their gigs as the duo Tom n Rose.

“Joey Ramone presented the Lords Of The Dead, an all-night spectacle which featured the remaining living members of The Dead Boys and The Lords Of The New Church along with an all-star downtown New York cast of characters.

But Mere Machine is now stepping out onto the scene and was inspired, in part,

by Bruce Springsteen who both Tom and Rose regard as one of the world’s greatest musicians because he keeps it real.

“A personal highlight was Debbie Harry who wore a black leather bikini and

“Everything made sense after seeing Springsteen last year. You see, everyone gets concerned with the look and how

“We know Mark, the drummer, from Ben Gel & The Boneyard Saints. Everyone knows Mark,” Rose laughs.

“And we’ve known Sean for a long time. He’s always been an awesome ambassador for live SA music. We haven’t played with those bands before so it should be good. It’s a good line up of bands. Loud, good, solid live rock music,” Tom adds.

With all of the bands having decades of experience between them and playing in a venue that has housed live music since as far back as many would care to remember, Friday night’s gig could very well be one for the records.

“The Crown & Anchor is up there with the premier venues in Adelaide in terms of original music. It’s nice, it’s gritty and the sound’s good. The sound guy there, Matt Hills, is fantastic,” Tom says.

“Rose used to hang out there a whole lot in the ’90s,” Tom laughs. “It’s a good little rock bar. There should be more of them.”

Mere Machine, Ben Gel & The Boneyard Saints and Surviving Sharks will play a free entry affair from 9pm on Friday 9 January at Crown & Anchor, 196 Grenfell St.

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CD/DVD REVIEWS

CD REVIEWS

GENGHIS CARDIGAN Well Done Finland, Well Done!

Reviewer: Kyle Opie 3.5/5 Four piece alternative rock group Genghis Cardigan was born in April 2013, or at least that is what one is lead to assume from their quirky, cryptic biography.

This embrace of the bizarre is evident from the outset of their EP “Well Done Finland, Well Done!” - a fair indication of a group who don’t take themselves too seriously and have a good bit of fun with what they do. Musically it does come across as being well considered, though.

The record shows that they have found their own character within the wash of bright ringing guitars and tell-tale vocals that comprise alternative rock.

For the most part general forms and instrumental timbres are present, but this comes with variety and touches of personality. The slower tune ‘April Draped in Orange’ features violin that reiterates the mood. A bright, picked bass sound takes the fore in some sections of the album, too.

The overall feeling is on the laid-back side of the genre, which acts to make the satirical elements less obvious, but still brings the quality lyricism to the fore.

With a fairly high quality studio sound and a nice application of instrument panning, this release acts as a sturdy platform for their simple, but quirky tunes.

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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.

LAURA HILL Powdered Sunshine Reviewer: Savvy 5/5

LITTLE MISS Self Titled Reviewer: Savvy 4/5

“Powdered Sunshine” is the latest offering from Laura Hill, who is probably one of the hardest working musicians I know. By buying this EP, you are definitely getting bang for your buck.

Little Miss are traditional singer/ songwriters, and their stripped back style of music is a fantastic blend of acoustic guitar and acoustic bass, with some other stringed instruments thrown into the mix.

The 8 tracks are busting with feel good summer vibes. Laura has a unique style when it comes to songwriting and arrangement. She has very smartly built her tracks so the mix is not too busy, and has used instruments that compliment not only each other, but also Laura’s incredible vocals that are so captivating, and very beautiful to listen to.

Listening to the first track “The Winter” made me feel… cold. You will know what I mean when you hear the song, and of course the name is a dead give away!

The opening of this song grabbed my attention quickly as it was something different and mysterious.

The mix is near perfect. The balance of everything is spot on. The only thing I would change if I were producing would be the amount of reverb on Laura’s voice.

I feel that in places, it was just too much and took away the natural sound of those incredible vocals.

I have two favorite tracks. In “Endless Summer”, I picked up the melody pretty much straight away and was soon tapping my foot along to this addictive song, which has a great chorus. I also loved “Purple”, and can really hear the emotion and storytelling in this track. It struck a cord with me. Great hooks.

Laura is highly passionate about her music to the point that she sold her house to tour this amazing country and unite its people through the sound of music. My advice to you the listener, get this EP!!

Unfortunately the feel of the track quickly diminished when the reverb-drenched vocals kicked in. – in my opinion, way too much effect on an otherwise amazingly strong voice. But on the plus side, this effect does not last long and I soon got the real feel of what “Little Miss” is all about, and their style of music.

I love acoustic instruments, and this is something that defines this band and their unique style. The combination of the smooth sounds and the edgy vocals works very well together, and this combination adds a very nice light and shade to the overall sound of the album.

I can hear that a lot of care was taken during the recording and mix of this album to correctly balance the stereo image and accommodate the different instruments. The result is a warm sounding album that is a pleasure to listen to.

SINCERELY, GRIZZLY Halves Reviewer: Max Tulysewski 4.5/5 Sincerely, Grizzly have released their debut record, “Halves”, and it is just as musically complex and lyrically dense as we have come to expect from Adelaide’s foremost purveyors of literature rock.

Recorded in Melbourne over two years at Hot House Studios and haxx Studios, Halves was engineered and mixed (mostly) by Jez Giddings and is out now through Black Night Crash Records.

Sincerely, Grizzly haven’t taken many breaks from their relentless touring schedule over the span of their career, which is part of the reason their debut album is so long overdue.

Featuring ten tracks of math rock and post-hardcore inspired chaos, Halves is really the perfect toy for a brain that likes to meticulously observe and find beauty where others would get distracted.

With the lead single and album closer ‘Kafkaeqsue’ clocking in at just over nine minutes, Sincerely, Grizzly must be praised for their lyrical dexterity and musical stamina. ‘Kafkaesque’ and other singles from the record, ‘I’m Nucky Thompson, This is Atlantic City’ and ‘Us; Or Optimism’, help us to hear the musical influence of …And You Will Know Us By the Trail of Dead, Biffy Clyro, Touché Amoré and Japandroids.

Throughout, Halves presents visceral outbursts of raw emotion and passion juxtaposed with precise and calculated moments of clarity. Therein lies the contradiction that makes the music of Sincerely, Grizzly so full of life, an equal balance of tension and release. You just have to read the album’s title to understand that.

LONELYSPECK

Welcome to 2015!

LONELYSPECK

By Robert Dunstan

as Producers Bar, Crown & Sceptre and Adelaide Uni Bar and are set to launch a CD this year.

Lonelyspeck is Adelaide-based electronica artist Sione Bouts Teumohenga (photographed above

by Jonno Revanche) who is all set to launch his Presence EP.

“Yeah, so I’m still going to continue playing with Iridescent,” Lonelyspeck indicates. “And we’ve just recorded some stuff which we’re going to put out later in the year.

“I’ve been making music on my own since I was about 15,” Lonelyspeck begins, “but a lot of that was just guitar-based rock stuff. And then I slowly started working with electronic instruments to make it more interesting.

Lonelyspeck says he plays live gigs using a sampler.

“And then the whole electronica thing started to take over,” he adds with a chuckle.

The evening following Lonelyspeck’s official launch, he’ll also be playing at Ancient World alongside Micro Henry, Kelly Howell (featuring Michal Kedem, Daemon and bavarianfruitbreak), Irān Sanad-Zadeh, Kompact Development and Homes.

Presence has already garnered some glowing reviews from Sound Doctinre – who rated it as their fourth favourite release of the year – and Jesuswept, who also rated it very highly, while blogger Troye Sivan has also drawn much attention to the release. This has led to radio interviews such as Lonelyspeck’s recent Radio Adelaide spot and he has also signed to UK label PLZ Make It Ruins.

“And I trigger effects while also playing guitar and doing a bit of singing,” he explains further. “So it works okay.”

“Ancient World is a place I’ve been meaning to check out for a while now,” Lonelyspeck says of the intimate underground Hindley St venue that has become a home for electronica over the last year or so.

‘The guy who runs that label, Vegyn, is a producer like me and I’d just heard some of his stuff and really liked it,” he says.

“That would have been in late 2013 and I was just blown away by what he was doing.

“But I’ve never had the chance to get to Ancient World so I’ll find out what it’s all about when I play there,” he then says.

“So we started communicating and eventually Vegyn said, “Hey, do you want to put something out on my label?’ He’d only just started it up back then but he’s now got quite a few London-based electronica artists on PLZ Make It Ruins.

“And it’s funny because I finished the songs on the Presence EP in the middle of last year so it feels really old to me now,” Lonelyspeck laughs.

“So it’s available on digital release as well as being able to buy an actual CD from his website,” Lonelyspeck says. “And he’s sent over some CDs so there will be some at the launch.”

Have there been any thoughts on releasing Presence on vinyl?

“I think that would be pushing things a bit too far at this stage,” Lonelyspeck responds with a laugh. “But, yeah, in the future that would be cool.”

Lonelyspeck admits he’s not really into artists such as Brian Eno. “I like some of the stuff I’ve heard but I’m not really into Eno that much,” he says.

“But I’m a big fan of a lot of other ambient stuff as well as the hip hop and R&B producers.

“I also love really commercial pop stuff as well,” he admits, “but I’m also really into textural kinda stuff.”

Lonelyspeck admits his home recording set-up is fairly basic.

“I just use software and very minimal gear because I don’t have much money,” he says with a sigh. “But I’ve learnt to get what I want out if it and work with it.”

Lonelyspeck also plays guitar and sings with local three-piece alternative rock band Iridescent alongside vocalist and guitarist Ellis Dolan and drummer Lachlan Clark. The trio, who cite influences such as Muse, Radiohead, Porcupine Tree and Jeff Buckey, play such Adelaide venues

He then says that he is continually working on new material.

He also believes the Adelaide electronica scene is quite healthy.

“Because it’s fairly underground, it’s probably bigger than what a lot of people actually realise,” Lonelyspeck suggests.

“There’s always more people doing stuff than what you’d expect. And I’m also involved in a collective called Future Sound who put on a fortnightly electronic night and that’s always really good.

“And that’s only going to expand this year as more and more artists come on board,” he says of the underground collective.

The new year had begun well until the very hottest day of the year, thus far, came along only two days in and with it brought catastrophic warnings about the ever-present summer threat for bushfires.

With that of course came reports that a bushfire had broken out in the Adelaide Hills and was spreading like wildfire towards close-by hamlets of Kersbrook, Gumeracha, Inglewood, Birdwood and Cudlee Creek as well many more of the quite populated hillside townships.

While some 600 CFS volunteers fought the fires as best they could and people fled to the city with their beloved in search of shelter, the people of Adelaide showed their great generosity by donating food, water, blankets, clothing and pet food.

Public houses such as the Kersbrook and Charleston Hotels threw open their doors to offer free meals and drinks for firefighters while city venues, such as Hampshire Hotel, placed notices on social media that they were offering free accommodation. Indeed, Hampshire Hotel’s offer even made the weekend news service.

Many bands performing last Saturday evening – I am are looking directly at you Octanic and Mayfair – elected to donate their door takings or merchandise sales (or both) from that night to any bushfire funds and by the following day, Sunday, social media, especially Facebook, was awash with fundraising events with even more coming to hand as I type this missive into my computer.

So, without further ado and with apologies to those who have been sorely missed, here are some of the many bushfire relief events coming up over the next week or so.

Gaslight Tavern, 36 Chief St, Brompton, is hosting a fundraiser from 8pm on Friday 9 January featuring Shades Of Blue, Salvy & The Hired Help, Pumpin’ Piano Cats and burlesque queen Leopard Lass. Expect a mix of blues, rockabilly and old fashioned rock’n’roll.

There will also be various raffles. It’s $10 at the door and the hotel is also accepting any donations of food, clothing, blankets and pet food at any time.

Local songstress Julia Henning has announced that her upcoming single launch at The Promethean, 116 Grote St, on Friday 9 January with special guest Maggie Rutjens will have all proceeds going to those affected by the bushfires.

Adelaide Ukulele Appreciation Society have turned their CD launch at the Governor HIndmarsh, 59 Port Rd, Hindmarsh, on Saturday 10 January into a bushfire fundraiser and have now invited special guests Eric Bogle, AP D’Antonio, The Texettes and Jennifer DeGrassi to take part with more to be announced as the event draws closer.

There will also be some kind of silent auction but best keep quiet about that one until further details come to hand.

The aforementioned Hampshire Hotel, 110 Grote St, is set to open its doors from 9am until late on Sunday 11 January with all staff donating their services free of charge. There will be live music all day and BBQ food.

Brewboys, who brew stuff out at Regency Pk, will be playing host to the Beat The Heat CFS Fundraiser from high noon until 9pm on Saturday 11 January with local bands and burlesque entertainment all day.

Those taking part include The Cadillacs, Self Preservation Society, Courtney Robb, Malachi Frost, Rare DNA, Briar Rose, Miss Kiki, Mema Sifa, Miss Curvella, Saskia De Muir, Lyra La Belle and Dezzi Damned with even more to be announced.

The Miss Rubenesque 2014 winner will also be available and signing copies of the 2015 calendar with $5 from each sale going to the CFS. Miss Burlesque Babe 2014, Leopard Lass, will also be selling kisses for a gold coin donation with all monies raised going towards the cause. Mark Howard’s Footlight Photographics will be offering photos with your favourite performers with images emailed to you post-production for a $5 donation which all goes to the cause.

It’s to be a mere $5 entry with all proceeds, once again, going directly to CFS.

The producer then reveals that his launch was originally a Grace Emily gig organised

by Kettering Bug. “But when he found out I had a EP to release he suggested I use it as my launch,” Lonelyspeck says. “So he’ll get up and doing his crazy, out there psychedelic stuff that’s almost like an Animal Collective kind of thing.

“And Kettering Bug also has this weird live set up where he plays the drums using triggers from his feet,” he continues. “But it’s pretty cool.

“And I’m not sure what Flinflan will be doing,” Lonelyspeck then concludes, “but I do know that she does really dreamy, ambient stuff.”

Lonelyspeck will launch Presence at a free entry gig from 9pm at the Grace Emily Hotel, 232 Waymouth St, on Thursday 15 January alongside Kettering Bug and Flinflin.

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ADELAIDE UKULELE APPRECIATION SOCIETY

ADELAIDE UKULELE APPRECIATION SOCIETY

By Robert Dunstan

who’ve never played music before, that’s quite a revelation and they feel good about themselves because they can now play something.

Boasting a whole host of members from all walks of life and all ages, Adelaide Ukulele Appreciation Society, based at the Governor HIndmarsh Hotel, are about to release their debut CD.

“And like any instrument you could get into the intricacies of it and spend a lifetime mastering all of that, but you can also just sit there and strum two or three chords and be perfectly happy.

The society is set to launch it at their home base with the event now becoming an bushfire relief fundraiser which will feature the musicians alongside very recently announced guest artists such as Eric Bogle, AP D’Antonio, The Texettes and Jennifer DeGrassi with more to be announced just prior to the launch. We caught up with well-known local musician Richard Tonkin whose family run the Governor Hindmarsh and who runs the weekly sessions that take place in the pub’s front bar on Tuesday evenings.

“It was actually dad, Brian [Tonkin], who came up with the idea of having some kind of ukulele club at the pub,” he begins. “Because the pub was set up with a sense community, he felt that a club like that would be a great idea.

“And the word ‘appreciation society’ came from [the late] Dutch Tilders, a friend of my dad’s, who had started up The Melbourne Blues Appreciation Society,” Richard continues. “There had to be that sense of appreciation.

“And dad had thought a ukulele would work best. Could you have an Adelaide Mandolin Appreciation Society? Probably not. Could you have an Adelaide Accordion Appreciation Society? Again, probably not.”

It wasn’t until a couple of years later, however, that the idea really gained momentum.

“Melbourne Ukulele Kollective, known as MUK, had booked the Gov to play at Adelaide Fringe,” Richard says. “So the Adelaide Ukulele Appreciation Society was started up with the idea that the first gig would be playing with them.

“And the whole thing has since done very well,” Richard then enthuses before mentioning that AUAS have taken part in several festivals as well as making regular appearances at the annual Semaphore Music Festival.

“And, over the last seven years, many people have been through, learnt to play the uke and then perhaps moved on to do their own thing,” he adds. “And some have come back.”

We both agree that the low cost of the instrument – a quite playable ukulele can be picked up for around $20 at most musical instrument shops – and its ease to play by a novice with no previous musical knowledge is what has made it so popular in recent times.

“I don’t think I’ve even known another instrument, even recorders, that people can just pick up and an hour later they are playing quite well,” Richard says.

“And that can become quite an empowering thing for someone who has never touched a musical instrument before,” he considers. “For a lot of people

“And I also can’t believe the number of photos on Facebook I’ve seen over the last few days of kids as young as five getting a uke for Christmas,” Richard notes.

“And there’s also the social aspect of a bunch of people gathering together on a weekly basis,” Richard adds. “It’s now a group of people – sometimes up to 40 or 50 people –playing together. In the beginning it was a few people leading the way but now it’s everyone getting involved.”

The ukulele has also become less of a novelty instrument due to its use by such popular artists as Pearl Jam’s Eddie Vedder. The instrument, which has its origins from the lute family and became popular in Hawaii during the 19th century, was also featured in the Vance Joy song Riptide which topped triple j’s Hottest 100 earlier this year. Some 40 members were involved in the recording of a 13-song CD featuring ukulele versions of popular songs such as Riptide, I Shot The Sheriff, Big Yellow Taxi and more.

“It just seemed like a fun thing to do,” Richard suggests, “and I think on the night Andrew Bayfield did the recording in the front bar, some 40 or so members were involved. And the CD is not about turning anyone involved into a big rock star, it’s just to have a bit of fun.

“And we recorded it because it was the same set of tunes we’d worked up for Semaphore Music Festival just a few weeks before,” he adds. “When you’ve got a really good set happening, it’s time to record it.

“And because we did it in the front bar and just played in a circle like we normally do on a Tuesday night, it didn’t make the musicians feel like they were being put under any pressure by going into a recording studio. It was Andrew bringing his recording gear to the front bar and recording it in our normal environment.”

Richard concludes by acknowledging that the popularity of the tiny stringed instrument has led to many clubs forming.

“There’s probably about 10 or so around Adelaide at the moment,” he suggests.

“There’s one down south, a couple up north, one that meets at the Britannia Hotel on Wednesday nights and then there’s The Wheatsheaf Ukulele Collective which is doing really good things.”

Adelaide Ukulele Appreciation Society will launch their debut CD at the Governor Hindmarsh Hotel, 59 Port Rd, Hindmarsh, on Saturday 10 January as a Bushfire Fundraiser with special guests Eric Bogle, Jennifer DeGrassi, AP D’Antonio, The Texettes and more.

Adelaide Ukulele Appreciation Society meets every Tuesday evening from 7pm in the front bar of the Governor Hindmarsh. All welcome.

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CAREER PATHWAYS 2015

courses.musicsa.com.au

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BPLUS - UNDER SUBURBIA

THE BIZZO

360 MARKETING CHECKLIST

By Kelly Brouhaha Chances are you know you should have a website and some social media happenings.

You probably know that for a show you might create a Facebook event, pop up some posters and maybe send a text out.

You’ve probably heard that you should have a mailing list and when you have the budget, you know you’ll probably hire a publicist.

But have you ever thought about how all of these tools work together?

Have you been trying out marketing its and pieces, pushing money into this and that and wondering what kind of impact it is really having?

The marketing mix can be hugely successful if done in conjunction with each other.

With consistency, great content and wide spread communication your marketing efforts can make a huge difference to the success of your next release because on their own, each marketing tool just doesn’t have quite the same effect.

I’ve developed a checklist of things to help you get the mix happening.

BRAND: 1. Is your imagery across your online platforms consistent?

2. Is your imagery of a high enough quality?

3. Do you know what particular tune/ release/theme/story you are pushing out to the public?

And most importantly, have you established great networks and communications prior to releasing your next project? The single release or the EP release prior to an album release works wonders for creating interest and building networks as you get better at networking and widen your circle of friends that can help spread your story further (I’m talking media people).

You know those bands who release a single, or an EP and seem to just have the best luck and are successful instantly.

Chances are these guys have an experienced team with wide networks, they’ve probably released something before and re-hauled their marketing AND they probably haven’t just released the very first song they’ve ever written.

BPlus: UNDER SUBURBIA

By Libby Parker This week’s BPlus is Under Suburbia, a four-piece rock outfit who placed first at Youth Fest 2014 Battle Of The Bands.

From Urbrae Agricultural High School, this homegrown talent have accomplished much in a short time.

One of the founding members, 16-yearold drummer Ollie Miller, says the group only reached its current line-up four months ago.

“Oliver Lack [16 – guitar] and I have been playing together since we first started high school. After the breakup of our previous band we decided to start Under Suburbia. The band reached its current form about four months ago,” he says.

In 2014 alone, Under Suburbia performed at Scorcherfest, Voices Of The Village Music & Cultural Fair, Micham Youth Fest and Music On The Green: Kangarilla Music Festival.

“We have played around five gigs since we got together and been happy with our performances so far,” Ollie says.

“On New Years Eve we played in Kangarilla. We played two sets and managed to be performing as the clock struck 12. Our singer was quite ill but she powered through, delivering an amazing vocal performance. We also debuted a new original called Every Truth & Every Lie which was written only days before.”

And if a successful New Year’s Eve gig is anything to go by, Under Suburbia are looking at a fruitful 2015 with the anticipated release of a debut EP.

My guess is these guys have been doing what they’re doing for a long time and gotten real smart with their pre release strategy (the meetings, the networking, the content creation, the fan engagement).

Playing alongside 16-year old bass player Jack Hopgood and 16-year-old singer Rowena Boggiano, Ollie says the members each bring unique influences to the band’s music.

“We competed in a Battle Of The Bands competition [in 2014] and won a full day of recording at Mixmasters studio. We will hopefully have an EP out mid next year,” Ollie says.

Throughout January I’m offering half priced coaching for any bands or artists wanting to get a head start on their 2015 strategy.

“Each member of the band is influenced by different artists and styles of music.

We all bring a different element to the band that makes our own unique sound,” Ollie says.

Until then and into the future, the promising young band is focused on writing quality music with a message.

I’ll walk you through the marketing mix one on one and you’ll leave with a solid checklist of things to do to make sure your next release has an impact.

Email kelly@thebrouhaha.com.au to book in your time (only three available).

“As a group, we are mainly influenced by alternative rock artists such as The Black Keys, Red Hot Chilli Peppers, Violent Soho, Rage Against The Machine and Fugazi.”

Having played a few festivals in their short lifetime, the band has developed a following, and is set to continue building a fan base.

“Our long term goal would be to use our music to convey our opinions and make a difference towards political and social issues. We want to make music that is true to ourselves without exceptions, as we believe that something that is contrived holds no value artistically,” Ollie concludes.

Keep an eye out for Under Suburbia’s release this year as this intelligent young outfit has something to say.

CONTENT: 1. Do you have a mailing list?

2. Do you connect with that list regularly?

3. When you connect with your list, do you tell your people via social media as well?

4. Do you blog regularly?

5. Do you release videos regularly?

6. Do you push your content via your website, to your social media platforms?

7. Do you run your content campaigns in conjunction with your publicity campaign?

PUBLICITY: 1. Have you covered each platform?

(Print, Radio, Television, Online) 2. Have you told your story in a way that makes people want to connect with you further?

3. Have you established the necessary contacts to make your campaign work, prior to running the campaign?

4. Have you pushed the campaign far enough?

5. Have you looked at alternative angles other than music platforms? (Are you also a knitter? Have you tried craft magazines?)

Are you using other methods as a way to push a release (a promotional tour, house concert gig series, crowd funding campaign, appearance at a festival).

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