Drum Media Sydney Issue 1137

SYDNEY’S LARGEST CIRCULATING FREE MUSIC PUBLICATION • 20 NOVEMBER 2012 • 1137 • FREE

CITY RIOTS

EVIL EDDIE

REDCOATS

INSIDE • LAGWAGON • JOE PUG • PIGEON • MARTIN ATKINS

PRESENTS

PRESENTS

“YES, JON STILL IS THE VOICE...ANDERSON’S VOICE REMAINS EXQUISITE.”

EVERYBODY’S TALKIN’ THEIR BRILLIANT LIVE ALBUM OUT NOW

EXPRESS & STAR

TEDESCHI JON ANDERSON TRUCKS YES

LIZOTTES NEWCASTLE WED 3 APR

TROMBONE SHORTY

BAND

THE VOICE OF

WITH GUESTS

AN INTIMATE EVENING WITH

& ORLEANS AVENUE

LIZOTTES.COM.AU 02 4956 2066

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

FACTORYTHEATRE.COM.AU 02 9550 3666 - RESERVED SEATING

ENMORE THEATRE SUN 31 MAR TICKETEK.COM.AU 132 849

ALSO APPEARING AT BLUESFEST VISIT BLUESFESTTOURING.COM.AU FOR ALL TOURING ARTISTS

ALSO APPEARING AT BLUESFEST, VISIT BLUESFESTTOURING.COM.AU FOR ALL TOURING ARTISTS

FACTORY THEATRE SAT 6 APR

PRESENTS

PRESENTS

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

THE KING OF REGGAE

JOAN

JIMMY

ENMORE THEATRE SUN 24 MAR

METRO THEATRE THU 28 MAR

ALSO APPEARING AT BLUESFEST VISIT BLUESFESTTOURING.COM.AU FOR ALL TOURING ARTISTS

ALSO APPEARING AT BLUESFEST VISIT BLUESFESTTOURING.COM.AU FOR ALL TOURING ARTISTS

THE LONG AWAITED RETURN OF

ARMATRADING CLIFF TICKETEK.COM.AU 132 849

BLUESFESTTOURING.COM.AU 02 6685 8310 TICKETS ALSO AVAILABLE AT THE VENUE

ALSO TOURING: JAKE SHIMABUKURO SELLING FAST ROGER HODGSON THE LEGENDARY VOICE OF SUPERTRAMP 12 SHOW SHOW ON SALE 23/11 A UNIQUE PAIRING OF BLUES AND SOUL BONNIE RAITT WITH SPECIAL GUEST MAVIS STAPLES ST ND

3

OFX ZFBST new years rs ร TUBHFT 10 stag stages g es ร EBZT 3 dayss "35*454 */$-6%*/(

+PIO #VUMFS 5SJP ร 'SJFOEMZ 'JSFT %+ TFU ร 4IBSPO +POFT UIF %BQ ,JOHT ,SBGUZ ,VUT WT " 4LJMM[ ร ,",* ,*/( ร -6,& 4-"5&3 ร 5IF #MBDL 4FFET 6OLOPXO .PSUBM 0SDIFTUSB ร 5IF )FSE ร 5)&0 1"33*4) ร #-00% 3&% 4)0&4 %":40'45"5*$ ร HBVEJ ร UJKVBOB DBSUFM ร &-&$53*$ &.1*3& NBU NDIVHI UIF TFQFSBUJTUB TPVOE TZTUFN ร 5)& 50/(6& DMBJSZ CSPXOF UIF CBOHJOร SBDLFUUFT

IPVS OPSUI PG TZEOFZ 3Jฤ รฌS4ฤ รซF $Bฤ รทJOฤ ร .Bฤ รบJWฤ "ฤ รปT 1Sฤ รฎSBฤ ร 'Bฤ รชZ %Sฤ รบT ร $Iฤ รณE3ฤ รตT 'Fฤ รปJWฤ รณ

4

PERKSOFAWALLFLOWER.COM.AU

Mature themes, drug use, sexual references and coarse language

ADVANCE SCREENINGS THIS FRIDAY, SATURDAY & SUNDAY

IN CINEMAS NOVEMBER 29 5

6

7

8

9

FEEL, triple j & SPA PRESENT

“...a body of work that is as imposing as any artist in the past 12 years. And, she’s still getting better”

SATURDAY 2ND MARCH ENMORE THEATRE

TICKETS FROM WWW.TICKETEK.COM.AU, PH: 9550 3666 & IN PERSON AT THE VENUE & ALL TICKETEK OUTLETS

FRIDAY 1ST • NEWCASTLE, PANTHERS

TICKETS FROM WWW.MOSHTIX.COM.AU, PH: 4926 6200 & IN PERSON AT THE VENUE & ALL MOSHTIX OUTLETS TICKETS FOR ALL SHOWS ON SALE NOW

NEW ALBUM ‘SUN’ OUT NOW THROUGH MATADOR

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WWW.CATPOWERMUSIC.COM • WWW.FEELPRESENTS.COM

11

After selling out his last Sydney show, Omar returns!

SATURDAY 1ST OF DECEMBER THE HI FI

W/ SLEEPMAKESWAVES & A DEAD FOREST INDEX DOORS 8:00PM / TICKETS FROM MOSHTIX

12

FIRST TIME EVER IN AUSTRALIA!

NEW ORLEANS REIGNING KINGS OF SLUDGE DOOM

THURSDAY 22ND OF NOVEMBER THE MANNING BAR

W/ I EXIST AND LO!

DOORS 8:00PM / TICKETS FROM OZTIX

SHE’S ONLY HAPPY WHEN SHE’S DANCIN’ THIS TIME STRAIGHT FROM THE HEART 18 TIL I DIE I’M READY LET’S MAKE A NIGHT TO REMEMBER

+ SPECIAL GUEST

FRIDAY 19 APRIL SYDNEY ENTERTAINMENT CENTRE 136 100 TICKETMASTER.COM.AU ALSO APPEARING

THURSDAY 18 APRIL • WIN ENTERTAINMENT CENTRE FRIDAY 26 APRIL • NEWCASTLE ENTERTAINMENT CENTRE 132 849 TICKETEK.COM.AU

TICKETS ON SALE NOW FRONTIERTOURING.COM BRYANADAMS.COM

CAN’T STOP THIS THING WE STARTED (EVERYTHING I DO) I DO IT FOR YOU THE ONLY THING THAT LOOKS GOOD ON ME IS YOU KIDS WANNA ROCK

SUMMER OF ‘69 CUTS LIKE A KNIFE RUN TO YOU HEAVEN SOMEBODY IT’S ONLY LOVE

WHEN YOU’RE GONE CLOUD #9 PLEASE FORGIVE ME ONE NIGHT LOVE AFFAIR BACK TO YOU

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“A masterpiece.� – Seattle Times “The band has grown. The music has evolved. But the message of feeling alive despite all odds is more apparent than ever.� – Paste

Performs a greatest hits set followed by The Blue Album from start to finish

SYDNEY SATURDAY 9 FEBRUARY FACTORY THEATRE

factorytheatre.com.au |

ON SALE NOW

with Special Guests

cloud control & ball park music

Saturday 19 January Sydney Entertainment Centre ON SALE NOW

OUT NOW

ticketmaster.com.au | 136 100

WEEZER.COM | CHUGGENTERTAINMENT.COM

14

YOUARESTARS.COM CHUGGENTERTAINMENT.COM

with CORY CHISEL

FRIDAY 15 FEBRUARY OUT D L O S SATURDAY 16 FEBRUARY

SUNDAY 17 FEBRUARY STATE THEATRE 3RD & FINAL SHOW – ON SALE TODAY NORAHJONES.COM FRONTIERTOURING.COM

LITTLE BROKEN HEARTS OUT NOW 15

th f e or ha m rperl hoy te

l

OPEN ‘TILL 3AM

MUSO’S NIGHT

FREE ENTRY FRONT BAR

ROCKIN WEEKLY BLUES JAM

ALEX ANONYMOUS

23 FRI 8.00PM

DIMEBAG DARRELL TRIBUTE

24 SAT 6.00PM

PRE $10 DOOR $10

+ THE WIRE + NEO TOKYO + AMODUS

PRE $20 DOOR $20

NEKROFEIST + ATOMESQUAD + RED BEE + TERRORENTIAL + CRYPTIC SCORN + TIL RAPTURE

IWRESTLEDABEARONCE

WED 21ST 7PM

THU 22ND 7PM

FRI 23RD 7PM

25 SUN 1.00PM PRE $27.50 DOOR $32.00

(USA) – ALL AGES

+ IN HEARTS WAKE + STORM THE SKY + SPECIAL GUESTS

LUCY DESOTO

900 PRINCES HIGHWAY, TEMPE PH: 9559 6300 www.valvebar.com.au

21 WED 8.00PM

SAT 24TH 1PM

25 SUN FRONT BAR 4PM FREE ENTRY

COMING SOON:

30/11: AFTER THE FALL 1/12: SABRETUNG 7/12: MILES AWAY (A/A) ‘GOBOOKEM.COM’

SUN 25TH 2PM

IMMORTAL BAND COMP EXCITING PRIZES IN ELECTRIFYING BAND COMPETITION CALL 95193978 TO ENTER/PERFORM

“VIMANA & THE JAZZ BOGANS” JAZZ/SOUL/FUNK SHOW WITH SUPPORT FROM “TYRAN HALL” , “THE DB5” , “SHEENA R”

“TAKEN BY FORCE” HARDCORE PUNK SHOW WITH SUPPORT FROM “DEADLY VISIONS” , “STREET WAR” , “BONELESS” , “DEATH TOLL”

“OZZMOSIS” A ONE OFF OZZY TRIBUTE SHOW WITH SUPPORT FROM “BLACK LABEL” , “AETURNUS DOMINION”, “PARENTHIA” , “THUNDASTEEL” , “HORRORWOOD MANNEQUINS” , “SKULDOGORY” , “DECAYING FREEDOM”

“BORIS DRIVER” EXPERIMENTAL/AVANT-GARDE SHOW WITH SUPPORT FROM “NERVOUS DISORDER” , “ZED BLUNT” , “SKIP NOT” , “ANITA LENZO”

COMING UP: Wed 28 Nov: Rock Show with “Black Barbra” , “A.A.A.Ardvark” , “Everything I Own Is Broken” , “Rowan Ash” ; Thu 29 Nov: Rock Show with “The Runs” , “Syd’s Palace” , “Fields Of Mars” , “Addicted Beach” ; Fri 30 Nov: Black Metal Show with “Crowned” , “Katabasis” , “Tamerlan” , “Dead River Runs Dry” , “Emaciated By Christ” ; Sat 1 Dec: 12pm: East West Death Grind Fest with: “The Kill” , “Intense Hammer Rage” , “To Engineer An Exorcist” , “New Blood” , “Roadside Burial” , “Odiusembowel” , “Hell Itself” , “Mother Eel” , “Laceration Mantra” , “Burial Chamber” , “Wretch” , “Throat Of Dirt” , “Inhuman Remnants” , “Exekute”; Sun 2nd Dec: Rock Show with “The Big Mischief” , “Soul Survivors” , “Cadence Empire” , “The Secret City” , “Honeystones”

For band bookings please email valvebar@gmail.com

Bistro open Lunch and Dinner !!

WED 21/11

Ultimo TAFE Showcase

THUR 22/11

Eora TAFE Showcase

FRI 23/11

Wes Carr introducing Buffalo Tales

SAT 24/11

Get Vocal End Of year Party THUR 29/11

Agnes Kain

CD Launch + Emma Dvais + Hinterlandt

Fri 30/11 & Sat 1/12 Laughing Outlaw End of Year Party

MATT SCHLAM

+ The Prehistorics + Adam Gorecki

Thursday 22nd November

SONGSONSTAGE - BEST OF...

Fri 7/12 Charles Jenkins & The Zhivagos

Feat: Adrian Oshea, Nothing But Jam, Craig Edmonson, Shane McFarlane, Rachel James

Friday 23rd November

Sun 9/12 Open House Broadcast

DARREN JACK

Sat 15/12 Jordie Lane Single Launch

- A Tribute to Dylan

Wed 12/12 Kate Plummer With Jim Moginie Album launch Fri 14/12 Keyim Ba

+ Sally King

Saturday 24th November

TANGLED UP IN BOB

Sunday 25th November

VAN HOORN + Lake Nash

Wednesday 28th November

EVIL EDDIE + Rapaport

Thursday 29 November

Christine Anu Friday 30 November

Peter Northcote

Tue 8/01 Ben Sollee + The Falls

Saturday 1st December

Thur 10/01 Rory McLeod (UK)

Braden Evans

Thur 17/01 Sandy Thom (UK) Fri 18/01 Ed Kuepper With Mark Dawson

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Wednesday 21st November

Wednesday 12 December

Richard Calabro Thursday 13 December

2 Voices

Dragon

Friday 14 December

Sunday 2 December

Rumours

Wednesday 5 December

Saturday 15 December

Classic Rock Show Sunday 16 December

Back To Black

Alloway

Thursday 6 December

Tuesday 18 December

Sons Of Sun

Jeff Martin

Friday 7 December

Wednesday 19 December

Dragon Saturday 8 December

Hotel California Sunday 9 December

The Rock N Soul Review

Jeff Martin Thursday 20 December

Caravãna Sun

17

18

19

21

HOME OF THE NEW

KELTS BAR

MIC Y EN ER OP T EV AY H D NIGHURS TIONS T TRA M

47355300 - 1 Leonay Parade Leonay 2750

FREE ENTERTAINMENT AT THE AUDITORIUM

7P GIS RE ROM F

Fri 23 Nov

Sat 1 Dec Sat 8 Dec

Fri 21 Dec Fri 18 Jan

AL OP L AG E E E NM S SU VERY IC ND RE GIS A FR TRA Y OM

TI 4P ONS M

RIKKI ORGAN & THE GRINDERS BON JOVI THE SHOW PETER GRANT CONNECTION FLEETWOOD MAC TRIBUTE ONE NON BLONDE

THE NEXT KELTS BAR INSTALLMENT Fri 7 Dec doors 7:30 PM

KING TIDE COOKING WITH CAUSTIC BACKYARD LAB A BLANK CANVAS COMING SOON TO THE NEW KELTS BAR.... The End of the world party featuring FRONT END LOADER plus supports - 22 Dec Chase The Sun Jonane Shaw Taylor Won the best blues artist in the Uk music awards and recently played at the Queens Jubilee

WWW.EMUSPORTSCLUB.COM.AU BAND BOOKINGS TO ARM.PRODUCTIONS@HOTMAIL.COM

AT THE BREWHOUSE WWW.LIVEATTHEBREWHOUSE.COM.AU

22 The Promenade, King Street Wharf, Sydney NSW

DECEMBER 1ST

KLOOCH

DECEMBER 8TH

HIGHWAYS/

THE MONSTER GOES RAWRR ALL AGES SHOW

DECEMBER 15TH

AUDIO VIXEN JANUARY 5TH

KISS ME! ALL AGES SHOW

JAN 12TH

BLAKE SABAN 3 WITH SPECIAL GUESTS

GOOD CORN LIQUOR

22

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WE’RE IN THE FINAL COUNTDOWN UNTIL THE SANDO BECOMES TAFKATS* SO COME ON DOWN AND SAY GOODBYE AND GRAB A BEER WHILE YOU STILL CAN!!!

Benjalu

BENJALU FOR YOU

- THE ARTIST FORMERLY KNOWN AS THE SANDO

THE SANDRINGHAM HOTEL - 387 KING STREET NEWTOWN / 9557 1254 BOOKINGSCONTACT SANDO@ATOMICDROP.COM.AU

STUMBLE + KATASTROPHY

WED 21 NOV

STREET LEVEL BAR: + $3 SCHOONERS OF SANDO LAGER

THU 22 NOV

BIN JUICE

FREE

$10

FRI 23 NOV

(USA)

+ LIBERATION FRONT + CHRIS DUKE AND THE ROYALS + 10 PACES FREE

$10

("RIPPED GENES & ANALOGUE DREAMS" EP LAUNCH)

+ THE DIRTY EARTH + THE BELLE HAVENS + THE BALKAN GRILL

FREE

STREET LEVEL BAR: DAVE TICE AND MARK EVANS 4PM-7PM DJ KAKI 8PM-LATE

SUN 25 NOV STREET LEVEL BAR:

THE SLOWDOWNS “SKETCH CLUB”

EVERY MONDAY STREET LEVEL BAR:

EVERY TUESDAY

FREE

FREE

UNHERD OPEN MIC

“THE SONGWRITER SESSIONS”

FREE

STREET LEVEL BAR: ADAM PRINGLE AND FRIENDS - FUNKY AS F#CK + TOOHEYS $6 NEW JUGS (7-8PM)

COMING SOON FRI 30 NOV

HARD-ONS!

*** WWW.MOSHTIX.COM.AU *** SAT 1 DEC

THE GOOD SHIP

+ BELLYACHE BEN & THE STEAMGRASS BOYS + JOHN KENNEDY SAT 15 DEC

PSYCHOTIC TURNBUCKLES

*** WWW.MOSHTIX.COM.AU ***

***NB: THIS SHOW IS NOW AT THE BALD FACED STAG***

SAT 29 DEC

ANTI-FLAG

(USA) (2 SHOWS – 8 ALBUMS) *** WWW.OZTIX.COM.AU ***

***NB: THIS SHOW IS NOW AT THE BALD FACED STAG***

24 • To check out the mags online go to themusic.com.au/mags

Giveaways – Check it out for free stuff and head to Facebook for more! The Front Line hits hard with industry fact and conjecture, while Foreword Line brings you the latest news on tours, releases and more. Drum staffers have a shot at second-guessing this year’s ARIA winners. Adelaide’s City Riots explain why the debut album is better for the wait, while no longer Butterfingers, Evil Eddie Jacobson finally delivers debut. Democracy isn’t easy, say Redcoats. It’s all about having fun for Bleeding Knees Club, while US singer-songwriter Joe Pug is loving Australia.

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26 32

34 35 36

MUSO Everything you need to know about the making and recording of music, from studios to gear and beyond is here in our monthly Muso supplement.

She’s been all over the US promoting her latest album, The Ol’ Razzle Dazzle, selling out shows in New York, Nashville and LA, the album entering the Billboard Top 100, a first for Missy Higgins. Now she home to play three nights at the State Theatre, Tuesday, Wednesday and Thursday, with special guests Gurrumul and Emma Louise. We have three double passes to the Thursday 22 State Theatre show to give away.

On The Record reviews new release albums and singles from City Riots, Crystal Castles, San Cisco, The Spazzys and The Weeknd among others.

60

FRONT ROW Check out what’s happening This Week In Arts, while we chat to Sarah Silverman ahead of her first Australian Tour and Maude Davey drops copious C-bombs in relation to the SEXES Festival Live Art program. 63 We review Pirates Of Penzance, The Wharf Revue and the Harvest Arts Festival, while Cultural Cringe gives us the arts news and Trailer Trash offers condolences to Twi-hards as the saga concludes. 64 We chat to Uta Uber Kool Ja about The Rocks Village Bizarre and Peter Helliar about his upcoming show, while Corey McMahon discuss his not-so-dark new show, The Share. 65

LIVE 37

BACK TO DRUM

VIDEO JUKE BOX

LEADFINGER

RAZZLE DAZZLE HIGGINS

FOR MORE GIVEAWAYS THIS WEEK HEAD TO FACEBOOK.COM/DRUMMEDIA AND CLICK ON THE GIVEAWAYS TAB

DRUM

TEN FOOT POLE

SAT 24 NOV

insisted, Lagwagon ain’t breakin’ up, and with the reissuing this year of their first five albums in expanded editions, the Americans have been touring hard, and it’s our turn. Lagwagon hit the Cambridge in Newcastle Friday 30 November, then the Manning Bar in Sydney Uni Saturday 1 December, before heading south to pulverise Wollongong Unibar on Sunday 2. We have two double passes to the Manning Bar show to give away.

T H E D R U M M E D I A I S S U E 1 1 3 7 T U E S D AY 2 0 N O V E M B E R 2 0 1 2

“COLLATERAL MANAGE CO. PRESENTS….”

STREET LEVEL BAR:

RETURN OF THE LAGWAGON

FREE

UNGUS UNGUS UNGUS

TICKETS ON SALE NOW WWW.OZTIX.COM.AU

Newcastle five-piece Benjalu finally bring their already two-month-long national EP launch tour to our neck of the woods this week, playing The Vanguard Thursday night, the Heritage in Bulli Friday and home turf, the Cambridge in Newcastle Saturday, and to celebrate we have three double passes to the Vanguard show to give away, the winners also collecting a copy of the EP, Way To The Coast, when they arrive at the gig.

They might have taken more time out than fans would have liked, but like frontman Joey Cape has always

+ ALL MY ALIEN SEX FRIENDS + MOONLIGHT COWBOYS STREET LEVEL BAR:

GIVEAWAYS

They’re back - and Lagwagon aren’t slouching it either. 53 Ibiza veteran Matt Caseli starts new life in Australia. 54 A little Dutch-flavoured but they’re still The Saints. 55 SPA presents its own ARIA Week night with MGM. 56 Let’s all blaspheme a little with Sweden’s Dark Funeral; The family man of hip hop, will you welcome Brother Ali; US sludge lords Eyehategod have survived a lot to bring you a new album; and Meet the organicelectric melting pot that is Brisbane’s Pigeon. 57 New album, new instrument; it’s all in a Claude Hay day’s work; Newcastle’s Benjalu are travellin’ large on their new EP; PiL’s Martin Atkins has a few things to say; and Rick Astley is more than ‘90s UK pop nostalgia. 58 For uncategorisable locals Aeturnus Dominium, Mouth Of Metal is just the beginning, while Boys Noize talks veteran German DJ business. 59

PUBLISHER Street Press Australia Pty Ltd GROUP MANAGING EDITOR Andrew Mast EDITOR Mark Neilsen ASSOCIATE EDITORS Michael Smith, Scott Fitzsimons FRONT ROW EDITOR Cassandra Fumi frontrow@drummedia.com.au CONTRIBUTING EDITOR Adam Curley CONTRIBUTORS Adam Wilding, Alex Hardy, Anthony Carew, Bethany Small, Brendan Crabb, Brent Balinski, Bryget Chrisfield, Celline Narinli, Chris Familton, Chris Maric, Cyclone, Dan Condon, Danielle O’Donohue, Dave Drayton, Guy Davis, Helen Lear, Huwston, Jake Millar, Jamelle Wells, James d’Apice, James Dawson, Jessie Hunt, Katie Benson, Kris Swales, Liz Giuffre, Lucia OsborneCrowley, Mark Hebblewhite, Paul Ransom, Paul Smith, Pedro Manoy, Rip Nicholson, Rob Townsend, Robbie Lowe, Ross Clelland, Sarah Braybrooke, Sarah Petchell, Sebastian Skeet, Sevana Ohandjanian, Shane O’Donohue, Simon Eales, Steve Bell, Stuart Evans, Tim Finney, Troy Mutton PHOTOGRAPHERS Angela Padovan, Carine Thevenau, Cybele Malinowski, Josh Groom, Justin Malinowski, Kane Hibberd, Linda Heller-Salvador, Maclay Heriot, Tony Mott ADVERTISING DEPT sales@drummedia.com.au Brett Dayman, James Seeney, Andrew Lilley

Reviews of the past week’s big gigs including Harvest, Radiohead, Coldplay and Sir Elton. 67 Dan Condon features the world of blues and roots with Roots Down, Chris Maric gets local with hard rock and metal in The Heavy Shit, and Sarah Petchell brings us local and international punk news in Wake The Dead. 70 Cyclone gives you urban and r’n’b news in OG Flavas; Is it Good Or Shit? We leave it to Liz Galinovic to tell you, Tim Finney charts the new currents in Dance Moves and Michael Smith delivers some Blow with jazz and world music news. 71 Viktor Krum asks you to Get It Together with the latest in hip hop, and Dave Drayton gets Young & Restless with all ages goings on. 72 Live profiles for Saritah and The Black Sorrows. 76 It’s all here: Tour guide, what’s happening in indie news this week, gig guide and more, including a look at Something Beautiful. 78 The Classies – need a singer/bassist/drummer/ any other service/product you can think of? Your answer is here. And on iflog.com.au. 85

CLASSIFIEDS iflog.com.au ART DEPT artwork@drummedia.com.au Dave Harvey, Matt Davis COVER DESIGN Dave Harvey ACCOUNTS DEPT accounts@streetpress.com.au GIVEAWAYS/GIG GUIDE Justine Lynch THE DRIVERS Grant, David, Julian, Ray, Paul, Al, Mark PRINTING Rural Press (02) 4570 4444 DISTRIBUTION distro@drummedia.com.au SUBSCRIPTIONS Subscriptions are $2.20 per week (Minimum of 12 weeks) – Send your details with payment to Subscriptions Dept, The Drum Media, PO Box 2440 Strawberry Hills NSW 2012 (cheques/money orders to be made payable to Dharma Media Pty Ltd) ADDRESS Postal: PO Box 2440 Strawberry Hills NSW 2012 Street: Level 1/142 Chalmers St Surry Hills NSW 2010 Phone (02) 9331 7077 Fax (02) 9331 2633 Email info@drummedia.com.au www.themusic.com.au The Drum Media is also available on iPad via the iTunes App Store

What’s On At www.thebasement.com.au

The Home of Live Music Since 1973

WEDNESDAY NOVEMBER 21

THE BLACK SORROWS JOE CAMILLERI AND CO. ARE BACK TO DELIGHT WITH NEW TUNES & HITS

TAKE A LOOK

A NIGHT OF AMERICANA

CLASSIC AMERICAN FOLK WITH STEVE HOGAN

TUE 20 NOV

CLOSED FOR PRIVATE FUNCTION

THU 22 NOV

(DANCEFLOOR)

BRAZIL MEET CUBA

FRI 23 NOV

FOREVER 27

SAT 24 NOV

WORLD IN THE BASEMENT

TUE 27 NOV

ALL DANCING, ALL DRUMMING, ALL SOUTH AMERICA VIBES!

AMY, JANIS, JIMI, KURT & MORE

FEAT. SERGIO SELIM, THE MARGARET ST PROJECT + KEYIM BA

MUSIC STAGE SHOWCASE

FEAT. EMAD YOUNAN, SHANNON GATZ + JAZZ & BLUES SESSIONS

FRI 28 NOV

T HUR SDAY 22 N

ov

WES CARRO TALES

U F FA L IN T R O D U C IN G B J S IN E A D D + A T ZO S E IS E L A N + AN Wednesday 21 November

GANG OF BROTHERS friday 23 November

SARITAH + RIGHTEOUS VOODOO + RICH NEHO + DJ KITSCH78 SATURDAY 24 November

DAVE WHITE BAND + DJ URBY SUNDAY 25 November FROM 2 PM

JAMES D SMITH THE ‘WICKED’ STAR IS BACK WITH HIS OWN TUNES

SAT 29 NOV

NEWS FROM THE BASEMENT HOST YOUR XMAS PARTY AT THE BASEMENT:

HP CORONADOS + pat powell FROM 8.30PM

SUITE AZ + DJ Kitsch78

CONTACT NLANE@THEBASEMENT.NET.AU

WAIT STAFF WANTED FOR THE BASEMENT RESTAURANT MUST BE AVAILABLE NIGHTS, EXPERIENCE NECESSARY. PLEASE EMAIL YOUR CV TO DANIEL SLEZAK WITH THE SUBJECT LINE “BASEMENT STAFF”: DANIELS@THEBASEMENT.NET.AU

FOLLOW US: ON FACEBOOK @ THE BASEMENT SYDNEY & ON TWITTER @ #DOOR_DIVA CHECK IN ON FACEBOOK EVERY THURSDAY & FRIDAY FOR DISCOUNTS AT THE BAR

NO cover charge

WED-SUN 5pm til late

LEVEL 1 - THE STAR, 80 PYRMONT ST, SYDNEY - 1800 700 700 facebook.com/rocklily.live - STAR.COM.AU The Star Pty Limited ABN 25 060 510 410. Think! About your choices. Call Gambling Help 1800 858 858 www.gamblinghelp.nsw.gov.au. Guests must be aged 18 years or over to enter the Casino.

25

FOREWORD LINE

NEWS FROM THE FRONT

ALLDAY AND NIGHT With triple j spinning So Good, The City and old favourite Girls In Jeans, Allday is heading north in December to continue to spread the love face to face, playing alongside Seven. Catch him along with Ruthless on Thursday 6 December at Oxford Art Factory Gallery Bar.

I N D U S T RY N E W S W I T H S C O T T F I T Z S I M O N S frontline@streetpress.com.au

FLY BY NIGHT Brisbane post-punk/shoegaze/psychedelic/electronic/new wave/whatever genre mashers Nite Fields are launching their debut 7” on Saturday and taking it around the country soon after. This release comes after the split-7” they released with Happy New Year earlier this year. To celebrate they’re playing Friday 7 December at Black Wire Records with Day Ravies, No Art and Buzz Kull. Flume

FLUME LANDS BEHIND BOY BAND ON CHART Sydney’s 21-year-old flavour of the month producer Flume has debuted at two on the ARIA Albums Chart this week, second only to British boy band One Direction. Flume’s Flume – released through Future Classic – had been battling with One Direction’s Take Me Home all week on the chart – even getting the better of it on the iTunes chart – but the physicalstock buying power of One Direction’s pre-teen audience got them over the line with a platinum record in the first week. Having only played his first show a year ago, 2012 has been Flume’s year and he’s been particularly lauded at showcase sets around the world. As Taylor Swift and Pink fell to three and four respectively, other debuts this week came from Soundgarden at six with King Animal, with The Rolling Stones’ latest compilation Grrr! arriving at eight. Green Day’s second release in their ambitious trio of albums, Dos!, just made it into the top ten with The Twilight Saga: Breaking Dawn Part 2 soundtrack at 11. In a week that sees a lot of change in the top 20, Deftones’ Koi No Yokan debuted at 16, with Lana Del Rey’s Born To Die – The Paradise edition re-issue and Paradise EP itself debuted at 18 and 19 respectively.

CHUGG ANNOUNCE ‘VERSION OF BLUESFEST’ IN DENI Chugg Entertainment have announced the inaugural Deni Blues & Roots Festival, with the Deniliquin site – in New South Wales’ Riverina – set to provide another stop for artists touring for the Bluesfest and West Coast Blues & Roots festival. Chugg Entertainment Project Manager Nick Chugg told theMusic.com.au that the festival was “basically a version of it [Bluesfest] down there.” The first announcement boasted Santana, Chris Isaak, Steve Miller Band, Bonnie Raitt, Jimmy Cliff, Tony Joe White and more for the inaugural event, with another announcement due in the coming weeks. The site will hold 9,000 people and Chugg said today, “The line-up’s fantastic… Deniliquin attracts about a million people a year, we should be able to reach that easy.”

SIA TOPS US DANCE CHART AGAIN Sia’s latest collaboration with David Guetta, She Wolf, gives the Aussie singer/songwriter her second US Dance/Club Play number one. Earlier this year Sia and Guetta (under his Jack Back guise) topped the American dance chart with Wild One Two on May 5. Other Australian movement in the US album charts this week saw Parkway Drive’s Atlas drop to 121 after peaking at 32 last week and Tame Impala’s Lonerism fell to 198 in its fifth week – it peaked at 34.

The Lumineers

ROOTS REVIVALISTS The radical roots revival of recent times is showing no sign of abating, and Australian audiences are about to meet some new friends in the form of Denver folk outfit The Lumineers. They may have only come to global attention this year with the release of their acclaimed self-titled debut album and its smash single Ho Hey, but The Lumineers are unlikely to be an overnight sensation. Check them for yourself at their Bluesfest sideshow on Wednesday 27 March at Metro Theatre.

HERE WE COME Sun City are a fittingly-named electro pop duo hailing from Perth. With a nod to the likes of M83 and Passion Pit, the outfit blend classic ‘80s analogue synth hooks with big baselines and dynamic vocals. Their second EP, Set Alight, is testament to their penchant for sunny electro pop. Performing at Parklife, Stereosonic and Summadayze, as well as supporting Aston Shuffle, Sun City will embark on their first national tour and play Friday 14 December at The Beresford Hotel and Friday 11 January at Brighton Up Bar.

CAREY DOWN UNDER With her distinct vocal range, prolific songwriting and producing talent, Mariah Carey has defined the modern pop performance. She is one of the bestselling female artists of all time, having moved over 200 million albums over 20 years. The 14-year wait is over as Carey will appear on Thursday 3 January at Allphones Arena. Tickets are available from Thursday.

COMING AROUND AGAIN

INTO ORBIT

Adelaide’s Kelly Breuer and Toowoomba’s Bart Thrupp are heading out on tour with some feel-good folk to lighten the doomsday mood about the imminent “ending of the world”. After a chance meeting at Brisbane’s BIGSOUND conference in September, these two happygo-lucky folk singers found common ground in their music, telling stories that bring out the lighter side of life. You can catch them on Monday 10 December at Kelly’s On King, Tuesday 11 at Harbourview Hotel and Wednesday 12 at Lass O’Gowrie (Newcastle).

Apollo Brown is best known as the go-to producer in the Motor City hip hop circuit and he will feature in a night of global bounce featuring artists from across three continents including Brown, NZ’s P Money and David Dallas, Germany’s Suff Daddy and local Chasm, with further support from DJs Frenzie and Ology. It goes down on Friday 30 November at Civic Underground.

PRESENTED BY

EXTRA MACKLEMORE & LEWIS Seattle’s Macklemore & Ryan Lewis cannot be stopped. With their forthcoming Sydney show almost immediately moving to a larger venue, they are thrilled to announce a second show for both Sydney and Melbourne to cope with the demand. The new show is on Tuesday 12 February at The Metro.

ON THE ROADSKI

Global dance sensation Calvin Harris will kick off Marquee’s impressive line-up of Stereosonic sideshows this month. The Feel So Close and We Found Love performer will head to Marquee on Friday for a special performance. From there, a who’s who of Stereosonic cohorts will descend on Marquee over one massive week, including Porter Robinson on Saturday, Sander van Doorn on Wednesday 28 November and DJ Chuckie on Friday 30. Other Stereosonic sideshows include Laidback Luke and Martin Solveig who are performing at Ivy’s Pacha launch on Saturday, Zedd and Bingo Players at Soho’s The Usual Suspects on Saturday, plus Flux Pavilion, Krewella and Duke Dumont at Chinese Laundry on Saturday, Thursday 29 has Brodinski, Gesaffelstein, Club Cheval and French Fries play Oxford Art Factory and on Friday 30 Aly & Fila and Ørjan Nilse play Home and Bart B More plays Onefiveone (Wollongong).

26 • For more news/announcements go to themusic.com.au/news

To celebrate a whirlwind year, Select Music invites you to put on your Santa hat, grab a Christmas cocktail and wish each other a merry Christmas by throwing a party. With live music from Nantes, Andy Bull, The Preatures, Step-Panther, Toucan, Tokyo Denmark Sweden and The Walking Who and DJ sets from Jake Stone (Bluejuice), Hungry Kids Of Hungary, The Holidays, Rüfüs, DZ Deathrays and Elizabeth Rose, Friday 7 December at World Bar will be one Christmas party that will almost guarantee you go on the naughty list this year.

SANDAL GAZERS

HAPPY FOLK

MARQUEE EVENTS

SELECT XMAS PARTY

During their recent string of sold-out shows across the nation, Mutemath stunned all with their artistry and live performances, delivering songs from their third studio album Odd Soul. On their return to what has rapidly become one the band’s favourite countries to tour, Mutemath will thrill fans with a preview of some newer material. They’ll play Sunday 24 March at The Hi-Fi.

Those sandal-gazing sweethearts Pageants are coming Sydney-side to launch their debut LP Dark Before Blonde Dawn. They’re going to throw a blazin’ party at the Old Fitz on Saturday 24 November. To launch the album, Pageants have enlisted/blackmailed two incredible supports including the excellent Camperdown & Out (members from Royal Headache, Raw Prawn) and some great lo-fi surf pop from King Tears Mortuary.

Calvin Harris

After months of writing, recording and touring, New Gods are set to bring their fresh sound to Melbourne and Sydney with two special headline shows. The group have been writing and recording with urgency and will release a collection of songs as a self-titled EP later this month. They’ll follow it up with a tour and play Saturday 12 January at Goodgod Small Club.

MATH ROCK

Buchanan return this Australian Music Month with a fresh run of dates and accompanying tour single When The Sun Comes Round Again, their first taste of new music since Run Faster. The band are set to test drive their new material across the country and play Friday 7 December at The Forbes Hotel and Saturday 8 at The Beresford.

MARTIN ATKINS: ‘IF PEOPLE AREN’T STEALING YOUR MUSIC, YOU’RE FUCKED’ Former PiL member and music industry author Martin Atkins opened the Face The Music conference in Melbourne last Friday, with an irreverent and funny keynote speech that relied upon a key theme of, “You’re fucked”. Atkins cut through bloated arguments to highlight basic principles of a largelyonline industry. “It’s not a problem if 20,000 people illegally download your music,” he argued, “it’s a problem if they don’t.” Atkins urged artists to create their own success and look at opening up opportunities for themselves because no one else cares enough about ‘your band’ or ‘your new album’ to do it for you. “You need to make your own rules for your own unique specific situation… if you have momentum, you can do anything you want.” He finished with, “If you know that you’re fucked – then you’re not. If you think that you’re not – then you are.” Martin Atkins also does a spoken word/ DJ set on Saturday at The Factory Theatre.

Mutemath

GRAND DESIGNS

Coveleski hit the road in December for a whirlwind tour. They’ll be showcasing tracks from their debut EP, and for the first time exposing East Coast audiences to their live show. They play Friday 7 December at The Roxbury with Epics, Ted Danson With Wolves, Karl Marx and Oslow.

Title Fight

GET READY TO RUMBLE As with everything Title Fight do, their new album Floral Green is an exercise in earnestness – playing music and singing words that express what is felt and doing so in unguarded, unmediated and unironic terms. Having toured in 2011, Title Fight return to Australian shores in March with Tasmania’s Luca Brasi joining them on all dates. They play The Annandale on Saturday 9 March (18+) and return Sunday 10 for an all-ages show.

GETTING HIS DANCE ON “Finding my dance” is Colin Hay’s expression for connecting with one’s authentic self. In the process, he takes audiences on a musical journey, sometimes straight down the main road, and sometimes taking the twists and turns of the road less travelled. As a writer and vocalist, he has never been more masterful. You can see him in concert at Concourse Theatre (Chatswood) on Friday 22 February, Canberra Theatre Centre on Saturday 23, Evan Theatre (Penrith) on Sunday 24, Illawarra Performing Arts (Wollongong) on Tuesday 26 and at Sydney Opera House on Monday 4 March.

THEY HASSLED THE HOFF David ‘The Hoff’ Hasselhoff has announced two more intimate theatre shows on the An Evening With The Hoff Tour, so he can sing and share stories of his life with even more fans. In addition to his Friday 15 February show at The Hi-Fi, he’ll play Tuesday 19 at Lizotte’s (Newcastle) and Wednesday 20 at Lizotte’s (Dee Why).

BURNING UP Scorcher Fest is renowned in the Australian music industry for its dedication to local original acts, showcasing pretty close to 80 per cent local artists at each festival. In 2012, Scorcher Fest has booked 369 bands that profit from their own ticket sales. The Ten Year Celebration Circuit kicks off shortly and hits Valve Bar on Saturday 22 December. For full line-up and tickets head to scorcherfest.com.au.

The Waterboys

ON THE WATERS The Waterboys have announced their first ever tour of Australia. Performing classic tunes such as The Whole Of The Moon and Fisherman’s Blues, plus works from their latest project An Appointment With Mr Yeats, Mike Scott and his Waterboys will be performing at Sydney Opera House on Saturday 26 January. Tickets on sale from Friday 30 November.

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FOREWORD LINE

NEWS FROM THE FRONT

HOT AS HELL Catcall is back and ready to hit the stage once more, this time to celebrate the release of the vinyl release of her debut album The Warmest Place. The record has received a very limited pressing and will be first made available to fans who attend the live shows and then through her online store. It’s first in best dressed, so don’t miss your chance to grab one on Saturday 15 December at Goodgod.

I N D U S T RY N E W S W I T H S C O T T F I T Z S I M O N S frontline@streetpress.com.au

THE CAT IS BACK

AJ Maddah

AJ MADDAH: ‘SOUNDWAVE IS NOT AUSTRALIA’S GOT TALENT’ Soundwave and Harvest promoter AJ Maddah has opened up on his opposition to booking inexperienced local bands on his festival during a Q&A session at last week’s Face The Music conference in Melbourne. A subdued Maddah, who said he was under the weather (“I think it was the Dandy Warhols coughing on me”), went through his entry to Australian music through The Angels to the realisation of the Harvest Festival last year, which he had been planning for seven years. One of the main questions posed to Maddah was the perceived lack of local artist on his festivals, particularly punk and metal-focused Soundwave, a fact that he denied. “Soundwave is not Australia’s Got Talent. Soundwave is not the place – and I do get emails, bless ‘em, from kids looking to play,” he said. “Soundwave used to be 50/50 Australians and internationals. Being with a niche festival you don’t have a great pool of talent to draw from. If you’re serious about your band and it is your life, those are the bands we want. If you have a day job or doing for a laugh, or I don’t think you have the right experience, we can’t put you on Soundwave.” Maddah, who admitted it was a “control thing”, said that party-prone locals in the early years of Soundwave had turned him off. “If you were there in 2007… the cockhead that’s sneaking people backstage – that’s inevitably the Australian band… We want serious bands who aren’t using it as a last chance to party. There was so much dick-baggery that we decided we were only going to book serious bands. And my only responsibility is the people who buy tickets to the show. Sorry, I have no responsibility to the local scene – which I worked for ten years and got nothing from.” He claimed that when you remove bands already touring heavily and aren’t on a lot of other festivals from the equation, “you’ve pretty much got the bands I’ve put on the festivals.”

Bored Nothing

NOTHING MUCH Across the past year, a prolific stream of self-produced, self-recorded music has passed by Fergus Miller (aka Bored Nothing)’s Bandcamp page. Mixing shoegaze and sludge-metal, loner folk and riot girl, the first Bored Nothing album compiles the heights of these recordings and features five songs that have never appeared elsewhere. Following a string of guest appearances over 2012, Bored Nothing will officially launch the newly-released debut on Thursday 10 January at FBi Social.

PYJAMA PARTY

FOTSUN ANNOUNCE WINNER

Formed in early 2010, Sleep ∞ Over is the dreamy sounds of singular Austin artist, Stefanie Franciotti. After becoming known for her melodies and classic pop-song structures Sleep ∞ Over quickly gained the attention of the esteemed Night People label. Whilst the first EP was released on cassette during a flood of hazy lo-fi releases, Sleep ∞ Over’s melodic aesthetic rose to the top of the genre. She plays Tuesday 5 February at The Square.

Festival Of The Sun and triple j are proud to announce the winner of their Unearthed slot for FOTSUN is midnorth coast musician Patrick James. James will be taking the stage at FOTSUN alongside Aussie and Kiwi music icons Kimbra, Dead Letter Circus, Hermitude, The Datsuns and many more over the weekend of 14 and 15 December in Port Mcquarie. Tickets are selling fast so be sure to snap them up quick.

UPSTAIRS/DOWNSTAIRS

LIFE IN THE NORTHLANE

Since the release of Vile Horizons, Mezzanine have hardly drawn breath. They’ve completed an eight-date national tour, received significant national airplay and supported the likes of Dappled Cities, Hunting Grounds, British India, The Medics, Even, Emperors and We All Want To. Now, with a new line-up and a fistful of new songs, Mezzanine are ready to hit the road again. They play Thursday 13 December at The Lansdowne.

To most people within the Australian metal and hardcore scenes, the emergence of metal band Northlane has been somewhat of an overnight rise. Since the release of their debut album Discoveries last year the band have gone from strength to strength. They’re soon embarking on their Worldeater Tour and will play Saturday 12 January at The Loft (Newcastle), Sunday 13 on a Rhythm Boat Cruise around Sydney Harbour, Tuesday 15 at Oasis Youth Centre (Wyong) and Thursday 17 at Koonanwarra Community Hall (Wollongong).

IS BON IS GOOD Bonjah will return to the live stage after six months of songwriting in preparation for their third album. Fresh from playing to thousands at JuWi Festival in Germany and selling out their London show, Bonjah went straight into the studio and started fleshing out new ideas. They play Friday 22 February at The Great Northern (Newcastle), Saturday 23 at The Annandale and Sunday 24 at The Junkyard (Maitland).

ABC LABELS REVEAL SIGNINGS

ON YER BIKE

The ABC has announced The Wolfe Brothers will join ABC Music and Melbourne Ska Orchestra will become a part of FOUR | FOUR. The festivalrenowned 30-piece collective Melbourne Ska Orchestra was founded by Nicky Bomba and the collective are currently recording their debut fulllength. A product of reality TV show Australia’s Got Talent, country rock Tasmanians The Wolfe Brothers will release their debut album It’s On through ABC Music Friday 18 January.

Bombay Bicycle Club have changed some dates on their upcoming tour and will now play Wednesday 2 January at The Factory Theatre. All existing tickets are valid for the new show. Those who can no longer attend can get a full refund at the point of purchase.

MARS VOLTA’S LEADER DUBS SUNN O))) ‘FUCKING CRYBABIES’ The brains behind The Mars Volta – Omar RodriguezLopez – has branded fellow experimentalists, drone masters Sunn O))), “crybabies” over their decision to pull the plug on a planned Australian tour earlier this year. Rodriguez-Lopez’s tour is being promoted by Heathen Skulls’ Robert MacManus, who was at the centre of the Sunn O))) controversy when the band alleged that the promoter couldn’t deliver on contract deadlines. Speaking to Street Press Australia’s Lochlan Watt, Rodriguez-Lopez – whose previous tour was also promoted by Heathen Skulls – said that Sunn O))) should ‘get real’ with their expectations of promoters. “Shit, they sound like a bunch of fucking crybabies to me,” Rodriguez-Lopez said. “So you’re telling me that a promoter was wishy-washy with some of the shit that he promised? Fucking join the club, that’s why there’s promoters and that’s why there’s people who make music. It’s like, that’s the way it goes down. I’ll put it to you this way – if we were to cancel a tour every time that a promoter didn’t come through with what they said it was going to be like, we might have gone on one tour in this past 20 years. Promoting in general... you go to Mexico and the promoters are all tied with the Mafia, same thing with Russia. What can you say about it?”

PRESENTED BY

OMAR’S A COMIN’ Syrian musical legend Omar Souleyman has announced supports for his forthcoming tour down under. For his Thursday 6 December show at Oxford Art Factory, he’ll be joined by Richard In Your Mind and Honky Kong DJs.

ARENA IN THE HOUSE Sydney fans will get the opportunity of seeing Tina Arena again shine with the Sydney Symphony following four sold-out shows at the Sydney Opera House earlier this year. Arena is returning to Australia for two encore orchestra shows and will play Tuesday 26 February at the State Theatre.

Mick Harvey

EURO INDUSTRIALISTS Mick Harvey will be the very special guest support for Einstürzende Neubauten when the German avantindustrialists tour Australia this February. Joining Harvey on stage will be the highly respected violinistguitarist JP Shilo and double bassist Rosie Westbrook. They perform Friday 22 Februray at The Enmore.

THEY ARE OLD ENOUGH Dragon were rock’n’roll warriors of the late-’70s/early’80s touring scene and emperors of excess. In October Dragon released The Dragon Years – 40th Anniversary Collection – a 40-track full career retrospective. Dragon will join forces with Jimmy Barnes, Baby Animals (select dates), Ian Moss and Chocolate Starfish and hit the road for the Red Hot Summer Tour over the summer months, before doing their own 40th anniversary shows Saturday 13 and Sunday 14 April at Sydney Opera House Studio, Saturday 20 at Laycock Street Theatre (Central Coast) and Friday 10 May at Illawarra Performing Arts Centre (Wollongong).

The Cat Empire have spent much of 2012 touring overseas, but now they are home making plenty of noise in the studio, writing and recording their new long player, which is set for release in May. They will head out on the road in March to play the new songs and some of the old favourites. With special guests Flap! they’ll play The Metro on Friday 1 and Saturday 2 March. On the Saturday they play an under18s show in the arvo and an 18+ show at night.

STORY FACTORY FUNDRAISER Beck continues to break the mould with his new record, Beck Hansen’s Song Reader. Coming out in December, Song Reader will not be recorded, but released only as sheet music through McSweeney’s. At The Standard on Wednesday 19 December, to raise funds for Sydney Story Factory, a bunch of local musicians will interpret this music in the exclusive Australian performance premiere. The line-up includes Josh Pyke, Jonathan Boulet, Dappled Cities, Caitlin Park, Richard In Your Mind, Aidan Roberts, Thomas Rawle, Brian Campeau and Elana Stone.

Arlo Guthrie

BORN INTO IT Arlo Guthrie was born with a guitar in one hand and a harmonica in the other. He is the son of America’s most beloved singer-writer-philosopher Woody Guthrie. Arlo witnessed the transition from an earlier generation of ballad singers and blues-men, to a new era of singer-songwriters such as Bob Dylan, Joan Baez and Phil Ochs; he learned something from everyone and developed his own style. He’s heading our way and plays Thursday 28 February at The Southern Cross Club (Canberra), Friday 1 March at The Seymour Centre and Friday 15 through Sunday 17 at the Blue Mountains Music Festival (Katoomba).

MORE KELLY-FINN Due to overwhelming ticket demand during the current pre-sale windows for Neil Finn & Paul Kelly’s unique shows at the Sydney Opera House, tickets for a fourth and fifth (and final) shows are now on sale. The extra dates are Sunday 17 and Monday 18 March.

THIS IS SPACE CONTROL Space Dimension Controller, aka Jack Hamill, has come from relative obscurity to be one of the leading lights on the global electronic music scene since he first attended the Red Bull Music Academy in 2010. After his triumphant debut Australian tour earlier this year, Space Dimension Controller will return to Australia to help us see in the New Year. He plays Saturday 5 January at The Metro.

OBEY YOUR MASTERS Extreme

MORE THAN WORDS Extreme, along with guitar virtuoso Richie Kotzen are touring Australia in 2013. Extreme won a legion of fans during the ‘80s and ‘90s, selling over ten million records including their global smash hit More Than Words. Richie Kotzen is a renowned guitar prodigy in his own right texturing both his own releases and those from a string of notable acts including Poison and Mr Big. They’ll play Friday 12 April at Panthers (Newcastle) and Saturday 13 at Enmore Theatre.

28 • For more news/announcements go to themusic.com.au/news

Following the announcement of their Melbourne performance on NYD, in their first ever Australia tour that will also mark their 20th anniversary, New Yorkers Masters At Work are now confirmed to perform in Sydney on NYE. They’ll deliver a three-hour set at Ivy Ballroom.

YOUTUBE DUDE Hailing from Melbourne, Dub FX (real name Benjamin Stanford) has generated a legion of fans worldwide purely on YouTube (he has over 70-million views) where videos of his street performances have captivated music audiences worldwide. He is set to tour the East Coast of his home country, performing at The Hi-Fi on Saturday 26 January.

Urthboy

DOWN TO URTH Urthboy’s new album Smokey’s Haunt has received a phenomenal response after debuting at #14 on the ARIA Album Chart. He’s now put together a live band to tour the album in 2013 alongside cohort Jane Tyrrell. Supporting are Jimblah and One Sixth, the exciting young MC hailing from Namibia and residing in Melbourne, whose debut album Electronic Mail just dropped. They play an all-ages arvo show and an over-18s evening show on Saturday 16 March at The Annandale. All pre-sale ticket buyers will receive a free MP3 remix of Knee Length Socks by Trials.

29

FOREWORD LINE

NEWS FROM THE FRONT

HOME BREW BROS Home Brew, backed with a full live band, are taking their show on the Aussie roads again, announcing the Bender Tour before the year’s end. This will be the Kiwis’ third Australian tour in less than a year and they’re psyching themselves up for it. With support from Esther Stephens and special guests they play Friday 14 December at The Standard.

I N D U S T RY N E W S W I T H S C O T T F I T Z S I M O N S frontline@streetpress.com.au

CATHERINE BRITT LEADS COUNTRY NOMS Singer-songwriter Catherine Britt has scored big in this year’s Country Music Award nominations. The singer/songwriter leads the nominations pack along with Aussie legend Troy Cassar-Daley, who is also up for seven of the iconic Golden Guitars. Other multiple nominees include The McClymonts and Kasey Chambers & Shane Nicolson with five each, as well as stalwarts John Williamson and Colin Buchanan who both received four. The 41st CMAA Country Music Awards of Australia will take place at the Tamworth Regional Entertainment and Conference Centre on Saturday 26 January.

TOURS SCORE $200,000 IN FUNDING Seventeen tours for contemporary Australian artists will share in $200,000 Federal Government funding for upcoming tours. Federal Arts Minister Simon Crean announced the tours selected, which will receive up to $15,000 each as part of the Contemporary Music Touring Program’s 23rd round. Included in the list are Jordie Lane, Jen Cloher & The Endless Sea, The Strides, The McMenamins, Jazzgroove Mothership Orchestra and The Salvadors. Their planned tours for 2013 will include workshops and community involvement as well as standard shows. Crean said, “Australia’s music, art and culture belongs to us all and the Australian Government is committed to ensuring that Australians, no matter where they live, have equal opportunity to access and engage with it.”

PRESENTED BY

SMOOTH AS SOSUEME

Descendents

DIRECT DESCENDENTS Punk rock legends Descendents are headed back to Australia in 2013. This time they’re bringing a crosssection of punk rock’s finest with them for massive shows with good vibes and fun times. With Bouncing Souls, Frenzal Rhomb and Bodyjar along for the ride, this line-up is a once in a lifetime chance for punk rock-lovin’ folks of all persuasions. Catch the show on Thursday 7 February at Big Top Luna Park.

PRETTY VACANT

KID’S NO MAN’S LAND

The Pretty Things are set to hit Sydney and Melbourne and what better way to lift the excitement level yet another notch than to add shows and announce a stellar line-up of support acts. In addition to their Wednesday 5 December Lizotte’s Dee Why show with Carrie Phillis & The Downtown 3 and Friday 7 at The Factory Theatre with Major Tom & The Atoms, they’ll play Saturday 8 at Goodgod Small Club with Straight Arrows, Dull City Destroyers and Daniel Darling.

This year has been a huge success for Kid Mac with the release of his debut album No Man’s Land. The album is a solid collection of alternative, electro and indie rock tracks with rap over the top, and collaborations with the likes of Mickey Avalon, Mat McHugh (The Beautiful Girls) and Sarah McLeod. He’s embarking on his Lunatic Tour and plays Friday 25 January at The Cambridge (Newcastle).

NEW YEAR’S DIRTY SOUTH Set among the hedonistic surroundings of The Star complex and with stunning city views and Harbour Bridge glimpses, Marquee will have the New Year’s Eve party that Sydney has been waiting for. Headlining the New Year’s party at Marquee is Dirty South, one of the world’s in-demand DJs. There are a variety of NYE packages available, head to marqueesydney.com for all the options and details.

30 • For more news/announcements go to themusic.com.au/news

WILL IT UK upstarts Will & The People are currently on their second tour of Australia this year and the band have announced the addition of eight new shows to their Friends Tour. The new dates include: Wednesday 5 December at The Loft at UTS, Friday 7 at The Junkyard (Maitland), Sunday 16 at The Beachcomber (Toukley), Thursday 20 at The Boatshed (Manly), Friday 21 at The Great Northern (Newcastle) and Saturday 22 at The Beresford Upstairs.

December at Sosueme will see live performances from indie-dance party animals Rufus, Perth-based electricsurf smoothies Stillwater Giants, trop-poppers The Griswolds as well as sample-savvy Aussie hip hop act Jackie Onassis. There’s local chanteuse Jessica Cerro as well as Sosueme’s carefully curated DJ line-up, all at The Beach Road Hotel on Wednesdays through December. It kicks off with The Beards on Wednesday 5 and they follow it up the next week with Illy.

WINTERHOUSES Beach House have announced Wintercoats as the sole support for their hotly-anticipated upcoming theatre shows. They play Thursday 3 January at Enmore Theatre.

A Place To Bury Strangers

GRAVEYARDS A Place To Bury Strangers are an uncompromising noise-rock trio that create lush, dense layers of atmospheric noise. With a new rhythm section consisting of New Zealand’s Dion Lunadon (formally of D4) on bass and Robi Gonzalez on drums, they will return to Australia in January for a run of dates in support of their third album, Worship. They play Friday 25 January at Oxford Art Factory.

31

It’s that time again, when we break out the crystal ball in an attempt to second guess the results of the 26th ARIA Awards. Will they better their average of previous years? Do you agree/disagree warmly/violently? Read on. 360, Missy Higgins and Dougy Mandagi cover and feature pics by Kane Hibberd.

AND THE WINNER IS...UMM... With the ARIA Fine Arts and Artisan Award categories already announced, as are this year’s inductees into the ARIA Hall of Fame, and a week of ARIA-associated events leading up to the big night, this year being held in the Sydney Entertainment Centre on Thursday 29 November, the ARIA Awards are looking like one of the biggest nights yet for Australian music. Plus Hilltop Hoods, Jessica Mauboy, 360, The Temper Trap, The Jezabels, Guy Sebastian, Kimbra, Missy Higgins and international guest Taylor Swift will be performing.

The fact that since last year’s awards, we’ve seen six Australian singles and eight Australian albums top the national ARIA charts and that 93 Australian singles, albums and DVDs attain gold, platinum or multi-platinum status, goes to show not just how healthy Australia’s music industry is right now, but also how much more Australians are embracing their own artists. That’s been recognised by making Song Of The Year, Best International Artist, Best Australian Live Act and Best Video publicly-voted categories. So here are our thoughts on this year’s field of contenders. BEST DANCE RELEASE Nominees: Havana Brown – When The Lights Go Out; Hermitude – Hyperparadise; Ivan Gough & Feenixpawl feat Georgi Kay – In My Mind; Knife Party – Rage Valley; and Sneaky Sound System – From Here To Anywhere The consensus seems to be that while both Havana Brown and Knife Party have been scoring massively overseas, and fans were obviously pleased to see Sneaky Sound System back in contention while In My Mind was a significant club banger, Hermitude would have the numbers in the local context. Even so, the votes were split so evenly that the eventual swing is reflected below. Who will win? Havana Brown Who should win? Hermitude BEST COUNTRY ALBUM Nominees: Beccy Cole – Songs And Pictures; Catherine Britt – Always Never Enough; McAlister Kemp – Country Proud; The McClymonts – Two Worlds Collide; and Troy Cassar-Daley – Home A strong field, it has to be between the old favourite Troy Cassar-Daley and the all-grown-up Catherine Britt. Quite apart from a very solid album Britt has this year aligned herself with local indie icon Tim Rogers, which has alerted a few of his fans to her charms, but will that newly-aware contingent be enough to pull her across the line?

is down to whether the sales figures for each have been uppermost in the minds of the ARIA voters associated with labels, as against genuine industry fans. While The Bamboos are worthy of nomination, they are, of course, soul funksters rather than an urban act, and then the return of The Herd with such a quality album should count for something.

split between Children Collide and sentimental favourites Cold Chisel, but the incredible number of fans, more than 270,000, who flocked to last year’s ridiculously successful Light The Nitro national tour didn’t follow suit with Chisel’s new album, No Plans. Similarly, The Temper Trap didn’t do the figures of their first album, despite it being a far stronger record. Then again, The Jezabels have surprised us all over the years. Who will win? Cold Chisel Who should win? The Jezabels BEST POP RELEASE Nominees: Gotye – Making Mirrors; Guy Sebastian – Battle Scars; Jessica Mauboy – Gotcha; Kimbra – Vows; and San Cisco – Awkward The only thing possibly working against Gotye dominating in this category, considering his unprecedented international success, is the fact that his album was, in ARIA terms, released so long ago, at the beginning of the period covered in this year’s nominations. Kimbra’s association with Gotye courtesy the phenomenally successful Somebody That I Used To Know hasn’t done her career any harm either, and she followed it up with an equally successful album of her own, so she has to be a contender. Guy Sebastian has certainly worked hard to overcome the taint of Australian Idol and continues to make solid albums happily received by a loyal fanbase. He’s won plenty of audience-voted and sales-based awards, but he finds the industry-voted one tougher and, up against either Gotye or Kimbra, it’s unlikely he will this year. As for Jessica Mauboy, always popular, this record is, of course, lifted from the soundtrack of the equally popular feature film, The Sapphires, so can it really be credited as a her release per se? Who will win? Gotye Who should win? Gotye

Who will win? 360

BEST HARD ROCK/HEAVY METAL ALBUM

Who should win? Hilltop Hoods/The Herd

Nominees: Buried In Verona – Notorious; DZ Deathrays – Bloodstreams; Frenzal Rhomb – Smoko At The Pet Food Factory; House Vs Hurricane – Crooked Teeth; and Sleepmakeswaves – ...and so we destroyed everything

BEST ROCK ALBUM Nominees: Children Collide – Monument; Cold Chisel – No Plans; Oh Mercy – Deep Heat; The Jezabels – Prisoner; and The Temper Trap – The Temper Trap There’s an inevitable fuzziness about what is meant by rock these days, at least in terms of the nominees. While Children Collide and Cold Chisel, two generations apart, are categorically rock, the others are rather more dabblers; their indie atmospheric/ pop, or in the case of Oh Mercy, almost funk, nods at rather than embraces the rock. Within the voting community there’s bound to be something of a generational

There was a time this was Cold Chisel’s natural category. Anyway, while Sleepmakeswaves is probably the best album in terms of innovative new sounds, textures and compositions, it’s neither hard rock nor heavy metal, and we’re sure the sentimental favourites are sufficiently gobsmacked to have got this far to care whether they win. It’s got to be a contest between the hard rock DZ Deathrays, the defiantly metal Buried In Verona and House Vs Hurricane. DZ Deathrays are certainly the buzz band at the moment. Who will win? DZ Deathrays Who should win? Buried In Verona/House Vs Hurricane BEST BLUES & ROOTS ALBUM Nominees: Angus Stone – Broken Brights; Jeff Lang – Carried In Mind; Lanie Lane – To The Horses; Mia Dyson – The Moment; and Paul Green & The Other Colours – Behind The Stars Yet another strong field of essentially seasoned troopers contesting this category, apart from the incredibly hip and stylish Lane, whose face and voice have been everywhere this past year. Stone alone, while he’s delivered a great album, probably entered the field a little late. Lang, Greene and Dyson have been working the roots/blues field long and to a consistently high standard, and are probably truer representations of the category they’re contesting but… Who will win? Lanie Lane

BEST ADULT CONTEMPORARY ALBUM Nominees: Darren Hayes – Secret Codes And Battleships; Husky – Forever So; Josh Pyke – Only Sparrows; Katie Noonan & Karin Schaupp – Songs Of The Southern Skies; and Missy Higgins – The Ol’ Razzle Dazzle It’s hard to imagine anyone standing a chance against the most popular “comeback” album of the year. Then again, Husky have been kicking some serious goals overseas and on a debut album at that, which must count for something. Though of course, Missy Higgins is back in Australia on her own massive national tour after and equally impressive run of dates across North America and she’s got the numbers locally. Hayes had a big tour but he’s relatively forgotten outside of a stalwart fanbase. Who will win? Missy Higgins Who should win? Missy Higgins/Husky BEST INDEPENDENT RELEASE Nominees: Dappled Cities – Lake Air; Katie Noonan & Karin Schaupp – Songs Of The Southern Skies; San Cisco – Awkward; The Bamboos – Medicine Man and The Jezabels – Prisoner Best Independent Artists both last and this year at that other awards night, the Jagermeister Independent Music Awards, The Jezabels are probably the band most likely to get the gong here, though the fact that Dappled Cities released their album just as voting for the ARIAs began could have worked in their favour. Who will win? The Jezabels Who should win? The Bamboos BREAKTHROUGH ARTIST – RELEASE

BEST URBAN ALBUM

Nominees: 360 – Falling & Flying; Alpine – A Is For Alpine; Lanie Lane – To The Horses; Matt Corby – Brother; and San Cisco – Awkward

Nominees: 360 – Falling & Flying; Hilltop Hoods – Drinking From The Sun; Katalyst – Deep Impressions; The Bamboos – Medicine Man; and The Herd – Future Shade

This has to be a shoe-in for 360, aka Matt Colwell, who has gone through the roof this year, particularly live, selling out a

Who will win? Troy Cassar-Daley Who should win? Catherine Britt

As tribally loyal as Hilltop Hoods’ fans are – and for all the power in not only their latest album but also their innovative DVD releases – no one can deny that 2012 has been 360’s year. Whether that’s enough to guarantee he gets the pointy thingie

Who should win? Mia Dyson

ridiculous number of shows. Then again, Matt Corby has done phenomenally well himself, similarly selling out his indie gigs consistently, having built a career against the odds as an Australian Idol also-ran to prove himself a truly inspired songwriter, singer and performer with a unique style. Alpine are similarly unique. Who will win? 360 Who should win? Alpine BEST GROUP Nominees: Boy & Bear – Big Man; Cold Chisel – No Plans; Hilltop Hoods – Drinking From The Sun; The Jezabels – Prisoner; and The Temper Trap – The Temper Trap Last year of course was the year of Boy & Bear and this final single only really gets in this year because of its release date. Again, Cold Chisel would have to be the sentimental favourite and if voting was based on the success of a band live in concert last year’s phenomenal Light The Nitro tour, on attendance figures alone, would get them across the line. But that’s not going to happen. It’s between Hilltop Hoods and The Temper Trap then. Can a hip hop group finally get up and win Best Group? It’s the best shot in a long time – the only time even? Then again, The Jezabels could be the dark horse, coming in on the outside to take the prize. Then again, The Jezabels could split The Temper Trap vote. Hmm. Who will win? The Jezabels Who should win? The Temper Trap/Hilltop Hoods BEST FEMALE ARTIST Nominees: Jessica Mauboy – Gotcha; Kimbra – Vows; Lanie Lane – To The Horse; Missy Higgins – The Ol’ Razzle Dazzle; and Washington – Insomnia A year ago Washington seemed to be everywhere, while this year, it’s been Lanie Lane, but do either have the ergot of a resurrected, match-fit Missy Higgins? Jessica Mauboy meanwhile has the success of The Sapphires movie behind her as well. Kimbra of course has that international success and Gotye connection, but she’s really a Kiwi isn’t she? Not that that’s ever stopped anyone, right Finn brothers? And she won last year, so would be unlikely to get a second nod so soon. Who will win? Missy Higgins Who should win? Kimbra/Missy Higgins BEST MALE ARTIST Nominees: 360 – Falling & Flying; Angus Stone – Broken Brights; Gotye – Making Mirrors; Guy Sebastian – Battle Scars; Keith Urban – For You; and Matt Corby – Into The Flame Considering For You is the new track on a career retrospective best of, The Story So Far, you’d have to factor in the likelihood that, as good as Keith Urban is, his appearance in this category is more likely to have been influenced by his popular participation as a judge on The Voice than his merits musically and Nicole Kidman’s handbag. Ultimately this has to be a battle royal between 360 and Gotye – rapper versus indie pop. Who will win? Gotye Who should win? 360 ALBUM OF THE YEAR Nominees: 360 – Falling & Flying; Gotye – Making Mirrors; Missy Higgins – The Ol’ Razzle Dazzle; The Jezabels – Prisoner; and The Temper Trap – The Temper Trap Can the solo woman pull a rabbit out of the hat and the rug from under the men? The case has been made for each of these albums, great albums all, but it’s probably unlikely The Jezabels or The Temper Trap have the numbers despite the outstanding quality of the albums. So again, it’s 360 versus Gotye. Hey, that might make for quite an extraordinary album. And why not? Who will win? Gotye Who should win? The Jezabels Of course, you, dear readers, will be deciding four categories yourselves. Perhaps you’d like to share your thoughts on who will and who should win in those publicly-voted categories. Just go to themusic. com.au and voice your opinion.

WHAT: The 26th Annual ARIA Awards

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WHEN & WHERE: Thursday 29 November, Sydney Entertainment Centre

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THEY’VE ARRIVED Sometimes it’s better not to go with the first things you’ve recorded, as City Riots frontman Ricky Kradolfer tells Michael Smith. hen you pick up your copy of Adelaide City Riots’ debut album, Sea Of Bright Lights – and a more appropriate title you couldn’t want if you’ve ever seen the Adelaide plains after dark from the neighbouring low-lying hills – you’re actually listening to their second attempt. Back in 2009, the four-piece found themselves overseas, ostensibly working on what they thought would be their debut with producer Bjorn Thorsrud, whose credits include records for Smashing Pumpkins and The Dandy Warhols.

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“Being a young band, getting an opportunity to go and record overseas with an American producer,” the band’s singer, songwriter and guitarist Ricky Kradolfer explains, “at the time was like, ‘Wow, of course we’d love to do that,’ and he took a real interest in the band and the songs and we were going back and forth on email and it seemed like, at the time, he was the right guy for the job. “So we went to Chicago and lived at his house and attempted to record an album. We were actually to do it at Steve Albini’s studio and maybe a month after that was confirmed, Bjorn rang and said that Billy Corgan has just finished building his personal studio and he said we could just come in and use that before he came in to record some new Pumpkins stuff, so why didn’t we do it there because we wouldn’t have to rush. We could record everything there, take our time – the catch was that we were going to have to help finish the studio. It wasn’t completely done yet; so we’d have to tidy up, help bring in stuff. So we knew that the process was going to be a little bit all over the place.

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“So we jumped on the plane and went and did it, and then it just became a process where, as we were doing it, we just weren’t really comfortable. Bjorn was a lovely guy but we just weren’t comfortable working with him and it wasn’t ‘til we came back and we were listening to all the mixes, and I think there were some good songs on there but definitely not

enough to do an album that we were totally happy with, but just the way they were put together and produced really didn’t represent who we are as a band and our sound – it just didn’t sound like us. “So we rejigged a few things and kept moving forward – we used five of the songs and put them on as part of [last year’s] Matchsticks EP, and then kind of had to regroup, ‘cause it’s also quite an expensive process, doing that.” Originally forming in 2005, for all the setbacks of that American recording experience, City Riots had quite a dream run, releasing an eponymous debut EP the year after forming and picking up plum supports both local – Midnight Juggernauts, Operator Please – and more importantly overseas – The Academy Is…, Cobra Starship and the turning point, Smashing Pumpkins – as well as being 2008 Unearthed J Award nominees. “Putting out a first record, I think you have to make sure that… you only get one chance to put out your first record so you want to make sure it’s the right thing, that really kind of represents who you are as a band, and your sound, and that people can go, ‘Hey, that’s City Riots’. But we wouldn’t have been the position to write the type of songs or be in the type of headspace, and to just have the experience that we had go into writing this new album. There’s no way we could have written the songs that we’ve written for this album two years ago, just from all the growth of touring and just writing and jamming and playing as a band, and just me personally maturing as a songwriter. And now I have a record that we’re really happy with.” Though the Bjorn experience demanded a little reassessing about just what they were trying to achieve, City Riots have always been a very proactive collective, going for any opportunity, which has seen them spend a lot of time over in the US, away from the failed recording sessions, playing SXSW and CMJ festival/ conferences, and even picking up US management that helped facilitate a few other opportunities. “Like I said before,” Kradolfer continues, “and you’re a young band, it’s very hard to say no to them – ‘Cool, let’s go play that festival’ and ‘Let’s go support that

band’ – but perhaps what we lacked was a real long-term plan; a long-term goal in terms of, ‘We’re going to do this’ and really think about why we’re doing it and what we’re going to do after that.” The first step in formulating that long-term plan was taking time out from the gigging to get stuck into writing for what became the Sea Of Bright Lights album, recorded in Melbourne with producer Paul ‘Woody’ Annison, whose credits include Children Collide, Red Riders and Rocket Science among others, including the title track of the Matchsticks EP, which was what swung him the gig on the album. “From last November, we just really concentrated on songwriting, which was the first time we’d ever really done that as a band. In the past we’ve been sidetracked with these things happening in the UK or going to the US and doing this and that, and even at the start of 2011, when we were focused on being in Australia and building our fanbase here, we just did support tour after support tour, and if we weren’t doing support tour we just did our own little indie club shows or whatever. “So we just started writing, set up some stuff at home, jammed with [brother and drummer] Dan and

spent some time up at my parents’ place on the river [Murray, at Walker Flat, near Mannum, SA], so I was able to kind of disconnect from what was happening back in the city and just focus on writing. So, by the time we went to see Woody we had a bunch of, like, thirty to forty songs, so we had the flexibility to focus and choose a group of songs to make a really great record. I didn’t want to do a mishmash of all kinds of stuff; I wanted to make a record, which made sense. So we picked a bunch of songs that we felt would work really well as a record, and also really could encapsulate who City Riots are as a band, that we can go, ‘Right, this is who we are, this is our sound – we’re here’.” WHO: City Riots WHAT: Sea Of Bright Lights (Inertia) WHEN & WHERE: Thursday 22 November, The Terrace, Newcastle; Friday 23, The Patch, Wollongong; Saturday 24, FBi Social, Kings Cross Hotel; Friday 30, Trinity Bar, Canberra; Saturday 1 December, Rock Lily

EVIL RISING One-time leader of now-defunct Brisbane institution Butterfingers, ‘Evil Eddie’ Jacobson has taken nearly three years to deliver his debut solo album. Matt O’Neill gets the story behind Welcome to Flavour Country. here’s perhaps more to ‘Evil Eddie’ Jacobson than one would expect. As leader and mouthpiece for Brisbane hip hop crew Butterfingers, Jacobson’s long since been associated with filth and frivolity. For most of the last decade, his reputation and creative output was tied almost exclusively to a band defined through off-colour humour and a willfully brash mix of hip hop, rock and ska.

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That party-friendly aesthetic obscures some rather impressive realities about the MC. Namely, he’s a hell of a musician. Not so much in regards to technical ability (though he’s obviously more than sound) as sheer artistry and ambition. The majority of Butterfingers‘ output can be laid at Jacobson’s feet while, for his new solo album Welcome to Flavour Country, he actually attempted to write, play, record and mix the entire record solo. “Well, I didn’t get as close as I liked with that,” Jacobson laughs. “I can’t play drums, and there’s a lot of live drums on there, and I can’t play horns, so I didn’t play the horn parts – but, I mean, I wrote them all. I wanted to mix it all myself but I’m just learning to do that. I feel like I’ve got a grasp on it and I’m happy with what mixing I did but, to get it out on time, I had to get help on a couple of tracks – because, yeah, it’s a learning curve for me.”

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In actual fact, Jacobson’s prodigious output is one of the reasons he’s found himself releasing a solo album instead of a third Butterfingers record. Tiring of handling the majority of the band’s songwriting, the MC tried to take the band in a more collaborative direction. When those sessions eventually didn’t work out, he began work on developing a solo career. “Oh, yeah, I mean... It’s hard to put your finger on a single thing, really,” Jacobson counters. “You know, I was going through a real period of writer’s block and was really struggling to come up with new material that I actually enjoyed... And I felt like the burden was on me to make it happen and make it good for the rest of

34 • For more interviews go to themusic.com.au/interviews

the team, you know? I thought, ‘If I’m doing all this and stressing about it, maybe I should just do it for myself?’ “So, as a band, we decided that the next release was going to be a collaborative effort. We went into practice rooms and started jamming together and working as a band and, really, that was the first time we’d ever done anything like that,” the MC continues. “You know, we’ve probably got enough music for an album-and-ahalf but, I don’t know, as we drifted apart, the songs just never got completed. Life gets in the way, really.” In the years that followed, you could almost see Jacobson running away from that workaholic nature. He would release the occasional single or EP but he’d dart around genres, rarely play shows and generally fly under the radar. His decision to join local hardcore punk mob Spitfireliar as guitarist seems representative of a man grown a little tired of writing and performing music nonstop. “There’s no pressure on me in that band,” the MC smiles. “You know, not being the frontman, I feel like there’s eighty per cent less pressure on me to perform. You don’t have to be the focus of attention. I honestly feel like I’m more of an introvert than an extrovert. Being on stage as a frontman and being the centre of attention is actually really hard for me. “But, obviously, I still love playing music, so Spitfireliar is great for me like that. That’s a place where I can get out all my heavy riffs and keep things separated, so to speak. I mean, deep down inside there’s a heavy metal kid dying to get out of me, and I’ve been friends with all of the guys in the band for years, so, yeah. It’s a good thing to have around.” This could explain why it’s taken Jacobson nearly three years to actually deliver the debut solo record. The multi-instrumentalist began work on the album almost immediately after Butterfingers‘ demise in 2009 (and will freely admit much of its material was originally intended for Butterfingers) and has been releasing singles for the record since 2010. Yet, it’s only just been unleashed. “Yeah, the first single was Queensland and that came out in 2010. The plan was always to roll it out as soon as possible after the first single but, yeah, I don’t know,”

Jacobson laughs. “I had that kind of writer’s block thing going on at the end of Butterfingers and I suppose I was still dealing with that. It just took me this long to kind of get a process I could rely on and actually make it happen. “I mean, I reckon for a good three or four years, I’ve had a solid process for my daily routine. You know, I’d write a sixteen bar verse every day, a beat every day. I was still doing that and I’m still doing that,” he clarifies. “But I was looking back on the work and just not liking it and not knowing why. It’s hard to explain but I kind of had to develop a process to make sure the music I was making had everything it needed to make me happy.” In any regard, Welcome to Flavour Country should go some way towards dismissing the myth that Jacobson is some kind of comedy prankster musician. Still colourful and entertaining, Evil Eddie’s debut solo album is also very much a musically accomplished piece of work. Eddie’s rhymes are tightly written, his productions eclectic and idiosyncratic and the songwriting genuinely stronger than ever. “Yeah, I’ve kind of got a mental grasp on how to attack writing a song now, whereas before it was mostly just luck,” the MC laughs. “Most of the Butterfingers stuff was seriously just luck. I’d write something and it would be cool

and we’d use it. When that doesn’t just happen though, you have to know how to make it happen. That was really what the process of this record was about, I think. “I don’t know, though. I think a lot of people do just skim the surface of what I do and just see that kind of brash, funny side of things – but that doesn’t actually bother me that much,” he reflects. “The people who I respect, generally speaking, can see the work that goes into my music. I feel I’m more misrepresented as a person, really. People who like my music meet me and think I’m going to be this loudmouth. “And, really, I’m not like that at all. I’m actually a fairly mellow sort of guy.” WHO: Evil Eddie WHAT: Welcome to Flavour Country (Independent) WHEN & WHERE: Thursday 22 November, The Patch, Wollongong; Friday 23, Entrance Leagues Club; Saturday 24, Great Northern Hotel, Newcastle; Sunday 25, Transit Bar, Canberra; Wednesday 28, The Brass Monkey, Cronulla; Thursday 29, The Annandale

I SEE RED Three quarters of Redcoats – frontman Emilio Mercuri, drummer Andrew Braidner and bassist Rhys Kelly – assemble before Bryget Chrisfield to discuss the finer points of getting people interested in their band and the struggles they encounter as a democracy with even numbers. n route to a video reshoot, three quarters of Redcoats wander through the pub’s side bistro door, all long hair and the right amount dishevelled-looking. A hat containing all the essentials – sunnies, keys and stuff – is thrown onto the floor under the table. Drummer Andrew Braidner and bassist Rhys Kelly favour multiple cokes, while frontman Emilio Mercuri – still in his work attire of navy, paint-stained overalls – is up for some beers. Kelly politely (and regularly) excuses himself thoughout the course of our lengthy chat to attend to phone calls and smoke suspicious-looking rollies. Just over a year after the band released their debut self-titled EP, comes their debut, self-titled full-length. The names of both releases are the same, but Mercuri observes, “A lot of things changed between the EP and the album”. Kelly concurs, “That’s true. And how many shows came up in that year, in that 12 months?”

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“We were putting out the EP on our own,” Braidner continues, “and then record labels sort of came and bought it and then, [for] the album, we were with the record label.” Mercuri reflects, “We were in different mindsets, obviously. We’d spent a lot of time compiling songs for the album and, you know, in hindsight it may have been a lot longer than what we’ll do for other albums, but I think at the time it was really good to get quite a big mound of songs that even now we can go back into. We’ve kind of safeguarded ourselves with material for the time being, so if the well is running a little bit dry at some point – and, touch wood, it never does – we have the shelves moderately filled at the moment, which is great. But I think we were a lot younger as well with the EP.”

now. The small pocket in the right back corner is genuinely growing into something a bit bigger.” All three present Redcoats laugh. “I think we’re trying to consolidate things a bit at the moment rather than look too far forward,” Braidner summarises, “just keep writing for the next album and do a good tour for this album, and do it justice and keep building on what we’ve done so far with getting people interested.” WHO: Redcoats WHAT: Redcoats (Island Records/Universal) WHEN & WHERE: Thursday 29 November, Great Northern Hotel, Newcastle; Friday 30, Annandale Hotel; Saturday 1 December, Transit Bar, Canberra

Mercuri tells that Redcoats “usually go away or stick themselves in the Bakehouse [Studios] for a week, or try to get up to the Grampians for a couple of weeks” to isolate themselves and get to work songwriting. “We usually just save our money that we earn as a band and use it to [go away to] write, which has worked really well for us over the last couple of years.” Although the band account doesn’t require all four signatures, the singer points out, “We haven’t had any issues with it yet, so it’s pretty cool.” Each Redcoat has his own favourite track on the album and Braidner shares, “We generally never all four of us agree on the one thing, which is great. In terms of artwork and singles: everyone’s always three against one, two against two – however it is – which is good.” Mercuri agrees: “It definitely evokes conversation in terms of everything, which is perfect.” “It can become a real problem being a democracy, especially with even numbers,” Kelly laughs. Sometimes even if you storm off in the middle of an ‘artistic differences’ stand-off, believing there’s no room for compromise, a bit of space can help you process the other band member’s point of view and work through a compromise though, right? Mercuri nods: “That emotional recall to certain things, as well, helps with when you go back in and start writing – as a lyricist it definitely helps, you know? You can attribute certain things to those experiences, which is pretty cool.” The band prefer songwriting sessions as a collective, as Mercuri explains. “We’ll be in there structuring and coming up with the actual basis of the song, and the framework of it and the melodies. And [we] sing some things over it whilst we’re jamming and then listen back, pull those things out.” Just noises or actual words? “Sometimes noises, sometimes just stoned ramble, sometimes sober ramble, you know? Whatever’s kinda coming out,” he clarifies. “Because we’re all doing it together at the time, you know, it’ll be a 30-minute song and then [we] play it again and play it again, over and over again, until its refined itself. And in that time I can develop that content lyrically – it’s naturally come about. So that’s how it usually works. Definitely go back and refine them.” Braidner comments, “You spend hours doing your head in over that stuff, and the right word for people to latch onto.” Mercuri acknowledges, “Yep. So that seems to get me started pretty well.” Redcoats have already garnered much respect and admiration via their live shows, but the band believe there are still many performance elements yet to be perfected, especially when it comes to slaying massive festival crowds from front row to nosebleed section. “It’s a bit of an ancient trade, being able to get 10,000 people involved in a set,” Mercuri remarks. “A lot of different things come into it, for sure.” “Well we haven’t figured it out,” Braidner admits. “But we’re having a lot of fun figuring it out.” If the magic ingredients for holding a festival crowd captive, night after night, had already been sourced and documented, Kelly suggests, “You’d be bored, man.” “I guess initially, for me, we placed a big emphasis on forming a connection between each other onstage,” Mercuri ruminates, “and we were always under the impression – oh well, I was anyway – that if we managed to keep that quite strong throughout the whole set, then in turn the crowd would respond to that. I think, though, on stages that are a little bit bigger and perhaps festival stages and stuff like that, it is a little bit more difficult to have such a close encounter with a crowd, so you have to learn to develop that connection onstage.” “Project it forward,” Braidner suggests. Mercuri ponders, “Yeah some sort of – I dunno, it needs to have a different type of velocity.” Braidner interjects, “That pushes over the crowd,” which seems to satisfy Mercuri, who completes his bandmate’s sentence, “Which we’re still learning how to do. And just seeing others bands more developed – not so much more developed, just more experienced – do it, and just how still they are in that moment on a festival stage or something… We need to be moving when we’re onstage, it’s just something we have to do. “It definitely comes back to – well, I think anyhow – it just comes back to people being saturated with things that they know, and those more experienced bands have obviously had more time to allow a crowd their music through different forums. So once they’re at that point and [the crowd] recognise something that they know and that they’re used to, and it’s not so much something that is different for them, they will respond more eagerly. And I think we’re definitely building that relationship with people that are coming to these shows

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PLENTY TO DO They started off as a pair of snotty Gold Coast kids with a penchant for garage rock, but over the last year or so Bleeding Knees Club have grown up and taken on the world. Frontman Alex Wall talks to Steve Bell about changing things up and spreading in new directions. t’s been an amazing couple of years for Gold Coast duo Bleeding Knees Club. In that time they’ve morphed from being one of the dozens of burgeoning Aussie rock’n’roll acts with promise to one of the leaders of the pack, having traversed the world repeatedly on the back of their debut album, Nothing To Do, which dropped earlier this year. Now the touring cycle for that album is nearly at an end, but before they hit the studio to begin work on the much-awaited follow-up they’re going to drop one more single, Let It Go, and hit the road for an extensive national shindig with their extended family of party animals.

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“We haven’t been playing many shows really, just trying to relax – we had a pretty busy year last year and the start of this year, so we’ve just been chillin’,” a laidback Alex Wall proffers of what’s been happening of late. “We’ve demoed a new album, hopefully we can record it next year, so we’ve just been doing that. “The last year or so has been pretty crazy – our life has completely changed, but it’s cool. I think the album’s done reasonably well. The Nothing To Do Tour was amazing – it was the best tour we could have possibly done, I think. Every show had really good crowds, and we toured with our friends Dune Rats so the whole tour was so much fun, and the crowds were really energetic and there was heaps of good stories. I think that someone crowd surfed at literally every show, which is awesome.” Bleeding Knees Club are definitely part of a new breed of bands keen to bring the party back to venues, blurring the division between artist and audience as distinct from just turning up, plugging in and rocking out. “Yeah, it’s funny,” Wall laughs. “I hadn’t been to [see] many bands where people have been crowd surfing in Australia. A couple of years ago no one was really doing it, but now it seems like it’s really coming back, which is really good. We got in a bit of trouble from venues on the last tour – I’m not sure what we’re supposed to do but apparently it’s our fault.” It’s not just Australian venues that have been ransacked; Bleeding Knees Club have been racking up the frequent

flyer points on the overseas trail as well. So, which foreign market is getting them the most so far? “I think definitely the UK got us the most – we played some really awesome shows over there last time we went,” Wall continues. “They’re a pretty fun crowd to play to, they’ve been getting into it heaps which is awesome. We haven’t been back to the States since South By Southwest – that was a fun little tour, and South By itself was awesome. There just seems to be so many bands in America which makes it a bit harder over there, especially in our genre. Every band seems to be a garage band in America, so it’s sort of hard to compete. There’s even more competition than since we started now I reckon – [there’s] thousands of good bands. But it’s better than there being a thousand new dubstep bands, or trance bands.” Let It Go is being pushed as the first BKC song that Wall and his bandmate Jordan Malone wrote together, but it won’t be ushering in any new era of collaboration. “Not really,” Wall reflects. “Jordan lives in Melbourne now and I live on the Gold Coast still, so we don’t really practice or write together anymore that much. And I’ve already written a whole new album, which I wrote by myself. I don’t know, it’s cool writing songs together and I hope we can do that down the track. Living apart is definitely different – we used to do all our work together and hang out together and stuff, and now it’s really weird. We don’t really practice that much anymore – not that we really did – because it’s too hard, but it’s fine. We still play good when we play live and stuff and we sort everything out via email – it’s still cool. It’s actually better, because we hated each other when we were seeing each other every single day, so it’s good now that we get to go on tour and hang out again.” Wall explains that not only does the new material have a different flavour, but that they’ve added a full-time drummer to the mix to allow him to emerge from behind the kit. “It’s a bit more mature and a bit more punk – it’s kind of like pop-punk, but not like Short Stack or anything,”

he laughs of the new material. “It’s more like ‘90s punk with that Blink-182 vibe. It’s a lot bigger. And we’ve got a new drummer now who adds heaps of dynamic, he’s an amazing drummer. I’ve written a lot of stuff with him because he lives in Byron and it’s easy to jam with him, and it sounds really big and a lot more energetic. It’s cool. “It was quite a conscious thing – we were all massive fans of Blink when we were teenagers, and that whole So-Cal punk scene, and it’s kind of like we all started listening to it again on tour and realised how awesome it was, and started writing songs like that. Our shows are already pretty punk but our last album wasn’t that punk, I guess – people said it was but it wasn’t – but this new stuff feels like it will suit our live show a lot better. We have to play bigger venues now and it will suit that a lot better, and I think people will really like it. “[The new set-up] is way different, because before I was playing drums and I’m the worst drummer in the world, so I had to write songs that I would be able to drum to, but now we have him there’s a lot more space to be able to do different things, and there’s a lot more freedom to write harder stuff to play.”

And even though they’re heading into album number two with a whole lot more external expectation because of their recent successes, Wall reckons that he’s not feeling any additional pressure. “I feel more relaxed if anything, because we’re way more confident with these new songs than we were with the old songs, and I guess we’ve got a pretty good fanbase now,” he reasons. “It seems like our fans are better than other bands’ fans – they just love everything we do and get really involved in stuff, and they seem to like us not just because of our music but because they like our whole vibe. That gives you confidence going into the recording because we know that our fans will stick by our side no matter what.” WHO: Bleeding Knees Club WHEN & WHERE: Thursday 22 November, Entrance Leagues; Friday 23, The Standard; Saturday 24, Transit Bar, Canberra; Sunday 25, The Lair (under 18)

FEELING THE BURN Austin-based troubadour Joe Pug talks to Steve Bell about gaining a toehold in Australia, the dual roles of the singer-songwriter and working out to develop those mental muscles. t’s almost precisely two years since American singer-songwriter Joe Pug made his first foray south to Australian shores, but he liked it here enough – and, most importantly, we reciprocated the feeling for the man and his elegant music enough – that his return voyage this month will mark his fourth time through Australian Customs with guitar case in hand. He’s done the whole gamut of possible gigs while he’s here – headline shows, festivals, opening for acts such as Justin Townes Earle and Wagons, you name it – but something about his sensitive, literate tunes has clearly enamoured Australian audiences in a relatively short space of time.

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“I know, I’ve been down there three more times now since that first visit,” smiles the softly-spoken Pug. “I love coming down there – obviously I’m not a big fan of the flights, but after that’s all said and done I love coming down for sure. I feel my stuff’s really resonating well down there and if I knew why, I’d try and replicate it everywhere else. I feel like every audience I’ve had to build up here in the States and in Europe and the UK where I’ve had to painstakingly claw out every show and every fan, but Australia just seems to work itself. I wish I knew what it was, because I’d try to make it work the same way in other places, but the response has just been different in Australia to anywhere else.”

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on the iPad

This visit marks the first time since the initial trip that Pug is coming armed with new music – he won us over with his 2010 debut album Messenger and now he’s keen to build on that rapport with his second effort The Great Despiser. “I had a general idea of what I wanted, which is one of the main reasons that we chose to work with Brian Deck,” Pug explains of his initial vision for album number two and working with the producer who’s helmed records for the likes of Modest Mouse, Iron & Wine and Califone. “I always felt that I was

36 • For more interviews go to themusic.com.au/interviews

good at getting a song written, but never that good at getting it arranged and getting sort of a tapestry to put behind it to make it within a certain world. Listening to all of the things that he’s put together, I knew that that was the direction in which I wanted to head and he really helped me decide what that was going to be.” The Great Despiser – while still clearly Pug’s baby – seems like more of a band effort than his debut, with more textures and relatively complex arrangements meaning that the songs aren’t as reliant on his deft lyrics as in the past. “Absolutely, we just wanted to get to that point where we were firing on more cylinders than one,” he concurs. “The band has been with me for a fair amount of time now, but clearly it’s now more integral to both the songs and the live show in certain ways. But all of the songs were still written on an acoustic guitar, so they can all be brought back to that.” The album’s title track finds Pug sharing vocal duties with none other than The Hold Steady’s frontman Craig Finn, which Pug puts down to the song being perfect for that distinctive voice. “We finished doing that song and we all realised straight away what a debt that song – and the production of it – owed to The Hold Steady,” he recalls. “I’d met Craig several times on the road in different places and I just got a hold of him and asked him if he’d be at all interested in this idea for the song and he was. I still can’t believe that he actually did it! He’s a great guy and it’s so cool that he would agree to do that.” The new album’s first single is the beautiful Hymn #76, continuing the titular tradition from Pug’s first EP Nation Of Heat (2008), which contained standout track Hymn #101 as well as a tune titled Hymn #35. “You know, I really think that those three songs are cut from the same cloth – to me they’re different movements of the same song,” Pug reflects. “Those are written the most unconsciously out of all my songs and those are the ones that I really seem to understand the least myself. I just feel that those three songs, when they got finished I had no idea where they came from. In

some ways I feel sometimes like I have very little pride in those songs, because I really feel so different from them. I feel completely divorced from them, like I didn’t have anything to do with them really. It’s bizarre. I wish it happened more than it does, but you try to do a lot of things consciously so that you have the muscles developed to do something unconsciously. “I generally have to pore over my lyrics a good amount to get things the way that I like them – I find that pretty hard. To me that’s actually the hardest part of the whole process. The best songs arrive fully-formed, but you don’t get those songs without dragging out other songs and just beating a dead horse on songs that will never work. You work on that for about three weeks and if you stay true to it, then eventually another song will slip out in about 30 seconds, you know – and they’re often the keepers.” In this post-Dylan, post-Beatles world it’s considered imperative for any singer worth their salt to go through such travails whilst writing their own music, as distinct from the early years of popular music when the singer and the songwriter were rarely the same person. “It’s funny that the same person has to do both jobs, because I find that they’re so different from one

another,” Pug muses. “I feel like I’m at a point now where I fully appreciate that difference and that’s why I’m excited to get back into the studio soon – I feel that I have a much better idea now of what makes a session work, as compared to what makes a good show work. “I didn’t really mind the fact that there was a time in this business when some people would write and some people would sing – I think that makes a lot of sense. I happen to like doing both, but I know a lot of people who like to grumble about pop stars not writing their own songs, but to me a pop star shouldn’t write their own songs. It makes sense that someone can communicate with an audience and someone else can be solitary and come up with an idea for a song that helps them do tha. It makes total sense to me that two different people with two different temperaments would do those different jobs.” WHO: Joe Pug WHAT: The Great Despiser (Bending Thunder) WHEN & WHERE: Friday 23 November, Annandale Hotel; Sunday 25, Mullum Music Festival, Mullumbimby

ISSUE 03 • NOVEMBER 2012

INSIDE :

DEEP SEA ARCADE AT SOUNDCHECK, GRACE POTTER PREPARES FOR BLUESFEST, FORTUNE FAV OURS KERRI SIMPSON, CRYSTAL THOMA S TAKES A CHANCE

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PRS DAY AT GUITAR FACTORY PARRAMATTA The Guitar Factory in Parramatta is presenting a PRS guitar day Sunday 25 November from 11am to 3pm. Join the Guitar Factory team, Brett Kingman and Peter Peric for a day of Paul Reed Smith guitars appreciation, in which they will have all of their stock proudly displayed along with some very special private stock that will be flown in especially for this event. This is a great opportunity to choose from a large variety of hand-picked, some even extremely limited edition PRS guitars at prices never to be repeated! Demoing the PRS guitars on the day will be two respected Australian players. Peter Peric is a Sydney-based black/death metal guitarist best known for his work with Nazxul, Rookwood & Infernal Mehtod. He’s toured the globe extensively and shared stages with bands such as Satyricon, Watain, Anathema, Possessed, Dark Tranquility among many. His unorthodox approach to the guitar is a must see for true metal maniacs! Also appearing on the day will be Brett Kingman, one of Australia’s busiest players. Inspired by ‘70s classic and glam-rock guitarists and beginning his professional career at the age of 12, Kingman has become one of Australia’s better known hired guns and has spent time touring and recording with Australian icons such as James Reyne (presently touring), Daryl Braithwaite, Ross Wilson, Renee Geyer, Joe Camilleri, Vika & Linda Bull, Peter Andre, Jenny Morris and dozens of others. Visit www. guitarfactory.com.au/ for more information

CREDITS MUSO. ISSUE 3 - NOVEMBER 2012 PH: 03 9421 4499 FAX: 03 9421 1011 584 Nicholson St Nth Fitzroy 3068 WEBSITE: www.themusic.com.au EDITOR: Greg Phillips greg@streetpress.com.au DISTRIBUTION ENQUIRIES: distribution@streetpress.com.au LAYOUT & DESIGN: Matt Davis IPAD EDITION: Dave Harvey CONTRIBUTORS: Reza Nasseri, Baz Bardoe, Sean Pollard, Christopher Steller, Michael Smith, Marcel Yammouni. PHOTOGRAPHER: Kane Hibberd Published by Street Press Australia PTY LTD PRINTED BY: Rural Press

GUITARS PLUS TURNS 30

Greek six-piece symphonic metal band Nightfall recorded their new album, Cassiopeia, in four different places, with vocals and keys recorded at Soundflakes Studios and Cyberia in Greece, the drums tracked at Soundlodge studios in Germany, and guitars and bass at Boomcave studios in Nashville, Tennessee. World’s End Press have been working on their debut album with Tim Goldsworthy (DFA, Mo Wax, The Rapture) at Rockfield Studios in Wales and Massive Attack Studios in Bristol. San Franciscobased Thao & The Get Down Stay Down recorded their third album, We The Common, with producer John Congleton (St. Vincent, Bill Callahan, The Walkmen) at his Elmwood Recording studios in Dallas.

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In a world of rapid change, it’s great to know that some things remain the same. Chris Voce, proprietor of Guitars Plus in Victoria’s bayside suburb, Sandringham, first served customers from behind his counter in November 1982. Thirty years down the track he’s still there (with his team) doing what he does best. Chris is one of the most knowledgeable retail guys in Australia when it comes to guitars. Chris has been thinking about celebrating the milestone, however claims he’s been too busy to do anything about it. A nice problem to have after 30 years’ service in the local music gear industry. Guitars Plus is well known for its excellent repair department. It’s not everyone you can trust your cherished guitar with but it’ll be safe and sound in the hands of Guitars Plus. The store also has an excellent reputation for guitar tuition with the likes of Simon Croft teaching. Simon is about to head to Europe at the request of Queen’s Brian May to perform in We Will Rock You. Visit www. guitarsplus.com.au for more information or better still, call into 5 Melrose St Sandringham in Victoria and talk guitars with Chris.

ENGADINE MUSIC DOES COLE CLARK Engadine Music in NSW has been appointed as a specialist store for locally-made guitar brand Cole Clark. Cole Clark produce quality instruments featuring some of our country’s finest tone woods and construction techniques. All guitars come with an internally-fitted ABS hard-shell case. A D’Addario 3D 3 pack of acoustic strings is included with any Cole Clark purchase. Engadine also offers a free setup adjustment and check three months after purchase. They also offer a 14-day ‘satisfaction guaranteed’ period. The Cole Clark deal runs through until Christmas. Engadine has an extensive range of Christmas giftware lines suitable for all musicians too. As an encouragement for personal shoppers to visit the store, from now until Christmas Engadine is offering guitar string sets for just $4.95, an offer which is not available online. Visit www. engadinemusic.com.au for more information.

n this issue, The Living End look back at a stellar career during their Retrospective Tour while others such as Deep Sea Arcade, who are just starting out on their musical journey, very much look to the future. It was quite inspiring to still see the excitement in the eyes of Chris , Andy and Scott from The Living End as they reminisced about days gone by. Although it didn’t make the final story cut, one of the more interesting discussions was about their worst gig ever. Scott immediately claimed Bakersfield, California where he feared for his life during set-up as crack addicts roamed the foyer and the venue owner waltzed around with a baseball bat for protection. Chris on the other hand saw it differently. Even though the venue was next door to a prison and the dodgy audience was virtually in his face as he played guitar, he remembers the gig as a triumph because they dug deep and won them over. They have played every kind of gig possible from weddings to funerals to bikie compounds

Cameron Webb (Motörhead, Danzig, Social Distortion) mixed the new album, Now And Forever, from Swedish glam-metal four-piece Sister Sin. The eponymous debut album by Melbourne six-piece Money For Rope was recorded and mixed by Steven Schram (The Vasco Era, Devastations, Little Red). Perth psych folk rockers The Morning Night called in The Brian Jonestown Massacre’s Ricky Maymi to produce their debut album, Otis. Perth-born Melbournebased producer Anna Laverty is currently working on the debut solo album from The Panics frontman Jae Laffer, having recently finished producing an EP for triple j darlings Dirt Farmer.

and are still selling out nearly every gig they play. You gotta admire those guys! Also in this issue, Kerri Simpson and Crystal Thomas typify the spirit of the indie musician, where life tries its best to get in the way of their art. Paul Noble speaks with pride about the new range of Casio synths. A playful Grace Potter (or pottymouth as I discovered) tells of her excitement to be playing Bluesfest on the same bill as Robert Plant, and we road test a bunch of amazing new products. The common theme running through this issue (or any issue of Muso really) is the enjoyment the artists still get out of their music, whether they’re new to it professionally or have been doing it for years. You won’t find any jaded rock stars in this title!

GREG PHILLIPS Muso Editor

Gear News

EMAIL FOR CHANCE TO WIN A STERLING MUSIC MAN RAY35 BASS Sterling’s Music Man Ray35 bass body is contoured for playing comfort with a maple neck attached via a solid six-bolt neck joint. Sterling use a swamp ash for the body that’s light weight for percussive lows, subtle mids and expansive highs. Music Man-designed components include three-band active preamp, humbucking pickup and bridge, standard equipment for all Ray series basses. The low B string remains tight and solid along the 34” scale. The tone is all Music Man Sterling by Music Man, gig bag is included. Valued at $1,395, Muso readers have the chance to WIN one of these basses and entry is simple. All you need to do is email your contact details and the codeword ‘Muso” to info@cmcmusic. com.au between Nov 19, 2012 and Jan 5, 2013. Winner will be announced on the CMC Music Facebook page on January 10, 2013. www.cmcmusic.com.au

FREE EFFECTS UNITS WITH TC PURCHASES There are some amazing TC Helicon and TC Electronic deals happening for the months of November and December. From TC Helicon for vocalists, purchase any VoiceLive Play, VoiceLive Play GTX, Voicetone Mic Mechanic or VoiceTone Single before December 31 and you get a FREE MP-75 Vocal Performance Microphone. The other deal is from TC Electronic and is for guitarists. Buy any two TC compact pedals and you’ll earn yourself a TC Electronic Spark Booster pedal for FREE. or purchase a BG250 bass combo, BH250, BH500,RH450, RH750 or Blacksmith bass amp and receive a FREE Corona Chorus pedal. www.tcelectonic.com/holiday-rebate

LIMITED AVAILABILITY MUSIC MAN MODELS Music Man have opened order windows for two new releases for November only – ie when the date rolls over to December 1, you’ll be unable to order these models ever again: This year, at the US Arlington Guitar show, Music Man introduced a limited run of Silhouettes with Ash bodies, custom-wound humbuckers (as featured in the Axis and Albert Lee HH models), and Floyd Rose tremolos. A huge success, they decided to offer them to their international distributors. Colours include Black, Trans Purple, Trans Teal, Pacific Blue Burst and Natural These guitars can be ordered with matching or non-matching headstocks and with either rosewood or maple fingerboards. The other limited offer is the Music Man Sledge. www.cmcmusic.com.au

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t couldn’t have been more straight forward. The original idea was to play their debut album in its entirety at a gig or two. But the more the band and management talked, the bigger the concept became. All six albums, all cities and let’s take a swag of support bands along for the ride. The Living End’s The Retrospective Tour has become one of the most successful Australian tours by a local band, ever. As gig after gig sold out, the band were hunkered down at Melbourne’s Deluxe Studios bringing to life the 80 or so songs from their back catalogue. Again, it would have been much simpler to take one set of standard TLE gear out to nail these songs, but that’s not The Living End’s way. “We want to try to play the albums as true as possible,” said bass player Scott Owen. Guitarist and TLE main man Chris Cheney agrees. “When there are 80 songs to learn, we don’t want there to be 80 songs with the same guitar tone for every single tune.” Such fastidiousness comes at a price though. Not only did they have to go back and learn the back catalogue, they also had to try to recall what gear was used on each track. “We’ve been like, ‘I can’t remember what delay that was, put the record on!’ So we’d tweak it and try to match it.”

Chris has dusted down some old guitars for the tour and is keen to give them some stage time to help emulate the original album tones. “I have an old 1962 Double Anniversary Gretsch which is just beautiful. It’s kind of like an old car, when it’s up and running. It’s nice but it takes a little bit to get going and doesn’t really compete that well with my newer Gretschs. I’m dialing in a few little sounds here and there on my effects board but otherwise it is still pretty bare bones. It’s still a basic rock n roll foundation and not many effects… a lot of delays! Scott is also excited to be hearing Chris rip out some classic Living End riffs. “It’s awesome to hear all of that stuff again,” he said. “Chris is being fucking shy, he’s rather meticulous about his effects and getting them all perfect like they are on the record.” Their gear has actually changed over the years, as they discovered during rehearsals. “I was looking at a photo of Scott and I and our first drummer playing at the Yarraville Hotel back in about 1993,” recalls Chris. “I had two Fender Twins behind me, a Tube Screamer and a digital delay pedal, which I used to adjust the increments on as I went. Now I have this pedalboard in front of me which basically has a whole lot of buttons on it which are like patches, which then go back through like a brain, which then engages certain pedals and delays and it is very convoluted. Basically, now I am running like a C3PO-like Millenium Falcon pedalboard! We started out with a direct line in, maybe a delay pedal, Chuck Berry style and it’s kind of gone more U2 as we have gone along. I’m [pretty] strict in getting the delays right. Some of the songs depend on that. My biggest thing is that I can’t remember half the shit that I was playing with on those earlier records. We’ve got an extra guitar player now, Adrian Lombardi, so I not only have to learn what I used to play, but I have to learn the overdubs too. He’ll be like, ‘How are you playing that bit?’

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THE LIVING END

Look back, gear up and go for it! it and I’m like, ‘Dude, I don’t know… I’m just trying to figure out my own bit.’ Adrian has been our touring rhythm guitar player now for almost two years.” It’s not just Chris and his original guitar tones which needed to be recreated. The same issues befell bassist Scott and to a lesser degree drummer Andy Strachan. Often it took a flick through photo albums to find clues as to what gear they were using at any given time. “Those old photos that I found, you had three milk crates and you had that cube on top, another little speaker on top of that then a tweeter thing,” Cheney recalls of Scott’s bass rig. “It looked like a little robot. That was like ‘93, ‘94, we were just out of school and you went through a lot of pickups.” Like most musicians, Scott has always been on the quest for a perfect stage sound but for someone who plays a

The Living End are a third of the way through their massive Retrospective Tour, in which they’re playing all six of their albums to sold out crowds in five cities. They were conducting final rehearsal when Muso’s Greg Phillips caught up with the band. double bass, it’s never been easy. “It always been a major thorn in my side, playing an instrument in a manner it wasn’t supposed to be played,” said Scott. “Then getting it to be amplified and sound like a quality instrument on a rock‘n’roll stage, is a real mission. I’m always getting closer and closer to what I’m seeing in my mind. It’s hard. It’s not like going into a guitar shop and saying, ‘I’ll have that sound’. It’s something that I have to make up. I went through all these weird and wacky ideas of getting the pickup inside the bass, mounting pickups

inside them in which case you need to cut a hole in the bass to get in there. There’s been one luthier who has tended to my every whim with [the] double bass over all the years I have played, Ben Puglisi, and I appreciate him so much. Even when I have ideas like, ‘Why not cut a hole in this section? He’s gone, ‘Man, you are going to regret that so much one day… I’ll do it for you just to appease your curiosity but you’re going to fucking regret it, I swear to God.’ A year later I’d bring it in and ask him to patch that hole up but yes, it’s been an endless search.”

For Cheney, the quest for the perfect sound is part and parcel of what being in a rock band is all about. “You’ve got to search for those things because there wasn’t a template for what we were trying to do at that early point,” he said. “There’s parts of us that wanted to be this but also a modern rock band, not a traditional rockabilly band – we want to be able to play at volume. I’ve got extra struts in my guitars from trying to play at high volume… extra things that I have put into my guitars over the years to try to handle the fact that we’re this rockabilly band that wants to be The Who!” Looking back, Andy Strachan believes he has gone smaller and quieter with his drum kit. “My drum tech and front of house guys over the years have said to me, ‘You don’t need cymbals that make your eyes bleed’, but that’s what I thought back then,” he said. “On

the Big Day Out stage or whatever, I thought you needed cymbals that were louder then amps. You don’t. That’s what microphones are for, so that’s the only lesson I have really learnt. Other than that, I try to get new drums to sound like vintage drums. They’re all thin shells, mahogany and maple. It’s a Pearl Masterworks kit. Masterworks is apparently like … whatever you want. Their idea is that they’ll build you whatever you need. To that degree, they’re right on the money and will pretty much do whatever you want. Instead of having 8 ply maple and 3 ply birch, I go for 4 plys of mahogany with maple blue rings and that’s as close as I have found to a vintage drum kit. I try to make them sound as old as possible. The cymbals are a big thing I learnt. They’re thin and quieter cymbals and actually sound a lot better, especially when you have the vocal mic open, like a Z Custom is just going to bleed all over the stage and ruin the front of house guy’s day. That’s where it all stemmed from, the front of house guy and drum tech saying that it doesn’t have to be that loud. The snare drum either; you can play quietly and let the mics do the work. With the cymbals, Zildjian K Hybrid Crashes is what I have been playing, quite thin but 18s and 19s, 21” sweet ride which is what I have been playing for five or six years now; and a pair of 15” Hybrid hats, K Lights so they are quite thin – way quieter than they used to be. I used to play all Z Customs and A Projections, cymbals which tore your ears apart.” As the beers chugged down and the memories become more vivid, the guys revelled in stories about how the band has given them the opportunity to meet some of their musical heroes, and how bizarre it has been that some of them such as Richard Clapton, Brad Shepherd, Daryl Braithwaite, and Neil Finn bother to come backstage or even compliment them on their music. After all these years and a new record breaking tour, it seems The Living End deep down are basically just music fans. “It’s why we’re here,” said Chris. “It’s gotta be why we’re here: a) because we are patient, b) because we are ambitious motherfuckers and c) because we are music lovers. We still get along. We have been through everything a band could possibly go through. We’ve been through drug issues, girlfriend issues, issues where I don’t want to see you or be around you, musical direction issues. We’ve been through everything like that and we are still around. A lot of bands don’t have that patience. We’ve always felt that we can go on and do something a little better.” Andy’s eyes light up too and chips in. “There was a moment a couple of weeks ago and we were playing How Do We Know and it felt fantastic. The whole rehearsal went for about five hours playing together and going, ‘Yeah, that was fine’. Then there was this magic moment where, even after all this time… we have played that song a thousand times but it just felt so exciting and so good. That’s what it is all about… those moments.” “It’s not about the accolades or how many payers or much merch we sold,” Chris says in summary. “It’s really about, ‘Shit that felt good when we played’. You hope that never leaves you.” www.thelivingend.com

Deep Sea Arcade laid Outlands on us this year, an album full of dreamlike ‘60s-influenced pop rock gems. Sean Pollard caught up with the band at soundcheck in Melbourne during their recent national tour.

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olling into the Corner to begin yet another nationwide jaunt, Sydney psych pop outfit Deep Sea Arcade have been riding a huge wave of success since the release of their debut album, Outlands, earlier this year. Almost five years of recording time and experimentation has paid off for these boys as Outlands seems to have spawned more singles than your average Rihanna album. Tracks like Girls, Seen No Right, Steam and the latest offering, Granite City, have seen

pretty much all of the first record, especially See No Right. I’ve also got a Juno 60 but because I don’t tour with that; it’s mapped across the keyboard as well. There’s also a Roland Jupiter and a Hammond through a Leslie speaker in stereo. I also sampled stuff off vinyl records. I have this old sampling module at home that you can do really good pitch shifting with, so I use that all the time as well.” So, to get down to brass tacks, McKenzie has attempted to take a small universe of instruments and sounds on the road with Deep Sea Arcade – and is succeeding due to the versatility of his MPC-1000 set up. When teamed up with a MIDI keyboard, this enables Deep Sea Arcade to faithfully replicate the psychedelic washes and pumped up guitar hooks of Outlands without having to lug weighty keyboards all over the country. www.facebook.com/deepseaarcade

Outlandish riffs this four-piece garner more than a cult following as they pick up festival slots and sell out venues all over the country. Their sound is rooted in the experimental pop of the late ‘60s and early ‘70s, but also harks back to a time when Oasis, Stone Roses and The Happy Mondays ruled the world and Manchester was the thriving epicentre of a jangly guitar-based pop scene. One look at frontman Nic McKenzie on stage gives this influence away as he struts about, points at the audience and delivers a note-perfect tribute to his Hacienda-loving forefathers. Deep Sea Arcade are no mere rip-off though, and it’s the sheer strength of their songwriting combined with a loving attention to detail when it comes to equipment and recording techniques that has led to their burgeoning success. We find singer Nic McKenzie out front of The Corner on what has become a rainy Friday afternoon in Melbourne. While the rest of the band busy themselves with the vagaries of postsoundcheck life (setting up the merch desk, checking the door list, eating parmagiana) McKenzie is more than happy to explain the various gear and techniques Deep Sea Arcade use on stage and in the studio to create their sound. He’s certainly qualified as, as he explains, the bulk of Outlands was created in collaboration with bassist Nick Weaver as the rest of the band dropped in and out of various studios as needed. Far from a control freak, it’s clear that McKenzie has a singular vision about where he feels the band’s sound should go and what kind of equipment they need to replicate their sound on stage, especially when it comes to the most crucial element of any pop band - the guitars. “Jimmy uses a 2002 Les Paul and runs it mainly through a Marshall Reflector Reverb,” McKenzie explains with a little help from his new guitarist, over his shoulder. “He also uses a pretty simple DS-1 Boss Distortion pedal, which is pretty much the same setup that I play through when I’m at home so it’s easy for him to replicate the sounds I normally get. On top of this he also has a Jekyll and Hyde Overdrive pedal as well as a Soviet Small Stone Phaser and a DD-20.” As a live outfit, Deep Sea Arcade’s twin-guitar attack is a little different to most bands, predominantly due to lead guitarist Simon Relf ’s use of a 12-string guitar. Often perceived as a notoriously unreliable instrument live, especially when it comes to tuning and consistency of tone, Relf has honed his use of the 12-string down to an art. The guitar itself is an Eastwood Classic 12. Often unfairly written off as a secondary copy of the old Gretsch 12-string guitars, it generally features two EW-Retro Humbucker pickups to recreate a classic twangy ‘60s sound and, in the live arena, can prove to be a versatile and great sounding tool. Relf normally runs the Classic 12 (as well as his standard Fender Telecaster) through a Fender Stage 100 amplifier which, as he tells it, “has this beautiful sound and is really reliable but it’s broken for the first time in five years. So I’m playing through a Blues Junior tonight. I normally tour with a DeVille because you can never really hire those stage 100s through any backline companies or anything. Those Blues Junior’s are pretty nice though.” McKenzie himself is a bit of an audiophile and really perks up when quizzed on the small keyboard-based rig he employs onstage and in the studio. Rather than relying on a Nord or any other standard keys setup, McKenzie uses a MIDI keyboard to control an Akai MPC-1000 into which he’s plugged in a galaxy of samples picked up from studio to studio, record to record or even instrument to instrument. “I’ve got about twenty or thirty keyboards mapped onto it. Every time I go to a studio I’ll map something onto it. I’ve got mellotrons, strings, violins, flutes, choir, brass, so if I’m in the studio or even on stage I can just dial through. I’ve also got about six different types of Casiotone mapped across it. We were in a bunch of different studios and every time we’d go in and track stuff at Megaphon (a famous Sydney studio based in St Peters that has witnessed the likes of Midnight Oil, The Cruel Sea and more recently The Jezebels through its doors) and Carlos was tracking on drums and it was taking ages – I’d just go in, look around and sample all their keyboards.” It’s not just keyboards that McKenzie has dialled into this setup though, and closer inspection reveals he’s been extremely creative with the way he’s put his rig together. “I’ve also sampled guitar sounds and mapped them across. I’ve got that thing where you play out a tremolo thing... like (sings Pulp Fiction theme tune)... I don’t know what it’s called,” he laughs. “I tracked that all across every key so I can play that chord and it sounds like a Hammond Dulcimer - but it’s actually guitars. That sound is on

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Crystal Thomas has released her second album, A Chance In Hell, and chats with Greg Phillips about its origins, the recording process and the future.

BEN BUNTING CRYSTAL’S LIVE GUITARIST “My live set up for Crystal is a Fender Jag through a 1968 (Australian-made) Wasp amp head. I just use a Boss delay pedal and an ‘80s Boss dual overdrive. My own style is a bit looser and unhinged than the CD. I decided to play more off Crystal’s voice and her vocal melody rather than follow the notes or structure on the CD.”

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t was an Arts Victoria grant in 2009 that allowed Crystal Thomas to record her second album, A Chance In Hell. “The plan was to hunker down and write fifteen songs as quickly as I could, without rushing them so much that the quality was compromised,” she explains. Her first album, Crystal Thomas and The Flowers of Evil, was recorded in spasms over a three-year period, a

Taking her chances production practice she wanted to avoid this time around. “I set aside five weeks to write fifteen or as many songs as I could. With the first album, I was working at a call centre and had saved $150 to get the engineer out to Matt Walker’s studio. I’d record two drum tracks, pack down, go back to the call centre, save up for another few weeks, get the engineer out and so on. This time around I wanted more of a raw thing, coming from a place of emotion rather than any particular precision feel.” Crystal also wanted her second album to be more of a collaborative effort. She assembled some respected Melbourne players - Spencer P Jones, Matt Walker, Matt Green, Tim McCormack and Phil Collings - to both write and record with. She even had lyrical contributions from her mother and grandfather. For an album possessing so much raw rock emotion, loud, swaggering guitar sounds and sometimes sordid subject matter, the method in which Crystal wrote the songs was comparatively conservative. “As loose as my writing style may appear, my roots are firmly placed in my admin past. I had appointments set up with Spencer, Matt Walker, Greeny and Tim, who I wrote with. All my lyric

ideas were typed up, in folders and labelled. I’d be there with my pen and paper and folders going, okay, I’m ready to rock now! It was hilarious. I very much research and plan songs like it is a day job. I have drafts of my lyrics saved on my computer and I write them independently of the music.” The songs on the album are quite diverse in style, which isn’t surprising considering the different writing collaborations, but

also the style in which Crystal sings from track to track is varied. I wondered who her vocal influences were and who she borrows from. “Yeah, there are probably different personas of me on the album,” she suggests. “I guess it depends on the song but Spencer converted me to Amy Winehouse. I was never really a fan but then again, I’d never paid much attention to her. So I guess the song I Could Die Right Now is kind of a tribute;

obviously this was before she died. The song itself is actually about addiction, not to drugs or alcohol. The lyrics are shrouded in metaphors to do with drug and alcohol addiction but it is actually exploring the idea that you can be addicted to a person. Also that you can be addicted to music or chasing the dream and that it can be just as much of a rollercoaster ride with euphoric highs and devastating lows and scrounging together a gig. It plays out the same way.” An artist’s second album is often referred to as the ‘difficult’ one, and for good reason. For Crystal though, it wasn’t an issue. “I had a pretty tangible set of emotions to work off. Some pretty traumatic things had just happened. Life was my muse. I guess the second album was written primarily from experiences which happened during that year. There were still some of the old themes filtering back through. I am very much in the vein of confessional lyricists. I guess it’s dark because I am trying to write music which is cathartic. When I first listened to Nick Cave’s The

I

t’s a pretty good life here in Australia for the music fan. With so much amazing and varied talent to choose from, we’re incredibly lucky. For the artists themselves … not so much. Our lack of population generally means the majority of acts don’t get anywhere near the recognition or financial rewards they deserve. Melbourne-based singersongwriter Kerri Simpson is one of those artists. She’s often dubbed a blues singer, but her discography

Simpson plays guitar too and owns an impressive sunburst tone Epiphone

A fortunate life The new album is the second in a trilogy of recordings (the Knockin’ At The Backdoor series), made possible by a grant she received from Brunswick’s Thirty Mill studios. The generous grant allowed Kerri to record up to 50 songs, from which she then grouped tracks into either the country-flavoured Maybe By Midnight album, the new blues/rootstinged Fortune Favoured Me or the yet to be complied jazz and gospel-style record. For Fortune Favoured Me, Kerri called on a bunch of guitar-slinging guests to stamp their personality on a track or two. Contributions came from Geoff Achison, Shannon Bourne, Matt Walker, Jeff Lang and Charles Jenkins, some of Australia’s finest musicians. “Each song was a bit of an essence of each guitar player involved,” Kerri explains. “Not necessarily about their nature or character, just trying to capture a little bit of the ambience of the artist. Geoff Achison’s song is about

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Crystal, who has just completed a diploma of professional writing and editing, chose to record the album with her band in performance mode as opposed to doing separate vocal takes.

It started almost as an acoustic blues thing.” Howl features an intense scream-like vocal, so I wondered if the emotion may have come as a result of a bad day at Kerri’s day job as a librarian. “Ha, no. I was sort of thinking about the Marianne Faithful song, Why’d Ya Do it. I was thinking about the intensity of the vocal. By the time we got into the studio Langy just ramped it up and I had to match that intensity.”

Melbourne-based blues diva Kerri Simpson releases the second album of her Knockin At The Backdoor trilogy and speaks to Muso’s Greg Phillips.

proves she’s much more than that, having dabbled in many genres. She can sure as shit belt out a tune, that much is certain, and when she ventures into a New Orleans-style voodoo vibe, Kerri can scare the pants off you too. I offer track 3, Howl, off her new album, Fortune Favoured Me, as evidence.

Good Son on cassette when I was fifteen, it transported me to this alternative world. It was such an amazing experience to feel. I was at a girls’ school and it was all a bit nice and boring. So I put on this cassette and was transported to this dark and dangerous world. I wanted to do for others what that cassette had done for me.”

being out on the road and missing his beloved partner. With Pirates Are a Girl’s Best Friend, I was sitting around with band members Dean Addison (bass) and Ben Grayson (keyboards), talking about the Caribbean and Cuba and different rhythms.” Matt Walker shone his fretted light on the track Silver’s Last Stand. “He came and put all those beautiful ambient guitar lines down, so it was really just a matter of running a vocal and not doing too much

to it. All the guys put down a lot of tracks and we could edit what we wanted and leave bits in or take them out. With Howl, Jeff Lang’s track, there was much more layering and editing and manipulating of sounds. Matt’s track is untouched and Jeff ’s we played with a lot more. With Geoff Achison, he put down several guitar parts and we turned the song around after he had left. Geoff did it in one groove and Colin and I turned it into another.”

Shannon Bourne played on three tracks and co-wrote Insatiable with Simpson. Bourne’s dirty fuzz tones compliment Simpson’s dark, soulful vocal perfectly on this track. “We both share a great love of very dark heavy music and sounds,” Kerri says of her musical relationship with Bourne. “He knew the vibe I was going for … the spooky, haunting psychological thriller. Shannon and I have known each other for a long time and we can play off each other and match each other’s moods in terms of feel and intonation. He gets where I’m coming from and I tend to explain things more in imagery and sound rather than technically.” The brief Simpson gave the guitarists was quite basic: come in, jam with her band and do something roots-based. There was rarely a rehearsal before the record button was pushed. The state a song begun in wasn’t necessarily how it turned out. “Jeff Lang’s track started off as a Delta blues thing and ended as Howl, which is the most full-on track on the album.

SHANNON BOURNE’S GUITAR TRACKS

“For these recordings I did Kerri’s album (Insatiable and Mr. Wolf), I used my 1962 Champagne Sparkle Gretsch and my Ulbrick Arena 50 head with a single 1x12 speaker box. For the fuzz tones I used a ZVEX Fuzz Factory with a little delay. The clean tone on Mr. Wolf was just my Gretsch straight into the Ulbrick. ” - Shannon Bourne

However, she wasn’t in the same room as the band when tape rolled, the vocal booth which Matt Walker had set up at his home studio being in his toilet. “It was very reverb drenched. It had a concrete floor and wooden walls. Matt’s studio had recently been refurbished so the toilet was the vocal booth. It actually had a little glass window. We set up some curtains and various bits and pieces. At one point I wanted to get all atmospheric and set up a whole bunch of tea lights. Everyone freaked out and came running saying you can’t have tea lights next to cloth and electrics. I just wanted a vibe. I had to either sing in the dark or with the toilet light on. It is important that the album represents an emotion or experience. “The first album was melancholy and pretty and poetic. The second was, I dunno, sexy, angry, playful. I’m not sure what the emotion will be for the next one but Ben (Bunting, her stage guitarist) and I were talking about it being more narrative driven.” www.offthehip.com.au www.crystalthomas. com.au

Sheraton guitar as well as an Ovation 12 string. “When I first started playing on stage, I got a 12-string because it filled out the sound a bit and hid the fact that I couldn’t play solos. When I started playing with great bands, I just needed something to play rhythm on.” Kerri doesn’t own any microphones but in the studio used an AKGC12. She was also thrilled to be the first guinea pig to test the studio’s new desk. “At Thirty Mill they just installed a new Neve desk, Custom series 75. Neve made it to Colin Wynne and Mark Opitz’s specs. It’s like a world first they’re trying out for Neve, which is pretty exciting, we got to finish the mixing on that. “I’m not big on technique. I just love anything that is heartfelt. Australian artists, I love Chris Wilson. In full flight nobody goes near him. Any blues or soul singer, he can match. There’s a myriad of female vocalists I work with … Nichaud Fitzgibbon, Kylie Auldist, Monique Brumby and Rebecca Barnard who are all incredible.” www.kerrisimpson.com

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Nord Stage keyboard. then you have all your PCM based stuff as well, all the gig-ready stuff, piano, strings, brass sounds, as well as all your percussive stuff, drum kits, electronic kits, ethnic kits, everything you would expect to find on a pro keyboard.

Casio’s Paul Noble chats to Muso about the new XWP1, XWG1 and how they both figure in his own music making.

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t’s kind of a badge of honour for musicians. You align yourself to a particular instrument brand and find yourself defending it as a Holden fan would against a Ford fiend. Paul Noble has been a professional musician for around 25 years. He has played some big gigs with John Farnham and Pseudo Echo, to name just a couple, and by day is a product education specialist for a keyboard company. His chosen brand, the one he believes in, is Casio. It’s

Noble synth the eighties the company which came to prominence in the ‘80s for producing hi-tech family keyboards. The same family keyboards which are showing up so often today on the latest hipster’s albums. More recently however, Casio has belied it’s dinky keyboard image and put some serious time, effort and money into the development of performance grade synthesisers. The result of their toil is the recent release of two powerful and affordable instruments, the XWP1 and XW G1, and indeed, these are pioneering times for Casio. Speaking to Casio’s Paul Noble, you get the impression he has some pride in working with these synths, can chat at length about them and more importantly, speak in truth about them. Not that anything pre-dating the XWP1 or XWG1 was not talkworthy, it’s just that there seems to be a genuine buzz around the company for this gear. Paul’s association with Casio goes back a long way. His first ever synth purchase was another brand, an Ensoniq ESQ1, quite a hi tech buy first up. Then soon after, he acquired a Casio CZ1000, the famous 80s model … he’d caught the Casio bug. With such an ingrained perception of what their keyboards are known for, it was a tough ask for Casio’s development team to come up with something

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the pro players would stand up and take notice of. Paul believes they’ve got things right with the new synths and hopes people open their eyes and ears to give them a go. “I would say that people are going to be quite surprised when they experience these things because that isn’t traditionally Casio’s reputation,” he said. “Especially when you look at the package you get with these synths and you consider the fact that they are both under a thousand dollars, you would expect them to be sub-

pro market product, as I did to be honest. However, to play them, I honestly believe they would cut it anywhere on any stage. They are absolutely brilliant.” Paul loves the ‘80s sounds these keys have to offer and uses them to the max when he can. Noble’s current music projects include Gener8tor, an originals band and also Gold Chisel, a Cold Chisel tribute act. “I am a classic ‘80s Muso,” Paul said of his influences, and he finds it easy to emulate those sounds with these new Casio releases.

“I love all the Polysynths… that typical sawtooth type sound or anything clavinet-like. So I’ll get a clavinet sound and you can add up to 200 DSP effects to any sound onboard and you can multi layer the DSPs too. You can layer up to six at a time.” It’s not only the ‘80s sounds on the XWP1 and XWG1 which Paul is impressed with. “The versatility is huge and also the ease of use is outstanding,” he said. “There are some classic, big fat 80s analogue sounds as well as having all the modern day digital samples on them too.,” he tells. “There are two models, the XWP1 which is what we call the Performance synth. For real players, guys who are quite skilled who want great sounds, the P1 is the go. It features multiple sound engines which I think would appeal to any pro musician. You have a six oscillator, monophonic analogue synth. Then you have a Hex layer polyphonic synth which allows you to lay up to 6 different patches at one time and mix and control each individually. You have a drawbar organ sound engine, with nine drawbar organ sliders, as well as fast and slow Leslie, percussive effects, all the stuff that you might see on something like a

“It also gives you features like the step sequencer, which allows you to put grooves together really quickly and easily. It has a phrase sequencer, which you can sequence a phrase into and then loop. You can key assign, so you can trigger it to play in any key by simply touching a piano keyboard. You can use that or any sound in conjunction with the onboard arpeggiator. It’s a powerful instrument and you have realtime control over everything, your envelopes, frequency cut off, and decay.” Noble is equally excited about the XWG1. “With the groove synth. We probably see a bit of an integration into the DJ market. The way I use this synth is in integration with things like the iPad, iPhone, computers. It actually has a rubber pad on the side of it

where you can sit your iPad or iPhone. The big feature with that model is the sampler. It has the ability to take ten samples internally, without adding extra memory which you can do easily by adding a SD card, they take up to 32 gig. So it can store up to ten samples at full quality, each up to 19 seconds long. “What you hear go in is exactly what you hear come out. With your computer, you can sample a drum loop, then you can add through the sampler, some realtime parts which you might play in yourself… then record in some vocals. You get this great integration between your audio parts with your live keyboard performance.” It’s rumoured that there will be a special edition gold version of Casio’s new synths landing in limited number prior to Christmas and don’t be surprised to see new releases soon. Casio is committed to the new direction they have taken. As for Paul, try to catch him at a Cold Chisel gig at a club near you soon. www.soundtechnology. com.au

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a moment occasionally to freak out, but for the most part I just like to create slide tones.”

After three invites from the Bluesfest promoter, Grace Potter finally gets to bring her band to Australia for the Easter festival next year. Greg Phillips reports.

Grace is somewhat of a gear nerd and has kept most of the instruments she has played during her career, with some of them now a little more road weary than others. “The first guitar I ever bought was a (Gibson) J45 from the 1930s, which I don’t take out on the road anymore,” she explained. “Then later I got an ES125 which is a smaller body cutaway semi hollow body Gibson that has some intonation problems so I keep that at home. It sounds great for recording. Has a great old Sun Studio sound to it.”

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race Potter and The Nocturnals have been invited to play Bluesfest three years running, yet due to their busy dance card, could never tweak their schedule enough to make it down. At next year’s event, Australian audiences will finally get to experience their show. There are many reasons why Bluesfest crowds should devour this band. Firstly, because in the great tradition

Potter gold for Bluesfest of rock touring bands, they’ve been at it solid for ten years, came out of America’s roots music festival circuit and are as rockin’ tight as they come. Secondly, it’s Grace herself who has such wonderful stage presence. As for her image, she may give the impression she’s off to a cocktail party, often wearing high heels and a tightly fitting mini skirt, but she’s also usually armed with a Gibson Flying V (her own signature model) slung over her shoulder or ripping licks from behind a Hammond B3. “I think it’s a good trick to play on people,” said Grace. “They see this little Barbie doll come on stage or whatever I may look like on any given day, but then we kick in and it can be surprising for people to hear the noises that I can make.” The noises she refers to have been compared to iconic female vocalists such as Janis Joplin. However, it’s the male rock singers which have had more impact on Grace’s vocal style. “I admire Robert Plant,” she said. “I’m very excited that he’ll be at the Byron Bay music festival. He was a huge influence on me. When I was just learning how to tour, most of my influences were men. Freddie

King, Steve Winwood ... for his organ playing and his singing. The Allman Brothers... a major influence was Ozzie Osbourne... AC/ DC was a big one for me. I felt more affinity to the sexual energy of the men on stage than the more timid phrasing of women. It’s not that I don’t love women vocalists and I think there are some great ones, but there are not that many great female rock singers.”

Potter is equally adept at both guitar and organ, and was chuffed when Gibson guitars acknowledged her musical prowess with her own signature model Flying V. “I have been a huge fan of the Flying V ever since I first picked one up,” she said of the honour. “It’s mostly to do with the weight distribution. I think part of the influence is, even though I love to play the guitar, I love to dance. I love

movement and certain guitars are too weight-centric, especially Les Pauls. It felt too heavy all in one place, almost like a pendulum. With the Flying V, if I set it down it kind of stands on its own. I can really flail around and I’m not going to kill myself with it.” In the early days of the band, Potter ran her guitar through a ‘71 Gibson Goldtone, but years of stage abuse has relegated that amp to the studio. She now runs her Flying V through a Fender Vibrolux. “I like the Vibrolux a lot, it has a good dimension to it,” she said. “When I run it through some reverb, it really creates Black Beauty (Neil’s famous Les Paul guitar), Neil Young crunchy tones that I like. I have two amazing guitar players, Scott and Matty. When it comes to solos or creating beautiful textures, I’m just there as meat and potatoes. I like to think of myself as very rock-steady rhythm guitarist. I certainly like playing the slide and a lot of open tunings. I’ll take

It’s no surprise that Grace’s gear exists in differing states of health. A photo is brought to her attention which depicts her standing in heels on a beautiful old Hammond organ. “At least it was mine!” she exclaims. “When I first started playing the B3 I broke a lot of keys. I have really strong hands and am really muscular with the way I play. I got it from Billy Preston and his style of organ playing. I’d break a key every night. I was very frustrated that day, I remember the

show and the photo. It doesn’t happen all the time but you’re right, it was a sad night for that keyboard.” Among her collection of instruments at home, Grace also owns a ‘56 Hammond A100, two B3s and a 1972 Hammond Porta B, which her band bought for her as a 21st birthday present. More than anything, Potter is proud of the many hours her band has played and takes a dim view of artists who don’t experience that same collaborative joy on stage. “It pisses me off when I meet musicians who are talented but don’t have that joy of camaraderie with other people, sharing music... people who have worked hard and can really appreciate what it takes to get to this place. Scotty and Matty and I have been together ten years now. To be able to say that I did it with these people, it’s a rich part of the rock’n’roll blanket. I’m very happy to have my family with me as part of it.” Grace Potter & The Nocturnals play Bluesfest, Easter weekend 2013 www.bluesfest.com.au

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“I tried coated strings like everyone else; I didn’t like them. Cleartone are so bright and responsive, I forgot they were coated. Bend them in good health.”

-Tommy Emmanuel Guitar Virtuoso

Hate Coated Strings? We know why... Coa Coated strings you’ve played in the past use tone killing layers of material. The coating gets in between the winds and inhibit vibration. Instead, Cleartone feature the thinnest coating in the industry. At one micron, they feel and sound like traditional strings but with Ins the th added benefit of 3-5X string life. In fact Cleartone’s were tested to be up to 36% louder than the leading coated string brand according to an independent sound lab. For more information visit www.dynamicmusic.com.au a

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1

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lvarez guitars is one of the biggest guitar brands in the USA, having been at it for over 45 years. The company has a strong affiliation with master luthier Kazuo Yairi who, at 80, still oversees their daily operations in Japan. The Alvarez AD60 CE is part of their Artist series, offering a truckload of features and exceptional value for money with each model. This particular guitar is a full-size gloss-finished cutaway dreadnought fitted with a B-Band Sys 650 preamp. The specs are rather impressive: a lovely warm sitka spruce top, chocolatey mahogany back and sides and a dark, tight grained rosewood fingerboard and a bi-level rosewood bridge designed to maximize sustain. A dovetail neck joint sets the neck to the body, increasing sustain and the note transfer, with notes jumping out into you. Alvarez consider this guitar their best value for money to date, the quality of materials, construction and

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Alvarez AD60

REVIEWER: REZA NASSERI INFO: SALES@DADDARIO.COM.AU

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craftsmanship normally unseen at this price. Visually, this instrument looks solid and smart with a darker coloured top, unique bridge design, cool pickguard and authentic abalone and mother of pearl inlaid on the headstock, rosette and even on the tips of the bridge pins. A cool cream pinstripe binds on the top to the body and a smooth satin cream binding surrounds the back and sides.

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I started by plugging in my Shure Beta 58 and sending the XLR out to my mixing desk, threw on a pair on phones and jumped in for a quick taste of the presets. Immediately levels, compression and EQ sounded right. The reverbs and delays offered in the first group of settings sounded stunning, with the “Cathedral” preset displaying a nice long tail, perfect for a solo performance or ballad. These tones were so great I jumped on over to YouTube for a quick karaoke session to see how they‘d sit in a mix. After having blown my lungs out after a few songs, I noticed that this unit is essentially a Swiss army knife for vocalists, a real quick fix that can work both live and in the studio, and perfect for adding multiple layers to a mix. The “Ensemble” setting provided a good doubled/chorused tone, but it was the “Double Voice”, “Four Voice” and “Unison” patches that were truly outstanding. The “Four Voice” uses harmony doubling in conjunction with a short delay to create four separate voices, and I love this sort of effect live as it really makes the vocal stick out of a mix.

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Harmony and Pitch Correct both sounded fantastic, but harmony processing lacks a key input (from say an acoustic guitar or keyboard), so complex pitch shifting based around different chords and multiple keys is a lot harder to coordinate, but if you’re using the harmony for simple songs, you’ll be happy. The effect tracks beautifully and the inclusion of the “Gender” function changes the formant in your voice so your harmonies sound like a different person singing - brilliant! Pitch correct is a lot of fun too. Not only do you get to use it as a contemporary effect, but also for very subtle, natural pitching, making you sound better than you really are (very important for me).

Roland VT-12 Vocal Trainer

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he Roland VT-12 vocal trainer is a wonderful tool to develop your singing voice. This handy device comes with a built-in tuner and metronome to aid pitch and timing, as well as 12 warm-up tracks and 186 exercise tracks to turn you into a seasoned veteran. You also have the ability to record tracks via the “Record In” mini jack, as well as evaluating your performance afterwards with the “Review” function. Also bundled in is Vocal Workouts for the Contemporary Singer by Anne Peckham from the Berklee College of Music, acting as a comprehensive guide for the unit, well laid out and easy to understand. I tested the VT-12 with a pair of headphones using the in-built mic to see how well it detected pitch. The mic is very sensitive, showing all the little slides and vibratos surrounding notes you sing. Hitting the “Pitch” button starts you off with an A, and the “b” and “#” keys

REVIEWER: REZA NASSERI INFO: WWW.ROLANDCORP.COM.AU

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raise or lower pitch respectively. Hitting the “Metronome” button engages a click track that’s either changed manually or tapped to a specific tempo. The warm-up exercises have you doing a whole bunch of fun things like buzzing noises and “ooh’s” and “ahh’s” over full backings with real instruments. What’s especially cool is there’s no compression on the voice so you can hear how the singing teacher projects and alters his/her voice to hit certain notes. Each exercise is followed by a backing track so you can practice without the teacher. After you’ve finishing singing, you can analyse your performance with the “Review” button as every exercise automatically records your vocals. After you’ve warmed up it’s time to get into real workouts. Workouts are divided into separate categories for voice type, vocal experience, harmony singing and the famous 50 Concone Opus 9 lessons for medium classical voice. The basic workouts for Low and High Voices are the same, except elevating to different pitches depending on voice type. The exercises have you performing different styles like Rock, Latin, Gospel, Jazz and minor scales, and are a lot of fun, making practice enjoyable and effective. Often you’re just singing phrases, going up by half steps to work on extending your range, checking the note display to for key, or singing in harmony with the teacher, which is especially enjoyable. Advanced workouts are obviously a lot harder, featuring trills that are more intricate and runs, with wider steps between notes. Nevertheless, remember, practice makes perfect so don’t be disappointed if you don’t nail these straight off the bat. Harmony practice is so awesome, as voices are separated in each headphone, so you can isolate either the top or bottom harmony and learn how to pitch against another voice. Finally, there are the 50 Concone Opus 9 lessons for the medium voice. These exercises are even fun if you’re not into classical music, and you can invent opera gibberish like me if your feeling a bit loose on a Friday night. These lessons are world-renowned and will undoubtedly call out to your inner “Bocelli”. The Roland VT-12 is a great tool for any sort of vocalist, and comes with a great book, and superb audio tracks.

REVIEWER: REZA NASSERI INFO: WWW.ROLANDCORP.COM.AU

he Boss VE-5 is a cool little multi-effects processor that’s simple to use and a lot of fun. It’s essentially a plug in and play unit with 30 well thought-out presets, onboard looper and built-in mic. You can overwrite the presets and access an additional 20 banks for up to 50 patches, with the ability to save three “Favourite Sounds” for fast recall on the fly.

This guitar feels great, as a lovely cutaway provides easy access to higher frets and the silky smooth neck allows you to glide up and down effortlessly. String tension is strong, allowing you to slam the strings with a heavier pick for massive projection and a strong mid-heavy voice. Tuning is an absolute joy as the bone nut and bridge eliminate snags and further add to the tone, the chrome machineheads roll smoothly and the onboard tuner (on the B-Band) is awesome, changing from blue to bright green when the string is in tune. Out of the box, this guitar was almost perfectly in tune, only a couple of cents short of A440. The sound was strong and focused with clear tops and bottoms, with the AD60 sounding a bit bigger than your average dreadnought, producing a solid bass and natural hi-fi tone that’s perfect for recording. Action was at a medium height allowing notes to ring clearly, but making it difficult to play fast single note runs, but finger-picking yielded a smoother tone. Electronics-wise the B-Band SYS 650 is an absolute gem of a pickup, featuring an onboard tuner, controls for Bass, Middle and Treble as well as a midrange notch that scoops out annoying feedback at 330Hz. Ther AST and UST pickups (above saddle transducer/under saddle transducer) sound completely different to each other. The AST sounds very natural highlighting the lower mids, whereas the UST highlights upper mids and presence. You can achieve a killer tone just by blending the two sounds together, without going near the EQ. The Alvarez AD60CE is a professional instrument worthy of high-quality recordings, stadium-sized gigs or your own personal enjoyment. It’s the perfect instrument if you’re at the stage where you want to start gigging or you’re a seasoned pro and open to the idea of using a mid-priced instrument.

Boss VE-5 Vocal Performer

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Rock Tips Liquid Callus Formula REVIEWER: REZA NASSERI INFO: WWW.PROMUSICAUSTRALIA.COM

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ne of the age-old dilemmas with learning the guitar (or any stringed instrument) is the initial pain associated with fretting down strings, especially when you’re just starting out and playing a guitar with old rusty strings and an action a mile high. Previous solutions have involved the use of ointment (and by ointment I mean alcohol), glues, bandages, turning your amp up way too loud and not caring, the use of fake finger tips like Tony Iommi (who of course had to because of an industrial accident) or simply not caring, full stop. If you are however quick to give up on this fine instrument because of fingertip pain you may need some help … you may need some (enter booming voice) “Rock Tips” (pun intended). I’d honestly have to say the whole idea of liquid calluses had me worried at first. It had me thinking of a science experiment where you actually grow the callous like a carrot or potato in water, and I was afraid I’d end up like that guy in Stephen King’s Creepshow where the guy turns into a plant. Cast your fears aside; this stuff is a great alternative to solutions of the past, working much better than band aids, or household glues like superglue which are really hard to get off and completely desensitize your fingers. Trust me, once you’ve become immune to the smell, it actually works amazingly well (help me I’m turning into a late night TV commercial announcer!). That’s because Rock Tips claim this product has been developed from a medical adhesive for the skin. The solution takes about a minute to dry and comes off with soap and water.

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You can select from Soft, Hard, Electric 1, Electric 2 and Robot functions, with the latter snapping everything to a single selected note. I was a real fan of combining the pitch correct and harmony together, using the pitch correct with a specific key and turning the gender back to deepen my shrill Anglo-Saxon voice, while adding the harmony for a unison effect for the sort of “Auto-tune” that saturates the airwaves. Other outstanding presets were “Radio”, for a band-pass radio/ telephone effect, “Heavy Scream”, which pitches down a high scream for a brutal death metal, “Space Lounge” for a flanged robot effect, and “Opera Queen” instantly turns you into a soprano. The onboard mic was okay, though if anything a little honky, and the looper killer, perfect for beat-boxing and adding multiple layers with ease. As a whole, the Boss VE-5 is a superb tool for vocalists wanting to get started with using effects; so much under the hood at this price!

I pulled the bottle out of the pack and slowly applied the solution to my fingertips and flesh underneath the nails. The smell of liquid is just horrible and may have hallucinogenic properties (no sniffing kids), but I soldiered on into the unknown, on my quest for the perfect callus. The solution dries like clear nail polish in about a minute, then you can start playing. At first, the feeling is a little strange; you lose sensitivity but can still feel the strings. After a little while you adjust very well and begin to realise that even everyday guitar playing actually causes a little bit of pain and stress on your fingertips (even with calluses). One coating wasn’t

enough for me, so I applied another layer. At this point in time I’ve recently returned from a month-long holiday overseas having barely touched a guitar in all that time (except for a couple of impromptu performances with an Asian cover band), so my calluses are pretty soft right now. The Rock Tips formula gave me the feeling of old stubborn fingertips from hours of steelstring acoustic guitar playing, so you get a definite edge when it comes to endurance. The experience is quite enjoyable, so I decided to cover the fingertips on my right hand as well for a bit of fingerstlye. The formula definitely works better on your fretting hand because a lot more surface area is required on your picking hand, so you’ll have to really baste your fingers to get the best results. Just about anyone can benefit from the Rock Tips solution, even seasoned professionals who get cracked, dry skin. So if you’re suffering from pain, here’s a tip, get “Rock Tips”.

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Novation Mini Nova REVIEWER: BAZ BARDOE INFO: WWW.INNOVATIVEMUSIC.COM.AU

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wo things immediately stand out about Novation’s new MiniNova. Firstly it has some similarities to Korg’s classic MicroKorg, which enjoys a prominent position in my studio. And the second is that it looks brilliant, and this impression just escalates when you fire it up and all those lights come on. It has a very cool futureretro kind of look, with controls that are obviously durable – this is a synth that will beg to be let out of the studio once in a while.

Below the editing section at the top right, where a combination of knobs and sliders allows you to adjust 24 parameters for each patch, there’s a section with eight pads. These can be used to write arpeggio patterns, skip between favourite patches or make adjustments to patches, depending which mode is selected. It’s a clever and tactile way of approaching a few useful performance attributes. Overall the layout is logical and extremely well thought out. My review unit didn’t have an instruction manual and that wasn’t a problem. If you’ve used a synth before you’ll get the hang of it quickly and there’s plenty of material online at the Novation site. The preset sounds can be navigated alphabetically or numerically, and as mentioned are divided into broad genres. One of these options – ‘classic synth’ – is apt because that is what springs to mind when I play this compact beast. There’s a huge range of ‘classic’ sounds, from biting ‘acid’ squeals to stabs and huge pads. The filter sweeps are seamlessly even, and once you get the arpeggiator going you don’t want it to stop. Sonically it’s every bit as good as it looks – a real pleasure to play and the ergonomics are fantastic. Some companies set the bar high. Novation are one of those. Their kit is always top notch and I’m pleased to say the MiniNova continues in that tradition. Editing software and all the necessary in/out connections means this great synth can integrate with a computer-based system, or standalone. It ticks all the boxes for me.

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Next in line is the Tokai ES 148, part of their Vintage Series manufactured in Japan. The 148 is a take on Gibson’s classic ES 335 and Epiphone Casino, both extremely popular semi hollowbody guitars renowned for their unique tone and response. The body consists of an arched maple top, back and sides, onepiece mahogany set neck and rosewood fingerboard. The ES 148’s semi-hollow body design heavily borrows from a 335,

The feel is so soft in my hands; it needs to be played lightly for some jazz lovin’ or maybe with a dollop of drive for some blues. I know many guitarists love the smokiness you get from a 335, so you can really drive your amp or pedal, just don’t expect a tight, slamming bass response for ‘80s-era thrash metal. A hearty D profile (think Les Paul Standard) shapes the neck and the body contours beautifully for sitting down or standing up; it’s a pleasure to play in all positions. A medium action and decent string tension (feels like a set of 10s) removes any sort of fret buzz and makes notes sustain nice and long. Tokai’s setup department have done a bang-on job, making sure you clean up your playing so every note is more intentional and focused, and the Kluson-style tuners actually feel better than the real thing, a bit tighter and less sensitive than Gibsons. Clean tones are exceptionally pleasant. You can really hear the top end sparkle mixed with the long, sweet sustain. In this respect, it sounds just like a 335 should, and marries beautifully with a Fender-style amp for clean warmth. Gain also works well for different styles, adding a bit of overdrive on a clean sound for some blues, a little bit of amp drive for some classic rock breakup, or some fuzz for Eric Johnsonstyle leads and Queens of the Stone Age mud. The semi hollow body design ensures that notes naturally sustain, so not a lot of drive is required.

REVIEWER: CHRIS STELLER INFO: WWW.CMI.COM.AU

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Functionality is what you’d expect in this price range, with the 7” colour ‘TouchView’ display as your GUI, making parameter access easy. A new menu in the top left of the screen allows you to jump around to the different functions and return with ease. Krome uses EDS-X, another of those awesome KORG acronyms that can leave you guessing for a long time. It’s loaded with nearly 4GB of sounds: Kronos-derived full-length, unlooped piano and drum sounds; electric pianos with eight-level velocity switching; 640 programs and 288 combinations, plus 32 drum kits out of the box, with more memory slots for your own sound creations. It also has 256 GM2 programs and 9 GM2 drum kits, making standard MIDI file playback a breeze. All of the bread and butter capabilities are there: Four types of filter routing, two multi-mode filters per oscillator, plenty of useful effects, EQ for each program or song track, and great drum sounds, with a pattern assigned to each program for instant inspiration/jamming fun.

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The on-board sequencer features 16 MIDI tracks plus a master track, plenty of memory and templates for easy setup. The Cue Lists, with up to 99 steps in a list, are a great way to set up jukebox-style playback or assemble a different version of your song.

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Tokai ES 148

with a strip of solid wood running down the middle with hollow wings added for that unmistakable tone and response. Two PAF Vintage MK2 pickups (made in Japan) sound like the real deal, warm and thick with an open voicing, and the LS VB bridge, in conjunction with the SSG6 Trapeze Tailpiece, borrows from the Casino providing different sustain, tension and overtones to a stock 335. It’s fair to say this guitar is a real piece of eye candy, delivered in a stunning “Sunburst” (in reality Tobacco-burst) finish that shows off the flamed maple top and creates depth with multiple coats of nitrocellulose, like an old American hot rod. The back is just as nice, with a lovely dark shadowing where the neck meets the headstock and body as well as a teardrop sunburst outline on the body’s back.

Krome Music Workstation from KORG

he newest workstation from KORG continues the Japanese company’s determination to provide more features for the working musician’s dollar. Krome is the next model in line from the successful M50 and also utilises many features introduced last year by its up-market sibling, the Kronos. Krome comes in three models, of course: the 61- and 73-key workstations feature a semi-weighted (synth-style) keyboard, while the 88-key model is weighted, utilising KORG’s NH keyboard, which is graded in weight from low to high notes. The look is simple and efficient. On the back are stereo outputs, inputs for pedals and USB connection to your computer, plus an SD Card slot for data storage.

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REVIEWER: REZA NASSERI INFO: WWW.JADEAUSTRALIA.COM.AU

lot of us musicians (including myself ) feel drawn to the timelessness of classic instruments, that iconic Stratocaster snap, fat Les Paul crunch, twangin’ Telecaster jangle and Rickenbacker chime. What’s even better is that one company does them all and has been doing them a long time. Tokai are the masters of reverse engineering, bringing you uncanny copies of the originals as I found out previously when reviewing their “Love Rock”, (Les Paul style) model a while back.

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like ‘resonance’, ‘attack’ and so forth. The sound engine is supposedly the same as its big brother the Ultra Nova, and the MiniNova certainly packs some punch. The sound quality is just excellent. It has 18-voice polyphony, three oscillators, 14 conventional wave shapes, 36 wavetables and 20 digital waveforms; 14 filter types, six envelope generators, up to five effects per patch, a versatile arpeggiator, a vocoder and vocal effects processing. With the option of audio-in so you can run an external sound source through its signal processing and a 37-key keyboard, it offers tremendous value in a very compact and stylish package.

The layout is clear and easy to understand, without a reliance on all those hidden menus some synths suffer from. Like the Micro Korg it has a ‘genre knob’ which helps navigate the generous 256 presets, though the inclusion of a ‘dubstep’ option may date quickly. This knob is near the centre with the LED display to the left and a large filter knob to the right, with four more knobs and six banks of parameters, so you can adjust all the usual suspects

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This review was done on the 61-key model, so you’ll have to judge the weighted 88-key for yourself. Krome’s main piano sample had me wanting to actually play piano because of its quality, which is amazing in this price range. As a matter of fact, the Krome piano sample is probably bigger than the entire ROM block in most of the competition’s offerings. The GUI is easy and the layout is efficient, the sequencer works well and there’s a downloadable editor (standalone or VST/ AU plug-in), and the little blue LED in the ‘R’ on the back of the unit is cute. The mini-jack headphone output is a bit annoying (why?), but everything works well and the video manual is a very easy to understand guide to using the features of Krome, presented by product specialist, Steve McNally. Krome is a serious contender for your hard-earned!

Simon and Patrick Woodland Pro Spruce guitar REVIEW: REZA NASSERI INFO: WWW.DYNAMICMUSIC.COM.AU

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There’s also a comprehensive pattern generator, drum tracks and polyphonic arpeggiators for helping with instant inspiration when you’re stuck for ideas.

hen I first heard I’d be reviewing a Simon and Patrick guitar I immediately thought of Simon and Garfunkel’s The Sounds Of Silence, tumbleweeds rolling along barren landscapes and seagulls soaring over cliffs. What I really should have pictured was the craft of Robert Godin, the innovator behind his own brand of unique instruments as well as Art & Lutherie and Seagull guitars. While the Art & Lutherie guitars are aimed at the entry level/ intermediate market, Simon and Patrick are a step up, appealing to the intermediate/professional player. All production takes place in Canada, so expect quality North American spruce, fine Quebecan craftsmanship and a proven track record. Under the spotlight today we have the Simon and Patrick Woodland Pro Spruce is a simple, wellput together acoustic that’ll spark some interest. This guitar has its charms because it doesn’t go overboard with the bling. It’s both tasteful and classy, with a selection of eye-catching woods that are still a little modest, a soft creamy spruce top with a tightly uniform grain, elegant mahogany back and sides that’s wonderfully speckled and flamed, and an animal-striped mahogany headstock shaped like a lovely old Martin. The rosewood bridge and fingerboard has a fine grain and is so soft and dark it almost feels like ebony, and there’s even a cool centre strip on the back of the body for something extra. Simon and Patrick go to great lengths to tell you they only use the finest materials. Every guitar comes with “a select pressure-tested top” for the highest levels of stiffness and rigidity ensuring maximum harmonic vibration. The body is a little bit smaller on this guitar than your average at about 51cm long and 12.5cm deep (at the base), so it’s very comfortable and not bulky in any way. The most immediately striking aspect however is the toothpick-thin neck that feels more like an electric guitar. The 24.84” neck and 16” fingerboard make it a delight to play and the soft rosewood and super-slim frets makes holding down notes very comfortable and resistance free. The

action is low, really low for an acoustic, so you can shred it up or play bar chords with the greatest of ease. A Tusq nut and saddle are fitted for snag-free string travel and maximum note transfer and sustain, and the custom 14:1 machine heads sit high taking a bit more string than your average tuner as well as maintaining perfect tuning stability. The review model came without a pickup, but you can also get this guitar with a B-Band AT-3 preamp. Tone-wise, this guitar sounds pretty good. The sound is fairly balanced, with a mild top end, rich midrange and a relatively loose bass that carries the note out for a while. One would have to understand that this is a smaller acoustic so it won’t project as loudly or have as much bottom end thud as your average dreadnaught or jumbo. If you’re an electric guitarist who likes small C-shaped necks, low actions and smaller string spacing you’d love this guitar.

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BACK ON THE WAGON After a relatively quiet spell, ‘90s So-Cal punk-pop institution Lagwagon have recently re-released their back catalogue and are making a long-overdue return trip to Australia. Daniel Johnson catches up with singer Joey Cape. ince forming in 1990 in Santa Barbara, Lagwagon have had a long and distinguished career. They were the first band signed to NOFX singer “Fat” Mike Burkett’s then-fledgling Fat Wreck Chords label, releasing their first full-length, Duh, in 1992 and following it up with Trashed in 1994, which cemented their reputation as one of the burgeoning punk-pop revival’s brightest lights.

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The band released a further five albums between 1995 and 2005, as well as 2008 EP, I Think My Older Brother Used To Listen To Lagwagon, their mostrecent release. Over the past few years, Cape has undertaken the arduous task of going through the vaults to compile expanded reissues of Lagwagon’s first five albums, and when asked why he chose to re-release the back catalogue instead of putting together a ‘best of’, Cape is quick to answer. “The reason we did it is because I, personally – and I can also speak for the band here – I’m not a fan of the anthologies or the ‘greatest hits’-type records. They do the job of burying the deep cuts from the early records and in the digital world they create a one-stop place for someone who’s discovering the band to go and just check out only the songs deemed worthy of being on that record, and in doing that they sort of bury the history of the band, and every record has a time stamp, you know? It represents an era and a period of that band’s existence and evolution. If I love a band I cherish all the records, I like to celebrate the different periods of the band. It depends on the mood I’m in and what band it is, whether it be The Ramones or David Bowie. “This was a really nice way to celebrate the early period of the band when we were really prolific and we had a lot of extra material and also maintaining the integrity of those earlier releases and dealing with the releases that have the most to benefit from such a process. If you were to take an MP3 player and it’s shuffling songs, like when an old punk song comes on you can hardly hear it compared to modern records. So we were able to bring them up to a competitive, more realistic volume in today’s world, but we were

also able to master specifically for vinyl and specifically for CD in the case of some of those early records where they were only mastered for one.” Cape admits to have had moments of self-doubt when compiling the re-releases, and he credits Fat Wreck Chords label manager and close friend Chad Williams with giving him the confidence to include some of the more rough-hewn material. “I felt like he was kind of the fact-checker and also the cool-checker. When I would say, ‘I don’t know my man, I don’t know if we can put this outtake out’ or whatever, he was like, ‘C’mon man, it represents you, you’ve just got to go for it, you’ve got to get it all out there. It’s where you were and what you were doing.’ He made me gutsy enough to realise the better way to go was quantity, so people could hear everything we’ve done. We didn’t put everything on there; there were a few things that were just bad,” he laughs. “But we put almost everything on there. I’m proud of it; I really liked what we did with that.” Cape – who’s also playing some solo shows in Australia prior to be joined by his bandmates for the tour proper – admits that when Lagwagon started out more than 20 years ago, he didn’t expect the band to still be touring this many years down the track. “But let me be clear, we don’t make much of a living off of our band anymore,” he admits frankly. “If we tour constantly we make an okay living, but bands like us don’t sell much of any records anymore. Everybody in the band has another job… my other jobs are the other six bands I play in. But yeah, I never thought we’d be doing it this long. I think the people that are in bands and early on have these ideas like ‘we’re going to be together forever’ are much more unrealistic than we’ve been about it. I’m just waiting for the other shoe to drop, so to speak. I always thought that we were just lucky. Every time we make a new record, or go out on tour, I still get this weird feeling like, ‘Oh cool, we’re doing this again.’ It’s surprising to me.”

Cape also reveals that after their current touring commitments are over, Lagwagon plan to return to record their first full-length since 2005’s Resolve. “We do, and it’s been a long time, mostly due to the fact that I didn’t know what the identity of the band was. As a songwriter I sort of take my time and everyone is cool with it because we don’t want to do anything that we’re not proud of, so sometimes we take five years to make a record; it’s just the way it is in this band. I have to wake up one day and say, ‘Oh yeah, that’s what we’re supposed to do next’ and then we’ll all start to work together. We’ve got a few tours lined up and when they’re over, towards the end of the year, we’re going to jump into a room together and start hashing it out, see what I have and see if it’s good, see if it’s enough.” On a more sombre note, one of Cape’s dearest friends, No Use For a Name frontman Tony Sly, died earlier this year. As Cape explains, he was one of the last people to see Sly alive and is still shocked by his friend’s sudden passing. “I was on tour with him the day before on the east coast in the States and we just wrapped it up and I was going to continue on with this friend

of mine named Jon Snodgrass to do a few more shows. Tony flew home and he passed away as soon as he got home. He made it home but that’s the day that he died; so I’d literally just dropped him off at the airport, went and played a show in Florida and was at my friend’s house asleep when the phone rang. It’s tremendously tragic.” Cape says he and his bandmates have discussed the possibility of performing a No Use For a Name song on their Australian tour to pay homage to Sly. “Well, we’ve talked a lot about doing one of his songs with Lagwagon and I think we will. We’re having a bit of a tough time coming to agreement on which song to do – it’s difficult because we all like the band a lot and everybody has different songs they’d like to play.” WHO: Lagwagon WHEN & WHERE: Thursday 22 November, Hot Damn (Joey Cape solo); Friday 30, Cambridge Hotel, Newcastle; Saturday 1 December, Manning Bar; Sunday 2, Unibar, Wollongong

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For more interviews go to themusic.com.au/interviews • 53

HOUSE PROUD Matt Caseli is a pretty open-minded dude – just don’t ask him to tolerate dubstep. Cyclone probes the musical depths of the 15-year Ibiza veteran. att Caseli may be winding down a 15-year residency at Pacha Ibiza, but he’s beginning a new life in Australia, playing the club’s launch at Ivy in Sydney alongside Martin Solveig and Laidback Luke. The Brit DJ, real name Matthew Orr, moved to Cairns to be with his fiancée some months ago. They’ll wed in January.

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Orr is evidently happy – and settled. He jokes about the influx of (psy-trance) DJs and “ferals” into Northern Queensland for the eclipse while planning an Indian dinner. He has cultivated his own mystique in underground house circles but voluntarily deconstructs it today. For one, he’s not Swiss. Until lately, Orr’s base was Zurich, Berlin’s clubbing twin, hence the confusion. “I’m from England, but I moved to Ibiza in ‘97 – that’s when I started at Pacha,”

the chatty Orr explains. “I lived on the island in the winters, but the winters get so boring – you don’t get many tourists there. The Zurich thing came up. They wanted me to do a club in Zurich, which was similar to Pacha, and I ended up moving to Switzerland. So I spent winters [in] Zurich, summers Ibiza – perfect!” Before Pacha, Orr was active in the UK’s hardcore scene. An in-house producer at London Records, he worked with the rave outfit Baby D, best known for 1994’s crossover hit Let Me Be Your Fantasy. “That was a good run – we had fun with that.” But Orr grew disillusioned with the increasingly “dark” and “moody” drum‘n’bass. In 1996 he switched to house. Orr developed a label, Hard Boiled Recordings, and journeyed to the White Isle to hand out promos to DJs. This networking led him to Pacha, where he was offered a fortuitous DJ spot. “I just bagged that residency at Pacha. I did a guest slot one night and they loved it. They fired the guy who was playing – the resident – and I got the job.” Soon Orr was touring as Pacha’s global ambassador, the club franchise having originated in Spain’s countercultural Sitges during the ‘60s. He was even resident at Pacha Moscow and played the debut of Pacha London. Along the way, he adopted an alternative DJ surname, Caseli. “I thought, Ooh, something a bit Italian sounds good,” he chuckles. Orr also amped up his production output. He’d release music on the US Soulfuric Recordings as well as Mousse T’s Peppermint Jam. In recent times Orr has found a powerful ally in the Swedish House Mafia’s Axwell, who signed his 2010 Sign Your Name, a remake of Terence Trent D’Arby’s ‘80s soul hit, with Danny Freakazoid to Axtone Records. They initially hoped to have D’Arby, now living in Italy, feature on it. “Terence wanted 20 grand for his original voice and we said, ‘Are you joking?’ Then he said, ‘I changed my name to Sananda Francesco Maitreya and Terence is dead.’ I said, ‘Okay, so you don’t want the money, then? You don’t need the money if he’s dead!’ He goes, ‘No, I still want the money’.” Ax, as Orr calls him, shrewdly commissioned a replay of the vocals for “only two grand” (Maitreya gets royalties). Orr’s Melbourne mates Feenixpawl remixed it (incidentally, they crashed his engagement party in Cairns). It transpires that Orr hasn’t officially quit Pacha Ibiza – yet. “I’m not sure if I’ll go back next summer,” he divulges. “I mean, I’ve done 15 summers, it’s a lot, and then I play five nights a week – it’s pretty crazy. I’m nearly 40, so I’ve really had a good run over there. I might go back. I’ve still got to weigh it up yet, see how it goes here.” He speaks nostalgically of the club and its role in house’s explosion. “When we started back in the ‘90s, we were playing a lot of New York house music – really US house, like Latin house, all this sort of funky, groovy stuff – which you just can’t play anymore in Ibiza.” He’ll occasionally “squeeze” an old classic into his DJ sets. Orr recollects, too, the odd celebrity hanging out at Pacha – among them a member of the purist rock band Oasis. Orr’s friend had requested Here Comes The Sun be dropped so he could propose to his girlfriend on the dancefloor. “Noel Gallagher’s at the bar laughing his socks off.” He has other stories. “Jamiroquai [Jay Kay] was always there hanging out with us,” Orr says. “Probably one of the highlights of Pacha for us is when Jamiroquai came in with a 12-inch vinyl of Feels So Good and just gave me the vinyl and sung it in the DJ booth while I played it. That was just insane. I didn’t stop talking about that for months.” Nevertheless, Orr is aware that dance music is transient. He’s adeptly reinvented himself, if not simply evolved. Orr welcomed the arrival of Swedish House Mafia at Pacha Ibiza. “People sort of go, Pacha’s not SHM – but, I tell ya, they worked so well. They’ve still got that house touch, even though it’s bangin’. It’s not ugly on the ears.” In 2012 Orr is intrigued that the post-dubstep crowd are unearthing US house. “It was funny – my cousin’s only about 21 and he suddenly discovered all this old ‘90s Kerri Chandler NY stuff. He’s like, ‘Oh yeah, this is coming a bit around now and we’re mixing it with dubstep.’ I went, really? Jesus, that’s cool.” But, despite his jungle roots, Orr isn’t a dubstep fan. “I honestly hate it, I’m sorry to say,” he laughs freely. “I don’t wanna speak ill of any music, but it’s just one sound where the people look stupid when they’re dancing to it – it’s like a headbangers’ rock‘n’roll dance sound... I like a lot of stuff, I even like psy-trance, but that I don’t like.” At any rate, Orr hopes to become a regular presence at Pacha Sydney, letting slip that he’ll next appear in January. “For me, moving to Australia and getting married, this is perfect for me to be able to maybe play there once a month and still keep in with the Pacha brand. That’s just really great timing.” Orr doesn’t typically DJ in Cairns – it’s so ultra-commercial – but he is travelling around Australia and Asia (Singapore and emerging hotspot Hong Kong). He’s thrown himself into production, although much of his studio gear remains in Zurich. It’s surprisingly easy to collaborate online, Orr notes. As such, he has two singles due on OneLove – the first, The Longest Road, again with Danny Freakazoid (and vocalist Joel Edwards) out the week following his Pacha gig. There’s also the prospect of a third single on Axtone. “I’ve actually done more this year than ever by skipping Ibiza a little bit and really concentrating on the production for a change.” Orr is chuffed to be DJing after Laidback Luke in the main room at Pacha Sydney’s opening. He promises “an Axwell-style set” in sync with his Axtone and other productions of late. “I’ll be playing big vocal house, progressive, nothing too electro – no electro [laughs] – so just a good main-room house sound.” WHO: Matt Caseli WHEN & WHERE: Saturday 24 November, Pacha at Ivy

54 • For more interviews go to themusic.com.au/interviews

SAINTS AND KINGS Chris Bailey fronts one of the most internationally-known bands in Australian music history, although the latest version of The Saints comes straight out of Holland via some overeating in France. Ross Clelland follows the geography. o some, it was the adrenalin spit of I’m Stranded that announced music was forever changed. To others, it was Ghost Ships’ brassdriven grown-up realisations and reflections. To Chris Bailey – who has variously sneered, yelled, crooned or rasped the words as he’s fronted various versions of The Saints since the mid-1970s – it’s “The old girl [he] just keep[s] coming back to”.

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“From the early days, The Saints has been an ever-evolving thing, and I actually am flattered that people stay tuned for the next weird and wonderful deviation from its basic course,” he clarifies. Bailey’s musical wanderings have led to a new Saints album, King Of The Sun, recorded in Sydney, while its creator still has the port of Amsterdam as his European home. “I have no idea why I’ve been here for 15 years,” Bailey (monkey) puzzles. “Back in the ‘90s we did a showcase here, my girlfriend loved the place and announced we should move here. And, strangely enough, two years later we did… That said, Amsterdam is really very handy to everything. If you want to be middle-European, there are few places more middle than this,” he considers, dryly. That move came after a few years in Scandinavia. “I was happy living in Sweden – even if I’m not really sure how I ended up there, for that matter – I thought it was paradise.” Another European aside also postponed The Saints’ latest resurrection: Bailey taking to bass, along with regular Saints drummer Peter Wilkinson, working as rhythm section and collaborators for Frenchman Renaud Brustlein, aka Hash Burns. “The name apparently works better as a pun in the local lingo,” Bailey helpfully explains. “Renaud opened for The Saints a few times, and a number of people exercised guilt on me to make a record with him, as he was ‘really really good’. And, oddly, it turned out he is in fact really really good. “The behind-the-scenes vibe was the hope we’d end up with one of the little singer-songwriter – or, as we call it, ‘singer-songwanker’ – albums which are such an unfortunate fashion at the moment. We subverted that idea, and became a little loud band, which allowed me to give Pete the job as drummer. In turn, this allowed us

to tour, and eat and drink our brains out. We recorded the album in a little farmhouse up in the mountains near Grenoble. Three meals a day, plus snacks, and wine – a long way from bad hamburgers on the Pacific Highway. “We toured and, as we only had one album of songs, we filled the set up with old Saints songs done in ze Froggy country rarwk-style,” he accents. “But then I came to make the record that has become King Of The Sun, and it was ‘Oh, how am I gonna do this?’” The reconciliation with his original Saints foil, Ed Kuepper, that many thought could never happen, helped. “The acoustic tour with Ed was actually quite a good thing for us to do. After doing those nostalgic Saints ‘reunion’ shows, we went a different way – stripping it right back.” There’s a chuckled postscript: “And just as an experiment to see if we could stand each other for long periods of time… It reached the point where we again realised why we can’t work with each other – Ed and I just have completely different approaches to working. We’re both strong and stubborn old working girls who like things our own way.

had in our heads. It was of the time, certainly, but I don’t put them on the turntable very often.”

“So then I started recording a new record with Sean Carey – really just one of the best engineers I’ve ever worked with, and his guitar playing is a bonus. Although we come from very different backgrounds, immediately after the first session I had this strange revelation: ‘Zoot Alors! This sounds like a Saints album.’”

Making my job easier, Bailey starts questioning himself. “Is it cyclical? Will the next one go noisy again? Well, actually, I’m struggling with that ‘what comes next’ as we speak. I do seem to be heading, er, focusing – I’m actually not very good with describing what I do – more to that liking for orchestration, and colouring and stuff.”

For longtime followers, King Of The Sun is a bit of a throwback to the band’s bluesy-flavoured work of the ‘80s and ‘90s. Layered brass and string arrangements make the songs sound rich and well thought out. The singer conditionally agrees: “I had a vague plan. After making a couple of what were ‘very noisy’ kind of albums, it was always my intention to steer back to something of that ‘singer-songwanker’ vibe – but as a studio recording, with those kind of flourishes. Why? Just because I’m a contrary bastard who does that.” The man knows himself, if nothing else.

The self-anaIysis continues: “I actually had some time – ha, some years – where I made the stupid delusion I was that guitar player hero kind of guy. And as much as I can enjoy plugging in and turning the Marshall up to twelve and all that, you reach that point where you realise too much of a good thing is not necessarily a good thing.”

“Some of the records I made with Caspar (Wijnberg, latter-era collaborator) were buzzy, screechy – distortion on distortion. We had the ideas but probably not the technical abilities to make the sounds we

The typical delays, complications and details of the business side of show-business have held up the new album and accompanying tour until now: “the usual tomfoolery” as Bailey describes it. “It’s a new label, the whole new shebang. It took some time to organise things over here – and over there – and now it’s all go.” He’s also very determined that this is a Saints of now, rather than of past glories. “Having done the heritage band bollocks the last couple of times – some people thought it was great, some thought it was shit, and I felt it probably somewhere in between the two – I’ve made it very clear I’ve done that. I really don’t want to be a cabaret band, a nostalgia act. If that’s how The Saints ended up, I’d be sickeningly disappointed. That said, we have played a great many RSLs in our time.”

This touring line-up of the band will include keyboards and a brass section to add some of the record’s textures and moods. Does this mean the next stylistic swerve might take the band off towards a jazz and swing period? Bailey ponders, then laughs. “I don’t mind a bit of swing, but jazz merely confuses me. As it, I’m sure, does with most people – even those who claim to understand it.” True that.

WHO: The Saints WHAT: King Of The Sun (Highway 125) WHEN & WHERE: Saturday 8 December, Homebake, The Domain

live in concert, playing songs from Fisherman’s Blues, including The Whole Of The Moon, This Is the Sea, An Appointment with Mr Yeats and all their very best

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livenation.com.au For more interviews go to themusic.com.au/interviews • 55

ARIA Week will form a week-long celebration of Australian music in the lead-up to the ARIA Awards, which take place on Thursday 29 November at the Sydney Entertainment Centre. ARIA Week will play host to a number of special gigs, events and conferences that the public can participate in across a broad spectrum of genres and subjects. And guess what, Street Press Australia, publishers of The Drum Media, in conjunction with MGM, is putting on such a gig Wednesday 28 November at Upstairs Beresford (head to themusic.com.au to win tix). It will feature up and comers The Trouble With Templeton, The Falls, Battleships and Oceanics. Here we grabbed a member from each band to introduce themselves (if you haven’t already had the pleasure) and to talk all things ARIAs.

The Trouble With Templeton Oceanics

THE ARIA WEEK THAT WAS Describe your music In 25 words or less. Jackson Haswell (Oceanics): Guitar heavy pop rock led by bright and shiny vocals that leave you unsure of what was said, but you’re glad we said it. Jordan Sturdee (Battleships): Emotive, thoughtful, pondering, atmospheric. The Trouble With Templeton (Thomas Calder, Betty Yeowart, Sam Pankhurst, Richard Daniell, Hugh Middleton): Storytelling is a big focus. We’re all influenced by a range of different music and art which ends up being reflected in our songs. To us it sounds like melodic pop rock. Melinda Kirwin (The Falls): Raw honest indie folk. How many releases do you have and what are they? JH: Technically two EPs and a single (although the first EP wasn’t distributed so we pretend it didn’t exist): Get Friendly Mistress Maybe (2011), Bright People (2012) and The City single (2012). JS: One. Our brand new mini-album/EP, To You. TTWT: An album called Bleeders came out in November of 2011 and we just put out the first single from the second album, Six Months In A Cast – and that album will come out in April 2013. MK: In May this year we released our debut single, Home, and we released our debut EP, Hollywood, in August. What’s your wildest ambition for your music? JH: To translate into an excellent live show that would be worth our while financially to take on the road and to see the demand and love for the touring show from the audience match the fun and passion we have ourselves for being in a band and touring. JS: We want our music to be known and loved as broadly as possible. Hope it finds meaning in the hearts of listeners. TTWT: To just be able to make the music we love and be self-sufficient. We want to be able to share our art with people who will appreciate it. MK: To win an ARIA! Why should we come and see you? JH: Because we are a straight-up guitars, bass and drum line-up with nothing else on stage with us but the four of us. We play an upbeat set of only our best songs and we get no greater kick than playing to a large, receptive crowd.

JS: I hope we’ve got something that isn’t a copy of anything; our music is best experienced live. TTWT: Hopefully because you’re a fan of the music. We just do our best to put on the most heartfelt show we can and hope that people have a good time. MK: We’ll be recreating our debut EP live with our full band and string quartet, so it should be a pretty special gig. What’s your greatest rock’n’roll moment? JH: We lent our drumkit to a band we were playing with in Byron one night who were all ex-hardcore musicians pushing thirty. At the end of their set, their bassist, who was Jim Carey’s doppelganger, decided to jump into our drumkit Kurt Cobain-style. Naturally, words were exchanged almost immediately and I had to restrain our manager to prevent him from dropping Jim Carey. JS: Drinking all of The Paper Kites’ beers while they were playing on stage. TTWT: Tom accidentally saying ‘fuck’ on Dubbo radio. MK: Earlier this year we played at the official launch of Blender Gallery’s exhibition of Graham Nash’s photographic works. Graham Nash was there and when we covered Helplessly Hoping by Crosby, Stills & Nash, he unexpectedly jumped on the mic with me and joined us to fill in the missing third harmony! Where would you keep an ARIA if you won it? JH: Probably in my messy bedroom with old university text books and rock biographies. Maybe on top of my bedroom amp. JS: Surplus toilet paper holder, bathroom. TTWT: Near my mum’s favourite china. We’ve all collectively decided we’d give them to our parents to keep safe if we ever received one. MK: I live in a studio apartment so my living room is my dining room, my bedroom and my kitchen... I think I’d put mine on the kitchen shelf next to the big boy.

Would you dress up or dress down if you attended the ceremony? JH: Definitely dress up. Suits, sunglasses, boots and probably even a cowboy hat. JS: Up, probably. TTWT: UP! All the way. We love any excuse to wear a tux or a cocktail dress. MK: Up! I’d love to be dressed by one of my favourite Australian designers, LOVER.

ARIA WEEK GIG GUIDE The Street Press Australia/MGM showcase at Upstairs Beresford on Wednesday 28 November is not the only thing you can check out in ARIA week. Here’s a list of all the gigs happening in the lead-up to the ARIA Awards: Universal Music presents… Bertie Blackman Art Of Sleeping The Preatures Harts Monday 26 Nov Oxford Art Factory Faster Louder presents... Alpine Oh Mercy Oliver Tank Monday 26 Nov Upstairs Beresford Sony Music presents… Jessica Mauboy Timomatic Justice Crew Johnny Ruffo Tuesday 27 Nov Upstairs Beresford triple j Unearthed presents... The Rubens Yes You Asta Tuesday 27 Nov Oxford Art Factory The In Sound From Way Out & Inertia present... Girt By Emcee Pez Grey Ghost Seth Sentry Urthboy Wednesday 28 Nov Oxford Art Factory

Battleships Who would be the best person to sit on a table at the ARIAs with? JH: Well Daniel Johns has been a long time hero of mine and I hear about him getting around music industry events in drunken blazes of glory, so I’d love to witness something like that. JS: The king. (Richard Kingsmill). Or maybe my girlfriend Grimes if she can make it (we are mentally dating). TTWT: Our band-mates and our manager Jess. We definitely wouldn’t say no to Nick Cave if he wanted to join us also. MK: The people who helped you get to the point where you are sitting at a table at the ARIAs. Will these showcases in ARIA week highlight some future ARIA Award winners? JH: Well Battleships and The Trouble With Templeton are playing our showcase. I’ve never seen Battleships before, but I have seen the latter and I definitely think The Trouble With Templeton have the goods to go all the way. Excellent band. JS: I’d like that. TTWT: It’s hard to tell but hopefully, there’s some great bands playing the ARIA

week shows! YesYou and Art Of Sleeping are also friends of ours so we may be a tad biased! MK: Definitely! I think they are a sneak peek at some of Australia’s most exciting new artists. Say some nice things about your fellow performers at your ARIA week gig. JH: As I mentioned, I think Trouble With Templeton have a beautiful live show with threepart harmonies that we certainly couldn’t pull off. I heard they added drums now to their live set, so I look forward to checking that out. JS: Some really good sounds on that night. Pumped to hear them play. TTWT: Tom had the pleasure of playing with The Falls before the Of Monsters & Men shows and we can’t wait to play with them again; they’re beautiful people and they make incredibly sweet music. MK: I am just loving Battleships’ single, In Retrospect, and I am pretty excited about hearing The Trouble With Templeton play. We toured with TTWT earlier this year but we all played acoustically, so I can’t wait to hear the whole band live! Is a week-long event the best way to celebrate the ARIAs? JH: Well it feels like part of being Australian is drinking, sometimes a couple of days in a row, so why not? JS: Why the heck not? TTWT: We think Australian music should be celebrated 367 days of the year. MK: I think ARIA week is such a great way to showcase what’s happening in the Australian music scene, as it celebrates not only artists who have achieved success in the past year, but also celebrates achievements in the broader music community. For more info see: JH: facebook.com/Oceanics.music; oceanicsmusic.tumblr.com JS: facebook.com/battleshipsband; Battleshipsband.com TTWT: facebook.com/TheTroubleWithTempleton; thetroublewithtempleton.com MK: facebook.com/musicfromthefalls

The Falls

Neon, Ministry of Sound & One Love present the EMC Closing Party... Ivan Gough Feenixpawl Walden Tom Piper The Only Kaz James Wednesday 28 Nov The Ivy Pool MGM & Street Press Australia present... The Trouble With Templeton The Falls Battleships Oceanics Wednesday 28 Nov Upstairs Beresford

WHO: The Trouble With Templeton, The Falls, Battleships and Oceanics WHEN & WHERE: Wednesday 28 November, Upstairs Beresford

BLACK FROM THE DEAD Swedish blackened blasphemers Dark Funeral are headed our way, just in time to bring some cold, frostbitten extremity to our warmer months. Brendan Crabb bows to guitarist Lord Ahriman. lack metal isn’t always renowned for its subtlety and Dark Funeral guitarist Lord Ahriman (real name Micke Svanberg) doesn’t hesitate when asked what Australian audiences can expect when the Swedes return to these parts. “I think they’re gonna be a little surprised on the whole energy of the show that we have nowadays,” he boasts. “It’s a stronger machine than ever and they will see that. It’s going to be probably the most intense show they ever will witness. I can’t think of a more intense thing than going to a Dark Funeral show at the moment. We’re coming with a stronger energy and we’re going to blast your face off.”

The man is about his family, politicking on a global scale, putting out good hip hop, but most of all Brother Ali Newman is about truth. Rounding off his US tour, Newman raps with Rip Nicholson on Halloween – no tricks or treats.

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The axeman explains this confidence is symptomatic of their current incarnation’s greater dedication. He’s the only member still standing since their 1993 inception and they will return with several new charges from their inaugural trek to our shores a few years ago. Recent recruits include vocalist Nachtgarm, who replaced longtime frontman Emperor Magus Caligula last year. “We played some shows over the summer and people are really stunned. It’s just a stronger machine than ever. You can see that from the stage; things really are working out much better nowadays. Everybody’s more focused in the new line-up and of course that gives results onstage eventually.” Lord Ahriman reveals that Dark Funeral is slowly working on the follow-up to 2009’s Angelus Exuro pro Eternus. Their current plan is to release a single in early 2013, followed by a full-length. “We are still writing and I wish I had more time to write,” he sighs. “But the last couple of months, there’s just too much happening. We have three other tours coming up and there’s loads of stuff to take care of; it takes up every moment of my day. I curse myself every day: ‘Fuck, I wish I had more time to really dig deep into the music’. “But this morning I started setting up my new laptop that I’m going to bring for the US tour. I’m going to install all the studio programs and everything, so

TELLING THE TRUTH

’m the truth. I don’t got no tricks involved at all. Treats are tricks. Pop music is a treat. The job of pop artists is to observe what you want, whether it’s good or not. Whatever’s the popular thing, even if it’s something bad for you, as long as you respond. What I do is neither of that. I provide the truth.

“I hopefully I can set up a small home studio on the tour bus. I usually just lock myself up in a basement and focus entirely on it. As long as I can record ideas, then work on them more properly when we return from the tour, that’s all right. It’s too early to say at the moment, but from the stuff I’ve written so far, there’s lots of new things going on within the music, and more rhythmic parts that I’m trying to bring in. It sounds Dark Funeral, but still very refreshing I think.” The guitarist says the band have plenty of activities in the pipeline for their 20th anniversary, planning for which has led to periods of reflection on their roots and the music that so deeply inspires them. “I’m always interested to listen to lots of new bands, but I don’t really have time for it. I was asked to be a DJ on a new metal club opening up. I was like, ‘Okay, if I’m going to do this, it’s only going to be, like, late‘80s, early-‘90s extreme metal.’ So I started listening to some old records that I hadn’t listened to in a long time and I thought that things were so much better before,” he laughs. “It’s always, the first record you experience that you really fucking like, that record is going to be really difficult for that band or any other band to break it. It always turns out all the records that you really liked a lot in the past, when you go back to them it’s like, ‘Wow, this is still fucking great’.” WHO: Dark Funeral WHEN & WHERE: Friday 23 November, Factory Theatre

“Most people have lost that kind of moral responsibility to say and do what’s right. They tell a truth that doesn’t challenge anybody. They tell a part of the truth that makes them safe because it doesn’t make anyone feel uncomfortable. Because in our society, we’re not very good at dealing with problems that we don’t like to hear about ourselves in particular. So we stay away from things that are dangerous because it turns people against us and challenges people too much. They don’t like that and turn against you. And that is bad for your career.” Born Jason, Brother Ali Newman’s lyrics are highly potent on politics and he has never shied away from expressing his disdain of his US homeland and the part it plays in world domination. His fifth and latest album, Mourning In America And Dreaming In Color, was released last month and speaks on several home truths, scaring those who dare to ignore. “[The LP] talks about the accurate, honest and mature look in the mirror we need to take and the state of mourning that we’re in and the mourning that we’re caught in,” declares Newman. “From the point of how we imagine our society to be, where everybody is acknowledged, everybody is protected, everybody is welcome – where everybody can contribute. So it’s an inventory of who we are and what we have in common and a sense of what we’ve always been. It’s also a challenge of who we can be and who we should be and who we’ve told ourselves that we are.” Newman’s been out of the game for a minute, taking time to reconnect with all that’s most important

in his life, making the pilgrimage to Mecca as a devout Muslim. He feels his latest album shows real growth, by making powerful choices with his carefully chosen words. “I’ve said more with less words. I think I’m a lot more focused, more dedicated and [there’s] a definite growth in my writing and presentation in what I’m doing.” The hiatus has allowed him to re-enter at a timely moment of reawakening within people. “The democratic awakening I am talking about is in activism; people getting together to demand that human dignity be respected and to have a right to live free. I think in the world, especially our Western societies, we see things very shallow. We do that because we’re trying to protect ourselves. We’ve caused a lot of suffering and we continue to cause a lot of suffering in order to have an unfair advantage in the world. We walk into someone’s home and perform genocide on their land, colonise them and put them into situations of racial and class systems.” Before making his scheduled dates in Australia, Newman assures fans of one thing; “First of all I’m gonna do a good job. And my job is to do a show, without preaching. I didn’t start rapping to say something; I started rapping because I have to rap. I started making music to make music. And people listen because I’ve earned that relationship. I wanna share what I know with people I know haven’t had access to that yet.” WHO: Brother Ali WHEN & WHERE: Thursday 22 November, Factory Theatre

IN THE EYE OF THE BEHOLDER SECOND FLIGHT After two decades of crippling drug addiction, Hurricane Katrina and the dirtiest riffs known to man, Eyehategod have a new record and first Australian tour in the pipeline. Brendan Crabb worships alongside the NOLA sludge lords’ vocalist Mike IX Williams. t seems like a lot of people were afraid to bring us over, I guess because of the reputation,” Eyehategod frontman Mike IX Williams says with a slight chuckle when asked about their impending maiden visit to Australia. “There’s been some trouble in the past, but I guess it was pretty easy to get us in.”

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“Some trouble” may be the understatement of 2012. The uncompromising, unseasonably heavy music the New Orleans sludge metal outfit has conjured during the past 23 years has been at a high personal cost. Substance abuse and internal disputes tore at them. Then came Hurricane Katrina, which destroyed the singer’s home and, in the aftermath, he was convicted with narcotics charges and served time, forced to kick heroin while behind bars. The disaster also created geographical obstacles as members relocated and explored other musical endeavours, including guitarist Jimmy Bower returning to supergroup Down. Since then things have stabilised, the band reconvening and preparing their first full-length since 2000’s Confederacy of Ruined Lives. “It’s just Eyehategod – that’s all you can really say about it,” the vocalist offers. “A lot of people have said our new stuff reminds them of our second album (1993’s Take As Needed For Pain), that it’s in that old-school vein. It’s gonna be a sick record; I’m dying to get into the studio.” It’s posed to Williams whether Eyehategod could make a great record when the members are seemingly (relatively speaking) more content with their lot in life. “We’re still a bunch of negative, miserable bastards,” he quickly and good-naturedly assures. “Nothing’s changed as far as that goes; we’re a bunch of depressed, miserable freaks. We have positivity in that we’re just trying to be focused about our music and push it out there further. I think that whether we’re on drugs, off drugs or whatever, we still are Eyehategod. We’re still

Describing themselves as “a meeting point of organic and electronic music,” Brisbane collective Pigeon have had quite the dream run. Now releasing their second EP, Michael Smith chats to Danny Harley. ven before they released their first single, Oh Hebe, earlier this year, Brisbane-based fivepiece Pigeon found themselves leaping straight from indie clubs into the nation’s major festivals. They recently released their second EP, Fortunes, and accompanying second single, All That Bad, which debuted at #2 on the triple j Unearthed chart. Their first EP, last year’s Parallels, debuted at #6 on the Australian iTunes Electronic Album charts.

E gonna make the same type of music, even though you can’t deny that we’re older now and some of us have families. Some of the old excesses are gone. We still partake in a few different things, but some of the horrible old things are cleaned up, if you know what I’m saying.” Williams explains that they have become more adept at channelling that sheer anguish into their records and live shows, but simultaneously not letting it hinder functionality. “Things that have happened in the band and [that] we’ve been involved in, they have given us some sort of a reputation… Going through, like, airport security, you don’t want to walk in there smelling like vodka with blood on your clothes from last night’s show. As far as I was talking about being more positive, that goes along with being a little more professional. We’re still the same people, but we do have a more professional attitude than we used to. In the early days, we just didn’t give a fuck. We couldn’t’ve cared less if we broke up. Now, we’ve got more of a good outlook on where we want to take the band, and we want to stay out of trouble. That’s the main thing; we want to push the band as far as we can go. “It’s hard sometimes, especially when you’re onstage, you want to destroy the microphone, and you realise, ‘That’s gonna come out of my pocket now’. In the old days it didn’t matter, I’d pay the $300 for a microphone I broke, but now I’m like, ‘I can’t really be doing that anymore, I’ve got responsibilities’. But we’re still the same band; you’ll see it when you see us live. We put a thousand per cent energy into the shows.” WHO: Eyehategod WHEN & WHERE: Thursday 22 November, Manning Bar; Friday 23, ANU Bar, Canberra

“It’s definitely been an eye-opener,” admits an obviously surprised Danny Harley, Pigeon singer and guitarist. “Music is presenting itself more as a career option, which is great. We’ve all done music for a while, though we hadn’t been in bands for a year or so. We started a bit of a jam band and it was working pretty well so we thought, ‘Why don’t we put some weird stuff together?’ It was a little bit of a studio project as well. So we got the jam aspect and the studio aspect, put it together in the studio and created this strange music and just sort of released it. “I mean, live has always been a really important aspect for all of us, so we made sure we had a decent live show before doing any gigs, and we got really good responses. I think one of our first shows, the promoter from Parklife was there and we got booked for Parklife. Then we won one of the spots at Splendour, and then the festivals kept coming in,” he laughs. “It was fantastic. I think the studio is very important for us because a couple of us come from production backgrounds, so we like to have things happen in the studio as well – it’s a comfort thing. It’s a big part of the compositional process and then it gestates in a jam and grows there.” As well as Splendour in the Grass and Parklife, Pigeon have chalked up spots on the Peats Ridge Festival, Fat As Butter and Festival of the Sun, as well as Red Deer Festival 2012, showcasing at Brisbane’s BIGSOUND and joining Tijuana Cartel and Van She on tour.

“In terms of writing for this EP,” Harley continues, “we wanted to write, say, ten to twelve songs and then whittle it down to six or so. But just because of our, some would say, poor time management,” he laughs, “we ended up with eight songs and then just ditched two. And when we ditch them, we abandon them completely.” Each member has a variety of other projects in which they’re involved – Harley works in the singer/ songwriter vein, where the “keyboards player is really into funk and hip hop at the moment; the saxophonist is a jazz-head and the bass player [Chris Paget] is just a complete rock sorta guy. The drummer [Nick Kirk] does house, real dancey sort of stuff; he has his own project for that.” But they meet not only within Pigeon music, but also in their penchant for remixes of their tunes, of which there are many. “That’s the electronic side in us coming out,” Harley admits. “We all love getting on our laptops and getting involved in the music programs coming out. There are so many good music programs and so much you can do with them. Some people think there is less creation when a computer gets involved, but that’s a complete myth to me – I think it’s as valid as any instrument. Though I have reflected at certain stages on how good it is to be creative with boundaries, like after having a deeply creative period on a laptop and then coming back to playing a riff on a guitar and going, ‘Wow, this is pretty sweet actually,’” he laughs. WHO: Pigeon WHAT: Fortunes (Independent) WHEN & WHERE: Friday 23 November, Brighton Up Bar; Saturday 24, Barcode, Wollongong; Monday 31 December, Peats Ridge Festival

For more interviews go to themusic.com.au/interviews • 57

DIY LOVE & HATE New album, new instrument, same old tour bus – solo multiinstrumental blues rocker Claude Hay gives Michael Smith the lowdown. eah, same old crappy shitbox,” Claude Hay laughs, on the line from somewhere outside Melbourne, standing next to the tour bus he’s converting into a travelling home which has just decided to lose its gearbox. It’s all part of the giddy whirl that is life as a completely self-sufficient independent solo artist; he built the house he shares with his film composer wife in the wooded back blocks of Katoomba, as well as the studio in which he composes and records, and the bulk of the instruments he plays.

Currently on their longest launch tour yet, Novocastrians Benjalu are all about that coastal feel, as Michael Smith discovers.

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It’s obviously been the right way to go. Hay is currently travelling Australia on his third album, I Love Hate You, fresh off a tour of Poland, which was followed by opening for Joe Bonamassa on a couple of shows on his Australian tour last month. That followed months of touring through North America and some concerts in France. Hay began writing the new album in America, as the result of a “horrible experience [travelling] from California to Kansas City,” he recalls. “I kinda write about going on a Greyhound bus that I almost died on [chuckles]. I sort of wrote it there and I ended up in Memphis after a bunch of shows. I went and checked out Sun Studios, more as a tourist thing, and they told me that they still hire out the front studio, so I recorded some of Hound there. It was amazing. They’d boarded it up for years but kept everything, all crusty and old, exactly how it used to be.”

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Like Hounds, the bulk of I Love Hate You was written on the road, but the rest of the tracks were recorded at home in the “Deathstar”, or more precisely his home, Vader Studios. He’s an obvious Star Wars obsessive. “It kind of started off with a lot of experiences that I hated,” Hay laughs again, “and it just became too many hate songs – not necessarily hate, but just not positive, basically. It started getting a little too

negative for my liking. I like to have a bit of fun, so I thought it was time to write some positive stuff. They were two extremes of each other, and I thought that was a great way to encapsulate it and write about things I love and things I hate really.” Now, when Hay says hate, there’s still a sizeable amount of tongue in cheek, as in the opening and title track – written about the aforementioned tour bus – or Stone Face, a comment on the contemporary idea of “customer service”. Opposing that is the astonishing Close, the best song Jeff Buckley never wrote or performed. “It’s funny, that song,” he admits. “I did it as a dare really. Howler, my booking agent, was, like, ‘I dare you to write a ballad,’ because I’d never written one before, so I tried and it took me ages to write that song. I actually wasn’t going to put that song on the album, but a couple of people convinced me. It’s so left-of-centre, that song.” As he has for previous albums, Hay decided to make a new instrument he’s named Stella. “I’ve always loved resonators, and banjos as well, so I wanted to build something that was in between the two, and I wanted something with bass strings and guitar strings on it,” he explains. “So it was really an experiment – a $7 baking tray from K-Mart and bits of junk lying around the house, but it’s definitely got that cross between the two tones, and it inspired me to write a whole bunch of different stuff – Stone Face was the first one I recorded with it. I definitely find sounds influence me.” WHO: Claude Hay WHAT: I Love Hate You (Independent) WHEN & WHERE: Thursday 22 November, Peachtree Hotel; Friday 23, The Oxford Art Factory; Saturday 24, Katoomba RSL; Friday 21 December, The Vanguard

Post-punk drummer turned industrial fire starter Martin Atkins will have some blunt messages for aspiring musicians when he arrives in Australia for a spoken word/ DJ tour, he tells Paul Ransom.

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The reason why is now abundantly clear to all but the most self-regarding bedroom artistes; namely, that music is a business and bands are brands. As someone who has spent more than 30 years working in and around the industry, Atkins knows this inside out. His definitive book Tour Smart And Break The Band encapsulates his urbane and pragmatic take on the art and commerce of making music and playing live in the post-gatekeeper universe. For the budding musical genius besotted by their own visions, Atkins’s blunt messaging should have the stimulating effect of a sharp slap. “It’s not good enough to be a great guitarist anymore,” he states provocatively. “You could be a fantastic guitarist and I might want to go and see you, but if you’re not on top of your game you might be playing the wrong venue. Y’know, security might not let me in the moshpit, the beers might be too expensive, the parking too expensive, the toilets disgusting; and I won’t want to see your band again.” Much of Atkins’s advice boils down to nuts and bolts, attention to detail, (boring stuff like that). He is fond of saying that getting your band/brand from basement to big time is a five-to-seven year prospect. Furthermore, as labels retreat and internet indie proliferates, finding points of difference and creating “unique stories” for fans is essential. According to Atkins, “An artist now needs to understand marketing, social media and being social in person. Most of the artists who are big now, five-to-seven years ago were the ones who would stay at a venue until every single person had left with something signed, a handshake, an autographed boob or a story to tell.” If it all sounds like an MBA course, no apology is made. Atkins is adamant that forming relationships is the key

58 • For more interviews go to themusic.com.au/interviews

otching up a good 200 gigs a year right from their beginnings back in 2006, Benjalu are taking their longest yet launch-based national tour in their stride. They’re showcasing their new single, Way To The Coast, though the pace has taken its toll of the now fivepiece, as singer and guitarist Ben Gumbleton admits.

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IN A RELATIONSHIP

dvertising is the cost of being boring.” Andy Sernovitz’s now-famous grab is often cited by former PiL drummer (now author, label owner and educator) Martin Atkins. Punters at Atkins’ Factory Theatre show later this month will almost certainly hear him say it again.

COASTING ALONG

“We were burning out a lot of drummers, and one of our very good friends at the time, a year ago, was available just to come and fill in for a couple of shows. His name was Nick Saxon and he then decided he was just going to join up with Benjalu, so he was our drummer for about a year and then he decided that it was pretty cool that we were swapping instruments and one of our other friends who, at the time, couldn’t join the band because he was in another one, came up as well about eight months ago, so we thought, ‘Bugger it, we’ll turn into a five-piece’. For us, we’ve got five good mates and we’re just having a ball together.” That fifth member is drummer Nick Cook, whose addition freed Saxon up to concentrate on guitar, though he’s still happy to get back on the kit or add percussion where necessary, with guitarist and harmonica player Luke Elsley and bass and woodwinds maestro Anthony Morris completing the line-up. The band are currently recording with producer Tim Powles, best known as the drummer/electronics wizard with The Church, with the resulting EP due for release early next year. “We like a lot of the work he’s done with Regular John,” Gumbleton explains, regarding their choice of producer, “and also he’s quite an amazing drummer himself in quite an amazing band, and he definitely had a feel that we’d heard on albums that we wanted in our new EP, and when we spoke to him he was very much speaking the words that we wanted to hear [regarding] the kind of record we wanted to make. Creatively it’s amazing working with someone who’ll come up with an idea that you would never have thought about – we’ve loved it.” With a sound based in a rootsy kind of pop reggae, Benjalu are very much a party/singalong kind of band, and that open upbeat vibe stretches to their approach to songwriting.

“There are equal parts writing in Benjalu; there’s not really one songwriter. Saxon is also a solo artist himself and an amazing songwriter, and the other boys, they write as well, so everyone in Benjalu comes in with their ideas and everyone puts in their two bob. Way To The Coast is as simple as what the lyrics are, just going for a trip to the coast,” he chuckles. “Not that we’ve been trying to write differently, but we’re opening up a lot more doors with the new songs, with a few different sounds, but it’ll always just have that coastal feel anyway.” Their previous national tour saw Benjalu share the bill with solo singer-songwriter and guitarist Kim Churchill, who invited Gumbleton to join him on his Canadian tour. “His support on that tour had pulled out and he just looked across at me at the table, knowing Benjalu was just about to have a five-week break – our biggest in about three years,” Gumbleton laughs. “We left two weeks later. Canada’s definitely been on our priority list for a few years, but getting everybody over is quite a big cost. So this was a great opportunity for Benjalu’s music to get in front of crowds and meet people at festivals for us for next year.” WHO: Benjalu WHAT: Way To The Coast (Green) WHEN & WHERE: Thursday 22 November, The Vanguard; Friday 23, Heritage Hotel, Bulli; Saturday 24, Cambridge Hotel, Newcastle

ROLL ON “It bores me a little bit when people say, ‘Oh, no. I only do it for the love of it’.” Bryget Chrisfield discovers Rick Astley would rather work hard for the money. ittle known fact: Rick Astley first got into music playing drums “in different bands and stuff at school”. He still jumps behind the kit in a band comprising a few mates on the odd occasion. “We just do charity gigs,” he clarifies before goodnaturedly adding, “It’s really a midlife crisis is what it is.” So does he ever hijack the drum stool at his own gigs? “It depends how the show’s going. Very often I’ll throw in a couple of tunes just because I fancy doing it, and if the audience are up for it.”

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to growing a band’s profile. “If you want the feedback of an audience – that drug of their response – then you have to work on that relationship; otherwise, the five people that like you will be shivering in a room that should be holding 200 and the silence of nobody being there will drown out the genius of your guitar playing.” Suffice to say, part of that relationship build revolves around social media and the internet more broadly. When Atkins first joined John Lydon’s post-Pistols band PiL back in 1979, things were a lot simpler but also a whole lot more centralised and, whereas the net and other digital innovations have democratised the industry, they have also unleashed an ocean of dubious content. “Only about 20% of the music that gets uploaded to iTunes ever gets downloaded,” Atkins says by way of warning. “Some bands can’t deal with it. They retreat to, ‘I’m going to practise my guitar because I’m all about my art.’ Y’know, I call people on that because that’s just fear.” With his new book, Welcome To The Music Industry, You’re Fucked, Martin Atkins is putting his mouth where the money is and touring the living daylights out of it. As a label owner and music entrepreneur, he’s also using the opportunity to build fan relationships and keep an eye out for new talent. “The only thing limiting a band is their ideas,” he declares. “Y’know, it’s very much like, ‘Go on, amuse me, set my head on fire’.” With a CV that also includes Killing Joke, Pigface and Ministry, Atkins will no doubt use his spoken-word shows and DJ slots to start a few industrial strength burn-offs of his own. The question is: are you ready to be scorched? WHO: Martin Atkins WHEN & WHERE: Saturday 24 November, The Factory Floor

Astley is an affable character. He’s also self-aware. “I just sorta think, ‘I’m never doing this when I don’t enjoy it anymore,’ you know?” he explains. “I am bothered about what they pay me. I think that’s a big part of it, to be honest. It makes me feel good to get paid. It makes me feel like I’m worth something, if you know what I mean. Because I still get a nice cheque every six months from the label, which is great, but I don’t do anything for it. It’s weird, that. Don’t get me wrong, I absolutely love it and I’m more than happy to receive it: I think that’s great, because on the one end, you know, I did those tunes and they’re still earning a few bob so, great! But it’s not something I can take a whole heap of pride in, ‘cause I don’t do anything to collect that money, whereas when I go and sing, I think if I’ve really done a good job then I’m worth paying for it. And I don’t shy away from saying that in interviews, because it bores me a little bit when people say, ‘Oh, no. I only do it for the love of it.’ “The thing with money and music has always been an odd one, because most people start because they just love music and they wanna do music and that’s it… I genuinely believe that when you’re in bands when you’re fifteen, seventeen, whatever, you don’t care about the money: you’ll play anywhere for nothing, you’ll play for beers – you’re not bothered… Then once they realise, ‘Wow, I can actually make a living,’ and then they think, ‘Wow, I can actually, like, proper make it.’ “And, to be honest, when you’ve really cracked [the big time], you sorta feel the same. The money’s

immaterial ‘cause you’re making so much of it there’s no point counting it, do you know what I mean?” His official reason for retiring from music in 1993 was to concentrate on raising a family, but Astley is more than happy to discuss other contributing factors. “At the end of the day, and we can’t forget this, it’s show business and I think that’s one of the things that was a nail in the coffin for me. Towards the end, there were a few things I didn’t like about it… It is pretty much bullshit, you know? There’s a massive amount of stuff going on that’s got nothing to do with why you started as a kid in the garage with your friends, do you know what I mean? It’s like, ‘This isn’t about making music.’ And listen, I don’t mean to sound like I’m moanin’, I loved what I did, I really enjoyed it, I’m ever so grateful for it. I feel more appreciative of it now than I did when it was happening because, as a kid, when you’re in the middle of the storm of it all, you don’t know what’s happening and people just keep giving you champagne and things and you just keep going, ‘Yeah, groovy.’” The decision to give it all up did not come easily for Astley “‘cause it’s really seductive... It’s nice having black cars pick you up all the time. Even though you take it for granted, it’s your stamp of approval. It’s like, ‘Oh, we need to look after you. You’re somebody.’ And even though that’s absolute bullshit, it doesn’t feel like that. There’s something about it that is a bit of a trap, I think.” WHO: Rick Astley WHEN & WHERE: Wednesday 21 November, Canberra Theatre; Friday 23, Evan Theatre; Saturday 24, Rooty Hill RSL; Sunday 25, Enmore Theatre

DOMINION OF METAL

BRING THE NOIZE

With the homegrown Mouth Of Metal festival fast approaching, Mark Hebblewhite sits down with Ted Foster from local bruisers Aeturnus Dominion to get the lowdown. was originally playing in a straight-ahead rock band when I had an accident where I lost some fingers. So I’m just like Tony Iommi – except he has more fingers than me,” Ted Foster explains with a laugh. “Anyway, after this I formed Aeturnus Dominion in 2003 and after a few false starts and a lot of hard work we’re stronger now than ever and will be putting out new material soon.”

Alexander Ridha (aka Boys Noize) had the gumption to ask Snoop Dogg what he thought of a remix and it paid dividends. Stuart Evans hooks up with the “veteran” DJ.

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When asked to categorise the Aeturnus Dominion sound, Foster shies away from placing the band in a stylistic ghetto. “It sounds like a bit of a cliché but I don’t think we can be categorised easily. We take bits from different genres – thrash and death riffs, black metal screeches – and try and turn it all into something that’s ours. We’re simply a metal band – and proud of it. So I’ll leave it at that.” The band are currently preparing for their performance at the upcoming Mouth Of Metal festival, which brings together a diverse roster of local Australian metal acts including a one-night-only tribute to Ozzy Osbourne, Skuldogory and Thundasteel. According to Foster festivals like these are crucial to the survival of the local metal scene. “Festivals like Mouth Of Metal are the only chance a lot of local bands get to play in front of a decent sized crowd,” he reasons. “We go and put on our own little shows and play for our fans – and that’s great – but Mouth Of Metal is a chance to reach a new audience and to support a whole lot of up-and-coming local metal bands. “What’s great about this festival in particular is the different types of bands on the roster. You’ve got traditional metal right through to death and black metal represented. Every band is good at what they do and you get it all for the cost of a couple of beers. Everyone wins.” What makes festivals like Mouth Of Metal even more important is the fact that Australian metal bands suffer greatly from the tyranny of distance. “It’s hard enough playing metal full stop – most people

are sheep and just listen to what’s pumped out on the radio,” says Foster. “But for Aussie bands it’s doubly difficult. In Europe and America the populations are much bigger and the metal scenes more established. You also get more of a chance to support established acts. In Australia you’ve got to wait until a larger band tours and then be lucky enough to know someone and grab a support slot. Also, people tend to come out for international shows but many local shows get overlooked. “So it’s really important that local bands support festivals like Mouth Of Metal. We’re keen to work with other bands and build our scene because there’s so much talent here that needs to be heard.” Foster is particularly keen to point out that the only way the local scene can survive is if all local metal bands stick together. “There’s no point [to] different bands staying in these segregated little areas just because they play one type of metal as opposed to another style,” he tells. “We all have to support each other – and that goes beyond just playing together at shows. I’ve noticed in the past that some bands only turn up to play their set and then the moment they finish, they’re gone. We all need to stick around and support each other – actually check out what other bands are doing as opposed to just thinking about your own band. If we can’t do that then we have no right to whinge that metal fans don’t come to local shows.”

Modernism and innovation have long been Ridha hallmarks regardless of what else is occurring. That modernism theme has been prevalent throughout 2012 and he says that this year was about innovation via remixes. This isn’t surprising given his résumé and bragging list. Over the years he’s remixed the likes of Depeche Mode, The Chemical Brothers and

WHEN & WHERE: Saturday 24 November, Mouth Of Metal, Valve Bar

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At a time when electronic music has gone bonkers – think David Guetta, Nero, Calvin Harris and the crossover of dubstep – Ridha’s continued to merge, splice and dice hip hop, disco and electro with pulsating, darker and harder techno. His answer to the contemporary flow of dance music is to look to the past for inspiration. He says it provides a reality check. “I wanted to make sounds that didn’t sound like everything else. I was looking to create something that was aggressive which translated my vibe.”

WHO: Aeturnus Dominion

LES CURRIE & SEAN MCKENNA PRESENT

He says the decision to make Out Of The Black more aggressive was deliberate without conceptualising. “I had a moment where I said, ‘What do I want to do now?’,” he says. “I love pop elements where it shines through like the first Daft Punk or Justice album, where they make the music they like but it still crosses over. These are sounds that excite me.”

Snoop Dogg – the latter appears on Out Of The Black. Ridha can thank social media for the Snoop collaboration. “I did a remix for Snoop a few years back, but was never sure if he heard it. So I jumped on Snoop’s Twitter feed and asked him. To my surprise he responded immediately and said yes, he heard and loved it and said we should keep it contact.” Not only did Ridha keep in contact, but says he also met the rapper. “I sent him stuff that he really loved so we recorded and hung out. He’s a chilled-out guy. He’s not really in my world as he’s hip hop and I’m into electronic, so to make music was surreal as I wanted to make something really fucking cool with him,” he laughs. Ridha, often described as a veteran despite being in his early 30s, previously released two albums: 2007s Oi Oi Oi and the 2009 effort, Power. He’s collaborated with New York band Scissor Sisters and earlier this year formed a side project named Dog Blood with dubstep don Skrillex. Not bad for a bloke that only really just came to prominence. “Maybe it’s because I had my first real DJ gig at 16,” he questions of the veteran tag. “I released my first record in 2004 and started my label in 2005. When I started it was also the same time as a few new sounds emerged, so maybe people associate me with that.” The German is set to tour Australia as part of the line-up for the Future Music Festival. “And this time I’m bringing my live show to Australia for the first time,” he states. WHO: Boys Noize WHAT: Out Of The Black (Pod/Inertia) WHEN & WHERE: Saturday 9 March, Future Music Festival, Randwick Racecourse

UKULELE ORCHESTRA GREAT BRITAIN

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hat You Want, the opening track from German-born DJ and producer Alexander Ridha’s latest album Out Of The Black, says much about his current headspace. Ridha, better known by his techno nom de plume Boys Noize, has continued to defy the mainstream by progressing his techno reverberations and sticking to his guns. What You Want (or perhaps all of Out Of The Black) is Ridha giving a thumbs-up, providing raw and uncompromising sounds that the majority of electronic music lovers want. “There’s so much out there that’s mainstream, but I went back to what I like and feel about electronic music. That feeing is not writing a pop song that has [a] two minute build up,” he tells.

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‘ABSOLUTELY THE BEST OF BRITISH’ MONTY PYTHON’S MICHAEL PALIN

“THE ““T TH HE E BEST BE ES ST MUSICAL MU M US US SIIIC CA C CAL AL E NT N TE ER RT TA AIN INM ME ENT NT IN IN THE THE TH ENTERTAINMENT COUNTRY… CO C OUN UNT TR RY Y… … WORT WO RTH TR RTH TR A AV VELL ELL EL LIING IN NG G WORTH AVELLING TH T HOUS SA AN ND D MILES MIL ILES ES TO TO HEAR.” HE H EA AR R ..”” A THOUSAND THE TH T HE IN HE IINDEPENDENT ND DEP DE E END EP EN ND N DENT DENT EN NT (UK) NT (U UK) UK K)) K

““ABSOLUTELY “A AB BS SO OL LUT TEL ELY THE TH T HE BE B ES ST TO F BR B R IIT TIS TIS ISH” H” BEST OF BRITISH”

““WONDERFULLY “W WO ON ND DE ER RF FULLY LLY Y CLEVER” CLE LEV VE ER” ER” R” DAVID DA D A AVID DB BO BOW BOWIE OWIIE OW E

Photo: T. Mitchell

MONTY MON MO M O ON NT TY YP PYT PYTHON’S YT Y THO HON HON ON’S MICHAEL MIIIC M CH HA HAE AEL PALIN AE PALI A N

‘WONDERFULLY CLEVER’DAVID BOWIE

STATE THEATRE TUESDAY 19 FEBRUARY 8PM Book at ticketmaster.com.au or call Ticketmaster 1300 139 588 www.ukuleleorchestraofgreatbritain.com.au

For more interviews go to themusic.com.au/interviews • 59

SINGLES/EPS WITH ROSS CLELLAND

ON THE RECORD

Violent Soho

BORED NOTHING

Inertia

Spunk/Cooperative

Fiction/Shock

If you’ve been on the hunt for that perfect playlist for your sunny afternoons, look no further: City Riots have you covered. After spending more time on the road than off, the Adelaide indie rockers have really come into their own; they know what their fans want and they’re offering it up in spades.

A handful of years ago, Fergus Miller – the man behind Bored Nothing – had no fixed address and certainly no master plan for success in the music world. He basically recorded homemade tapes and demos – a la Daniel Johnston – while surfing from couch to couch, giving them away to anyone he thought might like them.

Toronto’s electronic experimentalists Crystal Castles are back with their third album, aptly named III. The renowned LIVE chaotic duo of Ethan Kath and Alice Glass have taken a fresher approach on this latest album, ditching their old synthesisers and limiting themselves to one take per song in hopes of finding its rawest expression, apparently.

Opener, Turn, kicks things off on a great note, the heavy bass paired with breathy vocals sounding so powerful and carrying over nicely into Catch The Sun. As if the song title wasn’t enough of a giveaway, this track will be your go-to for summer road trips, the combination of Ricky Kradolfer and Matthew Edge’s vocals with the jangly guitar riff is strangely calming and you’ll find yourself coasting along with the melody.

Fast forward to today, and Miller is now a permanent resident of Melbourne, has four of these tapes under his belt and a band made up of musical chums at his disposal. His recordings have proven to be such a talking point that they have been turned into this eponymous release. Just five of the tracks here have never appeared anywhere before; the rest were borne on his tapes and on his Bandcamp page.

Right from the get-go the percussion and synth on In This Space make this track a winner, but as soon as that voice starts calling out “Wait for me” it just gets even better. It’s one of those tracks where you can already imagine how great it’ll be live. Sucker Punch is another standout, even if the lyrics are a little simple; it’s inoffensively catchy, and the Beach Boys riff thrown in for effect is a welcome surprise. Pirates is an apt choice for their penultimate track, as Ricky breathes, “Please let me down, slowly” over jangly guitars; it’s a soothing comedown, with rolling synths to break the fall as you near the album’s close. Sea Of Bright Lights has really proven what these four Adelaide boys are capable of; they’ve fine-tuned their sound and the result is a hook-laden, melodious album that’s pretty damn impressive. Katherine Edmonds

CRYSTAL CASTLES

Bored Nothing

(III)

First track and single off the album, Plague, is definitely one of the strongest. The eerie intro gradually builds to include Glass’ haunting vocals as jagged sounds and a heart beat pulse develops throughout D V the track. Kerosene’s fat bass line and funky beats make it an instant winner and contrasts the delicate vocals and samples that layer the track. The soft beat and gentle percussion at the intro to Wrath Of Go are again juxtaposed with the cranking beat There is no chronology to the album, meaning that things and screaming vocals that this duo do so well. bounce around from lovely melodic numbers in the vein The down-tempo Affection makes for a great midof Teenage Fanclub to fuzzy-as-hell shoegaze and garage way-through reprieve before guaranteed club hit, pop. The thread that holds everything together though Sad Eyes, lifts things up again and really gets your is Miller’s lovely vocal. It has a softness that lands heart racing. Things take a bit of a turn for the worse somewhere between Elliott Smith and Norman Blake. though as Pale Flesh’s screechy noises and vocals Charlie’s Creek, for instance, sounds incredibly Smithstart grating on your ears and Insulin is so disjointed esque, while Darcy is an example of how grungy things and full-on that it leaves you feeling nothing but can get. Sonically, Just Another Maniac falls twixt the stressed and confused. But maybe that’s the point. two and sets the tone for much of the rest of the record. Transgender and Violent Youth address the issues Bored Nothing perhaps sounds more like a collection of of the day, with the latter contrasting yet again an songs than a coherent album (because that’s basically unusually cheery sound with such a dark topic. is what it is). But this ‘greatest hits’ of sorts has plenty Child, I Will is simply magical and finishes the album of excellent moments and showcases a really fine in a very different place to where it started. songwriter and indeed a name to watch in 2013. It’s a solid third outing for Crystal Castles, but it’s Robert Townsend a love/hate relationship with some of the tracks and there are unfortunately no standout Not In Love hits here. But it’s still definitely worth a listen.

D

Sea Of Bright Lights

VD

60 • For more reviews go to themusic.com.au/reviews

CITY RIOTS

D

As the meme goes, one cannot merely sing into Mordor. But if anyone could manage it, Neil Finn’s tunes would probably have the ring to rule them all. Thus, along with the meeting of minds that is his upcoming tour with Paul Kelly – who kinda looks like an elf whose had a bit of a hard knock life himself – Finn, N. provides a musical taste of Peter Jackson’s Hobbit trilogy with Song Of The Lonely Mountain (Watertower Music), which wafts and echoes down through the mists, offering a siren’s call for the journey. Which is probably exactly what it’s meant to do. Also likely in the ‘waft’ department, but from less mystical surrounds, the elegantly named Day Ravies. On Double Act (Popfrenzy), the words seem to exist more as secondary punctuation to guitars that stretch and wind themselves around a slinky central idea, which changes as it goes. It ends up rather compelling, but somehow still just out of reach. Bonus points for the Kinks-related malapropism of them. The Muddy Now EP (Independent) is even more handcrafted and home-made, as Brothers Hand Mirror rap with what sounds like local suburban voices over loops and samples which are just that fractionally out of phase and time and place as to make you wonder if it’s by accident or design. And then there are some things that suggest the bandwagon has got a bit full. Glass Towers have that tropical tribal noise of the fashion, and do so most competently. But it’s nothing that Jonathan Boulet (in his various guises) and various others haven’t done already. Perhaps with a little more flair. Collarbone Jungle (Inertia) is an EP of nothing new in the newish style. But this will appeal to those who want to be part of the formula after the components have been well worked out. Conversely, Mojo Juju is trying to give jazz and old soul an update by adding (sub)urban touches, as on Train Along The Hawkesbury (ABC Music). It’s knowingly arranged and classily constructed, but you’re left wondering just what, where and when her audience may be. Perhaps also out of their time – which could be listening to Boxcar remixes in 1991 – PVT’s Nightfall (Create/Control) is electronica dance pop that beeps along at a suitable number of BPM, phasing in and out in that manner ready for use in promoting the new Hyundai. Or socks. But there is always a place for the orthodox, old-school but well-wrought, pop-rock thing. The Royales do so. Keeping Everyday Alive (Independent) is timeless – take that as you will. Standard verse/chorus/guitar and keyboard solo/repeat to fade construction. But they’re correctly haircutted and skinny-tied enough for Triple M airplay and all-ages gigs. With an urgent indie rattle, Perth’s Stereoflower are a little harder to pin down. There is an angsty lean out over the foldback in parts, but the choruses of The Barstools (Walking Horse/MGM) have a catchy catch to them, with the guitars falling in empathetically to Alex Elbery’s apparent troubles. The sound ebbs away at the end, but does keep whirlpooling in your head for a time. Rather fetching, this. The critics are often criticised for taking the easy option when reviewing Tame Impala of referencing obvious touchstones like Pink Floyd of the pre-pompous era. Perhaps this wouldn’t happen so much if they didn’t sound quite so much like Pink Floyd of the pre-pompous era. Titling the latest single Feels Like We’re Only Going Backwards (Modular) almost makes it even more easy to go for the cheap gag. Like we’d do that? Tsk. We All Started Something (Magic Journey/ MGM) is a title that will keep headline writers happy and gives Eli Wolfe a personal philosophy. In a polished folk pop paddock, a couple of doors down from Josh Pyke, this tells stories and suggests his time of building his craft (and audience) in Europe and Canada has not been wasted. If you seek something a little noisier, clenched and straining, Violent Soho offer the second taste of a 2013-due album. Neighbour Neighbour (I Oh You) bugs its eyes at you, then remembers to have a catchy chorus among the guitars being wrung around the troubled questions. Meaty Lindsay Gravina production and availability on vinyl tick the further boxes of appeal to those at which it’s aimed. Mr Gravina also turned the switches on for Sexyparty – now there’s a name for a band – which is the collective name for the improvised work of a number of Melbourne luminaries from combos of renown such as Underground Lovers, Mountains In The Sky, and those fine judges of character, Gaslight Radio. Just Don’t Say You Love Me seems to unfurl with a certain discomfort to both sides of the purveyor/listener equation. Invitations from the next room – which you would probably be better not accepting – make for intrigue.

Helen Lear

MONEY FOR ROPE

SAN CISCO

TWELVE FOOT NINJA

Thornbury

Island City/MGM

Volkanik

Money For Rope take their name from John Lennon’s political protest track, Gimme Some Truth, but unlike the song, the sextet’s songwriting is much more straightforward. Love, loss, two chords, with a dabble in soul and a back section that’s heavy and tight. Sweet and simple.

San Cisco forged a name for themselves last year with their catchy sing-song track Awkward, a witty, cute and simple indie-pop song that showcased definite promise in the young band. Back this month with their self-titled album, the lines between simple and boring have been blurred and the band have delivered a rather lacklustre debut.

Debut albums can be a jittery, nervous proposition. Therefore, it’s striking how assured Melbourne’s Twelve Foot Ninja are on their initial full-length, despite its versatility. Perhaps it’s their hardworking touring ethic and two previous EPs that provided them with this unwavering self-belief.

Money For Rope

And there are some tidy melodies on tracks like You’ll Be Gone and Since I Left, generally mixing in nicely with some Hammond (but don’t mention the D-band!), while the lead single, Misery Lane, and opening track, Common Man, bare the fingerprints of producer Steven Schram, with echoes of downbeat Little Red tracks like Witchdoctor. That’s the thing with this album – it seems much lighter in tone than the raucous live shows the boys have been putting on relentlessly for the last three years. It’s a good thing, as it gives the songs a greater intricacy, more substance and some killer licks that would sit alongside Beck as easily as they would Foo Fighters. The only downside is the loss of some of their defining characteristics. You need to turn the balance way off to really get the amazing bass lines and true effect of the double drums. There’s only a hint of the Datsun-style energy and raw rock that they bring to the stage in Ten Times and Sail Past Your House, while their funky party groove shines only in glimpses during Hang Em High.

San Cisco

There isn’t anything overtly bad about this album; it’s just that there’s nothing particularly exciting about it either. In tracks like Fred Astaire, lyrics that are quite charming on their own sound jarring and rough when put to music. Jordi Davieson’s distinctive voice fails at times to deliver the right emotional response and Scarlett Stevens’ vocals aren’t utilised nearly enough, creating a repetitiveness early in the album that sticks until the end. There are some highlights on San Cisco – opener, Beach, embodies that playfulness present on their first EP and their single, Wild Things’ refreshing, attractive melody echoes the talent and promise of this band. However, the tracks are noticeably weaker than Awkward or Rocket Ship, and fail to completely lift the monotony of the album.

It maybe a little harsh, but the album feels as though it’s compressed their energy and vibe into a capsule aimed at the digestive system of mainstream radio. It’s a decent record, it truly is, but they are so much better.

For a band that delivers great live shows, the key problem on this album is the translation from live performance to recorded track. The energy and fervor present in San Cisco’s shows often makes up for the sometimes repetitive, naïve musicianship of such a young band. That happy-go-lucky enthusiasm hasn’t been developed within this album and unfortunately that energy and sweetness is really what it needs.

Kristy Wandmaker

Caitlin Summers

Silent Machine

If there’s a type of modern music these bipolar progrockers don’t incorporate, it probably hasn’t been created yet. King For A Day…-era Faith No More is an appropriate ground zero, and not merely because of Kin’s Patton-esque vocal acrobatics. This is apparent in coherent, natural stylistic melding; after hearing the effortless mix of hard rock riffage, electronica, bossa nova and lounge-like crooning on opener, Coming For You, you’ll be pondering why nobody combined them previously. Somewhere, Ill Niño will be wiping tears from their dreadlock-covered eyes. Kingdom’s smooth vocal melodies continue the Patton theme, while also infusing Eastern elements. As a game show announcer once bellowed, ‘And there’s still more!’ Polyrhythm-driven madness will pique the interest of Meshuggah-worshipping djent hordes. Throw in liberal doses of funk, classic rock and metallic riffs and that’s still not entirely encapsulating the scope. Mother Sky balances prog tendencies with reggae and irresistible hooks, while the groove-laden Shuriken, Vanguard and title track are also winners. Selected heavier riffs feel a tad too similar, but they rarely get bogged down in one idea for long, so it’s of little consequence. Australia’s proggy hard rock scene is crowded, what with Karnivool, Sydonia, Floating Me and Dead Letter Circus leading the pack. Twelve Foot Ninja are an even more wide-reaching proposition. These giant-sized warriors won’t be lurking unnoticed in the shadows for much longer. Brendan Crabb

PIG DESTROYER

SHINOBI

SPAZZYS

THE WEEKND

Relapse/Riot!

Riot!

Freeform Patterns/Fuse

Universal

With their first album in five years, cerebral grind assassins Pig Destroyer don’t disappoint. Book Burner offers 19 tracks of bass-free grinding fury that will tear your head off, twirl it around and then reconnect it to your neck with brute force. Don’t be put off by the fact that Pig Destroyer are now the grind band that hipsters and indie kids call their own. No doubt these miscreants will continue to pretend they like this stuff, but for the rest of us Pig Destroyer remain the last word in grind. So what sets these Richmond, Virginia natives apart from the joyous blasting of the likes of Insect Warfare and Rotten Sound? It’s the songs, stupid. Book Burner is chock full of riffs that stay with you for hours. The Diplomat, Baltimore Strangler, Dirty Knife and Eve all fall into this category while Valley Of Geysers shows that Pig Destroyer work just as well at half pace as they do at full throttle.

As a diehard Manly Sea Eagles rugby league supporter, this reviewer should be predisposed to despise anything remotely associated with traditional rivals Parramatta. However, there are a number of things to like about Shinobi, fronted by former Eels, NSW and Australian representative Eric Grothe Jnr. Thus, we’ll leave the abuse in the stands.

The Spazzys are back, baby! Dumb Is Forever is the much anticipated - very much for some of us - follow-up to the chick-punk trio’s 2004 debut album, Aloha! Go Bananas, and it doesn’t disappoint. Kat, Lucy and Ally have stayed true to their sound, offering up 12 tracks of their trademark Ramonesmeets-girl group doo-wop brand of punk-rock. It’s punchy, funny at times, and does Aloha!... justice.

If The Weeknd has already given us House of Balloons, Thursday and Echoes Of Silence for free, why, we might ask, should we be buying Trilogy? Don’t we already own these songs? Yes, and no. Yes, 27 of the 30 tracks you get with Trilogy are already safely tucked away in your music library. No, you don’t (yet) own Twenty Eight, Valerie or Till Dawn (Here Comes the Sun). That’s not the important conversation, so let’s get it out of the way; so much of the joy you’ll have listening to Trilogy is an echo of the joy you have already had listening to its component parts. If you’re paying for three more songs, skip this.

Book Burner

Against The Brave

But for those of you who get off on traditional grindcore explosions, don’t despair – Pig Destroyer haven’t gone soft. The Underground Man, All Seeing Eye and Totaled are among the most brutal tracks the band have ever conjured up during their 15 years in the game. After the line-up changes and other intra-band dramas of the past five years, Pig Destroyer have no right to sound as focused as they do or to produce an album as crushing as Book Burner clearly is. Pig Destroyer have reclaimed their throne with consummate ease. Mark Hebblewhite

There are few real surprises or songwriting curveballs, but they tackle the task of their debut LP with vigour, playing as if entire movements within rock music never went down. This means no death growls, rapping, flannel or wub wubs, but few frills either – bar splashes of keys and more expansive closer, Said And Done. Shihad (hooky The Finding, Beautiful Strays) and early Grinspoon are the most appropriate reference points. Liberal doses of Helmet-esque riffage (Page Hamilton may have the legal team on the phone after hearing Waking A Mass Army and the title track) are fused with doses of melody channelling Foo Fighters and Silverchair. This is most evident on the memorable, radio-ready-made Stitches. A few more knockout hooks wouldn’t go astray and it is formulaic in spots. There’s a palpable energy and honesty though, producer Darren ‘Jenk’ Jenkins capturing this via a punchy, clear mix affording greater accessibility but not castrating them either. Considering there are few bands around nowadays trading in this type of straightahead fare, heavy rockers will get a kick out of this. Grothe’s presence ensures some marketability, but flickers of real promise and a few genuine winners will ensure their tunes won’t merely be relegated to televised sporting montages and highlights packages. Brendan Crabb

Trilogy

Dumb Is Forever

Dissolution [Is The Only Solution] and What’s Your Story are classic Spazzys, stylistically very similar to the tracks offered up on their debut release, nice and easy to sing (or holler) along to. Creep has a tougher feel to anything they’ve done before; the lyrics are almost acrid; “Now I want to leave you here to die... Am I getting through to you?” Loud and clear, ladies. Putting any bitterness aside, they’ve still got a knack for producing great singalong lyrics and melodies, like Hey Hey Baby and Cigarettes from their first album, Best Waves Ever, and later track, Makin’ Trash, get your feet tapping along before you even realise it’s happening. It’s great to hear that Spazzys haven’t fallen prey to the curse of the second album. Dumb Is Forever is infectious all-girl power-pop; it’s different to Aloha!... and yes, the subject matter is a little sourer – there was a time when the girls pined for Paco, now almost a decade later they’re leaving creeps to die and asking for divorces. But the trio prove that it doesn’t matter whether they’re singing for love lost or love found, they can write a cracking song. Here’s hoping there’s not such a long break between Dumb Is Forever and album number three.

But, by gee, it is tough to fault a release with so much excellence. High For This is as thrilling a way to open a record now as it was nearly two years ago. The Birds Pt. 1 stands as a beacon to other artists, an exhibition of the magic that can happen when you think critically about your drums. D.D. is still the compelling cover of Dirty Diana it was when we first heard it. Loft Music is untouchable as one of the best songs there has ever been. Ever. And then there’s The Knowing, with Life Of The Party just around the corner. It’s intoxicating. Hypnotic. Immersive. Haunting. Impossible. So much excellence, but where does this leave Trilogy? Well, if you missed The Weeknd’s mixtapes, you ought to join the party, urgently. If you’ve got the tapes, you’ve heard the best. There’s nothing new of note here, just a chance to renew your vows. James d’Apice

Katherine Edmonds

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For more reviews go to themusic.com.au/reviews • 61

ADRIAN BOHM & PHIL MCINTYRE PROUDLY PRESENT

SATURDAY 8 DECEMBER

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ARTS Monica

TUESDAY 20

FRIDAY 23

Francis Bacon: Five Decades – the first major Australian exhibition of Irish-born painter Francis Bacon’s work. With over 50 pieces this exhibition took four years to collate from galleries such as The Tate, The Met, Pompidou Centre and The Francis Bacon Estate. Art Gallery of NSW, Saturday 23 February. The Blue Angel Hotel – a new work by Australian playwright Katie Pollock and directed by Aarne Neeme. Set in The Blue Angel Hotel where you can check out, but can never leave the same. The Old Fitzroy Theatre, 8pm until Saturday 24 November.

Queer As Fuck, Punk As Fuck – curated by band Glory Hole, a performance that says, Fuck the assimilationist gaystream agenda that aspires to an equality that is neither queer, politicised, meaningful or inclusive. Part of the SEXES festival, Carriageworks, 8pm

WEDNESDAY 21 Beautiful One Day – a theatrical documentary about Palm Island where thousands of Aboriginal and Torres Strait Islanders from across the state were forcibly resettled. This is a devised piece of theatre about the events of 2004, following the ‘accidental’ death of Mulrunji Doomadgee in a police cell. Opening night, Belvoir, 8pm until Sunday 23 December. Women Count In The Arts & Her Rights At Work – a double bill that looks at different expressions of Australian culture and the representation of women. With Melbourne-based female art blogger CoUNTess and journalist Anne Summers. Part of the SEXES festival, Carriageworks, 7pm.

THURSDAY 22 2 Days In New York – a new film directed, written and starring Julie Delpy. A follow-up to 2007’s 2 Days In Paris, this romantic comedy has Chris Rock as Delpy’s Stateside beau. Opening in cinemas today.

SATURDAY 24 The Re-Living Room – performance artist Anastasia Klose dances to music video clips, watches television and eats junk food, re-enacting a two-month period of unemployment in this endurance performance. MCA, from 10am. Monica Goes To Rehab – you’ll recognise her from Play School and Better Homes And Gardens but in this show jazz singer Monica Trapaga will pay homage to Billie Holiday, Janis Joplin and Amy Winehouse. Kings Cross Hotel: The Bordello Room, 6pm. Bondi Short Film Festival – now in its 12th year, this festival celebrates the art of the short film, with 14 shortlisted from 200 submissions screening. Judged by Noni Hazlehurt, Christiaan Van Vuuren, Jessica Tovey, Kristy Best, Dr Ruth Harley and Andrew McFarlane. Bondi Pavilion, 3pm, 7.30pm and 8.15pm.

SUNDAY 25 Destroy The Joint: A Burlesque Tribute – in light of Alan Jones’ comments on 2GB in August this year suggesting “Women are destroying the joint, Christine Nixon in Melbourne, Clover Moore here. Honestly.” Aloha Creative and Australian Burlesque Calendar have collaborated to produce this variety show as a reaction to these words and as a fundraiser for Zonta International. The Standard, 7pm.

GAMERS AND MUSO’S A WICKED GIVEAWAY We have a Gibson guitar, cord and a copy of the game Rocksmith™ to giveaway. This is the first and only game that lets you plug any real guitar into your Xbox 360®, PlayStation®3 system, or PC. Enabling you to learn to play guitar and bass or just develop your skills whilst gaming. It like a treadmill for guitarists and with summer just around the corner never

underestimated the importance of a beach body or strumming skills. To enter head to themusic.com.au

SILVER FOX

Of course, you’re a person of surpassing taste and refinement, so you’re already aware Silverman is pretty fucking funny, whether she’s on stage, on screen (starring in her very funny TV series The Sarah Silverman Program, or making guest appearances on the likes of Mr Show with Bob and David, Bob’s Burgers and Louie, just to name a few) or on the page (as evinced by her recent memoir, The Bedwetter: Stories of Courage, Redemption and Pee). And then there’s the legendary viral video ‘I’m Fucking Matt Damon’, in which she enlisted the Bourne Identity star for

It won’t be long now before Sarah Silverman has infiltrated pretty much every area of popular culture, writes Guy Davis.

If you haven’t jumped aboard her bandwagon already, now would be an opportune time to do so, especially given the multi-talented comedian, actor and author is coming to Australia on her first stand-up tour, performing one show in Sydney and Melbourne.

Maude Davey drops copious C-bombs with Dave Drayton as she talks about unveiling her cunt for the SEXES Festival Live Art program.

CUNNING STUNTS

“Back Back in the ‘90s, I used to do a lot off performance in clubs and things like community, and ke that in the queer community there are a few iconic monologues that came out of that time,” says Maude Davey; actor, performance artist and the woman who, in 1996, caused a bit of a stir when one such monologue, My Cunt, was made into a short film. Since then it has been reprised as part of

the long-running Burlesque Hour, overseen by Moira Finucane and Smith, and it was Davey’s Jackie Smith performance in a recent Burlesque Hour show, Glory Box, that caught the attention of one of the SEXES Festival curators, Deborah Kelly. Now, 16 years on from the first performances of the monologue, a slightly older and significantly more nude Davey will revisit the

There’s sometimes a political edge to Silverman’s material – she released hilarious video shorts about the voting process prior to the American presidential elections both this year and in 2008 – but she admits that the bulk of her material will focus on “social issues, social politics and also just straight-up silliness”. Oh, and the TV series Lost, with which she has a teeny bit of an obsession. “I watched every episode of every season and I just loved it and that love has bled into shows I’ve done,” she says. “I always seem to write a Lost reference somewhere in the shows I’ve done since it’s been on.” Something else audiences can expect from a Sarah Silverman show? Swearing. Let’s face it, the lady has a reputation for slanging a few choice four-letter words about. (One article described her as ‘cuss-prone’.) But she’s not simply deploying profanity for profanity’s sake. “I think swearing has to be a specific choice to be funny,” she says. “Not peppered in an attempt to show irreverence – that never works – but a choice of words. Even if that choice is pure gratuitousness. Is that a word?” (It is.) Overall, however, audiences should prop themselves for a “loosey-goosey” night of comedy that’s “just me and a mic and you,” says Silverman. “Also, the brilliant Todd Barry and Australia’s own Wil Anderson! Woo-hoo!” WHAT: Sarah Silverman WHEN & WHERE: Friday 30 November, Sydney Opera House

work as part of the SEXES Festival Live Art program at Carriageworks’ Performance Space. “Back then I pretty much saw it as my mission to counter the proliferation of the phallus in every possible public discourse with an assertion of the cunt,” she tells. “I felt like it was important to talk about it, to show it, to be out there and to symbolise and to signify it and to pput cunt up on every platform alongside phalluses because I felt like the ccunt was loathed and vilified thought of as disgusting and and thoug dirty and all those sort of things. thing about SEXES is the piece “The thin contextualised as [something] that is contex written in 1996, that came out of was writt particular stage of my life in terms a particul performance, and I want people to of perform about it in that way, rather than think abo imagining these are thoughts that I’m havin having now. I wouldn’t write that monologu monologue now,” Davey clarifies. “At first, I used to do it dressed,” Davey recalls, “And then one day Moira said, ‘I think you should do it nude’, and I said, ‘Oh no, Moira, it’ll never work’, you know, the tagline is ‘I’m not going to show you my cunt’,” Davey delivers the infamous eight word opening line, “But she said, ‘No no, just try it!’ So, you know, I took my clothes off in her living room and did it and she went, ‘That’s

great!’ So after a few years I’ve started doing it in the nude, which was an interesting manifestation. “You don’t really get to see my cunt when I’m nude, I am unusual in the performing world in that I have a full bush; these days women don’t have full bushes, but I do – a bit of a lady veil. The confronting thing for me about that monologue, performing it 16 years later, is that I talk a lot about my grandmother; there’s that whole section about my grandmother’s cunt in it,” Davey pauses, at first without explanation, and then sheepishly, in a manner that further highlights the differences between Davey-then and Davey-now, offers an apology, “Sorry, I’m in the street and there’s people walking past, so if I start getting coy, you’ll know why,” before continuing. “And so as I age and get to the point where some people in the audience are going to go, ‘You’re old enough to be my grandmother, lady’, that gets a bit confronting for me. So I’m interested in doing it at SEXES in a kind of historical, retrospective kind of context.” WHAT: My Cunt WHERE & WHEN: Tonight until Saturday 1 December, part of the Live Art program, SEXES Festival, Performance Space, Carriageworks

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THIS WEEK IN

a good-natured stab at her former partner, talk-show host Jimmy Kimmel. (He replied with his own video, ‘I’m Fucking Ben Affleck’.) But as of late, Silverman has been expanding her repertoire, taking on a supporting role in Sarah Polley’s acclaimed drama Take This Waltz, and, perhaps more shockingly, lending her voice to the big-screen Disney cartoon Wreck-It Ralph, in which she plays a anime-inspired video game character with the awesome name of Vanellope von Schweetz. “I connect to Vanellope so much,” says Silverman. “She takes the thing that holds her back in life and makes it her superpower. I love that.” (To learn more, check out Wreck-It Ralph when it opens in cinemas Boxing Day. Seriously, do. It’s really good.) “I have such different fans depending on what they know me from,” she adds. “There are the people that know me from stand-up and internet videos, people who know me from my show, people who know me from [the TV series] Monk and family-friendly stuff, kids’ shows like Yo Gabba Gabba and of course Wreck-It Ralph, so it’s a very eclectic and [an] often random sampling of people.” But while she is increasingly known for a variety of different roles and projects, stand-up remains one of her great loves. “I love stand up,” she says. “It’s scary and raw and in the moment, and you can only be as good as the crowd you’re talking to.”

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D I S TA N C E

E D U C AT I O N

To check out the mags online go to themusic.com.au/mags • 63

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REVIEWS

C U LT U R A L

CRINGE

WITH JAMELLE WELLS

Bourgeois & Maurice

HARVEST ARTS FESTIVAL Increasingly, city festivals are focusing on their arts programs and it’s a development that just makes good experiences even better (and finally shows that we in the big smoke are catching up with the innovative regionals). This year’s Harvest, held in the beautiful Parramatta Park, was made not only by the great tunes (and indeed, there were great tunes), but by the artsy fartsy attention to detail. Not long after getting in the main gates, a Hollywood Hills-style big-lettered message hits, “I Really Need You Tonight”. Walking around throughout the day were roving, real-life installations, including trees on stilts and a robot with some mad scientists who conga-lined their way around (the latter even

caught the attention of main music stager Beck, who dedicated part of his set to the space-aged troupe). The arts stages were split up and varied in their approach, with Le Boudoir done up as an old-school circus tent, complete with hearts hung from the ceiling. It was a main attraction in the region of the festival called Bootleg Alley, again marked by Hollywood-type signs and the best place on the day to get coffee. During the day it featured more old-school cabaret, vaudevilletype things, with the Vaudevillage working as a great ‘walk in, walk out’ piece. The threat of a pie in the face got this reviewer in – and also out again – but later the incredible UK imports Bourgeois & Maurice kept all in the palm of their hands. The apparent brother-andsister show were self-confessed “cabaret – whatever the fuck that

is’’ and their ode to the end of the EU was particularly hilarious. Kudos to all there for their staging, while still, effectively, in a park. How Bourgeois & Maurice got that much makeup, sequins and fake lashes on and minimised the dust and grass application is beyond me. Down the hill was the Secret Garden where the Garden and Campfire Stages also featured arty things – the Garden giving some unusual tunes (I heard Paul Simon for no good reason, at one point), while just away from the main music stage the Campfire was open and surrounded by outdoor rocking chairs, wood stumps and birds-nests for key vantage points. Although a bit of sound bleed got in the way of each (and some tech issues stopped some of the best bits of Jay Katz’s Rediscovered And Found Footage) for those into

a little Mu Meson, the Campfire was carefully and cheerfully kept burning by MC Dave Callan. Highlights included a completely unnecessary rendition of Psy’s Gangnam Style by the host, as well as the awesome filth that is the Erotic Fan Fiction readings. With four readings for a variety of very, very wrong fan fiction pieces (Blinky Bill, Oprah Winfrey and Silvio Berlusconi, all appropriately wrong), the prize for the most committed – and demented – had to go to Erotic Fan Fiction leader Eddie Sharp. His piece, simply called Margaret And David At The Movies, was something of a classic for fan fiction aficionados and worth the entry ticket alone.

PIRATES OF PENZANCE THEATRE

rest. And Joseph Houston – who played aging maid Ruth – and Alan Richardson, as leading lady Mabel, were the stand outs across the whole cast. Richardson’s emotional moments with Frederic, played by the charming Matthew Gent, were played to revered silence in the audience, while Neal Moors as a very dashing Major-General did a pretty solid job of tongue twister I Am The Very Model Of A Major-General. With such a strong cast, it would’ve been nice for the Pirate King, Nic Gibney, to live his role a little bit larger. After all the Pirate King legacy isn’t one to take a backseat. One audience member said of the show, “What a silly load of nonsense”. It was an apt description considering it was meant in the nicest possible way. Danielle O’Donohue Sydney Theatre until Saturday 24 November

A simple stage, predominantly white costumes and a lone piano player allowed this latest production of the classical Gilbert & Sullivan Operetta to shine a stark focus on the musical repartee. Touring from the UK, the all-male cast appeared as pirates, policemen and giggling sisters and provided a lot of laughs as well as a couple of genuinely touching moments amongst the farce. Though there was a lot of action and movement when the curtain rose and we were first introduced to our band of pirates, the production only really kicked in to high gear with the arrival of Mabel and her sisters Climbing Over Rocky Mountain. With some of the sisters built like footballers, the skirts and lilting voices were a funny contrast, but their voices soon put any doubts to

RED WHARF: BEYOND THE RINGS OF SATIRE THEATRE This year’s Wharf Revue brings politics and sci-fi together in an unlikely but quite lovely convergence of nerdiness. John Howard as Yoda? Yes, friends, it shouldn’t work, but if the ears fit… (and a chance to see him get squished is to be offered…) As the kids admitted, there was a little recycling here (a Uranus joke is a must for any outer space skit), but hey, who’s complaining? One of the Revue’s main men, Jonathan Biggins, was present only onscreen (playing a futuristic Paul Keating speaking from space), but

his ‘replacement’ was fantastic – particular props to relative newbie Josh Quong Tart, whose tongue twisters were worth the price of admission alone. He was joined by regulars Drew Forsythe, Phillip Scott and Amanda Bishop, and again Bishop’s Julia Gillard was fabulous (her Mary Poppins skit was the highlight of the show). Beyond the immediate political landscape, the period piece about sam-sex marriage was fab (I can’t give away the title because it’s not my joke to steal), but again, it was almost impossible not to be impressed by the cast’s ability to be so silly but so tuneful, all at once. Liz Giuffre Sydney Theatre Company: Wharf Theatre until Saturday 22 December

64 • For more reviews go to themusic.com.au/reviews

Liz Giuffre Saturday 17 November, Parramatta Park

Fans gathered at Clovelly Bowling Club last week to celebrate a decade of flagship Radio National program The Night Air. Host Brent Clough joined program maker Siobhan Moylan to present two Night Air features: In The Swim and Mermaids. The experimental show won’t be returning in 2012. Channel Ten has followed the lead of Fairfax, with huge job cuts. Ten is ceasing production on its Breakfast program and Morning News from the end of the month. Staff to lose their jobs so far include presenters Helen Kapalos, Bill Woods, Kathryn Robinson and Ron Wilson, who has been with the network for more than 30 years. An unusual art exhibition at the Glasshouse in Port Macquarie on the mid-north coast features 45 artworks by current or former members of the New South Wales Police Force. The Shades Of Blue exhibition was inspired by Sabine Altmann, who worked as the Domestic Violence Coordinator based at Tamworth Police Station, and was herself an artist. She was killed at work in a car crash last year so the exhibition is in her honour. Yet another David Williamson play is being staged in Sydney in December at his old stomping ground, The Ensemble Theatre. Managing Carmen is about a cross-dressing AFL footballer. Williamson, who is now 70, made a public announcement that he was ‘retiring’ in 2005 due to health reasons, but has kept writing plays ever since. His latest work is being

TRAILER

staged as a joint venture for the Queensland Theatre Company and Perth’s Black Swan State Theatre Company before it comes here. Rehearsals are underway in Sydney for the National Theatre Of Great Britain and Global Creatures Australian production of War Horse. The cast of 33 actors include Sydney-based newcomer Cody Fern playing Albert Narracott, the young boy whose beloved horse, Joey, is sold to the cavalry at the outbreak of World War I. Melbourne-based Ian Bliss plays his father and Natasha Herbert his mother. Twelve members of the cast will bring 18 horses, created by South Africa’s Handspring Puppet Company, to life on stage. Screen Australia has released results of a survey on the Producer Offset, the tax rebate of 20% for television drama and documentaries and 40% for Australian films introduced in 2007. The survey reveals that Australian narrative production has increased by 70% for feature films since then and by 36% for television drama. The offset has also provided a seven-fold increase of producers retaining more than 25% equity share in their films. The producers of Legally Blonde are continuing their lottery for cheap tickets until the end of the season. Thirty good seats priced at $30 are held in reserve for a lottery at every show for punters who arrive at The Lyric Theatre box office two-hours early. Their names are collected and placed in a barrel. The winners are drawn half-anhour later and their names called.

TRASH

WITH GUY DAVIS It wasn’t gonna go down like this. I had plans for this edition of Trailer Trash – it was gonna be a celebration (please hear Chappelleas-Rick-James when you say that in your head) of the bits and pieces of pop culture I’d recently found edifying, engaging and entertaining. Stuff like The Twelve, Justin Cronin’s follow-up to his immense (and immensely enjoyable) vampire epic The Passage, for example. I’m not far into it, given that I’ve had some big-ass tomes like Cloud Atlas and Michael Chabon’s Telegraph Avenue (both highly recommended if you dig immersive literary experiences) to finish up, but the feeling of anticipation that’s been lingering inside me since the last page of The Passage a couple of years back has been more than satisfied so far. Or stuff like the ongoing wealth of Scandinavian crime thrillers making their way to our screens. I know, I know, such shows are usually the province of rainy or chilly winter afternoons, when the bleakness of the weather provides an ideal counterpoint to the grimness of the stories. But even though the temperature may be rising, the three Wallander telemovies airing on ABC1 over the next few Sunday nights (with Kenneth Branagh delivering some fucking powerhouse work in the title role of the morose, dogged police inspector) are still some top-shelf viewing, as is The Bridge, a ten-part murder mystery about a bisected body found on the Swedish-Danish border. It’s now available on DVD thanks to your friends at Madman Entertainment, so I recommend you snap that shit up sharpish. Or the fact that The Twilight Saga is finally over. Okay, that was just mean. It’s not my brand of whimsy, true, but plenty (PLENTY) of other

people dig it and will miss their annual fix of Bella, Edward and Taylor Lautner’s well-toned torso. To them, I offer my condolences on the saga’s conclusion and a sincere hope they find something equally captivating to snap them up and sweep them away. Because everybody deserves their something. Something they have an admiration of or an appreciation for. Everybody should be allowed to be a fan or a follower, to dig something casually or dig into it so deeply they become quite the authority on it. Maybe it makes me casual to the point of nonchalant, but I tend to believe there should be no rules to fandom. That is, other than the golden rule, which can be applied to pretty much every aspect of life – don’t be an arsehole. Sadly, that rule can be bent or downright broken when it comes to 21st century geek culture. Last week, there was somewhat of an uproar when comic-book artist Tony Harris railed against “cosplay chicks” who “don’t know shit about comics beyond whatever Google image search you did to get ref on the most mainstream character with the most revealing costume ever”. (Please note: quote slightly modified in that I tidied up some of the grammar and spelling and turned off the caps lock.) Look, I’m no fan of cosplay, but unless someone is using it to convince some poor simpleton into believing they’re that actual character and then taking advantage of them in any number of ways, who gives a fuck whether someone dresses up as Catwoman or Charlie Brown and ventures out in public as such? How does it diminish your well-being? Does it sap your appreciation of what you enjoy? If it does, you really might wanna take a good, long look at yourself and what you claim to like.

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If you want an educational experience, go to the zoo. Kate Kingsmill learns the Peter Helliar and Merrick Watts comedy show is a no-brainer. Peter Helliar and Merrick Watts have been big names in Australian comedy for years, and they’ve been good mates for even longer than that. Helliar has had a thriving career as part of shows like Rove, Rove Live and Before The Game, as well as hosting The Trophy Room and even acting in the feature film I Love You Too, alongside Brendan Cowell. Merrick Watts is of course best known as one half of the formidable comedy force that is Merrick & Rosso. The duo started in stand-up when they joined forces for a oneoff comedy show in 1996. It was an immediately successful partnership and they went on to work consistently in the media, appearing regularly on triple j in the late‘90s and on their own syndicated radio programs, podcasts and TV shows, Planet Merrick & Rosso on pay TV and Merrick & Rosso Unplanned on network television. In short, Merrick & Rosso were a comedy phenomenon. And while they continue to be the best of mates, Merrick & Rosso have parted ways professionally, each forging their own separate comedy – and acting – journeys over the last few years. “Merrick’s done a bit less stand-up over the last few years because the Merrick & Rosso show was just so enormous,” says Peter Helliar. “Getting back on stage and standing by himself for half an hour was a little bit foreign to him, but he blew me away with how he was back on the horse and doing it beautifully – he was loving it.“ Helliar agrees that for Watts, being on stage without Rosso must feel like he’s lost a limb. “With Rosso, he had that great safety net so I think he really enjoyed the challenge of getting back out there and I think hink

Rosso’s going through a bit of the same. They’re both enjoying the challenge of doing a solo show and they’re doing really well, it’s great.“ Unlike the Merrick & Rosso shows, Watts and Helliar’s stand-up shows at the Sydney Comedy Store will be more like “a tag team” says Helliar. “It’s a split bill, basically. We’ll flip a coin and one of us will go on first. It’s not like we’re on stage together like a Merrick & Rosso show. It’s two for the price of one.”

Corey McMahon orey McMa ahon sits down with Liz iz Giuffre to discuss his not-sodark new show, The Share. And no, it’s not about a share house. Daniel Keene’s The Share is a play that director Corey McMahon has lived with for a while now. His Adelaide production of the show won Best Professional Drama at the 2010 Adelaide Theatre Guide Awards, while the Adelaide Critics’ Circle nominated his directing as worthy of Best Individual Achievement in the same year. It’s a dark piece about a share in a drug deal, but it’s not all doom, gloom

Corey McMahon

GAG BRINGERS

SHARING IS CARING

and despair, either. “It is dark, but the first half of it’s actually quite funny – really funny,” McMahon says. “It does do dark humour, and it’s a really gritty, visceral play, so it is a bit in your face but it’s also really exhilarating. The way I’d liken the experience of the play is it’s a bit like getting on a roller coaster, putting on a seatbelt and getting on this ride for an hour. At the end of it, you’re going, ‘Holy cow, what did I

just go on!?’ And it rarely stops. It’s a really fast play aand a lot goes on iin an hhour. IIn a good way, though.” The ride is driven by three key cast members: Scott Marcus as Tex, Tom Conroy as Sugar and Time Spencer as The Kid, which makes getting to such intense levels impressive. It’s been a couple of years since the Adelaide production of The Share, and McMahon first got acquainted with the piece a few years before that. “My association with the play actually goes back to my days at drama school in Adelaide,” he explains. “It was put on by a bunch of students there and I’d not really seen anything like it before – it

Helliar and Watts’s friendship outdates both their comedy careers. “He’s the first guy I met in comedy actually, before I even started,” says Helliar. “He’s great company, Mez, he’s always made me laugh off stage and on stage, so it’s good to do a tour with a mate.“

WHAT: Peter Helliar and Merrick Watts WHEN & WHERE: Thursday 15 to Sunday 25 November, Sydney Comedy Store

WHAT: The Share WHEN & WHERE: Wednesday 21 November to Saturday 8 December, Seymour Centre – though Stevie doesn’t like me very much. I did steal a skirt of hers and although I really love it, she happened to be wearing it at the time, so she wasn’t happy.”

And there’s no competitiveness between the two of them about who is funnier, says Helliar. In fact, he says in the comedy circuit in general, “Everyone’s supportive. Most bills you share you might watch the other people and generally people have a bit of feedback. If you’ve got a good enough relationship with them you just say, ‘Hey have you thought about doing this gag?’ You give each other gags and other ways to try things out. It’s pretty cool.” And their backstage banter is best kept between the two of them, he says. “We’re both Collingwood supporters, so we generally talk about that a lot – thankfully off stage.” On stage though, Helliar says this series of shows will be “a mixed bag”. “I’m a dad – I’m married with three kids. That sounds really drab but I subvert it and have fun with it. I’m not trying to teach anyone a lesson, I’m not evangelising you. You won’t learn a thing!” he laughs. “Yeah, that’s a promise.”

was quite a revelation to see a play that had such an impact on me. It’s always stayed with me because it’s so high impact, and so high energy. But I’ve always wanted to put it on myself, and the writing is just so clever. Daniel Keene’s probably one of our most impressive playwrights.” As a result, McMahon couldn’t walk away from the production for too long, and the chance to show a new audience was particularly tempting. “When the opportunity came to do the show at The Seymour Centre we leapt at the opportunity,” McMahon explains. “It will be a different show for various reasons. It’s essentially a new cast, and so when that happens you can’t really impose what you had before on the new actors, you have to make an environment where they’re able to [take] their own ideas into the rehearsal room. At its core it is the same, but it’s got a new edge.” In key parts of The Share, and Daniel Keene’s work generally, McMahon has also had a chance to think about different audiences around the place and their sensibilities. For Sydney, he’s planning to go forward again. “I think this time around there’ll be more depth and we’ll be a bit grittier. We heightened the comedy last time and while that’s still there, I think this time we’ve been a bit more courageous exploring the dark parts as well. And now I know the play so well, I’m able to look for other layers I didn’t find before – I’m able to keep digging.”

PARTY PRIMADONNA

Porn star, rock star, ar, fashion star; Uta Uber Kool Ja has quite literally seenn and done it all all. Jake Millar discovers that the enigmatic woman isn’t retiring just yet. Stardom has a new name. Well, four names, really. Meet Uta Uber Kool Ja, the extraordinary performer-cum-pop star-cum-fashion designer who’s set to hit Sydney as part of this month’s Rocks Village Bizarre. “A lot of friends call me Utie,” she says by way of introduction, “though I won’t go into some of the other things people have called me over the years.” Once a global megastar, the selfproclaimed “fallen fashionista” will be hosting an intimate, Champagnefuelled party to celebrate the relaunch of her music career. She

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promises to recount plenty of glamorous – and not so glamorous – tales from her life of ups and downs in the worlds of fashion, music and art, all with her trusty assistant George by her side. “George and I met while he was working at Selfridges in London,” she says. “I happened to be shoplifting there at the time, but we’ve been together ever since. He looks after me and he’s very supportive of me and my creative endeavours. When we have parties, he makes sure everyone gets a drink and has a good time, and

if perhaps I’ve said a little bit too much, he does gag me from time tto titime. S ti lit ll ” Sometimes literally.”

But first, a little more about the woman herself. “My mother was a model and my father was a pilot, and I grew up on these amazing islands where I’d swim with dolphins and turtles and everyday was a holiday,” Uta recalls of her early life. “But to be honest, a lot of my life is a blank. I did take a lot of peyote in the ‘70s.” She’s certainly outrageous, but there’s no denying the woman can spin a yarn. “I’ve been a rock star, a fashion designer and a performance artist, and I’ve travelled all over the world,” she says. “I’ve worked with Yoko Ono, Laurie Anderson and Stevie Nicks over the years

In addition to Ms Nicks, Utie has had run-ins with everyone from Vivienne Westwood – “she once sued me for copyright infringement” – to Jimi Hendrix – “I accidentally stepped on his hand and broke ttwo of his fingers. Through it he learnt learn to play guitar with one hand, so it was a gift, really.” But despite it all, she’s always bounced back. So what brings her to Sydney? “Quite frankly, we’re totally bankrupt and can’t afford any accommodation, so I’ll really jus just go wherever someone’s willing to put us up, even for a night,” she confesses. “I’ve had no fixed address for a number of years aand although I’m in Sydney now, next nex month I could just as well be on a plane to Spain or Belarus. I’ve actually got a bit of a history in the Eastern Bloc because I had a film career there in the ‘70s – an adult film career, that is.” Uta is here to relaunch her music career. “I don’t want to give too much away, but we’re doing a bit of a remix of one of my old singles. I’m rebranding, getting back in the saddle because it’s been a while,” she explains. “Like I said, peyote really knocked me around. I don’t recommend it.” WHO: Uta Uber Kool Ja WHAT: Rocks Village Bizarre WHEN & WHERE: Running until Wednesday 21 December, The Rocks

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FEATURE TOUR

THE LIVING END The Living End will play all of their albums live around the country this November and December as a ‘thank you’ to fans for years of support. For the first time, each album in their back catalogue will be performed from start to finish. With seven shows per city, the band will play The Living End twice in each city. The Sydney shows are this week at The Hi-Fi. The schedule is: Wednesday 21 November – White Noise, Thursday 22 – State Of Emergency, Friday 23 – Modern Artillery, Saturday 24 – The Ending Is Just The Beginning Repeating, Sunday 25 – Roll On, Monday 26 – The Living End, Tuesday 27 – The Living End.

FRONTLASH NEW SIGUR ROS TRACK Mike Patton @ Harvest pics by Angela Padovan

Grizzly Bear @ Harvest

to our shores in, oh, maybe ten years. And yes, they did eventually close proceedings with The Distance. Continuing with notable ‘90s bands, Ben Folds Five displayed their collective and unparalleled musicianship and vocal harmonies with hit tunes that still carry a lot of angst and bitterness today. Underground was played, as was their most well-known hit, Brick, pleasing those who have been waiting since their reunion. Despite playing the lite version of the same set at the State Theatre a few night previous, Beck still awed the crowd with his unique blend of pop and shuffle, perfectly comfortable in festival mode and rewarding those gathered with songs like Loser, The Golden Age and Que Onda Guero.

Sigur Ros @ Harvest

HARVEST

PARRAMATTA PARK: 17/11/12 The organisers of the 2012 Harvest festival would have been thanking their lucky stars for the sunshine that emerged after the previous day’s rain. However the luck seemed to even out with the late announcement that Beirut had pulled out of the Sydney show due to illness. Dark Dark Dark’s first set was just as good as their second later in the day (and at another stage), which prompted one colleague to impersonate through commenting “thanks for listening, we’ll be playing the same songs later in the day at another stage”. Jokes aside, their traditional folk and old country-laced music was a perfect start to a Spring festival day. Dexys’ hit of nostalgia went down well with the audience and a number of super enthusiastic Brits up front, but it was the hit song, Come On Eileen, that the majority of people had come to hear live, predictably appearing (from earlier reports) at the end of the set. The Dandy Warhols’ set on the main stage was one of the surprises of the festival and as is the case with other former Portland, Oregon-based bands, they showed they have matured into a more relaxed, less ego-driven-but-still-perpetually-hung-over rock outfit, with frontman Courtney Taylor-Taylor more an aging rocker who’s enjoying it while it lasts. A string of hits, including We Used To Be Friends and Bohemian Like You, had a big crowd up and cheering, but it was perhaps the lesser-known numbers such as Horse Pills and Boys Better that were sounding uncharacteristically fresh.

Dark Horses’ Wild West sounds were in stark contrast to their British roots and the continuing enthusiasm of frontwoman Lisa Elle is part of the appeal for the band. It wasn’t a capacity crowd, but they were well-received. Silversun Pickups introduced stand-in bass player Sarah Negahdari, who was filling in for Nikki Monninger (currently off on parental leave having twins), and she did a great job at that, as the rest of the band ripped through tracks off this year’s Neck Of The Woods release and a few choice moments from their other two albums, including Lazy Eye, to close their set. You didn’t need to know or own the album to enjoy Mike Patton’s Mondo Cane, his most recent project taking inspiration from his time living in Bologna and listening to ‘50s and ‘60s Italian pop songs, the project and the set being a series of covers as sung by him, backed by a full orchestra and band, plus one guy on a Theremin who was not only able to play actual notes, but also had enough wild white hair to play Doc Brown in a Back To The Future remake. The Black Angels’ haunting and oft times maracas-flavoured music was another well-received, judging also by a lot of comments from revellers, whose fuzz and down-tempo tracks seem to stick ‘round well after they had departed. Talk about a ‘90s nostalgia power explosion with the inclusion of Cake in the line-up, which was a masterstroke by the organisers and something of a surprise. Playing a cross-section of songs from their albums including Never There and Sick Of You, the band showed they still have what it takes to rock out. Appreciative and humble until the bitter end, singer John McCrea thanked everyone and said the band might consider a return

Grizzly Bear looked to be relishing the opportunity to play songs from their characteristically slow-burn (and very listenable) album, Shields, for their Australian fanbase and against a setting-sun backdrop, it made for an engaging, sometimes ethereal experience. Relying on their respective talents as musicians, a number of standout moments such as the key change in Ready, Able, and the vocal lead of Daniel Rossen on Yet Again, were highlights from a set that also included the classic Two Weeks and the lesser known but equally important While You Wait For The Others. Sigur Ros seem to draw on a crowd that’s hell-bent on getting teary, which leads many people who aren’t familiar with their stuff to be a bit sceptical. However, sceptics would have been somewhat humbled to see not only how well-received the band were in their main-stage setting, but the purity and a type of innocence that moved grown adults to tears. On the small stage and with a very meagre audience you would not have thought Crazy P(enis) noticed, let alone cared that hardly anyone had turned up for them, but their brand of house music was still enjoyed, with their set being a banging mix of party tunes and deliciously cheesy pop. It was a great day of international music and some top performances overall. Adam Wilding You know a festival has managed to impress when the biggest complaint an overly-critical reviewer can find with the day is that the “Big Red Tractor” stage was only moderately sized and neither red nor looked like a tractor. Harvest provided an eclectic line-up in a fresh location with an emphasis on a relaxed atmosphere and a respectful, but up-for-it crowd. River City Extension opened the day on The Windmill Stage with their folky indie sounds, easing the modest, but growing, crowd into the day with smooth, forlorn vocals, soulful horn lines and sparkly guitars. The indie vibes continued on The Great Lawn with Los Campesinos!, who expertly brought to life cuts from across the entirety of their discography. Though the music itself was joyous and almost “epic”, the lyrics explored darker themes like ambivalence and rejection, creating an interesting contrast in the band’s performance. Completely stuck in the ‘90s – but that’s how we like them – The Dandy Warhols brought their playful, irreverent alternative rock to a sizeable crowd at The Great Lawn which, for the most part, actually really liked the band

An already majestic Sigur Ros set at Harvest was made even more memorable by the inclusion of a new track, Brennisteinn, barely a fortnight after its debut performance. It’s not what you expect from them, being heavier, with almost industrial undertones, and nowhere near as atmospheric as their usual material.

FLUME Manages to debut at #2 on the ARIA album charts. Couldn’t topple boy band phenomenon One Direction (who can at the moment?), but put pop heavyweights Taylor Swift and P!nk in their place.

KE$HA Yes, does bog standard promotional appearances while in Australia, but comes out and parties at night with local acts such as Gay Paris and The Beards.

BACKLASH XMAS

The thought struck us the other day that it’s only just over a month until Xmas. Holy hell – where did the year go?

BIG WEEK As awesome as it was, we only just survived the massive week of gigs that Sydney has experienced. Our livers on the other hand…

MELISSA GEORGE What a funny old week for her, hey? Blasts people referring to her Home And Away past, then karma’s a bitch and her new show, Hunted, gets cancelled. And promptly is given a lifeline in the US. and weren’t just standing around waiting for Bohemian Like You (they did play it though and it suitably resulted in spontaneous singalongs). Lead singer Courtenay TaylorTaylor’s vocals are still excellent after all these years, easily shifting from low, breathy whispers to twangy wails, a talent that was especially well-demonstrated on We Used To Be Friends. At the same time, Basslines were holding it down at The Garden Stage, digging deep into their collections to provide classic and up-front dub, reggae, dancehall and even a touch of dubstep and jungle (don’t worry, it was the good stuff). It was crisp and clean, but with lots of bottom-end, exactly what you need when you’re called Basslines. The Great Lawn continued to provide brilliance when man of many voices Mike Patton and his ridiculously large ensemble presented Mondo Cane. Officially described as a reimagining of classic Italian pop songs, Mondo Cane is probably better described as Mr. Patton indulging his playful side and not taking himself too seriously (if he could ever have been accused of doing that in the past, anyway). A complete orchestra, featuring drums, guitars, bass, keys, violins and cellos, as well as backup singers and a guy who had hair like Albert Einstein playing what looked like a tuning fork, supported Patton’s ridiculously broad vocal range as he somehow managed to perform works like Urlo

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Negro, 20km Al Giorno, Ore D’Amore and Che Notte! in a manner that made them sound faithful to the originals, but incorporated all the various sounds and elements he has explored in his numerous projects. There will be people who will intellectualise the set, calling it “visionary” or “intelligent”, but really, it was just freaking fun and Patton himself seemed to be having as great a time as the crowd. Texan drone rockers The Black Angels drew a big crowd for their mid-afternoon slot on The Big Red Tractor stage, representative of their (deservedly) ever-increasing popularity. Being a festival set, it was geared more towards making a statement than presenting their more obscure work, but both casual and die-hard fans were given reason to cheer. The aforementioned statement was something along the lines of “hey, we’re The Black Angels, we love to play dark, introspective, droney rock driven by pounding drum rhythms and drench our instruments in feedback and effects; cop some of this bad-assery while we just casually switch who plays what instrument.” Bad Vibrations opened things perfectly, their set featuring material from all three of their albums, including The First Vietnamese War, Science Killer (which was reworked to the point it was almost an entirely new song, featuring some incredible levels of thump from drummer Stephanie Bailey), You On The Run and Black Grease. Christian Bland’s guitar work was of course superb, with him getting a few chances to play some extended solos and get tricky with his signature delay, wah and transform effects, while Alex Maas made all the girls (and even some of the boys) weak at the knees with his vocals. Newest member Rishi Dhir fitted right in, taking turns with Kyle Hunt to play the trademark grimey Black Angels bass, keys and rhythm guitar, even playing the sitar for a few tracks. Chromatics was an odd act to follow the intensity of The Black Angels and to some extent their placement in the day worked against them. It wasn’t that their performance was below par – indeed, Ruth Radelet’s vocals were as hauntingly beautiful live as they are on record and the spacey, washed-out synths and plucky porn music guitars sparkled in the late afternoon sun. However, it was just so much of a drop in intensity musically their set just washed over you somewhat rather than really got into your soul. Synth-pop and Italo disco are amazing genres – and few do them better than Chromatics – but right after ballsy psychedelic rock, they just don’t feel right. Tasked with the sunset slot, Beck delivered one of the most thoughtful, well-programmed sets that any band has ever played. The easy route would have been to just open with Loser and then continue from there with a string of up-tempo hits, but instead, he offered up a wide range of cuts from his entire discography, starting off subtle, understated and funky, before ending balls-out. Black Tambourine and Modern Guilt characterised the first portion of the set, which showed off the skills of his band members and his charmingly carefree, almost lazy vocal delivery. A string of downtempo, acoustic pieces followed, including an almost tear-jerking interpretation of Lost Cause. And then, when everyone was dying for it, it happened: Hotwax, Que Onda Guero?, Devil’s Haircut and Loser in succession kicked off a rapid-fire smack in the face of all of Beck’s fun, lyrically uninterpretable gems. It was here that the band’s ability to reinterpret the studio works live really shone, with plenty of impromptu solos and lyrical tongue-twisters, especially during Where It’s At and E-Pro. One could ramble on about this set all day; suffice it to say this is one artist who is even better live. Fuck Buttons delivered the intensity that needed to follow The Black Angels on The Big Red Tractor stage, toying around with stupid amounts of gear to create a combination of thundering drum loops, face-breaking walls of noise, ravey synths, rough feedback and guitar drones that was somehow danceable. Actually, not just danceable: fist-pumpable. The barnstorming Olympians was easily the highlight, getting a “let’s kick even more ass” treatment and turning the dancefloor into a combination of carefree dancing, dropped-jaws and people who looked like they’d just been lobotomised. Sweet Love For Planet Earth was the perfect closing track, rhythmically pulsing without even needing a kick drum and leaving the crowd unsure whether to feel uplifted by the epic synths and feel like they just danced to perfectly normal music, or terrified of the screamed vocals and somewhat violated by the last hour. Crazy P just felt almost lifeless after the onslaught that was Fuck Buttons and to an extent even felt out of place on that stage altogether (they would have suited an earlier slot on The Great Lawn or The Windmill Stage far more). Again, like Chromatics, the performance itself was tight, so it was a shame to not feel as moved by Danielle Moore’s soulful vocals and the funky, playful disco, soul, jazz and house instrumentals that backed her as one rightly should have been. The Mad Racket DJs provided a suitable alternative for those needing something with a bit more punch, laying down a classy selection of jackin’ house and techno to a modest but definitely appreciative crowd at The Garden Stage. Finally, special mention has to go The Campfire Stage, hosted by Dave Callan. Throughout the day it provided a refuge from the crowds and plenty of laughs thanks to a comedy showcase (Smart Casual were especially hilarious), but even better an erotic fanfiction reading. Yes, erotic fanfiction reading. You’ve never truly appreciated Blinky Bill until you’ve heard about him having incestuous oral sex with his sister, Nutsy. Indeed, the story was so enthralling (not to mention other pieces about Oprah, Posh Spice and David Beckham) that the typically excellent Silversun Pickups and Liars pretty much went by unnoticed while playing at the same time (sorry guys). Andrew Wowk

68 • For more reviews go to themusic.com.au/reviews

international acts. Thus, it was a welcome prospect to encounter the Sydney mob in a smaller, sweaty room with their heavily Swedish-influenced melodic death/ metalcore translating far more effectively. Daemon Foetal Harvest’s relentless brutality was delivered with imposing stage presence. Not deviating whatsoever from the mid-’90s era Cannibal Corpse template, the Wollongong crew were short on memorable songs, but pleased those keen for a spot of mindless headbanging. Beyond Terror Beyond Grace made a rare trick look easy on excellent latest disc Nadir, the Sydney/ Perth outfit seamlessly transitioning from grindcore to melancholic black/death/post-metal. Which is why it was disappointing the band (performing as a trio sans sole original member, bassist Alex Nicholson) announced it would be their last show. However, they made a caustic, harrowing final salvo. Brisbane’s Aversions Crown struck more poses than a Jersey Shore episode, but battled significant technical issues. Telegraphed beatdowns enabled pit ninjas to unleash the fury, with the band also attempting to entice non-believing purists to their technical but largely uninspired deathcore cause (“It’s all heavy”) without much success.

Coldplay @ Allianz Stadium. Pic by Tony Mott

COLDPLAY, THE TEMPER TRAP, THE PIERCES ALLIANZ STADIUM: 17/11/12 An entire day’s worth of lining up did not go to waste for ticketholders when Coldplay took to Allianz Stadium. It might just be that they’re style is suited to a much smaller venue, but The Pierces were just dull to watch and lacked the presence needed to gain attention from early comers. The Temper Trap are a well-oiled machine. Their panoramic melodies and saintly vocals suited the atmosphere perfectly, kicking off with London’s Burning and continuing with a string of high-energy tracks that concluded with Sweet Disposition. Midway through, lead singer Dougy Mandagi brought out a floor tom and cymbal for an instrumental jam, throwing water all over the mini-kit for the band’s own small-scale special effects. A Coldplay concert is a dazzling visual spectacle and they outdid themselves this tour. Fireworks lit up the sky while multi-coloured light-up bracelets given to concertgoers turned the entire stadium into thousands of Christmas lights. The opening In My Place guitar riff cued an explosion of confetti that continued to float in the breeze and fall onto the crowd for the rest of the song. The paper butterflies continued during Lovers In Japan while beach ball-sized balloons bounced around the crowd. The display was then stripped back for The Scientist, getting the entire crowd into the chorus. Coldplay’s setlist was the perfect combination of recent tracks and hits spanning back to the beginning of their career. A solid amount of 2002 album A Rush Of Blood To The Head was played throughout the night, a pleasure for both frequent Coldplay crowd members and the large young following present, who were probably seeing them for the first time. Lead singer Chris Martin was as affable as ever, with the unique ability of being able to connect with every single person in a 50,000-strong audience as he darted about the stage and catwalk. Coldplay left the stage for the expected first encore but, like the gentlemen that they are, made a surprise return on a small platform amongst the crowd to personally entertain those towards the back with a few tracks before returning to the main walkway for the conclusion. The many repeat Coldplay concert attendees present witnessed the effectiveness of this large-scale production combined with the band’s obvious pleasure taken from playing for their fans.

The main stage noticeably swelled for Fuck… I’m Dead, who serenaded punters with filthy gore-grind and amusing banter and were afforded the festival’s most positive response thus far. Sporting snappy ties and butchers’ get-ups, they would have been over-dressed for the occasion if not for the bloodstains. More exuberant than Richard Simmons on Red Bull but possessing a slightly disconcerting look in his eyes, King Parrot vocalist Matt Young led his thrashed-up grinders through a brief spurt of mayhem. Manically running throughout the venue, the frontman was ably supported in the crazed energy stakes by his bandmates. They didn’t care who got in their way – fans and photographers included – dishing out punishment with relish. Bruising pits ensued. It’s been eons since Astriaal last brought their deeply melodic, mystical yet still savage black metal to these parts. One of the bill’s most anticipated acts, the Brisbane band didn’t disappoint, creating a uniquely frostbitten atmosphere. Enigmatic, hooded frontman Arzarkhel remained shrouded in cloaks, while his fellow players opted to forgo anonymity and such extravagant stage-wear. After such a display, Norse’s blackened death could have merely been reduced to a mere opportunity to have a breather or make a trip to the bar, but the Southern Highlands act acquitted themselves well. Their latest material earned a respectable reaction and even if they didn’t leave with many new devotees, the already converted were satisfied. “Do you like the new record?” Although in most instances this would be an easy method of igniting a crowd, for Blood Duster it took on an additionally humorous turn. Having destroyed new platter KVLT before anyone else could actually hear it, Melbourne’s grind/death/rock nutters joyously teased their dedicated following with select tracks from it, playing to the day’s largest crowd. Tearing through Piss Stomper while dodging stage-divers, they invited numerous audience members on stage for closing sing-along anthem Drink, Fight, Fuck. Although far less of a drawcard than their predecessors, Disentomb were still somewhat of an anticlimax. The brutal Brisbane death metallers emanated enthusiasm and pleased a sizeable chunk of fans, but a largely one-dimensional approach failed to capture the same level of excitement.

The Brisbane boys perfectly executed their set and they are definitely a band that has to be seen live to be really appreciated. Cara Sayer-Bourne

BECK, DARK HORSES STATE THEATRE: 14/11/12 The UK’s penchant for bands that sound like Howling Bells’ first album has found new life in Dark Horses, a band whose moody spaghetti western songs were well-received. Despite having a mix that was a bit too vocal and drum heavy, there were many positives and a cool indie vibe. It’s difficult to justify in a few hundred words how good Beck was on the night. People definitely got what they came for with a set that went for two-anda-quarter-hours and spanned all his songs in between and including 1994’s Mellow Gold and 2008’s Modern Guilt. The audience greeted Mr Hansen warmly as he wandered on stage alone, accompanied with only his Danelectro Silvertone and playing a few choice slide licks. Moments later, these evolved into the first few chords of Loser, which in turn lead to the curtains being drawn back, the (original) full band (which included Joey Waronker on drums, now also of Ultraista) against a backdrop of snowflake neon lights and everyone off stage screaming like maniacs. One forgets just how many great tracks Beck has written in the past 15 or so years and each song (or ad-lib moment in between, such as his recollection of his 1998 New Year’s Bondi show – apparently it was a dive) was a constant reminder of that and also how effortlessly he is able to traverse the musical genre landscape – as easy as us mere mortals make cheese on toast. Devils Haircut, Girl, Modern Guilt, Que Onda Guero all got a run, as did a four-song set straight out of Sea Change that saw tracks like The Golden Age, Paper Tiger and Lost Cause played in subdued succession, but in a completely engaging manner, which would have left a number of the recently heartbroken with a lump in their throat. All in all, a ridiculously good set, a great audience and amazing surrounds made it one of the best shows of the year. Adam Wilding

Despite playing their third Sydney show in as many months, there were some folks about who would see Psycroptic every week if possible. Tighter than a nun’s nasty, Tasmania’s tech-death maestros fused material from more groove-oriented latest disc The Inherited Repression with staples Skin Coffin and The Colour Of Sleep. Even the more wearied, booze-fuelled patrons dug deep and kick-started circle pits. Psycroptic continue to raise the bar for local extreme metal and were a fitting closer to another well-rounded, enjoyable event. Although not attracting the same hysteria and turnout as 2011, there were plenty of bastards who will be back next year. Come on, you’d fit right in.

Cara Sayer-Bourne

Brendan Crabb

BASTARDFEST

VIOLENT SOHO, DUNE RATS, BLOODS

SANDRINGHAM HOTEL: 17/11/12

GOODGOD: 15/11/12

This all-Australian festival embraces many facets of extreme music. That includes the much-maligned, yet undeniably popular deathcore field. Decked out in matching band basketball jerseys, Sydneysiders Alice Through The Windshield Glass were technically proficient and warmed up a few necks, although wore a tad thin. Newcastle’s Cerebral Contortion played raw, if archetypal, thrash à la early Sepultura and Kreator, with a cover of Slayer’s Piece By Piece winning the approval of many.

It is always a pleasure to see Bloods around Sydney and they proved this once again as first support. In spite of the sore throat plaguing lead singer MC, it was their usual fun and playful set with a new song that was a breath of fresh air as it dripped with sultriness.

Perth’s Animistic and their groove-laden, The Acacia Strain-inspired modern death were pleasing enough, albeit somewhat nondescript. This reviewer has only previously caught As Silence Breaks in larger rooms supporting

Watching Violent Soho leaves you without any words to really describe what they do other than say they are just so, so good. The brutal guitars and strong backbeat of their tracks combined with contagious hooks translate so well to the stage and are made for moments of reckless abandon in a venue. Unfortunately, this was the downfall of a number of moshing guys in a circle pit of flailing limbs who had their nights ended with escorts by security out of the building. The gaping hole left in the middle of the audience only dampened the spirits of the crowd for one or two tracks, but a more sober medley of moshing and headbanging eventually filled it.

Dune Rats can seem completely shambolic and disorganised at times but unlike any other band as the sincerity behind their attitude allows them to pull it off with charisma. Somehow soundchecking in the set and the bass player not showing up until the second track made them more entertaining to watch than if it was a smooth show. They are extremely good at what they do – delivering catchy and noisy slacker rock – with chaos failing to detract from their musicianship.

Beck @ State Theatre. Pic by Linda Heller-Salvador

distinctive, overpowering sounds filled the Metro Theatre without preamble, but Grizzly Bear are renowned enough that their distinctly experimental aesthetic speaks for itself. It is incredible to hear this band take a soundscape from sparse and delicate to a wild cacophony of improvised music. The band’s entrancing, gorgeous vocal harmonies are particularly remarkable; on virtually every track, it is impossible not to be completely captivated by the soaring, ghostly vocals. Shift, from their debut album, Horn Of Plenty, was a set highlight; its intricate arrangements were reproduced onstage near perfectly and as the track’s opening chords echoed through The Metro, the packed-out crowd fell silent. The track’s haunting, evocative lyrics worked in tandem with the band’s flawless vocal work, mesmerising the crowd. The strident keys and heavy, staccato drumbeat of Yet Again are certainly a contrast to earlier tracks, but the audience’s response was just as positive. In performance, this track takes on an almost explosive, cathartic quality and the audience seemed to know every word. Closing with an acoustic All We Ask, in which Ed Droste’s clear, incredible vocals rang out across the venue, it would seem that Grizzly Bear have once again cemented their reputation as one of the most remarkable indie bands around. Jessie Hunt

DEXYS ENMORE THEATRE: 15/11/12 Radiohead @ Sydney Entertainment Centre. Pic by Angela Padovan.

RADIOHEAD, CONNAN MOCKASIN SYDNEY ENTERTAINMENT CENTRE: 12/11/12 Scoring Radiohead’s highly coveted support slot was New Zealand’s Connan Mockasin, who performed a tidy little set of progressive, experimental rock. The frequently shifting time signatures and genres managed to garner the attention of a crowd of loyal Radiohead devotees. Eight years have passed and two albums have been released since Radiohead last toured Australia, and this concert delivered everything die-hard fans had been waiting for. It was the first opportunity for In Rainbows and The King Of Limbs material to be performed live on Australian soil and the setlist was generous in realising this. Bloom signalled the plunge into a spectacular audiovisual experience that was to last for over two hours. Two drummers created a heavy drum’n’bass style rhythm section, which was to underlie the entire show, but blossomed perfectly in this opener. Layers of guitar, samples and reverb soaked vocals were richly lathered over the top, with Thom Yorke’s voice sending shivers as it swept around the cavernous hall. Twelve movable screens were suspended over the stage. They rearranged for every song and mimicked the rhythm and complexity of each, flashing images of the limbs, instruments and musicians working them. Block colour worked fantastically as a lighting feature, capturing the tone of each song, but it was an awesome moment when the screens were blasted with a kaleidoscope of colour for new track Full Stop.

It had the potential to go very wrong. A majority of the audience were probably here to see one 30-yearold song, potentially bumping heads and expectations with a singer who stubbornly does things his way. But, at heart, frontman Kevin Rowland is an entertainer – and an artist. There’s always a vision. Thus, this (up to ten-piece) Dexys line-up took the stage in 1940s zoot suits and pinstripes, fedora hats and flat caps, the look akin to an amateur production of Guys And Dolls, to run through their new album – the sprawling and often melodramatic One Day I’m Going To Soar – recital style. It’s theatrical, then sincere. The band is drilled tight, led by original Midnight Runner (and later Paul Weller/ Style Council foil) Mick Talbot’s keyboards, punctuated by Big Jim Paterson’s trombone or Alice Pratley’s violin. Once bass player, now second vocalist, Pete Williams acts as Rowland’s conscience, confessor, adviser and/or bullshitting mate down the local, as he blusters through the insecurities in pursuit of the girl he thinks he wants. Said girl, the imperious and glamorous Madeleine Hyland, is there – and yet not, her unattainable status reinforced by appearing as a glossy film-star image on one of those old roll-up slide screens, before she actually sweeps onto the stage as the ‘relationship’ finally happens – and then disintegrates in three songs, the big emotional swing of Incapable Of Love having her disappear in an angry swirl of satin and chiffon. Singing to an empty chair, the album performance seeps away with It’s OK, John Joe. Rowland is still a great soul singer, as the self-analysis and resignation pour in and out of him. “But we can’t leave it like that!” Williams announces. And the final third of the night is the pay-off to many. The back catalogue is raided, although not for the most obvious – Until I Believe In My Soul, an odd cops-and-robbers dressup sketch segueing into Tell Me When My Light Turns Green. Oh, and that one about Eileen coming on, with the venue going double-mad-with-cheese karaoke singalong.

Lucky, Morning Mr Magpie and Weird Fishes/Arpeggi kept the audience hypnotised, but as Yorke began to jitter around the stage like a live wire, the audience seemed to regain a bit of consciousness. The bass got heavier and the distortion was cranked up. They moved into a more electronic section with Myxomatosis and The Gloaming, before taking a breather and putting the spotlight on Yorke’s vocals with Separator and Nude, which for the most part soared, but occasionally snagged.

It ends with the rambling, imploring, exhausting, soulful This Is What She’s Like. It was nothing – and everything – that was expected. Which only seems right.

Bodysnatchers officially closed the set as the audience howled for more and the band grabbed a minute’s rest, but the show was far from over with three encores to come. Give Up The Ghost was a beautifully bare moment with Yorke looping his vocals into rich harmonies, before Jonny Greenwood took a bow to his guitar for Pyramid Song. As Idioteque closed the night, the audience were left to float back down to earth, pick up their chins and collect their blown minds.

Warning: to follow is a review so glowing that you may need ‘70s-style Elton John glasses to read it. But the man was that good. Treating the cavernous Entertainment Centre like a cabaret lounge with supports Schmidt and 2CELLOS (the first a relatively straight German lady crooner, the second two spunky boys playing electrified covers on, um, two cellos), Elton John didn’t keep us waiting and after these went pretty much straight on stage to play two-and-a-half hours straight. Solo. Playing a souped-up grand piano to allow for the odd piece of electronic trickery (an occasional soft synth addition to the slower songs), he kicked off The One then jumped a couple of decades back to his second-ever album with Sixty Years On. The decade leaps continued throughout the night but his energy grew, with the now-croaky speaking voice only fuelling his singing. Sure, it’s not the same type of power it was in his 20s, but man it’s still goosebumpy. This writer dissolved during Someone Saved My Life Tonight, Don’t Let The Sun Go Down On Me and Daniel particularly, while the tour title track Rocket Man was the mass sing-along all expected.

Alex Hardy

GRIZZLY BEAR, KIRIN J CALLINAN METRO THEATRE: 16/11/12 Kirin J Callinan opened the show with his artful, rock’n’roll tracks. They seem grounded and authentic before all else. He is something of a veteran on the Sydney music scene and his numerous shows around the city ensured many members of the audience had heard his particular brand of unstudied, rollicking indie rock before. There seems to be something almost chain-gang-like about the angst-filled, torturous pitch and mildly terrifying lyrics of Callinan’s songs. Grizzly Bear took to the stage through a haze of smoke amidst mountains of equipment – rows of synthesisers, racks of guitars, an omnichord and a drumkit. Their

Ross Clelland

ELTON JOHN, SCHMIDT, 2CELLOS SYDNEY ENTERTAINMENT CENTRE: 16/11/12

Between tracks John told war stories, including the story of meeting and eventually setting up a working relationship with local electro poptarts Pnau. John’s story about finding them on a touristy record shopping trip was divine in itself (he’s Elton John, he doesn’t need to go out to buy records!) and confirmed his position that

40 years on he’s still a music fan – and that excitement was infectious. The Pnau kids joined him for an additional half an hour to end (their Elton John mash-ups with him singing and playing live) and a whole new party started. It was confident, generous and gorgeous all ‘round. Liz Giuffre

BEN HARPER SYDNEY OPERA HOUSE CONCERT HALL: 12/11/12 Walking into the impressive Concert Hall of the Opera House, it was obvious this evening was to be an stripped back affair, as evident by the array of acoustic guitars sitting patiently on stage, obediently awaiting their master. One couldn’t help but be impressed by the plethora of six-strings – he couldn’t possibly be going to play them all? There was also an upright piano and vibraphone sitting there, arrogantly assured of getting their turn. Finally, Ben Harper walked onto the stage to an already adoring audience and he hadn’t even strummed a note. The first instrument picked up was his ever-faithful slide guitar, and he began the evening with an instrumental, possibly improvised soundscape, producing sounds that were both Eastern and Western. A soundtrack to a noodle western perhaps? After this atmospheric instrumental start, he sang a beautifully simple rendition of Pleasure And Pain. His next guitar was the cutest little ukulele and then he picked up a serious steel string for a rough but heartfelt rendition of The Drugs Don’t Work, before he pulled out crowd favourite Diamonds On The Inside. Apart from playing a selection of classics, of which there are many to choose from, Harper also played a brilliant new song, Loving You Is My Masterpiece, which he dedicated to the newly engaged couple in the front row. Even though Harper sometimes plugged in his electric guitar for some songs including Excuse Me Mr – kind of cheating but we will forgive – overall the evening was a relaxed and polished affair. At one point, Harper called the Opera House a 2500 seat living room and, in a sense, it was. His warmth, humour and his between song banter was just as entertaining as his playing. It really was like a visit from good old Uncle Ben. Francesca Palazzolo

EMMYLOU HARRIS & HER RED DIRT BOYS, BEN ABRAHAM STATE THEATRE: 15/11/12 An absolute icon in the country-folk cannon, Emmylou Harris still bears hints of the idealistic young folky who was influenced by Dylan, Baez and Seeger over 40 years ago. But, as this consummate performance showed, the lives and loves Harris has been touched by along the way have given the singer and often underrated songwriter such a great depth of material that her live show is like a rare gem to be treasured for its shine and uniqueness. Though young Melbourne songwriter Ben Abraham had to be nervous playing such an auspicious show, his easy banter (he warned us early he usually talks more than he plays), his considered lyrics and a voice that swooped and soared ensured the young musician created the perfect mood for a support act and was warmly received by the crowd.

(they did a fine job), but had they completely cut loose and indulged in a good old-fashioned freak-out it would have elevated them. A nice ten minutes of swirling guitar noodling would have suited them really well; the intensity of their sound and their obvious love for their acid-fuelled forefathers hinted at something righteously volatile just below the surface, but they never lost their cool. Brothers opened a fantastic set for The War On Drugs and Adam Granduciel’s meandering, Dylan-esque vocals flowed through it like he was remembering it as he went along. Their trademark sunburnt sound is huge in a live setting, with Granduciel’s inspired guitar work folding over itself in layers of warm patterns. The set was a showcase of their best work, mostly from last year’s Slave Ambient. Expansive ballad, Best Night was the clear high-water mark and as it moved into the final long stretch of instrumentation, it just hovered there for ages, building and building into a brilliant conversation between Granduciel’s guitar and Robbie Bennett’s keyboard. Waves of swirling guitar and a pulsing rhythm section washed over the full house. The gig was a cathartic experience that mellowed out the crowd, kind of like winding down the windows in a speeding car does on a hot summer day. Matt MacMaster

REFUSED, ENDLESS HEIGHTS ENMORE THEATRE: 13/11/12 Sure, Endless Heights sounds like a ‘90s soap that never quite made it, but the Sydney locals played a pretty darn decent brand of emotive post-hardcore that somehow managed to avoid being over angsty and instead came across as focused and sincere. Not bad. Back in 1998 when Refused broke up, they could barely get arrested (if you want proof, check out the Refused Are Fucking Dead DVD). Now, a reformed Refused are considered punk rock visionaries, and unlike poor old Vincent van Gogh, the Swedes have been able to come back and enjoy their life-after-death success. Terror’s Scott Vogel may think Refused are cashing in, but for the rest of us this was a revelation. Bursting out with the title track from their The Shape Of Punk To Come swansong, Refused immediately showed that they could exceed their own mystique. Not surprisingly, the band focused heavily on The Shape… LP, giving us The Refused Party Program, Summerholidays Vs Punkroutine, Liberation Frequency and Worms Of The Senses/Faculties Of The Skull and, in return, had every damned lyric screamed back at them by the majority of the audience. Older material like Rather Be Dead and Coup D’État were also rapturously received and served to remind that Refused are no one-trick pony. Musically, the five-piece were incredibly tight with drummer David Sandström particularly impressive as the unstoppable driving force behind each chimerical bombination. Frontman Dennis Lyxzén proved himself quite the showman and added to his on stage acrobatics by walking out onto the outstretched hands of the pit dwellers down the front. By the time the opening strains of New Noise hit, everyone had pretty much lost their shit – Refused had conquered. This was perhaps the punk rock show of the year. Mark Hebblewhite

Emmylou Harris’ set proved she is still just as much a fan of good music and quality songwriting as her audience. Singing songs written by Steve Earle (Goodbye), Gillian Welch (Orphan Girl), Billy Joe Shaver (Old Five And Dimers Like Me) and of course her dear friend, the late Gram Parsons (Sin City and a stunning strippedback Hickory Wind), Harris’ sweet, unaffected voice highlighted the poetry of the words she was singing. But it was her own song, My Name Is Emmett Till, about a 14-year-old African-American who was killed in 1955 in Mississippi for flirting with a white girl and was a prime motivator for the Civil Rights movement, plus an a cappella rendition of old time Appalachian folk song Bright Morning Stars that stole the show. Harris joked about writing to Pete Seeger as a young folkie concerned that she didn’t have enough life experience to write her own songs. Seeger’s reply was, “Just wait”. Forty years on and the wealth of Harris’ life experiences made this a live show one of the year’s best. Danielle O’Donohue

THE WAR ON DRUGS, GOOD HEAVENS OXFORD ART FACTORY: 15/11/12 Sydney acid rock outfit Good Heavens opened with a muscular set of songs that felt equal parts bong hit and earnest Sabbath exploration. An airtight rhythm section (courtesy of ex-Wolfmother bandmates Chris Ross and Myles Heskett) supported frontwoman Sarah Kelly (theredsunband) as her seductive, heavyweight blues licks snaked and whipped around the club. It was a brooding, powerful set that clearly owed a bit to Canadian space rockers Black Mountain with its steady, growling organ and hypnotic incantations. Not to drag it down

Refused @ Enmore Theatre. Pic by Angela Padovan

For more reviews go to themusic.com.au/reviews • 69

ROOTS DOWN

THE HEAVY SHIT

BLUES ‘N’ ROOTS WITH DAN CONDON ROOTS@DRUMMEDIA.COM.AU

METAL AND HARD ROCK WITH CHRIS MARIC programs and research into Devil Facial Tumour Disease. For more information visit the bands FB page. The tour kicks off on Friday at Dicey Riley’s Hotel in Wollongong.

Puscifer Wanda Jackson The Lumineers really shot to fame earlier this year when their debut, eponymous record started to do very nice business in the USA and Aussie audiences started paying attention. The band have been out on the road with everyone from Old Crow Medicine Show to Dave Matthews Band (how does that horrid, horrid act manage to select such great supports?), but this is after they played a whole bunch of open mic nights in their native Denver, Colorado, where they presumably earned their performing stripes. The band now see themselves heading out to Australia next year for a bunch of shows (plus they’ll be on the Bluesfest bill, I promise) and it will be interesting to see how much their fan base can expand between now and then. I’d imagine a fair bit; their Ho Hey tune has just gone to radio and they kinda seem like one of those bands that Aussies are going to lap up. Anyway, they’re at The Metro Theatre on Wednesday 27 March. Can promoters out there please tell me why you haven’t brought The Avett Brothers back to Australia? Their new LP, Carpenter, is pretty tidy and they’ve gotta be good for at least a few hundred people in each city, right? I seriously would like to know; my email address is above. We already knew that the legendary Arlo Guthrie was going to be in the country early next year. He has been announced as appearing at both the Port Fairy Folk Festival and Blue Mountains Music Festival, but he’s added a whole heap of headline shows to his schedule, shows that will see him playing to audiences all over the country. The 65-year-old folk singer is one of the world’s most renowned protest singers, taking after his father, the legendary Woody Guthrie, and rose to prominence late in the 1960s with Alice’s Restaurant Massacree, an 18-minute talking blues song that proved he had the ability to tell a story through song much like his old man. The City Of New Orleans was another hit for Guthrie, its four minute duration a little friendlier to the general public and no doubt helping it get into the American Top 40. His other most popular song was Coming Into Los Angeles, which gained huge popularity thanks to its inclusion in the Woodstock movie and soundtrack album. Arlo will have some very special company with him on this trip – he brings his daughter and son-in-law out to support, Sarah Lee Guthrie & Johnny Irion opening on each and every date. They play Southern Cross Club, Canberra on Thursday 28 February before hitting the Seymour Centre on Friday 1 March. The legendary Carole King announced a round of enormous headline shows in Australia last week that will see her heading along to some of the country’s bigger venues. King was last here in tandem with James Taylor for a bunch of shows that I have been told were really special. She has the kind of songbook that suggests she would probably be a pretty incredible prospect on the live stage; if you want to find out then you can do just that when she plays Canberra’s Royal Theatre on Thursday 7 February, the Sydney Entertainment Centre on Thursday 14 and Hope Estate Winery, Hunter Valley Saturday 16. Speaking of legendary women in the world of music, Wanda Jackson’s return to Australia is pretty exciting and a bunch of intimate sideshows announced recently has me even more excited. Listening to the undisputed First Lady of Rockabilly’s recent records, it sounds like we might have a bit of a reinvigorated Jackson on our hands next year. No rock’n’roll fan should miss seeing this legendary performer live as she plays tunes from across her career. Catch her at the Factory Theatre on Saturday 23 March or Lizotte’s, Newcastle on Monday 25 March. In closing, I’d just like to say that you should listen to Midnight Oil’s new Essential Oils compilation because it’s amazing and will actually make you a better person. Cheers.

70 • For more opinion go to themusic.com.au/blog

If you’re under 30 and have never experienced a loud as hell, pyro exploding, stadium shaking, rock and fucking roll extravaganza like your Momma told you about from back in the good old days, then I suggest you buy tickets for what may be one of the last bastions of musical excess and OTT’ness that exists. That’s right, KISS and Motley Fucking Crue, along with the legendary Thin Lizzy (well, what’s left of them anyway) are coming to the Allphones Arena on March 9 next year to Rock and Roll All Nite and do the Rattlesnake Shake. Raise Your Hands to Rock and be there! And the week before, you can take it back one generation further with the mighty Deep Purple bringing that riff and many more that most people don’t have a clue exist to the Entertainment Centre on Saturday 2 March. Joining them are Journey, who will make you believe in rock once more. I could be wrong but it seems Maynard is more productive with his side projects than he is with Tool. Puscifer is his Mr Bungle sorta thing and has been described as a sonic, visual, visceral mind-fuck. If that sounds like a top night out, then be at the Enmore, Tuesday 26 February. Math-metallers Kunvuk have announced the first leg of their Become Monster Tour, which takes in a huge amount of regional areas between the end of November to around mid Feb. Their latest album, Consume Rapture, was released in June and this will be the first time many areas get to hear the stuff live. Like past tours, the band will be donating 50 percent of all profits from the tour to the Save The Tassie Devil Foundation, which works to help the endangered Tasmanian Devils through breeding

Melbourne’s Death Audio are seriously good and their self-titled album has been a very long time coming. It’s technically perfect, has huge riffs, sounds enormous and deserves your attention. Early reviews have described it as a killer balance of brutality and melody and it is. Pre-order the album from JB before 23 November and you go in the draw to win a LTD MH-50NT guitar and a Maxon pedal. I gotta wonder if Snake Sixx ever sleeps! It seems every other day he is busting out some new project or an offshoot to one he already has going. He’s like a kid hyped up on red cordial, ritalin and a bunch of fit-causing Japanimation shows. Good thing he has a guitar to keep his hands busy then, eh! The announcement last week is that after 18 years, Gregor and Snake are reforming Aftermath. Why? Because they can, that’s why! Another amazing week in the live front once again – Ready? I mentioned ages ago that The Living End would be hitting the road for their Retrospective Tour in November and would be playing all of their albums in full at different shows. The week has finally arrived for them to hit Sydney on their 35-date trek across the land. If you bought your ‘Big Red Tcket’ when I told you to, you now have a pass to catch every single show that’s on this week. If you didn’t, you have to line up for each one you want to see. The band have booked The Hi-Fi all week, playing White Noise on Wednesday, State Of Emergency Thursday, Modern Artillery Friday, The Ending Is Just The Beginning Repeating Saturday, Roll On Sunday and a double helping of their self-titled debut Monday and Tuesday.

THURSDAY The mighty, and I must say also one of the nicest bands I’ve ever dealt with, Eyehategod, bring their southern fried sludge to the Manning Bar tonight with I Exist in tow.

FRIDAY The sludge fest travels south to Canberra tonight with Eyehategod, I Exist and Law Of The Tongue laying waste to the ANU Bar. London In Terror, She’s Taken Empires, Forever, A Dreamer, Traces and Contour play for the good people of Armidale Golf Club in an all ages, drug and alcohol free event. Swedish Black Metallers Dark Funeral hail Satan at The Factory tonight. Supports will be there playing on two different stages and come in the form of Erebus Enthrone, Gods of Eden, Norse, Paradigm and Katabasis plus direct from Singapore, Draconis Infernum.

SATURDAY It’s that time of year again! The annual Sydney Dime Show is on at The Stag and is a steal at only 20 bucks. Every band on the bill will bust out at least one Dime cover from Pantera, Rebel Meets Rebel, Damageplan, etc. Plus there are plenty of door prizes, Dime photo displays and more. The bill opens with Til Rapture and from there it’s Cryptic Scorn, Terrorental, an unnamed special guest, Red Bee, Atomesquad and Nekrofeist. Meanwhile The Annandale hosts Iwrestledabearonce, In Hearts Wake and Storm The Sky. The IWABO afterparty will be on at Venom with Foundry Road, State Of Integrity, Dropbear and Resonance playing live and album launches for Destruction and Soundgarden. Down at Yours And Owls in Wollongong, it’s Pirate, Apes and The Koranic. Screaming saxophone madness awaits you.

SUNDAY Iwrestledabearonce, In Hearts Wake, For All Eternity, Storm The Sky, Hunt the Haunted and Graves will be hanging out at The Wall/ Bald Face Stag all day for an all ages show. heavy@drummedia.com.au

WAKE THE DEAD PUNK AND HARDCORE WITH SARAH PETCHELL who have come out of retirement in recent months, starting with playing with Bodyjar on their No Touch Red shows. You can catch the tour when it hits the Big Top at Luna Park on Thursday 7 February. Tickets go on sale this Thursday 22 November and you need to get on these straight away because they won’t last for long.

So if you missed Refused while they were in town last week, you missed out on them schooling a large proportion of modern hardcore bands on the way that hardcore bands should perform and behave. Irrespective of ticket prices or venues, the reality is that this was one of the performances of the year and is one that will not easily be supplanted in my mind (in much the same way Fucked Up destroyed The Standard back in December last year, or the first time I saw Coerce live). Anyway, onto this week!

It has been a long five years, but FINALLY the new album from The Bronx is going to be released on 8 February and to be quite honest, I cannot wait! Continuing the trend of previous albums, the record is called The Bronx (IV) and it comes as the group celebrates their 10th anniversary as a band. Already up for pre-order, the world can get a taste of the new album through the track Ribcage, which is available through iTunes and on 7-inch (though I recommend getting your hands on the limited edition vinyl to get the previously unreleased b-side, Into The Black). Twelve tracks in just under 40 minutes, this sounds like The Bronx that we all know and love. Even more exciting is the fact that a new album inevitably means a tour (I have no information on this, but it is a logical assumption) and a tour means an opportunity to dance my butt off and scream at the top of my lungs.

I would like to start this week with one of the BIGGEST TOUR ANNOUNCEMENTS OF THE YEAR! Seriously, if this is an indication of what’s to come in 2013 then bring it. Thanks to Blue Murder and Destroy All Lines, punk fans can rejoice. When Descendents toured Australian in 2010 with No Sleep Til that in itself was something fans had waited for. I don’t think they ever anticipated that the band would COME BACK, but indeed that’s what they’re doing in February. But no, it doesn’t stop there as coming with them will be The Bouncing Souls, also returning for the first time since 2010, and celebrating their 23rd year as a band. BUT EVEN THEN the Australian national supports are Frenzal Rhomb and Bodyjar. So seriously, bring on summer, bring on 2013 and bring on Descendents (and The Bouncing Souls, Frenzal and Bodyjar). To top things off, the Sydney show will feature local band Irrelevant

Title Fight have proven themselves to be more than a fad. Their most recent album, Floral Green, has proven that as well as winning over new fans from the ambivalent and naysayers. I think it has something to do with the homage to the ‘90s combined with the complete honesty and earnestness with which they wear their influences on their sleeves that has made this album so appealing to so many. Having previously toured back in 2011, Title Fight are now returning to Australia in venues better suited to their size and standing as a band. On their second ever headline tour of Australia, Title Fight will be bringing Tasmania’s Luca Brasi along for the ride, fresh from releasing their most recent 7-inch Tassie. So you can catch the tour when it hits Sydney on Saturday 9 March for an 18+ night show at the Annandale Hotel and then on Sunday 10 there will be a daytime, all ages show at the same venue. Tickets are on sale now!

The Bronx

Sydney hardcore acts Endless Heights (fresh from supporting Refused) and Civil War are both getting set to release their respective 7-iches. For Endless Heights, Lady Wisdom represents a labour of love and a huge step forward in what is sure to become an impressive career. As for Civil War, Jaded Minds is their debut after what is already a flying start to their career. To celebrate, the two bands are heading out on the road together, for Endless Heights’ first national tour as headliners. With all the details announced including supports you can mark these dates and venues in your calendars. The bands will hit Yours And Owls in Wollongong on Sunday 9 December for an all ages show with Death Toll, Cold Youth and Hourglass. Then on Wednesday 12 December there will be an 18+ show at the Cambridge Hotel in Newcastle with Distance and Downside. But it is the Sydney show on Friday 14 December that you need to really mark down. The all ages show at Chatswood Youth Centre will see the bands joining with Fixtures (for their final show) as well as up-andcomers Perspectives and Harbourer. Tickets for all shows will be available on the doors only. But head along and make sure you support your local bands. Last up for this week, Blink-182 announced a couple of weeks ago that they were finished with Interscope Records and that from here on out they would be going independent and releasing their material themselves. In the weeks that followed, Mark Hoppus and Tom DeLonge offered tantalising hints of new material in the form of an EP to be released just before Christmas. Now these hints have been concreted with the announcement that the EP will be dropping on 18 December with pre-orders expecting to be launched any day now (so keep an eye out). Blink have been very vocal about this release, declaring that this is the start of a new era for them and that they were keeping all options open. Drummer Travis Barker was also quoted as declaring that the material was a hundred times better than the songs on their last release Neighborhoods. wakethedead@drummedia.com.au

DANCE MOVES

OG FLAVAS

BLOW

NEW CURRENTS WITH TIM FINNEY

URBAN AND R&B NEWS BY CYCLONE

JAZZ/WORLD WITH MICHAEL SMITH

Miguel

Lindstrøm Remarkably, it’s now nearly ten years since HansPeter Lindstrøm first shook the post-Metro Area Italo revivalist scene with his swirling, ruminative brand of space disco. In the near-decade since, Lindstrøm has cemented himself as being as close to dance music orthodoxy as you can get without being Carl Craig; as far as I can tell, no one dislikes the guy, at most quibbling that some earlier artists (Idjut Boys, Faze Action), anticipated many of his tricks, or that he’s overrated relative to his fellow Scandinavian disconaut peers. So the problems that beset the Norwegian are the problems faced by any artist at the top of their heap for so long – how to maintain the momentum? It doesn’t help that Italo-disco, and the late ‘70/ early ‘80s generally – as organising principles in contemporary dance music – started to decline from their pinnacle of influence about five years ago (let’s call this dynamic ‘peak disco’). Lindstrøm has responded to this decline logically, by making each project a consciously startling deviation from his own norm; 2008’s elegiac Where You Go I Go Too was a paean to widescreen ‘80s soundtrack music (Vangelis’s music for Bladerunner, Moroder’s repurposing of Metropolis), while 2009’s Real Life Is No Cool with vocalist Christabelle was a loveable shift into fretful Jam & Lewis-style R&B. The pressure of constant self-reinvention became apparent on Six Cups of Rebel, released at the beginning of this year; a preposterously overblown disco/prog-rock fusion that achieved the unlikely feat of making fellow Norwegian producers and proud purveyors of ridiculousness Mungolian Jet Set appear restrained. Six Cups Of Rebel is rather better than it’s often made out to be, but it’s also exhausting to listen to, and its frenzied arm-waving mostly underscored the difficulty of pushing Lindstrøm’s brand of maximalist disco forward on any meaningful sonic level (as opposed to adding guitar solos and muppet vocals). Perhaps adding insult to injury, compatriot Todd Terje was winning plaudits at the same time by heading in the opposite direction, offering uncharacteristically serious and stripped-back synthesiser explorations that pick up where Steve Reich’s Music For 18 Musicians and Manuel Göttsching’s E2-E4 left off. Lindstrøm has responded in unusually swift succession with the concise Smalhans, perhaps not coincidentally mixed entirely by Terje. Opener R - k -St feels like a straight-laced reversion to type, all cheerful Moroder synth pulses that trace both energetic minor oscillations and a more soothing narrative arc. So far, so familiar. But the tale immediately becomes more bewitching from next track Lamm-El-Aar, which has otherwise identical ingredients that feel compressed and shaken up, the synth arpeggios ducking and weaving with dizzying agility and complexity in an intricate dance that, listening, you feel you can only just follow. Never alienating, Lamm-El-Aar and the tracks that follow offer up a brand of melodic density that bubbles with self-delight and the delight of the audience, like a free-wheeling conversation that flows so naturally it’s impossible to recreate after the fact; both Eg-Ged-Osis and the irrepressibly joyful Vos-Sako-Rv feel like they’re constantly climaxing with starry-eyed wonder. I’m frequently reminded of Orbital’s 1999 album Middle Of Nowhere, which shared Smalhans’ love of ceaselessly interweaving synth arpeggios rising and cresting in Mandelbrot Set-like profusions of colour and curlicue. The difference is that where Orbital used the entire kitchen sink, Smalhans is rigorous in its self-discipline and restrictive ingredients, its sustained love letter to the arpeggio distinguished by its ideological purity. This serves to make it the producer’s least obviously ground-breaking release yet – vulnerable to dismissal as, basically, Ewan Pearson on red cordial – but if you’re sensitive to the twists and turns in Lindstrøm’s craft, then Smalhans’ back-to-basics approach reveals itself as yet another milestone in the producer’s near-golden run.

What is it about indie hipsters and R&B at the moment? They love Frank Ocean, The Weeknd and post-dubstep soulstress Jessie Ware. Beyoncé’s sister Solange has been dubbed “The Indie Knowles” by NME. Indeed, indie and urban are mixing in intriguingly avant-garde ways, Bon Iver’s Justin Vernon having collaborated with both Kanye West and James Blake. Lana Del Rey basically cut a hip hop soul album in Born To Die, hiring ‘Ye producer Emile Haynie. Sometime folkie Channy Leaneagh fronts Minneapolis’ Poliça who, diggin’ Ocean, The Weeknd and, er, Auto-Tune boffin The-Dream, modernises Aaliyah’s ‘90s tech&B (similarly beloved by The xx) on Give You The Ghost. Poliça’s definitive song? The twisted ‘80s goth funk Dark Star with its horns. Even Canadian rave rebels Crystal Castles have R&B inflections on their new album, (III). Strange. The Weeknd, AKA Abel Tesfaye, has been off the radar in 2012 while Ocean stunned critics with channel ORANGE. But the Toronto soulster, now signed to Universal, is closing out the year with Trilogy. This comprises the three mixtapes (including House Of Balloons) that he made available for free download in 2011, only remastered with a handful of new songs. However, the most underrated figure in blog era altR&B has gotta be California’s Miguel Pimentel – or just Miguel. Happily, like Solange, the quiffed neosoulster’s fortunes are turning around. Pimentel’s latest album, Kaleidoscope Dream, has proven a critical triumph (Pitchfork loved it) and reached #3 in the US. You may have heard the sublime lead single Adorn, a ballad redolent of Marvin Gaye’s Sexual Healing, but with illwave sonic textures. Pimentel inked a deal with Jive Records – the label behind R Kelly and Aaliyah – in 2007. His debut, All I Want Is You, was then shelved as he battled a

former production company. It finally surfaced in late 2010 and, though initially faltering, became a cult (or sleeper) success with the single Sure Thing. Jive was subsequently absorbed into RCA. Meanwhile, Pimentel decided to assume greater control of his music – and marketing. He’s strategically used digital EPs to generate buzz ahead of Kaleidoscope Dream. It’s paid off. Sony Australia is giving it a concerted push. The theme of Kaleidoscope Dream is fantasy – or subconscious desire – and so it’s all very subliminal, Pimentel crafting a futuristic quiet storm. In many respects, he’s more into electro than traditional hip hop, favouring synths and employing experimental recording techniques. At the same time Pimentel, who plays guitar, is not adverse to alternative or funk rock. There are some shoegazey effects. Don’t Look Back, Use Me and Arch & Point border on being R&B takes on Radiohead (mind, Pimentel has a more pliable voice than Thom Yorke!). The Thrill, driven by its bass, is almost ‘80s indie, and Pussy Is Mine, the sparest song on an album of spare songs, is subdued grunge with simple guitar. Though Pimentel himself produced Adorn, he’s again worked with respected studio types – among them Salaam Remi, still best known for producing Amy Winehouse. Remi helmed Pimentel’s first single, All I Want Is You, featuring J Cole. Here, he oversees the trippy title-track, a distant cousin of Raphael Saadiq’s Skyy, Can You Feel Me or Ocean’s Pyramids that lifts its bassline from Labi Siffre’s I Got The, and the slinky yet spacey How Many Drinks?, which Pimentel sings partly falsetto, Maxwell-style (oh, and there’s a rap interlude). Another Fugees affiliate, Jerry ‘Wonda’ Duplessis, Wyclef Jean’s cuz, is on board for the current single Do You..., a hybrid of shoegaze and rocksteady. Pimentel actually croons, “Do you like drugs?” Alicia Keys has a writing credit for the pianoladen Where’s The Fun In Forever, deceptively upbeat. Kaleidoscope Dream isn’t so far away from Poliça’s retro-futuristic soul, but it’ll also appeal to fans of the mainstream Trey Songz, with whom Pimentel has toured. Certainly, Pimentel has rejected any suggestion that he’s a “typical R&B artist,” telling Billboard, “I want to change urban radio.” The revolution continues...

GOOD OR SHIT ALTERNATIVE POP CULTURE THERAPY WITH LIZ GALINOVIC

No Doubt The details are sketchy. It was 14 or 15 years ago, a Saturday night, we were about 14 or 15 ourselves. I remember losing my dragon necklace in the grounds of a primary school where we’d been engaged in a terrific evening of underaged drinking and acid trips, the latter being all the rage when I was a teenager. The memory of the dragon necklace indicative of the layers and layers of brightly coloured petticoats I would have been wearing as outerwear and a pair of Doc Martins to boot (ha, sorry). What I remember of that evening with the most clarity is sitting on the steps of a building on Sydney’s Norton St with two of my girlfriends singing No Doubt’s Sunday Morning. The mental footage is old and grainy. Cracked, crinkled, parts of it completely destroyed. I don’t remember going to meet our guy friends that night, I don’t remember sitting on a footbridge that went over a main road and spitting on the cars below (as I was recently informed), but I do remember sitting on the steps singing that song and every time I hear that song I remember it. “You came in with the breee-eeeeze...” Of the three girls sitting on the steps that night, only two are alive today. Our friend Chantelle is dead. Learning about No Doubt’s new album gave me the weirdest feeling. Certainly I was apprehensive about the actual music, but conversely – and kind of bizarrely – I was very excited. Almost a little ‘Yay! The team is back together and now everything is going to be OK’. The hype was

huge. It was all ‘Diplo has produced parts of it! And … Diplo has produced parts of it! And… no that’s it! Diplo has produced parts of it!’ I eagerly brought up YouTube and began playing the first two singles – Settle Down and title track Push And Shove, the latter of which Diplo has produced parts of. And it was nice to see these oddballs at it again. And they really are quite odd. Very over the top in a, ‘Yeah, we’re weird and we don’t give a fuck’ kind of way. And the tunes have the same sort of awkward mashing of genres that the band is famous for. Not so much ‘avant garde’, more chaositivity. I’m not going to say it’s shit, but I’m not going to buy the album and listen to them on my way to the station. It’s just not my thing. Not quite hitting a mark I wanted it to hit. However, I feel this bizarre sense of loyalty to them. As though they’re my close friends. As though they know me. As though the day Gwen and I took the big pink ribbon off our respective sets of eyes, back in nineteen-ninety-whatever, was the beginning of a defining period. And as the dancehallish Bollywood-ish beat of Diplo produced Push And Shove moved into the slow head-banging rock of the chorus, I knew where I had to go and who I had to go there with. I emailed the women I was closest to back then and we went back to Tragic Kingdom. Back then, No Doubt was what we needed. And what they’ve got now isn’t hitting the same spot. And maybe that’s because that spot isn’t there anymore? Maybe we have grown up and grown out of it? And maybe No Doubt should too. Tragic Kingdom, as one of my friends said, is a very defining and memorable place in time for us. And a couple of years ago, sitting in a coffee shop one afternoon trying to get used to living in a world without our friend Chantelle, I mentally begged her for a sign. Some people say that the dead never really leave you and I desperately wanted to believe that was true. As soon as I’d asked for this sign, the music in the cafe changed abruptly mid-track. They started playing No Doubt’s Sunday Morning. Adam Curley is on leave and The Breakdown will return soon.

Anita Wardell Sunday 25 November, Camelot Lounge in Marrickville hosts an evening with flautist Wouter Kellerman, one of South Africa’s most musically adventurous world music artists, incorporating influences as diverse and traditional Senegalese songs to Latin American tango, Soweto rhythms to Irish reels. Kellerman is joined by, among others, Senegalese singer and percussionist Lamine Sonko, Australian guitarist Ben Hauptmann and bass plater Zvi Belling. Also performing at Camelot over the next couple of weeks are Edwina Blush (Thursday 29), the always eclectic Spooky Men’s Chorale (Sunday 2 December) and American jazz violinist Christian Howes (Tuesday 4), supported by the Simon Kinny-Lewis Band. Direct from London, jazz vocalist Anita Wardell is coming to Venue 505 in Surry Hills, Friday 23 November in her only Australian show, previewing tracks from her forthcoming album, Noted, and her current release, Kinda Blue (Proper Records UK). She’ll be joined on the night by the sax-led Jason Bruer Quartet. The night before, Thursday 22, Blind Hot Gems launch their new album, Just Like Voodoo (Yum Yum Tree), at 505, while Tuesday 20 it’s the Matt McMahon Trio and North South, Wednesday 21 it’s Harry Sutherland Trio with Ken Allars, and Saturday 24, Melbourne guitarist Steve Magnussen launches his eighth album, Magnet, the latter, accompanied by drummer Sergio Beresovsky, singer Carl Pannuzzo and trumpeter Eugene Ball, also performing the night before, Friday 23, at the Presbyterian Hall in Springwood for Live at the Village, supported by the local Coggins Hans Sextet. The Sonic Mayhem Orchestra returns to their birthplace, Blue Beat in Double Bay, Thursday 22 November, with special guest vocalists Steve Balbi, Jo Fabro and Trish Delaney-Brown reinterpreting the catalogue of Bob Dylan in a jazz kinda mode. Friday 30, be prepared to dance yourself silly at Blue Beat as Espirito and The Sean Mackenzie Trio bring you The Latin Jazz Experience. After a fantastic inaugural Sydney International Women’s Festival, it’s back to business as usual down at the Sound Lounge in the Seymour Centre as SIMA continues to bring you the best local jazz has to offer, kicking off Friday 23 November with Wanderlust, then the Dave Macrae & Joy Yates Quartet Saturday 24, The Dominators, led by alto saxophonist Dave Jackson, launching his new EP, recorded in Brooklyn earlier this year Friday 30, and the Mike Nock Trio – Plus introduce new work Saturday 1 December. Singer, composer and pianist Floor Van Der Holst, who only moved to Sydney from her native Holland last year, launches her debut album, 1st Floor, produced by arranger and percussionist Philip South, at Colbourne Ave Thursday 22. James Morrison will be joined by American alto saxophonist Jeff Clayton at the Fleet Steps in the Royal Botanic Gardens Friday 23 November in the next of the Sydney Swings picnic concerts, then it’s the grand finale Saturday 24 with the Sydney All-Star Big Band with special guests Frank Bennett and Emma Pask. Friday 30 November, Newcastle Conservatorium of Music and Sunday 2 December, Newcastle Uni’s Harold Lobb Concert Hall are hosting a history-making concert series titled the International Space Time Concerto Competition, which will also be broadcast live at a free twilight picnic in Civic Park both nights. Showcasing their new album, Doin’ The Charleston, Greg Poppleton & The Bakelite Broadcasters will be bringing their take on 1920s and ‘30s jazz and swing to the Kings Cross Festival, 1pm, Saturday 24 November and then a Courtyard session at the Seymour Centre, while Sunday 2 December, boutique venue VJ’s in the North Shore Temple Emanuel, Chatswood, hosts an evening with the piano-led Paul McNamara Trio, featuring Nicky Crayson and Dave Pudney. blow@drummedia.com.au

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GET IT TOGETHER

YOUNG & RESTLESS

HIP HOP WITH VIKTOR KRUM

ALL AGES WITH DAVE DRAYTON

El-P So we all somewhat enjoyed Kanye’s label G.O.O.D. Music’s recent compilation Cruel Summer. There were fun bits. R Kelly was excellent. New God Flow – especially the bit where Ghostface comes in for the third verse – was insane. Pusha T was reliable. It was a solid album. Solid, yes, but it did not feature recent signee to G.O.O.D. Music, Q-Tip. At the time we might have thought the absence was either planned, or was down to Q-Tip’s relatively recent arrival to the G.O.O.D. Music stable. MTV recently put the issue to ‘Tip. “I know, I know, I’m sorry about that, but I have to let the cat out of the bag. Kanye’s probably gonna get...,” he said. “If there’s a Cruel Summer, then there’s got to be a Cruel Winter, right?” So we could have another solid compilation on the way, team. Reason for gentle, cautious optimism if we’ve ever heard it. While we are on the topic of solid stuff coming up on the horizon; Big Boi reckons he’ll have his newie Vicious Lies And Dangerous Rumours out in December. You’ll recall 2010’s Sir Lucious Left Foot, another solid release, was near two years late. That album had a couple of good moments and received a rapturous response. Perhaps we have a couple more good moments around the corner then? Just so long as there’s no Shutterbugg follow-up. That song still keeps us awake at night. Blurgh. Brother Ali and Sean Price co-headlining an Australian tour! We’ve said before that the odds of that sentence ever being accurate must have been pretty slim. And who is going to close the show? 21 November is the date; it’s happening at the Factory

72 • For more opinion go to themusic.com.au/blog

Theatre. For those of us who’re a little clumsy with our calendar management, that is tomorrow, assuming you get the mag the day it comes out. Go out and have fun in the company of two of the best doing it. And do not forget that Melburnian super-rapper Mantra will be in support. He’s the one with the cap and the goatee. You’ll recognise him because he’s unlikely to be adding to the headache of figuring out who closes the show. Recently, late at night, we said without thinking, “Bruce Springsteen is the best rapper alive right now.” It kick-started an inconclusive, silly conversation where everyone got a bit too angry and, then, a bit too sleepy. We’ve since done our best to revisit the point. Without dwelling on the boring part of the argument (“What is a rapper, man?”) and without providing you with any argument in support, we reckon calling The Boss the best rapper alive has a certain neatness to it. We’re flirting with saying it again, actually. Particularly in the wake of the destruction wrought by Sandy in Springsteen’s home state of New Jersey, it has the ring of truth, certainly for us. Luckily for those who want to dive a little deeper into this issue The Boss and Jay-Z co-headlined a show in support of Obama’s re-election campaign a couple weeks ago. Maybe that gig has the answer for you. It just leaves us with more questions. El-P is a very, very good musician. The songs he makes sound good. It is pleasing to listen and re-listen to the albums in his back catalogue. Yes. Perhaps this year’s Cancer For Cure stands out as his best work ever. El-P’s trademark paranoia and urgency were neatly twisted up with anti-melodic sing-song and newly refined delivery. That said, none of this makes El-P a good guy. Listen to his music and he’s clearly not. Follow his Twitter account and he’s clearly not. (Remember when he called Lance Armstrong a hero a couple of weeks ago?) That needn’t discourage you from heading to the Oxford Art Factory on 7 February and checking his first visit since February 2009. Go. Watch him play. Listen to his songs. But remember, there’s no need to recruit El into your social circle. getittogether@drummedia.com.au

Jinja Safari Our friends over at Blackwire Records have two all ages shows that’ll make this weekend the stuff of lore in years to come. First up, on Friday, Duncan Redmonds, the deadset bloody legend behind some of incredible records (SNUFF! GUNS N’ WANKERS!) will be performing an acoustic set and a full band set with the dudes from Chinese Burns Unit. Amateur Drunks and Alex Party Cat Sepansky support. Then on Sunday, San Fran thrashcore band Punch are back in Australia for their second tour. Even more impressive is that the entire 11-date run of shows is all ages, onya Punch! Sunday’s gig kicks off at 3pm with support from Ghosts, Osedax and The Reverend Jesse Custer, who just released a ripping 10” called Perpetual Victim. The Lucky Oz Tavern also have a Friday/Sunday onetwo on the all ages front. Friday boasts Fortune Fails, City Of Sirens (Vic), Evacuate The Fallen (Vic), Breakaway and Ghosts On Broadway, $10 at 8pm. Sunday starts from midday for just $10 with Dream For This Day, Here’s To Hoping, City Lit Skies, What Hunts You, Break A Leg, At The Gallows, Elanora Heights, As Chaos Unfolds and The Lane Cove. Otherwise that same arvo you can catch American metallers iwrestledabearonce playing an all ages arvo show at The Wall/Bald Faced Stag with support from In Hearts Wake, For All Eternity, Storm The Sky, Hunt The Hunted and Graves. By now you guys should all be well versed on the Indent Tours. Why? Because, simply, they rule. You get a rad band - this time it’s Jinja Safari, who travel round, hit regional areas that may not always get all ages live music, visit high schools, do workshops with

students and raise the profile of all ages music. We lined up Jinja Safari frontman Marcus Azon for a few questions before the band head out on tour. They stop in to the YAC, Byron Bay, this Friday night with folk star Reilly Fitzalan and folk-pop group Potato Potato and two local DJs, and the Kyogle High School, Kyogle, on Saturday with The Maples, Faded Nation and The Habits. For the rest of the tour dates keep an eye on Young & Restless in coming weeks and indent.net.au. Why do you think it’s important to play all ages shows? It’s worth being realistic about the fact that our music also appeals to a younger audience, many of whom wouldn’t be able to get a good enough fake ID to see us at an over 18 venue. We are saving them the hassle by providing our services unconditionally. I know I would have appreciated it as a pre-teen. What was the catalyst for your doing the Indent regional all ages tour? Spare time. We just got back from a few shows in US/UK/CANADA and India and you get a little ADD if you go cold turkey off a tour – gotta wean a brother with care. What will the workshops on this tour involve? Backflips, splits, spins... Depending on interest, there will be a brief introduction to yoga and meditation. As well as a home economics and pastry making demonstration from Jacob. What’s the best piece of musical advice you got when you were in high school? Practice. Don’t be a show off. Something that all band members have clearly taken to heart. What’s the best show you attended as an under 18? Frenzal Rhomb in southern Tassie as a 14-year-old. Any advice for young musos? Don’t talk about what you’re going to do or how brilliant your plans are. Just write some songs and practice them. Also Joe says: don’t do it for the money, bro. allages@drummedia.com.au

Drawing

73

HAVE YOU HEARD

AURAL WINDOW Your music is…? Alternative melodic post-hardcore… rock Which acts inspired you to produce your own music and why? Our inspiration comes from a myriad of artists all leaving their own unique imprints on the world of music. Timeless artists like Saosin and Will Haven are great examples. What’s your wildest ambition for your music? To make a comfortable living off writing and playing our own music (I know, crazy right?) Why should we come and see you? If things go well, we’ll be playing pretty damn loud and you’ll feel your tits and/or nutsack wobble. How do you find the local live scene? Challenging! We’re all about making music and making friends, so we hope to see more support for the local scene. I mean, you can’t bitch and moan about venues closing down when you’re too busy with your Xbox to go out to see some bands right? What’s your greatest rock’n’roll moment? Playing support to ex-Guns N’ Roses drummer Matt Sorum in LA last year. He took three hours alone just to tune his kit! The whole band was incredible and we were just a little bit star struck. For more info see: www.auralwindow.com www.facebook.com/auralwindow Next available at: Single launch at The Roxbury Hotel, Saturday 24 November. Tickets on sale now.

EP FOCUS

LOVE-HATE RELATIONSHIP

SOUL KIND OF FEELING

This week swamp/rock/blues one-man band Claude Hay returns to our neck of the woodsin support of his most recent album, I Love Hate You. His third album sees Hay move slightly askew of his traditional blues roots and towards his passion for rock and funk, still incorporating that signature slide, four-on-the-floor rhythms and gut-bucket sensibilities that he’s known and loved for. Mojo Bluesmen and Tiny Band For Giants will support him when he plays the Peachtree Hotel in Penrith Thursday, Oxford Art Factory’s Gallery Bar Friday and at hometown Katoomba RSL, this Saturday night.

During the summer of 1984, the Dynamic Hepnotics’ Soul Kinda Feeling was a song you could not ignore. It was everywhere - on radio, on Walkmans, on TV and in clubs and pubs across the country. This Saturday night at Blue Beat in Double Bay, Continental Robert Susz will unite with the Hepnotics’ original saxophonist Bruce Allen as well the original bass player Al Britton (Bondi Cigars) and an allstar line-up to deliver the hits and memories.

What’s the title of your new EP and where did it come from? The Second Coming Of The Great Depression. The title hopes to communicate our thoughts on the economy: that Wall Street has become a symbol for a soul-less, amoral culture that cares nothing about the rest of the world and since the 2008 economic crisis, has sunk back deep into their business-as-usual culture of greed blind to the public consequences of their behaviour. That’s how the EP got its title. We feel we’re currently witnessing the second coming of the Great Depression, equal to or possibly worse than The Great Depression of the 1930s.

POINTING THE FINGER Sydney rock’n’roll band Leadfinger is planning on releasing their new EP this Saturday night. Known for their raucous, energetic live shows, Leadfinger are a ragtag bunch attempting to keep the energy of rock alive. Their release, Ripped Genes and Analogue Dreams, will be a collection of the band’s time-tested tracks, available for sale at their concert this Saturday night at The Sandringham Hotel. The Dirty Earth, Belle Havens and The Balkan Grill will support them.

Will you be launching it? Supporting US punk rock legends Ten Foot Pole, playing Thursday 22 November at the Cambridge Hotel Newcastle and Friday 23 at The Sando. For more info see: www.facebook.com/liberationfront

With a background in d’n’b and a love of all things bass-related, Hungarian-born Peter Simon gravitated towards the low-end sonics of dubstep in 2008, with early releases on the wellrespected Boka Records and the reggae-vibed War series of white labels. Now, Simon, or DJ Madd, is a key figure in the underground music scene across the world. He will be performing at GoodGod Small Club this Saturday night.

This Saturday night, a brand new metal/alternative nightclub will be opening up in Campbelltown aiming to fill the void for a Metal club in Western Sydney and capitalising on the development of a prolific heavy music scene west of Sydney. Razer will offer live bands, a metal playlist and a party atmosphere tuned to the auditory desires of its patrons with bands that vary from hardcore to melodic metal and everything in between.

Sydney’s progressive funk/pop/gypsy band Ungus Ungus Ungus will be playing their final show this year this Thursday night at The Sandringham in Newtown. With tours and recording time all booked in for this summer, this will be your last chance to catch them in action for a while.

FIESTA TIME This Friday night, young Spanish performers Estanoche will make his debut. His r’n’b/Latin tunes are to dance and swoon to, all emotive lyrics and heartfelt performances. Estanoche will be hitting up Carrs Bush Park in Kogarah Bay.

LIGHT AS A FEATHER This Wednesday night, Central Coast duo Nick & Liesl will return to Lizotte’s at Dee Why. The pair’s last Sydney show was a sell-out, and in the short time since, they’ve covered four states in as many weeks and recorded a new EP. It’s been a crazy year for this Aussie-Swedish duo, while last year saw them tour both Australia and Europe with the critically acclaimed debut album, Feather, and only days after returning from overseas they wowed crowds at the 2011/2012 Woodford Folk Festival.

ABSOLUTELY Absolute Boys are a dub band without the excess. Their focus is on quivering low-end, textural guitars, stripped percussion and drenched vocals, all moving in and out of focus beneath their signature hazy surface. They re-emerge this month with the first single from their forthcoming album. For all the talk about minimal dub, Love Mode teeters on excess pop with zig zag guitars, and the ever-present threat of blown-out subs. Absolute Boys will be appearing at The Square this Thursday night, alongside Rites Wild.

JOIN THE CLUB

74 • For more news/announcements go to themusic.com.au/news

Which acts inspired you to produce your own music and why? We like good songs – we don’t care who writes them – but we have some favourite artists: Johnny Cash, Smashing Pumpkins, Gary Numan, Everly Brothers, AC/DC. What’s your wildest ambition for your music? To be invited to support other artists. Why should we come and see you? Because, most likely you’ve never seen an act like Rudely Interrupted before. How do you find the local live scene? The local live music scene is thriving. Musicians are among the hardest working citizens, but we can’t really say we’re part of it. Oh we did receive one offer to play with another band and that was amazing!

Next available at: Thursday 22 November, Arts Council; Friday 30, Queanbeyan Park, Canberra; Saturday 1 December, Albert Hall, Canberra

After a whirlwind 18 months, Tim Wheatley, better known as Crooked Saint, is finally travelling to Sydney to launch his brand new double A-Side, titled Hot And Heavy. Crooked Saint’s candid delivery, tight arrangements, laconic phrasing and inherent melody have earned him plenty of positive press during his support slots. These elements are still present in this release, but with a denser, more realised overarching musical consistency. Crooked Saint will take to the stage at Café Lounge this Tuesday, then at The Grand Junction in Maitland on Thursday.

This Saturday night, Sydney artist Ray Mann will launch his second album, Sketches. Recorded between Sydney and Berlin, with audience input, Sketches reveals changes in The Ray Mann Three’s sound too. The minimal drums/bass/guitar sound has been augmented with synthesisers, percussion and a more expansive cast of vocal characters. Ray Mann will celebrate this release with a performance at the Oxford Art Factory this Saturday night.

Your music is…? Rock/pop.

For more info see: www.rudelyinterrupted.com

CROOKED

A LITTLE SKETCHY

RUDELY INTERRUPTED

What’s your greatest rock’n’roll moment? Playing and packing out the United Nations in New York City.

RAZERHURST

How long did it take to write/record? I’m not gonna lie, it took a lot longer than it should have, probably about two years mostly due to funds, member changes, but also we didn’t want to rush the process. I think waiting allowed us the time we needed to release something we could really be proud of. Was anything in particular inspiring you during the making? The illegal wars in both Afghanistan and Iraq. Watching as the people of Libya and Egypt fought to liberate themselves from the constraints of dictatorship. Watching the appalling police response as the Occupy movement grow across the world. It really showed that when people stand together they can and will be heard.

Following a series of sell-out shows, Sonic Mayhem Orchestra will return to Blue Beat on Thursday, this time fronted by guest vocalist Steve Balbi, delivering their own interpretations of the work of Bob Dylan. Balbi is one of Australia’s leading songwriters and performers, first with Noiseworks, and now as a solo performer and with Move Trees, and Sonic Mayhem Orchestra is comprised of some of Sydney’s finest jazz musicians.

GOING MADD

DOUBLE THE FUN

LIBERATION FRONT

REVISITING DYLAN

HAVE YOU HEARD

The Musos’ Club Jam Night is on again this week, stopping at The Bald Faced Stag Hotel in Leichhardt on Wednesday and the Carousel Hotel in Rooty Hill on Thursday. You can dust off your old guitar and join the fray, or sit back and enjoy the roots/blues vibes.

ALONG THE WIRE Young singer-songwriter Jackson McLaren os celebrating the release of his brand new and second EP, Walk Along The Wire, co headlining a residency at Arcadia Liquors in Sydney, Wednesday nights in November with The Falls.

EP FOCUS

WES CARR How many releases do you have? I have several releases under different names. The first release is under Wesley Carr titled Rhythm To Fly. An album with my old band was a collaboration with Ben Gilles called Tambalane, and two records under Wes Carr a solo record that I released myself titled Simple Sum and an album Sony Music released titled The Way The World Looks, and now my new independent music project Buffalo Tales EP, Blood And Bone. How long did it take to write and record? I write all my songs fairly quickly, but it took me about 18 months of finally working the courage up to record and show the world what I’d been working on. Was anything in particular inspiring you during the making? I worked with one of my best friends, who is also a well renowned musician/jazz artist, Stu Hunter, experimenting with different sounds and instrumentation. Also in my downtime I’m known to watch a lot of TV shows such as Breaking Bad, Sons Of Anarchy, Homeland, etc and find that I get inspired by a visual or a certain mood and that can usually spark a song idea for me. Will you do anything different next time? The EP is an eclectic mix of music I had written over a period travelling the world, rediscovering myself again and learning about myself I guess. The four songs are all very different to one another, and that was a deliberate thing, kind of a blind statement that I didn’t wanna be put into any pigeon hole just yet. Will you be launching it? I’m playing on Friday 23 November at Notes and the first two Sundays in December at 34 Degrees South in Bondi. Come along to a show!

Fresh from their recent European tour and on their first tour downunder

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SATURDAY DECEMBER 1 w/ special guest Toby Martin tickets from annadale.com or on the door 75

FROM THE INSIDE Inspired by a journey around the world, Saritah has created an international album in Dig Deep, Michael Smith discovers.

BY THE BOOK Why cut one when you can cut three albums and present them in a beautifully presented art book? The Black Sorrows’ Joe Camilleri explains it all to Michael Smith.

draws on all her favourite genres – roots reggae, dancehall, Afrobeat and soul – recorded in a studio in the hills of Montecito, California. “I have a manager who’s based in Santa Cruz in California, so when we were putting together the vision for the album, everything just pointed there. He just had really good connections with the studio and musicians and producer, so he just made it all happen.”

Born in the South Korean capital, Seoul, but growing up in Perth, the now Melbourne-based artist Saritah had already experienced a lot of travel in her young life. But two years ago she decided to take on the world, thanks to an Arts Council grant, the result of which is her third album, Dig Deep. “I went on a big ‘round the world trip in 2010,” the singersongwriter explains, on the line from Brisbane airport, “and that travel inspired a lot of songs – they were written in some pretty faraway places.” Among those locations were a caravan in Salt Spring Island in British Columbia, a beach shack in Mozambique, a waterfall in Bali and five weeks with a shaman in her native South Korea. Not that you’ll hear anything remotely as brutal as Korean shamanic vocalising on Dig Deep, a vibrant collection that

The musicians assembled were themselves something of a united nations of music including and Ivory Coast-born New York City-based drummer and Puerto Rican bass player, both of whom have helped create a beautifully seamless sound. And it’s harmony, of mind and spirit, that is the essence of this album. “I was so inspired by being out travelling in the world and meeting new people and seeing new places and just feeling so blessed by, really, following that inner voice. Amazing things were happening as I was stepping out of my comfort zone. But then you have other things, like on that same journey I got my whole suitcase stolen. At the time, of course, I was pretty devastated but that inspired the song Heaven, which has the line “It’s on the inside where the true gold resides/ They can never take that away”. That’s a common thread through this whole album.” WHO: Saritah WHAT: Dig Deep (MGM) WHEN & WHERE: Thursday 22 November, Old Manly Boatshed; Friday 23, Rock Lily

76 • To check out the mags online go to themusic.com.au/mags

“The whole thing took me nearly two years and it was a labour of love, really,” veteran singer, songwriter and saxophonist Joe Camilleri says of the new bumper three-CD collection of music, Crooked Little Thoughts, he’s recorded with The Black Sorrows. “Just before I started recording, I knew that I wanted to have that wonderful thing where art and music and poetry, they can kiss each other and they have a beautiful connection and synergy, and it’s cinematic and it’s all these different things. “You can see so much and so little, but also it opens up if you want it to,” he continues. “You look at it from just listening to the music, looking at the paintings, trying to see if there’s a connection between the painting and the song, or seeing something else in the painting; reading the lyric while you’re listening – all those different things were kind of what I used to love about albums.” The result is a beautiful hardcover art book containing three CDs of music, the lyrics to the 24 songs on those CDs and a series of paintings created by Australian artist Victor Rubin in response to those lyrics and songs, along with various sepia photographs of the

band and individual members performing and recording. There’s even an introductory essay by Camilleri telling the story behind it all that includes a potted history of the band. “I wrote and recorded 33 songs for that project and used 24 because I felt eight songs per CD were enough, like a side of vinyl, where you have to turn it over if you want.” Each CD presents a different aspect of the band, with the first more traditionally Black Sorrows, the second mixing it up with a little more reggae, recalling his Jo Jo Zep days, while the third is more jazz. “I thought the paintings were fabulous, but I didn’t like every painting and I figure he didn’t like every song!” WHO: The Black Sorrows WHAT: Crooked Little Thoughts (Jazzhead) WHEN & WHERE: Wednesday 21 November, The Basement Circular Quay; Thursday 22, Lizotte’s, Dee Why; Friday 23, Lizotte’s, Kincumber; Saturday 24, Lizotte’s, Newcastle; Sunday 25, The Abbey, Canberra

77

JUST VISITING

ON SHUFFLE

COMING AROUND

Indie Shuffle is a San Francisco-based music blog that has quickly grown to become one of the largest players in the music blogosphere. Indie Shuffle is now trying to support local musicians worldwide, and that includes Australia, with two dedicated staff-writers bringing you the best new Australian tunes. This Saturday night, Indie Shuffle will be throwing a party at FBi Social, headlined by a collection of their favourite Australian acts. The event will feature Made In Japan, Olympic Ayres, Palms, City Riots and Jubilants DJs.

This Saturday night, Fantine will grace the stage at the Upstairs Beresford. Fluent in Russian, Spanish, English and French, Fantine is a unique talent with a musical style that reflects her cultural diversity and is described as a fusion of indie and electro soul. This year has been a big one for the young Australian artist – she’s performed at the Opera House, in universities and in concert halls, as well as recording several singles.

Why are you coming to visit our fair country? We’ll be on tour. The guys from Scorcher Fest hit us up, asking if we’d be interested to come over and headline some of their shows, so we said yes, added some extra dates and here we are!

CASUAL FOLK

Is this your first visit? Yes. How long are you here for? Ten days.

Any extra-curricular activities you hope to participate in? Sightseeing is definitely on the agenda if we get the chance and I think we’d all love to spend some time on the beach, enjoying the Australian weather while it’s raining at home. We’ll be sure to let our friends know about that [laughs]. What will you be taking home as a souvenir? A kangaroo as a new mascot for the band. I’m sure customs will understand. Where can we come say hi, and buy you an Aussie beer? We’ll be playing Thursday 22 November at the Lansdowne Hotel. And I’ll keep you to that beer! For more info see: www.aamt.lu

YOUR FESTIVAL This weekend at the Cambridge Hotel in Newcastle, something rather special is happening. The hotel will play host to Your Festival Weekender - over ten hours of live music in just two days, featuring some of the country’s most noted indie acts. This year aims to celebrate the diversity of the music scene in Australia at present, with all kinds of sounds and styles on the bill, including Sticky Fingers, The Delta Riggs, 1929Indian, Cabins, Twin Lakes and so many more.

LOVINGLY FOOLISH Indie-psych electronica artist Jordie Lane has produced another crazy, complex single – this time, a psych-folk rambler grounded in blues, titled Fool For Love. Recorded in LA with Grammy Awardwinning producer Tom Biller, the track marks a new direction for Australia’s folk troubadour. Lane will be giving a performance this Thursday night at Smiths Alternative Bookstore in Canberra.

Since forming in 2008, Newcastle four-piece The Owls have been developing their own unique sound, harvesting themes and techniques from a huge variety of influences, mashing together elements of dirty blues and alternative rock with lashings of progressive Southern rock all topped off with ethereal three-part harmonies. It all blends together seamlessly with the release of their EP, Swamp Love. The band will be taking to the stage this Thursday night at Transit Bar in Canberra.

ANOTHER YEAR OLDER Beginning as a cassette label in Perth 20 years ago, Chapter Music has spread its wings over the last two decades, relocating to Melbourne. Carrying releases from some of Australia’s most critically acclaimed indie acts, Chapter Music has cemented its reputation by bringing to light some of Australia’s most talented acts of yesteryear, notably the Tully catalogue. Celebrating their 20th birthday, Chapter throw a huge Sydney birthday party at GoodGod Small Club Saturday, featuring performances from Crayon Fields, Laura Jean and Standish/Carlyon, among others.

Multi-award-winning Australian country singer Amber Lawrence has announced the final show of this year’s marathon tour. The show will take place at Lizotte’s in Dee Why this Saturday night, capping off a whirlwind year that saw her release her third album, 3, while one of the album’s singles, Try, was selected as the 2012 Paralympics Junior Games’ theme song.

MUTUALLY BAD

WHICH WAY TO THE COAST?

Sydney’s “fakest” live hip hop band, The Phonies, are making their return to Sydney’s music scene launching their first release in over two years this week. The new single, titled Bad For Each Other, is a thumping, rap love anthem. To celebrate, the band will be taking to the stage at FBi Social in the Kings Cross Hotel this Friday night. The Conscious Pilots, Lyall Moloney and Ivory Bronston will support them.

Fast becoming firm favourite on the live circuit, Benjalu have gained a reputation for their infectious melodies and dynamic energy on stage. Fusing together folk, blues/roots, reggae and rock, the past year has seen the Newcastle five-piece go down a treat at various festivals and concerts around the country. The band has just released their new EP, Way To The Coast, and is currently on tour promoting it. They will stop in at The Vanguard in Newtown on Thursday, The Heritage Hotel in Bulli on Friday and the Cambridge Hotel in Newcastle on Saturday.

FROM IBIZA TO COOGEE Following up from the release of her debut single Shoestring, Sydney artist Dune will be bringing her sonic kaleidoscope of tracks to The Upstairs Beresford, this Friday with Leanne Russo and Dan Crestani in support. Dune will once again be taking punters on an uplifting sonic journey traversing expansive sonic landscapes, soaring vocals, all driven by textured tribal beats.

This Saturday night will be the last night of the year for Fairlight Folk Acoustic Lounge, which hosts acoustic and folk acts every Saturday night. This week will feature Bill Jackson, Snez and Tommy Pickett. Jackson’s works transcend place and time. This Aussie might just as well have come from Austin or Nashville, yet his music reaches beyond the traditional folk genre. Fabulous Blue Mountains singer-songwriter Snez spends her time touring Australia with her co-writer, producer and guitarist Stewart Peters. Australasian singer-songwriter Pickett has catchy, slick, hooky and clever approach to songwriting with an up-tempo folksy heartbeat.

NIGHT OWLS

THIRD TIME’S THE CHARM

SONIC JOURNEYS

BUFFALO DREAMS Buffalo Tales is the new project for Sydney-based singer/songwriter Wes Carr. From his early days fronting Silverchair offshoot Tambalane to his well-publicised success on reality TV, Carr has gained a number of fans from all corners of the country. Buffalo Tales sees him return to his organic singer/songwriter roots and is an intimate and natural fit with folk and alt country overtones that lets his music speak for itself. Wes Carr will appear at Notes this Friday night.

ANGEL AT MY TABLE

What do you know about Australia, in ten words or less? Friendly people. Amazing accent. Dangerous wildlife. Kangaroos. Beaches. Great music!

HAVE YOU BEEN TO...

Pete Gooding found fame in Café Mambo, Ibiza. It’s the laidback Balearic attitude of this special island that epitomises his sound. Gooding’s residency at the legendary Cafe Mambo, located on the sunset strip in San Antonio, has become a prevailing force in the music industry – the venue is a regular haunt for the likes of Pete Tong, Paul Oakenfold, Groove Armada and Frankie Knuckles. Friday at the Coogee Bay Hotel, his DJ sets will take partygoers on a musical journey with inspiration fresh from Ibiza.

78 • For more news/announcements go to themusic.com.au/news

THE RAZZLE-DAZZLE Australian singer-songwriter Missy Higgins has added extra dates to her sold-out national tour in support of her third album – which debuted at #1 on ARIA Charts – will stop in Sydney and Canberra this week. Supported by triple J darling Emma Louise, and iconic Indigenous Australian vocalist Gurrumul, she plays three nights in Sydney’s State Theatre, on Tuesday, Wednesday and Thursday, and then at Canberra’s Royal Theatre on Friday night.

MOUTH OF METAL Why should punters visit you? MOUTH OF METAL is a real appreciation for those in the Sydney music scene. While the focus may be on a particular heavy metal artist of notoriety, the idea is to have people who like that particular artist possibly take interest in the new and fresh talent that’s in our own backyard What’s the history of the event? Originally intended halfway through last year as just a gimmick W.A.S.P. and ‘80s night event, changes with The Alice Cooper Show inspired me to take the original concept I had and turn it into something else entirely. Finding two other artists who I wanted to cover was easy and the spacing of time between events made sense right away. Hell, the first drafts of the original setlists for each band were written up back in January. Besides W.A.S.P. for MOUTH OF METAL 1, part two featured Judas Priest and both nights have been a real success. Now, with number three on its way, Ozzy Osbourne is the one to tackle and that’s gonna be a hell of a ride. What’s the best thing about the event? Me! No but seriously, I’d say the best thing about these events are the original bands that have graced the stage at each of these events. Vanity Riots, Skuldugory, Nobody’s Fool, Infinite Black just to name a few and to kinda show the variety we have at MOUTH OF METAL. This time we have seven original bands doing their thing. Some old warhorses, some new bloods and some downright legends all together sharing the one day together like no one would believe. What are some of the highlights? Well obviously the main highlight is the “MOUTH OF METAL” set itself. It’s one of the main reasons why anyone comes in the first place. I remember having a few guys come up from Wollongong for MOUTH OF METAL 1 and the W.A.S.P. set, which they heard was happening through a friend. I got them up to sing Blind In Texas with us. That was… interesting. Fast forward to MOUTH OF METAL 2 and that was just pure old skool fun times. You had both Aussie metal scene legends and heavy metal royalty like ex-Mortal Sin shredder Mick Burke all in the one room and you’d almost think you’d wound the clock back to a very real time in the Aussie metal scene. It was excellent. Do you have any plans for the event in the future? There are a number of people all asking that question and all I can say for now is “we’ll see”. MOUTH OF METAL was intended as this hopefully being my last year living solely off tribute acts, but that’s not to say I won’t do it again. All these bands were intended as one-off acts, which can instil a lot of pressure, but if I were to do a “MOUTH OF METAL: REBORN” type event, I think I’d come back around with another W.A.S.P. set, centred around the Crimson Idol album. Oh well, Time will tell… Coming Up: MOUTH OF METAL 3 – No Rest For The Wicked, Saturday 24 November, The Valve Bar

DON’T GO HOME, PIGEON Pop/electronica outfit Pigeon are currently on tour, promoting their debut EP, Fortunes. After receiving rave reviews for their single, Oh Hebe, as well as for their performances at multiple festivals, including Peats Ridge, Parklife and Splendour in the Grass, and supporting other acts including Tijuana Cartel and Van She, the band are beginning to develop a stellar sound. They will be playing in Sydney and Wollongong respectively this week, with Friday night at Brighton Up Bar, and Saturday Night at Barcode in The Grand.

A BEAUTIFUL THING

TASTE TEST

Released earlier this year, the Take Something Beautiful album brought together 11 musicians to interpret the songs of Jesse Younan, a singer-songwriter who died of leukaemia in 2008 at 35 years of age. Now five of these artists – Jordie Lane, Jen Cloher, Greg J Walker (Machine Translations), Emily Lubitz (Tinpan Orange) and M Jack Bee – will take to the stage together to premiere the live version of Take Something Beautiful at this year’s Mullum Music Festival on Friday 23 November, along with producer Dave Symes (Seeker Lover Keeper, Sarah Blasko, Missy Higgins) directing a full band and CODA string section. We grabbed Walker, Lubitz and Bee to talk about the event. EL: It was chosen for me. A good choice I thought.

NAI PALM FROM HIATUS KAIYOTE

What is it about Jesse’s music that it is respected by artists so much that they want to cover it and perform it live? MJB: He was humble, dark and funny. A perfect mix on a record. J Walker Do you remember the first time you came across Jesse’s music and your reaction to it? M Jack Bee: I heard the song Swing as I was driving down the south coast with my sister and her now husband. It was so deep and brooding, I was mesmerised.

CLUB TWENTY-SEVEN Having sold out the last show at the Basement in Circular Quay earlier this year, Forever 27 returns, bringing you the immortal songs of a unique group of musicians, each of whom passed away at age 27. Between 1969 and 1971, the world lost four unrivalled musicians when Janis Joplin, Brian Jones, Jim Morrison and Jimi Hendrix died aged only twenty-seven - at the very peak of their careers. More recently Kurt Cobain and Amy Winehouse also passed away at age 27. Saturday night, Jeff Duff, Chris E. Thomas, Floyd Vincent, Rex Goh and Damien Lovelock will take us through some of the remarkable music that Winehouse, Joplin, Hendrix, Morrison and Cobain left behind.

GJW: I chose Queeny because it kind of stretches me in a different way song-wise than the stuff I write for myself. It’s a great challenge to sing something that passionate and direct.

Tinpan Orange

IN RETROSPECT

HE’S NOT THE MESSIAH This year has been a busy one for Brisbanebased psychedelic rock band Greenthief. The band has undertaken three national tours over the past few months, one of which included playing sold-out venues across the country supporting Australian rock legends The Butterfly Effect. Having released their new single, Messiah, Greenthief are performing a quick run of shows down the east coast of Australia, appearing in Sydney this Saturday night at Kittens at Spectrum.

EL: He was such a solid songwriter. Raw and honest and brutal and beautiful. Incredibly engaging.

The Living End’s Retrospective Tour sees Australia’s legendary rock’n’roll sons play each of their six albums in full, back-to-back, start to finish, across 35 shows in five capital cities. The tour is the band’s way of thanking their fans who, over the last 15 years, have bought The Living End’s albums, concert tickets and merchandise, and generally supported them. This Wednesday night at The Hi Fi, the band will play the album White Noise; on Thursday, they will play State Of Emergency; on Friday, they will play Modern Artillery; on Saturday, they will play The Ending Is Just The Beginning Repeating; on Sunday, they will play Roll On; then, on Monday and Tuesday 27 November, The Living End will play their self-titled debut album.

HIT THE WALL This Wednesday night, The World Bar will be putting on their usual bizarre-yet-perfect mix of visual art and dubstep, and this time around, The Wall has a special treat for lovers of low frequencies: Kombat vs. Who Am I, DJflo, Deckhead, Brothers Grimm, Mind Quad, Heke and Tigerbear.

BELIEVE THE PROPAGANDA

MUM’S THE WORD

Propaganda is Sydney’s sweetest and sweatiest inter-stellar Indie night. This Thursday, as promised, the World Bar have got three rooms of indie-popparty tunes. Special guests Jake Stone and Tom Ballard will be tearing things up with special DJ sets, and then The Propaganda DJs will be at the decks, spinning their usual collection of indie gems of all vintages. The Spice Cube DJs will also be taking over upstairs with a silent disco.

MUM at The World Bar is more like a sprawling house party than anything else - a sprawling house party, that is, with rooms featuring some of the most talented, exciting indie bands in the state. This Friday will feature The Carroways, Colonies, The Chorus Girls, Desolations and Nothing Rhymes With David, followed by DJ sets from Swim Team, Wolf Gang, Cries Wolf, Smithers, Finally and Tenth Avenue.

The first record I bought with my own money was… Tommy – The Who The record I put on when I’m really miserable is… Worotan – Oumou Sangare The record I put on when I bring someone home is… Sketches Of Man – Dwele The most surprising record in my collection is… Some Sun Ra stuff

Emily Lubitz: It was when Norman Parkhill sent me an mp3 of Bea, the song I sing on the record. Made me feel sad but in a good way. I said, ‘Hell yeah, I’ll sing it!’

REMINISCING Stylus was Australia’s most successful blue-eyed soul band of the 1970s with hits such as Summer Breeze, So Much Love and many more. They were the only Australian act ever released through Motown Records. Still performing with their original line-up joined by drummer Gerry Pantazis, they will be playing at Lizotte’s in Dee Why this Friday night.

GJW: I think it’s the voice and also the songs of a totally committed artist – when you do this kinda thing yourself you can smell the real thing a mile off.

Greg J Walker: I remember an afternoon up in Byron Bay and hearing one of his songs and getting blown away by the voice and the power of his songs.

What made you choose the particular song of Jesse’s that you sang on the album Take Something Beautiful? MJB: Road Long Been Travelled is a song full of hope and warning; I find a warmth in it and a mix of an adolescent soul with a very old one.

The best record I stole from my folks’ collection was… The Best Of Carmen Amaya

The last thing I bought/downloaded was… Until The Quiet Comes – Flying Lotus

M Jack Bee How are you imagining the live experience at the Mullum Music Festival with Take Something Beautiful will be? Sombre? Joyous? Both? MJB: I think it will be a passionate and joyous event. Five years since Jesse’s passing is a time to remember and celebrate something beautiful that was once here. GJW: Oh Jeez I dunno, I try not to imagine these things. Hopefully it’ll be a celebration and we can do Jesse’s songs justice on the night. EL: Both I suppose. His songs encompass those extremes and remembering him through his work will certainly be very emotional for many in the hometown crowd. I’m very excited and honoured to be involved.

HAVE YOUR CAKE AND EAT IT, TOO Saturday night is club night at The World Bar. This week will bring all of Sydney’s best DJs under one roof. Generik will take to the stage, alongside Kato, Natnoiz, Tigerlilly, Deckhead, Astrix Little, Bentley, Brown Bear, Oakes & Lennox, Valentine and Thomas Lisse. Then, upstairs, Amy Lee and Dimitri Adronis will be taking to the decks on behalf of Kids In The Attic.

Upcoming shows: Thursday 22 November, FBi Social, Kings Cross Hotel; Friday 23, Hotel Gearin, Katoomba; Sunday 25, 505 Website/contacts: www.hiatuskaiyote.com www. hiatuskaiyote/facebook.com

CHICKS WITH SOUL Friday night, Chris E Thomas headlines a tribute to the women of soul - Aretha Franklin, Etta James, Phoebe Snoe and more - in The Rock’N’Soul Revue being hosted by Blue Beat in Double Bay.

STRICTLY LIVEHOUSE This Thursday at Sydney Livehouse in the Lewisham Hotel, experience the power of Jova, supported by Sweat and Sounds Of Coma, while Friday night it’s Something Frank, with Red Oxygen, The Net Of Being and Winslows Cancer. Saturday night catch Craig Hansen ably supported by Kingdom Of Jones, Justine Whalen & The Men and Price Of Fame. November is Austrailan Music Month, proudly supported by The Drum Media.

HAVE SOME SOUP This Sunday night is Soup Kitchen night at The World Bar. As well as being exactly what it sounds like – a night to eat some soup in one of Sydney’s coolest venues – this is also a night for the team of Soup DJs, including Cotolette, Carlos Gonzalez and Animal Jeans, to take over.

JUST IMPORTED The Beach Road Hotel in Bondi will play host to an exciting pair of foreign guests this Wednesday night. Frenchmen Pierre Leroux and Victor Le Masne are receiving an overwhelming amount of attention for their new project, Housse de Racket. They make a glorious noise together, with Leroux making much of the music, creating a lot of sound from his guitar and large collection of distortion pedals. Le Masne provides a steady but powerful drum beat and unbeatable moustache. Housse De Racket has toured with French electro-pop band Yelle and Leroux. Housse de Racket tour relentlessly, playing over 200 live shows from Lisbon to Tokyo via Berlin and Beijing including sets at Coachella - and now Sydney.

GROWING UP This Thursday night, Bob Evans will take to the stage at Camelot Lounge in Marrickville. Evans has just released his first solo material in over four years – an upbeat piece, a departure from his usual stylings, with a sound that breaks away from the overarching acoustic and somewhat alt-country style of previous records.

For more news/announcements go to themusic.com.au/news • 79

TOUR GUIDE

PRESENTS

KINGSWOOD: Dec 14 Goodgod

NATIONAL MISSY HIGGINS: Nov 20 – 22 State Theatre; 23 Royal Theatre Canberra; 27 WIN Entertainment Centre JACKSON MCLAREN: Nov 21, 28, Dec 5 Folk Club Arcadia Liquors THE LIVING END: Nov 21 – 27 The Hi-Fi JOE CAMILLERI & THE BLACK SORROWS: Nov 21 The Basement; 22 at Lizotte’s Dee Why; 23 Lizotte’s Kincumber; 24 Lizotte’s Newcastle; 25 The Abbey THE OWLS: Nov 22 Transit Bar; 30 Goodgod BRISCOE: Nov 22 Clarendon Guesthouse; 23 Great Northern Hotel; 24 Oxford Art Factory CLAUDE HAY: Nov 22 Peachtree Hotel; 23 Oxford Art Factory Gallery; 24 Katoomba RSL; Dec 21 The Vanguard THE RAY MANN THREE: Nov 22 Clarendon Guesthouse; 24 Oxford Arts Factory TUKA: Nov 22 Annandale Hotel BENJALU: Nov 22 The Vanguard; 23 Heritage Hotel; 24 Cambridge Hotel FISHING: Nov 22 Brighton Up Bar HIATUS KAIYOTE: Nov 22 FBi Social BOB EVANS: Nov 22 Camelot Lounge RUDELY INTERRUPTED: Nov 22 Australia Council for the Arts SARITAH: Nov 22 Manly Boatshed; 23 The Star CITY RIOTS: Nov 22 The Terrace; 23 The Patch; 24 FBi Social; 29 Rock Lily MIKE MCCARTHY: Nov 22 Bottlerocket; Dec 20 Lizotte’s Kincumber EVIL EDDIE: Nov 22 The Patch; 23 Entrance Leagues; 24 Great Northern Newcastle; 25 Transit Bar; 28 Brass Monkey; 29 Annandale Hotel JORDIE LANE: Nov 22 Smith’s Bookstore; Dec 14 Great Northern Newcastle; 15 Notes; 16 Clarendon Guesthouse PIGEON: Nov 23 Brighton Up Bar; 24 Barcode THE DAVIDSON BROTHERS: Nov 23 The Front DUNE: Nov 23 Beresford BLEEDING KNEES CLUB: Nov 23 The Standard; 24 Transit Bar; 25 The Metro INDIAN SUMMER DJS: Nov 23 Discovery; 25 Beach Road Hotel CHAPTER MUSIC BIRTHDAY PARTY: Nov 24 Goodgod PAGEANTS: Nov 24 Old Fitz PIRATE: Nov 24 Yours & Owls GREENTHIEF: Nov 24 Spectrum ART OF SLEEPING: Nov 26 Oxford Art Factory YESYOU: Nov 27 Oxford Art Factory MAKE THEM SUFFER, DREAM ON DREAMER ET AL: Nov 28 The Basement; 29 Hot Damn; 30 Cromer Community Hall REDCOATS: Nov 29 Great Northern Newcastle; 30 Annandale Hotel; Dec 1 Transit Bar MITZI: Nov 29 Goodgod EAGLE & THE WORM: Nov 29 Brighton Up; 30 Old Manly Boatshed; Dec 1 Junkyard AGNES KAIN: Nov 29 Notes EBOLAGOLDFISH: Nov 29 Phoenix Bar; Dec 7 Cambridge Hotel; 9 The Patch; 21 Annandale Hotel YUNG WARRIORS: Nov 30 The Factory; Dec 1 Yours & Owls LISA MILLER: Nov 30 Camelot Lounge; Dec 1 Clarendon Guesthouse DEEP SEA ARCADE: Nov 30 The Metro THY ART IS MURDER: Nov 30 Cromer Community Centre MESSRS: Nov 30 FBi Social AFTER THE FALL: Nov 30 Bald Faced Stag; Dec 1 Great Northern Newcastle SHANNON NOLL: Nov 30 Coogee Diggers; Dec 2 Heritage Hotel; Jan 17 Clarendon Guesthouse; 18 Brass Monkey; Feb 8 Lizotte’s Dee Why; 15 Lizotte’s Newcastle; 16 Asquith Leagues Club

STRANGE TALK: Nov 30 The Standard RED INK: Nov 30 Beresford; Dec 1 Rock Lily HARD-ONS: Nov 30 Sandringham Hotel; Dec 1 Cambridge Hotel DARREN PERCIVAL: Dec 1 The Cube; 2 Southern Cross Club; 8 Smithfield RSL; 14 The Juniors; 15 Concourse Theatre THE GOOD SHIP: Dec 1 Sandringham Hotel; 2 Yours & Owls JAMIE HAY: Dec 1 Lass O’Gowrie; 2 Blackwire Records THE SIDETRACKED FIASCO: Dec 1 Great Northern Newcastle; 8 Valve Bar; 14 The Patch THE WIGGLES: Dec 5 AIS Arena; 8 & 9 AIS Arena; 12 Newcastle Entertainment Centre; 19 Wollongong Entertainment Centre; 22 & 23 Sydney Entertainment Centre HANDS LIKE HOUSES: Dec 6 Hot Damn; 7 The Loft; 9 Blacktown Masonic Hall WORLD’S END PRESS: Dec 6 Goodgod ALLDAY: Dec 6 Oxford Art Factory CHARLES JENKINS: Dec 7 Notes BEN WELLS & THE MIDDLE NAMES: Dec 7 The Front; 8 Spectrum SAM SPARRO: Dec 7 The Standard BIRDS OF TOKYO: Dec 7 Annandale Hotel NITE FIELDS: Dec 7 Black Wire Records COVELESKI: Dec 7 Roxbury KUTCHA EDWARDS: Dec 7 Goodgod BUCHANAN: Dec 7 Forbes Hotel; 8 The Beresford SELECT XMAS PARTY: Dec 7 World Bar OVER-REACTOR: Dec 7 Burdekin; 8 Cambridge Hotel MIKE NOGA, BEN SALTER: Dec 8 Petersham Bowls; 9 Front Gallery REECE MASTIN: Dec 8 Hordern Pavilion; Jan 19 Newcastle Entertainment Centre; 20 Penrith Panthers; 22 Wollongong Entertainment Centre; 23 AIS Arena PHIL JAMIESON: Dec 9 Lizotte’s Kincumber KELLY BREUER & BART THRUPP: Dec 10 Kelly’s On King; 11 Harbourview Hotel; 12 Lass O’Gowrie; 13 Macquarie Hotel THE MESS HALL: Dec 12 Annandale Hotel THE TROUBLE WITH TEMPLETON: Dec 12 Brighton Up Bar; 13 Front Gallery; 14 Barcode; 21 Lizotte’s Newcastle; 22 Lizotte’s Kincumber; 23 Lizotte’s Dee Why THE TOOT TOOT TOOTS: Dec 13 Rock Lily; 14 The Junkyard; 15 Great Northern Newcastle; 16 Yours & Owls; 17 The Phoenix JOE ROBINSON: Dec 13 Street Theatre CUB SCOUTS: Dec 13 Goodgod TAME IMPALA: Dec 13, 14 Enmore Theatre BATTLESHIPS: Dec 14 Oxford Art Factory KINGSWOOD: Dec 14 Goodgod SUN CITY: Dec 14 The Beresford; Jan 11 Brighton Up Bar GOTYE: Dec 14 Sydney Entertainment Centre DARREN HANLON: Dec 15 Street Theatre; 22 St Stephens Anglican Church CATCALL: Dec 15 Goodgod SPENCER P JONES & THE NOTHING BUTTS: Dec 15 Annandale Hotel PARKWAY DRIVE: Dec 15 Hordern Pavilion; 17 Panthers MEZZANINE: Dec 18 The Lansdowne ABBE MAY: Dec 19 Goodgod JOSH PYKE, JONATHAN BOULET, DAPPLED CITIES et al: Dec 19 The Standard LOVE PARADE: Dec 20 The Union SOMERSET BARNARD: Dec 21 Beresford; 22 Rabbit Hole Bar; 23 Little Guy BORED NOTHING: Jan 10 FBi Social SARAH BLASKO: Feb 17 & 18 Sydney Opera House Concert Hall PAUL KELLY & NEIL FINN: Mar 10, 11, 12, 17 & 18 Sydney Opera House Concert Hall

80 • To check out the mags online go to themusic.com.au/mags

JORDIE LANE: Nov 22 Smiths Bookstore; Dec 14 Great Northern Newcastle; 15 Notes; 16 Clarendon Guesthouse CITY RIOTS: Nov 22 The Terrace; 23 The Patch, 24 FBi Social; 30 Trinity Bar; Dec 1 Rock Lily EVIL EDDIE: Nov 22 The Patch; 23 Entrance Leagues; 24 Great Northern Newcastle; 25 Transit Bar; 28 Brass Monkey; 29 Annandale Hotel MULLUM MUSIC: Nov 22 – 25 Mullumbimby PIGEON: Nov 23 Brighton Up Bar; 24 Barcode MARTIN ATKINS: Nov 24 The Factory ARIA WEEK feat. THE TROUBLE WITH TEMPLETON: Nov 28 Beresford REDCOATS: Nov 29 Great Northern Newcastle; 30 Annandale Hotel; 1 December Transit Bar DI’ANNO VS BLAZE: Nov 29 Cambridge Hotel; 30 Manning Bar; Dec 1 Waves PRIMAL SCREAM: Dec 5 Enmore Theatre HOMEBAKE: Dec 8 The Domain JEFF MARTIN: Dec 10 Lizotte’s Newcastle; 11 Lizotte’s Kincumber; 12 Lizotte’s Dee Why; 14 The Factory; 15 The Heritage; 16 The Vanguard; 18 & 19 Brass Monkey KINGSWOOD: Dec 14 Goodgod EVAN DANDO & JULIANA HATFIELD: Dec 20 The Metro REUNION FESTIVAL: Dec 22 Entrance Leagues Club PEATS RIDGE: Dec 29 – Jan 1 Glenworth Valley BEACH HOUSE: Jan 3 Enmore Theatre TWO DOOR CINEMA CLUB: Jan 3 Hordern Pavilion BLOOD RED SHOES: Jan 4 The Hi-Fi THE HIVES: Jan 7 The Metro HOT CHIP: Jan 8 Enmore Theatre BORED NOTHING: Jan 10 FBi Social NITE JEWEL: Jan 31 Goodgod YEASAYER: Jan 31 Metro Theatre MS MR: Feb 4 Oxford Art Factory GODSPEED YOU! BLACK EMPEROR: Feb 14 Enmore Theatre SARAH BLASKO: Feb 17 & 18 Sydney Opera House Concert Hall FATHER JOHN MISTY: Feb 19 Metro Theatre EINSTÜRZENDE NEUBAUTEN: Feb 22 Enmore Theatre CAT POWER: Mar 1 Newcastle Panthers; 2 Enmore Theatre FUTURE MUSIC: Mar 9 Randwick Racecourse JON SPENCER BLUES EXPLOSION: Mar 9 The Hi-Fi NEIL FINN & PAUL KELLY: Mar 10, 11, 12, 17 & 18 Sydney Opera House Concert Hall DINOSAUR JR: Mar 16 The Hi-Fi SETH LAKEMAN: Mar 20 Notes; 21 Lizotte’s Dee Why; 22 Lizotte’s Kincumber; 23 Lizotte’s Newcastle; 24 Brass Monkey WANDA JACKSON: Mar 23 Factory Theatre; 25 Lizotte’s Newcastle JOAN ARMATRADING: Mar 24 Enmore Theatre; 25 Penrith Panthers RODRIGUEZ: Mar 25 Enmore Theatre THE LUMINEERS: Mar 27 Metro Theatre JIMMY CLIFF: Mar 28 Metro Theatre BLUESFEST: Mar 28 – Apr 1 Tyagarah Tea Tree Farm TEDESCHI TRUCKS BAND, TROMBONE SHORTY & ORLEANS AVENUE: Mar 31 Enmore Theatre TROMBONE SHORTY & ORLEANS AVENUE: Apr 1 Lizotte’s Newcastle SHAWN COLVIN: Mar 31 The Basement JAKE SHIMABUKURO: Mar 31 Lizotte’s Newcastle; Apr 1 Lizotte’s Central Coast; 3 Lizotte’s Dee Why; 4 The Basement BLIND BOYS OF ALABAMA, SWEET HONEY IN THE ROCK: Apr 1 Enmore Theatre BONNIE RAITT & MAVIS STAPLES: Apr 3 Enmore Theatre ROGER HODGSON: Apr 3 & 4 State Theatre BEN CAPLAN: Apr 3 Notes JON ANDERSON: Apr 3 Lizotte’s Newcastle; 6 Factory Theatre BETTYE LAVETTE: Apr 5 Factory Theatre

TUE 20 A NIGHT OF AMERICANA: The Basement - Circular Quay ADAM PRINGLE, + FRIENDS: Sandringham Hotel, downstairs - Newtown BLAKE SABAN 3: Orana Hotel - Blacksmiths

CARL FIDLER: Observer Hotel - The Rocks CROOKED SAINT: Café Lounge - Surry Hills DARREN BENNETT, BLACK DIAMOND, + GUESTS: George IV Hotel - Picton HANDASYD WILLIAMS, + GUESTS: Botany View Hotel - Newtown MANDI JARRY DUO: Maloneys Hotel - Sydney

MATT MCMAHON TRIO, NORTH SOUTH: 505 - Surry Hills NEW WAVE COMEDY SHOW: Laugh Garage Comedy Club - Sydney RUSSELL NEAL, PATRICK MCCARTHY, PAT O’CONNOR: Taverners Hill Hotel - Leichhardt SONS OF MERCURY: Scruffy Murphys - Sydney

WED 21 ATLAS B SALBESEN, SPOOKY LAND, EDWARD DEER: The Vanguard - Newtown CHARLEY, AMY MCKNIGHT, LINCOLN BURNS, JOE KALOU: Lizottes, Central Coast - Kincumber CUMBIA MUFFIN: The Mac - Surry Hills DAN SPILLANE: Coogee Bay Hotel, Beach Bar - Coogee DOUBLE STANDARD: Artichoke Gallery Café - Manly FEAR OF DAWN: Marquee, The Star - Pyrmont GANG OF BROTHERS: Rock Lily, The Star - Pyrmont GREG SITA, SANITY’S COLLISION, NATHAN COLE: Cookies Lounge & Bar - North Strathfield HARRY SUTHERLAND TRIO, KEN ALLARS: 505 - Surry Hills HELMUT UHLMANN, SENANI, EVA-MARIA HESS, DAVID MOULDER, + GUESTS: UTS Loft Bar, UTS - Broadway JORDAN MILLAR: Yours and Owls - Wollongong MATT SCHLAM, THE PREHISTORICS, ADAM GORECKI: Brass Monkey - Cronulla MUSOS CLUB JAM NIGHT: Bald Faced Stag - Leichhardt

WOLVES & LACE: Newtown Hotel - Newtown

THU 22 ABSOLUTE BOYS, RITES WILD: The Square - Haymarket ANDREW DENNISTON, NICK DOMENICOS, SPENCER MCCULLUM: Kogarah Hotel - Kogarah ANDY MAMMERS: Dee Why Hotel - Dee Why BEN FINN DUO: Ettamogah Hotel - Rouse Hill BLIND HOT GEMS: 505 - Surry Hills CAROLYN WOODORTH, + GUESTS: Olympic Hotel - Paddington CJ WILSON: Manly Leagues Club - Brookvale CROOKED SAINT: Grand Junction Hotel - Maitland DAN SPILLANE: Northies Cronulla Htl- Sport Bar DAVE WILKINS: Marlborough Hotel - Newtown DIESEL, LYN SMITH: Lizottes, Newcastle - New Lambton ELEVATE: Scruffy Murphys - Sydney EVIE DEAN: Sir Joseph Banks Hotel - Botany GEORGIA JULIETTE MONCRIEFF, BOATS OF BERLIN, FANNY LUMSDEN, SWAMP FPHAT JANGLES: The Standard - Darlinghurst GLENN LUMANTA: Mars Hill Café Parramatta IGNITION: 3 Wise Monkeys - Sydney I’M WITH STUPID: O’Malleys Hotel - Kings Cross JIMMY MANN: Colyton Hotel - St Marys

MISSY HIGGINS: Tuesday 20 – Thursday 22 November, State Theatre; Friday 23 Royal Theatre, Canberra

ONE WILD NIGHT: Scruffy Murphys - Sydney OPEN MIC NIGHT: Laugh Garage Comedy Club - Sydney PAUL SUN, MONIQUE LYSIAK, HANNAH JAMES: Jazushi - Surry Hills RUSSELL NEAL, WARREN MUNCE, + GUESTS: Cat & Fiddle Hotel - Balmain TAOS, MEN WITH DAY JOBS, JOHN CHESHER, GAVIN FITZGERALD, SEAN RENFORD: Coach & Horses Hotel - Randwick THE WALL feat., KOMBAT VS WHO AM I, DJFLO, + MORE: World Bar - Kings Cross TOM BALLARD’S LISTENING PARTY: The Standard - Darlinghurst VILLANOVA: Bar Petite - Newcastle

KIRK BURGESS: Sackville Hotel - Rozelle LLOYD SPIEGEL: Wickham Park Hotel - Newcastle LOUNGE SOUNDS: Artichoke Gallery Café - Manly MICHAEL MCGLYNN: Greengate Hotel - Killara MICHAEL PETER: Coogee Bay Hotel, Beach Bar - Coogee MORGAN JOANEL, JORDAN MILLAR: The Workers - Balmain NICKY KURTA: Harbord Beach Hotel - Harbord PAT DRUMMOND: Pioneer Tavern - Penrith PETER HEAD: Harbour View Hotel - The Rocks PROPAGANDA feat., TOM BALLARD, JAKE STONE, + MORE: World Bar - Kings Cross RETURN OF COOL: Town & Country Hotel - St Peters

RUSSELL NEAL, TIM STOKES, ANGELENE HARRIS, + GUESTS: Forest Lodge Hotel - Glebe SAM & JAMIE TRIO: Maloneys Hotel - Sydney SONIC MAYHEM ORCHESTRA, STEVE BALBI: Blue Beat Bar - Double Bay TAOS, NOTHIN BUT JAM, THE SNAKEMEN, + GUESTS: Brass Monkey - Cronulla TAYLOR & THE MAKERS, ADAM BYRNE & FRIENDS: Lizottes, Central Coast - Kincumber THE ANGELS: Manly Golf Club - Manly THE GREEN MOHAIR SUITS: The Mac - Surry Hills UNGUS UNGUS UNGUS: Sandringham Hotel, downstairs - Newtown VICTA, THE JULIAN ASSANGE EXPERIENCE: Imperial Hotel - Erskineville VIMANA & THE JAZZ BOGANS, TYRAN HALL, THE DB5, SHEENA R: Valve Bar & Venue - Tempe WES CARR’S BUFFALO TALES, ANNALEISE SZOTA, DJ SINEAD: Rock Lily, The Star - Pyrmont

FRI 23 ANDY HART, MYLES MAC: The Spice Cellar - Sydney ANITA WARDELL: 505 - Surry Hills APES: Roxbury Hotel - Glebe BEST OF FOO - FOO FIGHTERS SHOW: Bull & Bush - Baulkham Hills BETH GLEESON: Bar Petite - Newcastle BIG WAY OUT: Marlborough Hotel - Newtown BILL JACKSON, PETE FIDLER, SPIKE FLYNN: Cat & Fiddle Hotel - Balmain BLACK DIAMOND HEARTS: Crows Nest Hotel (late) - Crows Nest BLUE METTLE: Matraville Hotel - Matraville BON JOVI - THE SHOW: O’Donoghues - Emu Plains BOUNCE CREW, NUKEWOOD, GRANT STREATER: Mean Fiddler Hotel, Sub Bar - Rouse Hill BRAD JOHNS: Observer Hotel (late) - The Rocks BRAZIL MEETS CUBA: The Basement - Circular Quay BRIAN’S FAMOUS JAZZ & CHILI CRAB NIGHT: Lizottes, Sydney - Dee Why CAMBO: Observer Hotel (early) - The Rocks CHASE THE SUN, MARSHALL OKELL, COREY LEGGE: Beaches Hotel - Thirroul COVER NOTES DUO: Vineyard Hotel - Vineyard DARREN JACK, SALLY KING: Brass Monkey - Cronulla DAVID AGIUS BAND, MANDI JARRY: Dee Why Hotel - Dee Why DIESEL, LYN SMITH: Lizottes, Newcastle - New Lambton DJ TASK, TIMMY LALA: Mean Fiddler Hotel, Woolshed - Rouse Hill

DOUG DEKROO’S LONESOME TRAIN: Town & Country Hotel - St Peters ELI WOLFE: Annandale Hotel (afternoon) - Annandale ELVIS BY REQUEST: Revesby Workers - Revesby FUNHOUSE: North Ryde RSL, Marble Bar Lounge - North Ryde GEMMA GLENDENNING: Ettalong Beach Club - Ettalong Beach GREG AGAR: Mona Vale Hotel - Mona Vale GREG BYRNE DUO: Crows Nest Hotel (early) - Crows Nest HIATUS KAIYOTE, NGAIIRE: Gearins Hotel - Katoomba HIP NOT HOP: Customs House Bar - Circular Quay HUE WILLIAMS: Tea Gardens Hotel - Bondi Junction IGNITION: Scruffy Murphys - Sydney INTIMATE LOUNGE MUSIC: Fairfield RSL, Supper Club - Fairfield JAMES MORRISON, JEFF CLAYTON: Botanical Gardens - Sydney JAYSON M, SANITY’S COLLISION: Mars Hill Café - Parramatta JIMMY BEAR: Red Cow Hotel - Penrith KAYLENS RAIN: Harbord Beach Hotel - Harbord KEYIM BA: Camelot Lounge - Marrickville M9, DIRTY LITTLE SECRETS, AERO: Candy’s Apartment - Potts Point MACKA: Oasis on Beamish Hotel - Campsie MATT PURCELL: Tall Timbers Hotel - Ourimbah MUM feat., THE NEW BRUTALISTS, LITTLE CASINO, THE CARROWAYS, + MORE: World Bar - Kings Cross PERRY KEYES, LOENE CARMEN: The Vanguard - Newtown PIPER & THE CRO: Kincumber Hotel - Kincumber QUINI: Figtree Hotel - Wollongong ROADCASE: North Richmond Hotel North Richmond ROB HENRY: Observer Hotel - The Rocks SAM & JAMIE TRIO: Kirribilli Hotel - Kirribilli SEATTLE SOUND: The Ranch Hotel - Marsfield SHADE OF RED: Coogee Bay Hotel, Beach Bar - Coogee STEVE CROCKER: Chatswood RSL - Chatswood STEVE EDMONDS: Warilla Bowling Club - Warilla TAKEN BY FORCE, DEADLY VISIONS, STREET WAR, BONELESS, DEATH TOLL: Valve Bar & Venue - Tempe TEETH & TONGUE, DARREN SYLVESTER: The Square - Haymarket TERRY BATU: Winmalee Tavern - Winmalee THE ABSTRACTIONISTS: Artichoke Gallery Café - Manly THE BLUES BROS SHOW: Club Engadine - Engadine THE GOYLES: Illawarra Yacht Club - Warrawong

THE LIBERATORS: The Mac - Surry Hills THE PHONIES, THE CONSCIOUS PILOTS, LYALL MOLONEY, DJ IVORY BRONSTON: Kings Cross Hotel - Kings Cross TOM TRELAWNY TRIO: Bankstown Sports Club - Bankstown WANDERLUST: Sound Lounge, Seymour Centre - Chippendale WARDS XPRESS, CHRIS E THOMAS: Blue Beat Bar - Double Bay WES CARR INTRODUCING BUFFALO TALES, MARTHA MARLOWE, ANNALIESE SZOTA: Notes Live - Enmore ZOLTAN: Cronulla RSL - Cronulla

SAT 24 ABSENCE OF KIN, CLETUS KASSADY, KING COLOUR, ALXANDER CROSS: The Square - Haymarket AFTER PARTY BAND: Penrith RSL, Castle Lounge - Penrith

DAN CRESTANI, VINCENT PHAM, DANIEL CHIGWIDDON: Mars Hill Café Parramatta DANE & AARON: Cookies Lounge & Bar - North Strathfield DAVE MCRAE, JOY YATES: Sound Lounge, Seymour Centre - Chippendale DAVE WHITE BAND, DJ URBY: Rock Lily, The Star - Pyrmont DAVID CAMPBELL: Mittagong RSL - Mittagong DIMEBAG DARREL TRIBUTE feat, NEKROFEIST, ATOMESQUAD, RED BEE, + MORE: The Wall, The Bald Faced Stag - Leichhardt DIRTY DEEDS - AC/ DC SHOW: Ettalong Bowling Club - Ettalong EAST COAST BAND: Crows Nest Hotel (late) - Crows Nest ELVIS BY REQUEST: Southern Cross Club - Canberra, ACT ESKMO, TIPPER: Manning Bar, Sydney Uni - Camperdown

JOVA: Thursday 22 November, Sydney Livehouse

AMBER LAWRENCE, LUKE O’SHEA: Lizottes, Sydney - Dee Why AMBRE HAMMOND, MARCELLO MAIO: Camelot Lounge - Marrickville ARLEY BLACK: Beauford Hotel - Mayfield BACK TO THE 80’S, 70s REVIVAL: Blacktown Workers Club - Blacktown BAND OF MEN: Macarthur Tavern - Campbelltown BANG SHANG A LANG: Unity Hall Hotel - Balmain BEN FINN: Brewhouse - Marayong BIG BAND FINALE, + SPECIAL GUESTS: Botanical Gardens - Sydney BILL JACKSON & THE ACOUSTIC ORCHESTRA, RUTH HAZLETON, PETER FIDLER: Fairlight Folk Acoustic Lounge - Fairlight BLACK DIAMOND HEARTS: Castle Hill RSL - Castle Hill BLACKLIST: Marlborough Hotel - Newtown BRIAN’S FAMOUS JAZZ & CHILI CRAB NIGHT: Lizottes, Central Coast - Kincumber CAKES feat, GENERIK, KATO, NATNOIZ, + MORE: World Bar - Kings Cross CHRIS & JOANNE COCKBURN: Ettalong Beach Club - Ettalong Beach CONTINENTAL ROBERT’S SOUL KINDA FEELIN’ REVUE, DJ COFFIN ED: Blue Beat Bar - Double Bay

FANTINE, LOUIS LONDON, TWIN LAKES, DJ LIZ BIRD: Upstairs Beresford - Surry Hills FORESHORE FESTIVAL: Commonwealth Park - Canberra, ACT GENE MAYNARD: Town & Country Hotel - St Peters GIAN: Bar Petite - Newcastle GILBERT WHYTE: Artichoke Gallery Café - Manly HAND PICKED: Crown Hotel - Sydney HARBOUR MASTER: Manly Leagues Club - Brookvale HOPSIN, DIZZY WRIGHT, JARREN BENTON, DJ HOPPA: Factory Theatre (early) - Marrickville HOPSIN: The Standard - Darlinghurst JAZZ NOUVEAU: Fairfield RSL, Supper Club - Fairfield JEFF DUFF, Chris E Thomas, DAMIEN LOVELOCK, FLOYD VINCENT, REX GOH: The Basement - Circular Quay JOYCE COLLINS: The Belvedere Hotel - Sydney KID KENOBI: Clubhouse - Canberra KURT WILLIAMS: Rose Bay Hotel - Rose Bay LE FUNK: North Ryde RSL, Marble Bar Lounge - North Ryde LEADFINGER, THE DIRTY EARTH, THE BALKAN GRILL: Sandringham Hotel, upstairs - Newtown MACKA: Courthouse Hotel - Darlinghurst MATTY BIXX, SHERLOCK BONES, STALKER: Candy’s Apartment - Potts Point

TOUR GUIDE INTERNATIONAL OWL CITY: Nov 20 The Metro THE PIERCES: Nov 20 Oxford Art Factory BOYZ II MEN: Nov 20 Newcastle Panthers; 24 Royal Theatre; 27 Penrith Panthers; 29, 30 State Theatre RICK ASTLEY: Nov 21 Canberra Theatre; 23 Evan Theatre; 24 Rooty Hill RSL; 25 Enmore Theatre EYEHATEGOD: Nov 22 The Manning Bar; 23 ANU Bar ANGEL AT MY TABLE: Nov 22 Landsdowne JOEY CAPE: Nov 22 Hot Damn BROTHER ALI, SEAN PRICE: Nov 22 Factory Theatre CALVIN HARRIS: Nov 23 Marquee DARK FUNERAL: Nov 23 The Factory KORA: Nov 23 The Metro JOE PUG: Nov 23 Annandale Hotel FLUX PAVILION: Nov 23 Chinese Laundry ZEDD, BINGO PLAYERS: Nov 23 Soho LAIDBACK LUKE, MARTIN SOLVEIG: Nov 23 Ivy VILLAGE PEOPLE: Nov 23 Enmore Theatre TIM SWEENEY: Nov 24 Marrickville Bowls Club MARTIN ATKINS: Nov 24 Factory Theatre PORTER ROBINSON: Nov 24 Marquee IWRESTLEDABEARONCE: Nov 24 Annandale Hotel; 25 The Wall NICKELBACK: Nov 24 & 25 Allphones Arena SANDER VAN DOORN: Nov 28 Marquee DI’ANNO VS BLAZE: Nov 29 Cambridge Hotel; 30 Manning Bar; Dec 1 Waves BRODINSKI, GESAFFELSTEIN, CLUB CHEVAL, FRENCH FRIES: Nov 29 Oxford Art Factory LAGWAGON: Nov 30 Cambridge Hotel; Dec 1 Manning Bar; 2 Wollongong UniBar CHUCKIE, ALY & FILA, ØRJAN NILSE: Nov 30 Home COLOR ME BADD: Nov 30 The Enmore BART B MORE: Nov 30 Onefiveone NICKI MINAJ: Nov 30 Sydney Entertainment Centre APOLLO BROWN: Nov 30 Civic Underground THE KNOCKS: Nov 30 Oxford Art Factory BIG D & THE KIDS TABLE: Nov 30 The Patch; Dec 2 The Wall OMAR RODRIGUEZ LOPEZ: Dec 1 The Hi-Fi REEL BIG FISH: Dec 1 UNSW Roundhouse THE SELECTER: Dec 1 Factory Theatre TYGA: Dec 1 Metro Theatre MICHAEL MAYER: Dec 1 Oxford Art Factory SPIRITUALIZED: Dec 2 Sydney Opera House Concert Hall PRIMAL SCREAM: Dec 5 Enmore Theatre WILL & THE PEOPLE: Dec 5 The Loft UTS; 7 The Junkyard; 16 The Beachcomber; 20 The Boatshed; 21 Great Northern Newcastle; 22 The Beresford; 23 Hoey Moey THE PRETTY THINGS: Dec 5 Lizotte’s Dee Why; 7 Factory Theatre; 8 Goodgod BLONDIE: Dec 6 Enmore Theatre HOT SNAKES: Dec 6 Annandale Hotel OMAR SOULEYMAN: Dec 6 Oxford Art Factory TURBONEGRO: Dec 6 The Hi-Fi SIMPLE MINDS, DEVO, THE CHURCH: Dec 7 Sydney Entertainment Centre; 8 Bimbadgen Winery; 12 WIN Entertainment Centre POUR HABIT: Dec 8 Annandale Hotel; 9 (arvo) Valve; 9 (evening) The Patch NICK WARREN: Dec 8 Chinese Laundry FOUR TET: Dec 8 The Metro REGINA SPEKTOR: Dec 8 Enmore Theatre; 10 & 11 Sydney Opera House Concert Hall JEFF MARTIN: Dec 10 Lizotte’s Newcastle; 11 Lizotte’s Kincumber; 12 Lizotte’s Dee Why; 14 The Factory; 15 The Heritage; 16 The Vanguard; 18 & 19 Brass Monkey GRIMES: Dec 10 & 11 Oxford Art Factory ALEXISONFIRE: Dec 11 Hordern Pavilion HAWTHORNE HEIGHTS: Dec 13 Hot Damn; 14 Cambridge Hotel SUICIDAL TENDENCIES: Dec 14 UNSW Roundhouse EVAN DANDO & JULIANA HATFIELD: Dec 20 The Metro TWO DOOR CINEMA CLUB: Jan 3 Hordern Pavilion BEACH HOUSE: Jan 3 Enmore Theatre BLOOD RED SHOES: Jan 4 The Hi-Fi THE HIVES: Jan 7 The Metro HOT CHIP: Jan 8 Enmore Theatre NITE JEWEL: Jan 31 Goodgod YEASAYER: Jan 31 Metro Theatre

DI’ANNO VS BLAZE: Nov 29 Cambridge Hotel; 30 Manning Bar; Dec 1 Waves

MS MR: Feb 4 Oxford Art Factory GODSPEED YOU! BLACK EMPEROR: Feb 14 Enmore Theatre FATHER JOHN MISTY: Feb 19 Metro Theatre EINSTÜRZENDE NEUBAUTEN: Feb 22 Enmore Theatre CAT POWER: Mar 1 Newcastle Panthers; 2 Enmore Theatre TORO Y MOI: Mar 7 The Standard JON SPENCER BLUES EXPLOSION: Mar 9 The Hi-Fi NEIL FINN & PAUL KELLY: Mar 10, 11, 12, 17 & 18 Sydney Opera House Concert Hall DINOSAUR JR: Mar 16 The Hi-Fi SETH LAKEMAN: Mar 20 Notes; 21 Lizotte’s Dee Why; 22 Lizotte’s Kincumber; 23 Lizotte’s Newcastle; 24 Brass Monkey WANDA JACKSON: Mar 23 Factory Theatre; 25 Lizotte’s Newcastle JOAN ARMATRADING: Mar 24 Enmore Theatre; 25 Penrith Panthers RODRIGUEZ: Mar 25 Enmore Theatre THE LUMINEERS: Mar 27 Metro Theatre JIMMY CLIFF: Mar 28 Metro Theatre TEDESCHI TRUCKS BAND, TROMBONE SHORTY & ORLEANS AVENUE: Mar 31 Enmore Theatre SHAWN COLVIN: Mar 31 The Basement JAKE SHIMABUKURO: Mar 31 Lizotte’s Newcastle; Apr 1 Lizotte’s Central Coast; 3 Lizotte’s Dee Why; 4 The Basement TROMBONE SHORTY & ORLEANS AVENUE: Apr 1 Lizotte’s Newcastle BLIND BOYS OF ALABAMA, SWEET HONEY IN THE ROCK: Apr 1 Enmore Theatre BONNIE RAITT & MAVIS STAPLES: Apr 3 Enmore Theatre ROGER HODGSON: Apr 3 & 4 State Theatre BEN CAPLAN: Apr 3 Notes JON ANDERSON: Apr 3 Lizotte’s Newcastle; 6 Factory Theatre BETTYE LAVETTE: Apr 5 Factory Theatre

FESTIVALS EAST WEST DEATH GRIND FEST: Nov 20 Lewisham Hotel MULLUM MUSIC: Nov 22 – 25 Mullumbimby FORESHORE: Nov 24 Commonwealth Park Canberra STEREOSONIC: Nov 24 Sydney Showgrounds HARBOURLIFE: Dec 1 Fleet Steps HOMEBAKE: Dec 8 The Domain FESTIVAL OF THE SUN: Dec 14 & 15 Sundowner Breakwall Tourist Park REUNION FESTIVAL: Dec 22 Entrance Leagues Club SCORCHER FEST: Dec 22 Valve Bar PEATS RIDGE: Dec 29 – Jan 1 Glenworth Valley FIELD DAY: Jan 1 The Domain SYDNEY FESTIVAL: Jan 5 – 27 various venues around Sydney BLUES & GROOVES: Jan 6 Beachcomber Hotel SPUNK TONES: Jan 12 Bangalow A&I Hall JAZZGROOVE SUMMER FESTIVAL: Jan 17 – 20 various venues in Surry Hills and Redfern BIG DAY OUT: Jan 18 Sydney Showgrounds SOUNDWAVE: Feb 24 Sydney Olympic Park FUTURE MUSIC: Mar 9 Randwick Racecourse BLUE MOUNTAINS MUSIC FESTIVAL: Mar 15 – 17 Katoomba CMC ROCKS THE HUNTER: Mar 15 – 17 Hope Estate HITS & PITS: Mar 23 UNSW Roundhouse; 27 ANU Bar BLUESFEST: Mar 28 – Apr 1 Tyagarah Tea Tree Farm THE GUM BALL: Apr 25 – 28 Dashville Hunter Valley

To check out the mags online go to themusic.com.au/mags • 81

MIKE MATHIESON DUO, CHRIS ALEXANDER: Sutherland United Services Club - Sutherland NICK RASCHKE DUO: Duke of Wellington Hotel - New Lambton ONE HIT WONDERS: Ettamogah Hotel - Rouse Hill OUTLIER: Mona Vale Hotel - Mona Vale OZZMOSIS, BLACK LABEL, AETURNUS DOMINION, PARENTHIA, HORRORWOOD MANNEQUINS, + MORE: Valve Bar & Venue (afternoon) - Tempe PARTY VIBE: Mercantile Hotel - The Rocks PETE HUNT: Bexley RSL - Bexley PETER HEAD: Harbour View Hotel - The Rocks PLEASURE & PAIN THE DIVINYLS SHOW: Kiama Leagues Club - Kiama POWDERFINGER SHOW: Cardiff Panthers - Cardiff RADIO SLAVE: Goldfish - Kings Cross ROB HENRY: Sir Joseph Banks Hotel - Botany RUNNING WITH SHADOWS - A TRIBUTE TO FLEETWOOD MAC: Coogee Diggers - Coogee SHANNON NOLL: Cambridge Hotel - Newcastle SOPHIE JOY MADISON: Tahmoor Inn - Tahmoor SOULED OUT: Scruffy Murphys - Sydney

STEPH MILLER, THE ED AND JOE SHOW: Erskine Gallery - Sydney STEREOSONIC 2012: Sydney Olympic Park STEVE EDMONDS BAND: Dicey Riley’s Hotel - Wollongong STEVE MAGNUSSENS MAGNET: 505 - Surry Hills TANGLED UP IN BOB A TRIBUTE TO DYLAN: Brass Monkey - Cronulla TERRY BATU: Paceway Club - Penrith THE COLOURS TRIBUTE BAND: The Mac - Surry Hills THE LOVE HANDLES: Taverners Hill Hotel - Leichhardt THE MAL EASTICK BAND, FOREDAY RIDERS, DOM TURNER & SUPRO, THE DARREN JACK HAMMOND TRIO, + SPECIAL GUESTS: Bridge Hotel - Rozelle THE MONSTERS OF ROCK: Overlander Hotel - Cambridge Park THE NUTS: Brighton RSL - Brighton-Le-Sands THE PATRIARCHS: Narrabeen RSL - Narrabeen THE POD BROTHERS: Coogee Bay Hotel, Beach Bar - Coogee THEATRESPORTS CRANSTON CUP GRAND FINAL: Enmore Theatre - Enmore

GIG OF THE WEEK

Mama Kin

MULLUM MUSIC FESTIVAL Back again this year, the Mullum Music Festival in Mullumbibmy runs from Thursday 22 to Sunday 25 November, featuring over 100 performances across eight venues. This year’s international guests include the legendary Jamaican vocal trio The Abyssinians with their nine-piece band, masterful blues and African roots musician Boubacar Traoré from Mali, Chicago’s gritty singer-songwriter Joe Pug, the exclusive appearance of the passionate Chilean world music star Nano Stern and the fun and energy of Londoners Will & The People with their mix of reggae, pop and rock. Returning to the festival are Husky with their classic pop and rich harmonies, Darren Percival with his band fresh from those amazing performances on The Voice, roots, pop, reggae from Sydney live music stalwarts King Tide, the gloriously infectious Tinpan Orange and the festival’s “patron saint”, Mama Kin (pictured), plus many, many more.

THUNDERSTRUCK-AC/ DC SHOW, SHADOW BOXER- THE ANGELS TRIBUTE: Narrabeen Sands - Narrabeen TYCHO, BATHS, PREFUSE 73, SYNKRO: Metro Theatre - Sydney VAN THE MAN - VAN MORISSON SHOW: Bull & Bush - Baulkham Hills WHISPERING JACKFARNHAM SHOW: Blacktown RSL. Celebrity Room - Blacktown WILDCATZ: 3 Wise Monkeys - Sydney

YUKI KUMAGAI, JOHN MACKIE: Wellco Café & Wine Bar - Leichhardt ZOLTAN: Castle Hill RSL, The Terrace - Castle Hill ZU2 - THE U2 EXPERIENCE: Richmond Inn - Richmond

SUN 25 5 SECONDS OF SUMMER, NINE SONS OF DAN: Metro Theatre - Sydney

ANTOINE: O’Malleys Hotel - Kings Cross BORIS DRIVER, NERVOUS DISORDER, ZED BLUNT, SKIP NOT, ANITIA LENZO: Valve Bar & Venue - Tempe COOL RIVER, SOPHIE RAYMOND & THE REDDY SET, SWEET LITTLE ARMY, BELLIS: Cat & Fiddle Hotel - Balmain DAVID AGIUS DUO: Ettamogah Hotel - Rouse Hill

DESTROY THE JOINT: The Standard - Darlinghurst DRAGON, CRAIG THOMMO: Heathcote Hotel - Heathcote ELEVATION: Orient Hotel - The Rocks FALLON: Overlander Hotel - Cambridge Park GEMMA, ROB HENRY, CARL FIDLER: Observer Hotel - The Rocks HP CORONADOS, PAT POWELL: Rock Lily, The Star - Pyrmont

— BACK BY POPULAR DEMAND

TUE

HANDASYD WILLIAMS

20 NOV

+ BARRY MARCH + DAVE FAVOURS

SUN

SYDNEY BLUES SOCIETY

25 NOV

FREE

82 • To check out the mags online go to themusic.com.au/mags

—

JACK VIDGEN, JESS DUNBAR: Lizottes, Sydney - Dee Why JAMIE LINDSAY: Harbord Beach Hotel - Harbord KATRINA BURGOYNE: Kincumber Hotel - Kincumber KINSKY, THE COLLECTIVE PROJECT UNIT, RRIENDS SKA BAND: The Vanguard - Newtown MARK HOPPER: Artichoke Gallery Café - Manly MATT PRICE: Harlequinn Inn - Pyrmont MCALISTER KEMP, BAYLOU: Lizottes, Central Coast - Kincumber ME N IM: Hurstville RSL Club - Hurstville PETER HEAD TRIO: Harbour View Hotel - The Rocks RETURN OF COOL: Town & Country Hotel - St Peters SAMANTHA JOHNSON, TIM STOKES, + GUESTS: Salisbury Hotel - Stanmore SONGWRITERS AFTERNOON: Mars Hill Café - Parramatta SOUP KITCHEN: World Bar - Kings Cross STEPH MILLER, THE ED AND JOE SHOW: Erskine Gallery - Sydney STEVE EDMONDS: Queens Wharf Brewery - Newcastle STEVE TONGE: Coogee Bay Hotel, Beach Bar - Coogee

OPEN EVERY THURS-FRI-SAT IN NOVEMBER

—

199 CLEVELAND ST SURRY HILLS

STONEAGE ROMEOS: Bar Petite - Newcastle SUITE AZ, DJ KITSCH78: Rock Lily, The Star (afternoon) - Pyrmont THE BLACKHILL RAMBLERS: Marrickville Bowling Club - Marrickville THE FENDER BENDERS: BayView Hotel - Batemans Bay THE SHUFFLE BOYS: Penrith RSL, Castle Lounge - Penrith THE SLOWDOWNS: Sandringham Hotel, downstairs (arvo) - Newtown TIM STOKES, SAMANTHA JOHNSON: Cookies Lounge & Bar North Strathfield WARDS XPRESS: Botany View Hotel - Newtown WOUTER KELLERMAN: Camelot Lounge - Marrickville

MON 26 ALPINE, OH MERCY, OLIVER TANK: Upstairs Beresford - Surry Hills BERNIE: Observer Hotel - The Rocks ELANA STONE: 505 - Surry Hills RUSSELL NEAL, TIM STOKES, ANITA LENZO TRIO, + GUESTS: Kellys on King - Newtown

—

THURS-FRI 6PM-12AM SAT 12AM-3PM

83

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84

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LIVE RECORDING. Available to gigs in Sydney/ Metro area. Multitrack audio up to 24trk, Isolated signal splitters, Dedicated HD plus DAW backup, Focusrite preamps. Raw tracks for mixdown, $250 www.livelinegroup.com 0411342989

iFlogID: 20004 Need a mixer? Hire desks up to 32 channels – Dynacord, Allen & Heath, Yamaha, Soundcraft, Presonus. PA, Foldback, Microphones, processors also available. Hire the best gear from Lamba 9758-8888 www.lamba.com.au

Lawyer- All Criminal Law/Traffic Law/ Family Law matters (reasonable fixed fee rates) call Shad Barends 0422776889 24 * 7 shad@barends.com.au First Consultation Free

iFlogID: 20219

NEED CASH FOR XMAS?

iFlogID: 19670

OzSoundSolutions is proud to launch our all new range of LINE 6 PA systems, ranging from 1,400 to a massive 10,000 watts. Features include; Wireless Vocal Mikes, Anti Feedback Technology, Compact Design for a BIG sound in small and large venues, Professional Presentation for that First Class look, In-Ear Monitor for the drummer (no wedge required), Up to 24 LED Par 64 Lights on Trees and Trestles. ***SPECIAL OFFER***: ALL NEW BOOKINGS WILL RECEIVE YOUR ENTIRE PERFORMANCE (UP TO 3 HRS) RECORDED FREE OF CHARGE - 16 CHANNELS PLUS STEREO FRONT OF HOUSE IN 24 BIT WAVE FILE - RECORDED PRE-EFFECTS!! REMIX IT IN A RECORDING STUDIO AND CREATE YOUR OWN LIVE ALBUM. CONTACT FOR FULL DETAILS

iFlogID: 20340

WAVE FILE - RECORDED PRE-EFFECTS!! REMIX IT IN A RECORDING STUDIO AND CREATE YOUR OWN LIVE ALBUM. CONTACT FOR FULL DETAILS

iFlogID: 20340 P.A - SOUND SYSTEM FOR HIRE 2000W FRONT OF HOUSE, 650W FOLD BACK, $250 WITHOUT ENGINEER, PICK UP, $350 WITH ENGINEER SET UP & DELIVERED, PARTIES/DJ’S/SMALL BANDS CALL STEVE 0400606650 steveshifter@hotmail.com

MASTERING Audio Mastering, mixing, recording. CD-R music & data duplication, cover artwork, colour disc printing, online global distribution. Full studio package deal for EP or full album projects. Enquiries ph: 02 98905578

iFlogID: 15156 Audio Mastering, mixing, recording. CD-R music & data duplication, cover artwork, colour disc printing, online global distribution. Full studio package deal for EP or full album projects. Enquiries ph: 02 98905578

iFlogID: 20411

OTHER ++ play more chinese music - love, tenzenmen ++ www.tenzenmen.com

iFlogID: 14468 Award-winning Experienced, Qualified Music Producer: 1.Doing Instrumental version of any song for $40 2. Mix your multi-tracks for $50 and produce personalized original instrumentals for $50. 3. Check lovenabstudio on soundclick.com email: vangelis2133@yahoo.com

iFlogID: 18269 Get your Band or Business Online Cost effectively and PROFESSIONALLY - from $299 including Hosting and email addresses! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au

iFlogID: 15452 High Definition YouTube video demonstrations of cymbals. ZILDJIAN, SABIAN, PAISTE, UFIP, MEINL, WUHAN, STAGG, PEARL... www.youtube.com/user/sydneypollak

iFlogID: 19834

LIVE VENUE AVAILABLE Town & Country Hotel St Peters is one of Sydney’s smaller and interment venues. We offer the opportunity for all types of bands DJs and music to play live. We supply the Venue, PA, Mics, lights, mixing desk, advertising & Sound Engineer free. Available 7 days a week with a percentage of bar sales going to the bands. Door charge is available. For further information or booking enquiries call Brandon or Dionne Ph 02 9519 1965

PA HIRE

PA hire for DJ’s / small bands. Top quality equipment Hire includes, delivery, set up & operator. Prices start from $150 per night Call Stan for further information 0414 364 257

iFlogID: 20155

Speaker re-cones (most models), hand built basebins, guitar cabs, P.A. cabs and monitors, using all top quality components. Can also do custom road cases to suit any type of audio equipment. 0414355763.

iFlogID: 18953

PHOTOGRAPHY Image is everything! If you have a band wanting to get ahead let me capture the next gig. High quality pictures say everything. http://roybarnesphotography.com/ 0414 243 811

iFlogID: 18648

POSTERS GOLD COAST BYRON BAY NORTHERN NSW Poster distribution for touring artists & bands. Fast, efficient & reliable service at a competitive price www.thatposterguy.com.au

iFlogID: 17120

RECORDING STUDIOS Complete Album & Demo Recording, Production, Instrumentation,CD Mastering. I’m committed to achieving for you the highest quality in a creative, friendly environment. ph 02 9654 8143, mob 0400 323 982, johnertler@gmail.com

iFlogID: 19183 Even if you’ve never written a song before, YOU CAN BE A RECORDING ARTIST! Contact Australia’s no1 production house for the independent artist to find out how-MUSIC ENTOURAGE www.musicentourage.com studio@musicentourage.com

iFlogID: 19278 Have you got a song in your head? Music Producer available to turn your imagination into reality. Professional results and affordable rates.

iFlogID: 18131 Junior engineer looking for work. Based at western sydney with a protools HD, Marshall/Mesa amps available for hire. Niflheimmusic@gmail. com for info/prices. Reamping, midi or live drums, mix only/full production.

Experienced, energetic and proactive live audio engineer for $300/event + equipment hire (passed on directly from Lots of Watts). Free preproduction - call Helmut on 0433946982 to discuss your event.

iFlogID: 20390

BENNETTS GUITAR TUITION

iFlogID: 20055 Music Entourage Australia’s no1 production house for the independant artist! We’re not just a recording studio / We’ll help you get your music to the masses! www.musicentourage.com studio@musicentourage.com

iFlogID: 19274

1xFREE Lesson Beginners to Advanced Walk out of the free lesson playing a song. Rock-Blues-Inde-Metal-Classical-Folk-POP styles. Music CD’s teaching tools included. Recording Songwriting Techniques understanding amps and guitar-setups Singing available. $40HR Guitar Teaching10years+

all

0405-044-513

iFlogID: 20401

GUITAR LESSONS! In North Rocks, Marsfield, St Leonards. All styles and ability levels. Flatpicking, fingerstyle, extended techniques, acoustic and electric. Contact Dave Carr 0407 376 939. See www.myspace.com/dcarrmusic for more info.

Recording a single, EP or Album at Radio Release quality isn’t as hard or expensive as you might think. Stop wasting time! www.musicentourage. com studio@musicentourage.com

iFlogID: 17084 Recording Studio, Parramatta, $30hr casual rate. No kits! Singers, songwriters, instrumentalists for acoustic, world, classical genres specialist. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days.

iFlogID: 15152 Recording Studio, Parramatta, $30hr casual rate. No kits! Singers, songwriters, instrumentalists for acoustic, world, classical genres specialist. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days.

iFlogID: 20286 Recording? Hire the state of the art Presonus Studio Live 24.4.2 desk for your next project. A feature packed integrated hardware-software system. $200 weekly. Call Lamba 9758-8888 www.lamba.com.au

iFlogID: 19807 You’ll never regret recording your songs... but we garuntee you’ll ALWAYS regret not doing it! ***Every song Produced, Mixed & Mastered to Radio Release Quality*** studio@musicentourage. com www.musicentourage.com

iFlogID: 17747

Experienced and professional teacher based in Croydon, Sydney. -Tuition of Electric, Acoustic, Bass and Theory -Individual or Group Lessons -All ages and skill levels very welcome -Step by step method covering most styles -Accurate and clear scores and transcriptions provided aimed to suit the students musical goals *One Free Introductory Lesson for Anyone Interested!!* Please contact Michael @ 0420 371 624 mbennetts_@hotmail.com

iFlogID: 20301

CENTRAL COAST GUITAR LESSONS Beginner to advanced all ages, tailored lessons to suit you, most styles catered for, everything from basic open chords to scales and theory. Call Fred on 0400 347 955

GUITAR TUITION IN PADDINGTON $99 Special Promo 5 week course Beginners Welcome Children & Adults *Friendly mentoring approach *Great Results Guaranteed Enquire Now Paddington Ph: 0416960673 E: nikolaidis@live.ie

CREATIVE GUITAR TUITION

iFlogID: 19765

The best kept secret among musicians is that they move for a living (and for fun). Learn to move well to take the pressure off your body and improve performance. Helps reduce pain, increase flexibility and free the musician within! Monday evening class, Tuesday voice class, Private lessons at St Leonards now. SydneyAlexanderTechnique.com 0408 257 174

iFlogID: 19038

Studio and Equipment repairs. All work done by qualified technicians. Computer music workstations. Studio installations and repairs. Console repairs and customization. Callouts available. Steve 0412792912

iFlogID: 20409

STUDIO HIRE Gold Coast ParallelHarmonyStudioRobina. 30 square metre live room, large vocal booth. Handsome range of range of topoftheline Neumann, Rode and Shure microphones. Call 0755808883 for details. www.parallelharmony.com.au

iFlogID: 18640

TRANSPORT BUS HIRE SERVICE (with driver); 19-seater coaster-bus with wheelchair access available for airport-transit, festivals, functions and party-hire. Drive home safely with an experienced driver at the wheel. Please call Ray for a quote on 0414 355 763.

iFlogID: 19850

TUITION

AAA EXPERT TUITION

All levels and most styles including: Fingerstyle guitar, open tunings, slide guitar, flat picking, improvisation, rock, country, blues guitar (acoustic and electric), folk, celtic styles, music theory, arranging, ear training, singing, bluegrass and folk style banjo and mandolin. www.acousticfingerpicking.com

Petersham/ Sydney. Real guitar for committed students in a fully equipped music studio. Learn Jazz, Rock, Blues, Contemporary , Funk, Latin , Gypsy, Folk, Country and other popular styles. Learn at a pace and in a direction you want to go. Beginners to advanced, all aspects of guitar are supported. Comprehensive digital recording available. Ask about special introductory offer and gift vouchers. Contact Craig Corcoran: 0430344334 creative-guitar@ hotmail.com www.creativeguitar.com.au

iFlogID: 20039

DRUM LESSONS School Holiday Special!!!! PROFESSIONAL DRUM TEACHER WITH DRUMMING AND EDUCATION DEGREE. All styles and levels welcome Tips to make it in the industry provided. School Holiday Bargain Prices 10 percent off 5 lesson block 15 percent off 10 lesson block

Music tuition, classical / flamenco guitar, celtic harp, theory & harmony, arranging. 9am - 9pm, 7 days. Parramatta area. $40 hr, $30 half hr. Mature & patient. Harps for hire. Ph: 02 98905578

iFlogID: 15154 Music tuition, classical / flamenco guitar, celtic harp, theory & harmony, arranging. 9am - 9pm, 7 days. Parramatta area. $40 hr, $30 half hr. Mature & patient. Harps for hire. Ph: 02 98905578

iFlogID: 15158 PICKS AND STICKS STUDIO. Private Guitar lessons from an experienced teacher. All levels, All ages, All styles. Improvising, Theory, Song Writing, Technique Seven Hills, Sydney. Call Dave 0410 963 972 or email davemormul@hotmail.com

iFlogID: 16948

PRIVATE GUITAR LESSONS

iFlogID: 19984

iFlogID: 16690 Experienced and qualified electric bass and double bass tutor. Lessons tailored to exams or for leisure, expert to beginner. All ages, levels and styles welcome. Call Jeremy, 0452442022 for information.

Visit: http://www.vocalhub.com.au

iFlogID: 17102 Want to play Guitar... but don’t know where to start? Tailored Tuition at your Pace... with Guitarist for Sydney Band ROCKMONSTER Rock & Blues PH: 0422 868 959

iFlogID: 19650

WWW. KALEIDOSCOPETUITION. COM.AU Learn to play the kaleidoscope way Unique colour coded method guitar or piano Teach yourself or have lessons 0428335874 books available at dymocks or buy online www.kaleidoscopetuition.com.au

iFlogID: 19647

VIDEO / PRODUCTION CHECK OUT finncut’s channel on Utube Music Videos produced by Matti finncut@gmail.com

iFlogID: 19971 D7 STUDIO MUSIC VID FROM $250. Live gig edits, multi angles, fr $125 a set, 1 live track $100. All shot in full HD. d7studio@iinet.net.au 0404716770 syd based

iFlogID: 13368 Kontrol Productions is a highly professional production company that specializes in the production of music video’s. We ensure that our products are of the highest industry standards. For enquiries www.kontrolproductions.com

iFlogID: 13827 LIVE RECORDING.. Pro shot single cam video plus multitrack audio up to 24track. Mastered to DVD, HD youtube files, perfect for showreel, online promotion. $350 www.livelinegroup.com or 0411342989

iFlogID: 19797

iFlogID: 19814

Eastern Suburbs guitar/ukulele/bass/slide lessons with APRA award winning composer. Highly experienced, great references, unique individually designed lessons from Vaucluse studio. Learn to play exactly what YOU want to play! www.matttoms.com

VocalHub - Sing like no one is listening! Singing lessons for vocal technique and care, audition tips and repertoire in a encouraging and supportive environment.

QUALITY MUSIC VIDEO PRODUCTION Immersion Imagery strives to offer quality & creative music videos to suit your style & budget. Portfolio of over 30 artists. www.immersionimagery. com info@immersionimagery.com facebook.com/immersion.imagery

Drum Studio in Roselands & Mobile Service DRUM TUITION IN STANMORE Drum Tuition in Stanmore with a Billy Hyde trained Teacher. Dip Ed, Dip Drums. All levels and all styles taught. Beginners Welcome!. Call Lee 0403307796. www.lee-carey.com

iFlogID: 20378

iFlogID: 20376

Music Lessons at Beat Industry Tuggerah. Guitar, Drums, Vocals, Keyboard, Bass. Certificate courses and AMEB available. Free introductory lesson. www.beatindustry.com Ph: (02)4353 4749

REPAIRS

All styles both acoustic and electric from Blind Willie Johnson and Son House to Eric Clapton and Duane Allman. tel. John 0431953178

VOCAL TUITION

MOVE, SING, PLAY BETTER

iFlogID: 17546

iFlogID: 19034

SLIDE GUITAR TUITION

Do you have pitch problems? Are you experiencing damage due to incorrect support, placement and breathing? Phone John for some quick and easy remedial attention tel. 0431953178

iFlogID: 20226

REHEARSAL ROOMS

Professional Guitar Tech and Luthier. Clients have played with Jimmy Barnes, Guy Sebastian, Human Nature, Short Stack, Moving Pictures etc. All repair work and setups. Call Timo 9484 4374

iFlogID: 20403

iFlogID: 19683 LEARN GUITAR $99 Special Promo 5 week course Beginners Welcome Children & Adults *Friendly mentoring approach *Great Results Guaranteed Enquire Now Paddington Ph: 0416960673 E: nikolaidis@live.ie

iFlogID: 19748

SWEETLEAF REHEARSAL STUDIO MTDRUITT open 7 days, 3 rooms, aircon, food & beverages, Flat lug, Parking, PA & Lighting Hire Call - 9832-8890

GUITAR REPAIRS AND SETUPS

Your voice has the ability to sing at the Audioslave/ Muse/ Aretha/Yeah-Yeah-Yeahs level because of Design. Sing with effortless power Increase your range to Robert-Plant Chris-Cornelle Axl level. Microphone recording techniques songwriting Newtown 0405-044-513

iFlogID: 20050

iFlogID: 19276

iFlogID: 19672

iFlogID: 20388

PA / AUDIO / ENGINEERING

Professional and established inner city studio for Lease. Established and fully constructed with floating floors, sound proofed, acoustically treated. Extensive outboard/ analogue gear, live room + control room + loft area. $475 / week, includes all expenses (electricity, internet, water, etc), minimum 6 months lease. Contact Zak 0414991236

iFlogID: 15160

Music publicity. Do you want to get noticed? Affordable exposure for your band by someone that actually cares! www.perfectlywrite.com.au Drop me a line!

iFlogID: 15737

In North Rocks, Marsfield, St Leonards. Five-string banjo in the three-finger/Scruggs style, exploring all facets including advanced techniques a la Béla Fleck. Dave Carr 0407 376 939. www.myspace. com/dcarrmusic

iFlogID: 20374

Recording, Mixing and Mastering services Inner West, Sydney Digital Editing, Analogue Tape Recording, Full range of microphones and equipment. Contact Peter Holz: 0437 712 927 www.phmelectronic.com

iFlogID: 15162 CD and Vinyl Mastering Services. The best of analogue and digital gear. Manley, Avalon, Apogee, Lexicon, Protools HD. Tube limiting for extra warmth. Affordable rates. Reaktor Studios 0412792912

iFlogID: 19929

Up-Picking (Pete Seeger Style) and 3 Finger Picking (Scruggs Style). tel. John 0431953178

iFlogID: 19706

PA Hire – Systems to 16000 Watts. Only the best: Dynacord, EV, Allen & Heath, DBX, Lexicon, Yamaha, Soundcraft, JBL, Shure, AKG. Speakers, Monitors, Mixers, Microphones. Professional Advice. Lamba 9758-8888 www.lamba.com.au

SINGING LESSONS THAT >>ROCK<<

iFlogID: 20052

P.A hire using top quality outboard gear; Lexicon, Allen & Heath, Sure 4.800, DBX drive-racks, 160SL compression, 4-way front-of-house, 3-way active fold-back. 30years+ experience in the music industry. 0414355763.

iFlogID: 18951

GUITAR LESSONS NEWTOWN

BANJO LESSONS

RECORDING STUDIO $30ph

iFlogID: 18949

iFlogID: 20247

ANYONE CAN PLAY GUITAR! A few lesson slots available with Chris Turner. ‘One on One’ guitar lessons. Lilyfield phone now 9552 6663 www.big-rock.com.au Starters to Pro.

BANJO TUITION

RECORDING

P.A hire using top quality outboard gear; Lexicon, Allen & Heath, Sure 4.800, DBX drive-racks, 160SL compression, 4-way front-of-house, 3-way active fold-back. 30years+ experience in the music industry. 0414355763. Christmas is almost here so now is a great time to get your 2012 tax return lodged in order to get your refund in time for the festive season. Detax are Entertainment & Arts industry tax specialists. Discounted rates available for multiple years. Fully Qualified Accountant & Registered Tax Agent. www.detax.com.au

PRO AUDIO STUDIO FOR LEASE

P A HIRE + FREE LIVE

LEGAL / ACCOUNTING

BUSINESSES

iFlogID: 19724

Music Clips, Live Performances, Promos, Showreels. Let us help you to promote your work or shoot your next gig. $50 per hour for filming and editing. For DVD and online delivery. We also do websites and blogs. A Edit Website Design Film or Make-up www.aeditwebsitedesignfilmor make-up.com.au wendynhislop@bigpond.com

HIRE SERVICES For all your production needs, upto 20,000watt systems.Tailored to your requirements. Delivered,setup & operated by professional engineers. Loud ‘n’ Live Sound Systems Ph 0417 268850

RECORDING STUDIO FOR SALE

iFlogID: 19700

FILM, EDITING, WEBSITES

iFlogID: 20274

Fender Jazz bass 5 string, sunburst colour, As new, 2 y.o. $2100 Retail, selling $1400. Ph 97590970

GUITARS

PRODUCTION

iFlogID: 13117 Transfer your old master AUDIO DAT or MINI DV tapes to media files. Full quality, no compression. Call Aaron 0451 208 675 http://cardboardemporium.net

BUSTED ?

Acoustic Yamaha Guitar, Solid Top, Great Sound and Condition, Comes with Carry Case, $420 ONO May Swap or Trade, 0421690000, jman0023@ gmail.com, QLD

iFlogID: 20223

CD MANUFACTURING:Acme is Australias best price CD manufacturer. 500 CD package = $765.05: 1000 CD package = $1320.00 Short run also available. www.AcmeMusic.com.au KevinW@AcmeMusic.com.au

iFlogID: 20135

iFlogID: 18328

PARTY LIGHTING AND SOUND EQUIPMENT HIRE - MONA VALE Lights To Party are a mobile party lighting and sound equipment hire service. We can deliver to all Sydney’s surrounding areas (fees vary depending on distance from our location in Mona Vale on Sydney’s Northern Beaches)

DUPLICATION/ MASTERING

iFlogID: 18477

Northern Districts Guitar Tuition Rhythm, Lead, Acoustic and Electric $25 Half Hour $35 Full Hour Call Jared on 0467 165 345

iFlogID: 20122 Pro Tools, Logic Pro & Studio One Training. Advice on Home & Professional Studio Recording. Learn from a pro with over 30 years experience. Contact John Ertler 9654 8143, 0400 323 982, johnertler@gmail.com

iFlogID: 19830

PHONE JOHN: 0431953178

iFlogID: 20372

iFlogID: 18062

Free online and print classifieds Book now, visit iflog.com.au

iFlogID: 19185

You want music video produced? Visit finncut’s channel on Utube Contact Matti finncut@gmail.com

iFlogID: 20211

MUSICIANS AVAILABLE BASS PLAYER Bass guitar player available. Mature age, for gigs, fill in work or permanency. High standard. plenty of experience in Blues, country, pop, rock & general pop music. Ph 97590970

iFlogID: 20161 Electric & upright bass. Good gear. Comfortable in most styles. Experience performing live and in the studio. Check out my website if you wanna hear more. http://www.wix.com/steelechabau/ steelechabau

iFlogID: 16159

I’m 47 been playing bass since I was 17, professionally for 15 years. I can play any style. Pro gear, reliable transport, good creative player. Email me on ww@wfinance.com.au, call 0405379345. Cheers Warren (Waz)

iFlogID: 19836

LEFT HANDED BASS PLAYER WANTED BEATLE MAGIC......... AUSTRALIA’S MOST AUTHENTIC SOUNDING BEATLES TRIBUTE SHOW REQUIRE A PERSON THAT CAN TAKE ON THE ROLE OF PAUL McCARTNEY. HAVE YOU GOT WHAT IT TAKES, ALL GEAR SUPPLIED. BASS , AMP COSTUMES ETC... MUST BE AVAILABLE TO TOUR FROM TIME TO TIME AND OF COURSE HAVE PASS PORT. DEDICATED , PROFESSIONAL PEOPLE ONLY , NOT TIME WASTERS

iFlogID: 20269

MATURE BASS PLAYER with gig experience and professional attitude, looking for cover band playing classic rock-pop, Beatles, CCR, Elvis, Deep Purple, Gary Moore, Santana, Queen, Free, Clapton, ZZ Top. Interested in friendly jams too. Sydney area. Mob: 0414 707 171

iFlogID: 20416

DJ Dj available Dubstep to Drum&bass willing & able to adapt to your event. Low hourly rates. Everything negotiable. Easygoing, flexible entertainment. Call for a quote today. KN!VZ Entertainment Group Ph:0415680575

iFlogID: 16661 DJ Gear Hire – CDJs, Turntables, Mixers, Speakers, Lights, Lasers. Only the best equipment. Delivery available. Pioneer consoles $70, Full Systems with 2x 625W speakers $120. Call Lamba 97588888 www.lamba.com.au

iFlogID: 19801

DRUMMER Drummer available for paid work Influences funk jazz drum n bass prog rock. Rex_matthews@hotmail.com 0401237147

iFlogID: 19880 Drummer available for paid work Influences funk jazz drum n bass prog rock. Rex_matthews@hotmail.com 0401237147

iFlogID: 19882 A1 TOP PRO DRUMMER AVAILABLE FOR SESSION FREELANCE WORK, TOURS ETC. EXTENSIVE EXPERIENCE, TOP GEAR, GREAT GROOVE AND TIME. SYDNEY BASED, WILL TRAVEL. PH 0419760940. WEBSITE www.mikehague.com

iFlogID: 18334 Experienced Soul Reggae R’N’B Blues Funk drummer (36yo) available for work preferably in Northern Beaches. Call Michael 0402 549423 email siczex@yahoo.com.au See me playing drums: www.youtube.com/user/sydneypollak

iFlogID: 17324 Professional drummer/percussionist/vibraphonist available for performances/recording. Toured with international acts such as Dianna Krall, David Campbell and Patrizio Buanne. Have huge range of instruments including vibraphone. More info at www.davekemp.info

iFlogID: 17317 Professional mature-age Drummer/Vocals/reads/ back acts/shows - all styles including jazz - available for casual work. phone:(02) 9807-3137 eMail: nadipa1@yahoo.com.au

PRETTY OPEN IN REGARDS TO GENRE BUT PREFERABLEY ROCK. FOR VOCAL REFERENCE VISIT www.facebook. com/delsantomusic Please contact: steveshifter@hotmail.com

iFlogID: 20356

MUSICIANS WANTED BANDS BLUES/ROCK LEAD GUITARIST looking for a bass player,drummer,singer is influenced by zz top,guns,acdc preferably between ages 18-25...other guitarists need not apply! looking to jam and write some riffage...i have songs on soundcloud.com under the name of sneaky attack call mitch 0423478128

iFlogID: 20312 Dead In Motion is looking for band members. Metal, with influences such as Disturbed, Evanescence, In This Moment, etc, and Japanese visual kei. Contact Dead_In_Motion@hotmail.com for more details.

iFlogID: 17160 TOP INTERNATIONAL DRUMMER available. Great backing vocals, harmonica player and percussionist. Gigs, tours, recording. Private lessons/mentoring also available. www.reubenalexander.net

iFlogID: 14261

GUITARIST 19 year old guitar player looking to form Rock N’ Roll band. Influences: Guns N’ Roses, Aerosmith, The Sex Pistols. I live in Sydney-Cronulla. Call tom on 0401722767.

iFlogID: 13358

iFlogID: 19240

SINGER Metal vocalist. Clean and dirty, cute but crazy, female ready to rock! Looking for band with intention to gig. No collab crap unless you’re awesome industrial wanting to gig. marikogray@destroyermariko.com

iFlogID: 20143 Quirky singer, keyboard player, musician available. Lots of experience. Paid situations only please. Call Stephanie ph: 0403 250 560.

iFlogID: 19884 SINGER SEEKING A GRADE BAND THAT HAS THEIR S**T TOGETHER.

iFlogID: 19822

BASS PLAYER TO RECORD ALBUM Sydney heavy rock band looking for a bass player to record album and play live. High quality drums and guitar already, now need new bass player to complete the sound. Duncan 0430 406602

iFlogID: 20103

iFlogID: 20334

ENGINE ROOM AND PULSE WANTED Original progressive rock band ‘TIME ARROW ‘ requires a Drummer and Bassplayer to add there creativeness and integrity to our collective call Dallas 0409830216 or Wendy 0431737927

Bass Player wanted for hardcore/punk band. Influences - Discharge, Exploited, Wolfpack, Disorder etc. All originals. Have full set ready to gig asap. Fast, Heavy, Loud. Ph. 0403468501.

iFlogID: 20314

iFlogID: 20318

0405450022.

iFlogID: 20109 Established Sydney Indie/Pop/Rock band need Bass Player, hopefully with multi instrumental talent. Maybe Keys & Backing Vox. Current JJJ Play, EP for January. Contact/SMS Sash 0409579688 and he will email music

iFlogID: 20029 Guitarist, Singer & temporary Drummer (19yrs) need to start band! We play anything Tool, Amy Winehouse, Evanescence, Michelle Shocked (rock/ blues/altmetal/funk/reggae/soul) Would like versatile bassist & keyboardist! 18-25yrs preferred! Northern Beaches. Ziggy: 0432872290!

iFlogID: 19906

iFlogID: 19242 Looking for a reggae bass player for a Northern Beaches based band. Call Michael on 0402 549 423 or email siczex@yahoo.com.au.

FEMALE BASSPLAYER WITH BACKING VOCALS WANTED. Original songs influenced by 50’s with a punk attitude, Detroit Cobras, Eddie Current Suppression Ring and Ramones. Check out www.myspace.com/therollindice Call/ message 0405126307 or therollindice@gmail.com

iFlogID: 19193

METAL BASSIST WANTED

Guitarist, Singer & temporary Drummer (19yrs) need to start band! We play anything Tool, Amy Winehouse, Evanescence, Michelle Shocked (rock/ blues/altmetal/funk/reggae/soul) Would like versatile bassist & keyboardist! 18-25yrs preferred! Northern Beaches. Ziggy: 0432872290!

iFlogID: 19248 guitarist/singer needs a guitarist, bass player & drummer to start a piss poor sydney rock band. louddirtyrocknrollbased musak with a touch of twang. 0403508102

iFlogID: 19654 Isobel Galloway - acoustic soul/pop duo seeking percussionist for cover set, already gigging amy winehouse, tracy chapman. no full kit, cajon/ shaker etc. Find us on soundcloud to listen, and email anthony320chmiel@hotmail.com

iFlogID: 20088 looking for talented young musicians to play in festivals in Europe & Asia next year all expenses paid local shows in the Sydney area leading up to the Festivals , paying gigs Drummer , Guitar , Bass , keys , Female singers send bio to costa@enspiermusic.com

iFlogID: 20263

iFlogID: 20399

MUSICIAN’S WANTED (PAID)

I am looking for musicians: LEAD GUITARIST - BASS PLAYER - DRUMMER and KEYBOARD PLAYER. Paid work will include: live cover gigs and maybe some studio recordings for album material and backing tracks. If you are interested, please send me your info and any links and/ or demos as well as work you’ve done to: bookings@ chrisreadofficial.com. Also check out my website for style and my work done in the past at www.chrisreadofficial.com. If you want any more info or just want to touch base, I can also be contacted on 0421 977 965. Chris Read.

iFlogID: 20036

NIGHT FLIGHT - LED ZEP TRIBUTE

iFlogID: 20294 ORIGINAL CENTRAL COAST BAND.... looking for a reliable BASS PLAYER & KEYBOARD PLAYER. Must have good gear and be committed. gigging and touring opportunity’s. Influences : Sevendust, Karnivool, Birds of tokyo, The Temper trap, Soundgarden, Rage against the machine. Ex Singer & guitarist from Illusion Of Despair. contact James : 0434422995

MUSO WANTED

iFlogID: 20153 Seeking experienced lead & backing singers, bass, keyboard, sax & trumpet players for REGGAE band in Northern Beaches. Call Michael 0402 549 423 or email siczex@yahoo.com.au

iFlogID: 18612 TCR, an electro/roots/pop outfit in the inner west, require the services of a dynamic bass player and drummer for live shows in 2013. Check out some demos at soundcloud.com/thecashmererevolution and email us at thecashmererevolution@live.com. au or phone 0401 544 685.

iFlogID: 20221 Want to form hard rock/heavy metal band. I Need bass, drum, vocals. I play guitar. Influences: Yngwie Malmsteen, Sepultura, Thin Lizzy, Metallica, UFO, Lynyrd Skynrd. Email metalmitcha@hotmail.com or call 0401620221

iFlogID: 20380

Guitarist wanted to join double bass and harmonica playing swing jazz & blues. Acoustic ok. 0417089964 95192440 vlucantonio@yahoo. com.au

iFlogID: 20137

GUITARIST WANTED

therollindice@gmail.com

iFlogID: 20188

Funky, tasteful drummer wanted for original band. We have experienced and creative musicians already on board and need a funky, funky drummer to complete the rhythm section. Influences include Jamiroquai, Meshell, Eryka, Stevie. Show me your demo and I’ll show you ours!

iFlogID: 20363 Guitarist & Singer (19yrs) need to start band! We play anything Tool, Amy Winehouse, Evanescence, Michelle Shocked (rock/blues/altmetal/ funk/reggae/soul) Would also like versatile bassist & keyboardist! 18-25yrs preferred! Northern Beaches. Ziggy: 0432872290!

iFlogID: 19244 Rocking Chair & Shotgun are looking for a drummer. We are an all original Indy Rock band based in the Inner West. Influences: The Pixies, Wilco, Sonic Youth, Nick Cave. Sydney Indie/Pop/Rock band seeks Drummer, with ability to play/program electronic beats. Fresh new sound, EP being recorded now. JJJ play current Single. Contact/SMS Sash on 0409579688 to get emailed music.

iFlogID: 20031 Wanted for new Sydney band looking to record demos. Preferably age 14-17. We play pop-punk & melodic hardcore. For more info contact gloryfadesofficial@gmail.com

19 year old guitar player looking to form Rock N’ Roll band. Influences: Guns N’ Roses, Aerosmith, The Sex Pistols. I live in Sydney-Cronulla Call tom on 0401722767.

About Red Oxygen:

Wollongong rock band searching for Bass Player. Currently writing original music to record and perform live and looking for Bass Player (age 20-30) to join the band. or

iFlogID: 20332

DJ DJ Gear Hire – CDJs, Turntables, Mixers, Speakers, Lights, Lasers. Only the best equipment. Delivery available. Pioneer consoles $70, Full Systems with 2x 625W speakers $120. Call Lamba 9758-8888 www.lamba.com.au

iFlogID: 19674

DRUMMER BASS PLAYER WANTED FOR SIGNED ARTISTS: if you’re a pro at Rock/Pop, gig & tour ready & have your own quality gear, send a youtube link to you playing live to auditions@musicentourage.com

iFlogID: 20231 CAN YOU HIT STUFF GOOD?!

Between 18 - 25, own gear and transport is required.

Ability,Commitment and desire to embrace the role are essential.Firm gig base in Sydney and Central coast areas with management and agency backing.Transport and good attitude a must. Website for details www.australiangnrshow.com Ben 0438625750 Roger 0404044808

iFlogID: 19904 Dead In Motion needs another guitarist! Metal, with influences such as Disturbed, Evanescence, In This Moment, etc, and Japanese visual kei. Contact Dead_In_Motion@hotmail.com for more details.

iFlogID: 19820

Contact Anton: 0426822750

iFlogID: 18719 Dead In Motion needs a drummer who can double kick! Metal, with influences such as Disturbed, Evanescence, In This Moment, etc, and Japanese visual kei. Contact Dead_In_Motion@hotmail.com for more details.

iFlogID: 19818

DRUMMER WANTED Drummer wanted for central coast band 18-35. Looking to tour. Influences - The Black Keys, Ash Grunwald, Jimi Hendrix, Eagles of Death Metal. Contact Kurt - 0403915430 or email - silletruk. music@live.com.au

iFlogID: 20077 Drummer wanted for melodic metal/metalcore band. Must have own gear, transport, drive and be available to rehearse, gig and record. Demo tracks www.myspace.com/liedormant. Email: joelliedormant@gmail.com for more info.

iFlogID: 20242

Drummer looking for collaborative muso’s with the aim of writing commercial tunes and performing live large.

- Playing a small simple parts on keyboards (equipment provided) - Recording - Performing - Touring - Composing of songs (optional) - Business end of the band (optional) Learning the songs:

iFlogID: 20118

SERVICES

- 20 – 30 yrs old - Own guitar - Own guitar amp - Own transport Any questions, please feel free to contact me on 0404 663 963 or

iFlogID: 20346 Looking for an experienced reggae guitar player for a Northern Beaches based band. Call Michael on 0402 549 423 or email siczex@yahoo.com.au

iFlogID: 20392 seeks acoustic and or/ lead guitarist

FEMALE SINGER WANTED IN A.C.T

looking for singer to do duo in canberra area with male guitarist/singer. 80s 90s rock to current day.paid gigs. tonight were gonna party..call steve 0404858266 or email stevieray71@gmail.com

iFlogID: 20139

Female Singer wanted to join male guitarist (36yrs) for rock covers duo. Playing songs from 70s/80s to current day, paid gigs, based in Hawkesbury area. duovocal@tpg.com.au 0411342989

Sydney. Must be passionate and have soul in their playing. Email to Paul: promacca@gmail.com

iFlogID: 20016

HORN Looking for an experienced sax & trumpet players for a horn section for a Northern Beaches based REGGAE band. Call Michael 0402 549 423 or email siczex@yahoo.com.au.

iFlogID: 19401

KEYBOARD Dead In Motion is looking to add a keyboard player! Metal, with influences such as Disturbed, Evanescence, In This Moment, etc, and Japanese visual kei. Contact Dead_In_Motion@hotmail.com for more details.

iFlogID: 19824 Guitarist, Singer & temporary Drummer (19yrs) need to start band! We play anything Tool, Amy Winehouse, Evanescence, Michelle Shocked (rock/ blues/altmetal/funk/reggae/soul) Would like versatile bassist & keyboardist! 18-25yrs preferred! Northern Beaches. Ziggy: 0432872290!

iFlogID: 19246 Keyboard/Synth Player Wanted, Inner West Area, influences, Frightened Rabbit, Bon iver, James Blake etc Call/Text 0403 129 528

iFlogID: 20322 KEYS PLAYER WANTED FOR SIGNED ARTISTS:must be versatile, gig & tour ready & be pro at software like Omnisphere. Send a youtube link to you playing live to auditions@musicentourage.com

iFlogID: 19197

SAXOPHONE Looking for an experienced sax player to form a horn section for a Northern Beaches based REGGAE band. Call Michael 0402 549 423 or email siczex@yahoo.com.au.

iFlogID: 19219

FEMALE SINGER Electro\Funk band requires female vocalist for live & studio recordings in Sydney metro area. Awesome opportunity for right person. Serious project only serious people apply .Age 18 - 30 Contact Jay 0400906618

FRONTMAN WANTED. CLASSIC ROCK for working Northern Beaches based covers band. Mainly Oz rock. We are serious about our music but we all have day jobs and do this for fun. No wankers or prima donnas here thanks. If you are experienced call 0414 413 989 to get a set list and more info.

iFlogID: 20258 Looking for female backing singers for a Northern Beaches based REGGAE band. Call Michael on 0402 549 423 or email siczex@yahoo.com.au

iFlogID: 18762

LIVE SOUND COURSE, 2 DAYS

iFlogID: 17428

GRAPHIC DESIGN FULL COLOUR BAND GIG POSTERS @ AMAZING PRICES 100 A4 full colour on Gloss = $40 100 A3 full colour on Plain = $50 100 A3 full colour on Gloss = $80 100 SRA3(32 x 45cm) full colour on Gloss = $80

Get your Band or Business Online Cost effectively and PROFESSIONALLY from $299 including Hosting and email addresses! Contact info@bizwebsites.com.au or see

A comprehensive 2 day course that covers basic audio principles, the progression of technology, common audio components, terninology, signal flow, soldering 101, microphone and speaker placement, EQing and more. Handty reference booklet supplied. Optional third days training at a live music venue available. www.zenstudios.com.au 02-9950-3977

iFlogID: 20182

PIANO LESSONS

www.bizwebsites.com.au

iFlogID: 15450 Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $299 including UNLIMITED pages, Logos, Hosting and 5xemail addresses and much more! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au Limited Edition mens tees and hoodies with a sense of humour. All hand-screened and numbered. monstrositystore.com

iFlogID: 13611

OTHER BUS HIRE SERVICE (with driver); 19-seater coaster-bus with wheelchair access available for airport-transit, festivals, functions and party-hire. Drive home safely with an experienced driver at the wheel. Please call Ray for a quote on 0414 355 763.

Piano and keyboard teacher. Creative and patient. All styles of music, plus theory and songwriting. Exams or pleasure. 20 years experience. Close to Broadway and Central. Paul 0417171993

iFlogID: 19056

SCHOOL OF ROCK - ZEN STUDIOS

iFlogID: 19848

GAPPHOTOGRAPHY Gothic/Alternative/Punk Photography

iFlogID: 20365 Get your Band or Business Online Cost effectively from $299 including Hosting, Shopping Cart and 5 email addresses! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au.

iFlogID: 15454 If you want to use DRUGS, that’s your business If you want to STOP, we can help. Narcotics Anonymous 9519 6200 www.na.org.au

iFlogID: 16217 Learn massage! Thai massage shop jobs available $40/hr no experience necessary Central location 0450 758 399

Mick 0415739292

iFlogID: 20197

Michael

Fully Qualified & 8yrs Experience, Thai Massage $49/hr or Sensual Balinese Aroma $69/hr. In/Out calls, Male/Female Welcome. www.takecaremassage.com.au - By Anson 0433646338

iFlogID: 19795

to play original music at venues around

DRUMMER AND DRUM LESSONS Avaliable in Gladesville Teach all Levels, ages and experience.16 years experience. I studied at The Billy Hydes Drumcraft Academy and Obtained a Diploma in Drummig. $60/HR Mob: 0402663469

BEAUTY SERVICES

iFlogID: 13864

- Experienced in playing guitar

iFlogID: 20237

iFlogID: 20042

iFlogID: 19221

Must have’s:

Looking for an experienced reggae keyboard player for a Northern Beaches based band. Call Michael 0402 549 423 or email siczex@yahoo. com.au

Female singer/songwriter looking for guitarist/ vocalist to form duo. Mainly covers with some originals. Willing to collaborate with some of my originals an advantage. Eastern Suburbs area. Phone Roni 0406610516

The Cleftomaniacs (pun intended!), the enthusiastic 25-member a cappella choir who brought you the most recent Sydney A Cappella Festival, invite new members (especially those lovely tenor & bass blokes). Eclectic repertoire from Sting to gospel to classical polyphony and we love to gig! Rehearsals school term Thursday evenings in Waterloo. Contact Catherine on 02 93887010 or flittie@iinet.net.au

The current guitarist will be teaching you all songs so you’re ready for gigs come January.

iFlogID: 20342

iFlogID: 20348

TRUMPET Looking for an experienced trumpet player to form a horn section for a Northern Beaches based REGGAE band. Call Michael 0402 549 423 or email siczex@yahoo.com.au.

WWW.BLACKSTAR.COM.AU

Requirements:

Can program and record. All influences. Dance, funk, rock, blues, Metal, reggae, .. Established Sydney band looking for Guitarist! Capable of singing/multi instrumentals is preferable. EP finalised, Triple J play, FBI rotation, touring 2013. SMS Sasha 0409579688 with details for links to music

iFlogID: 20330

iFlogID: 16754

iFlogID: 19558

Australia’s Premier Guns and Roses Tribute Show are seeking a new Slash and Duff(Bass)

iFlogID: 19805 Wollongong rock band searching for Singer. Currently writing original music to record and perform live and looking for a singer (age 20-30) to join the band. Contact: jonathanrkennedy82@gmail.com or 0419978835

CALLING ALL GHOULS

- Genre: Rock / Electronic / Orchestral

Rhythm/Lead Guitarist Wanted for an exciting pop-rock Band/Show, Albums on iTunes. Reliable, talented Guitarist who can also play jazz or country. Paid performances. Phone Extraordinary Entertainment* 99691179 (Mosman).

iFlogID: 20044

iFlogID: 20350

Why risk your vocal performance with substandard gear? Hire the industry standard Shure ULX wireless system + Beta58A microphone, lapel or headset. $60, 2 for $100. Call Lamba 9758-8888 www.lamba.com.au

- Influences: Muse / PVT / NIN

iFlogID: 13407

NEEDED ASAP Main influences: Incubus, Red Hot Chili Peppers Experienced singer, bassist & drummer require talented guitarist with writing and performing experience. * Demos available & required. * Serious enquiries only. Will be writing/ recording/giging/touring etc * Southern Sydney. * 18 - 25 years old Contact Evelyn - evelyn.mh@hotmail.com or call 0431956063

Attractive Female Backing Vocalist, personalityplus, Wanted for a pop-rock band/show with current Album. Paid performances. A professional, reliable Singer, melodic voice required. Phone Extraordinary Entertainment* 99691179 (Mosman).

Futuristic alternative rock band, Red Oxygen, seeks a unique creative and strong vocalist to share lead and harmony vocals. The ability to play guitar is a must and play small synth parts. Preferably female but open to male auditions as well. We have good reputation amongst venues and fans. Have performed at the Metro Theatre, Annandale Hotel and Factory Theatre in the past year.

Singer/Songwriter/guitarist

iFlogID: 20344

iFlogID: 20310

CAN YOU SING?!!

Acoustic Guitarist interested in friendly jam on Friday evenings. Lower Blue Mountains Location Music Creedence, Beatles, Dylan, James Taylor etc, Contact David 0411 618 536.

ALT ROCK/FUNK GUITARIST WANTED

Professional working RSL & Pub ACDC Tribute band are seeking a frontman. Must be extremely strong vocally and have experience in covers bands. All interest is much appreciated but no time wasters please. Email theacdcshow@gmail. com to arrange auditionin western Sydney pending your application.

iFlogID: 20296

email redoxygenmusic@gmail.com

GUITARIST

ACDC SHOW NEEDS BON OR BRIAN

Ghoulish singer wanted for Horror Punk band. Must be able to scream like Wednesday 13 and provide haunting cleans like Michael Graves and/ or Wednesday 13. Serious applicants only. Email: j_fraser101@hotmail.com

Call/message 0405126307 or

FUNKY DRUMMER WANTED

SINGER

iFlogID: 20235

Check out www.myspace.com/therollindice

iFlogID: 19759

Indie rock duo from Campbelltown looking for a dedicated drummer.

I’m a vocalist/lyricist looking for a muso to collaborate with. I live on the Central Coast. If you are interested and you can playcall today. Mark 0432 113 731

Influences QOTSA, Foo Fighters, Nirvana…

iFlogID: 20397

Night Flight - Led Zeppelin Tribute band require a bass player. You must have excellent playing ability, feel, tone & timing. Rehearsals are weekly at Northshore Music Studios Hornsby. For more information & a set list please contact scottm@ y7mail.com

Contact: jonathanrkennedy82@gmail.com 0419978835

GUITARIST WANTED FOR SIGNED ARTISTS: if you’re a pro at Rock/Pop, gig & tour ready & have your own quality gear, send a youtube link to you playing live to auditions@musicentourage.com

iFlogID: 20199

Sydney metal band with complete lineup, gig ready with full length album about to be released requires metal bassist. Must have good gear, dedication, transport, employment, and be image conscious. Our influences are Lacuna Coil, Evanescence, Lamb Of God, Nightwish & Slipknot. Pick player preferred. Contact Jason: jason.metal. knight@hotmail.com

iFlogID: 20186

iFlogID: 20240

FEMALE DRUMMER WITH BACKING VOCALS WANTED. Original songs influenced by 50’s with a punk attitude, Detroit Cobras, Eddie Current Suppression Ring and Ramones.

Experienced singer/songwriter/guitarist has created a new original project and has many Sydney gigs booked. Currently looking for other original acoustic duo’s/bands with a following to do shows together. RemmosK@gmail.com

iFlogID: 19290

Guitarist required for melodic metal/metalcore band. Must have own gear, transport, drive and be available to rehearse, gig and record. Demo tracks www.myspace.com/liedormant. Email: joelliedormant@gmail.com for more info.

Experienced drummer with a commitment to practice and regular rehearsals required for Melbourne-based alternative rock band.

iFlogID: 16936

Bassist 30 yo plus needed to complete 3 piece band, singer songwriter guitarist and drummer have over 20 melodic soongs ready to go.genre. alt/ pop/ rock /folk. phone Mass

DRUMMERS/BASSISTS/GUITARISTS needed for garage punk rock ‘n’ roll band. check out soundcloud.com/the-new-orleans for demos. gigging asap after finding the right people. m/f. pref under 30. contact Tanner on 0403508102.

iFlogID: 20233 Drummer Wanted, Inner West Area, influences, Frightened Rabbit, Bon iver, James Blake etc Call/ Text 0403 129 528

www.myspace.com/mollydredd 0411 372 469

DRUMMER WANTED for Originals 5 piece band. Must be reliable, easy going & enjoy playing different styles as our music is varied from funk/indi pop/rock/ska. Email Veneita at Insideoutband@ bigpond.com.

iFlogID: 20075

DRUMMER WANTED FOR SIGNED ARTISTS: if you can play to a click/are a Rock Pop pro/gig & tour ready/have quality gear/send a youtube link to you playing live to auditions@musicentourage.com

iFlogID: 20320

Bass Player Wanted, Inner West Area, influences, Frightened Rabbit, Bon iver, James Blake etc Call/ Text 0403 129 528

OTHER Guitarist, Singer & temporary Drummer (19yrs) need to start band! We play anything Tool, Amy Winehouse, Evanescence, Michelle Shocked (rock/ blues/altmetal/funk/reggae/soul) Would like versatile bassist & keyboardist! 18-25yrs preferred! Northern Beaches. Ziggy: 0432872290!

Dead In Motion needs a bassist. 5-string preferred. Metal, with influences such as Disturbed, Evanescence, In This Moment, etc, and Japanese visual kei. Contact Dead_In_Motion@hotmail.com for more details.

iFlogID: 19629

iFlogID: 16562 Professional mature-age Drummer/Vocals/reads/ back acts/shows - all styles including jazz - available for casual work. phone:(02) 9807-3137 Mob:0413-931-897 eMail: nadipa1@yahoo.com.au

BASS PLAYER

School of Rock teaches students from primary school to high school, from anywhere in Sydney with any level of musical talent. School of Rock helps students form a suitable band based on each of their musical likes and level of experience. Classes run every day of the week (Weekdays: 4.30pm – 6.00pm, Saturday/Sunday: 8.30am – 10.00am) at $320/per term (including all teacher fees, room and instrument rental). Each term includes a free recording session @ Zen Studios and a live show at The Valve Hotel in Tempe. Contact Ash 0450-406-201. www.schoolofrockinnerwest.com.au

iFlogID: 19523

iFlogID: 18957 What happens when you start paying attention? When you become an active member and start participating in this elusive thing we call life. WWW.WHATISTHEHAPS.COM

iFlogID: 17980

TUITION $25 PRIVATE MUSIC LESSONS singing guitar keyboard piano drums violin tuition music instruments sales service & repairs ph: 0418 172 506 JAC MUSIC SCHOOL - EPPING

TUITION BASS, GUITAR, DRUMS

iFlogID: 20244

iFlogID: 19556 Looking for other original acoustic duo’s/bands with a following to share the bill and do live gigs together. Contact RemmosK@gmail.com

iFlogID: 19528 Seeking an experienced lead & backing reggae singers for Northern Beaches based band. Call Michael 0402 549 423 or email siczex@yahoo. com.au

iFlogID: 19195

SINGER NEEDED

AUST ACADEMY OF DRUMS & PERC

Experienced Progressive Heavy Groove Band seeks, Strong Heavy/Melodic Vocalist. READY TO PLAY!!! Call Sven - 0421540972

iFlogID: 19361

The School of Rock offers tuition in singing, bass guitar, electric guitar, drums and song writing techniques. Our instructors have years of experience showing young musicians how to play and take that talent onto the stage. For more information visit our website at www.schoolofrockinnerwest.com.au or www.zenstudios.com.au. Ph: 9550 3977

iFlogID: 20184

SINGER TO RECORD HEAVY ALBUM

Singer wanted to record heavy rock album by Sydney band. Melodic and harmonised vocals and some heavier vocals. Good opportunity for the right person. Duncan 0430 406602

iFlogID: 20101

WANTED We are a specialist drum and percussion team dedicated in guiding you through your musical path. We teach all levels Beginner, Intermediate and Advanced, our lessons cover all styles and you will gain all the skills to maximize your drumming potential. Certificate courses available for Basic, Intermediate and Advanced players. visit www.aaodap.com.au or call 0424 422 650

iFlogID: 20292

Free online and print classifieds Book now, visit iflog.com.au

OTHER GAPphotography(Gothic/Alternative/Punk) is seeking girls who would like to have a free photoshoot,check our work on facebook at http:// www.facebook.com/pages/GAPphotography/358 777377539990?ref=hl ,u will recieve all photos for free.

iFlogID: 20086 Looking for music that is fresh and original??? Check out www.thesecretcity.com.au

iFlogID: 19736

TAKE YOUR CREATIVE MEDIA PASSION FURTHER Qantm College OPEN DAY December 8 – 11am - 3pm openday.qantm.edu.au

We offer specialised industry-focused courses in Graphic Design, Interactive Digital Media, 2D and 3D Animation, Games Design, and Games Programming. 02 8241 5300 | 74-78 Wentworth Ave, Surry Hills NSW | sydney.qantm.com

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