Inpress Issue #1129 by TheMusic.com.au

VICTORIA'S HIGHEST CIRCUL ATING STREET PRESS

MARK LANEGAN

THE MORNING BENDERS

LISA MILLER

ROBERT HOOD

R E FU S ED A S H G R U N WAL D K A R NI VO O L T HE J O H NNYS

W E D N E S D AY 3 0 J U N E 2 0 10 ~ I S S U E 112 9 ~ F R E E

ZEBRA

MELBOURNE - MORNINGTON PENINSULA - BALLARAT / BENDIGO - GEELONG / SURF COAST

33,408

PBS 106.7 FM and INPRESS

present

An exclusive gig in a secret location. FEATURING T

HE DRONES

THE DACIOS AND BATRIDER

150 double passes to be won*. Enter when you buy a Coopers Dark Ale at these pubs:

THE CENTRAL CLUB HOTEL

WILD OSCARS

THE COMFY CHAIR

THE RETREAT HOTEL

St Kilda

Richmond

Brunswick

LABOUR IN VAIN THE GREAT NORTHERN HOTEL COMMERCIAL CLUB HOTEL THE BRUNSWICK HOTEL THE MARQUIS OF LORNE Fitzroy

Carlton North

Yarraville

Brunswick

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*Terms and conditions apply. See coopers.com.au for details. Exclusive gig date 17/7. Promotion ends at 11.59pm on 2/7/2010.

THE GEORGE PUBLIC BAR

Wednesday 30 June

JOHN FLANAGAN & THE BEGIN AGAINS + THE STILSONS 8.30pm, Entry by donation (band room)

Thursday 1 July

BOIS ET CHARBON 5.30pm, Free in the Front Bar STEVE G. GILEHAM III WITH CASSIE LA FORGE + TALL TIM WOODS + JAKKSEN FISH 8.30pm $5 Entry (band room) Friday 2 July

LITTLE SISTERS OF THE POOR 6pm Free in the Front Bar LINDSAY PHILLIPS + THE ORBWEAVERS 8.30pm $7 Entry (bandroom) + ANGEL EYES Saturday 3 July

LA MAUVAISE REPUTATION 5.30pm Free in the Front Bar BENNY WALKER + TOM RICHARDSON 8.30pm, $10 Entry (band room) Sunday 4 July

HEATHER STEWART AND DAN DINNEN 4.30pm Free in the Front Bar EDWARD GUGLIELMINO 8.30pm, $10 Entry (band room) + MJACKBEE Tuesday 6 July

APPLEJACK + SOOTY HAWKE + PRAIRIE 8.30pm, $10 Entry (band room) Coming Up...

Open...MON - THU...from 4pm ‘til late FRI...from 2pm ‘til late SAT - SUN...from 12pm ‘til late

Live Music Bookings wesleyannebookings@gmail.com www.wesleyanne.com.au

7/7 MITCHELL PAXTON WARD - NATHAN BURLEY, 8/7 FUTURE HAPPINESS + ROMAN HOLIDAY, 9/7 JAMES KENYON AND THE LLOYD WEIR, 10/7 DIRTBIRD + LADY GREY + TK BOLLINGER, 11/7 TANE EMIAMOORE + PRAIRIE + FRANKIE, 16/7 I DREAM IN TRANSIT (US) + MANY MORE

Winter Special Two for one meals on Mondays (excludes steak, fish and specials)

bookings: 9482 1333 5

No.109

WEDNESDAY 30 JUNE OPEN MIC NIGHT 8PM FREE

BRUNSWICK

THURSDAY 1 JULY

Thursday 1 july

SONGLINES NAIDOC ACOUSTIC SESSIONS, DELINE BRISCOE + GUESTS 9PM FREE

FRIDAY 2 JULY VICUNA COAT + JOHNY GIBSON + DUNCAN GRAHAM 10PM FREE

STEPHEN CUMMINGS back by popular demand, cummings goes acoustic 7.30pm

Saturdays in July

CHRIS WILSON harmonica & blues legend chris wilson is back. playing five awesome saturday sessions 5pm

SATURDAY 3 JULY DELIVERY BOY + GUESTS 10PM FREE

SUNDAY 4 JULY OPEN DECKS NIGHT 6PM FREE

Sun 4 july

TUESDAY 6 JULY

the high horses

KARAOKE NIGHT 9PM FREE

635 HIGH ST THORNBURY VIC 3071 OPEN 5PM TILL LATE, CLOSED MONDAYS PH (03)9495-0341 WWW.MYSPACE.COM/THEBENDERBAR

rockin’ country outfit led by roz girvan 5pm

THE UNION HOTEL

BRUNSWICK 109 UNION ST, BRUNSWICK UHBBOOKINGS@YAHOO.COM.AU

9388 2235

ISSUE 1129

WEDNESDAY 30 JUNE 2010 CREDITS EDITORIAL

Group Managing Editor Andrew Mast Editor Shane O’Donohue music@inpress.com.au Interval Editor Daniel Crichton-Rouse interval@inpress.com.au National Dance Editor Kris Swales zebra@inpress.com.au Contributing Editor Adam Curley Staff Writers Bryget Chrisfield, Michael Smith

ADVERTISING sales@inpress.com.au National Sales & Marketing Director Leigh Treweek Victorian Sales Manager Katie Owen Arts & local advertising Sarah Blaby Bands & local advertising Adrian Stoyles

DESIGN & LAYOUT artroom@inpress.com.au Group Art Director Stuart Teague Inpress Cover Design / Art Direction Matt Greenwood Layout Matt Davis, Matt Greenwood, Stuart Teague

ACCOUNTS & ADMINISTRATION accounts@streetpress.com.au Accounts Qing Shu

CONTRIBUTORS

ASH GRUNWALD INPRESS 14

18 20 21 22 24 26 27 28 30 31 31 31 32 32 32 32

Foreword Line – news, opinions, tours, Backlash and Frontlash, and a look at the Runaways’ doco, Edgeplay The Amity Affliction turned some big negatives into bigger positives Refused changed the shape of punk to come Mark Lanegan just ain’t a talker Ash Grunwald hangs out with a lot of hip hoppers Lisa Miller covers old soul songs because she can’t write them herself Ordering The Beatles from Amazon changed the life of the bloke from The Morning Benders The Johnnys could have been more successful if they partied less On The Record reviews new releases by Kele, Villagers and The Drums GOD are so much more than My Pal Caribou had more than 600 songs to choose from for his latest album A holiday in New Zealand for Sunny Albeau led to his latest album The Good Ship sing songs about cocks Dog Trumpet have released five albums in 18 years Catherine Britt’s stint in Nashville informs her latest album Tiffany Eckhardt is pondering the true meaning of friendships David Hosking is stoked to be getting released on vinyl

FRONT ROW 55 55

Cultural Cringe looks at modern day author sponsorship Director Beng Oh marries fantasy with reality and real estate in Happily Ever After

22 56 56

Film Carew defends ‘over the top’ I Am Love for its embracing of good old-fashioned theatricality Michelle Pfieffer’s cat suit and Edward’s scissorhands: we ooh and aah at Tim Burton: The Exhibition Director Paola Unger explores how society views young women in her theatre production of Patricia Cornelius’s Slut

BACK TO INPRESS 60 60 63 63 63 70 70 70 71 71 74 75 76 82 86 86

The Get Go aren’t punks or pirates Celadore once covered Roadhouse Blues for a hen’s party Our LIVE section has everything you need to know about the world of Melbourne live music! Gig Of The Week is Tone Deaf LIVE:Reviews is impressed by Operator Please Stu Harvey gives you a ShortFastReport on the world of punk and hardcore Andrew Haug takes us to the dark side in The Racket Kendal Coombs leads the under-18s boardroom in the Department Of Youth Adam Curley sifts through the month’s top new tunes in The Breakdown Dan Condon blues and roots in Roots Down Jeff Jenkins catches up with Lazy Susan in Howzat! If you haven’t appeared in Fred Negro’s Pub, your mother probably still speaks to you Our Gig Guide fills your diary for the weekend Find your new band and just about anything else in our classy Classifieds Finish Line hits hard with industry fact (and conjecture) Just A New York Conversation tries to beat the NY heat

GIVEAWAYS Best known for their signature tune, My Pal, Melbourne band GOD were one of the most revered rock groups of the ‘80s. Check out the full story on them on page 30, but before you do that drop us an email as we have two copies of the 40-track, double-CD GOD package to give away. Having released two albums as New Buffalo, local gal Sally Seltmann is back with her brand new album Heart That’s Pounding, the first to be released under her own name. You may recall we had a number of positive things to say about this most recent effort, which will be launched officially on Saturday 10 July at the Corner Hotel, and will also feature support slots from Kyu and Otouto. We have two double passes to give away. It’s been 12 long years since their last studio release, but the reformed Crow have finally emerged from the recording wilderness to deliver Arcane. It’s their first album to feature the original line-up since My Kind Of Pain hit stores way back in 1993, and new single Ghost At The Crossroads has already been hailed as “quintessential Crow”. The album will receive its Melbourne launch at the Tote on Friday 9 July,

Senior Contributors Clem Bastow, Jeff Jenkins Overseas Contributors Tom Hawking (US), James McGalliard (UK), Sasha Perera (UK). Writers Nick Argyriou, The Boomeister, Paul Andrew, Atticus Bastow, Steve Bell, Tim Burke, Dan Condon, Anthony Carew, EJ Cartledge, Peter Chambers, Matthew Cheetham, Chris Chinchilla, Rebecca Cook, Kendal Coombs, Adam Curley, Cyclone, Michael Daniels, Wayne Davidson, Guy Davis, Carolyn Dempsey, Liza Dezfouli, John Eagle, Guido Farnell, Sam Fell, Bob Baker Fish, Johnny Gash, Cameron Grace, Stu Harvey, Andrew Haug, Andy Hazel, Anthony Horan, Rod Hunt, Layne Kim, Cookie Lee, Joey Lightbulb, Michael Magnusson, Baz McAlister, Keith McDougall, Sam McDougall, Tony McMahon, Adam D Mills, Count Monbulge, Luke Monks, Fred Negro, Mark Neilsen, Roger Nelson, Danielle O’Donohue, Matt O’Neill, Jordan Oliver, Adrian Potts, Paul Ransom, Symon JJ Rock, Adam Sharp, Nic Toupee, Rob Townsend, Dominique Wall, Doug Wallen, Rod Yates.

PHOTOGRAPHERS Chrissie Francis, Kate Griffin, Kane Hibberd, Lara Luz, Lou Lou Nutt, Gina Maher, James Morgan, Heidi Takla, Nathan Uren.

INTERNS Andrea Biagini, Dale Brett, Mitchell Brown, Julian Hocking, Stefanie Markidis.

EDITORIAL POLICY The opinions expressed in this publication are not necessarily those of the publishers. No part may be reproduced without the consent of the copyright holder. By submitting letters to us for publication, you agree that we may edit the letter for legal, space or other reasons. ©

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Email giveaways@inpress.com.au from 5pm Wednesday and we have three double passes to give away. As part of the lead-up to their upcoming Splendour In The Grass appearance, British indie rockers The Magic Numbers will be touring the country for a number of headlining shows. With new album The Runaway just hitting stores as we go to print, fans can expect to be treated to a host of new material, and the trademark layered sounds of lead single The Pulse suggest we have plenty to look forward to in that regard. The band’s Melbourne stopover sees them taking to the Corner Hotel stage on Wednesday 28 July, and we have three double passes to give away. But that’s not all – for a limited time you can score a free sampler featuring a heap of Splendour acts from secret-sounds.com.au. The sampler’s full playlist is: Mumford & Sons – Sister – first time available in Australia Laura Marling – Devil’s Spoke, from the album I Speak Because I Can Jónsi (from Sigur Rós) – Go Do, from his solo album Go Two Door Cinema Club – Undercover Martyn,

from Tourist History (Skellingon Remix) Ash – True Love 1980, from their album A-Z We Are Scientists – Rules Don’t Stop (acoustic) – from the forthcoming album Barbara Band Of Skulls – Fires, from the album Baby Darling Doll Face Honey Surfer Blood – Floating Vibes, from the album Astro Coast Alberta Cross – Leave Us And Forgive Us, from the album Broken Side Of Time The Magic Numbers – Hurt So Good, from the forthcoming album The Runaway

WORD UP TO PRIZE WINNERS: Prizes must be collected from Inpress offices during business hours (9am-5.30pm, Mon-Fri). ID is required when collecting prizes. Prizes must be collected within four weeks of the giveaway being published. Please note, Inpress giveaway policy is that winners are permitted one prize per four-week period only.

FOREWORD LINE

NEWS FROM THE FRONT

FREE MUSIC DOWNLOADS If there’s one thing Swedes know how to do well, it’s pen a catchy bloody pop song. Don’t believe us? Then simply head to universalmusic.net.au/freedownloads/ streetpressaustralia to score these ace new tracks from Robyn and CEO. Dancing On My Own Fred Falke mix ROBYN Swedish electronic pop queen Robyn has big plans to release three new albums this year. She dropped the first, Body Talk Part 1, recently. First single Dancing On My Own is unconventional pop with a drilling bassline and stunning vocals. The track is filling dancefloors the world over and has already inspired a clutch of hot remixes. Although it’s unlike anything that Robyn has previously released, Dancing On My Own is highly reflective of her unmistakable and incredibly individual sound Come With Me CEO

WEDNESDAY 30 JUNE

SONGWRITERS’ COLLECTIVE PRESENTS:

BEN SMITH BAND CHRIS CAVILL SHAUN KIRK JESS HIESER ENTRY $7, 8PM

CEO is the solo work of Eric Burglund, one half of The Tough Alliance and the brains behind cult Swedish record label Sincerely Yours – home to JJ, Memory Tapes and Air France. The Tough Alliance found loads of love internationally including a generous rating on Pitchfork (8.6) and much praise in the blogosphere. White Magic, CEO’s debut album (out this week), is a heartfelt, shimmering masterpiece.

SOUND AS EVER Canadian reggae crew Bedouin Soundclash will return to Australia in October. The group, most recently out here for last year’s Soundwave festival, are currently working with DJ and producer King Britt (you may have heard his work with Digable Planets or on True Blood) on the follow-up to 2007’s Street Gospels. It will be their first record since drummer Pat Pengelly left the group last year. The band also plan to release a B-sides, remixes and rarities album (featuring remixes by Bad Brains, Britt and K-OS), later in ‘10. Bedouin Soundclash play the Prince Bandroom on Thursday 14 October. Tickets go on sale 9am Thursday 8 July from the venue and Ticketek.

THURSDAY 1 JULY

EP LAUNCH

IDA BRAHIM

SIRENS’ SONG

CANDICE MONIQUE 1/6 KOJO MATT WHITNEY CHAP ONE TARIRO

Led by the husband and wife team of Craig and Camilla Jackson, Melbourne’s The Sirens Of Venice launch their self-titled debut album at the Northcote Social Club this Saturday. Full of moving melodies and arresting moments, The Sirens Of Venice make music which is big, playful, dark and hopeful. Best known as frontman of Gersey (who only recently came off national tour with Pavement), Craig Jackson’s latest project was conceived through a joint love of songwriting with his actress/ musician wife, Camilla. The album was produced by Vince Giarrusso, from legendary Australian act Underground Lovers, along with Jed Palme. Support on the night will be provided by Minibikes and Boarders.

ENTRY $10, 8.30PM

FRIDAY 2 JULY

THE MOONKIDS DR MEXICO PAX

ENTRY $1O, 8.30PM

SATURDAY 3 JULY

EP LAUNCH

OWNKIND TINMAN INVOLUME THE CHARGE

ENTRY $12, 8.30PM

SUNDAY 4 JULY

GOLDENEVE CHAMPIONSHIPS HEAT 1 3PM

MONDAY 5 JULY

RESIDENCY

EL MOTH & THE TURBO RADS

SPECIAL GUESTS A DJ CALLED MATT

ENTRY $4, 9PM FREE ENTRY FOR INTERNATIONAL PASSPORT HOLDERS

COMING UP:

THE BEAT BROTHERS (TUES IN JULY) RHYMADA (WED IN JULY) THE LATONAS CLOUD CITY (EP LAUNCH) (9 JULY) SMALL TOWN FIASCO (EP LAUNCH) (10 JULY) THE PROCESS (15 JULY) SPIT SYNDICATE (ALBUM LAUNCH) (16 JULY) STRIKE ANYWHERE (17 JULY) ANIMATORS (EP LAUNCH) (22 JULY) JUNGAL (ALBUM LAUNCH) (23 JULY) AUTUMN GRAY (24 JULY) ALPINE (29 JULY) MATT SONIC & THE HIGH TIMES (30 JULY) MERCURY RISING (31 JULY) NORTH EAST PARTY HOUSE (13 AUGUST) INDIGO CHILDREN (14 AUGUST)

GET YOUR PHIL With his third album Songs From The 86 Tram out now, The Bedroom Philosopher is teaming up with partners in crime The Awkwardstra for a massive national album launch tour. The tour comes fresh off the back of TBP’s sell-out run of solo dates, both nationally and at the 2010 Melbourne International Comedy Festival. The album’s lead single, Northcote (So Hungover), has been a Triple J smash, while the clip (featuring cameos by Tim Rogers, Kram and Angie Hart) was recently selected by Rage as their Indie Clip Of The Week. New Media, the second single to be lifted off the album, is out next month. Catch The Bedroom Philosopher and The Awkwardstra, with support from The Boat People, at Ballarat’s Karova Lounge on Wednesday 1 September, Geelong’s National Hotel on Thursday 2, the Palais in Hepburn Springs on Friday 3, the Northcote Social Club on Saturday 4 and Sunday 5, and an all-ages matinee show at the Spanish Club on Sunday 5.

MAKE YOUR MARKET

The 555 Music Co hosts a guitar soiree and music market at the Corner Hotel this Sunday. New and pre-loved instruments, rare collectibles, re-issue guitars, amps, effects, recording tools, vintage microphones, DVDs, CDs, rock’n’roll artwork, posters, t-shirts and vinyl records will all be available to buy. The market runs from noon until 4pm, entry is free and Gun Street Girls bring the noise from 3pm.

The Tote has installed Love Connection for the venue’s first residency since reopening recently. The band will play each Thursday in July with supports including Otouto, Darren Sylvester, Kyu, Pets With Pets, Great Earthquake and Rat Vs Possum. Doors open at 8pm, entry is $8, with a free BBQ each evening.

HEROES HIRED

Boys Like Girls have just announced Sydney pop punk crew Heroes For Hire as the supports on their upcoming Aussie tour, alongside highly touted US newcomers Hot Chelle Rae. Heroes For Hire have already had a hugely impressive 2010, landing slots on the Sydney leg of the Soundwave Festival, Push Over and most recently Come Together, as well as touring nationally with Detroit’s Fireworks. The bands play an under-18s show at the Hi-Fi on Wednesday 14 July and an overage gig the following night at the same venue. Tickets are on sale now from the venue and Oztix.

GLIDE SHOW The late William Arthur formed Glide in Sydney in 1990. One of their earliest gigs was supporting The Clouds at Sydney’s Annandale Hotel and they went on to release three EPs ahead of their debut album, Open Up & Croon, in early ‘95. Their second album, Disappear Here, heralded a line-up change with the departure of Marc Lynch and arrival of Andy Kelly on bass. The album brought them further critical acclaim and extensive radio play on Triple J. They released two more albums – Disappear Here and Shrink Wrapped Real Thing, before Arthur’s death in 1999. Last was released posthumously in 2000. Now, for the first time since the late-’90s, Glide will perform in Melbourne. Celebrating 20 years since the band’s formation, the original line-up comprising Jason Kingshott on drums, Marc Lynch on bass, and Tim Scott on guitar will play on stage together with Andy Kelly (the band’s second bassist) on second guitar. They will be joined on vocals by Youth Group’s Toby Martin. Performing songs from Glide’s entire career, the band play the East Brunswick Club on Friday 13 August. Glide’s entire back catalogue will be released on iTunes late July.

KING HITS

After numerous side projects, family obligations and working holidays, Melbourne’s much-loved Custom Kings have returned to the studio to record their longawaited second album, which will be called Great Escape. Reuniting with long-time collaborator Steven Schram (Little Birdy, Ground Components), they spent two weeks at Sing Sing Studios and brought to life a series of songs penned in the couple of years since the release of their acclaimed debut album, At Sea. The new album will be released early August, but the band have been showcasing their new tunes – which channel late-‘60s/early-’70s California and early ‘90s US indie pop – with a Tuesday night residency at the Toff In Town. Custom Kings – who have two nights of the residency remaining – are supported by Ben Birchall & The Corrections on Tuesday 6 July and Matheson on Tuesday 13.

$2 CARLTON POTS EVERY MONDAY SUN, 25 JULY - THE JOY FORMIDIBLE (UK) + TEMPER TRAP DJS FRI, 30 JULY - THE BOAT PEOPLE ALBUM LAUNCH SAT, 31 JULY - GOODNIGHT OWL + SLEEP DECADE – DOUBLE VIDEO LAUNCH

WED 30 JUNE

WEEKEND PHAROAHS W/ THE PUPS

+ FLY BY WIRE

9TH JUL. OPENING NIGHT PARTY

(REFER TO FEST GUIDE FOR MORE DEETS)

TIN CAN RADIO (BRIS) SINGLE LAUNCH W/ YEO + SAN SALVADORE

W/ OCCULT BLOOD, MARC FUSINATO + PATHETIC HUMAN

CELADORE W/ HOLLIAVA FRI 9 - SUN 18 JULY GERTRUDE ST PROJECTION FESTIVAL

FRI 2 JULY

THURS 1 JULY LAST EVER WASTED TRUTH SHOW

SAT3 JULY

THURS 8 JULY

DANCING HEALS W/ SKYBOMBERS + RED BERRY PLUM

SAT 10 JULY

WED 14 JULY GERTRUDE ST PROJECTION FEST

THE BLUSH FOUNDATION SENSORY OVERLOAD (SYD) ALBUM LAUNCH SHOWS@GETNOTORIOUS.COM

WHERE IS THE LOVE? AT THE TOTE

FUNCTIONS@GETNOTORIOUS.COM

FOREWORD LINE

NEWS FROM THE FRONT

JURY’S IN

Jack Daniel’s have announced that Philadelphia Grand Jury will join Wolfmother at the first JD Set gig of the year, in the Espy’s Gershwin Room on Thursday 29 July. The JD Set aims to provide up-and-coming local acts with the chance to play alongside established artists; the six acts vying to score a support slot are Sydneybased genre benders Kids At Risk; indie pop hipsters New Navy, also from Sydney; Novocastrians Here Come The Birds; Perth powerhouse The Revolvers; another Perth group, the ever energetic Young Revelry; and from Melbourne, the aggressively styled The Smoke. Voting closes this Sunday – make your selection at thejdset. com.au. Everyone who votes will also be in the running to win flights, accommodation, gig tickets and a meet and greet with Wolfmother at The JD Set for them and a friend. Tickets for the gig go on sale Wednesday 7 July from thejdset.com.au.

MEMPHIS BOUND

From Nashville, Tennessee, Midnight From Memphis are a unique and formidable combination of leading young bluegrass players. Individually, they are all masters of their instruments and have collectively shared the stage with such iconic artists as Ralph Stanley, Sam Bush, Hazel Dickens, Ricky Skaggs and Mike Compton. See what the fuss is about when they play Harvester Moon in Bellarine on Friday 23 July, Spenserslive on Saturday 24 and the Guildford Music Hall on Sunday 25 (2pm show).

FUNDRAISING AVENT

After a three-month stint travelling, recording and playing with the likes of Soko and Zachary Lucky across Canada and America, Melbourne violinist Indiana Avent has returned home. With high hopes of touring Canada in August with Lucky and then working her way through South America and the US with Soko, Avent is staging a benefit night with a bunch of local singer/songwriter types to raise some funds to help get her over there. Playing the Fly The Nest Benefit at the Northcote Social Club on Wednesday 7 July are Jordie Lane, The Gin Club’s Adrian Stoyles, Coby Grant, Ma Petite, Emily Ulman and Aluka.

S RE

THREE IS THE MAGIC NUMBER 3OH!3’s single Don’t Trust Me saw the duo land a Video Music Awards nomination alongside fellow chart-toppers Lady Gaga, Kid Cudi and Drake, while the Katy Perry-assisted follow-up, Starstrukk, cemented the duo’s place at the upper end of the pop pecking order. After wrapping up another stint on the Vans Warped Tour – as well as performing at Britain’s Reading and Leads festivals – the guys headed to LA to start recording album number three, Streets Of Gold. Released last week, it was preceded by the single My First Kiss, featuring current it girl Ke$ha. All over Aussie radio, 3Oh!3 are heading our way in August – they play an under-18 Saturday afternoon show at the Hi-Fi on Saturday 14 and an over-18 show at the same venue on Sunday 15 August. Support comes from Sydney pop rockers Tonight Alive. Tickets go on sale 9am Friday from the venue and Oztix.

GOOD HAIR DAY

Masaya Nakahara is one of the original purveyors and legends of Japanese noise. Currently working under the Hair Stylistics moniker, Nakahara’s musical activity as Violent Onsen Geisha in the ‘90s made him a noise icon. Utilising a vast array of effects and samples, Nakahara manages to create a swarming collage of active soundscapes that are rich in texture, from harsh sound shards to warm bass pulses with a lot of humour to boot. The tendency toward silliness extends to his punning track titles (Anal Collective and RIP Old Dirty Bath Towel are two recent examples). One of Nakahara’s ongoing projects is the duo Suicidal 10cc, with Jim O’Rourke. Hair Stylistics make their only Melbourne appearance at the Toff In Town on Sunday 25 July with the Menstruation Sisters and Marco Fusinato.

WHAT GOES AROUND

Love-them-or-hate-them Sydney band Circle Pit are heading back down south next week to play the Espy on Friday 9 July. Led by Jack Mannix and Angela Garrick, the group are playing on the back of recentlyreleased debut album Bruise Constellations. They will be supported by Beaches, Precious Jules (Kim Salmon and Michael Stranges).

ART ATTACK Art Vs Science’s Magic Fountain machine is in full swing. Following the radio debut of the new single this week, the band sold out the first Melbourne show of their current tour (at the Hi-Fi on Friday 27 August) in 24 hours. Hardly surprising, when you consider the Sydney group have just been voted Australia’s best live band by Triple J listeners. Following that news, the group have added another Melbourne date to the tour – if you missed out on tickets last week you can now catch them at the Hi-Fi on Saturday 28 August. At both shows they’ll be supported by Tim & Jean and Jinja Safari. Tickets are on sale now from the venue, posse.com and Polyester Records. The Magic Fountain EP (including remixes and a slamming cover of Boom! Shake The Room recorded live at Splendour In The Grass) is out 6 August.

EAGLES TICKETS FLY

There was a mad rush for Eagles tickets when they went on sale on Monday, with a third Melbourne show immediately announced. The band now play Rod Laver Arena on Friday 17, Saturday 18 and Tuesday 21 December. A press release shot out by Mushroom on Monday stated that the band’s newly-announced second show in Sydney would be the last in their run there but, as there was no mention of a final Melbourne date, there could well be more local shows on sale by the time you read this.

GATHER NO MOSS

Lichens is the name of former 90 Day Men dude Robert Lowe’s musical project. In live performances, Lichens features looping wordless vocals, acoustic and electric guitars. Touring Australia with OM, Lichens play one Melbourne headline show at the Toff In Town on Wednesday 14 July. Lichens will be supported by Hotel Wrecking City Traders vs Breathing Shrine and Kim Salmon vs Dave Brow. Tickets are $15 on door.

WELCOME MATT Matt Corby arrived back home to Australia last week, having spent the past two months in the United Kingdom recording his second EP. The as-yetuntitled EP is due for local release in September, and follows the digital release of latest single My False last month. The EP will also receive an international release courtesy of the Communion label, run by Ben Lovett of Mumford And Sons fame. Corby will now embark on a three-week national tour to launch My False, which takes him to the Toff In Town on Thursday 8 July, the National Hotel in Geelong on Friday 9 and the Baby Black Cafe in Bacchus Marsh on Saturday 10. In the meantime head to mattcorby. com.au for a free download of his track Lighthome, recorded live at Studio 301 in Sydney.

BAG MEN (AND WOMEN)

The third instalment of Brown Paper Bag – a night devoted to top young acts – will be headlined by the ridiculously talented Jonathan Boulet. Also on the bill are Rat Vs Possum, The Parking Lot Experiments, East Brunswick All Girls Choir and Northeast Party House. It all happens at Ding Dong on Friday 16 July.

FOREWORD LINE

NEWS FROM THE FRONT

THE ART OF SUPPORTS

Sydney band The Art will support Thirty Seconds To Mars when they play Festival Hall on Wednesday 28 July. It’s the latest in a string of high profile supports for the group, who have also warmed stages for Pixies, Marilyn Manson and Them Crooked Vultures

JOIN THE CLUB

SOUL ON FIRE Soulfly and City Of Fire are teaming up with Incite for a face-melting triple bill heading our way in September. More than ten years since their self-titled debut album became a genre classic, Soulfly will bring their brutal heavy metal assault to town, showcasing their seventh album, Omen. Well known for their collaborations with up-andcoming talent, the band will share top billing with Vancouver five piece City Of Fire, featuring members from Fear Factory and Strapping Young Lad. Also along for the ride are Phoenix’s Incite, fronted by Richie Cavalera. The bands play the Palace Wednesday 8 September. Tickets go on sale tomorrow (Thursday). City Of Fire will also release a tour edition of their self-titled debut album, containing three bonus tracks, late-August.

Forget Independence Day, Sunday 4 July is the inaugural Tote Hotel Pub Footy Fundraiser. Maligned by the powers-that-be, the Tote Footy Club recently had its clubrooms confiscated despite being undefeated last year. To celebrate the return to its new/old rooms, the Tote will host The Sliding Electric, Buried Horses, Money For Rope, Sons Of Lee Marvin, The Solomons, Ancient Slate, Piggy and Jacky Winter. Other entertainment includes a handball competition starring Andy ‘the Traitor’ Moore as the redheaded bullseye and, of course, there will be a BBQ. Doors 3pm, entry is $10.

SHORT OPENING FOR HANLON

Pop luminary Darren Hanlon is gearing up for an extensive album launch tour this August, where he’ll be supported by up-and-coming American songstress Shelley Short. Hanlon releases his long-awaited fourth studio album, I Will Love You At All, on 16 July. Hailing from Portland, Shelley Short has been described as “Mazzy Star meets Emmylou Harris” (Giant Magazine). Short will sing in Hanlon’s band, and open proceedings each night performing her own enchanting alt.folk gems. Following the 2006 release of his critically acclaimed album Fingertips And Mountaintops, Hanlon is also set to make a splash overseas releasing I Will Love You At All in the US in September via Yep Roc Records (home to Loudon Wainwright III, The Apples In Stereo, Ron Sexsmith and Sloan). Hanlon and Short play the Thornbury Theatre on Friday 20 August.

WIN DAN KELLY TIX! Inpress has bunch of double passes to give away to an intimate solo show Dan Kelly is playing for us at a secret location on Thursday 8 July. Kelly will be previewing tracks from his stunning new album, Dan Kelly’s Dream, which is released 16 July. For your chance to score tickets, simply email your details to giveaways@inpress.com.au from 5pm today (Wednesday) with Dan Kelly in the subject line. Hold On, I’m Coming On is the killer second single from the record, and for a limited time you can download the song for nothin’ at dankelly.com.au.

HOLE LOTTA LOVE

Teaming up with Gerling’s Burke Reid on their debut release, Alba Varden get set to release their Down The Rabbit Hole EP next week. Offering an unusual debut tinged with shades of romanticism, desire, escapism and lust, see Alba Varden performing their raw, dirty and downright sleazy danceable rock at Ding Dong this Saturday.

NO SUPPORT FOR KNIFE FIGHT

Illness has forced Kiwis Cairo Knife Fight to withdraw from their opening slot on Karnivool’s New Day Tour. Sleep Parade have been selected to replace them in Melbourne; along with MM9, the bands play three soldout shows at the Hi-Fi next week.

SPILLANE CANCELS

Irish songsmith John Spillane cancelled the remaining four dates of his Aussie tour, including a show at the Clifton Hill Hotel on the weekend. A press release from his publicist read: “Due to unforeseen circumstances, John Spillane has had to cancel his final Australian tour dates. Sad at disappointing his Australian fans, John is hoping to be back here sometime soon. No details are available at this stage.”

CHILD’S PLAY

Hungry Kids Of Hungary will hit the road in August, embarking on what they’re calling a “pre-album release warm-up”, having spent the past two months touring extensively across America and the UK. In that time their latest single, Wristwatch, has become a radio hit, while their forthcoming debut album is currently being mixed. The Shady Haze Of Winter Tour takes Hungry Kids Of Hungary, along with Sydney’s The Holidays and New Zealand’s Artisan Guns, to the East Brunswick Club on Friday 20 and Geelong’s National Hotel on Saturday 21 August.

STONEKING SELLING WELL

CW Stoneking’s show at the Corner Hotel on Thursday 8 July has sold out, while tickets to his performance in the Prince Bandroom on Friday 9 July are selling fast. The king of hokum, calypso and pre-war blues is supported at both shows by enigmatic US tenor banjo player Al Duvall.

PENDULUM SWING THROUGH TOWN Perth-born, London-based electronica drum’n’bass six-piece, Pendulum, will play Melbourne in November. The group’s most recent album, Immersion, made the Australian top 10 while first single Watercolour hit top spot on the iTunes chart. The band have sold more than one million albums worldwide and have earned winning reviews for their sets at festivals including Glastonbury, V and Global Gathering. Catch Pendulum at Festival Hall on Monday 1 November. Frontier members pre-sale begins 2pm today (Wednesday); general public tickets go on sale 9am tomorrow (Thursday) from Ticketek.

FOREWORD LINE

NEWS FROM THE FRONT

LIVIN’ ON THE EDGE

Ahead of the release of the big-budget RUNAWAYS biopic, the band’s former bassist, VICTORY TISCHLER-BLUE, tells TONY MCMAHON about her incredible doco about the trailblazing rockers. started. It was originally designed as a gift.” Edgeplay explores some decidedly uncomfortable territory for its participants, some of which is mentioned above. In the end, it poses more questions than it answers, which, ironically perhaps, turns out to be one of its greatest strengths as a film. Tischler-Blue admits that she was unquestionably conflicted about going into some of these dark places.

ot on the heels, so to speak, of the upcoming Runaways biopic, local label Shock has had the good sense to release Edgeplay: A Film About The Runaways made six years ago by ex-Runaways bass player Victory Tischler-Blue, AKA Vicki Blue. With the production beset on all sides by legal wrangling from Joan Jett’s management, it’s something of a miracle that this film even got made, but Inpress, for one, is glad it did. Edgeplay tells skillfully a truly incredible story of exploitative and abusive management; drugs, naturally; inappropriate sexual behaviour, and a particularly ‘70s, pre-feminist skewed vision of the rock’n’roll dream. Tischler-Blue says she initially started the film as a gift to her ex-bandmates, and this viewer would suggest that, as well as being a fine documentary, the characteristics of this generosity are still apparent in the film. “I never set out to do a documentary,” says Tischler-Blue. “What I was going to do was just edit a compilation tape for everybody as a gift to my bandmates 20 years later. I just thought it might be a nice way to get back in touch with everyone and bond again. But as I started editing, I thought I should perhaps start interviewing the girls. I called Cherie [Currie, lead singer]; I called Sandy [West, drummer]. I asked if they were up for it. They were, and I just said, ‘Hey, let’s make a rock doc’. That’s how it

BACKLASH

“I watched the film with the sound turned down one time. I mean, I knew this footage really well, of course. But I started noticing some really interesting body language when I watched it this way. As a director, I really wanted to make that film, but I was a little scared because they were my friends. I wasn’t sure if I should really go there because some of the girls had real issues, still, from that time. But everybody went along with it and there you go.” Of course, Edgeplay is not all gloom and doom. TischlerBlue says that the rock’n’roll lifestyle – certainly her experiences of it, anyway – still has plenty to recommend it. “For some of us, it was great. Me, personally, I had a wonderful time. A couple of the girls had a tough time, had tough relationships that kind of stayed with them for the rest of their lives. I was the opposite. I got great gifts out of it, Joan [Jett] did and I know for a fact that Lita [Ford, guitarist] did. It was very good for us.” Despite the star power surrounding her in the film, it’s late drummer Sandy West who emerges as Edgeplay’s true shining light. The honesty and raw emotion she displays – especially in the film’s heartrending final scenes where she questions why the band never re-formed for a world tour – is almost too painful to watch and represents something of a high watermark for insightful rockumentary filmmaking. Date Mike

“Sandy died about three years ago from cancer. Prior to that, The Runaways had had several offers to re-form and tour, but it just became so complicated and weird, most of which was due to Joan Jett’s management. Everybody would go along with it to a certain point. Every time the ball would start to get rolling, everyone would start to get really excited and then there would be these very strange demands from Joan’s management. Sandy just wanted to play, to keep going, but unfortunately she died and there’s no way any of us would attempt to put the band back together without her. Plus, we’re all in our 50s now, with grey hair, but the bottom line is that none of us would do it.” So powerful was the footage of West that, according to Tischler-Blue, the film became something of a homage to the sadly departed drummer. “It kind of became Sandy’s film, you know? She was so compelling. When I was editing the film, I just couldn’t believe some of the places she was going. It became a tribute to her.” Inpress can’t let Tischler-Blue leave without popping the question of The Runaways, the upcoming biopic starring Kristen Stewart and Dakota Fanning. Not surprisingly, she indicates that her feelings are ambiguous, to say the least. “I have mixed feelings about the biopic. It was kind of sold as the story of the relationship between Joan and Cherie, and that’s fine. But when you start doing things like what they did with the bass player character – they created a composite character of all the bass players – then you start not being true to the band, and that’s a little weird, you know?”

WHAT: Edgeplay: A Film About The Runaways (Shock)

FRONTLASH

TIGER

COMMUNITY CUP

With their new check-in charge, the airline is getting more like Ryanair by the day. Paying to use the toilet can’t be far away.

A stirring Megahertz comeback – sealed with a goal from the last kick of the day – was fitting payback for last year’s one-point loss to the Rockdogs.

MASTERCHEF

!!!

If we wanted to watch The Amazing Race, we’d watch The Amazing Race.

New song AM/FM, the first taste from the group’s Strange Weather, Isn’t It? album (due late August) is available for free download now from chkchkchk.net. We like!

THE OFFICE Steve Carell has confirmed he won’t be signing on for another season of the ace US sitcom. Let’s hope his character, Michael Scott, goes out with a bang. That’s what she said.

HOPE SANDOVAL

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Sure, we would have liked more, but the former Mazzy Star singer’s voice made up for her enigmatic (OK, she chucked a tanty) behaviour.

HAPPY HARDCORE The hardcore scene is not without tragedy and THE AMITY AFFLICTION are not immune. Keyboardist TRAD NATHAN muses on the scene, while vocalist JOEL BIRCH talks of the close shave behind Youngbloods. Story by SCOTT FITZSIMONS, cover and feature pics by KANE HIBBERD.

strong that outsiders even suspected gang mentalities. “I think it’s become more cluttered. I think we just had a lot better bands five years ago,” laughs Nathan. “But no, everyone plays in a band or is a photographer. It’s great to see creativity; I just hate to think there’s a bit of false idol [worship] going on or something. It’s just the quality of bands; when Parkway and Prom were around, Brisbane had a really strong scene, the Melbourne scene was strong, the Adelaide was really strong, the Sydney was strong. We just had a lot of bands that were helping each other. Now there’s just a lot of bands.” Those scenes were usually built on the back of groups, like North Coast hardcore for Brisbane’s Amity, which were healthy assets. Literally supporting one another at shows and in other external matters, while they’re still around they’re nowhere near as prominent. “Beside silly drinking crews and stupid shit like that, I don’t see too much unity going on,” Nathan says. Party crews aren’t new though; both Birch and Nathan’s social networking accounts – like those of many band members and fans – are emblazoned with “DTD”. It stands for Drunk ‘Till Death, a crew led by JJ Peters of IKTPQ and now Deez Nuts fame. Perhaps Australia’s best hardcore release of last year, Break Even’s brilliant The Bright Side, took the stance that its title indicates and was an album of hope following the death of their guitarist Rowan Willoughby. Now with Youngbloods, it’s two of the best that are directing their fans and the wider hardcore community to a positive outcome. “Hopefully,” Birch says. “It would be a really good thing if that would be the case. There’s always been some positive hardcore, but it’s never been that accessible.” “It’s pretty shit when bands… even myself on the last record, I pretty much wrote that record so I could vent, without really thinking what would happen on the flipside of it, whether some kid was going to latch onto it and be super depressed, like, ‘[downtrodden, teenage voice] I know how you feel maaan, life sucks’. But I really took that into account this time. We’re mates with Break Even and Mark [Bawden, Break Even vocalist] sent me that song about Rowan [November 18th] when I got out of hospital and he was like, ‘Come on man, that’s fucked’.”

nticipated, highly guarded and documented via a string of online videos, The Amity Affliction’s second album Youngbloods has just been released. Recorded in New Jersey, or ‘basically New York’ as the band prefer to say, with prominent producer Machine, it was a trying time for the band. Being “cooped up in a two bedroom apartment with eight men”, as keyboarding Trad Nathan puts it, will do that. “And towards the end especially it just became the smallest things being blown out of proportion by all of us and it was really just fucked,” vocalist Joel Birch says. “But we’re home, got a record that we’re really happy with after all that I think it shits on [first album] Severed Ties… which maybe was going through the motions.”

“All my lyrics are serious. Unfortunately I’m not a funny guy, so I don’t write funny songs,” says Birch, chuckling nervously at the scrutiny of his words. He seems almost uncomfortable at the thought of discussing them, but is nonetheless jovial and confident. “But at the same time, we’re not fuckin’ Guttermouth and I’ve always had something to say. I think with each CD I’ve come into my own a little bit more and with this one I think I really pushed myself to write better songs and put across what I want to say [and to] get it a bit more positive as well. I went through some pretty heavy shit over the last two years, but I didn’t want to make kids want to fuckin’ kill themselves or anything. For me it was more about explaining life. I didn’t want to depress anyone, so I tried to put a positive spin on everything.”

Youngbloods is a great record – one of the best the genre’s seen in a while, especially from Australia. Honest, pummelling and guiltlessly full of hooks, it’s almost a shame that Amity’s instrumentation will regularly be overshadowed by their lyrical content, which is the entry point for so many fans. With track names like I Hate Hartley (named after a photographer friend) and Fuck The Yankees, they seem playful and comical this time, but that’s only at face value.

Nathan’s reluctant to comment too heavily on the lyrics, because they’re very much Birch’s territory. “Joel definitely writes from the heart and generally if he’s singing about something it’s something that he deeply believes.” Indeed, he – and apparently the rest of the band – leave it very much in their frontman’s court. “At the same time that we’re preaching what we want kids to know about – all of these experiences being natural – maybe the anti-

religion thing [an album theme], I’d maybe prefer kids made up their own mind about what they’re after.” “I ended up in hospital at the start of last year and it was pretty fucked, for a really fucked-up reason,” laments Birch, revealing that the cause was by his own hand. “I sort of came out of that and spent the whole year just reflecting on it. We had an album to write and I was like, ‘Alright, here’s my chance to get all this shit out and try and maybe help other people’. It’s hard when you’re going through something really fucked to see the light at the end of the tunnel, so this is my attempt to be a helping hand to people. “I mean it’s a pretty touchy subject for me and, like I said, I really wanted to make sure there was a positive outcome at the end of all the songs, so if I wasn’t in any state to be writing a positive outcome I wouldn’t write it,” he says, again with the nervous chuckle. “I’d stop and leave it alone and come back to it later and re-write it so that it had a nice happy ending, I guess.” Australia’s hardcore scene is in a weird position at the moment. Four or five years ago, there were bands like Parkway Drive and I Killed The Prom Queen still doing the rounds regularly and a strong sense of community – so

The Amity Affliction are still that group of mates who originally came together over a tragedy and although that formative line-up has changed dramatically, the band is still a vehicle for such situations. These days though, there’s people listening to and relying upon them. “Yeah, it’s really fuckin’ weird,” laughs Birch. “It’s really, really, bizarre and I catch myself thinking – or I did while I was writing the lyrics – ‘Wow’. But you know, you start a band, you’re like, ‘I hope someone likes this,’ and then now we’re in a position where we hope lots of people like this, but we know some people are definitely going to like this. Pretty mental. Not really what you sign up for.” WHO: The Amity Affliction WHAT: Youngbloods (Boomtown/Shock) WHEN & WHERE: Saturday (arvo, all ages/ evening, 18+), the Hi-Fi; Monday, Karova Lounge (Ballarat, all ages); Tuesday, Kangaroo Flat Leisure Centre (Bendigo, all ages) If you have been experiencing feelings of depression contact: Lifeline – 13 11 14 ReachOut! – au.reachout.com

SHAPE SHIFTERS While The Shape Of Punk To Come, the final album by Sweden’s REFUSED, is widely viewed as the best ever hardcore album, upon its release they were labelled “pretentious douchebags”, guitarist KRISTOFER STEEN tells DOUG WALLEN. because if the record doesn’t work, it’s the joke of the century. It’s stupid. And that’s sort of how it felt, because it took like two years [to make].” Steen is all too experienced when it comes to recounting the Refused story, having directed the 2006 documentary Refused Are Fucking Dead, which is included in the deluxe reissue. Alternately candid and vague on the fatal tensions within the band, the film is also unusually atmospheric and vividly representative of the time leading up to the band’s dissolve. Its live footage shows a band that seemed ready to combust on a purely physical level, with Lyxzén playing the manic, hand-clapping showman armed with a hurtling, purposeful scream. Refused’s take on hardcore was lacerating yet inventive, pairing ideologically informed English-language lyrics with a sharp sense of style and a blanketing affection for other genres. In fact, The Shape Of Punk To Come features instrumental interludes derived from trip hop and drum’n’bass, while there is actually something of jazz in the way the instruments play off each other. And the final track detours into sleepy-eyed folk.

hen the Swedish hardcore band Refused released their third album – The Shape Of Punk To Come, subtitled A Chimerical Bombination In 12 Bursts – that title seemed like part prankish humour, part outsized ambition and part wishful thinking. That was in 1998, and Refused split up later that year for a number of reasons. But then something funny happened: the legend of Refused found its way into the hands of new generations, until finally that album title became part prophecy and part cold hard truth. And with a new deluxe reissue courtesy of Epitaph, the album has a higher profile at this very moment than the band could have ever imagined. “If someone said we’d be doing an interview 12 years later,” admits Refused guitarist Kristofer Steen, “I probably would have laughed. But it took a few years

before people started to discover the record. By that point the album title was a joke, because people didn’t seem to like it that much. It was an empty gesture. As soon as people started to like it, the title seemed prophetic. But there were times when it just felt ridiculous.” The title is a riff on Ornette Coleman’s genre-exploding 1959 album The Shape Of Jazz To Come, its own title a nod to the prophetic HG Wells book The Shape Of Things To Come. As for Refused deciding on that title, Steen credits singer Dennis Lyxzén, who has fronted The (International) Noise Conspiracy ever since Refused disbanded. “He has the knack for big and bombastic,” laughs Steen. “He loves that sort of thing. The title came up once we had the material. It’s just a funny, brazen thing. It’s sort of a gamble,

That growing diversity made Refused all the more of an anomaly in a scene that valued a relatively purist sound. “There were forces that were conformist,” recalls Steen. “People just want it to be moulded in a specific way. And it seemed the same way when we were touring. I don’t know if it created tension in the band, but it definitely created tension between us and the hardcore scene. When we released the record, people here in our hometown just thought we’d become these pretentious douchebags.” Laughing, he adds, “They thought we’d gone nuts.” By trying to intellectualise punk and hardcore and present it in the same vaulted realm as jazz, electronic, and more cerebral genres, Refused did indeed seem crazy at the time. Factor in the album’s concept-heavy liner notes and a love of propaganda learned from politics, and the band were a truly singular entity. As a genre, hardcore was often thought of as violent, dirty and distinctly American, and here were clean-cut, well-read, sharply dressed Swedes making some of the best hardcore ever. That’s the thing about The Shape Of Punk To Come: it’s not merely a ballsy act of ambition but a killer album that holds up better with each passing year. Whether you start with the definitive anthem New Noise, the unbelievably

catchy Liberation Frequency, or sit down and digest it all in one head-spinning go, it’s an album that would still read like a classic even if not for the reissue treatment. And by breaking up the same year the album was released, Refused forged a legend that would thrive on its own accord. At the time, at least some of the members simply wanted out, but Steen acknowledges the value of the band’s demise. “For sure,” he says. “Of course the album has merits on its own, but it really helps that the band had broken up when it became popular. It’s just one of those things. Everyone finds something sort of romantic about it. It’s funny because we get offers to do reunion shows; I think in reality people want it to be just the way it is. I think that would get in the way of the legacy.” So the band haven’t been tempted by any big offers? “‘Tempted’ is not the right word,” counters Steen. “It is a strange thing when you get extremely lucrative offers, but to actually do it and perform on stage for the first time in 12 years... that prospect isn’t so appealing. Not to me anyway. I know there’s a big demand for it, but I doubt it’s going to happen.” As depicted in Steen’s documentary, Refused collapsed in the midst of an American tour that ended with police unceremoniously shutting down a basement show after just a few songs. After 400-plus shows over the previous seven years, it was a sorry end for an iconic band. The reissue of The Shape Of Punk To Come, which also includes a live disc of the band’s last show in their hometown, should bring even more people around to the Refused legend, but it remains a hard thing to watch how the story unfolds in the documentary. Steen admits that he was too close to the story to have directed the film objectively, and he’s since moved on from filmmaking to pursue directing theatre. He has also recently started making music for the first time since Shape, collaborating with Refused drummer David Sandström. So what exactly does it sound like? “I don’t know what’s going to come out of it,” he says. “We haven’t made that much music. It’s still pretty heavy, but it’s a different thing. It’s a lot different than Refused. More experimental.” Considering everything the band accomplished with Shape, that’s really saying something.

WHO: Refused WHAT: The Shape Of Punk To Come Deluxe Edition (Epitaph/Shock)

THE SOUND OF SILENCE Ahead of his shows here next week, MARK LANEGAN tells NICK ARGYRIOU about his love for Melbourne, his lack of rehearsals and his trademark between-song silence on stage. riddled, gravely tone that puts the Washington stayer and now Los Angeles resident in the same ball park with the icon that is Tom Waits. I’ve often thought that Lanegan might well be Waits’ lovechild, such is their eerily similar vocal and physical characteristics. Lanegan’s vocal is arguably rock/grunge’s finest. It’s a force like no other. Hypnotic in its delivery, the man channels his songs and the material on stage like a medium brings forward characters from the spirit world – Lanegan preferring the shut-eye mode as he gives everything to the performance. The sucking down of Marlboro Red cigarettes and whiskey only enhances the power of the distinctive vocal. “Singing is still so physically taxing and I don’t know how I moved around [on stage] when I was a young kid because I don’t move around now [when performing] and it’s still hard so... I don’t know how I deal with it,” he says in a bemused fashion. Stating that he barely rehearses for shows, Lanegan admits, “We haven’t played for about a month and we rehearsed for about 30 minutes recently and that’s all we’re going to do... it’s not as much as we should, but we learnt some new songs, so it’s all cool,” he says, struggling to laugh. The rapport built up between Lanegan and guitarist David Rosser (The Twilight Singers, Gutter Twins, MyJeru) dictates terms as to why the preparation is so limited and carefree. “It’s like very little conversation need happen, because David’s really an intuitive musician and he listens so he is usually meeting me halfway.”

evered US rocker Mark Lanegan is a survivor. Although, many times during his 45 years, he’s come very close to being sucked into the vortex of death and destruction courtesy of his abuse of drugs, namely heroin and the booze. It was a difficult habit and lifestyle to shake around the mid-to-late ‘80s and early ‘90s, particularly when it was everywhere, and all his close friends – including Kurt Cobain and Alice In Chains’ Layne Staley – were joining in on the party. Where the aforementioned burnt out, Lanegan far from faded away, instead pushing through his addictions. He continued with his seminal grunge outfit, Screaming Trees, until they disbanded in 2000. It’s been a hellish ride for Lanegan over his career, but he’s battled on. He’s ridden and conquered the

unsympathetic waves that come with the territory, watched many musical brothers die young, dealt with stalkers and worked through his own demons. The upside arrived courtesy of the friendship cultivated over the years between he and Afghan Whigs’ frontman Greg Dulli, both men being there for one another when it was most needed. Lanegan most famously saved Dulli from harm during the recording of the Twilight Singers’ second album, Blackberry Belle, which came out in 2003, with Dulli repaying the favour many times since they first met back in 1989. The one constant throughout the life and times of Mr Mark Lanegan is the quality music he has created – the songs he has written, and the way he sings them. Few can boast a vocal spread like Lanegan’s raspy, drawl-

Speaking of limited conversation, this is a trait that has become standard practice for a Mark Lanegan show. Concentrating so intently on the songs, the interaction with his audience is kept to a very bare minimum, which begs the question: if Dulli was the self-nominated speaker on the Gutter Twins 2009 tour with Lanegan, and Rosser taking a vow of silence, will these duo shows simply be acoustic guitar, guttural vocal and pin drop sounds all the way? “The beauty of doing stuff with Greg is it doesn’t make me so weird to not say anything, but neither Dave or I are much of talkers, but that said, occasionally there is some banter,” he explains. Just don’t holler out requests, shine too much light on stage or get your photo lens and flash too close to Lanegan, whatever you do. Heckle at your own peril also. “I’ve had frequent attempts [by audiences] to draw me out which occasionally works... but rarely,” admits Lanegan.

Material from all of Lanegan’s solo works are being featured on this tour, from early classics The Winding Sheet (1990) and Whiskey For The Holy Ghost (1994), through to 2001’s Field Songs and the epic, star-studded Bubblegum (2004), an album that still resonates strongly with music critics worldwide. Incidentally, the more band-orientated rock show on the back of Bubblegum at the Corner Hotel gig on 24 October still rates as this scribe’s finest few hours as a punter. “We’re playing about 70% the same setlists on this solo tour but then we throw some different songs in to keep us interested – we’re playing songs off every solo record, every night and more,” he says. So something for everyone then? “Well, I hope so,” he informs. Aside from Lanegan’s superhuman collaborations with Queens Of The Stone Age and Soulsavers, his hooking up with former Belle & Sebastian songbird Isobel Campbell has already produced two fine records, with a third, Hawk, to be released later this year. But it’s Lanegan’s long-standing friendship and musical partnership with Greg Dulli that resonates most with the performer. With Dulli in the Gutter Twins, Lanegan treated Australian audiences to a run of imposing shows (with guitarist Rosser) that found the trio playing tunes from their 2008 record Saturnalia while also surprising with ingenious interpretations of Nick Drake’s Three Hours and the made-famous-by-The Everly Brothers All I Have To Do Is Dream. Looking ahead to the Melbourne gigs, Lanegan admits that our fair town is a place he connects with and feels at home at whenever he frequents. “Melbourne’s one of those places that I always enjoy going to and in a weird way it reminds me of Seattle and my hometown, so I always look forward to playing there and always remember the shows I did there as well,” he says. Compliments don’t come much higher. So why no Adelaide? The cancellation of the City Of Churches leg and addition of a second Melbourne show raised the ire of our neighbouring state. Breaking into a coughing fi t, Lanegan apologises, “Sorry about that, something weird. God! Gettin’ old. They wanted to add another show in your town so Adelaide misses out, but I think it’s a cool town nevertheless, it reminds me of Yakima, Washington,” he cheekily concludes.

WHO: Mark Lanegan WHEN & WHERE: Wednesday 7 July, Corner Hotel; Friday 9, the Espy

BRINGING THE VIBES Prolific funk rocker bluesman ASH GRUNWALD’s new album Hot Mama Vibes is all about riffs, hip hop collaborations and getting universal. ANDY HAZEL passes it ‘round.

“I

’m on the Gold Coast at the moment,” says Melbourne-born blues rocker Ash Grunwald, on the road at the start of a phenomenally comprehensive Australian tour. “I’ve got the band and my family in the motor home. They’re coming with us to Europe too”. This tour not only takes in every state and territory, but Grunwald wants it to expand as it progresses. “We played a pick-up show in Gladstone last night,” he says, “this town that one of the guys in the band is from. They hardly ever have music there and we love to do it old school, bring the music to the people, bring the feel of old blues performers so we just added it in.” This attitude of universality, one that infuses the music of Grunwald, his approach to releasing and performing albums, writing and collaborating, perhaps begins in his genes. “Well, my name is German or Dutch, but half of my family are coloured South African. I’ve always felt drawn to rhythmic music so in a way me playing this is bringing my roots

full circle.” Given that his gigs often see an Australian playing African American-influenced music to a European audience, this idea of interconnectedness is redolent throughout his now six-album canon. Hot Mama Vibes is an album borne from four different state capitals and completed by Grunwald at his home studio. “Once we finished touring the last album, Fish Out Of Water, I thought we’d try a new method of recording. I got the band into the studio and we jammed for about 16 hours, just to see what happened. It was really fun; just freeform partying and having a good time. Then I painstakingly went back and re-recorded parts, edited them and turned jams into songs. Then over that I’d sing verses and brought in collaborators.” Grunwald’s use of collaborators has favoured hip hop artists such as Count Bounce from TZU and Chasm and Ozi Batla from Astronomy Class, letting each producer and beat-provider flesh out their own sounds for each song. “In the early days I always thought of myself as a cross between a blues musician and a DJ; I was playing music for people to party to. I’d always try to generate a feedback loop with the audience where people would be influencing the music. It’s kind of like the approach I take to making music now; I just meet people and things happen. I tend not to seek out collaborators, I more let life bring them to me,” he ponders. “The Lady Luck beat came from Chasm – I had Ozi Batla hit me up for a chorus one time, so he owed me a beat. With Mr Trials, I knew the Hilltop Hoods crew through a friend and he liked Fish Out Of Water. We did a track together called Little Did I Know that went well for us mutually. I liked his style; he’s really rough and bluesy in a hip hop sense and we ended up doing four tracks and touring together.”

“In the early days I always thought of myself as a cross between a blues musician and a DJ; I was playing music for people to party to. I’d always try to generate a feedback loop with the audience where people would be influencing the music.” Unlike the US where blues and hip hop are genres that rarely meet, Grunwald suggests that as a musician in Australia, mixing up styles comes more easily. “For me the groove you find in hip hop and loopbased music is a groove that I love. It’s hypnotic and fits perfectly for me because it’s a great way of making more riff-based music and almost all my stuff is riff-based.” When asked to identify something that he carries through the various collaborations and shifts between styles, Grunwald is pensive. “Every album will have a story song on it, that’s when you get later in the album usually, but the bread and butter of what I do is riff-based. Vocals and guitar tend to be bluesy and usually looped beats made in a hip hop style – that was the case before I worked with hip hop producers, too. Early stuff was bare bones, me in a room with a guitar and a stomp box. The second album was me playing with junk percussion and loops. “On the next album, we did a combination of styles and everything was looped but we put in hip hop beats and samples, buried in the mix a bit. I wanted to have that cool loops thing but not obviously derived from the hip hop scene. I was kind of reluctant,” he confesses. “There was an element of thinking, ‘People are going to think it’s too weird’ since I was known as a blues artist, but as time goes on it doesn’t matter. It’s probably fine to mix stuff up like that. In fact,” he says laughing at his younger self, “I really do wonder why I talk about it so much in interviews. I’m sure the audience doesn’t care about this stuff. You usually find that you get feedback afterwards and people have barely noticed, but it does make me think that maybe I was boring before,” he says with another laugh. When it comes to composing the tracks on Hot Mama Vibes (which may or may not be about settling down with his girlfriend and daughter in northern New South Wales as some have suggested), Grunwald is keen to emphasise the influence of the producers involved. “Making this album was really different. I recorded a lot in Brisbane with Chasm, as well as in Melbourne with Count Bounce, in Adelaide with Trials, and Sydney. Listening back I can hear the producers’ work is really varied; Count Bounce’s production is really punchy and cooking for that particular song [Never Let You Go], it’s like a dance Aussie rock kind of feel and then we sort of put the dirt in from the room down afterward. The stuff I did with Charles came from dirty samples – he blasts it out there and crams it in and makes it big. “They both sound phat – different producers give a different flavour. When I was recording, I didn’t want the album to be too varied, but now I think they’d rather sound that way. You spend your life listening to playlists these days anyway. I think our ears don’t mind a bit of a change in the production. It keeps the interest levels up.” So where might album number seven find Ash Grunwald? Further into domestic bliss? Jamming with visiting friends in his studio to create backbones for the next album? Grunwald’s response is less certain. “I don’t know what we’ll do next. [Band member] Fingers Malone has been doing some dance stuff so we’ll see what comes out of that when we have a muck around.” It’s likely even more ears will be turned this time.

WHO: Ash Grunwald WHAT: Hot Mama Vibes (Delta Groove/Shock) WHEN & WHERE: Saturday, Corner Hotel; Sunday, Ruby’s Lounge

UNDER THE COVERS LISA MILLER tackles artists as diverse as Tim Hardin and Curtis Mayfield on her new covers record, Car Tape 2. ““I just don’t think I could ever write songs like that,” she tells DOUG WALLEN.

profoundly respected songwriter with four original solo albums and many more collaborations to her name, Lisa Miller is a mainstay of Australian music. And yet her biggest success to date has been 2002’s concept covers album Car Tape, which earned three ARIA nominations and has reportedly become her highest-selling record. That might seem a dubious honour for someone who makes a living writing songs of her own, but Miller isn’t so ambiguous about her affection for the project. In fact, she’s just released a sort of sequel, Car Tape 2, with the same idea of uniting very different songs the way mix tapes once did. That’s not to say, however, that she saw any of this coming when she recorded the first Car Tape. “It was certainly surprising for me,” she says of all the attention and accolades. “I was really pleased of course, but I didn’t have a grand plan to do a record like that initially. My first two records were

pretty much all originals. But a songwriter is all about songs, so it’s a logical step to take a break from that at times and pick songs that you really love and can get lost in and you wish you’d written.” Car Tape saw Miller inhabit the work of such greats as Townes Van Zandt, Bill Withers and the Zombies’ Colin Blunstone, with a fair bit of country and folk influence shining through in the song choices. Car Tape 2, on the other hand, pairs folk icons like Bert Jansch and Tim Hardin with some unexpected forays into soul. Curtis Mayfield’s Superfly may be the biggest surprise – don’t worry, she pulls it off – but Miller also tackles songs once performed by Willie Dixon and Ruby Johnson. “I just don’t think I could ever write songs like that,” shares Miller, with her usual frankness. “Of course I couldn’t. But it’s liberating to be able to jump into those areas. I was surprised to see those songs actually work. I was a little worried about the Ruby Johnson track because it’s so big and I didn’t know how it was going to fit. It does stir things up a bit on the record; it’s stuck right there in the middle and it could be construed as a rude shock to some. But I love the song and I thought, ‘Damn it, let’s just do it anyway.’”

“I play in a little bottle shop-cumbar once a month. I’ve been doing that for several years. You’ve got to spice things up and throw things in, because the same people come back and see you.” Other highlights? Miller utilises the playful potential of her delicate voice for the deconstructed girl-group number You Can Have Him (originally by The Cake), only to retreat a bit for a heartbreaking take on Bert Jansch’s classic Needle Of Death, harmonising with herself in the process. It’s an album of transformation, but of the subtlest and often most interesting kind. Taking on Neil Young’s Ambulance Blues is a fairly safe bet for Miller, but there’s no reason her French-language rendition of Françoise Hardy’s La Maison Où J’ai Grandi should work. Same with the closing cover of the James Bond theme Moonraker, which becomes a spacey oddity spiked by pedal steel twisted with effects to sound like a theremin. And yet everything does work, and then some. It helps that Miller does covers on a regular basis live. “I play in a little bottle shop-cum-bar once a month,” she explains. “I’ve been doing that for several years. You’ve got to spice things up and throw things in, because the same people come back and see you. We’re always looking for more up-tempo, rockier things to do, because I don’t tend to write a lot of those myself. It’s a similar thing with the Car Tape [project]: that notion of getting other people’s songs to fill out yourself, because they’re songs you would like to write but can’t and don’t.” Despite standing toe to toe with some of her songwriting heroes for this project, Miller never felt daunted for long. “I think you get past it,” she muses. “If it’s something like Superfly, it’s so outrageously ridiculous to think of trying to match a song like that. I took that on initially because I thought it was almost a comic thing to do. I thought it could be really interesting to play Superfly, which is so incredibly soulful and orchestrated and big, with just a guitar and vocal. We did that and it was quite good fun. It’s got the most fantastic groove in the melody.” When she says “we”, she’s referring to Shane O’Mara, who produced and played all over both Car Tape albums. But just as Miller didn’t originally intend on doing the first Car Tape, the second one was every bit as unlikely, which explains the gap of time between the two. She had recorded a cover of David Crosby’s Traction In The Rain for an online record club in the US that collapsed shortly after. The finished version sounded to her like it would fit quite well on another album like the first Car Tape, and then she heard the bootleg Ryan Adams song He Wants To Play Hearts at a dinner party. From there, she recalls, “I got that itch again to start collecting. It was just such a little gem of a song: sort of formed but very raw. It’s usually songs like that that I take up first.” Now, with Car Tape 2 out and garnering the requisite high praise, it’s time for Miller to take the show on the road. That’s never a modest undertaking for her, at least in her hometown of Melbourne, and it sounds as if she’s going to overdo herself this time.Her launch at the Corner will feature up to nine people on stage at a time, including two drummers, two bassists, a pedal steel player, an ace keyboardist in James Black from RocKwiz, and of course Miller and her trusty collaborator O’Mara. But that’s not all: Miller’s niece will join her for those harmonies she handles herself on the recorded version of Needle Of Death. “It’ll be good fun,” Miller shares, “because she can really doubletrack me. There’s that family thing in the voice. It’s weird. She can get right where my voice is.” It’s a typically ambitious outing for Miller, then. “I’ve always done that,” she admits. “I’m notoriously bad at managing small bands.” The rest of the launch tour will feature just a trio, but she really wanted to go all out for Melbourne. “I always want to have the whole thing,” Miller adds. “It’s just fun to do a big show and have all the instruments.”

WHO: Lisa Miller WHAT: Car Tape 2 (Other Tongues) WHEN & WHERE: Saturday, Corner Hotel

ECHO BEACH THE MORNING BENDERS main man CHRISTOPHER CHU tells ANTHONY CAREW how ordering The Beatles through Amazon changed his life and influenced California’s new pop progenies.

“O

f course I’ve noticed that we’ve gotten almost nothing but positive feedback,” admits Christopher Chu. The 24-year-old frontman of indie pop outfit The Morning Benders is wary of buying into the Next Big Thing hype, but even he can’t deny the fact that his band has been one of the year’s big crossover acts. After issuing a barely-noticed debut, Talking Through Tin Cans, in 2008, their second record, Big Echo, has found an enthusiastic critical response and ever-growing audience. A grand, thrilling orchestral pop LP, its glorious production – and critical reception – is undoubtedly buoyed by the presence of Grizzly Bear keyboardist Christopher Taylor behind the mixing desk. “We’d been emailing each other for a number of years,” explains Chu of his relationship with the guy that makes those Grizzly Bear records sound so sparkly. “I wrote him an email saying how much I liked his band’s album Yellow House when

that first came out [in 2006]. A couple of times when we were on tour in New York, he’d come see us play. That was the first time I’d ever met him in person. We always just had good interactions, a good energy between us. And, when he heard some of the early demos of these Big Echo songs, he was really supportive. We’d talked, vaguely, about working together at some point and eventually we worked out he could mix this record. It started from there and I was lucky enough to be able to work on it with him.” Up until that point, The Morning Benders had been wholly Chu’s baby. Growing up in California, Chu felt an attraction to music from an early age; his still-held predilection for classic-pop song hooks and swelling orchestral arrangements due to his parents’ record collection. “That was the music that I loved, all the stuff my parents played around the house: The Beatles, The Beach Boys, Neil Young, Bob Dylan, Paul Simon,” he recounts. “My parents had all The Beatles’ greatest hits albums, but they didn’t have any of the albums proper, and I remember ordering eight Beatles on CD from Amazon. It was the first time I’d ever mail-ordered a package and it was just like Christmas morning when it showed up.” It wasn’t until he was at college, at Cal-Berkeley in the Bay Area, that Chu, “breaking out of the childhood tendencies towards shyness that [he] had,” started writing his own music. “I remember finishing my first song and feeling for the first time that I could maybe be good at that,” he recounts. “Because, up until that point, I’d dabbled in music, but never to the point that I could actually finish anything. That was a big turning point. From there, I started writing songs all the time. The next step was playing them. That wasn’t my main goal – I didn’t write songs so I could be a rock star, partying every night – but I did have a desire to play them for people. I found that exhilarating; this real way of connecting with people that I hadn’t felt before.” For Chu’s first six months performing, it was just him, solo. But, the fact that he settled on the handle The Morning Benders suggested it wasn’t going to stay that way. “I’d never intended to play alone; I always knew I was going to get a band together,” he says. “Even with the first songs I’d written, I already had ideas about where they should go, in terms of a more full arrangement.”

“In terms of whether this album really is taking us to a bigger place, that’s hard for me to tell. [I’m just glad] that people seem to be genuinely moved by the songs. It’s really important to me that there’s that emotional factor there.” On Talking Through Tin Cans, though, Chu kept things largely pared down to strummy, Shinsy pop. Handling the recording, engineering, and production himself, he wanted the emphasis to be on “the songs’ most basic elements”: melody and lyrics. “The idea came from the fact that a song is very precious to me,” Chu says. “It was a matter of fleshing those songs out just enough, to make sure there was nothing cluttering the core of them. That was the concept with that batch of songs, and that first album. But, even when I was working on that stuff, I knew that there would be a lot of other sounds I’d want to later explore.” By the time The Morning Benders set out working on Big Echo, there was a settled Morning Benders line-up – including bassist Tim Or and Chu’s 19-year-old brother, Jonathan, on guitar; making them one of the most high-profile Asian-American bands ever – that had a tour with Death Cab For Cutie and Ra Ra Riot under their belts. Not wanting “to keep making songs in one particular way forever”, Chu hoped to make a grand orchestral record; Big Echo’s ambition reflected by its title, it sound sparked by its songsmith’s “interest in production”. As a way of advancing the band’s sound, he invited Taylor on board, even though he was reticent about relinquishing some control. “I felt scared about giving up creative control, about collaborating with someone on my music, and my songs,” Chu admits. “But, to have [Taylor] be the person I took the plunge with was so great. It only happened because I was able to communicate well with him; I felt confident that he could understand what I wanted, what we were going for. He was someone that I trusted. With that out of the way, it ended up being a pretty smooth collaboration.” That smooth collaboration has already reaped its rewards; The Morning Benders having toured with Grizzly Bear, Broken Bells and The Black Keys since. Big Echo’s grandeur also suggests a realm of possibilities for the band; bigger, grander things, perhaps, looming. “I definitely felt like we’d lifted a lot of the restrictions that we’d placed on ourselves with the first record and allowed ourselves to be a lot freer, both in this album and in the future,” Chu says. “[Big Echo] felt a lot more unique and special. In terms of whether this album really is taking us to a bigger place, that’s hard for me to tell. [I’m just glad] that people seem to be genuinely moved by the songs. It’s really important to me that there’s that emotional factor there. That’s all really encouraging, exciting stuff.”

WHO: The Morning Benders WHAT: Big Echo (Rough Trade/Remote Control)

JOHNNYS COME LATELY Legendary cowpunks THE JOHNNYS are reforming this weekend to celebrate the re-opening of the Tote. Drummer BILLY POMMER tells EJ CARTLEDGE why the band’s love of a good time cost them greater commercial success.

ew bands that emerged from the Australian new wave/punk scene matched the spirited mayhem The Johnnys brought to the stage. They formed in 1982 in Sydney when bassist Graham Hood auditioned for the Hoodoo Gurus. He met the then guitarist for the Gurus, Roddy Ray’da (AKA Roddy Radalj), and the idea for a side project was bandied around. Ray’da subsequently left the Gurus and he and Hood hooked up with drummer Billy Pommer.

“Now it seems the venues or the promoters want to put eight or ten bands on a bill that are only going to play for half an hour each, who will invite ten or 20 friends along each, fill the venue but are left with nothing apart from having a party with their friends. So that means bands become part-time or hobby type things because they’re making the same amount in dollar terms that we were 25 years ago.”

Pommer suggests the band came into being as a reaction against the relatively joyless scene that existed at the time. “There were a lot of shoegazing bands around,” he says, “and it seemed as though all the fun had been taken out of rock music. So we wanted to react against that and had this idea to play a sort of country music but really wild... like a punk rock version of country music.

As for this weekend’s Tote show, Pommer suggests it will be a one-off occasion. “The Tote has reopened, as you know,” he says. “They wanted us to be part of the reopening celebrations because of Slim [Paul] Doherty, the guitarist for The Johnnys. It was his family who actually started the Tote in the early 1980s. It used to be called the Ivanhoe Hotel. The Doherty family changed the name and that’s where we met. Slim joined The Johnnys back in 1983 so it’s gone the full circle. As a consequence, we’ve always had a soft spot for the Tote.

“We put our heads together and we thought ‘That’s a friggin’ great idea!’ and then we realised that all of our favourite movie and music heroes were called Johnny. Like Marlon Brando’s character in The Wild One and Johnny Ramone, to name a couple. It went on from there.

“We pretty much toured from that point on for the rest of the decade. There were never any stated commercial ambitions... we just wanted to play our own style of punk rock music and have fun. That

“I mean, we toured New Zealand of course but I mean elsewhere. We did a three-month tour of Europe towards the end and we should have played in the States as well. I think we paved the way for a lot of other indie bands to get to Europe, like the Hard-Ons and The Cosmic Psychos, who went on to do a lot of touring overseas. So if The Johnnys had done that earlier I think it would have opened up the chances for greater international success.” The industry and music scene has changed remarkably since Pommer and his mates first donned cowboy hats and went on a stampede. He has remained close to the business and wonders how newcomers manage to stay afloat. “There appears to be a lot more bands around these days, good or bad,” he says. “And I reckon they seem to have a worse deal than we did. In the 1980s, even a small-time band could still eke out something of a living. You could play three or four times a week and make a few hundred dollars.

The Johnnys initially performed as a trio before the esteemed Spencer P Jones – who went on to play alongside luminaries such as Paul Kelly and Tex Perkins – joined on guitar and backing vocals. Ray’da departed in early 1984 and Jones assumed lead vocal duties. After Ross Wilson of Daddy Cool and Mondo Rock fame saw the band play in Perth, a recording deal was offered through Mushroom. Wilson then produced the classic and definitive Johnnys album, Highlights Of A Dangerous Life.

“So the original band was formed in 1982 by Roddy, Hoody and myself, in Surrey Hills in Sydney. Rod had just left the Gurus, Hoody had just left The Allniters and I’d been playing in a band called The Cry. Anyway, we all met in and around the Surrey Hills music ghetto. We played our first gig in November 1982 at Palms in Oxford Street. We did one more show – at the Trade Union Club with the Sacred Cowboys – and then a week later we were in Melbourne on tour.

toured overseas earlier than we did,” he says.

commercial expectation didn’t arrive until Ross Wilson saw us. He really liked us and the next thing we knew he was offering us a contract with Mushroom.” The band’s fondness for a good time was often taken to excess. Legions of stories are still in circulation involving a tipple or three, staggering on and off stage and partying until all hours. Somehow, through it all, they played hundreds upon hundreds of shows, released three albums and shot some of the funniest film clips to have aired in Oz. “Sometimes I think we were having too much fun,” says Pommer, “if I can put it that way. But you have to remember we were all pretty young guys back in the early 1980s.

“It’s fair to say though that we could have had greater commercial success had the fun side of things been a bit less of a priority. You had to play the game back in those days, and we were never any good at it. We got kicked off a few radio stations. That made any chance of greater success take a real downturn. That said, our first album [Highlights Of A Dangerous Life] went gold and we had half a dozen top ten singles. Injun Joe was probably the biggest-selling single, but Bleeding Heart came out at the time of the first album’s release and really gave it a push.” As for regrets, Pommer believes there is little point in looking back and wondering what might have been. He makes one concession: “We probably should have

“When they asked us it was just a matter of getting everyone together. We’d always stayed in touch anyway and remained pretty tight friends. We played a couple of shows in Brisbane two years ago and a few shows in Sydney as well. It was never a split as such for The Johnnys... but it was a very long break!”

WHO: The Johnnys WHEN & WHERE: Saturday, the Tote

SINGLED OUT BY CLEM BASTOW

ON THE RECORD

LATEST CD REVIEWS

SINGLE OF THE WEEK

SHERYL CROW SUMMER DAY Universal Sometimes it feels as though Sheryl Crow just plugs away in the background, perplexingly relegated to a dusty corner of the music industry despite reliably and consistently producing some of the best AOR/radio rock (neither of which I consider to be dirty words) out there. Why is it so? If Bob Dylan and Keith Richards are in her camp, why isn’t everyone else? Summer Day (complete with syrupy whorls of strings and a ‘60s brass arrangement) is decidedly more Al Green than America, and the results are glorious – if you bother to listen to them.

DARREN HANLON ALL THESE THINGS Flippin’ Yeah/MGM There are times when gratuitous ukulele can induce sudden onset cavities, but this is not one of them. Hanlon – ably assisted by Shelly Short and a pleasingly maudlin tuba – acquits himself here with his usual deadpan charm and wit (“It’s the fear that began, if one single Elvis fan can be wrong/The other 49-odd-million screaming others also can”) that makes you wonder why he’s not a global superstar.

BON JOVI WHEN WE WERE BEAUTIFUL Universal Uh oh, look out, mums, JBJ is back! This song is deeply hilarious, finding the band in epic power ballad mode, complete with everything including seriose lyrics (“The sky is cracked/The world is torn”; copious references to beauty and innocence and the good old days), portentous snare drum rolls, massed backing vocals and Edge-ish guitar. If you told me this was prime-period Train or Filter, I would have believed you. What a hoot!

VARIOUS ARTISTS THE RUNAWAYS: MUSIC FROM AND INSPIRED BY THE MOTION PICTURE Warner The tumultuous tale of ’70s all-girl group The Runaways has been turned into a teen flick by Canadian music video director Floria Sigismondi. Her biopic, centring on the interplay between lead singer Cherie Currie (Dakota Fanning) and rhythm guitarist Joan Jett (Twilight’s Kristen Stewart), is loosely based on Currie’s autobiography – with Jett an executive producer. Alas, today’s youth are unlikely to recognise Jett, let alone her first trailblazing band. Maybe, just maybe, they’d know that she enjoyed a mega ’80s hit with her cover of The Arrows’ I Love Rock‘N’Roll – subsequently made over by faux pop rebel Britney Spears. Even the musically savvy Stewart has admitted to being unfamiliar with The Runaways prior to signing on. It’s difficult, then, to gauge who’ll appreciate The Runaways, unless those old ’70s kids overcome their cynicism. Nevertheless, the indie has cred and balls. Some soundtracks stand on their own, but The Runaways will make most sense to cinema-goers. It mashes up vintage Runaways (the live I Wanna Be Where The Boys Are), as well as material from their contemporaries (Suzi Quatro, David Bowie, Sex Pistols), with the movie’s potentially blasphemous performances. Mercifully, Fanning and Stewart don’t succumb to bad karaoke, their brashness on numbers like Queens Of Noise convincing – although the modern production lacks grit. Hollywood brat Ke$ha might learn from Fanning’s zesty Cherry Bomb. Ultimately, this souvenir’s only shortcoming is that it’s incomplete, not encompassing Stewart’s spirited I Love Playin’ With Fire. Cyclone

HEALTH DISCO2 Popfrenzy

CLAIRE HOLLINGSWORTH CRAFT SAVVY CRIMINAL Independent

This is a remix album of Health’s Get Color, including the new track USA Boys, a winding, off-speed keyboard run and typically zombified waveform vocal winding it all together. The production elements are not as awash or simply evil as anything off Get Color; instead we get some super-clean Health. Whether designed as a track deemed suitable for a dance remix record rather than a precursor to Health’s next album proper, who knows? USA Boys has already had a remix done by witch house artist †‡†(rituals), combining lyrics from Ain’t No Mountain High Enough by Diana Ross & The Supremes, and is a toe-curler. Too late for the album, but worth checking out.

With her debut release, Claire Hollingsworth, bandleader at Brunswick’s School On The Hill, follows on from her two EPs with a gently sparkling ode to deviations from normalcy. This is a small album both in tone, ambition and running time, though it’s no less wonderful for its intimacy, a sense that fits perfectly with the production.

Health’s Get Color was something else; a collection of music to release the unsteady listener’s sphincter. What some suffered as a mad mess, others loved for its sheer, precocious bastardry, fresh and bloody. But how to reinterpret a work that already works successfully in a number of directions? The Tobacco remix of Die Slow oils up and pumps its way to a planet of bad crotchless fashion and overwhelming laser fire. Baron Von Luxxury manages to reign in the magnificent and difficult muck of Eat Flesh and funk it into overdrive, utilising ghostly whispers throughout. Enhanced content finally provides remixes of the grand psychosis highlight from Get Color that is We Are Water. Whilst maintaining the faecal undercurrent of the original, Azari & III place the song in marching territory, whereas Soft Encounter hotwire a robot orgy with an a capella interlude, then blow all fuses. Pictureplane’s remix of Die Slow is a standout, but I must admit to having had Goth Star on replay quite feverishly over a period of time, and was looking forward to this track in particular. Sean Smith

“I come to you in sleep/guided by the lighthouse that you keep,” Hollingsworth gently intones as the album unfolds. Many songs herein are quiet and thoughtful turns, served well by the treatment they’re given. Roping in Andrew Wright to produce and percuss, Craft Savvy Criminal has been given an ideal midwife. The album is a lovingly made collection of songs and, as the cover art so clearly suggests, one heedless of fashion or current trends. Hollingsworth has a voice that is difficult to imagine inhabiting any other genre, so well matched to the gently strummed acoustic guitar, sparse piano and quiet reflections that seduce as they celebrate. Odes to a stolen laptop (Dear Junkies) and her hometown (Fremantle) rub shoulders with the darkly fragile and lonely Four Walls, while the whole thing sounds as though it couldn’t have come from anywhere but Melbourne. Hollingsworth’s talent for constructing and arranging a song is greater than her subjects, which are more commonly musings that become compelling through her rendering. It’s easy to feel you know her given the sincerity and warmth inhabiting every second, and it’s a testament to the musicians involved that the performances are top notch and arrangements sensitive. Possibly the finest songs on the album, Mirror Mirror and Faux Serial Killer, see Hollingsworth empower her songs with uplifting vocal and string arrangements, which suggest that when she’s ready to broaden her palette. As it is, Craft Savvy Criminal is a record to seek and treasure. Andy Hazel

THE DEAD WEATHER BLUE BLOOD BLUES Warner I just can’t seem to get excited about The Dead Weather; is it Jack White’s omnipresence, or the music press’s tendency to drool over anything he touches? The supergroup are infinitely more interesting when Alison Mosshart is in charge; here, with White on rote shouty duty (“Shake your hips like battleships/All the white girls trip when I sing at Sunday service” – really, Jack?), things just feel a little too jam session to really take off.

KORN OILDALE (LEAVE ME ALONE) Roadrunner Korn, you guys! Let’s pause for a moment and appreciate the hilarity of that. And would you believe they still sound exactly the same as they did back in the ‘90s? Yes, thunking five-string bass, jungle drums and Jonathan Davis’s hysterical vocals are all in effect here. Through it all, I just keep thinking of their appearance on South Park; “Niblet!”

MAROON 5 MISERY Universal In news that will surprise approximately nobody, I’ve always had a bit of a soft spot for Maroon Five/5/5ive. Yes, Adam Levine’s voice teeters on the brink of irritating, and their songs are determinedly commercial, but who cares? It was Supertramp and Billy Joel who ended up on the classic hits playlists of today; do you really think tomorrow’s will be populated by Sun O))) and Wilco? Misery is well within standard operating procedure (upbeat variant) for the band, so naturally I love it. Imagine if they collaborated with Gregg Alexander... *head in hands*

KELIS 4TH OF JULY Universal Remember when everyone loved Kelis? It feels like an awfully long time ago, and I’m not sure that this turnof-the-century dance incarnation (the piano in the verse has a distinctly Moby Play mood) will go particularly far towards reviving the Kelis fan club. Then again, what do I know? I thought The Darkness were going to inherit the earth, and my dad thought Gerry & The Pacemakers were going to be bigger than The Beatles. They probably should have written “Do not let her become a music critic” on my birth certificate.

SOULFLY OMEN Roadrunner Max Cavalera has been busy the past few years, releasing Soulfly’s sixth album Conquer, the first Cavalera Conspiracy album Inflikted and now this, the seventh Soulfly album, with another Cavalera Conspiracy album on the way. Cavalera clearly still loves making music, and if he was supposed to mellow with age then someone forgot to tell him, because Omen is another collection of battering-ram riffs and barking vocals. The experimentation with genre Cavalera has often indulged in on previous Soulfly albums is absent. Omen is a furious metal album dealing with dark subject matter, and opening track Bloodbath & Beyond is an all-out assault, a punkish, hardcore thrasher that immediately sets the tone. The album features a couple of guest appearances, the first from Greg Puciato of The Dillinger Escape Plan, who contributes vocals on Rise Of The Fallen. Puciato’s aggressive, higher vocal delivery complements Cavalera’s abrasive riffs and guttural roar perfectly, resulting in the album’s highlight. Tommy Victor from Prong’s guest contribution is perhaps less obvious, but he does add some extra vocal colour to Lethal Injection, another of the album’s stronger tracks. Great Depression manages to sound like classic Sepultura in places, overlaid with some great lead playing from guitarist Marc Rizzo. Rizzo excels throughout this album, adding very creative guitar parts to Cavalera’s rhythmic four-string guitar riffs. On the downside, Jeffrey Dahmer is perhaps the album’s weakest track, with uninspired lyrics, and Off With Their Heads is likewise forgettable. Kingdom, Mega-Doom and Counter Sabotage make up for them, however, and keep the album on track. Finally, there’s the usual instrumental that closes every Soulfly album, this one an interesting change of pace with its jazzy chords and flowing, liquid leads. While Omen may not be Soulfly’s best album, it continues the emphasis on brutality from Dark Ages and Conquer and will definitely keep fans satisfied. James O’Toole

THE DRUMS THE DRUMS Shock Has some material by The Smiths lately been uncovered, only to be dusted off and remastered? No, it’s the debut from The Drums, who hail, not from a miserable northern English town, but hipster Brooklyn – via that fantasy Brit expat destination Florida. Pop’s blatant revivalism isn’t abating. For much of the past decade, the soundtrack was neo-’80s music – or, at least, electro. Now retro indie pop is being freshly mined – if not for inspiration, then for postmodern reproduction and recontextualisation. The Drums, enamoured of British indie, circa 1986, have upstaged even Delphic as 2010’s UK press darlings. They also have dishy art school haircuts that might have once aroused suspicion of their being poseurs. That said, The Drums are less intellectual than intuitive. The quartet’s ascent started with last year’s Summertime! EP – and two of its tracks, including a re-recording of the blithe surf-meets-garage Let’s Go Surfing (fear not, fans, the whistle remains), reappear here. The Drums specialise in sentimental jangly pop – with delicious hooks – but, on this album, things take a darker turn. Summer has passed and singer/songwriter (and main producer) Jonathan Pierce is mooching over lost loves and, in the case of Best Friend, a departed buddy. The album’s revelation is the sublimely melancholic Book Of Stories with its ghostly Beach Boys harmonies, The Drums reconfiguring Anglo-pop and Americana. Still, Pierce, previously in the synthy Elkland with The Drums’ guitarist Adam Kessler, doesn’t share Morrissey’s moroseness, instead sounding merely misty-eyed on the reverb-heavy (and Pale Fountains-ish) epic Forever And Ever Amen. Me And The Moon evokes The Psychedelic Furs and The The but, as a naval-gazing surfie, Pierce is too charming, or fey, to match the savagely graceful postpunk of a Richard Butler or Matt Johnson. Nevertheless, if White Lies are too grim for you, The Drums are wistfully enthralling. Cyclone

VILLAGERS BECOMING A JACKAL Domino Villagers are essentially Conor J O’Brien. He wrote, co-produced and performed all the music on Becoming A Jackal, bar French horn and classical strings, and also created the artwork. Pre-empting the resulting album by weighing too much on this commitment could deceive you, as works by a primary creator ducking behind the guise of a collective banner are often prone to being blinkered and indulgent affairs, at worst half-cocked. Perhaps the collapse of O’Brien’s previous band The Immediate painfully imparted upon him the desire to have greater control over his future output. Thankfully, it seems it has also provided him with a less fixed base, as the songs on this album are not the excesses of a tyrant. As the album title suggests, Becoming A Jackal sifts through subjects of change and one’s ‘alter’. It also begins in colder territory, with opening track I Saw The Dead followed by the sublime but eerie title piece, suggesting O’Brien may leave us in the haunted bogs of Ireland ’til album’s end. However, the sentiment thaws throughout, the lightest song The Pact (I’ll Be Your Fever) being a melodiously simple platform for a country pop bliss-out. Most pertinent thematically is the creeping conversion of the seemingly innocent Pieces from an old fashioned slow dance to lycanthrope breakdown, transforming it into something altogether more howling and hairy. There is a gentle sadness about the music, even a classic ‘60s quality in some respects, and this will appeal to the new-folk army out there. O’Brien’s singing reminds this reviewer at times of Conor Oberst, Roy Orbison, and even a sweeter Roger Waters when he trembles on a note rather than completing it cleanly. O’Brien may shirk sole responsibility under the moniker Villagers, but this is a dense and intimate album by an individual force aware of the reward of restraint. Sean Smith

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ON THE RECORD

KONONO NO°1 ASSUME CRASH POSITION Crammed Discs/ Planet Company It’s rare, but sometimes music appears that is so different, so strange, so removed from your musical experience and yet so jaw-dropping that it stops you dead in your tracks. Konono No°1’s debut album, 2004’s Congotronics 1, was raw, hypnotic, electronic trance music that was as rickety as it was beguiling. It seemed to reference everything from kosmische to calypso to electro acoustic experimentation. Of course, it referenced nothing of the sort, because its participants had never heard these genres; rather, Konono No°1, who hail from Congo, close to the border with Angola, were attempting to play traditional Bazombo trance music. Their unique sound stemmed from their desire to amplify their likembes (thumb piano) using homemade microphones plugged into shitty amplifiers. Since then, they’ve toured the world, released a live album and guested on Björk’s last album – pretty good for a band who began 44 years ago. Assume Crash Position is their second studio album and sees some changes. Not only is the percussion more developed and pushed further out front, so too are the call-and-response vocals, often from guest musicians, and there’s even some guitar courtesy of their more scattered compatriots Kasai Allstars. It’s seems the band are really trying to demonstrate some development from their debut, and they’ve succeeded. However, this more familiar instrumentation, whilst increasing the diversity of approaches, has to some extent reduced the freak factor, a very attractive element of Konono No°1’s appeal. Ultimately the sheer exuberance of their music dispels these concerns. It’s still a pumping, buzzing, vibrant album with plenty of their trademark off-kilter jams, yet they’ll also dip down into quieter, more intimate passages. It’ll still drop your jaw, just in different ways.

RE-RELEASE ME

KELE THE BOXER Cooperative Music/Shock When Bloc Party decided to go on hiatus, I like to imagine the following conversation. Band: “Kele, we’re not all that keen on the electronic direction our music is taking.” Kele: “Fine, I don’t need you guys anyway, I’ll do it myself.” Whether or not that conversation occurred, Kele has done exactly that, combining with Alex Epton (AKA XXXchange) of Spank Rock to feed that electro desire with his debut solo LP. It was a point of contention for many BP fans that the band’s music was heading (too far) down that electronic route (for the record, I didn’t mind it at all), so it’s an obvious evolution for Okereke and, for the most part, a successful one into full-blown dancefloor territory.

Peers of The Triffids, who were vocal fans, Chad’s Tree were a Perth band from 1983 to ’89. Halfway through that lifespan the group relocated to Sydney, recording their only two albums there. Both – the shadow-ridden Buckle In The Rail and lighter Kerosene – are collected for the first time on CD on Crossing Off The Miles (Memorandum/ Fuse), along with singles, demos, and scattered tracks. There are beautifully written liner notes by seven different contributors, including founding brothers Mark and Rob Snarski. Track this down: Mark’s commanding voice and dense lyrics stand the test of time as much as the band’s rustic, spooky sound.

RECENT REISSUES

Fusing a kind of Raincoats post-punk with half-ironic beatnik chants, short-lived San Francisco trio Danny & The Parkins Sisters couldn’t quite play their instruments. But there’s appeal beyond the shock-value immediacy of the band’s wobbly 1982 mini-album, reissued here by Chapter with demos and live tracks. Vocals alternating between warbled drones, shrill yelps, and spat barbs, the songs drip with bitterness and shudder with a warped sense of empowerment. Of them, the mocking group chant War (Is On Your Doorstep) is set to little more than handclaps. Included is a quick oral history and insightful song-by-song analysis from the three members.

While lead single Tenderoni is a slightly bland electro house number, there are some moments to behold throughout The Boxer, with opener Walk Tall a stirring call to arms using the familiar military cry “I don’t know what you’ve been told” amidst clapping and stabbing kick drums. Rise is another banger destined to destroy any dancefloor with a pretty, mellow first half followed by an explosive breakdown which is all kinds of fucked-up noise. Not surprisingly, a few tracks do just sound like Bloc Party, particularly slower songs like the emotional Everything You Wanted and Unholy Thoughts. Nevertheless it’s a strong debut, with Okereke’s soulful songwriting combined with XXXchange’s excellent production skills perhaps finally giving the Bloc Party frontman the opportunity to finally and completely unleash his inner clubbing beast. Troy Mutton

Bob Baker Fish

All these years later, The Shape Of Punk To Come (Epitaph/Shock) is still a massive shock to the system. The 1998 final album by Sweden’s iconoclastic punks Refused, it has stumped its pretentious title and liner notes by mining a revolutionary splay of sounds and ideas. Working with hardcore as a template, the band dive as well into folk, electronics and jazz-informed instrumentation. And singer Dennis Lyxzén – since of The (International) Noise Conspiracy – captures a scream that actually serves the songs’ bombastic vision. Extras consist of a solid live disc and guitarist Kristofer Steen’s dreamy documentary Refused Are Fucking Dead.

Although the band broke out with 1971’s Towards The Blues, the Chain story begins with the five-song debut Live Chain, recorded live to two-track the previous year. Restored as best it could be for its first time on CD by Aztec, the album features improv-heavy blues jams ranging from six to 12 minutes, including the VD-recounting Gertrude Street Blues. Both sides of Chain’s very Band-influenced debut single appear as well, making this quite the recovered artefact. The detailed liner notes can be a bit hard to follow, what with constant personnel changes, but the music itself makes for a no-nonsense, marathon workout. Doug Wallen

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kwp!CPR10778

What do THE DRONES, THE DACIOS and BATRIDER have in common?

HIGHER POWER GOD’s My Pal was the final song played at the Tote before the venue closed its doors in January. Now, with a two-CD retrospective out, MATTY WHITTLE from the legendary ‘80s rockers reminisces with GARRY SEVEN.

nly together for a short three years from 1986 until 1989, GOD were a four-piece rock band from Melbourne whose teenage members – Joel Silbersher, Tim Hemensley, Sean Greenway and Matty Whittle – had no idea they would go on to become one of the most revered and controversial Australian bands of the ‘80s. With a newly remastered double CD release, bassist/ drummer Matty Whittle finally sets us straight on some of those rumours surrounding the band, many of which have taken on a life of their own. “I must admit I’m getting a bit of interview fatigue,” he says. “It’s sort of weird to still be talking about something that happened 20 years ago. At 15 or 16 years old, you don’t think people are going to still be talking about it 20 years later. There’s a lot of mythology that builds up over time. Sometimes memories get rewritten by various people. Some people now call us legendary, which seems funny to me

as I remember doings gigs to just 20 people or less at times. “But I’m very happy to see this GOD double CD set finally getting a release. These recordings had been out of print, some of them for 20 years. Simon Grounds, who was there producing us back in the day, did a great job of re-mastering the stuff.” The release, simply entitled GOD, is a two-CD, 40-song collection spanning all of the band’s studio recordings and much of their infamous last show, proving what a great group they were beyond their best-known song, My Pal. Does Whittle get annoyed when the band are remembered for that song, often at the expense of the rest of their superb catalogue of tunes? “Obviously My Pal was the first thing we put out and became a signature tune, but there was a lot more to the band,” he says. “My Pal has been remembered over the years, partly because a lot of people covered it, but this new double CD package is to really show everything the band was capable of.” Whittle and Silbersher are the only surviving members of the band – Greenway and Hemensley died within two years of each other, both from heroin overdoses, in the early 2000s. Hemensley, who later played in revered rock bands Bored! and The Powder Monkeys, would often antagonise unresponsive audiences. “On the live tracks of the reissue, Tim was responsible for much of the audience baiting and abuse,” Whittle says. “It sounds like there’s a lot of it on the CD, but that’s already edited down. There was more. If an audience was subdued and unresponsive, Tim would tell them that they were fucked, and poke and prod them until they did something. I think a lot of people took one look at him and wanted to hit him. But he loved that sort of thing; it was always preferable to being ignored.” Given they were so young, Inpress wonders if there were any problems being underage and being in a band? “We sometimes had a gig booked and we’d rock up and be asked for ID, but we would just say, ‘Well, we’re booked. Do you want us to go home?’ and they’d let us play. I imagine it’s a bit different these days. We got various support from our parents. Joel’s dad Alex in particular was fantastic; he drove us around heaps and paid for early recordings. My parents and brothers helped me get some gear, but my mum and dad tended not to get involved, which was probably for the best really as they didn’t like our music. And by then they realised I was going to do whatever I liked anyway, so they butted out. My mum probably had dreams of me becoming a little Richard Clayderman on the piano, so she might’ve wondered where it went wrong.” Also with the members being so young, they had to scrape together whatever money and loaned musical gear they could. “We often had to borrow whatever equipment we could, a lot of borrowed amps and stuff, so there wasn’t always a consistent sound. It was more the attitude of the band that was always consistent. By the time we did For Lovers Only, we’d really nailed our sound a lot more and tightened up somewhat. But that was done almost entirely with other people’s gear in Sydney, like the Hard-Ons’ amps and guitars for example. My bass was the only thing of our own we used on that.” Band members would often swap instruments on stage. “Everyone playing different instruments gave us some depth in the band but was also difficult at times,” Whittle says. “Tim and I sharing the drumming caused some problems. Tim liked to play with the sticks the wrong way around. So he was holding the ends that were all rough and jagged from me playing with them. So he’d bleed everywhere, and then continue bleeding on the bass and guitar. I used to have an old stick that was all brown and clotted. Maybe I should’ve kept it, but it was a bit off really! Anyways, it’s not obvious on the records that we were swapping around, so that was pretty good. Because we were young we didn’t over-complicate the songs. In some ways having some naivety was a good thing and kept the songs pretty rockin’.” Rumours persist about the group’s break-up but Whittle explains things in a refreshingly honest way. “Often people in bands who enjoy even a moderate amount of success can get carried away with ego trips,” he says, “but when you’re that young and exposed to attention, it’s even worse. And it can change you for life. With us there was the play-act of being arrogant rock stars, but there was also the reality of actually thinking like that, and when the line between those two things became blurred, that was a real problem. “In terms of how we got along, damage was done either by us saying exactly what we thought in a really undiplomatic way, or by not saying anything and letting issues fester away for too long. Any member of the band might’ve been in the bad books with the other three at various times for whatever reasons. These things, along with practical problems and the ensuing lack of live consistency, eventually led to the band’s implosion. Leaping Larry L’s liner notes paint an exaggerated picture of how impossible we were, but he was allowed to do that. I think if we’d really been that bad we never would’ve gotten anything done!” And now, 20-plus years later, can we finally say this is the final word on one of the most mythologised Aussie bands of the ‘80s? “I feel like this is the definitive GOD release,” Whittle says. “This is really as complete as possible – everything we ever recorded and most of the live stuff, so it’s great to have this done properly finally. It’s been good to go over this. My two-year-old is into it. She listens to it in the car. She thinks that this is what GOD is, so that’s kind of funny.”

WHO: GOD WHAT: GOD (Afterburn Records)

MARLBRO BRO Local space-jazz player SUNNY ALBEAU tells TONY MCMAHON how a week hanging out in New Zealand led to his beachy debut album.

he Marlbro Sounds Vol 1 is the impossibly infectious debut album from local electro jazz maestro Sunny Albeau. Overflowing with innovation and a certain anarchic madness only jazz can boast, this is one of the most pleasurable and unexpectedly intoxicating listens of the year so far. The album was created over three days and nights in the picturesque surrounds of New Zealand’s Marlborough Sounds. Like all creative endeavours, according to Albeau, it was part mystery, part practicality. “I was on holidays there and I just thought it was a very beautiful place. It seemed like a great idea to go back there away from all the distractions. The name Marlborough Sounds sort of stuck in my head, too. Then the opportunity came up to get a week off from all the usual commitments and I decided to get over there and do what I needed to do. It’s also a great excuse to go back.” The obvious question, of course, is whether the amazing surroundings directly influenced the music, and Albeau

QUICK STROKES

CARIBOU alter ego DAN SNAITH began over 600 songs when writing his latest album, a club-targeted paean to swimming, ANTHONY CAREW discovers.

is thoroughly convinced that it did. “Definitely,” he says. “Because the place influenced me. I was there alone and the place influenced how I felt. I did it in only three days, but that fed into the writing of these tracks.” Albeau obviously wanted to go about things slightly differently for his debut record. After his short stay in Marlborough Sounds, he then headed off to play the album live with local musicians he’d never met before who had also never heard the music. Marlbro Sounds Vol 1 was the surprisingly assured-sounding result. “It was a bit different, for sure. The gigs themselves we’re never going to be able to repeat, which was the plan. As a performer, I just like to do my solo thing, but invite different guests to the different gigs. I just like playing with new people. The whole idea of never having jammed with them before catches them off guard and you can really see how their mind works musically. It takes it to somewhere I would never expect it to go. When you’re actually playing it, that’s the kind of magic that happens.” Of course, Vol 1 suggests there will be a volume two, perhaps even a volume three. Albeau is slightly reticent with details, but he does let slip an aspect of his upcoming live show. “At the launch, I’ll be playing four tracks from volume two. That’s something I’m still thinking about, a work in progress, I suppose you could say. Hopefully I’ll go back there for a few days later this year when I go over to New Zealand to tour.”

“I had never thought of myself as being part of a community, or of my music being recognised in any way by the music industry; it’s just nothing that bears any relationship to my music,” begins Snaith – who’s just woken up “on a farm somewhere in The Netherlands”, a night after playing in Amsterdam – when asked about how it felt to be showered in riches as recipient of the ‘Canadian album of the year’ gong. “I make my music alone in my apartment,” Snaith continues, “and when we play shows it feels like people who are into this very particular thing come to see. It’s always felt like such a niche thing; I don’t feel like what I’m doing is integrated into the wider world of music at all. So, to be held up as some shining example of Canadian music felt very surreal; the whole night was surreal! I did a press conference! I’d never done a press conference, never played at some sort of gala.” With all that ill-gotten lucre in his pocket, Snaith could “do a few things financially” with his follow-up LP, Swim; most notably having it mixed with a big, glossy, ‘professional’ sheen. Though Caribou had been publicly silent since Andorra – Snaith essentially “dropping off the radar” in between LPs – behind closed

Snaith was initially inspired to craft a club-friendly album by the mere existence of Ricardo Villalobos’s uneding children’s-choir anthem Enfants – “I thought, ‘What an exciting idea that this utterly ludicrous concept could be such a huge club track!’”– and soon found himself stirred into further action by young producers like James Holden, James Black, Ikonika and Joy Orbison. “It’s such an exciting time in contemporary music,” Snaith offers. “There’s more music being made than ever, and the music that’s been made isn’t unified in any way, it’s heading in millions of different ways of simultaneously.” Still, Snaith wasn’t sure what adventurous contemporary audiences would make of Swim. Well, actually, he was sure they were going to hate it. But, it’s proved to be his most popular, critically acclaimed LP since 2003’s Up In Flames, back when he was still trading as Manitoba before a legally mandated name change. “I’ve been so amazed,” Snaith says, “that people who may’ve gotten into me doing this psychedelic pop thing are so openminded about me now making, essentially, a club record.” WHO: Caribou WHAT: Swim (City Slang)

WHO: Sunny Albeau WHAT: The Marlbro Sounds Vol 1 (Spacetone) WHEN & WHERE: Thursday, Toff In Town

Able seaman JOHN MEYER from Brisbane’s THE GOOD SHIP discusses the band’s bawdy balladry with EJ CARTLEDGE. half of our audience would be women and I dare say they can appreciate the irony of what we’re singing,” he says. “It wasn’t a conscious thing for us... we just composed a bunch of songs and it worked out that some of it seemed to fit a genre of its own, so let’s do something with that and damn the consequences. I mean, the overwhelming reaction has been positive. This is the way we speak, this is the way they express themselves so why shy away from it? We have had walkouts from shows, people demanding their money back, but we took great pride in that. But I’m pretty sure those people weren’t there to see us.”

“I realise it’s ridiculous to go from 700 to nine or ten,” Snaith offers, “but these tracks I start aren’t made to be on a finished album. It’s a cumulative process: they’re a step on the way for me in figuring out what I want the record to sound like, or what the ideas are that are going to be involved in it.”

or most, the dream of an oversized novelty cheque is just that. But Dan Snaith is a man who’s lived the dream. The 32-year-old Canadian – AKA maths-nerd-turned-genre-splattering one-man-band Caribou – won himself the 2008 Polaris Music Prize for his fourth album Andorra, and scored $20,000 of sweet Canadian government cash for this troubles. In the form of a giant cardboard cheque. Cha-ching!

In parting, Albeau fills Inpress in on the origins of his name. “Years ago, I used to play under another name. I was doing a lot of driving at the time, with my elbow sticking out of the window. Of course, it got very tanned and people just started calling me ‘sunny elbow’. I changed the spelling, and it just kind of stuck.”

ALL HANDS ON DECK

doors Snaith was hard at work, starting somewhere between 600 and 700 tracks for his new record.

Inspired by its titular activity, the latest Caribou album, Swim, is a work informed by two ideas: summoning an underwater sound, and hitting up the dancefloor hard. “I wanted to make music that sounded liquid, that sounded fluid; where all the elements were moving around like waves, where things washed from one ear to the other, into the mix and out of the mix,” Snaith explains. “Also, I wanted to make my danciest record; stuff that would be played in DJ sets. I was excited by dance music, and just for fun I decided to make my own dance music, thinking this stuff would never end up on a Caribou record. Slowly, those two categories started folding in on one another.”

Talking of the launch, Albeau says it won’t sound much like the record and that wintertime Melbourne could well be transformed to Venice Beach. “It’ll definitely sound quite different. The sax player [Ron Romero from the USA] is a West Coast style player, a lot more… beachy, I guess you could say, so that’s something that will influence the way we recreate those tracks. Alex Suchecki, on guitar – I’m really looking forward to that. Whenever I go into a place, I like to hook up with local musicians. So, live, we’re just going to mix it up. It’ll be very in the moment: using machines that loop as I play. Hopefully, there’ll be a visual element as well: we’ll get a VJ reel running as well. Being jazz, and given that I play the keyboards and tend to get buried in them, it’s good to have some visuals.”

he Good Ship sail from Brisbane waters and Avast! Wretched Sea – Undulating Tales Of Woe & Intrigue is their debut long player. Recorded over summer with hometown producers Neil Coombe (John Steel Singers, Go-Betweens) and Jamie Trevaskis in the chair, the recording is a unique blend of rollicking melodies and colourful lyrical content. When performing live the band often boasts up to nine musicians, a la fellow Brisbanites The Gin Club, and showcase traditional instrumentation like the mandola, lagerphone, fiddle, trumpet and accordion. Taking their cues from the likes of The Decemberists and The Pogues, vocalist/guitarist John Meyer explains The Good Ship are a truly homegrown and independent entity. “We’ve done this ourselves; there’s no label support,” he says. “Autumn Recordings is our own label so it’s all our own money. I had an EP out under my own name a couple of years ago and Daz [Darryl Gray – vocals, guitar] had one out under his band’s name, The Neurotransmitters. But to make money out of music, so I’m told, you have to appeal to women, ‘cause they purchase or influence the purchase of more albums than men, and drag their boyfriends or husbands along to gigs. This is a problem for us, as half of The Good Ship’s material is offensive to women, if you prefer to read it that way!” Meyer is referring to some of the lyrical content that has startled audiences and may well cause purchasers of Avast! Wretched Sea to raise an eyebrow. After all, track titles like 6000 Cocks leave little to the imagination. “Well,

The band have already experienced some personnel changes (which is kinda inevitable given the sheer number of musos involved). “We’ve been lucky and unlucky in a way,” says Meyer. “We tend to be an older crew and have had some great players come on board, but at our respective ages, ‘cause we’re no longer teenagers, we have established lives, so people tend to come and go. But there always seems to be a backlog of friends and colleagues ready to step in... and for us it’s all about the live thing. From the very first gig our shows have just been amazing. It could be just a function of having so many people onstage, like The Gin Club. I’ve played solo shows and there’s nothing harder than trying to generate energy on your own.” As for the choice of instrumentation, Meyer suggests that despite the inclination to spot the next trend, the process was somewhat more organic. “We’ve all been in bands before,” he says, “and I’ve been a singer/songwriter and you’re always thinking ‘What’s the new sound, where’s the next movement coming from?’ But when we started recording this album it just felt like it was natural to have acoustic guitar, banjo, fiddle and what not. It’s just so nice to record those instruments without worrying too much about the sound being clean or precise. I mean, we did the recording over summer and it was so bloody hot up here we had all the windows open so when we were doing the vocals we had the birds chirping as well.” WHO: The Good Ship WHAT: Avast! Wretched Sea – Undulating Tales Of Woe & Intrigue (Independent) WHEN & WHERE: Saturday, Grace Darling; Sunday, Labour In Vain

DOG YEARS

NASHVILLE SKYLINE

Once the sibling side project for Mental As Anything, DOG TRUMPET have stood the test of time. MICHAEL SMITH looks back with REG MOMBASSA.

Returning from a long stint in the competitive world of country music in Nashville, CATHERINE BRITT is armed with a new album, discovers TONY MCMAHON.

styles or different approaches, I guess. We noticed when we finished it there were a few vaguely semiautobiographical songs on there. There’s one about our mother [Manchester], who died a couple of years ago, plus Pete’s got one about when he was a kid [The Wilson Home For Crippled Children] and had this hip disease when he was six, seven, so he was in this home for a couple of years. Great South Road is about the main road from Auckland to Wellington – a local childhood kind of song – and Into The Sky is about people dying basically, so there’s a bit of slightly gloomy stuff on there I suppose.

riginally something to do for the New Zealandborn brothers Chris – AKA Reg Mombassa – and Pete O’Doherty when Mental As Anything took a hiatus as a consequence of an accident that laid keyboards player Greedy Smith up for months in 1990, Dog Trumpet kicked off with a debut album, Two Heads One Brain, in 1991. It only became a full-time enterprise, if you can really call it that, in April 2000, when the brothers left the Mentals to concentrate more fully on their artistic endeavours. Their recording career has since surged forward at a less than ripping pace with their eponymous third album released in 2002 and their next, Antisocial Tendencies, in 2007. So River Of Flowers makes three albums in a decade. “Actually it’s five albums and two EPs in 18 years,” Mombassa corrects, on the line from the rehearsal room where the band is learning how to play the new songs. “Obviously we were still playing with the Mentals until ten years ago, so that kept us busy for the first eight years.” Stylistically, the songs on River Of Flowers – five each from Mombassa and O’Doherty, along with a cover of Irish singer/songwriter Bap Kennedy’s On The Mighty Ocean Alcohol, originally recorded for a fundraising compilation for Byron Bay rehab facility The Buttery – are far more similar than they have been in the past, where Mombassa’s more eccentric musical approach contrasted with O’Doherty’s more straightforward melodic pop. “I hadn’t thought of that, but you might be right actually. We write our songs quite separately and then play together on them, so they do tend to be different

“I guess as you get older you do have to face the fact that your parents are going to get sick or die – both of our parents have died in the last few years – and unfortunately some of your friends start dying, too, once you get into your 50s. Everyone’s facing their own death, so I guess there’s a bit of reflection on things like that.” Of course, from a couple of musicians who spent a significant slab of their adult lives in the ultimate suburban party band that is Mental As Anything, you’re not going to get a darkly pessimistic album. Even the aforementioned Into The Sky comes across as more a children’s nursery rhyme than a gloomy vision of mortality. Mombassa in particular can’t completely suppress his natural dry humour across a whole album, so things kick off with his wry Mr Alcohol And Mrs Marijuana, a reprise perhaps of a contribution to an early Mentals album, Surf And Mull And Sex And Fun, while he wallows in the lackadaisical Manana. “Basically I just thought, ‘What are the two most popular drugs?’ and they probably are the two most popular; one legal, one illegal. Tobacco’s losing popularity a bit thank goodness. As for Manana, it’s not exactly being on the case is it? Putting things off ‘til tomorrow, it’s that Spanish phrase, but I kind of like that compared to the more accepted thing of being an anal-retentive control freak and do everything immediately, but I tend not to follow that philosophy myself.” WHO: Dog Trumpet WHAT: River Of Flowers (Half A Cow/MGM) WHEN & WHERE: Thursday, East Brunswick Club; Friday, Pure Pop Records (7pm)

FAMILY TIES

and her belief in the importance of candour.

ewcastle via Nashville singer/songwriter Catherine Britt has achieved something truly extraordinary with her fourth, self-titled album. Poignant, heartfelt tunes of pain, love and loss here sit more than comfortably beside old-fashioned country footstompers featuring rousing rhythms, infectious melody and Britt’s punchy yet haunting voice, which is not something that can really be said for every album that attempts this considerable challenge. Not surprisingly, Britt is reasonably pleased with her efforts. “I’m stoked,” she says. “I’m very, very proud of it. I’ve written every song on it and that’s a first for me. I feel like it was a big feat for me as a songwriter.” As well as a turning point in her musical career, Britt says that she sees Catherine Britt as something of a personal milestone as well, and that it’s very much about her returning home from Nashville. “A lot of stuff has happened lately. Obviously, coming home was a big one. After the long journey I’ve been on and the incredible life I’ve had, I made a choice to leave that life and come back to where I’m from, with my family and all that sort of stuff. A lot of my experiences changed me and I really needed to figure out what I wanted to do musically. I guess after a period of time being at home, I just realised I really wanted to make this record. I guess this album is, in a lot of ways, me just saying, ‘This is me’.” The album explores dark and disturbing territory, but does so with a sense of engagement that is intoxicating and inclusive, to say the least. Britt says that this sense of profound balance comes from her influences

“As you grow up and you lose people that you love, that has a profound influence on you,” she remarks soberly, considering her options and showing the desire to live honestly that has pervaded her music up to now. “Losing my best friend and my dad, and the wisdom of getting a bit older and realising what’s important; it’s now vastly different from what it was. Relationships are the most important thing: my children, my mum, my husband, my friends. Relationships and living an honourable life. I think writing music may not, dare I say it, be as big a priority as it once was.” Her husband – and musical collaborator – Dave Steele has recently reminded her that it may just be the post-album blues. “I was saying to Dave the other day that I don’t know if I’ll make another album, but he doesn’t believe me. Maybe I’ll do something else next. I’ve been painting a lot lately and really loving that. I’ve been teaching music to young kids and running choirs and…” she trails off, pausing reflectively. With a laugh, Eckhardt then admits, “I may have said this before a couple of times. This is my seventh album and at this point in the process of releasing an album it can feel overwhelming and I get tired and think, ‘I’ve had enough of this’. But the compulsion to write

And the shows here are in Hallam and Mount Evelyn, rather than inner city venues. Britt believes that it’s vital for music to travel. “We try and get everywhere in Australia. We try and do out of the way places as well as the inner city. They don’t really get a lot of musicians that go out of their way to come to their towns. These places are only an hour or 45 minutes out of Melbourne, but there’s definitely an appreciation of us coming there. I think it’s important to do that if you want a long-lasting career.”

WHO: Catherine Britt WHAT: Catherine Britt (ABC/Universal) WHERE & WHEN: Thursday, Hallam Hotel, Hallam; Friday York On Lilydale, Mount Evelyn

TONY MCMAHON chats to Melbourne singer/songwriter and independent spirit DAVE HOSKING, who’s giving his latest album a new lease of life on vinyl.

songs doesn’t go away. Actually, one thing I have been thinking about is doing a children’s album.”

When Britt launches her new album here, it will be almost three years since she last visited Melbourne, but this has not been due to a lack of affection for the place. “It’s always been great for me in Melbourne in the past. It’s such a respectful music town. They really get good music and they’ll come out if they think you’re good, which is quite different to a lot of other towns in Australia and the rest of the world. I’ve always loved coming down there.”

IN RECORD TIME

With her latest album out, TIFFANY ECKHARDT is pondering the true meaning of her relationships. That’s why it also may be her last, she tells NIC TOUPEE.

iffany Eckhardt has the seven-album itch. After the release of her seventh longplayer, Sunday, this Victorian singer/songwriter is now resting, deservedly, on her freshly grown laurels and regarding her future quizzically, seeing potential endeavours beyond songwriting. But, ever creative, the one thing Eckhardt isn’t running short of is ideas: it’s the medium, not the message, that is currently in question.

“All my albums, in their own way, have been sort of positive. I think people want to see honesty and truth in writing. With all of my favourite artists: I want to hear a story and I want to hear about their lives and I want to relate to something they’re talking about through my own experiences. Whenever I write songs, I always try and write from experience. I guess I’m a very selfish songwriter in a lot of ways, but, in another way, I’ve been through a lot of things that other people have been through, too. [Track eight on the album] Call Me Back Town, you know, that’s a reflection of my years in Nashville, but in a way it’s about any place, any business. The world is a call-youback town. So, I like to relate my experiences, good or bad, in an honest way. I think that might be what makes the album not so depressing, that honesty.”

I was the one who had to pay for it. So, there goes the money for the next record. But, look, having said that, I’ve just dragged my old record player out of the shed and I’m really looking forward to listening to it.”

In the final stages of mixing the last album, Eckhardt got a taste of some new studio technology. Her obvious enthusiasm for the experience will surely bring her back to the drawing board. “We had finished recording the album and we were kind of happy with it. We sent it to John at our label, Black Market Music, and he said, ‘We love it but can you remix it? I’ll mix a couple of tracks and send them down to show you what I want’. He did the most crazy weird digital psycho stuff to the tracks and sent them back. It sounded like Lost In Space, but he wanted to broaden our imaginations because there’s so much you can do in this day and age.” Although Eckhardt was too exhausted to tackle the herculean task, Steele was up for the challenge. “Dave took a lot of the sounds off, redid the basses and percussion and turned it upside down. He treated the vocals really differently and some of the stuff he did blew my mind” she enthuses. “I have no idea how he did it. There were times when I went, ‘What are you doing?’ and there was lots of very interesting discussions, but what he did was pretty amazing and I ended up taking my hat off to him.”

The vinyl version of Down Every Street is being manufactured in London, at Apple Studios, of all places. Hosking says this won’t encourage him to move to New York and get filled with lead, but it might mean his mum gets out a different kind of iron. “It doesn’t make me feel like John Lennon, no. I don’t feel dead, or that I was once in The Beatles. It would be good if they came back with the Apple logo on the label, but I don’t think they will. I suppose I could always get my mum to steam some labels on.”

Initially she found herself a bit resistant to such audible change: “I was a bit of a prude and wanted to record on tape forever; really natural analogue sound. But through this process I’ve realised that there’s an exciting world we’re moving into and it doesn’t detract from the music.”

own Every Street is the sixth album from singer/ songwriter and genuine local treasure David Hosking. Released late last year to rave reviews from critics everywhere, including this writer, this stunningly beautiful and criminally under recognised record is now being re-released on vinyl, much to the delight of vinyl junkies everywhere. It’s difficult to imagine standout numbers such as the title track or opener The Moon having more resonance than they did during their initial listens, but the strangely exciting interface of needle and wax will no doubt make this so. Hosking himself says that he’s not exactly sure how the wax version of his album came about, but it had something to do with pressing a button.

Friends and fans who have heard Sunday remark upon its difference, but Eckhardt is confident that studio wizardry hasn’t diminished the organic warmth that has been a constant in her work to date. “There has been a lot of comment from people that this album is really different. I know the way Dave mixed it is a little bit edgier, a little bit less folky, but the spirit of the songs remains warm and organic.”

“When we mastered it in Sydney, the guy asked me if I wanted to master it on vinyl. I told him that I’d love to if I had the money, because that was the way I would have liked to hear it and I know other people feel the same. So, I don’t remember much happening in the mastering suite. I think it was just a flick of a switch and the music he was mastering for the CD went into another program or something and I ended up with two masters.”

WHO: Tiffany Eckhardt WHAT: Sunday (Black Market Music) WHEN & WHERE: Saturday, Harvest Moon Café (Drysdale, 6pm) and the Clifton Hill Hotel (8pm)

And it soon became clear that Hosking’s management were keen to re-release the album, especially when it was understood who was footing the bill. “I’ve got new management who want to push me and I stupidly said in a meeting, ‘Why don’t we do a vinyl release?’. They all went, ‘Yeah,’ and then it became obvious that

On the question of his six-album career having not gained the recognition it so obviously deserves, Hosking is philosophical and, surprisingly perhaps, not bitter in the least. In fact, there is a kind of rudimentary horse sense in his comments that many a ‘successful’ muso I can think of would do well to emulate. “I guess there are certain things that I could have done along the way to raise my profile a bit and raise some money. Like, I’ve knocked back ads and I’ve found out how much the people who did do them have been paid and thought, ‘Shit’. Some people might say these were wrong decisions I’ve made, but deep down I still think they were right. The very, very few times I’ve ever been in record company offices, I just didn’t feel comfortable with the things they were saying, so I’ve never really pursued those angles, either. But it’s not like I’ve intentionally gone out of my way to sabotage my own career or anything.” And, despite its overwhelmingly good press, Hosking still feels his latest record is worthy of an extra push, one he is hoping the vinyl release will provide. “Even though the album got a lot of good press, it still didn’t sell or get much airplay. That’s another reason why I’m releasing it on vinyl. I hope it will give it an extra bit of life. I still think it deserves a slightly wider audience.”

WHO: David Hosking WHAT: Down Every Street (Towbarrecords) WHEN & WHERE: Saturday, Chapel Off Chapel

857

INSIDE:

WEDNESDAY 30TH JUNE 2010

ROBERT HOOD

MISTA SAVONA

HATIRAS

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HORRORSHOW

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JULY THE LIKES OF YOU: STEPHAN BODZIN, ROBERT HOOD, HUGO - Jul 2, Brown Alley AIRPORT: SIMON PATTERSON, SIED VAN RIEL - Jul 2, Billboard HATIRAS - Jul 3, Roxanne Parlour NICK THAYER ALBUM LAUNCH - Jul 3, Revolver ELEKTRIK TATTOO: DYNO - Jul 9, Billboard MISTA SAVONA - Jul 9, Hi-Fi Bar LIL KIM - Jul 10, The Espy SUPER DISCO: DROP THE LIME - Jul 10, Prince Bandroom STROBE: BAG RAIDERS, AJAX, BENI - Jul 16, Prince Bandroom SPIT SYNDICATE - Jul 16, The Evelyn HARVARD BASS - Jul 17, The Espy LOWRIDER - Jul 17, Sandbar BOB - Jul 21, Billboard AGAINST THE GRAIN 2ND BIRTHDAY: AQUASKY, NAPT, POE DE PITTIE, SKOOL OF THOUGHT - Jul 23, Brown Alley LADY CHANN, KILLAQUEENZ - Jul 23, The Espy LAB: PABLO CAHN - Jul 23, Secret Warehouse Location LOWRIDER - Jul 23, Westernport Hotel LOWRIDER - Jul 24, Corner Hotel THE LIKES OF YOU: JAMES HOLDEN - Jul 25, Royal Melbourne Hotel LCD SOUNDSYSTEM, HOT CHIP - Jul 29, Festival Hall WINTERBEATZ 2010: BIG BOI, FATMAN SCOOP, NE-YO, T-PAIN - Jul 29, Rod Laver Arena AUGUST DELPHIC - Aug 1, Corner Hotel GOLDFRAPP - Aug 3, Palace Theatre K-OS - Aug 3, Prince Bandroom OZI BATLA - Aug 6, Northcote Social Club A TRIBE CALLED QUEST - Aug 12, Festival Hall PVT - Aug 12, Corner Hotel LIBERATE: JOHN 00 FLEMING, MIKE, TRITONAL - Aug 13, Brown Alley BLISS N ESO - Aug 13, Palace Theatre SCATTERFEST II: SHARKSLAYER, MIGHTY FOOLS, NEOTERIC, BEATACUE, KIDDA AND MORE - Aug 14, The Espy RICHARD VISSION - Aug 14, Fusion/Crown Casino SEPTEMBER PETER HORREVORTS - Sep 4, Miss Libertine HORRORSHOW, SETH SENTRY - Sep 10, East Brunswick Club

AN N

NC EM EN T

TOURING DATES

MORE FU FOR U

that After a crazy couple of months ft and has seen X-Ecutioners Rob Swi as well Total Eclipse grace the decks, and as Air Recordings head honcho at Swe B, Ali t den resi don Lon Fabric the s keep ne sixo One downstairs at they quality coming this week as Fu play host to the UK’s DJ A La for wn Kno e). Tun inja a/N (Big Dad enal his eclectic taste and phenom Fu will skills behind the decks, A La y. This warm your winter blues awa Saturday. Doors open 10pm.

TO THE DISCO

about Super Disco at the Prince is all of sure plea the and ic house mus ple the dancefloor. From the peo ning who brought you industry-defi nks kyto Hon , love One like ds bran and Third Class comes the club night for fabulous nobodies and lly embarrassing somebodies. Fina the drought in Melbourne’s club scene breaks – a club night that nch is about the house music. Lau to night is this Saturday from 9pm 6am. Entry $20/$15 (students).

CLEAR VISSION

THE HORROR to the Sydney hip hop duo play as a smashing success and saw l wel was r as yea th this mon t lier nex ear y r tou man Horrorshow’s Inside Story Hoods in England and Ger lk You Home tour. earances supporting Hilltop will be primed for their Wa how rors over 4,000 people. After app Hor ut, rollo ss Gra ber at the East The tem In Sep our 10 end ay Spl Frid out ies. a spot on the sold ss Song) is on support dut itre Wa nswickclub.com). (The tbru try (eas Sen ce h offi Set box Melbourne’s rising star from East Brunswick Club and ix Ozt ugh thro sale Brunswick Club. Tickets on

THIS WEEK TOTAL ECLIPSE @ MISS LIBERTINE

Five Elements and Universal Zulu Nation presents turntable legend Total Eclipse direct from New York. The night kicks off at 7.30pm with support from Zack Rampage, MzRizk and DJ Peril. It is also the opening of the For Walls Gallery, so come down early for this one. Free entry. Tonight (Wednesday 30 June).

AIRPORT @ BILLBOARD THE VENUE

Strap yourselves in for the ride of your life with trance heavyweights Simon Patterson and the flying Dutchman – Sied van Riel. Also featuring an impressive support line-up from around Australia including Nathan Cryptic, DJ Frost and local star Trent McDermott. Pre-sales will set you back $49+BF or first class flights cost $69 (available only through promoters). This Friday. 9pm-5am.

THE LIKES OF YOU @ BROWN ALLEY

The Likes Of You brings you a dose of techno with Stephan Bodzin (live), Robert Hood and Hugo. Bodzin is the son of an experimental musician who cut his teeth composing music for European theatres before his talent was discovered and he went on to worldwide domination as a DJ and live artist. Hood is a founding member of Underground Resistance and makes minimal Detroit techno with an emphasis on soul. Rounding out the international delicacies is Hugo from Turin, Italy. A classically trained jazz musician, Hugo fell in love with electronic music in the ‘90s. This Friday, Brown Alley.

HATIRAS @ ROXANNE PARLOUR

Hatiras is a multi-award-winning artist originally from Toronto, Canada. He has established himself as one of the planet’s top, and most consistent, electronic music DJ/producers. New collaborations with DJ Dan, Laidback Luke and Dave Spoon are forthcoming and you can expect Hatiras to revisit and update some of his classic sounds including his New Disco EP and

ion Producer/remixer Richard Viss t A-lis an be to red side con is rt remixer with a long list of cha onna, topping clients such as Mad Timbaland, Prince, Weezer and I Radiohead. His new single – er Like That with Static Reveng double starring Luciana – has gone platinum in Australia and was o the number one requested vide at ed play has ion Viss on MTV. party Madonna’s private birthday in her backyard for 64 people wn and will grace the Fusion (Cro 14 rday Satu on ks Casino) dec August.

a remix package of Spaced Invader for 2010 that features contributions by many of the industry’s heavyweights. See what he’s all about this Saturday.

UPCOMING ELEKTRIK TATTOO @ BILLBOARD THE VENUE

Elektrik Tattoo debuts with Italy’s techno wizard Dyno plus support performances from other artists featured on Bush Music’s latest EP (also called Elektrik Tattoo): Heath Renata, Steve Ward, Joel Fletcher, Mike Metro, Momo & Trav, Yoshi, Lucca Tan, Viking, Eric Powell, Chardy and many more. Some of Australia’s best tattooists – Devils Ink’s Justin Acca, Steve Aidone and Dan Powe – will rotate their artistry across three canvasses while tattooed models roam the venue featuring their designs. Friday 9 July at Billboard The Venue, 10pm-late. Early bird tickets are $25 through Billboard online, Moshtix and Ticketek.

LIL’ KIM @ THE ESPY

The Queen Bee, Lil’ Kim is in a league of her own as one of the few female stars in hardcore rap. Kim is making her way to our shores for two shows only and will play her only Melbourne show at the Espy on Saturday 10 July. Tickets through espy.com.au and Oztix. Supports to be announced in coming weeks.

DROP THE LIME @ THE PRINCE

After setting the stage ablaze at the Stereosonic Festival 2009, Drop The Lime (DTL) is heading back to tour Australia in July. Drop The Lime (Luca Venezia) is an electro DJ/producer hailing from New York who has remixed Moby, Blaqstarr, Rex The Dog, Armand Van Helden and Midnight Juggernauts as well as co-writing songs with Diplo and Herve. Catch DTL at the Prince on Saturday 10 July.

HARVARD BASS @ THE ESPY

Fuzzy touring are proud to announce the Harvard Bass tour. Born into a family with musical taste steeped in rich Mexican culture, Victor Hugo Ramos has

rhythm in his veins. Instantly adopted by Sound Pellegrino, Harvard Bass has remixed Aston Shuffle and Bag Raiders and also has a new track with Bart B More coming out. Scatterblog presents Harvard Bass at the Espy on Saturday 17 July. Free entry.

BOB @ BILLBOARD THE VENUE

BoB is bringing his Adventures Of Bobby Ray down under in July for two shows only. Dubbed “the new face of hip hop” and “a rock star in disguise” by MTV UK, BoB, (AKA Bobby Ray) also sings and plays instruments. In the words of our sista publication, 3D, BoB is “a little bit OutKast and a whole lot of Kanye West”. Wednesday 21 July at Billboard The Venue. Tickets $53+BF through Ticketek.

LADY CHANN & MOTLEY @ THE ESPY The UK’s number one dancehall queen Chanelle Williams (AKA Lady Chann), has been part of North West London’s vibrant Suncycle crew since it’s conception and now she’s branching out alone and bringing her unique talent our way. Lady Chann hits the Espy on Friday 23 July with support from Sydney duo KillaQueenz, Motley (UK) and locals Fraksha, Mat Cant, Affiks and Mamasita Bonnita. Tickets available now from espy.com.au and all Oztix outlets.

then you don’t know what you’ve been missing out on. The architects of N-Funk, NAPT is a DJ duo comprising Ashley Pope and Tomek Naden. Catch them at Brown Alley on Friday 23 July for Against The Grain’s Second Birthday featuring the Brit quadrella of NAPT, Aquasky, Poe De Pittie and Skool Of Thought. Earlybird tickets are $25+BF from brownalley.com and Inthemix.

JAMES HOLDEN @ ROYAL MELBOURNE HOTEL

James Holden may not be a household name, but to fans of adventurous, progressive electronic sounds, the British techno sorcerer is a renowned genius. Head of the Border Community imprint, Holden can count himself amongst that very modern breed of DJ with a special knack for layering the most surprising of records with an unparalleled musical ear. Check Holden out on Sunday 25 July at Royal Melbourne Hotel when he launches his contribution to the DJ-Kicks mix CD series.

WINTERBEATZ @ ROD LAVER ARENA

After a long hiatus in the genre, Ministry Of Sound returned to the fore of trance with Trance Nation, a two-CD collection and tour. Now 2010 sees this hugely popular release return to shelves and clubs around the country once again with Trance Nation Vol 2. TyDi and Dutch-born MaRLo are assuming touring duties. Friday 23 July from 10pm-3am.

Winterbeatz 2010 featuring urban superstar Ne-Yo, Grammywinning artist T-Pain, local duo Phinesse and Australia’s DJ Nino Brown is heading our way. Not only has Ne-Yo had huge success in his own right, he has also written smash hits for a plethora of artists including one of the highest selling singles of 2006/2007, Irreplaceable by Beyoncé. Let T-Pain Buy You A Drank at the after-party. Just added: Big Boi from OutKast, and the party-king hypeman, Fatman Scoop. Thursday 29 July at Rod Laver Arena. Tickets from Ticketek.

If you haven’t heard a NAPT beat

Yeasayer with special guests. Thursday 29 July. Doors 8pm

MINISTRY OF SOUND TRANCE NATION 2010 TOUR @ BILLBOARD THE VENUE

AGAINST THE GRAIN SECOND BIRTHDAY @ BROWN ALLEY

YEASAYER @ THE PRINCE

(sold out). Second show with no supports tickets still available. Doors 11.15pm. Tickets $45+BF through handsometours.com, Polyester Records, Greville Records, the Prince Public Bar or princebandroom.com.au.

PACHA CD LAUNCH @ BAROQ HOUSE

The Pacha CD series is back in 2010 mixed by Ibiza’s own Space resident and homegrown talent, Alex Taylor and Onelove’s Matt Nugent. Expect tracks from Yolanda Be Cool & DCup, Cassius, Danny Tenaglia, Afrojack, Roger Sanchez, X-Press 2 plus more. Many of these tracks will undoubtedly be dropped on Saturday 31 July.

DELPHIC @ THE CORNER Delphic return to our shores for the sold out Splendour In The Grass festival but don’t panic if you didn’t score tickets to that one ‘cause a sideshow is being factored into their itinerary. These torchbearers of the new Madchester called over here for a quick East Coast visit March just gone and loved us so much they will return to Melbz on Sunday 1 August. Doors 8pm. Tickets $35+BF through Corner Box Office (11am-8pm, Monday-Saturday) cornerhotel.com.

K-OS @ THE PRINCE

Trinidad-born, Toronto-raised musician/MC/producer k-os (also known as Kheaven Brereton) has enjoyed much acclaim from his fourth studio album Yes!, featuring guest appearances from Emily Haines of Metric and Murray Lightburn of The Dears. If you missed out on Splendour tickets, you can catch the k-os sideshow at the Prince on Tuesday 3 August. Tickets through Ticketek or through princebandroom. com.au.

PASSION PIT @ THE PRINCE

Passion Pit with The Joy Formidable (UK) and Rat Vs Possum. Wednesday 4 August.

Doors 8pm. Tickets $66+BF from Ticketmaster, the Prince Public Bar (12-10pm, seven days) or through princebandroom.com.au.

A TRIBE CALLED QUEST @ FESTIVAL HALL

A Tribe Called Quest will be touching down in August for their first Australian tour. Featuring all the original members – Q-Tip, Phife Dawg and DJ Ali Shaheed Muhammad – A Tribe Called Quest are celebrating the 20th anniversary of their debut album, People’s Instinctive Travels And The Paths Of Rhythm, with a select number of shows worldwide, one of which is scheduled for Melbourne. Thursday 12 August at Festival Hall (all ages). Tickets through Ticketmaster.

BLISS N ESO @ THE PALACE

Bliss N Eso’s highly anticipated fourth studio album, Running On Air, will be released on 30 July. In its wake, their Down By The River tour will tear through capital cities during August with special guests Diafrix and Mind Over Matter. It’s Melbourne’s turn to catch the hip hop trio on Friday 13 August. Tickets now on sale through Ticketek and Oztix.

LIBERATE @ BROWN ALLEY

Liberate featuring Jon ‘00’ Fleming is proudly presented by Street Press Australia. The event will take in Melbourne on Friday 13 August at Brown Alley with a massive, extended four-hour set from Fleming as well as MIKE launching his upcoming album New York City Lights and the first ever Australian tour of trance newcomers, Tritonal. Wow! Tickets through Inthemix and onsideentertainment.com.

SCATTERFEST II @ THE ESPY

The second installment of Scatterfest brings you Sharkslayer (Finland), Mighty Fools (Netherlands), Neoteric (Canada), Beataucue (France) and Kidda

(UK) plus local representatives Wax Motif, Act Yo Age, Congo Tardis #1, Slap & Dash, Mat Cant, Lewis CanCut, Mu Gen and Scattermish. Across multiple rooms at the Espy on Saturday 14 August. Tickets available through espy.com.au and all Oztix outlets.

SUNNY @ BROWN ALLEY

It’s been two long years since dance music renegade Lee Burridge last gave Australia a work over, but this September we’ll get our fix again. The DJ has been locked in by Melbourne institution Sunny for a five-plus hour set alongside Phil K, Gavin Keitel, Rollin Connection, Ozzie LA plus more on Friday 17 September at Brown Alley. 10pm-7am. Tickets: $25 through Inthemix.

PARKLIFE @ SIDNEY MYER BOWL & KINGS DOMAIN

Parklife have rolled out the big guns for their tenth anniversary line-up – run for cover, muthafucker! Missy Elliott, Groove Armada, Soulwax, Holy Ghost!, Kele, Busy P, Memory Tapes, Cut Copy, Midnight Juggernauts, Uffie, Delorean, Darwin Deez, Ou Est Le Swimming Pool, Sinden plus many more. Missy Elliott is bringing a 27-strong, all dancing entourage and a brand new album! This year Parklife Melbourne moves to Sidney Myer Bowl and Kings Domain, with more grass, more trees and more space. Mark Saturday 2 October in the diary. Tickets go on sale TOMORROW (Thursday 1 July) at parklife.com.au and they’re bound to go mega fast.

GODSKITCHEN @ VENUE TBA Australia’s Trance beacon and superclub, Godksitchen, is returning to deliver another monumental party experience. Born in the heady days and nights of the UK’s early ‘90s rave culture, in 2010 Godskitchen is a globally revered electronic entity.

Featuring an angelic line-up of trance luminaries including Andy Moor, John O’Callaghan, Marcel Woods, Wippenberg and many more, Australian dance fans can expect to have all of their prayers answered on Saturday 9 October. Tickets on sale soon.

JASON DERÜLO @ FESTIVAL HALL

A second Melbourne show has been announced for Jason Derülo for his first ever national tour. His In My Head single was a number one smash in this country over summer and with one Festival Hall show (Saturday 6 November) already sold out, Derülo will now perform an extra show on Friday 5 November. Tickets on sale through Ticketmaster or Festival Hall Box Office.

PARADISE @ GWK, BALI

Brought to you by Jungle Box, Paradise In Bali is a two-day drum’n’bass festival designed to give junglists a chance to come together and see some of the world’s finest artists under the sun. Sunday 14 and Monday 15 November sees the first inaugural Paradise launch its way into festival history with artists such as Makoto, Matrix & Futurebound, Utah Jazz, Ragga Twins, Squire and Bungle (live). Australasian heavyweight support comes from WA boys Shock One & Q-Bik, Kim Dela Hay (QLD) and DJ Low is representing Malaysia. Also featured will be Ragga Twins’ 20th Anniversary special, Utah Jazz’s new album tour and Bungle’s instrumental live show never before seen out of Brazil. Paradise will be held in the idyllic surroundings of Bali, enclosed by enormous limestone pillars with the Garuda figure as a backdrop and the dramatic lotus pond area has a capacity of 7,500. Tickets on sale through Moshtix or directly through paradisefestival.com.au with pre-release industry tickets now available. Holiday packages also available.

Zebra Magazine 7

ST UA RT E

VA N

DUMMIES’ GUIDE TO

NICK THAYER REAL NAME

Nicholas Robinson

SINCE

4 August 1969

FROM

Melbourne, Australia

LABELS

Passenger, Southern Fried (Fatboy Slim’s label), Sweat It Out, Klub Kids, Insane Bangers, Bombstrikes

ACCOMPLICES

Bass Kleph, N’Fa, Mike Beatz, Lex One, Sporty O, Sway, DJ Yoda, Wizard Sleeve, AC Slater, Trevor Loveys, A Skillz, Black Noise

FANS

Kissy Sell Out, Freestylers, Cuban Brothers, Utah Saints, DJ Yoda, Deekline, Stanton Warriors

FACEBOOKED INFLUENCES

Roland 808, Roland SH-2000, Prunes & Custard Guitar Pedal.

DANCE AND JUMP

LONG GROOMED FOR BIGGER THINGS ON THE PASSENGER IMPRINT OF BRITISH BREAKBEAT STALWARTS AQUASKY, LOCAL HERO NICK THAYER HAS DELIVERED ON THAT PROMISE WITH HIS FIRST ALBUM. ZEBRA SPEAKS TO THE NOTED GENRE CROSSER ABOUT HIS IMPRESSIVELY DIVERSE DEBUT. NICK THAYER PLAYS REVOLVER THIS SATURDAY. JUST LET IT GO IS OUT THROUGH PASSENGER/INERTIA.

“I

’m liking pretty much everything Nick Thayer is doing right now,” Kissy Sell Out said on the BBC’s Radio One. “Well, I hope I’m doing well,” Thayer says in response to the Kissy hype. “I’m very flattered to receive the depth of support I’ve received from home and overseas,” he says. So Thayer’s a Melbourne Musical Messiah. He makes music for the masses and has a band of many. In fact, his band is hard coded and his posse runs deep – he works with Ableton Live 5, Roland SH-2000, Cubase SX3, a 68 Fender Strat and more compressors and equipment than is worth mentioning. “The thing about working with nothing but electronic equipment is that it does exactly what you tell it to do. If it’s not working then it’s something that I’ve probably done.” His studio ritual consists of one oddity. “I always like to have my shoes off in the studio,” he says. “I have no idea why. Some people have tried to say it’s Zen or feng shui but for me I think it’s just a comfort thing.” Thayer’s a tired lad – hardly surprising given he’s been hooked to the goggle box watching the World Cup. Like most of the global population, he’s perplexed at the horn of choice in South Africa, the vuvuzela. Breathe easy – there’ll be no Thayer track featuring the vuvuzela anytime soon. Nick Thayer’s music and remixes have been lapped up by many, and not just in Australia. His global stature, as a remixer and as an artist in his own right, is on the rise. Thayer’s productions have galvanised interest and support in his work. His primitive years consisted of making weird noises from weird things. “I’ve always been intrigued by music, particularly when I was younger. I started out with classical music and the violin and the piano. With electronic music it’s always been the bleeps and squeaks and the effect they have on people that’s fascinated me,” he says.

08 Zebra Magazine

PEER HYPE

“

THERE ARE TWO THINGS I LOOK FOR IN A RECORD: A GREAT IDEA AND GOOD PRODUCTION. IT COULD BE HOUSE MUSIC, DRUM ‘N’ BASS, DUBSTEP OR HIP HOP. A GREAT RECORD IS A GREAT RECORD.” His pocket money was spent on guitars and dodgy records. After spending a few years in fledging rock bands, Thayer ended up behind the decks at a mate’s party. “In the morning of the party I borrowed a set of turntables. In the afternoon I figured out how to use them and then played that night. It wasn’t the greatest gig in the world,” he laughs. Nonetheless, Thayer the DJ was born. He ditched drums for decks and found himself playing breaks, tweaking sounds and testing audiences with his own creations. Of course the next logical step was to distribute his music to labels, which was just the sage advice he received from fellow producer and friend, Bass Kleph. He sent releases to the Breaking Point label and the reaction was “thanks, but no thanks”. He received the same message on frequent occasions until he wore them down. Theme One, his

debut offering, proved a hit that found its way onto the Ministry of Sound’s Breaks 03 assemblage. His production exploits were progressing, and so was his DJing. Thayer was assaulting clubs with his musical nous and managed to pick up a few choice gigs, including the old Melbourne Metro alongside The Crystal Method and at the Boiler Room for the Big Day Out. And so his success continued. Around 2005 he joined the team at radio station Triple RRR, where he hosted Beats Electric. Thayer proved that along with the gift of musical aptitude he also had the gift of the gab. Within a few months he managed to get Plump DJs, The Prodigy and Arrested Development, amongst others, onto his show. It’s been said that there’s no party like a Nick Thayer party. Ask the regulars at disco cavern Revolver, where Thayer has a residency,

“Nick Thayer – keeps it tight, lets it groove and smacks it up – one of only a few DJs who can program a set without playing badly produced tearout, speeded-up big beat, cheese or prog nonsense.” Dominic B (Stanton Warriors) “Nick Thayer – the only DJ in the world who’s taken me to the ballet.” General Midi

SELECTED DISCOGRAPHY

Theme One (Breaking Point, 2004) Groove With It/Size Matters (Breaking Point, 2006) Outta Space VIP/Back Off The Wall (Hot Cakes, 2006) Scrambler/Four: Eight: Three (Passenger, 2007) Mind Control/Toasted (Passenger, 2008) Just Let It Go (Passenger, 2010)

COMPILATIONS Technics In The Mix 50 (inthemix.com.au, 2006) Breakbeat Bass Vol 3 (Passenger, 2008)

REMIXES

Bionikworld – Schwingin’ (Rubber Records, 2003) Drumattic Twins – Feelin’ Kinda Strange (with Bass Kleph) (Finger Lickin’ Records, 2005) JDS – Purple Funky Monkey (Fuzzy Breaks, 2005) N’Fa – Cause An Effect (Inertia Recordings, 2006) Bosch – Rattlesnake (Finger Lickin’ Records, 2007) Fort Knox Five – Funk 4 Peace (Fort Knox Recordings, 2009) Pablo Calamari – Think About You (Sweat It Out, 2010)

and you’ll hear a similar tale. “I’m very particular about the records I play. There are two things I look for in a record: a great idea and good production. It could be house music, drum ‘n’ bass, dubstep or hip hop. A great record is a great record. I used to listen to other DJs drop a record and it sounded great. Yet when I tried it, it didn’t quite work. Over the years I’ve spent a lot of time thinking about what I play and how I play it,” he explains. Across the ocean it’s a similar tale. DJ Yoda, AC Slater, A Skillz and Black Noise rate a mention as recent collaborators and members of the Thayer fan club. He’s also released music via Fatboy Slim’s Southern Fried imprint, Sweat It Out, and Passenger. So it’s probably an ideal time for Thayer to release Just Let It Go, his debut album. The album’s been described as the sound of clubbing life with a blend of noise and genre splices – think hip hop tinged with electronic accuracy. Just Let It Go is Thayer letting loose, and the title has meaning. “Just Let It Go is bit of a double metaphor. I had issues with previous record labels, so it’s me saying ‘just let the old music go’. It’s also a message to clubbers to say ‘let it go’ when on the dancefloor.” His confidence is high. Past releases, including Ca$h Money and Mind Control (as heard on the PS2 game Motor Storm) have made Thayer a bankable artist. “To be honest I haven’t really thought about being bankable. There are a lot of people who have invested a lot of time and energy in me no matter what I do.” So why release an album? And why release it now? “It’s because I’m mad,” he jests. “When I was growing up an artist album was always a standing point or statement. The album’s an opportunity to tell people where I’ve come from musically and the direction I’m heading.” Thayer’s always been a music moderniser. “I’m intrigued by new sounds and intentionally blur genres. I like dubstep, even though a lot of it is not that great. Some dubstep is amazing, which makes other artists step up and lift their game. The reaction [to the album] has been amazing so far. I had a guy who sent me a message via Facebook. He bought the album on Amazon but couldn’t wait for it to be delivered, so he bought it on iTunes as well. Stuff like that is really humbling.” The album’s already garnered support from The Crystal Method. According to the Method, the album’s “another collection of forward-moving tracks sure to be featured in sets around the globe”. Thayer’s recent endeavour is said to be slanted firmly at clubbers. He doesn’t deviate. “The focus is to make people dance and jump.”

Zebra Magazine 9

THE SMASH HIT ALBUM OUT NOW

P E N D U L U M . C O M

10 Zebra Magazine

F R O N T I E

AUSTRALIAN TOUR 2010

1 NOVEMBER FESTIVAL HALL [ALL AGES]

TICKETMASTER.COM.AU

136 100

ON SALE TUESDAY 6 JULY FOR EXCLUSIVE PRESALE INFORMATION GO TO WWW.FRONTIERTOURING.COM.AU

R T O U R I N G . C O M

Zebra Magazine 11

B O’ Y M NE AT ILL T

EARLY WARNING MELBOURNE PRODUCTION MAESTRO MISTA SAVONA IS ARGUABLY THE MOST SUCCESSFUL REGGAE ARTIST IN AUSTRALIA – AND NEW ALBUM WARN THE NATION EFFORTLESSLY DEMONSTRATES THE REASONING BEHIND SUCH SUCCESS. MISTA SAVONA PLAYS THE HI-FI FRIDAY 9 JULY. WARN THE NATION IS OUT THROUGH ELEFANT TRAKS/INERTIA. here’s something of a Tperceptions disconnect between the and behaviours of

musicians when it comes to cultivating an audience in the modern world. The majority of developing artists will readily concede that the internet has changed the music industry considerably in regards to establishing audiences and securing fan bases, but few will actually employ such knowledge in the interests of gaining followers outside of their immediate location. Jake ‘Mista’ Savona offers an example of the kind of attitudes musicians should be adopting in regards to professional success. A former jazz musician, Savona’s work as a reggae producer over the past ten years has seen the Melbourne-based artist successfully develop audiences within not only Melbourne and Australia but within the veritable reggae Mecca of Kingston, Jamaica – where Savona has not only released albums but also runs a record label, Savona Records.

“I don’t think my style is totally rooted in me living in Australia because I’ve travelled so much and worked with so many different and international artists,” Savona muses. “I’m not so much about finding an Australian reggae style as finding my own style as a keyboardist, as an arranger and as a producer. I know a lot of artists who make music who can’t listen to their own music but my drive has always been to make music that I would enjoy listening to myself.” Savona’s outlook is, unlike many of his peers and contemporaries, that of a truly global artist. The producer has worked with international artists throughout the entirety of his career while his most celebrated work, 2007’s Melbourne Meets Kingston, was developed purely on the premise of uniting Australian reggae musicians like VidaSunshyne with Jamaican veterans like Horace Andy. Released on The Herd’s Elefant Traks imprint, the record remains a form of mission statement for Savona.

BY CO TR LL AV IN IS S

THE OMEGA MAN

FROM MINIMAL NATION TO A MINIMAL GENERATION, DETROIT PIONEER ROBERT HOOD CONTINUES TO INSPIRE WITH HIS LATEST ALBUM OMEGA. ROBERT HOOD PLAYS THE LIKES OF YOU AT BROWN ALLEY THIS FRIDAY.

inimal techno is easily one of the most influential global music trends of the past decade, but the sound is hardly new. In the early ‘90s, minimalism was an underground movement that originated in Detroit and was championed by two central figures: Jeff Mills and Robert Hood. While Mills dominated the clubs with his stripped-back productions and wooed audiences with his flawless three-deck mixing, Hood paved his own path as a founding member of Underground Resistance and through his countless singles on his own M-Plant Records. Hood’s genre defining albums Internal Empire and the recently reissued Minimal Nation continue to inspire a new generation of minimalist devotees. Detroit may have been the birthplace of techno and minimal, but times have changed and so has the music. Hood shares his criticisms for the minimal explosion. “Not very much of the techno and minimal music coming 12 Zebra Magazine

out is timeless any more. People have jumped on the bandwagon and jumped on the hype of minimalism, and they’re not in tune with continuing the art form. They don’t understand that it’s an art form and they are pursuing it from the perspective that it’s a product and a commodity.” Robert Hood blames the recent disposable music trend on the lack of artistic vision in modern techno. “If you’re lost and don’t have any direction, it’s easy to let other producers or other DJs influence your direction. If you’re really determined about your path, whether it’s the digital realm, playing records or how you produce and express yourself, if you’re strong and determined you won’t let anything outside influence you.” The 1971 post-apocalyptic sci-fi film The Omega Man is the inspiration for Robert Hood’s latest album Omega. “It’s a great film about a man living in solitary after a biochemical war broke out and

“That was my third studio album and probably when I realised that my musical interests had to take me overseas,” the producer explains. “I went over to Jamaica and worked for a month and, when I brought all those songs and mixes back, I knew I wanted to make something really special with it. I really wanted to make something that stood up to international releases. I think Melbourne Meets Kingston really helped me realise I could make music that I thought was good enough for release.” None of which is to suggest that Savona’s accomplishments are in anyway localised to the realms of industry endeavours and innovation. While Savona’s position as the only Australian reggae producer to have ever released a riddim series in Jamaica is a remarkable distinction, his greatest work remains his brilliantly eclectic reggae productions and the albums that house them – both of which are as global in style as Savona’s career is in perspective. Warn The Nation, Savona’s latest and arguably greatest studio album, is a prime example. The follow-up to Melbourne Meets Kingston, Warn The Nation expands upon the eclectic, adventurous and international foundation of that album to wondrous effect – indigenous instrumentation and shimmering melodies orbiting around the conceptual meditation on environmental consciousness that Savona has consciously placed at the heart of the album. “I basically thought, ‘How can I take this project to the next level after Melbourne Meets Kingston?’,” the producer explains. “Part of the answer to that was working with some of my favourite artists in the world but the other part was in making it less of a party record. Melbourne Meets Kingston was a bit of a party record, but I think this one has much deeper themes that are particularly relevant to the world we’re living in. I am genuinely proud of this record.” destroyed pretty much everyone, and he was forced to fight for his own survival. This is my take on the film. The soundtrack came from the perspective of having hope in the midst of this black backdrop of hopelessness. The music and the approach for me reflect that.” Robert elaborates further on is own minimalist adaptation of the story. “The track The Workers Of Iniquity for example is about the Family workers. A group of demented people who are trying to basically crucify the last hope for mankind and the struggle he has at dealing with not only his loneliness, but also the band of people he was trying to help.” Robert Hood is more than a little excited about his long-awaited return to Australia. “It’s been years since I’ve played in Australia… so I’m very much looking forward to coming.” Hood maintains his love for vinyl and, unlike his Detroit counterpart Jeff Mills, is unlikely to convert in the future. “It still is, and always will be, important for me to manipulate an actual record when I DJ. Technology is going to evolve and influence people to a certain degree but it’s up to the individual to take control of their art; take control of their expression and not let the machines and software dictate how we are going to express ourselves. Myself, I still prefer the humanist approach of mixing vinyl.” Hood goes on to describe the Detroit’s influence on his DJ style. “The Detroit attitude and style is imbedded in me. It’s something that will always be there in my music, being educated by people like Derrick May, Juan Atkins and all my contemporaries. I guess I don’t play a whole lot of Detroit records in my sets anymore, but I will always take a very Detroit approach when I DJ. I like to educate and take people backwards and forwards and not go for so much of the crowd cheers and all that. I just like to play good, entertaining, forward-thinking music.”

B BE Y N RT IN OK A

LEAVE YOUR HAT ON CANADIAN PRODUCER GEORGE HATIRAS HAS TAKEN ON EVERY CONCEIVABLE ROLE IN DANCE MUSIC AND SUCCEEDED, AND HE’S TAKING GREAT PLEASURE IN THE MUSICAL TIME WARP THAT IS CURRENTLY ENVELOPING HIS CORNER OF THE SCENE. HATIRAS PLAYS THE COLLABORATION AT ROXANNE PARLOUR THIS SATURDAY. Spaced Invader was about Iasnasfunk2001 technologically advanced and house went, and

Canadian DJ/producer George Hatiras was the man responsible for bringing it to clubs from England to Australia. Exactly nine years later, one of Toronto’s biggest exports is coming full circle – returning once again to Australia and bringing us a whole new remix of the classic anthem that blew up our dancefloors almost a decade ago. “Ironically, I’m bringing back the same song that I came for nine years ago,” he chuckles. “You’d think I hadn’t made anything new in the meantime! Spaced Invader has a remix now and it’s my newest release. I’ve got a bunch of other brand new remixes, a couple of them I’m really excited about, especially the one coming out with JFK of MSTRKRFT and another one

with Tim Healey from the UK. I’ve pretty much got enough material to do an album right now if I wanted to. Maybe Crazy Night, Neon Lights 2? The closest thing to it is probably my new EP [New Disco] that’s coming out soon.” The EP title itself is quite appropriate, according to Hatiras, who claims both Canada and the rest of the world is currently experiencing something of a time warp – and not necessarily in a bad way. “It’s testament that everything really works in cycles, from fashion to music,” he states. “Something goes off for a while, then dies down, then comes back again. I think disco is completely taking over at the moment; you’re seeing it in people’s sets more and more, often mixed with electro or techno. Anything goes now more than ever before. I feel there is so much more freedom for DJs

SW AL

JOIN THE CLAN

AFTER LOOKING AHEAD FOR SO LONG, CLAN ANALOGUE LABEL MANAGER NICK WILSON DISCUSSES THE AUSTRALIAN DANCE MUSIC COLLECTIVE’S NEW RETROSPECTIVE COLLECTION AS A RAFT OF ITS CURRENT ACTS PREPARE FOR THE MELBOURNE LAUNCH. CLAN ANALOGUE TAKES OVER THE BUILDERS ARMS HOTEL THIS SATURDAY. RECOGNITION: THE CLAN ANALOGUE LEGACY COLLECTION IS OUT THROUGH CLAN ANALOGUE/MGM.

ance music has come a long way in terms of mainstream recognition in Australia since the turn of the century, but back in the 1990s what is now big business was more of a cottage industry as a small band of dedicated labels and producers sought to make their mark on a local music scene that was only just starting to look beyond pubs for its next set of heroes. Out of such an era was born the Clan Analogue label. Founded in Sydney in 1992 by a likeminded collective with an interest in the electronic dance music revolution, in the ensuing years the label has gone on to help launch the careers of the Infusion, Deepchild and B(if)tek amongst countless others, and after many false starts the label’s past – and indeed present – is being celebrated with the two-CD/one-DVD Recognition: The Clan Analogue Legacy Collection compilation.

“I was first discussed around nine years ago,” current Clan label manager Nick Wilson recalls from his Melbourne base, “because the label manager of the time Gordon Finlayson wanted to put out a kind of retrospective, ‘greatest hits’ kind of album to celebrate the tenth anniversary of Clan Analogue, which would have fallen in 2002. That was the original plan, but there was a bit of resistance at the time because people thought we should be concentrating on new music and new acts. We started thinking about it again when I was label manager of Clan Analogue for the 15th anniversary, which was in 2007, and then we thought to make it a mixture of old and new we could do a disc of remixes to give current Clan Analogue artists the chance to remix their favourite track from the back catalogue. “And basically it didn’t come together for 2007 due to various distributors going bust – Creative

right now. Maybe that’s because of the internet and people being much more aware of previously unheard of music thanks to places like YouTube. It can only be a good thing if it’s educating people. But definitely, disco has found its place again and it’s certainly gaining momentum.” Since the mid-’90s Hatiras has worn just about every hat there is in the music business, starting in promotions, moving into production and eventually into running record labels. These days his focus is no longer on Blow Media – the funk/ electro brand that introduced Adam K and Kid Massive – but rather his second imprint Hatrax. “The Australian shows are on the back of my label Hatrax,” he says. “One thing that is a constant is that everything I do revolves around my deep love of the music. Eventually I know I won’t be a touring DJ any more, but I know I’ll find some other role in the music industry – probably something I haven’t tried yet, if that’s possible! Maybe management? I just love the music so much that I can’t imagine not being surrounded by it.” In the meantime, Hatiras claims the most fun he’s had has been in the least expected of places in the United States – from El Paso, Texas to Portland, Oregon. The smaller the scene, the more exciting the music, it seems. “When I came through in Toronto the city’s scene wasn’t fully developed. The parties were in warehouses and it was very do-it-yourself. In the last few years the city’s developed so much, there are some great clubs now. The sad thing is that it feels like the charm of unpredictability has left. I find that same vibe in other cities now, actually in some of the small American cities. It’s happening in the border towns, there are still undiscovered pockets of the States that feel like Toronto 15 years ago. They’re still having raves and discovering it for the first time. It feels like a time warp but I’m happy people still get to feel that vibe.” Vibes closed down and then we were with Amphead and they closed down, and there were quite a few delays along the way.” But it’s been worth the wait, with the first disc indeed a ‘greatest hits’ type package, the second seeing the label’s founding acts remixed by newcomers like Koshowko and Meat Grinder, and a companion DVD containing clips, a documentary and a now cult concert performance from 1995. “The DVD aspect added a little bit to the time as well because we ended up making a documentary and remastering the video release Clan Analogue Live At The Goethe Institut, which was originally put out by Clan Analogue on VHS in 1995,” Wilson explains. “It was one of those things which was quite influential at the time as one of the first examples of live VJing and live electronic music. We thought we should try to get that remastered, and we actually had to try and find a VHS copy that was actually good enough to master properly. Quite a lot of people had a copy of it but they had deteriorated, so that was a bit of a search as well!” What’s apparent from the relative timelessness of the material presented is the label’s refusal to bow down to the dance music trends of the day, Zebra’s recent review of the re-release of B(if) tek’s We Think You’re Dishy stating that “it could have emerged at any time after that and still have sounded bang up to date”. And upcoming releases from Koshowko and Valley Forge (featuring a vocal contribution from Kamahl no less) will no doubt continue that ethos. “We did put out an electro compilation and a couple of electro focused release five years ago which was a couple of years before [electro] sort of hit big,” Wilson says. “Sometimes it might be that some of those acts are able to ride that wave of a style becoming more accepted, and sometime it might just be that we can look back and say we put out a release that anticipated this.”

SINGLES

ALBUM OF THE WEEK

SPACE INVADAS FEAT FANTINE Super Sweet

(Invada/Remote Control/Inertia) I’ve realised I have a kneejerk reaction against pretty much all dusty evocations of sci-fi soul, so maybe I should take the fifth on this Sly & Family Stone-ish duet from Steve Spacek’s new project. The spot-on papery drums and pulsating bass and polite horns and of course note-perfect, slightly ragged vocals aren’t really enough to disguise the fact that Super Sweet is pretty weak in the chorus department.

SWEDISH HOUSE MAFIA FEAT PHARRELL One

(EMI) Maybe there’s no real difference between this Swedish House Mafia offering and more hateful David Guettaderived urban house concoctions. Except that this features a ridiculously apocalyptic fusion of trancey chords and Benny Benassi-ish heart seizure electro arpeggios, while not succumbing to the temptation to dress it up in pointless frippery, and thankfully keeping Pharrell’s vocal contribution to an absolute minimum.

SUPER MASSIVE

Get Me Out Of My Head

(MGM Distribution) Like a lot of groups who try to merge post-EBM menacing synth churn with sultry-then-snarly female vocals, Super Massive end up sounding like Curve or Garbage crossed with the turbulent end of local electro house. Which doesn’t sound awesomely appetising, but Get Me Out Of My Head manages to seem more promising when they spice up their blocky rhythms and start to play with background atmospherics more. Can I suggest they listen to Laika?

HOT CHIP

Hand Me Down Your Love

(EMI) The jury’s out on the Motown-ish live drumming, but the big cat pouncing on wool house piano vamps = win win win. They should have just stopped there, but Hot Chip can’t resist turning Hand Me Down Your Love into an ostentatious disco-ballad that threatens (but thankfully fails) to transform into a string-swept Temper Trap ballad or something. As a song I don’t think it works, but then it doesn’t need to – just keep with those piano chords guys.

P-MONEY

REPHRASE

(Central Station)

(Rephrase Music)

Everything

VARIOUS/RICHARD DURAND

Taking On An Army STUART EVANS

Most will probably know P-Money, who cut his cloth at the DMC World DJ Championships and shot to fame in 2004 with his ARIA Top 10 hit, Stop The Music. The turntablist-turned-producer is probably New Zealand’s biggest electronic music export. That he’s had a hand in the rise of some of New Zealand’s biggest hip hop names, including Scribe, says much about his stature. Yet thus far P-Money’s albums have been largely mediocre and have failed to match the hype, expectation and fanfare that he attracts. His experimentation with beats and collaborations have won a modicum of respect but not a great deal of critical acclaim. Everything, his third album, changes that statement. The name of this latest album is apt as the 13 tracks included on Everything are, indeed, a mixture of everything. There’s the normal dose of hip hop and collaborations, as heard on Big Things, which also features David Dallas, Scribe and PNC. The rest of the album is a dictionary of genres – R&B, disco, downtempo and funk are heard throughout. The title track (featuring Vince Harder) is a corker and one of his strongest tracks to date. The Soul sees him in minimal mode as he delivers a sparse yet atmospheric production. The rock inspired Falling Down, complete with Milan Borich, is another triumph despite the subtle Travis and/or Coldplay influences at work behind the scenes. But, overall, Everything is proof that P-Money is, indeed, on the money.

DARREN COLLINS

For better or worse, fun trails badly behind sex, fashion and technology when it comes to the music of today. Smiling ceased to be cool but nobody gave Jaime Olsen, AKA Rephrase, the memo. The Sydney producer throws caution, his pants, beer and anything else he can get his hands on to the wind in the pursuit of good times with his lightweight yet infectious pop-funk sound, equal parts A-Skillz, The Bamboos and Steps (well almost). Taking On An Army is Rephrase’s third album and is heavier on song structure and real musicianship than ever before as he brings on board a huge number of collaborators to join the party. Though flaunting a plethora of styles, About That Time is the perfect example of where Rephrase’s head is at as Aussie vocalist Paula Baxter lets rip Sharon Jones & The Dap-Kings style over the sax riff from Lonnie Gordon’s SAW-produced late ‘80s pop dance smash Gonna Catch You. Audacious and inspired. It’s one of several tracks to go down this happy, uptempo soul path – Got It Good enlists the trumpeting of local jazz pioneer James Morrison, Winner co-opts raw, rave-era breaks while Lost In The City is disco with a social conscience, all three dressed with the vocals of another local in Merenia. Hip hop is never far away. Keeping an eye and both feet on the dancefloor, Canadian MC Vandal gets loose on vaguely Latin rattle of Kick The Flow, the handclapping Best Of Both Worlds and superfunky Without A Second To Lose. Whereas the deep funk scene can be overly reverent, Rephrase barges in drunk as fuck, takes from it what he wants and puts on a party for everybody.

In Search of Sunrise 8: South Africa (405 Recordings/Stomp)

ANGUS PATERSON

There’s all sorts of pressure attached to stepping up to a brand with as much heritage as In Search Of Sunrise, especially when its former captain Tiësto has already deeply upset the trance faithful by daring to step away from his existing sound a little. And then Black Hole Recordings did something as nervy as selecting Holland’s Richard Durand to take the reins, the one responsible for all those massive club bootlegs. Sacrilege! As it turns out, though, the decision was more informed than any of the detractors would give it credit for. Things are on the right track immediately with First State’s opener on the first disc, and it’s followed up with a slice of soaring vocal progressive from George Acosta that’s in keeping with the sun-kissed history of the series. From there it rises quickly into some gorgeous euphoria, though never losing the all-important emotive deepness. While he puts a foot wrong on a few occasions, when you’re packing progressive trance gold like As The Rain Falls, it can be easily forgiven. Durand lifts us even higher on the second disc, shooting for the stars in an attempt to craft a grandiose progressive trance journey that takes us to some breathless places. He doesn’t quite get there, but damn it, he makes a pretty good attempt. The enigma has been preserved, but smartly, Durand hasn’t sold out his own musical identity either. His general approach is still intact – big melodies, his trademark wry cleverness, as well as plenty of surprises.

Zebra Magazine 13

Luke Lawrence TERRA SA SARDA ARDA MATTEO M MARINI

(Dee-P-erfect Records), 2009. “Classic! It breaks all the rules of the tech house genre and could be considered a Balearic anthem… I love the irresistibly dark, tribal and euphoric elements to this track.”

SHNORKEL (DOUSK REMIX) IDO OPHIR, MIKI LITVAK

(eVapour8), 2008. “I’m a big fan of the breakdown… Dousk’s rework of this progressive Euro killer never stops building and really delivers at each crescendo. Deep, tough and menacing!”

OUTHOUSE (VALENTINO KANYANI REMIX) NATHAN FAKE

(Recycled Loops), 2007. “Killer track. Alternative producer Nathan Fake’s interpretation of techno incorporates progressive elements that this remix takes to another level – I love the darkness that Valentino adds to this tune.”

T? SE SET SET? STT S WHERE AND WHEN WAS YOUR FIRST uttt & Butt Bu (Ms Butt e (Ms reew rew “My first set in a nightclub was for Players Ball crew Bass Bin Laden @ First Floor).” 12”? 12”? WHAT’S YOUR ALL TIME FAVOURITE 12 yiing ssaayin or saying riiioouuss for “Well fave all time is too hard for me as I am notorious everything is my fave! So I will name my latest fave, Mark Pritchard –Heavy As Stone on Deep Medi Musik.” WHAT DO YOUR PARENTS THINK OF WHAT YOU DO? “My dad is a DJ and record collector so it runs in the family and my mum’s favorite DJ in Melbourne is Kamo... So DJing and music is part of the family make up. I am very privileged.” WHAT DOES THE MELBOURNE CLUB SCENE NEED MOST? “More venues committed to sound and not whether the couch matches the light fitting.” FAVOURITE CLUB TO PLAY? “The Johnston, The Croft, Revolver, Mercat Cross.” WHAT’S YOUR BEST ALL TIME GIG? “Warehouse party with Mr Fish, we played back to back for hours and tore the roof off... alongside 9 High Boys.” WHAT GIGS HAVE YOU GOT COMING UP? “Supporting Lady Chann at The Espy Friday 23 July.”

JE T’AIME (CARLO LIO REMIX) KOLOMBO

(HotFingers), 2009. “Introduced to me by a DJ I have a lot of respect for, it’s the dark and sleazy vocals, deep kick and subtle builds that make this one a classic.”

2ND TO NONE UMEK

(Rekluse), 2008. “Umek the producer is an inspiration, and defines my style as a DJ. Influenced by a classic Detroit-style techno, his work is menacing and powerful – this tune is no exception!” Luke Lawrence plays Bass Odyssey at Abode on the third Saturday of every month.

PIC BY KANE HIBBERD

Eloquor

“

NO MATTER WHERE U R. NO MATTER WHAT FESTIVAL AL. NO MATTER WHAT LEVEL YOUR ACCESS. NO MATTER THE HEADLINER. A TTHE HE TOILETS SMELL LIKE HOT PISS :)” 1. Hoola (House Of David Remix) ARCHIE BRONSON OUTFIT 2. Structures VARIOUS/JOHN DIGWEED 33. AM/FM !!! 4. …Even Though You’re With Another Girl (Pantha Du Prince Vocal Version) TRENTEMØLLER 5. Treme Song JOHN BOUTTE 6. Acapella (Monarchy Remix) KELIS 7. How I Got Over THE ROOTS 8. Netsky NETSKY 9. Life Magazine (An Optimo Espacio Remix) COLD CAVE 10. Let It Go NICK THAYER

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BUT WE BET TEGAN AND SARA DON’T HAVE TO DEAL WITH THE SAME PITS OF DESPAIR AS THE REST OF US MERE PLEBS.

PUSH FREEZA SUMMITS WITH STEVE DUCK

BLACK MILK/GUILTY S SIM SIMPSON MPSON

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COMING UP AT THE ESPY Y

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TOTAL ECLIPSE

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ELOQUOR

Before Be B Bef effoore orree itiit’s t’s ’s all a oov al over ver er for forr aan another otther oth er we w wee week, eeekk,, a llittle itt t le le rem re reminder emind innder nder nd er Elo Eloquor’s looqu quo uor’s uo or’s r’ss album coming support for aalb lbbuum m lau llaunch auunnch ncch ch iiss co comin min m ing uup. in pp.. The hee lilline-up ne uupp ooff su nene ssup upppor ppor ppoortt aacts cts cct ttss fo or tthis hhis is on is oone ne iiss massive, mas m aassive, sivvee,, w wi wit with itih B BBS, BSS, BS, S, Inn Go G Good oodd C Co Com Company oom mpan pany ((A-D (A-Diction, A-Diction A-D ict ic ction ion, n, SSyntax, ynntax, ynt nttax, ax, W Wh Whisp Whisper), hisp sper) sp err), er City, Doc Felix night. SScarlet Sca ccarle rlet l tC itty ity ty, SStrike trikkee One tri tr Onne ne an aand nd DJ DJ D oc Fe oc Fel lixx pe pperforming per eerrfo foormi for min m inng oonn tthe he nig he igght htt. ht. Crazy. Cra Cr C rrazy. zyy. y EEl Eloquor oqu oq qquuoorr aand anndd ev eevery ery ry rra rapper app ppeer iinn M ppe Melbourne elb eel lbou lb our uurrnee pla pl play lay R lay la Revolver eevo ev volve lvveer FFriday riid rrid idaayy 30 JJu 30 Jul July. u y. y Ent EEntry En nnttryy iiss on onl only nly $$13. 13. 113 33.

SOUL-A-GO-GO WHERE IS IT? The Johnston, 62-70 Johnston St,

Fitzroy. WHEN IS IT? Saturday 3 July and the first and funk iest Saturday of every month. WHAT CAN YOU HEAR? Only the finest in original soul and funk records. WHO PLAYS? Australia’s best collectors and spinn ers including Vince Peach, Pierre Baroni, DJ Manchild, Miss Goldie, Richie1250 and rotating guests. WHO’S GOING? The coolest cats in Melbourne. Mus ic lovers. WHAT ELSE DO I NEED TO KNO W? All proceeds from the night benefi t community broadcaster PBS 106.7FM. $10 entry. PBS Members free before 10.30pm, $5 after.

)

Urban News With Cyclone

Drake: Thank Your Lucky Stars Canada’s Aubrey ‘Drake’ Graham has been hailed as the latest saviour of hip hop, but is his long-awaited debut, Thank Me Later, all that? Drake being excessively hyped, OG Flavas had low expectations, yet TML is a revelation. Graham belongs to a wave of anti-MCs led by Kanye West. He’s not a wordsmith in the tradition of Rakim, but discursive – if not stream-of-conscious. Graham raps – and, subtly deploying AutoTune, sings – and, although there’s flossing, he freely discloses his insecurities about fame, women and life.

Graham critiques hip hop’s obsession with bling-bling, rejecting the urban American counterpart to the Japanese Ukiyo (‘floating world’) of yore with its endless pursuit of pleasure. A curious sadness pervades TML, Graham a martyr to, not the streets, but sentience (is his sleeve really inspired by images of Che Guevara?). TML is intelligent (and confessional) hip hop – or should that be R&B? The lines are blurred. Graham is also into fresh sounds. Sick of ringtone rap? You’ll dig this dude – he loves melody. TML will be compared to Kid Cudi’s eccentric Man On The Moon: The End Of Day but, if anything, it’s more accessible. The album is weirdly downtempo – almost ambient – as Graham reaches beyond ‘Ye’s 808s & Heartbreak. Graham is not an obvious contender for hip hop superstardom.

Drake

(How many Canadian MCs have actually conquered the US?) He first encountered fame as a teen actor in Degrassi: The Next Generation. Today Graham commands heavyweight support: he’s signed (incongruously) to Lil Wayne’s Young Money Entertainment. Among the beat-makers contributing to TML are ‘Ye, Swizz Beatz and Timbaland, while the guests include Jay-Z, TI and, inevitably, Wayne. But, significantly, Graham’s chief collaborators are fellow Canadians Boi-1da and Noah “40” Shebib, himself a child actor who had a part in Sofia Coppola’s The Virgin Suicides. eyy – and an TML opens with the spacey

i introspective – Fireworks, f featuring the soulful Alicia Keys. G Graham alludes to his fling with R Rihanna, which he previously d denied, the Umbrella singer ‘ ‘playing’ him. Graham is a dead r ringer for ‘Ye on Over, the lead s single. And, in fact, ‘Ye handles t LP’s most innovative joint the i the dubstep-influenced Show in M A Good Time. Unforgettable Me i especially poignant, sampling is A Aaliyah’s Isleys cover At Your B (You Are Love). Of the bigBest name guests, Hova’s input is the most considered, the MC offering wise counsel to Graham on the brooding Light Up. Graham’s main dilemma? Can ordinary listeners relate to his ambivalence about – and alienation from – fame?

BACK TO SCHOOL

Kanye West has a hot new single, Power, which leaked back in May. He cut the song, which ingeniously samples Brit prog rockers King Crimson, with the lesser known southern beat-maker Symbolyc One (of Strange Fruit Project) and Detroit neo-soulster Dwele. ‘Ye is recording his follow-up to 808s & Heartbreak. Good Ass Job is expected to be more on

the ‘straight-up’ hip hop tip – continuing the collegiate theme of 2007’s Graduation. However, given the sonic changes in urban music, changes that ‘Ye himself preempted on the electro 808s, he could yet again deviate. DJ Premier has confirmed his involvement. ‘Ye is also reported to be working with everyone from Pete Rock to Q-Tip to RZA. And Drake will guest.

Kiss FM Chart 1. Another World THE CHEMICAL BROTHERS HERS ERS R 2. I Can Change (Stereogamous Mix) LCD SOUNDSYSTEM 3. Devil Walking MARK KNIGHT 4. Super Sweet SPACE INVADAS 5. Viro PRYDA 6. All About The Money AGENT 86 7. Crazy Scats LATEST CRAZE 8. 2:3 Minutes URBAN PROSE 8. Turn It Up THE BAMBOOS 9. Music (Reset Robot Mix) DAVE SPOON 10. The Preacher TERRY SMITH & ALEX NEVIL

Korg Monotron

GEAR REVIEWS WITH LAWRENCE DAYLIE KORG MONOTRON – ANALOGUE RIBBON SYNTHESISER

In the beginning, synthesisers required housing the size of your average SUV to create the first wave of retro-futuristic sounds that powered the beginning of the progressive rock era as the swinging ‘60s begat the self-indulgent ‘70s. Eventually analogue synths could fit comfortably onto tabletops, as they continued to do through the 1980s. Then came VSTs, and more recently iPhone apps, allowing emulators of Rebirth and much more besides to be tweaked in the palm of your hand. And now comes the cool-as-fuck Korg Monotron, touted as A Korg’s first true analogue synthesiser since the glory days of the MS-10 and MS-20 and the sort of cred-heavy monster that Skolnick, Poindexter and the gang would proudly be carrying around in their top pocket if Revenge Of The Nerds was remade in 2010. On the specs front, remad the Monotron actually shares the same classic analogue filter as

forebears, its aforementioned illustrious forebe ars, and all of the other goodies you’d associate with an analogue synth – namely VCO, VCF and LFO. The ana one octave ribbon keyboard is functional rather than outstanding, but the sounds? Well the sounds are out something else. som The Monotron ain’t no toy (though add it to a room full of acid casualties and hilarity would surely ensue), and though the lack of MIDI functionality means it’s unlikely to be used for its bassline capabilities, it could wreak havoc for a live unit wanting to add that extra touch of squelchy head-fucking white noise madness to their favourite build and drop – or just wanting to cave heads two times over when the assembled dancefloor throng realise where the sound is actually coming from. Then there’s the fact you can filter any external source using the audio input jack – synth, guitar, vocals, even cowbell if miced up properly. So forget the Kaossilator – if you want to add a surprisingly versatile weapon to your arsenal that even your long-suffering partner can enjoy the fruits of, the Monotron is tough to top. Gear for review supplied by Store DJ.

WORLD NEWS: COKE ARRESTED

Anyways, the big news in the world of international narcotics trafficking is that Christopher Coke was extradited to the US. Yes, that is correct, one of the biggest drug suppliers to the US is a Jamaican man named Christopher Coke. Now, initially you might think this is some sort of fucked up, way-ass backward kinda weirdness attempt at being cool, sort of like that heavy metal gang in the Northern Territory that named themselves the Judas Priests, but it so happens that Coke’s father also had the surname Coke, which when you think about it is actually a pretty neat marketing coincidence, but also kinda sets you up for life. I mean, if you come out of the womb and discover that your name is, say, Christopher Meth, you can be reasonably sure that you’re either going to end spending a lot of time with a bikie gang and/or have not teeth by the time you’re 30. Anyways, Coke got arrested, a lot of people died during his arrest, which is of course, awful. And now he’s going to a US prison rather than a Jamaican prison – which he actually chose to do – which, again, you can imagine is part of the Coke empire’s long-term marketing strategy. Which isn’t actually correct: Coke’s gang’s name is actually – I shit you not – the Shower Posse, which I find completely hilarious for all the wrong reasons you could expect, ie. is the top echelon of the gang called the Golden Shower Posse, or getting a little more cerebral, is there a point at which jokes are made following gang-related violence and someone

says, “Boy, that gang was more like the Shower Scene From Psycho Posse,” followed by much hilarity in between tending to gunshot wounds.

JULIA’S STYLES

Canberra is actually a very good place to purchase and sell drugs, which means that I’m quite often there selling meth to large groups of homosexual men who for some particularly bizarre reason feel most at home working for the Liberal Party (which I’ve always put down to being the best cover for being a repressed homosexual, which all completely comes undone when you’re having your dick sucked by an intern in the Parliament House Press Gallery toilets, though I am led to believe that the expression “Would you like to blow my cover?” is used more frequently than not). So, anyways, this is leading to the fact that said repressed homosexuals have already started referring to our new dear leader as ‘Orange Roughy’. But more importantly, do people understand what this means for the Western suburbs? We’re home to the PM, baby! xxx

XXX XXX

Even if you’ve never heard of obscure Ninja Tune act Blockhead, there’s plenty to like about the clip for their track The Music Scene. It’s like the animation from Pink Floyd’s The Walll and Akiira r on (cliché alert!) acid, but the “Whoa, how fucking cool is this?” variety rather h than the “Oh noez this is too fucking intense!” kind…

OLIVER JAMES H HOW W WO WOULD ULD D YO YOUR UR MUM M DE DESCRIBE ESCR SCRIBE IBE YO Y YOU? U? “Bloody “B B Lovely.” WHAT’S ONE GENRE YOU WOULD REMOVE OFF THE W FFACE FA A OF THE EARTH AND WHY? “None, the bad ones make the good ones better.” “N WHO INSPIRES YOU MUSICALLY? W “The clubbers. Nothing better than making people dance.“ “T NAME THREE TRACKS CURRENTLY DETONATING N YOUR DANCEFLOOR. YO “Nina “N N Kraviz – Pain In The Ass, Daniel Stefanik – Just One Moment, Loco Dice – Definition.” M TELL US ABOUT A CLASSIC CLUBBING MOMENT. TE “Has “H H to be at Fabric in London watching Cassy; amazing.”

Oliver James

WHAT’S ONE RECORD YOU’RE EMBARRASSED TO ADMIT YOU OWN? “I love all my music, but there’s probably a few I would only play to myself.” FAVOURITE CLUB TO PLAY? “Melbourne has a lot of good clubs, would have to say either Circus, Revolver or 161.” WHO’S YOUR +1? “Me mate Daniel Tardrew (if he’s not playing).” FOR ALL THE DJ STALKERS OUT THERE, WHAT GIGS HAVE YOU GOT COMING UP? “The Likes Of You at Brown Alley Friday 2 July.”

BILLBOARD THURSD AYS CIRCUS

CIRCUS

BILLBOARD THURSDAYS

CIRCUS

SINTHETIC @ ABODE

SINTHETIC @ ABODE SINTHETIC @ ABODE

BILLBOARD THURSDAYS

SINTHETIC @ ABODE

SWEAT @ 161

N L @ LOFT KTIONA DYSFUNKTION

DYSFUNKTIONAL @ LOF

DYSFUNKTIONAL @ LOFT

RHYTHMALISM @ FUSION

EUROTRASH EUROTRASH

EUROTRASH

EUROTRA ASH

EUROTRASH

PLAYGROUND

PLAYGROUND PLAYGROUND

PLAYGROUND

PLAYGRO OUND

PURPLE SNEAKERS

KHOKOLAT KOATED @ KHOKOLAT BAR

VIBEZ

KHOKOLAT KOATED @ KHOKOLAT BAR

VIBEZ

KOLAT BAR

KHOKOLAT KOATED @ KHO

BE. SUNDAYS @ CO.

274 JOHN JOHNSON HNSON ST, ABBOTSFORD ABBOTS TSFORD PH: 9417 122 1221

BE. SUNDAYS @ CO.

CHRIS FORTIER

CHRIS NG, CHEROKEE & BEN COPPIN

KISS SMILES

BE. SUNDAYS @ CO

PARTY PEOPLE

WEDNESDAY SPEAKER CHIC @ FIRST FLOOR

A tribute to the sophisticated musical tastes of Melbourne’s north side. Combining indie grooves and electro with the occasional vintage reference or post-disco classic. Featuring Smile On Impact with special guests Lindelux and Deviant with photography from Caspian Kai. This will be the last party until August, as the crew take a break. Free entry.

COQ ROQ @ LUCKY COQ

DJs Lady Noir, Agent 86, Kiti, Mr Thom and Joybot give you nothing but the best new wave, punk, Brit pop, bong rap and hair metal this side of Seattle from 9pm.

REVOLVER ROCK @ REVOLVER

Revolver Rock is Melbourne’s longest running rock/retro/electro/ cheese night. For the last three years Revolver Rock has been the place to go for a dose of your favourite rock and old school tracks. Join our DJs Spidey, Mary M, Adalita (Magic Dirt) and Whitt (Spiderbait) for a night you won’t forget... Or remember.

CANDY STORE @ LOUNGE

It’s time to indulge your sweet tooth with an early start to the weekend. Join resident DJs PCP and Matt Radovich with special guests Matilda and Mahati playing fine flavours of sweet house music all night. They will also be handing out free copies of the new Candy Store mix CD as well. $5 entry.

THURSDAY IDA CD LAUNCH @ THE EVELYN

Ida (pronounced EE’da) explores influences from R&B, soul, dancehall, hip hop and world beat. Singing in both English and her native tongue (Bahasa Melayu), she creates a fresh and earthy fusion of east meets west, old meets new. Catch Ida when she launches her debut EP titled Holographic Love with support from Candice Monique, DJ Wasabi, Voodoo Dred (Grrilla Step), Mista Savona, 1/6, Kojo, Matt Witney, Chap One and Tariro. There will also be tribal bellydance, dancehall and temple dance performances on the night.

RING THE ALARM @ FIRST FLOOR

A night of deadly dancehall and killer reggae. Join Cat Sweeney from Burn City Queens beforehand as she hosts jungle city dance classes. Then residents Jesse I and Major Krazy are joined by weekly guest selectors. From 9pm-3am. Free entry.

LOVE STORY @ THE TOFF

Featuring 1928 and support from rotating guests Tranter, Rad Pitt, Megawuoti and Sleeves playing everything you love in electro, techno, indie and disco. From 11.30pm-5am. Free entry. International and interstate guests monthly.

MISK @ MISS LIBERTINE

A place where the music floats between deep melodic tech house, groovy jazz-spaced stabs, crunchy minimal techno and smooth cocktail house. Featuring resident DJs U-one and Dave Pham plus this week’s guests Mark J and Camilo. Free entry.

HANGTIME @ EUROTRASH

Hangtime continues to rock the shit out of Eurotrash. Featuring a rad line-up of rotating DJs to keep you boozed and buried on the dancefloor.

FREE RANGE FUNK @ LUCKY COQ

Free Range Funk DJs Who, Agent 86, Lewis CanCut and special guests tempt you into the night with their eclectic bag of treats. Setting the mood early, expect to be charmed with delightful jazz, deep soul and funk. Stick around 18 Zebra Magazine

after dessert and it’s fruity disco, choice house and hipster dance drops. Free entry.

that’s like disco. From 7pm-dawn. $15/$10 guestlist.

VARSITY @ BIMBO DELUXE

Start your weekend with Scribble. Featuring a line-up of super-producer M-Phazes, Jase (Beathedz), Flagrant, MAFIA and Derek {K}. You can expect to hear party jams, hip hop, R&B classics, soul anthems and pickings of the freshest new releases.

School’s out for the week and we’ve cleared out the lounge room. Teaching you a lesson in hip hop, soul and funk after school are Matt Radovich, Mr Moonshine, Just Lindsay, Tahl and Rowie.

RHYTHM-AL-ISM @ FUSION

The Rhythm-al-ism team bring you the best urban jams and house grooves every week. Featuring Damion De Silva, FMR, A-Style, K Dee and Simon Sez. From 9.30pm4am. $15/$12 guestlist (guestlist@ restless.com.au).

THURSDAYS @ NEW GUERNICA

Turns out those dudes in high school who were into music like The Smiths, The Cure and Manson learnt how to mix, typed the name Derrick Carter into Wikipedia and got themselves a residency at New Guernica. Conductors from 9pm include Negativ Magick, Post-Percy, Leslie Salvador and Bromance. Free entry.

3181 THURSDAYS @ REVOLVER

Revolver keeps it laidback and local from 6pm. There are tunes from Hans DC, Who and guests. Plus vintage video games, foosball, free wi-fi internet and half price meals every week from Colonel Tan’s all-new kitchen for local residents and traders. The second Thursday of each month features the designer market.

BASS CAMP @ LOUNGE

A night that encompasses hip hop, electro, house, techno and breaks. This week DJs Shifty Sly, JD, Citizen.com and Mr Brown play a blend of booty and basslines. From 10pm-late. $5 entry.

FRIDAY SOLID LIGHT @ LOOP

Built from hundreds of different sounds and samples, this Solid Light live performance will be generously accompanied by a rhythmic visual production that was recently filmed in outback Australia. Support from Hey Presto, J-Slyde and Bronson.

CHEAP THRILLS @ FIRST FLOOR A night of urban/electro/mash-up mayhem. Featuring Dublin Aunts, Kate Jean, Simon Sez, CiCi Schnapps, CAPPS_lock and guests. Doors open at 9pm. $10 entry.

BUTTERTIME @ THE NIGHT CAT

Buttertime is an eight-piece band with a sound that explores a diverse range of styles from disco and funk to reggae and drum’n’bass. Support from The Jupiters. Free entry.

WAX! & HEATH’S HORROR SHOW @ REVOLVER

Amassing releases on some of the world’s most acclaimed labels, you can catch the local boys of Wax! every Friday. Also on is Heath’s Horror Show, a special Loud Invasion edition focused on DJ Heath Renata. Support from Matt Kovic, Caine Sinclair, Kizzam, John Doe and Mickey Nox. Wax! will feature Oohee, Lewie Day, Andee Frost, Otologic and special guest Roman Bruce from 10pm plus Sunshine’s morning set from 7am.

FRIDAYS @ CIRCUS

Now into it’s third year and still bringing quality tunes ranging from commercial house to underground electro.

LIKE DISCO @ LA DI DA

What is Like Disco? Motown and funk led us to disco and now original disco classics have been re-edited, remixed and reinvented. Disco continues to be a constant source of basslines, riffs and vocals for house and techno. So put your hands up and let your hair down as you dance to everything

SCRIBBLE @ Q

FRIDAYS @ EUROTRASH Mu-gen and NXR playing party through to electro. Free entry. Open until 3am.

FRIDAYS @ NEW GUERNICA

You know it’s going to be a good night when you’re at a club and the DJs work the same part-time jobs during the week as you; it means they’re probably up for getting loose just the same. At New Guernica we’ve got more Nudie Jeans folding clerks and fixie part importers than you can poke a stick at. Oh, and the kitchen may burn down as Herbie and Post-Percy are the evening’s master chefs.

SOUNDS OF FUSION @ FUSION

Commercial progressive house to get the place jammin’. From 9.30pm-4am. $15/$10 guestlist (fusion@crownmelbourne.com.au).

DYSFUNKTIONAL @ LOFT Damion De Silva, Ken Walker, K-Dee, Suga and Durmy are the funkin’ five in audio control. Playing R&B, grooves and whatever funk keeps you movin’. From 9pm-late. $15/$12 guestlist (guestlist@restless.com.au).

BAMBAATAA @ LOUNGE

Join the crew again this week for their late night party. Featuring resident DJs Popeye, Hey Sam, Jez Sing and Adrian Bell playing house, minimal, tech and disco. Plus Tom Ellis smashing out the Bambaataa sunrise set. From 10pm-late. Email badrunnerproductions@hotmail. com for guestlist.

POPROCKS @ THE TOFF

Join the crew at the Toff with Dr Phil Smith playing no-brainers and guilty pleasures from the ‘60s/’70s/’80s/’90s/today and tomorrow. The sounds of pop, disco, rock, R&B, funk, soul and oddball covers. The party starts at 9pm and entry is always free.

SATURDAY GANGA GIRI @ EAST BRUNSWICK CLUB

Australian artist Ganga Giri is world renowned for his Indigenous-inspired music and dynamically exuberant live shows. As a didgeridoo virtuoso and percussionist, his music encapsulates creative inspiration with an authentic Australian flavour. Joining Ganga on the road will be Wakka Wakka and Gumiloaroi Nations Indigenous singer/dancer Gumaroy, Jornick, Dan Pearson and Yeshe Reiners. Doors 8.30pm. Pre-sale tickets $15+BF/$18 at the door.

CLAN ANALOGUE LAUNCH @ BUILDERS ARMS

Clan Analogue are launching their new triple-disc retrospective Re Cognition: The Clan Analogue Legacy Collection with a night of diverse live electronic music. The launch will feature live performances from Koshowko, Winduptoys and Apell, DJ sets from DJ Zaziz and live visuals by Object_State. From 9pm-midnight.

DYSPHEMIC ALBUM LAUNCH @ MISS LIBERTINE

After touring Europe, dubstep/ drum’n’bass producer Dysphemic got straight into making his new project Hypnosis, a dark and melodically brainwashing dubstep release. Support from Mark N, Wasabi, Barron Von Rotten and Kodiak Kid. $10 entry from 10pm.

THE SHOCK OF THE NEW @ THE ORDER OF MELBOURNE

Join Kapitolina and Kiti as they take you on a trip though synthpop, new beat, neue deutsche welle, EBM, dark wave, krautrock, Dutch electro, new wave and synthgaze. From 9pm3am. Free entry.

N-TICE @ ABODE

An erotic party for open-minded individuals. Featuring electro beat and progressive house by Jon-E, Steve Punch and DJ Kat. Entry strictly between 9-10.30pm.

MAMA SAID @ CIRCUS

Gear up as the Mama Said crew bring the very best of deep tech and house that Melbourne has to offer over two levels. Doors open at 10pm, so come and check out what all the fuss is about.

NICK THAYER ALBUM LAUNCH @ REVOLVER

Nick Thayer’s debut album is finally complete and to celebrate the special release Thayer will be on hand to play one of his acclaimed DJ Vs AV sets with brother Theo. Support from DJ Ransom and Mat Cant plus a back bar line-up featuring Paz, Rex, Who, Tamas Jones and Ransom plus Boogs and Spacey Space in the morning.

THE HOUSE DE FROST @ THE TOFF The House De Frost is a modern day discotheque with its feet and ears firmly rooted in the nostalgia of days gone by. This is true disco, not nu-disco. Helmed by the infamous Andee Frost.

UNDER SUSPICION @ BROWN ALLEY

Under Suspicion is Brown Alley’s new resident Saturday night. It’s a party that represents the best of underground culture and music. Under Suspicion aims to create a new underground culture that breaks down the walls of industry trends and ignites a party experience like no other.

THE TECH REPUBLIC @ POISON APPLE

In the main room Boogs, T-Rek, Jen Tutty, Phil K, Ross Horkings, Tyrone and Bianca White supply the soundtrack to your evening while in the basement Gavin Keitel, Mike Callander, Lister Cooray, Bart Bara, Clint Morgan and Jamie Coyle bring you some of the finest house and techno to get your arse groovin’. $15 guestlist (inpresslist@live.com).

HOUSE PARTY @ EUROTRASH

Party on two floors with 1928, Sleeves, Megawuoti, Tranter, Mu-gen and D Ceed. $10/$5 before 10pm. Email adam@ eurotrashbar.com.au for birthdays – you’ll get free entry and a cheap guestlist for your friends.

PLAYGROUND @ SEVEN

Spread over six rooms, Playground has been showcasing R&B and hip hop for five years. Come and celebrate the best in urban culture that Melbourne has to offer complimented by regular live acts.

SWEAT SATURDAYS @ ONESIXONE

The new undisputed jump-off for lovers of sophisticated grooves, Sweat continues bringing the goodness. Featuring DJ Who, Anthony Larr, Ant J Sheep and MJ. Doors open at 10pm. $15/$10 (mention Sweat).

REPLAY @ FUSION

Featuring Tate Strauss, Danny Merx and Johnny M. From 9.30pm4am. $22/$18 guestlist.

ENVY @ CO

Playing all your favourite club classics and dancefloor anthems. From 9.30pm-5am. $15/$12 guestlist (co@crownmelbourne. com.au)/more after midnight.

SATURDAYS @ LUCKY COQ

Spread over two levels with DJs downstairs including Pacman, Jean Paul, Sam McEwin and Greyskull playing tech house and electro. Upstairs you’ll find Kodiak Kid, Moonshine, Ash-Lee and guests playing funk. From 9pm-late. Free entry.

MONTHLY MASK PARTY #3 @ LOUNGE

with one of Melbourne’s most eloquently wasted madmen.

VIBEZ @ ESCOBAR

Never Cheer Before You Know Who’s Winning is turning one. Join hosts Mikey Cahill (Rock City/Joey Lightbulb) and Kerrie Loveless (K-Lo) and tackle Revolver’s ultimate trivia contest. Win CDs, DVDs, movie passes and meal tickets. Register at nevercheer@revolverupstairs.com. au to book (eight people per team) and get bonus questions. Kicks off at 7.30pm. Free entry.

Be someone else as you hide behind a mask and lose yourself in the music as residents Luke McD (Smashbang), Nick Coleman (Suck Music), Moose and Darren Coburn play their special blend of house and techno. Bring down your own mask for free entry. United DJs and Escobar present Vibez, a huge new night spread over two levels. House DJs Joshur, Matt Sofo and Wei Shen are on one level with R&B and hip hop DJs Crusador, Apex, Yun, Bonez, KC, Wiki, JC, Lady D and Duchess Kay on the other level. From 10pm-late.

SUNDAY BE @ CO

Launch night featuring Damion De Silva, Jay-J, Ken Walker, Kate Jean, DJ Ryza, Lightening, Rev and Hoesty playing R&B, old school, house and mash-ups. $15/$12 guestlist (info@houseofgroove. com.au). From 9.30pm-late.

INDUSTRY SUNDAYS @ CIRCUS

When you’ve stopped serving the masses, come to Circus and let loose. Great for people who love to party on a Sunday and for people who work in the industry.

SUNDAYS @ REVOLVER

Revolver’s all-day electric disco party is one of the world’s most unique clubbing experiences – tight like family and welcoming like long lost friends. Featuring Boogs, Spacey Space, Radiator and T-Rek. $15 in the morning/free entry apart from Summer Series events.

SOUTH SIDE HUSTLE @ LUCKY COQ

Pilgrim Light Circus kick the night off from 5-7pm playing live jazz and funk. Following them is Askew, Booshank, Paz, Ms Butt, Jumbo, Junji and Harry, Pete Baker and guests laying down slick Sunday tunes until 3am.

SUNDAE SHAKE @ BIMBO DELUXE

Slide into your favourite comfy couch or across the dancefloor as masters of entertainment PhatoA-Mano, Agent 86 and Tigerfunk hit you between the ears every Sunday.

MONDAY STREET POETICS @ FIRST FLOOR

Rotating MCs host an open mic night with the Street Poetics live band. The house band includes the likes of Mr Savona (Illzilla), Tom Tom (True Live), Choi (Cookin On Three Burners) and Miss Vida Sunshyne. DJ Wasabi is also hand, accompanied by his mammoth bag of cuts to ensure you hear all those hip hop classics. $5 entry/free before 10pm.

DIAMOND DOGS @ BIMBO DELUXE

Inspired by David Bowie, Lady Noir and Kiti span the ages of rock, glam and indie. If you’re after something a little different, then look no further.

DEEP @ NEW GUERNICA

An mp3 player on shuffle isn’t as entertaining as listening to someone who actually loves playing good music getting loose with you from behind the decks. Hence New Guernica’s new take on Monday evenings. Every Monday on rotation from 9pm music lovers grace our organ and play sounds from the deep to keep the weekend wrongness flowing.

TUESDAY PERCY’S PLAYHOUSE @ NEW GUERNICA

Hosted by the delightful young chap who thinks high tea means margaritas on a Monday morning. Special appearances by Percy’s colourful friends and a rabidly fun, five-hour-odd set of party dance

NEVER CHEER BEFORE YOU KNOW WHO’S WINNING @ REVOLVER

CURIOUS TALES OF A VIVID LUSCIOUS @ BIMBO DELUXE

DJ Who delivers surreal sass and cunning in the forms of sly, charming music and sumptuous live art. Be entertained and amazed in a world existing between couches and canvas.

UPCOMING.. MORE FIRE #112 @ DEEP 11

More Fire returns to its roots this July, bringing back the traditional reggae dance in honour of Haile Selassie’s earth month. Joining resident Chant Down (featuring Jesse I and Ras Crucial) will be special guest MC Jornick (Mista Savona) plus Cassawarrior and Boover Banton, Blood Lip Sound, Flavio and Bellyas. Doors open at 10pm. $10/$8 (concession holders and PBS members). Saturday 10 July.

SO ELECTRIC @ MISS LIBERTINE

From the crazy warehouse/ house party/club setting of the first installment at Noise Bar, the second So Electric party will be held at Miss Libertine. Featuring Redial, 1928, Mu-gen, Post Percy, On&Off, Gavin Ly, Cosmo K, ADD and Bobby Lane. $15 entry. Saturday 10 July.

STROBE @ PRINCE

After throwing epic nights and days with Proxy, Fake Blood, Feadz, Boy 8-Bit, Jesse Rose, Sinden and more, Strobe are throwing a party to show support for some of their favourite Australian acts – Bag Raiders, Ajax and Beni (Kitsune/Riot In Belgium). The party spreads over two rooms with 1928, Sleeves, Megawuoti, Tranter, Kris Baha and James Fava. Tickets through Moshtix. Friday 16 July.

SPIT SYNDICATE @ THE EVELYN

Spit Syndicate bring the Starry-Eyed national tour through Melbourne on Friday 16 July. The Sydney duo recently released their sophomore album Exile to widespread acclaim and will be joined by special local guests at each stop. Accompanied on stage by musical mercenary DJ Joyride, Spit Syndicate have built a monster reputation on the back of their unique, high-energy live shows.

THE HOUSE DE FROST DRAG BALL @ THE TOFF

To celebrate their second birthday The House De Frost is having a birthday bash like no other. As homage to the night’s origin, they will be installing a runway and everyone will get the chance to strut their stuff. There will also be some outrageous shows, including a performance by the legendary Millie Minogue. Saturday 17 July.

ELOQUOR ALBUM LAUNCH @ REVOLVER

Like the glow of the city streets, Melbourne’s Eloquor is the amalgamation of a spiritual soul with the battered underground. Digging deep into the aural landscape of New York’s hip hop roots, the talented hip hop lyricist and memorable performer returns to launch Charge, his second album. Supported by Melbourne’s finest emerging hip hop crews, including Doc Felix, BBS, In Good Company, Scarlet City and Strike One, the night promises to deliver a full charge of underground hip hop like no other. Tickets $13 on the door, from 9pm. Friday 30 July.

Zebra Venue Guide

FIRST FLOOR 393 Brunswick St, Fitzroy 9419 6380 THE FOX 351 Wellington St, Collingwood 9416 4917 FUSION Level 3, Crown Entertainment Complex, 8 Whiteman St, Southbank ABODE 9292 5750 374 St Kilda Rd, St Kilda GEORGE LANE BAR 9525 5552 1 George lane (off Grey St,), St Kilda ALIA Level 1, 83-87 Smith St, (corner of Smith 9593 8884 THE GERTRUDE HOTEL St, and Gertrude St), Fitzroy 148 Gertrude St, Fitzroy 9486 0999 9419 2823 ALUMBRA GERTRUDES BROWN COUCH Shed 9, Central Pier, Docklands 30-32 Gertrude St, Fitzroy 9690 0883 9417 6420 THE APARTMENT GOLDEN MONKEY 401-405 Little Bourke St, Melbourne 389 Lonsdale St, (enter via Hardware 9670 4020 Lane), Melbourne ATTICUS FINCH 9602 2055 129 Lygon St, East, Brunswick THE GOOSE & VINYL 9387 0188 91-93 Flinders Lane (entrance via THE BALCONY Duckboard Pl), Melbourne 422 Little Collins St, Melbourne 1300 843 466 9642 8917 GRACE DARLING HOTEL BAR 362 114 Smith St, Collingwood 362 St Kilda Rd, St Kilda 9416 0055 9534 4666 THE GREAT BRITAIN HOTEL BARAKI UPO MEZETHES 447 Church St, Richmond 168 Lonsdale St, Melbourne 9429 5066 9663 1002 THE HAIRY CANARY BARBARA 226 Little Collins St, Melbourne Level 1, 203 Swan St, Richmond 9654 2471 9429 3146 HORSE BAZAAR BAR OPEN 397 Little Lonsdale St, Melbourne 317 Brunswick St, Fitzroy 9670 2329 9415 9601 HOTEL BARKLY BERTHA BROWN 109 Barkly St, St Kilda 562 Flinders St, Melbourne 9525 3332 9629 1207 INFLATION BIGMOUTH 60 King St, Melbourne 168 Acland St, St Kilda 9614 6122 9534 4611 KATUK BILLBOARD 517a Chapel St, South Yarra 162 Little Bourke St, Melbourne 9639 4000 9827 9004 BIMBO DELUXE KHOKOLAT BAR 376 Brunswick St, Fitzroy 43 Hardware Lane, Melbourne 9419 8600 9642 1442 BLUE BAR LA DI DA 330 Chapel St, Prahran 577 Little Bourke St, Melbourne 9529 6499 9670 7680 BLUE TILE LOUNGE LA LA LAND 95 Smith St, Fitzroy 134 Chapel St, Windsor 9417 7186 9533 8972 BOUTIQUE LAIKA 134 Greville St, Prahran 9 Fitzroy St, St Kilda 9525 2322 9534 0002 BROWN ALLEY THE LOFT Corner of King St, and Lonsdale St, Level 2, 117 Lonsdale St, Melbourne Melbourne 9650 3388 9670 8599 LONG BAR CABINET BAR & BALCONY 60 Lygon St, Carlton 11 Rainbow Alley, Melbourne 9380 4004 9654 0915 LOOP CANARY CLUB 19-23 Meyers Pl, Melbourne 6 Melbourne Pl, Melbourne 9654 0500 9663 1983 LOUNGE CANVAS 243 Swanston St, Melbourne Level 1, 302-320 Burwood Rd, Hawthorn 9663 2916 9819 2200 LOVE MACHINE CHAISE LOUNGE Little Chapel St (Corner Malvern Rd), Basement, 105 Queen St, Melbourne Sth Yarra 9670 6120 9533 8837 CHASERS LUCKY COQ 386 Chapel St, South Yarra 179 Chapel St, Prahran 9827 7379 9525 1288 CIRCUS MADAMME BRUSSELS 199 Commercial Rd, South Yarra 63 Bourke St, Melbourne 9804 8605 9662 2775 CO. NIGHTCLUB MAEVE FOX Level 3, Crown Entertainment Complex, 472 Church St, Richmond 8 Whiteman St, Southbank 9427 1233 9682 1888 THE MARKET THE CONTINENTAL HOTEL 143 Commercial Rd, South Yarra 1-21 Ocean Rd, Sorrento 9826 0933 5984 2201 MATCH BAR & GRILL COOKIE 249 Lonsdale St, Melbourne Level 1, Curtin House, 252 Swanston St, 9654 6522 Melbourne MANCHURIA 9663 7660 7 Waratah Pl, Melbourne THE CORNISH ARMS 9663 1997 163A Sydney Rd, Brunswick MERCAT CROSS HOTEL 9380 8383 456 Queen St, Melbourne CROFT INSTITUTE 9348 9998 21 Croft Alley (off Little Bourke St), METROPOL Melbourne 60 Fitzroy St, St Kilda 9671 4399 9534 5999 CUSHION LOUNGE MISS LIBERTINE 99 Fitzroy St, St Kilda 34 Franklin St, Melbourne 9534 7575 9663 6855 DECCA BAR MISTY PLACE 95 Queen St, Melbourne 3-5 Hosier lane, Melbourne 9600 0900 9663 9202 DING DONG LOUNGE MOTHER’S MILK (BRIGHTON) Level 1, 18 Market lane, Melbourne 287 Bay St, Brighton 9662 1020 9596 9470 THE DROWNING OLIVE MOTHER’S MILK (WINDSOR) 407-409 Swanston St, Melbourne 17 Chapel St, Windsor 9650 5486 9521 4119 ELECTRIC LADYLAND NASH HOTEL Level 1, 265 Chapel St, Prahran 344 Victoria St, Richmond 9521 5757 9428 3418 EMPRESS NEVERMIND 714 Nicholson St, North Fitzroy 336 Burwood Rd, Hawthorn 9489 8605 NEVERWHERE BAR ESCOBAR 185 Smith St, Fitzroy 189 Lonsdale St, Melbourne 0422 560 890 0407 845 278 NEW GUERNICA ESPLANADE HOTEL Level 2, Hub Arcade, 318 Little 11 The Esplanade, St Kilda Collins St, Melbourne 9534 0211 9650 4464 EUROTRASH THE NIGHT CAT 18 Corrs Lane, Melbourne 141 JohnSt,on St, Fitzroy 9564 4411 9417 0900 EVE BAR/LOUNGE THE NIGHT OWL 334 City Rd, Southbank Basement, 33 Elizabeth St, 9696 7388 Melbourne E-55 9614 2777 55 Elizabeth St, Melbourne NORTHCOTE SOCIAL CLUB 9620 3899 301 High St, Northcote 9489 3917

ONESIXONE 161 High St, Prahran 9533 8433 THE ORDER OF MELBOURNE Level 2, 401 Swanston St, Melbourne 9663 6707 PALACE THEATRE 20 Bourke St, Melbourne 9663 4288 PLATFORM ONE Vault 7/8 Banana Alley, Melbournee 9620 7080 THE POST OFFICE HOTEL 90 Swan St, Richmond 9428 6674 PRINCE OF WALES 29 Fitzroy St, St Kilda 9536 1166 PUBLIC BAR 238 Victoria St, North Melbourne 9329 6522 THE PURPLE EMERALD 191 Flinders Lane, Melbourne 9650 7753 Q BAR 257 Toorak Rd, South Yarra 9804 7800 RANDY DRAGON Basement, 313a Flinders Lane, Melbourne 9629 9141 RED HUMMINGBIRD 246 Russell St, Melbourne 9654 2192 RED BENNIES Level 1, 371-373 Chapel St, South Yarra RED LOVE MUSICROOM Level 1, 401 Swanston St, Melbourne 9639 3722 RED VIOLIN 1/231 Bourke St, Melbourne 0411 423 245 REVOLVER 229 Chapel St, Prahran 9521 5985 ROBARTA 109 Fitzroy St, St Kilda 9534 9041 ROBOT 12 Bligh Pl, Melbourne 9620 3646 ROOFTOP BAR Level 7, Curtin House, 252 Swanston St, Melbourne 9663 3596 ROOM 680 Level 1, 680 Glenferrie Rd, Hawthorn 9818 0680 ROXANNE PARLOUR 2/3 Coverlid Pl, Melbourne 9663 1018 RUBY’S LOUNGE 1648 Burwood Highway, Belgrave 9754 7445 SAGI BAR 57 High St, Northcote 9489 9983 THE SAINT 54 Fitzroy St, St Kilda 9593 8333 SECTION 8 27-29 Tattersalls Lane, Melbourne 0422 972 656 SEVEN 52 Albert Rd, South Melbourne 9690 7877 SOFTBELLY BAR 367 Little Bourke St, Melbourne 0410 329 129 SORRY GRANDMA! 590 Little Bourke St, Melbourne 9670 7493 STAR BAR 160 Clarendon St, South Melbourne 9810 9954 SYN BAR Level 1, 163 Russell St, Melbourne 9663 8990 TERMINUS HOTEL 605 Victoria St, Abbotsford 9427 0615 TOFF IN TOWN Level 2, Curtin House, 252 Swanston St, Melbourne 9639 8770 TRAMP 14 King St, Melbourne TRANSIT Federation Square, Princes Bridge (corner Northbank), Melbourne 9654 8808 TRANSPORT PUBLIC BAR Federation Square, corner Flinders St and Swanston St, Melbourne 9654 8808 TRYST 3 Wilson St, South Yarra 9827 5533 TYRANNY OF DISTANCE 147 Union St, Windsor 9525 1005 VELOUR 121 Flinders lane, Melbourne 9663 5589 VIOLET TEARS 192 Barkly St, St Kilda 9534 4445 WAH WAH LOUNGE 185 Lonsdale St, Melbourne 9654 5793 WHITE BAR 129 Fitzroy St, St Kilda 9593 9077 WINDSOR CASTLE 89 Albert St, Windsor 9525 0239 WORKSHOP Level 1, 413 Elizabeth St, Melbourne r 9326 4365 YAK 150 Flinders Lane, Melbourne 9654 6699

THE ARSE END HEADS UP

D-Bridge

ST JANEANE

JANEANE GAROFALO

SCREAMING JACK

The brilliant US comedian became one of the most hated people in the US last week because she criticised their president’s plan for fixing the oil spill – prayer. Ummm, you realise she does actually have a good point there?

BURTON EXHIB

Straight outta MoMA – those guys know how to do pop culture exhibitions. You too can stand in front of the freaky jack-o-lantern scarecrow from Sleepy Hollow and pretend to be Johnny Depp.

HOOLA!

Are you across the House Of David remixes of the Tim Goldsworthy-produced Hoola by Archie Bronson Outfit? No? Then get onto it – it sounds like The Fall’s Mark E Smith on a blinding bender.

ARSE LICKS CHRIS’S DECLINE 2: AMERICAN DUI

Our favourite Hollywood has-been went into rehab last week – aaaaahhhh, that explains the singing in his failed Mamma Mia audition tape.

MICK KARN’S ILLNESS

It’s sad to hear that ex-Japan member Mick Karn is so ill that he is not expected to see the year out. It is even sadder that one of electronic music’s pioneers is so poor he cannot afford to pay his medical bills. A benefit is being organised but donations can also be made via mickkarn.net.

MICK KARN

E PUPPET

MINING MAGNAT

GILLARD MANIA

Did no one notice in the middle of all the ‘first female PM’ hooplah that Julia Gillard completely rolled over for the mining companies? Gee, wonder what she had to promise to get the right-wing Labor faction to support her coup?

TIËSTO PLATINUM PRIZE PACKS

hefty No trance superstar is more epic than Tiësto, so it’s appropriate that we have some Thee bundles of goodies related to the Dutch superstar to give away – five of them in total. stickers. For packs are comprised of a t-shirt, a tour DVD, USB stick, Pin, luggage tag and two @inpress. your chance to win, email your name, address and telephone number to giveaways com.au with ‘TIËSTO’ in the subject line.

DRUM + BASS CLUB ANTHEMS CDShis way across Oz recently you’ll INFUSION IN

If you were lucky enough to catch London Elektricity smash The Hospital n doubt want a memento of the occasion – and we’ve got just the thing for you. no Drum + Bass Club Anthems compilation on Central Station sees LE unleash a lot of P Presents… er, State t gems he dropped on tour, with Agent Alvin contributing a second disc. Shapeshift the the two across nd fi you’ll names the among are c Cyantifi and Dawn O Mind, Netsky, Concord Of to win, d set. Want a copy? We’ve got five of them to sling to lucky readers. For your chance disc your name, address and telephone number to giveaways@inpress.com.au with ‘DRUM e email + BASS’ in the subject line.

ALEX K CDS A

series in Did you know that Sydney lad Alex K’s Ultimate NRG series is the number one NRG t, which tthe world? Well you do now, and if you’d like to own a slice of the fifth installmen You Now ffeatures Alex K’s exclusive remixes of Ian Carey Project’s Get Shaky, Agnes’s I Need For grabs. for up copies ve fi got we’ve – place right the to come you’ve and System F’s Cry, @inpress. your chance to win, email your name, address and telephone number to giveaways com.au with ‘ALEX K’ in the subject line.

Zebra Magazine 19

THIS WEEK IN WEDNESDAY 30 Cancer Council Victoria 2010 Arts Awards Exhibition – this catchily titled show on a ‘lost and found’ theme has its last day in the Collins Street Foyer (corner Collins and Russell). Show Off – works by up-and-coming Melbourne artists curated by Joseph Flynn of Blender Studio are up at Brood Box, finishing today.

THURSDAY 1 Matthew Barney On Film – video works from the acclaimed (and terrifying, but awesome) American artist Matthew Barney (Njork’s husband) have a special season. ACMI until 11 July. Panoramica – opening night of new exhibition by David Mitchener of photography taken with the Hasselblad X-Pan camera to create seriously stunning panoramas. Colour Factory Gallery until 31July. Twilight Saga: Eclipse – don’t miss a sparkle as your favourite teen vampires and werewolves and girls with, um, heaps of interesting characteristics screen at the IMAX. The first screening’s at 00:00 today and it’s dress ups!

FRIDAY 2 The Art Of Photography & Graphics – works from big-name Australians like Charles Blackman, Olive Cotton, John Olsen, Lin Onus, and Max Dupain are on show until today at Adam Galleries, Queen Street. Cremaster 1 and Cremaster 2 – the first of Matthew Barney’s legendary film cycle begin the allegory of the reproductive system. These are inexpressibly weird films. ACMI. Ignite The Dark – this new dance company presents a self-titled sampler of their skills and styles tonight and tomorrow at Malthouse Theatre.

SATURDAY 3 The 10 Conditions Of Love – last session of Jeff Daniels’ film about the Uyghur Muslim minority in China, focusing on the stand taken by the exiled Rebiya Kadeer against their oppression. ACMI. City Of The Dead – last day of this exhibition of artist Tegan Ringin’s photographs from the making of the forthcoming Australian film at gallery e55. Cremaster 3 – Three hours of

7 UP

ACTORS WHO FAMOUSLY TURNED AGAINST THEIR OWN FILMS By Cam Grace

ARTS

JULY AT BUTTERFLY CLUB Seven new shows, the Melbourne Cabaret Festival and a bar-snacks menu! We are all aflutter. Among the line-up for The Butterfly Club’s month of July there’s truthfulness about fairytales, extravagant yet unfulfilling lifestyles, a tribute to a comedian’s mum and Ana Lucia And The Baron – Episode 1. The club’s signature focus on cabaret-style performances and new work is well-represented by this line-up of frequently particapatory, comedic, and/or frightening theatrical works. See thebutterflyclub.com for more information on the shows and a cocktail that gets you married.

biological abstraction in strange costumes. Matthew Barney takes a lot of explaining. ACMI. Goodnight Hamer Hall – the last concert to be held before Hamer Hall closes to be renovated as part of the Southbank Cultural Precinct Redevelopment celebrates the venue’s history.

ART FAIR OPENING NIGHT TICKETS ON SALE The fancy opening night parties for big events like the Melbourne Art Fair 2010 Vernissage have all kinds of famous people and industry people and canapes and Champagne and stuff, so they’re pretty worth going to as a way of finding out what’s happening in The Art World or getting to dress up nicely. If you don’t feel up to becoming or impersonating a major player by 4 August, you can buy a ticket. $175 gets you to the Royal Exhibition Building from 7pm for some fun and fascinating sociology and a preview of artworks. Book via melbourneartfair.com.

SUNDAY 4 Cremaster 4 and Cremaster 5 – the final instalments of Matthew Barney’s epically weird genre and imagery experiment show at ACMI.

MELBOURNE WRITERS’ FESTIVAL VOLUNTEER CALLOUT

Hamer Hall Free Community Day – self-guided tours let you snoop around the venue from 11am to 3pm before its doors close for renovation. The Hedgehog – an advance screening of the French film based on the book by philosopher Muriel Barbery and a discussion on literarycinematic adaptation as part of Cinema Nova’s Page To Picture series. Solar Equation – the world’s largest spherical balloon won’t be in Fed Square after today, so make sure you’ve seen it. It’s a simulation of the sun at a 100 millionth of the size of the original by installation artist Rafael Lozano-Hemmer.

If you enjoy or are good at books and ideas, or just wearing a lanyard and getting a T-shirt (but in a very literary way) the Melbourne Writers’ Festival would like your help in its 25th year. Running from 27 August to 5 September, the festival gives you a chance to get up close to the workings of a major event in administrative, interactive and production roles, and gets you onsite so you won’t be too lazy to go to the best sessions just because it’s cold. Apply to volunteer by going to mwf.com.au and completing an application by 23 July. SNAP-

GANGSTERS’ BALL IS ON AGAIN

FIRST LOOK: THOR (2011)

At last, an event combining dressing up, competitive dancing, a ten-piece band and some gambling! At least since last years’ Gangsters’ Ball, that is. Gather your fellow flappers, molls and Al Capones and get fishnetted and pinstriped and (according to the photo galleries) entertainingly hatted into a night of cabaret and vaudeville, with the glamour on the seamy side (and the talking outta the side of ya mouth, kid) and magic and illusion on the floor as well as the stage. The Gangsters’ Ball hits Forum Theatre on Saturday 18 September. First release tickets are available for $60; links and event times up at gangstersball.com.au.

SHOT

Australian actor Chris Hemsworth (Home And Away, Star Trek) as Thor, in the film of the same name, due out in cinemas next year. Also stars Tom Hiddleston, Natalie Portman and Anthony Hopkins.

MONDAY 5 Beyond the Bars 2010 – part of NAIDOC week, this broadcast series features interviews, songs, poems and messages from Indigenous inmates of area prisons. It’s presented and streamed 11am-2pm until 9 July on 3CR 855AM and 3KnD 1503AM.

TUESDAY 6 Existentialist Society talk – a public lecture followed by a Q&A/discussion session based around the tenets of the principles of this philosophy. It’s a free event held at the Unitarian Hall on Grey Street from 8pm. Life Drawing Classes – classes run from 6.30pm each Tuesday and Wednesday. All art supplies are provided and drinks by gold coin donation. No Vacancy Gallery. The Sound Playground – curated by Bus Projects and Craft Victoria, this is a set of experimental instruments, sound sculptures and sonic installations which will be performed upon throughout the course of the showing at fortyfivedownstairs until 17 July. 1. Sir Alec Guinness – Return Of The Jedi (1983) 2. Burt Reynolds – Boogie Nights (1997) 3. Douglas Rain (HAL) – 2001: A Space Odyssey (1968) 4. Sean Connery –The League Of Extraordinary Gentlemen (2005) 5. Kim Basinger – Boxing Helena (1993) 6. Christopher Lee – Lord Of The Rings: Return Of The King (2003) 7. John Cusack – Better Off Dead (1985)

SHARP CARDIGAN TONY MCMAHON DISCOVERS A UNIQUE CULTURAL PHENOMENON THANKS TO SAM BIONDO’S EFFORTS TO COLLECT AND CURATE.

or those who remember it, Skinhead and Sharpie culture was a big part of growing up in the 1970s that has since, mysteriously, disappeared. But Sam Biondo is about to change all that with the curation of an exhibition, Skins ’n’ Sharps, that will display all aspects of this forgotten culture such as clothing, artefacts and music. “The Connie cardigans will make up a big part of the display,” says Biondo. “This was the Sharpies signature look that everyone remembers. There’ll be photos of Sharpies in their groups and colours in front of different Melbourne locations of the time. Also, the music will be a part of the exhibition as the local music scene played a major part in the Sharpie lifestyle. There will be original art works capturing the Skins ’n’ Sharps era. There will also be a CD launch of a band called City Sharps; their original songs dedicated to the culture. Also, there will be a new book release called Rage by Julie Mac on her adventures as a Sharp.” Interestingly, Biondo says that the initial motivation for the exhibition came from a combination of wardrobe gazing and realising there was very little information out there on the subject of Sharps. “It all started with my old Connie

cardigan in my closet, every time I flicked through my clothes and came across it, it would take me back to my teenage years. It made me realise what an amazing time it was 30 years ago. So I started my search in the late ‘90s to see if there was anything documented on the era and to my surprise I found nothing. This is when I started my quest, to re-collect all I could find. After many years of collecting and talking to old Sharps, I was so inspired I came up with the idea to put on an exhibition for the people of Melbourne. The first Skins ’n’ Sharps exhibition was in 2006 at Dante’s in Fitzroy and it was a hit. Now it’s been four years since the last exhibition and during that time I put together a Skins ’n’ Sharps website to document and reconnect old Sharps. The website’s interest around this culture had grown and become so overwhelming that l could feel there was a need to put on another exhibition.” What is it about this culture that still holds fascination today? Is there anything at all around now that’s similar? Biondo says that music and looking good was a big part of the Sharpie’s unique appeal. “People who grew up through that era in the ‘70s realise now how unique and original it was to Melbourne. By the mid ‘70s, the

Sharpie movement and fashion was so big that almost all teenagers had some sort of connection or association with this trend. It was multicultural, tough and controversial for its time. The Sharpies were renowned for their short hair and looking sharp, hanging out in gangs across all suburbs and sporting the gang’s names. They loved their local music scene and would flock to dances and concerts every chance they got. We would see bands at local halls and school socials like Billy Thorpe, AC/DC, Skyhooks. This is why there is a fascination today with this culture, because there’s been nothing like it since.” WHAT: Skins ’n’ Sharps WHERE &WHEN: Sunday July 4, Kustom Lane Gallery

C U LT U R A L

CRINGE

WITH REBECCA COOK With end of financial year today, Cringe’s eye turns to finance. Not her personal strong point admittedly but her interest was piqued by a well timed missive from the Emerging Writers Festival (EWF) last week. “Adopt a writer!” it insisted and proceeded to explain that I could sponsor a writer for (a fully tax deductible) $75 through the EWF’s Pen Pal program. In addition to the good karma and a slightly reduced taxable income, I would receive

access to the Hidden Word Artists’ Party, where I would be introduced to my adopted writer. The $75 allows the EWF to pay the writer for participating in festival events such as presenting, speaking on panels and the like. Cringe thinks the fest could take this idea further. For example, what about adopting a writer all year ‘round? A full sponsorship would see the sponsor receiving (one hopes) exceptionally well written updates on the writer’s project, an inside the writer’s mindtype thing.

1 July 2010. Dear Cringe. This week has been a struggle. The novel hasn’t progressed much further than last week due to an unfortunate incident with series one of True Blood. Of course this is research but you know how thorough I am – I feel I must now watch series two to close the research circle. In some good news I have managed to stick to my 500-word-a-day quota it’s just in some cases the words were written on Facebook instead of in my Word doc – I think this is just a logistics issue. BTW I know you said

you really enjoy historical literary non-fiction but I’m not sure that genre suits a coming of age story at this point. A writer. Imagine the pressure to perform… although this would certainly suit many writers (Cringe included) who require a bit of stress to keep them at their desk and not hunting around in the pantry for something other than honey to put on some Vita Wheats that could give the Dead Sea Scrolls a run for their money. Of course, artists have had arrangements like these for

centuries. Benefactors or patrons have been fundamental to the arts way before medieval times. Shakespeare, da Vinci and Mozart all enjoyed the financial benefits of various wealthy individuals or religions. There’s something far more personal in being adopted than being given a funding grant by a government body. That said, if you wanted to get up close and personal with funding grants, here’s your chance: the City of Melbourne is currently seeking Expressions of Interest (EOI) from suitably qualified

individuals for membership of advisory panels to support the City of Melbourne’s arts and culture portfolio. These are the folks who decide whether painting all the trees in the CBD green or an installation of a functioning train in Fed Square should be funded. As per usual Cringe is disappointed to see (on viewing the selection criteria) that only arty-farty types are able to apply – all the more reason why the common man and woman should adopt an artist they like.

WE CAN BE HAPPY LIZA DEZFOULI EXPLORES THE POSSIBILITY OF A HAPPY ENDING WITH DIRECTOR BENG OH, WHOSE LATEST OFFERING IS BEING STAGED AT LA MAMA.

hu a a s ract Australia’s new dance initiative presents

appily ever after only exists in fairy tales. But director Beng Oh has to marry fantasy and ‘reality’ – and real estate – in his latest undertaking, Happily Ever After, by Melbourne playwright Jane Miller. How does a play shift from an imaginary world to a hyper-imaginary world without confusing everybody? “It’s clever writing on Jane’s part,” says Oh. “She takes some well-known fairy tales and inserts characters into the plots.” Things don’t go the way they’re traditionally supposed to, though, and the challenge for Oh has been drawing a clear ‘through line’ so audiences can follow the story. The script has been developed from a ten-minute play, Miller being a favourite of the Short+Sweet ten minute play festival, and this is her first attempt at a full-length work. Beng Oh is especially impressed by Miller’s use of language. “Jane’s play is so well-written,” he observes. “She is never sentimental. Her work has humanity and a sense of humour.” Happily Ever After concerns itself with the pursuit of happiness and the need for compromise – things we all constantly grapple with. “The theme of compromise is a timely one,” notes Oh. “The play contains a nice mix of issues, of characters and situations. And real estate is in the business of selling dreams and fairy tales.” There have been a few new challenges for Oh as a director with this play but he says they’re difficult to explain outside of the rehearsal room. “The pleasure of working with an experienced cast is that you can try new things, draw their attention to a small grab-bag of changes.”

Oh’s involvement with Happily Ever After came out of a reading of the original ten-minute script (one of the cast members in this production was a reader at that time, too). “Be careful of the plays you do readings for!” Oh jokes. “ It’s a pleasure with a piece like this but you can often get involved with something you’ve had a connection with, for better or for worse.” Oh’s direction is characterised by innovation and much layering and texture, and with Happily Ever After he says there is plenty of this kind of thing already present in the script. “There is a lot of invention and ideas in this play,” he says. “I have a low boredom threshold. It’s a handy thing for a director.” Oh, who graduated from VCA in 1997, has been nominated for a Green Room award for his work directing Porcelain, an international work that was staged in Australia for the first time last year at Footscray’s Dog’s Theatre under his aegis. Oh will tour with it to a theatre festival in Dublin later in the year. Unlike earlier works he’s directed (The Nero Conspiracy, for example), Oh says that with Happily Ever After there’s no fake blood and no one gets hurt. That’s good to hear as the tiny theatre space of La Mama doesn’t lend itself to an excess of bloodshed. “It’s a comedy,” he says. “It’s cold, it’s wet, it’s winter in Melbourne and people are more likely to stay at home – but it is a comedy!” Just what we need at this time of year, really.

A large part off our excessive, i unnecessary manifestations if t ti come from terror that if we are not somehow signalling all the time that we exist, we will in fact no longer be there. - PETER BROOK

7-11 July. CUB Malthouse For more information please visit jackproductions.com.au Merlyn Theatre, CUB Malthouse, 113 Sturt St Southbank. Book now at The Australian Ballet on 9669 2700 www.australianballet.com.au or CUB Malthouse on 9685 5111 www.m-tix.com.au

jack productions arrive excited // leave inspired

WHAT: Happily Ever After WHERE & WHEN: La Mama until 11 July

THEATRE

REVIEW

TIM BURTON: THE EXHIBITION ACMI What with the man himself, Tim Burton, being in town and Edward Scissorhands being the top Twitter ‘trending topic’ for a time on the weekend, you were hard pushed not to go to the Burton display that opened in Melbourne on Saturday. After the disappointment of the ABBAworld exhibition that opened across from this one a week earlier (a badly laid out show of fake costumes drowning in loud ‘interactive’ karaoke), the Burton show is a fine example of how a pop culture exhibition should be presented. It’s come direct from MoMA in NY and so quality was pretty much guaranteed. There are costumes from the big movies like Alice In Wonderland, the aforementioned Scissorhands and Batman (you can even ‘ooh ahh’ over Michelle Pfieffer’s influential catsuit from Batman Returns) and props from lesser-appreciated flicks Sleepy Hollow and Pee-wee’s Big Adventure (be scared by Marge’s eyeballs all over again). And that only lightly touches on what is here – every Burton film is represented. During a visit in the exhibition’s first hours, a screening of his 1982, made-for-TV version of Hansel And Gretel was delighting an audience of kids and older fans, all appreciative of its slightly demented take on the fairy tale and its cast’s John Waters-

FILM

CAREW

WITH ANTHONY CAREW

esque acting style. Burton’s early career, drawings, online productions, animated features and books are also represented (highlights being a rejection letter from Disney and draft sketches for his Melancholy Death poems). Also, a lot of care seems to have gone into the exhibition’s layout; displays snake though each darkly lit room with deep reds and black and white striped motifs and, best of all, there’s a room in which dioramas are viewed through bug-eyed peepholes. It’s just a pity there was no sign of a real-live Helena Bonham-Carter to scare the bejeebies out of us. Tim Burton: The Exhibition runs until Sunday 10 October, open daily 10am-6pm (and until 10pm on Thursdays). ANDREW MAST

Modern audiences will seemingly accept any kind of idiocy if it’s served in faux-realist fashion; will swallow contrivances dire and explosions many as long as they come with camera shaky, stock grainy. But, if a film as enthusiastically embraces old-fashioned theatricality, then the cynical, self-congratulatory modern viewer will mock such flourish. Leaving a regular-release screening of I Am Love over the weekend, I heard the snorts of derision from the ranks of the unconvinced as the film crested at ecstatic climax; Luca Guadagnino’s picture peaking in a hysterical conclusion of operatic excess and fever-pitch emotion. Anyone criticising such – either in considered print or ad-hoc exiting-a-cinema vox-pop – as being “over-the-top” is revealing only their own idiocy; it is, of course, rather the point. Guadagnino doesn’t immediately pitch his melodrama at this tenor; instead, he first gently introduces the members of the haute bourgeois family whose empire will, invariably, fall apart as the film progresses. Set in turn-ofthe-millennium Milan, I Am Love introduces twain unstoppable forces that will undermine the family on both professional and emotional levels: the scourge of neo-capitalist financing and follow-your-heart solipsism, respectively. Each of these things is, in Guadagnino’s estimation, anti-familial. The clan’s long-term business – a textiles company

rhapsodised by the near-death patriarch, early in the film, as being indivisible from the family itself – is reduced from a tangible concern to an amorphous concept; the bricksand-mortar factory, veritable beacon of history, raffled off as the company is refinanced in a globally-positioned series of speculative derivatives. The family legacy is just as wounded by a generation raised to chase love over loyalty; to seek dalliances not for how they’ll serve the empire, but for the momentary frissons of passion, the dazzling ephemerae of love. The soap opera that will inevitably destroy the family comes in the form of a lower-class chef; a swarthy, earthy, artistic, sensitive, unscrubbed soul who wins the hearts of both mother (Tilda Swinton, speaking Italian and Russian, the latter more convincingly than the former) and her soul-ofthe-family/apple-of-everyone’s-eye son. Sullying that most sacrosanct of Italian bonds – the mythical love between mother and son – the two invite tragedy into their home; though Guadagnino invites such into the film in an aloof, kooky way. These twin passions are initially told in implied fashion; the mother’s through artful, elusive editing; the son’s initially suggested as but harmless homoeroticism. Inevitably, though, proceedings finally take a fearless leap into outright melodrama. Told with Swinton as its obvious heroine, I Am Love summons that favourite literary device, where a woman-asprisoner-of-society must throw off

I AM LOVE her yoke of oppression and chase love over status. And, after initially being coy about the consummation of such desire, soon Guadagnino has our heaving paramours fucking to grandiose gong-banging John Adams operaticism and a riotous montage that posits their passion as force-ofnature. Over the top? Of course it is! And let us be thankful for it. The great problem any adaptation of a novel has in its to-screen translation is what to do with the preponderance of words. The Hedgehog, Muna Achache’s adaptation of Muriel Barbery’s fauxintellectual fable The Elegance Of The Hedgehog, chooses to routinely layer line-upon-line, hatcheting up what would be normative narrative voice-overs with already-spoken dialogue, creating expository mosaics in which words are laid upon words. They’re largely spoken by the film’s pseduo-narratorial presence, an 11-year-old girl who reeks of writerly creation. Our preternaturally-wise/

gifted/self-aware heroine is suicidal, witheringly observant, psychologically complex, fluent in Japanese, an artist of notable talent, a budding documentarian, etc, etc. It’s a clear case of the author’s voice finding a fantasised medium; and, Barbery uses her out-of-the-mouths-of-babes observations to scribe a satire on French petit-bourgeois pettiness and vainglorious self-obsession; her pat philosophising positioning those who society doesn’t value – the working class, spinsters, immigrants, children – as heroes; perceptive, sensitive, intellectual, non-judgmental, and wise. If there’s any subtlety to the source text, it’s entirely lost by the time this shit hits the screen; Gabriel Yared’s browbeating score – a twonote, string-centric mixture of impish pizzicato pluckings and dreary, weepy wasps – delivering the message with the most simple of emotional cues: the hidden worth of these ignored, noble social-casualties both triumph and tragedy.

LIZA DEZFOULI REVISITS HIGH SCHOOL DAYS AND MEAN GIRLS WITH PAOLA UNGER, DIRECTOR OF SLUT. ST

CENTURY

LOLITAS H

aving three different actresses performing the one role is “a big ask but not an impossible task,” says director Paola Unger. “Most actresses are used to performing one role at a time and they embody it differently.” Unger is talking about her current project, Slut, written by Patricia Cornelius where three performers depict the protagonist, Lolita. “The longer they’re in rehearsal; the closer to opening, the different story of the three characters is becoming clearer.” Lolita is a reference to the famously precocious character of the Nabokov novel but she is also an every-girl: she could be anyone’s daughter, sister or friend. The confusing journey of forging a female identity is explored in this play, which concentrates on the powerful impact of the experiences of adolescence. What happens when a girl is different, when she breaks the unspoken rules of conformity? How much are young women supported on the road to selfactualisation by their peers?

“[So] much of who we are, we learn at high school,” says Unger. “It is easy to forget what it’s like. Everything has such meaning, everything is so important.” This piece concerns itself very much with language, the way we use it and the things we say to each other. “Words impact you,” Unger continues. “It doesn’t matter how old you are; you need to consider what you say, how you describe people – what it means to speak.” With the double standard of youthful female sexuality now arguably more vicious and confusing than ever, Slut is a timely piece that Unger hopes will provoke questioning in audiences and encourage us to think carefully about what comes out of our mouths. “Wouldn’t it be a better place if we all said positive things, constructive things?” the director asks. There’s no better form than theatre to get this message across, although Unger stresses that the message comes second to the story. “The safest way to go is to avoid preaching and let the story speak for itself,” she

says. “We’ve worked on a story. Who are these characters? It’s not about abstractions – it isn’t Brechtian or alienating, where it becomes more about the message. The bottom line is that you could call it a morality play and people are going to see it and take certain things from it. We can’t avoid preaching in a way; it is what it is. It is social commentary so I don’t know if that can be avoided. We will have to wait and see!” Unger says that the play has had ‘a vigorous and thorough development period’. Cornelius conducted research with teenagers in the northern suburbs, via interviews and writing tasks. “It’s contemporary,” she enthuses, “It’s all happening!” The director hastens to put paid to the idea that this work might only ‘speak’ to young women. “It’s fascinating to men too,” she notes. “What are the expectations of young women in our contemporary world? What are the options? What are we communicating about them? “I’ve encouraged my colleagues to bring young people to it; my friends who are teachers to bring their students… People of all ages.” Slut was originally devised as a companion piece to go with Christos Tsiolkas’s piece, The Ugly. Platform Theatre staged them both at 45 Downstairs as a whole work called Tenderness. It is not only the subject matter of Slut that inspires Unger. “It’s beautiful, poetic, lyrical writing,” she says. “With important stories to tell.” Intriguingly, Slut reminds Unger of the classics. “Cornelius has written it so that it could very easily translate into a Greek tragedy,” she tells. “There’s a Chorus commenting on the actions of the main character. You can’t deny that as part of the structure. Going back to ancient Greek theatre, the violence is spoken about, not seen, audiences see the tragedy even before it happens, and there’s a terrible pay-off at the end.” Slut has been produced before where 20 young women on stage made up the Chorus. “I have taken [that] on board with a stripped back cast,” continues Unger. “I don’t think it matters. The Chorus is obviously reduced to a party of two, so it’s exciting and challenging. It is different with two bodies, compared to the last production but you can’t re-jig something that is inherent in the text. The question is, can we make this piece work with who we have?” Unger inherited this project, with its cast already intact, from acting school Verve Studios, where she has been teaching. “My little company arrived to me as a package,” she notes. “The

three actresses are finishing their experience at Verve studios; it’s their graduating class.” Slut is being staged at the Dog Theatre in Footscray, Melbourne’s newest independent venue, which is attracting a lot of attention and filling the gap left by the closure of The Store Room in North Fitzroy. The venue was part of the arrangement with Verve Studios, a good thing according to Unger. “It’s a really great independent theatre space,” she says. “It’s small and intimate. Everything feels very electric in that space.” Does Unger think she will gravitate towards works dealing with similar themes? Not necessarily, she says. “You don’t always get to pick what you do.” Once she has finished with Slut, Unger will go on to direct a play for Winterfall Theatre, based in Northcote, a good thing for her as she’s a local. “It’s nice knowing I won’t have to take a tram or a bus to rehearsal!” WHAT: Slut WHERE & WHEN: Today until Saturday 17 July

WEAPONS OF CHOICE From today until Saturday 31 July the Town Hall gallery will showcase the work of artists who have sought to portray the effects of contemporary consumer culture on humans. Weapons Of Mass Consumption will feature a diverse range of artistic expressions from photography to installation and is curated by Louisa Marks as part of the Town Hall Gallery Young Curator Project. See townhallgallery.blogspot.com for more information.

HAVE A GREAT WEEKEND Jean-Luc Godard gets a taste of his own free-adaptation medicine (seriously, watch his version of King Lear and your head will explode, and also Woody Allen and Norman Mailer are in it) in this theatrical appropriation exploring commodification and theatricality on a journey to lay claim to an inheritance through traffic that’s “murder”. Weekend shows at La Mama until 18 July; tickets through lamama.com.au.

LET THE WALL SING Inside Miss Libertine, a new world is emerging by way of the new gallery space, For Walls, which is open to all styles of art as long as they’re wall-based. Tonight (Wednesday 30 June) is opening night, and will feature works by the likes of HA-HA, Pheelix, Ghetto Kitty, Guz, Glyph, James Faust, and more. Head to misslibertine.com.au for more info.

G A L L E RY

PROFILE NO NO GALLERY

14 Raglan Street, North Melbourne nonogallery.org

Tell us about the gallery. The gallery opened in May of this year – although for a couple of months before that I was in there every weekend, painting walls and scrubbing floors! The emphasis is on openness and an eclectic approach. My aim is not to have a fixed aesthetic, so that visitors will never know what to expect. It’s a curator-run, not-for-profit space: I accept proposals at any time and I also invite artists for group shows and special projects. I also host occasional film screenings that my friend [and Inpress scribe] Adam

JEAN-LUC GODARD

Curley organises – Dawson’s Creek was a hit! What are some of your past highlights? The gallery opened for the first time with a group show that I curated with my friend Lisa Warbrick. The show was called Day Spa and we did gold leaf facials on a few people – that was pretty fun. As was seeing the crowd of several hundred packed into the laneway out the front. Also fun was being told that the images from Drew Pettifer’s forthcoming exhibition were too risqué to be run in certain publications!

What’s currently exhibiting? Can you tell us about it? The next exhibition is Drew Pettifer’s Hold On To Your Friends, which opens 1 July. Drew has previously had solo shows at Counihan and Blindside and he works at Bus Projects. But this is definitely his best show yet. It’s a series of large photographs of young men, posed nude in rural locations, and a gorgeously poetic video piece. The work is about his childhood in the countryside, among other things. Who are some local artists you admire? Melbourne is lucky to have so many geniuses. To name just a few I love Helen Johnson, Carl Scrase, Dane Lovett, Jessica Brent (who has just had an exhibition at No No Gallery), and Christian Thomson. Looking to the immediate future – what’s on the cards? After Drew Pettifer’s exhibition, Romy Hoffman is having a special project show for one week, of drawings she’s done in one week – it should be wild! Romy is best known for her music – and you may have previously known her as Macromantics. She makes up jokes and illustrates them: she is literally a “word play artist”. I have amazing exhibitions lined up until the end of the year – although I do have a vacancy for November, so readers, get those proposals in to me now!

GUN RUNNERS From fiery underage gigs to demanding hens’ parties, CELADORE are just chuffed to be on the road, drummer DAVID NOORDHOFF assures NIC TOUPEE. were so overwhelmed by the need to be on stage that we just wanted to keep playing and playing. We thrived in the studio, but the live thing is something we really believe in, and where the fun really begins. That’s when you start to see the benefits of all your hard work.” Sometimes you get more fun than you bargained for, he recalls. “We did a little tour prior to the single’s release, and played at the Great Northern in Byron Bay. A lady from a hen’s night stormed the stage demanding we played Roadhouse Blues by The Doors” he laughs. “The bassist knew it and we jammed it out, and the lady got her bridesmaid got up on stage and sang it. I think she was actually a singer, because she was quite good.”

‘C

ellar door’ has been said to be one of the most beautiful sounding phrases in the English language. Melbourne band Celador are perhaps hoping for a similarly photoaesthetic reaction to their second EP, Distance Is A Gun. Certainly, Foo Fighters and Biffy Clyro producer Chris Sheldon thought so, and was happy to apply his Londinium spit and polish to their debut. Next in line to judge the melodic appeal of Celadore are the discerning and devoted of regional Victoria, with the Distance Is A Gun tour veering off the capital city circuit to perform for the punters of Shepparton, Mildura and Bendigo. Drummer David Noordhoff explains that, like the great explorers, Celadore like discovering new places. “We felt that coming from Victoria, after the launch we might as well come back and do a bunch of places we’ve never done before – it will be good to get out of Melbourne for a bit! It’s also an opportunity to do some underage shows, which we don’t often get a chance to do.” Alongside their exploratory urge to take the scenic route, Noordhoff admits that the band are partially assuaging their touring addiction. “We’ve been off the road for three weeks now,” he says wistfully, “and we really love being on the road! We’ve organised this regional tour and after that another national tour. We will be on the road for the next four months, basically.” Noordhoff points out that the protracted recording process for Distance Is A Gun is partially responsible for their current penchant for the stage. “It took such a long time to work on the EP; it dragged out as a big process. Because of that, by the time we were ready to tour we

No such tales of misbehaviour from the band themselves, we’re reassured. They’re not quite straightedge, but Celadore are keeping their tour-bus tales clean and their decorum intact. “We’re fairly orderly on the road,” Noordhoff attests. “We’re fairly organised, and we always have a plan of where we need to be and when. When we have a night off we have our crazy moments, but when we’ve got a show we focus on that. I’m not sure that any one of us could pull it off if we were drunk… that’s not very rock’n’roll of us, though, is it?” By the end of the year, Noordhoff predicts that Celadore may have finally mollified their stage fixation and be ready to hit the studio once more. “We’ve now got a large group of songs ready so we’ve got a lot of big decisions to make about what to do next. We’ve been considering albums, but I think we’ll release a four-track EP at the end of year. Not that we’re not ready for making an album, but we see an EP as a natural progression. Also, I think we’re still really developing as songwriters: we’re still defining our sound. And it keeps developing. The song choices for our EP were pretty obvious but I’m certain it’s going to be a lot harder next time around because we’ve got so many new songs written.” WHO: Celadore WHAT: Distance Is A Gun (Popboomerang) WHEN & WHERE: Friday, Memorial Hall (Yarra Glen); Saturday, Pure Pop Records (3pm) and the Workers Club later; Friday 16 July, Yahoo Bar (Shepparton)

LABOUR OF LOVE THE GET GO’s PETER MCMANUS talks to ALICE BODY about eye injuries, manual labour and his band’s debut EP. then that went down to ‘The Suit’.” The eye patch… The Suit… there’s a weird myth and legend feel to this band. I feel like they should have a crazy story about how they all knew each other and why they started playing music together. Like they met on a submarine – it was cold and boring so they decided they’d start up a band.

’d given myself the impression that The Get Go were a punk band before I’d had a listen to their music. I think it was mainly the photos of singer Peter McManus with a piratey eye patch that did it. I don’t know why. Punks regularly stab out their eyeballs with safety pins and take to the seven seas, right? “Oh well, the eye patch was for this eye.” McManus points to his seemingly normal left eye. “I’ve got a contact in there at the moment, but I had an accident a couple of years ago. An occy strap smashed me in the eye.” It what?! “It was like a little knuckle just going smash. It really damaged the back of the eye, the optic nerve.” Holy shit. Not a gimmicky punk statement then. “No, I wouldn’t be able to play punk,” McManus says, “I don’t think I have that intenseness. I’m a sorrowful melody man.” I tell McManus my hasty conclusions were put right when I heard a little of their forthcoming EP, Dark Entwine, which is tightly crafted rock’n’roll generously peppered with the dark and bittersweet. I ask him to describe the very un-punk sound of The Get Go. “Melody that rocks,” he replies simply. The Get Go are a local band consisting of McManus on guitar and vocals, guitarist Chris Green, bass player Jeff Hooker and ‘The Suit’ (Dave Watkins) on drums. I digress, but I have to ask where the name ‘The Suit’ came from. McManus obliges: “Many years ago, in Adelaide, he was wearing tight blue jeans and a tight t-shirt – and he’s a pretty slender and tall sort of fella – and someone said, ‘That looks really good on you.’ So he went out and bought three pairs of jeans and six t-shirts. And that’s all he ever wore. He was called ‘Wetsuit Watkins’, and

But that didn’t happen. The Get Go got acquainted through Melbourne’s music scene, and have been making music for almost four years now. McManus starts answering the question of why an EP was so long in the making before I even ask it, maintaining he was happy to get the band’s sound down pat before releasing anything. “It was a real development process,” he says. “I’d done folky kind of solo stuff before, just acoustic guitar. But I was a late starter. I started when I was in my late-20s.” Before picking up a guitar McManus worked in construction, though music was always in the back of his mind. “I couldn’t get the tune out of my head, but when you’re working hard, you get home and there’s nothing left in the tank.” McManus is philosophical about hard labour, partly attributing his current devotion to music to the physical exhaustion he experienced at the end of each day. “In a way it’s inspiring, it builds that pressure. So when you do get time and space, [creativity] all comes out.” And what came out was: “sorrowfulness. I’m affected by suffering. I feel bad for other people’s bad feeling. I absorb and digest it.” Dark Entwine is indeed filled with songs of heartache and sorrow, though McManus believes it would be even sadder without the uplifting presence and momentum of the other band members. “We like to work on crescendos,” he reveals. This is so not a punk band that you’d think I’d have learnt that from the get go. And how about that, I really did, in the end.

WHO: The Get Go WHAT: Dark Entwine EP (Independent) WHEN & WHERE: Friday, Yah Yah’s

ISSUE 1129 - WEDNESDAY 30 JUNE, 2010

TOURS

Alba Varden

PRESENTS

THIS WEEK INTERNATIONAL

GRAF ORLOCK, DANGERS: Friday Arthouse

NATIONAL

THE BUTTERFLY EFFECT: Tonight Ferntree Gully Hotel, Thursday Bended Elbow (Geelong), Friday Inferno (Traralgon), Saturday Pier Live, Sunday Commercial Hotel (South Morang) LOVE CONNECTION: Thursday Tote SHANE HOWARD: Friday St Brigid’s Hall (Koroit) THE CASANOVAS: Friday Tote BLUELINE MEDIC: Saturday Arthouse REBECCA BARNARD: Saturday Bennetts Lane ASH GRUNWALD: Saturday Corner Hotel; Sunday Ruby’s Lounge THE AMITY AFFLICTION: Saturday HiFi Bar (under-18s arvo, over-18s evening); Monday Karova Lounge (Ballarat - allages); Tuesday Kangaroo Flats Leisure Centre (Bendigo - all-ages) GANGA GIRI: Saturday East Brunswick Club THE JOHNNYS: Saturday Tote THE SIRENS OF VENICE, MINIBIKES, BOARDERS: Saturday Northcote Social Club REGURGITATOR: Sunday East Brunswick Club THE SLIDING ELECTRIC, BURIED HORSES, MONEY FOR ROPE, SONS OF LEE MARVIN, THE SOLOMONS, ANCIENT SLATE, PIGGY, JACKY WINTER: Sunday Tote KARNIVOOL, SLEEP PARADE, MM9: Tuesday Hi-Fi CUSTOM KINGS, BEN BIRCHALL & THE CORRECTIONS: Tuesday Toff In Town

UPCOMING

GIG OF THE WEEK TONE DEAF PARTY

SATURDAY, DING DONG LOUNGE

his weekend’s party from the Tone Deaf crew is brought to you by the number five – five bands and five DJs will be tearing it up at Ding Dong on Saturday until 5am. Headlining are the mighty Redcoats, a swaggering blast of Zeppelin riffs and psychedelic jams. While they’ve been kicking around since 2007, it was Neil Wilkinson’s addition to lead guitar duties early last year that has elevated the band from classic rock revivalists to something much more. Also on the bill are Bayside rockers Alba Varden, showcasing tunes from their debut EP, Down The Rabbit Hole, released next week; four-piece Fangs, fresh from an impressive set at this year’s Cherry Rock, and with their debut album ready to drop; wild Brisbane garage rockers Villians Of Wilhelm; and up-and-comers Kingswood, whose singer’s pipes are remarkably similar to those of the late Bon Scott. Register at tonedeaf.com.au/live for discounted entry.

Operator Please pic by James Morgan

The Soft Pack Thursday 8 July East Brunswick Club

the set: Get What You Want from debut album Yes Yes Vindictive. Amandah Wilkinson’s guitar and Taylor Henderson’s violin are joined by Chris Holland on keyboards, shyly positioned to the side for the duration of the performance. Commandeur is cutely buttoned up in a longsleeve shirt. McConnell’s gone rock god with a platinum quiff and leather vest. Henderson’s in a hot split dress. Wilkinson’s wearing one of her customised outfits, with a black bow on her shoulder in place of the trademark pink flamingo. The opening momentum continues right through their set, as the band play 20 tracks back-to-back with barely a pause in between. Jealous introduces the cleaner pop sound of second album Gloves. Ghost, with its church organ chords, is a collision of sounds coming from all directions. Losing Patience is more electronica than grunge. Loops and Just Kiss benefit from pacing, while Oh My gives Wilkinson the opportunity to demonstrate her vocal range, harmonising in rising octaves.

INTERNATIONAL

MARK LANEGAN: July 7 Corner Hotel; 9 Espy Gershwin Room THE SOFT PACK: July 8 East Brunswick Club OM: July 11 National Hotel (Geelong); July 16 Hi-Fi CUSTOM KINGS, MATHESON: July 13 Toff In Town BOYS LIKE GIRLS, HOT CHELLE RAE, HEROES FOR HIRE: July 14 (U18), 15 (18+) Hi-Fi Bar LICHENS: July 14 Toff In Town SNFU: July 15 Arthouse STRIKE ANYWHERE: July 16, 17 Evelyn KASABIAN: July 23 Festival Hall MIDNIGHT FROM MEMPHIS: July 23 Harvest Moon (Bellarine); 24 Spenserslive; 25 Guildford Music Hall HAIR STYLISTICS, MENSTRUATION SISTERS, MARCO FUSINATO: July 25 Toff In Town SCISSOR SISTERS: July 26 Festival Hall THE TING TINGS: July 26 Palace GRIZZLY BEAR, HERE WE GO MAGIC: July 27 Palais ALBERTA CROSS: July 27 Corner Hotel FOALS: July 27 Hi-Fi Bar BAND OF HORSES: July 27 Palace

LISA MILLER: July 2 Corner Hotel xx KARNIVOOL: July 6 Hi-Fi Bar THE SOFT PACK: July 8 East Brunswick Club SALLY SELTMANN: July 10 Corner Hotel OM: July 11 National Hotel (Geelong); July 16 Hi-Fi THE WILSON PICKERS: July 15, National Hotel (Geelong); 16, East Brunswick Club; 17 Lot 19 (Castlemaine) KASABIAN: July 23 Festival Hall GRIZZLY BEAR, HERE WE GO MAGIC: July 27 Palais ALBERTA CROSS: July 27 Corner Hotel; 28, 29 Palace THE MAGIC NUMBERS: July 28 Corner Hotel YEASAYER: July 29 Prince Bandroom SURFER BLOOD: July 30 Corner Hotel MIDLAKE: August 1, 2 Prince Bandroom ASH, WE ARE SCIENTISTS, LAST DINOSAURS: August 4 Billboard The Venue LAURA MARLING: August 4, 5 Hi-Fi Bar SLASH: August 11 Festival Hall CKY: August 12 the Hi-Fi BLISS N ESO: August 13 Palace ART VS SCIENCE: August 27, 28 Hi-Fi CORDRAZINE: August 28 East Brunswick Hotel TAKE ACTION TOUR: September 11, 12 Corner Hotel BIRDS OF TOKYO, SILVERSUN PICKUPS: October 1 Festival Hall SARAH BLASKO: October 7 Theatre Royal (Castlemaine); 8 Palais; 9 Meeniyan Town Hall

LIVE: REVIEWS OPERATOR PLEASE CORNER HOTEL

Everyone knows the beautifully simple Back And Forth. “We didn’t think it would be that good,” Wilkinson says. Paying homage to diva Beyonce, with a cover of Destiny Child’s Lose My Breath, Henderson joins in on vocals and funks it up with some “white girl ghetto dancing”. Street sounds are also heard on Volcanic, while Catapult could easily handle a dance remix. Leave It Alone should be one of Henderson’s favourites – it’s a showcase for her violin. Zero Zero and first single Song About Ping Pong both have raw energy suited to rocking it out live, with the audience clapping along.

When the red curtains part on the main stage, silver decorations are everywhere. It’s not the clamshell set from the gorgeous Back And Forth video (dancers in turbans will be making a guest appearance at the Sydney show), but we do get hula-hoops hanging from the ceiling.

For their final song and latest single Logic, Wilkinson wants to see shoulder popping movements and the crowd obliges. “We always feel weird doing encores,” she says. So the band invite supports Tim & Jean and Chaingang on stage for a mashup of Salt-N-Pepa’s Push It and Milkshake by Kelis. So far all the artists they’ve covered have toured Australia, so that could be a prediction.

Tim Commandeur taps his drumsticks together and Ashley McConnell’s bass kicks off the first track in

Chris Toussaint

ppearing at the Corner, a more intimate venue than past gigs at Future Sounds or Glastonbury, Operator Please have drawn a respectable following on their Gloves tour. Coming from the Gold Coast, they must be feeling the cold, but the audience they attract is a warm mix of indie pop style, including the cool gay crowd.

live@inpress.com.au

Super Wild Horses Saturday 31 July Victoria Hotel

MUMFORD & SONS: July 28 Palace Theatre 30 SECONDS TO MARS, THE ART: July 28 Festival Hall BLACK REBEL MOTORCYCLE CLUB: July 28, 31 Billboard THE MAGIC NUMBERS: July 28 Corner Hotel LCD SOUNDSYSTEM, HOT CHIP: July 29 Festival Hall YEASAYER: July 29 Prince Bandroom WOLFMOTHER, PHILADELPHIA GRAND JURY: July 29 Espy Gershwin Room THE STROKES: July 30 Festival Hall HELLYEAH: July 30 Billboard The Venue RICHARD ASHCROFT & THE UNITED NATIONS OF SOUND: July 30 Palace SCHOOL OF SEVEN BELLS: August 1 Northcote Social Club MIDLAKE: August 1, 2 Prince Bandroom FRIGHTENED RABBIT: August 2 Hi-Fi Bar THE DRUMS, THE MOTIFS: August 2 East Brunswick Club FLORENCE & THE MACHINE: August 2, 3 Festival Hall GOLDFRAPP: August 3 Palace Theatre MIIKE SNOW: August 3 Hi-Fi Bar BROKEN SOCIAL SCENE: August 3 Corner Hotel TWO DOOR CINEMA CLUB: August 3 Billboard The Venue ASH, WE ARE SCIENTISTS: August 4 Billboard The Venue KATE NASH: August 4 Corner Hotel LAURA MARLING: August 4, 5 Hi-Fi Bar BAND OF SKULLS: August 4 East Brunswick Club JONSI: August 4 Palace FANFARLO: August 5 Northcote Social Club PASSION PIT: August 4, 5 Prince Bandroom TESTAMENT: August 6 Billboard SLASH: August 11 Festival Hall A TRIBE CALLED QUEST: August 12 Festival Hall CKY: August 12 Hi-Fi Bar KATY PERRY: August 12 Plaza Ballroom 3OH!3, TONIGHT ALIVE: August 14 (U18), 15 (18+) Hi-Fi Bar CHRISTIAN DEATH: August 14 Corner Hotel 3OH!3: August 14 (under-18), 15 Hi-Fi EELS: August 15 Palace SENSES FAIL: August 21 day (under-18), evening Hi-Fi CHRIS BOTTI: August 22 National Theatre XIU XIU, HIGH PLACES: September 3 East Brunswick Club NAPALM DEATH: September 5 Hi-Fi SOULFLY, CITY OF FIRE, INCITE: September 8 Palace ATTACK ATTACK!, PIERCE THE VEIL, DREAM ON, DREAMER: September 11 Corner Hotel METALLICA: September 15, November 18, 20, 21 Rod Laver Arena MAYHEM: September 23 Hi-Fi Bar CYPRESS HILL: September 23 Palace PETER HOOK & FRIENDS: September 24 Palais ENTER SHIKARI: September 25 (18+), 26 (u-18) Hi-Fi ASLAN: September 30, October 1 Clifton Hill Hotel EXODUS: October 3 Corner Hotel ALEXISONFIRE: October 10 Palace PARAMORE: October 13 Sidney Myer Music Bowl BEDOUIN SOUNDCLASH: October 4 Prince Bandroom RUFUS WAINWRIGHT: October 24 Palais PAUL WELLER: October 26, 27 Forum CELTIC WOMAN: October 30, 31 Palais Theatre PETER GABRIEL, CHICAGO, AMERICA, PETER FRAMPTON: November 1 Etihad Stadium

ENGELBERT HUMPERDINCK: November 5, 6 State Theatre OWL CITY, THE ALBUM LEAF: November 10 Palais LEONARD COHEN: November 12, 13 Rod Laver Arena BLONDIE, THE PRETENDERS: December 1, 2 Palais; 4 Rochford Wines JACK JOHNSON: December 8 Sidney Myer Music Bowl BON JOVI: December 11 Etihad Stadium MUSE: December 14, 15 Rod Laver Arena THE EAGLES: December 17, 18, 21 Rod Laver Arena MICHAEL BUBLÉ: Feb 22, 23, 25 Rod Laver Arena

NATIONAL

KARNIVOOL, SLEEP PARADE, MM9: July 7, 8 Hi-Fi THIRSTY MERC: July 7 Karova Lounge; 8 Bended Elbow; 9 Corner Hotel; 23 Westernport Hotel INDIANA AVENT, JORDIE LANE, ADRIAN STOYLES, COBY GRANT, MA PETITE, EMILY ULMAN, ALUKA: July 7 Northcote Social Club MATT CORBY: July 8 Toff In Town; 9 National Hotel (Geelong); 10 Baby Black Cafe (Bacchus Marsh) LOVE CONNECTION: July 8, 15, 22, 29 Tote MIKELANGELO & THE TIN STAR: July 8 Northcote Social Club CW STONEKING, AL DUVALL: July 8 Corner Hotel; 9 Prince Bandroom RICHARD IN YOUR MIND: July 9 Northcote Social Club THE LITTLE STEVIES, BEN WELLS & THE MIDDLE NAMES: July 9 East Brunswick Club CIRCLE PIT: July 9 Espy THE DEAD SALESMEN: July 10 East Brunswick Club EAGLE & THE WORM: July 10 Northcote Social Club SALLY SELTMANN: July 10 Corner Hotel CROW: July 10 Tote MY FRIEND THE CHOCOLATE CAKE: July 10, 17, 23 Spensers Live CUSTOM KINGS: July 13 Toff In Town LITTLE RED: July 15 Prince Bandroom THE WILSON PICKERS: July 15, National Hotel (Geelong); 16, East Brunswick Club; 17 Lot 19 (Castlemaine) SHANE HOWARD: July 16 Oakleigh RSL; 17 Theatre Royal (Castlemaine) BROWN PAPER BAG (feat. RAT VS POSSUM, THE PARKING LOT EXPERIMENTS, EAST BRUNSWICK ALL GIRLS CHOIR, NORTHEAST PARTY HOUSE): July 16 Ding Dong Lounge ERNEST ELLIS: July 16 Northcote Social Club THE PEACENIX: July 16 Sandbelt Live WHITE WOODS: Workers Club FABULOUS DIAMONDS: July 17 Toff In Town CHARLES JENKINS & THE ZHIVAGOS: July 17 Corner Hotel THE NATION BLUE, A DEATH IN THE FAMILY: July 17 East Brunswick Club ASH GRUNWALD: July 18 The Loft (Warrnambool) BOYS BOYS BOYS!: July 22 One Six One VIOLENT SOHO: July 22 Northcote Social Club RICK PRICE: July 22 Wellers (Kangaroo Ground), 23 Thornbury Theatre, 24 Palais (Hepburn Springs) HARD-ONS: July 23 East Brunswick Club LOWRIDER: July 23 Westernport Hotel (Phillip Island); 24 Corner Hotel THE TEMPER TRAP: July 24 Festival Hall THE SCREAMING JETS: July 24 Hi-Fi YOUNG HERETICS: July 24 Northcote Social Club THE JD SET with WOLFMOTHER: July 29 Espy DUTCH TILDERS BENEFIT CONCERT with DUTCH TILDERS, CHAIN, KEVIN BORICH EXPRESS, CHRIS FINNEN, STEVE RUSSELL, GEOFF ACHISON, LLOYD SPIEGEL, STEVE PAGE and JEANNIE LUSHES: July 29 Thornbury Theatre SUPER WILD HORSES: July 31 Victoria Hotel THE CAT EMPIRE: August 8 Prince Bandroom; 19, 20 Palace PVT: August 12 Corner Hotel SHIHAD: August 13, 14 Northcote Social Club GLIDE: August 13 East Brunswick Club

KATIE NOONAN & THE CAPTAINS, THE JEZABELS, THE BRACKETS THE HI-FI Katie Noonan and her band The Captains are the masters of seduction, and this show at the Hi-Fi was a testament to that. After The Brackets and sophisticated indie rock band The Jezabels warmed up the audience, Katie Noonan & The Captains took the crowd on a spine-tingling voyage with a cosy showcase of songs from Emperor’s Box, with scatterings of old favourites. In a recent interview, Noonan said that when she met her band members she knew instantly she had found the right partners to make music and perform with again. The band chemistry was evident onstage, as the combined talent of guitarist Cameron Deyell, keyboardist Stu Hunter and drummer Declan Kelly resulted in an effortless, stimulating jazz rock sound. The presence of a string quartet, and two short dance performances by winners of an online competition, made the experience even more enchanting. Noonan was in fine form – she has a way of singing with her trademark soprano falsetto that moves you on a personal level, not only because of the honesty of her voice, but also due to the fact that many of her tracks are drawn from events in her own life. During the gig Noonan demonstrated her ability to play it soft or loud like an opera singer, depending on the intention of the track. The set swayed between the sad, moving numbers such as Time, a song written for Noonan’s friends who lost their child, to cheekier ones such as After The Rain, about wanting a rich love affair, but always with a sense of hopefulness. As an encore Noonan and the Captains performed a cover of Björk’s Joga, further demonstrating that Noonan is a rare talent with a voice of not only extraordinary beauty, but also versatility. Noonan once confessed that connecting with her fans at gigs and sharing in something wonderful is the ultimate high for her. At the Hi-Fi, the ‘high’ was certainly mutual. Emperor’s Box is a stunning album. But experiencing Noonan & The Captains live brings their music to another unworldly level that will almost move you to tears. Steph Wallis

EARL GREY POLICY, THE GALLANT TREES WESLEY ANNE The importance of musical ability in composition, and as a part of putting on a decent show, is thrown into the spotlight tonight at Wesley Anne. It’s not as clear cut as one band has it and one doesn’t, but the role it plays in The Gallant Trees (as secondary to songwriting and the act of a performance), compared to Earl Grey Policy (it’s all we’ve got), makes for an interesting contrast. The Gallant Trees, brainchild of singer/songwriter Joel Stibbard, are one of the most under-appreciated bands on the Melbourne scene. Playing his 107th gig since last May, Stibbard plainly has a huge affection for his songs, the audience and performance, and they combine to make a wonderful show. Backed by Chris Chinchilla on drums and Tim Woods on bass, songs primarily concern the loves of the songwriter, namely birds and social observations. While Pigeons Are The Best Headbangers has been steadily growing as a cult hit, Birds With Fangs and Visit Me Pelican also allow the band to shine while Stibbard’s earthy banter takes in an open discussion about social anxiety, hallucinations, operatic vocal solos and a frank disclosure about glasses and nose sweat. This band are clearly unlike any other and utterly of their place and time in a way so few are. Bring on the album. In stark contrast, Earl Grey Policy are about as exciting as you’d expect a band with the word ‘policy’ in their name to be. Playing a blues funk reggae fusion, with a lot of competent solos and no dynamics, this is the musical equivalent of watching someone park a sports car for an hour. EGP may be suited to an early afternoon slot at a summer festival where the vibes flow a little more loosely, but this is a Sunday night in winter in inner Melbourne and if you’re going to show off, you’d better be charismatic. Unfortunately, bandleader Andrew Ferguson calling for another meandering piano solo, cracking an in-joke or taking another wailing guitar solo over some offbeat reggae chops does not suffice. Watching talented musicians play and work with each other to create something unique can be compelling, but EGP come across as a lunchtime jam at the VCA with songs comprising verses that bookend the extended displays of musicianship.

THREE MONTH SUNSET, IOWA, THIEVES CHERRY BAR Let’s get this out of the way right now: yes, these bands are united by a love of big, swirly guitar sounds and, sure, they are all indebted at least a little to Kevin Shields and Robin Guthrie, but never does this get in the way of a glorious gig or suggest a lack of originality in composition. Meditations on a sound or field of sounds when played by people who understand them well, invariably brings a personality into the music as much as a trained jazz pianist and tonight’s line-up suggests the shoegaze well is far from dry. Thieves are a new group who channel that early-’90s British sound to glorious ends. Balancing fury and beauty, the atonal and tonal, climbing and falling basslines, riffs and melodies from chugging verses, to bridges that build up and choruses that burst into widescreen, means there is a lot to like. Vocals sit back in the mix but winding melodies shine through, most commonly from the bright 12-string guitar of Seb Hammond, but it’s singer and guitarist Patrick Robinson who leads the charge through the songs. Penultimate track Almost Over hints at the sky-carving glory this band – still in early days – are capable of. Iowa are an odd group, with a name suggesting cornfields and Slipknot that thankfully have nothing to do with the riff-heavy Dinosaur Jr/Swervedriverinfluenced sounds that ricochet around the low-ceiling and grubby walls of Cherry Bar. Songs chug and burn and the melodies slide out of layer after layer of meticulously crafted guitar; when they slow and drag, the sounds and details crackle to life with a Crazy Horse-like glow and things get very nice. Launching their first EP and in no uncertain terms owning the evening are Three Month Sunset, a band who have coalesced around the loud and ‘beauty-as-terror’ guitar of Gabriel Lewis. Lights off, a projector beam is trained on the band, monochromatic kaleidoscopic images play as the shimmering guitar, and dual-bass throb of the band begins and soon moves to a cruising altitude. When music is as loud and carefully constructed as this, the mid-gig addition of clashing vocal harmonies seem incongruous. On record, the singing is gorgeous; here the music is so loud pitching must be a problem. The EP’s opening track No Horizon is still a mesmerising triumph though and the singing barely detracts from the brilliance herein. Watch this space – Three Month Sunset are likely to set it on fire. Andy Hazel

TUMBLEWEED/THREE MONTH SUNSET THE HI-FI/CHERRY BAR There was a bit too much on in Melbourne this night to settle on any one particular gig. The proximity of Cherry to the Hi-Fi allowed for mad dashing between two of the treats on offer. Though the two we caught –Wollongong’s chosen flanno boys Tumbleweed, and Melbourne’s rising suns Three Month Sunset – differ greatly, they share a common thread with the former physically harking back to the early-‘90s grunge scene, and the latter deriving at least some influence from the same period. Three Month Sunset’s sound is a steadily contorting shitstorm of guitar effects and binary bass vibration. Early lighting effect issues threatened to derail the foursome, though to the punter the mix of epileptic strobe and error-code front lighting leant a slight postmodern edge to the performance. Their arrangements are long, multifaceted affairs – you’re allowed time to really slot yourself into the groove and bend with it. A jog to the Hi-Fi found Tumbleweed entering the stage and it took little time to whip the 75%-plus male crowd into a bourbon and sweat-induced tumult. I can’t say I was overly convinced by the opener but second-up (Sundial) Mary Jane was and always will be a classic of the grunge era. Despite every attempt to reject this as just a gimmicky throwback for nostalgia-affected 30-(and sadly 40-)somethings, which it was, there can be no denying Tumbleweed their chops and this was a magnetic performance.

Still, the freedom and passion earlier exhibited by The Gallant Trees more than makes up for later uninspired rambling. Tonight’s lessons: don’t treat a gig as a jam, and pigeons are the best headbangers.

Lenny Curley is the glue that holds this together. He rips. His solos are understated, on the down low, but the single most crucial element of the mix. At times the rhythm section strayed and some overt, extended drum fills detracted from the overall package. But then you’d just fall back to Curley, reliable Curley, dependable Curley and everything would feel just fine. That is until you remember his last band (one of the most authentic and immediate bands of the last few years) The Pink Fits have now disbanded and you think: hmm… does this really mean anything now? Or is it just fun for old times’ sake?

Andy Hazel

Samson McDougall

live@inpress.com.au

Hope Sandoval pic by Lou Lou Nutt

PBS 106.7 FM and INPRESS present

HOPE SANDOVAL & THE WARM INVENTIONS, DIRT BLUE GENE THE FORUM The stage is set for a pretty chilled Sunday evening with Irish band Dirt Blue Gene kicking off the evening, their atmospheric post-rock and country sounds soaring through the Forum. The outfit most might be unfamiliar with are essentially Sandoval’s backing band, The Warm Inventions. Their wondrously dreamy Pink Floyd-esque atmospheres immerse us in a lush psychedelic goodness that’s warming on this chilly night. Before too long Dirty Three’s Mick Turner is doing a solo turn accompanied by drummer Jeff Wegener and a bass player, who deal subtle, jazz-influenced rhythms over which Turner layers pastoral motifs. While Turner looks like Jonsi when he takes a violin bow to his guitar, the mood remains as chilled and sedate as watching the sun set on a uniquely Australian landscape. Fans are, however, waiting for Sandoval, whose distinctive voice sets her apart and places amongst vocalists like Liz Frazier and Lisa Gerrard – singers who offer something completely unique. Despite success with Mazzy Star some 20 years ago it’s hard to believe that this is the first time Sandoval has toured Australia. After yet another warning that no one is to take any photos we listen to Nina Simone and Sonic Youth in darkness before Sandoval and The Warm Inventions deign to grace us with their presence. The set kicks off with a cover of Bert Jansch’s Courtin’ Blues, before showcasing a few songs off Sandoval’s latest album, Through The Devil Softly. Seemingly embarrassingly shy Sandoval performs in darkness, resting her hand on her microphone obscuring most of her face when the light shines

An exclusive gig in a secret location.

on her. Making no attempt to connect with the audience, Sandoval and her band demonstrate that musicians don’t necessarily need to be entertainers as they quietly pump out a truly luscious sound that draws heavily from dreamy shoegazers like Galaxie 500 and Slowdive, but adds that distinctive country twang for which Sandoval is known.

FEATURING

THE DRONES

It’s hardly surprising that Sandoval has teamed up with ex-My Bloody Valentine drummer Colm Ó’Cíosóig, who plays drums and guitar tonight. Lo-fi video collages provide a hypnotic and abstract backdrop that perfectly complement each song. Nonchalant and cool, Sandoval mixes up her singing with a bit of harmonica and furious xylophone playing. A few bars into Bluebird, an expression of disgust spreads across Sandoval’s face and she exits the stage leaving her band looking confused. Ó’Cíosóig fronts to the mic and says, “Technical hitch, we will be back once it’s sorted out,” which the gentleman next to me rather amusingly interprets as “temperamental biatch”.

THE DACIOS and BATRIDER

150 double passes to be won. *

Enter when you buy a Coopers Dark Ale at these pubs:

Did Sandoval have a dummy spit? Did someone take a photo? Was her ear piece and second mic not working? Who really knows, but waiting for the band to return for almost half an hour ensures that the magic is lost. After just five songs Sandoval and the Warm Inventions are already halfway through their rather short set and don’t have much to offer besides. They return to deliver Trouble, Suzanne and For The Rest Of Your Life before again departing the stage.

STANDARD HOTEL THE CENTRAL CLUB HOTEL Fitzroy

Richmond

WILD OSCARS THE COMFY CHAIR THE RETREAT HOTEL Richmond

Confused, no one knows whether to applaud and demand an encore or leave. Five minutes later they are back with a rather brilliant version of Satellite. It is glorious while it lasts but unfortunately tonight we are only treated to flashes of brilliance that don’t really engage or connect with the audience. “At least we got to hear her sing,” one punter sighs as he leaves the theatre.

Brunswick

LABOUR IN VAIN THE GREAT NORTHERN HOTEL Carlton North

Fitzroy

COMMERCIAL CLUB HOTEL THE BRUNSWICK HOTEL Yarraville

Brunswick

THE MARQUIS OF LORNE

Guido Farnell

Fitzroy

COURT ON FILM – AGAIN We had such a great reaction to Dandy Warhols singer Courtney Taylor-Taylor’s one-sentence movie reviews last week we thought we’d bring you a bunch more. You can check out his entire archive at dandywarhols.com. I Love You Man (2009) Did a good job of making me real uncomfortable for an hour and forty-four minutes and I did laugh but only until they’d bring in the toothless indie acoustic rock songs for the Starbucks thirty-something viewers and that, of course, would totally kill my buzz. The Imaginarium of Doctor Parnassus (1979) Being quite familiar with Gilliam’s progression I feel I can safely say that this visual extravaganza was not made one iota more confusing by the untimely passing of that wonderful Heath Ledger than it otherwise would’ve been. Forgetting Sarah Marshall (2008)

Chitty Chitty Bang Bang (1968) Ian Fleming, Albert Broccoli, Roald Dahl, c’mon, there is no doubt in my mind that this is the most perfect example in its genre but just wait til the version comes out where I edit away the two songs that just don’t live up.

kwp!CPR10795

Don’t let the lame-ass “Something-ing Someone” title fool you, this flick is only about twelve lines shy of being the perfect gutbusting break up comedy of all time.

* Terms and conddititio ioons ap apply. See coopers.com.au for details. Exclusive gig date 17/7. Promotion ends at 11.59pm on 2/7/2010. 65

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BUTTER FACE Buttertime are throwing a massive party to celebrate three years and 20 members (that’s more than Spinal Tap, and Spinal Tap was a joke!). With a new drummer and new bass player, this hard funk disco rock outfit are sounding fatter than ever. Their music explores a diverse range of styles from rock and funk and reggae to house and d’n’b and breaks, and a smattering of Latin, soul and jazz vibes. They play the Night Cat City this Friday with The Jupiters. Entry is free.

SPRUCE LEE Following the Australian release and tour of her debut solo album, Phoenix Propeller, Sianna Lee (ex Love Outside Andromeda) is rugging up and settling in for a series of winter solo shows in July at the Empress Hotel. Lee will be joined by lots of fabulous and talented friends including Amaya Laucirica, The Royal Jelly Dixie Land Band, Here for The Sun, Open Fire and Lara Soulio. First show kicks off Wednesday 7 July at 8pm.

BUZZARD BLUES Piano player and singer Pugsley Buzzard takes his seven-piece band to the Northcote Social Club this Sunday afternoon to celebrate the release of his new album Wooden Kimono. The album has already been featured as album of the week on ABC Radio National breakfast show and ArtSoundfm Canberra. Pugsley Buzzard plays barrelhouse blues, New Orleans funk, Harlem stride piano served with a healthy dose of tantalising improvisation featuring snarling guitars and growling horns and vaudevillian nuance. Support comes from Paul Carey’s Trio Novo and doors open at 2pm. Entry is $20.

Sorted for E&Ps THE JSB’S ST CHRISTOPHER’S ROAD TRIP TO VEGAS Independent

AURAL WINDOW COCOON AND EPITROPOS

These self-described “three pasty kids from the Mornington Peninsula” certainly love an apostrophe and sound like someone’s spiked the goon bag. There’s a touch of Art Vs Science in the demented key melodies and something tells me they would detonate the fun button when gigging. Checkout Girl is mental (“she’s checkin’ me out from the 12 items or less stall”) – The Presets meet The B-52’s in Aldi! James Murphy (vocals/ synths/pecussion) isn’t a bad name to rock if you wanna shake up the music scene but it comes with great responsibility. Pick up an “I Hate The JSB’s” t-shirt – official band merch – at their EP launch this Friday at Revolver Upstairs.

This is definitely emotional-purge music of the ‘lock yourself in your room after a tanti and turn the volume up to 16’ variety. The galloping riffs of Don’t Turn Away and cymbal-heavy drum patterns in Fragile exhibit expert musicianship. Delicate music box sounds close Fragile and then a siren immediately breaks the spell to kick off Sweet Venom with its battling axes and call-and-response lyrics. Sheena Young’s vocals are always delivered with passion. There’s a ‘mystery’, unacknowledged remix track (Vengaboys, eat your heart out) that would best have been left in obscurity, but I doubt the Melbourne quintet will be able to recreate such sounds when they play live at Ruby’s Lounge this Thursday.

CHRIS O’NEILL ENTR’ACTE Burnside Music

GRIPPING WATER DON’T BE FOOLED

If you like The Fray, you’ll love Chris O’Neill – particularly Papercuts with its lush string arrangements, plaintive piano and chick-flick lyrics (“I feel that I have lost/Fear what I have found/I feel you dropped your halo somewhere in that crowd”. Entr’acte is O’Neill’s debut EP and he has undoubtedly invested a lot of himself into the release. He seems like a romantic, sensitive sort of bloke and co-produced this EP with his dad. (Awww.) Relaxing, fireside songs you can experience live in the Espy Basement on Thursday 8 July or at Pure Pop Records on Sunday 11 July.

Singer/guitarist/songwriter Ellie Rosenthal has some potent pipes! Far from insipid, her vocals rip through you. The instrumental interlude in Lift The Veil perfectly showcases Tony Belajin’s bass and David Bailey’s drum props. The experience of listening to this EP is intense – condemning apathy, encouraging mutiny – and several spoken word excerpts from Max Igan’s documentary The Awakening find their way into the mix (although the sound clarity of his voice isn’t great). Closing track Grow packs an emancipated whallop. Unfortunately the “gazillion” dollar withdrawal slip this cheeky trio sent with their EP couldn’t be cashed, but these sounds should pound from the Espy stage this Friday.

ON THE

STEREO Dan Kelly’s Dream DAN KELLY Expo 86 WOLF PARADE Beach Fossils BEACH FOSSILS Shake It Down THE WILSON PICKERS Welcome To Gipplsand SEAN MCMAHON & FRIENDS All I Know EAGLE & THE WORM Fifteen SUPER WILD HORSES The Boxer KELE Superbillion LUCY LOVE Anthology RAOUL MCLAY

Independent

There’s something a little bit Paul Dempsey about Peter McManus’s vocal and inventive lyrics are used to great effect here. The syncopated drum patterns and melancholy guitars in the second track, Come Around, make it easy for the listener to imagine this Melbourne four-piece having Radiohead on high rotation. The players are all proficient, particularly drummer Dave Watkins, who murders the skins to close Heavenly. The Get Go are a polished outfit and you can see if their nerves get the better of them this Friday at Yah Yahs.

LEFT ON WELLINGTON LEFT ON WELLINGTON Independent This Melbourne quintet’s singer/pianist, Luigi Lucente, has been blessed with an impressive vocal range. Some beautiful, inventive harmonies wrap up opener Blind To You and You Should Know Better has a similar feel to 1927’s If I Could. Piano-driven melodic love songs with The OC-ready lyrics, wonderfully enunciated: “Magic eight ball that’s all knowing, take another shake and try again.” The guitar solo in I Don’t Know Much suggests a heavy rocker aching for more opportunities to unleash. Head to the East Brunswick Club on Sunday 11 July and help these strapping lads launch their self-titled EP (with The Moons and Who Needs Enemies).

Its hard to get excited about much, especially when the Abruzzo carpark thermometer lets you know it’s five degrees as your riding home sans Bluey, teeth chattering award in a semblance of some grime beat, face numb, too scared to rock a full balaclava for fear or being mistaken for the Melbourne Park Gun Man; but now there is. Tonight, Wednesday 30 June, go rub your hands together for Weekend Pharaohs and The Pups at the Workers Club. Entry is $5 from 8.30pm.

Its been an eventful start to 2010 for Rushcutter, who’ve been touring around the country, including their massive 10,000-crowd show at A Day On The Green. In between gigs, Rushcutter have ducked in and out of studios to finish recording their upcoming release Foreign Soil, which one review has already described as a tune with “a classic rock sound and a contemporary pop-rock twist”. The band play Ruby’s Lounge in Belgrave this Friday with Tom Richardson Project and Chris Cavill. Tickets are $10+BF from the venue. After a slight rebuild, Slight Of Build make their very first appearance for 2010 at the Old Bar this Thursday. Hopeful that absence has made the punters’ hearts fonder, Slight Of Build are playing their first show back in anticipation of the release of their second EP later in the year. Guests include Our Anatomy and The Ovals.

Independent

THE GET GO DARK ENTWINE

WEEKEND STARTS NOW

FEEL THE RUSH

SLIGHT RETURN

EP Reviews with Bryget Chrisfield

BOOTING KATE

COUNCIL PLANS ROCK ACDC Lane gets bludgeoned with bottom end rock’n’roll this Saturday: Legends Of Motorsport and The Council are joining forces to blow the roof clean off Cherry Bar. The Council, with their double-barrelled two-piece rock’n’roll will sweat the stage up in preparation for the Legends to sweep in and assault your senses with the biggest guitars and organ-infused rock madness that money can buy. So get on down to Cherry this Saturday and shake it loose!

Pop folk chanteuse Kate Martin will be performing from her debut, Synthetic Shoes, Leather Boots, at the Edinburgh Castle this Thursday. Revealing more on each listen, the album is an eclectic and unconventional exploration of her wide range of musical influences and instrumental talents. Synthentic Shoes, Leather Boots features, in almost every song, a wide range of both male and female choral harmonies, intricately woven yet individually orchestrated. It is a complex and musically rich album created by a young woman who is talented far beyond her 19 years. Supported by Patinka Cha Cha and Emma Heeney, entry is $8 from 8pm.

Beyond Alba Varden’s relentless energy and captivating live performance lies a depth of creativity conceptualised within strong and very particular ideals. Teaming up with Gerling’s Burke Reid on their debut release, Alba Varden get set to release their Down The Rabbit Hole EP on 9 July through MGM/Green. Offering an unusual debut tinged with shades of romanticism, desire, escapism and lust, see Alba Varden performing their raw, dirty and downright sleazy, danceable rock at Ding Dong’s Tone Deaf this Saturday along with Readcoasts and Villains Of Whilhelm.

CRUSIN’ FOR BROOZER After laying an egg of pain at the Blue Tile Lounge on Saturday, the giant prehistoric bird that is Broozer is landing at Prague on High St, Northcote this Friday night, to drop some turds of quirky stoner rock! Also nesting for the evening are psychedelic Melbourne rockers My Left Boot and more. Doors at 8pm – be there or else.

MERCHANTS OF VENICE Led by husband and wife Craig and Camilla Jackson, Melbourne’s The Sirens Of Venice launch their self-titled debut album (out through Speak N Spell) at the Northcote Social Club this Saturday. Full of moving melodies and arresting moments, The Sirens Of Venice make music that is big, playful, dark, and hopeful. Best known as frontman of Gersey (who only recently came off a national tour with Pavement), Craig Jackson’s latest project was conceived through a joint love of songwriting with his actress/musician wife, Camilla. The album was produced by none other than Vince Giarrusso, from legendary Australian act Underground Lovers, along with Jed Palme. Support comes from Minibikes and Boarders and entry is $15 from 8.30pm.

ALBA IN THE HOLE

TALL ORDER Fresh from completing the finishing touches on their debut album, local alt.rock fourpiece Tall Buildings (featuring members of Gersey) are pleased to be joining kozmic voyagers The Desert Shore and acclaimed singer/songwriter D Rogers for a winter warming line-up at the Edinburgh Castle on Friday. Entry is $8 and doors from 8.30pm.

HIPSTER ORPHANAGE Rock wannabes The Orphanage join forces with a whole bunch of try-hards for a night of pomp and posture at the Empress this Saturday. There’ll be tight jeans, pointy shoes, skinny boys and buxom ladies, angry bar staff and a doorbitch full of ‘tude to make you feel fashionably unwelcome. If you don’t get your beer full of semen your money is guaranteed to not be returned to you. Doors open at 7.30pm and the line-up also boasts Dead Man On Deck, Jimmy Tait, Jack On Fire, a “secret friend band who cannot be named” and The Bluejays. Entry is $10.

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THE SCARLETT MAFIA This Friday is set to be a killer at Scarlett at the Bendigo Hotel! Murder on the dancefloor styles! Serving up the trashy goods please make way for MAFIA, Lezbellah and Chairman Meow. From 9pm MAFIA will own the venue – she is Melbourne’s hardest working hip hop DJ, having supported Dizzee Rascal, Snoop Dogg, Vanilla Ice, Spank Rock, Kid Cudi, Girl Talk and loads more. If you want to sweat ‘til ya drop, then MAFIA is the DJ for you! From 11pm is Lezbellah, the ringleader behind the infamous gay party Closet, followed at 1am by the foxy Chairman Meow, renowned for her ‘60s, ‘80s, garage and new wave sounds. Entry is $5 from 9pm.

HAVE YOU HEARD?

ON THE ROAD Ahead of their three big Hi-Fi shows next week, KARNIVOOL bassist JON STOCKMAN fills Inpress in on five of the band’s most memorable moments on tour.

MAPS TO BRISBANE Gearing up for the release of their debut album Wire Empire in October, Mr Maps have just released their double A-side single Nice Fights. To coincide with the release, the instrumental Brisbane quintet has also announced an extensive single launch tour! Catch Mr Maps this Thursday at Pony, and this Saturday at the National Hotel in Geelong. Mr Maps began in 2007 as a dynamic live ensemble featuring the beautifully crafted compositions of Chris Perren. Since then, the band have earned a reputation for transcendental live performances showcasing complex layers of bass, drums and guitar lifted by lush piano and cello, and punctuated by electronic glitches and tones. Go check them out!

STRINGS FOR INDIANA New War play Bar Open tomorrow (Thursday). HOW DID YOU GET TOGETHER? Chris Pugmire, vocals: “It was the strangest thing. I was in a parking lot in Tacoma, USA. It had just rained, and there was a cow’s head in the middle of a pile of garbage. I’m not lying, it was like a dream. I looked at the cow’s head, and then I looked into a pool of water next to me. I saw these other people, and now I live here and play music with them.” HAVE YOU RECORDED ANYTHING OR DO YOU PREFER TO TOOL AROUND IN YOUR BEDROOM? “Well, I think the bedroom is a sacred place.”

Fly The Nest is a fundraiser in aid of Melbourne violinist Indiana Avent to return to America and Canada to tour with Soko and Zachary Lucky. Whilst on tour with Gotye in Europe during 2008, Indiana was contacted by Soko who asked her to play in her band when she came to Australia at the start of 2009. That January Indiana also played with Bon Iver at the Forum, the first time that Bon Iver had ever invited a guest to come and play on stage with them live. Wednesday 7 July will see a bunch of great artists including Jordie Lane, Adrian Stoyles (The Gin Club), Aluka, Emily Ulman, Coby Grant and Indiana’s solo project, Ma Petite grace the stage at the Northcote Social Club. Entry is $10 from 7.30pm.

CAN YOU SUM UP YOUR BAND’S SOUND IN FOUR WORDS? “Mel. Jesse. Steve. Chris.” IF YOU COULD SUPPORT ANY BAND IN THE WORLD, WHO WOULD IT BE AND WHY? “Throbbing Gristle, just to hear Part Two live.” IF A HIGHER POWER SMITES YOUR HOUSE AND YOU CAN ONLY SAVE ONE RECORD FROM THE FIRE, WHAT WOULD IT BE? “You mean if you were god and made the world boring? Power is just projection of power, so I would declare myself a god and smite first, hardest, and take the other god’s record collection.” DO YOU HAVE A LUCKY ITEM OF CLOTHING YOU WEAR FOR GIGS AND WHAT IS IT? “No, but all four of us have a lucky star – Vega, Alderamin, Polaris and Eltanin.” IF YOU INVITED SOMEONE AWESOME ROUND FOR DINNER WHAT WOULD YOU COOK? “If they pleased me, borscht. If they displeased me, water casserole.” WHAT’S YOUR FAVOURITE PLACE TO DRINK IN MELBOURNE? “Lloyd’s.”

3. Not really a story, just a fascinating revelation about Steve – he can sleep anywhere and at any time at will. Highlights include passing out and slipping off a chair and onto the coffee table, where his back was resting on nothing and his arse was squashing a Whopper, and also passing out and sliding off his chair in a van and resting his arse on a half-empty carton of VB tinnies whilst the seatbelt was cutting off the circulation to his head and preventing air entering his lungs. Works well on planes.

GROUP LOVE Iconic venue the Tote reopened last week and has subsequently hand-picked Love Connection to perform every Thursday in July. The band have amassed five amazing and unmissable line-ups to suit, with supports across these shows including Otouto, Darren Sylvester, Kyu (Syd), Pets With Pets, Great Earthquake and Rat Vs Possum, to name but a few. Love Connection’s five-week residency at the Tote starts Thursday at 8pm, and entry is just $8, with fabulous DJs and a free BBQ. Also taking the stage this week are Otouto, Ev & Shags and Isle Adore.

THURS 1ST:

THURSDAY IS

. This first story takes place about eight years ago when we were national finalists for the National Campus Bands competition. Ansett had just gone down the shitter so we had a terribly boring three-day train ride across Australia to Melbourne, before being flown to the event in Hobart. If the train had derailed along the way, it would only have foreshadowed the entire experience itself. We got into Hobart at 1am and found out that the hostel we were checked into didn’t open until 8am and it was -2ºC. Awesome. We played the worst 20 minutes we’d ever played, I broke two straps and a string in the first song Fade, and after the abysmal performance we put on all we could think about was having to get back on that train. 2. Our first tour of the US in 2007 was definitely a memorable tour in itself, not only because it was our first tour overseas, but largely due to the fact that our front-of-house sound engineer Luke got married whilst there. He met his bride not two shows into the whole nine-week tour in Tallahassee and married her on the date of the second last show in Georgia. He had called his dad Baz a couple of days before to let him know, so Baz jumped on the next plane to come and see his son tie the knot. They got pulled over for doing more than 30 miles an hour over the speed limit on the way to being married and were taken to the police station where they pleaded for about three hours, laying the Australian accent on thick, until they were released. He got married with one hour to spare before soundcheck! He came home, his mates asked him if he brought anything back, he said, ‘Yeah, a wife. Exchange rate’s amazing at the moment.’

TOP 40 & COMMERCIAL PARTY TUNES DJ’S 9PM TIL CLOSE

SAT 3RD:

TRANSPORT HOTEL @ FEDERATION SQUARE 9654 8808 / WWW.TRANSPORTHOTEL.COM.AU

80’s RETRO TUNES FROM 9PM TILL CLOSE

WHO: Karnivool WHEN & WHERE: Tuesday 6, Wednesday 7, Thursday 8 July, the Hi-Fi

SUITE AS

Melbourne-based blues guitarist, songwriter and avid globe-trotter Geoff Achison plays Spenserslive this Saturday with his amazing Souldiggers band after completing his latest international tour with support Dan Dinnen. Achison is known worldwide as a jaw-dropping guitarist who employs no pedals or gadgets in his playing. His music is gutsy, organic and soulful with a singular style that has been forged from putting in scores of touring miles on planes, trains, ships and asphalt. Tickets are $20+BF from Moshtix or $25 on the door.

Following their recent album release and national tour, The Baker Suite will be returning to Melbourne to play at Paris Cat on Saturday 17 July. Straight from the heart and reminiscent of a smoky, French café, guitarist and vocalist John Baker and accordionist Gayle Buckby create a seductive and potent world full of compelling stories and lush instrumentation, carrying the listener through elegant ballads, gypsy romantica and a lurching night waltz in the rain. They’ll be joined by BJ Barker on drums and Leigh Barker on double bass.

SUN 4TH:

$5 BUBBLE & $10 COCKTAILS

FRI 2ND:

5. This year in February we did a European tour and had to travel between Finland and Sweden via the Baltic sea on a large vessel which we called the Baltanic. On board were a couple of bars, a very small casino, a shitty band playing electric polka music to 30 dancing, elderly couples, a duty free shop, our tour bus and my favourite pastime, Big Buck Safari. There was an interesting African restaurant that served a selection of African foods and meats, such as springbok and kudu. Looking off the deck, there was nothing but ice in every direction. It was freezing cold and a pretty hairy trip but luckily the Baltanic was an icebreaker capable of smashing its way across the frozen landscape.

GEOFF’S GOT THE TROTS

LADIES NIGHT DJ’S 9PM TIL CLOSE

4. Some people are aware of the band’s Fine Policy, where if you incur financial encumbrances to the band, you can either pay for it or wear a dress at the next gig. Kenny has done this, even Luke our sound engineer did it at a gig at the Northcote. I had to do it as well for leaving the band’s merch in a car in Perth when we were on the road to Geraldton and Carnarvon. At Carnarvon, I lucked out and was able to wear a Dogalog suit instead of a dress, however, I had limited vision through the mouth and it was 40ºC. After losing seven litres of water in sweat, the dress didn’t seem like such a bad idea.

SUNDAY SESSIONS DANIELLE MCDONALD

12.30PM – 2.30PM SOLO

AUSTIN BUSCH & THE GOOD REASONS 3PM – 6PM BAND

EVERY NIGHT!

2010

WORLD CUP SHOWING LIVE ON THE BIG SCREENS EVERY WEDNESDAY

WORLD CUP

FOOSBALL COMPETITION

STARTS JUNE 16 FOR 5 WEEKS REGISTER FROM 6PM GAMES START 8PM EVERY REGISTERED PERSON RECEIVES ONE FREE BEER! 67

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SOUL MATES

HAVE YOU HEARD?

Cherry Bar’s weekly soul night is celebrating its tenth birthday. VINCE PEACH, who runs the night with Pierre Baroni, explains its longevity to TONY MCMAHON. Vince Peach (left) and Pierre Baroni

45s that they themselves own. While this is something of a philosophical statement, Peach says that it’s actually more about practicality, as well as hiding how sloshed he is. “It’s actually part of the soul scene: you only play original 45s. It’s a sort of an unwritten law. Forty-fives are also far easier to play than LP tracks. The start is at one end of the record and the end is at the other, whereas with LP tracks, you’re digging around looking for the start. It can get really difficult, especially at a place like Cherry, where you tend to drink a fair few beers.”

n addition to being Melbourne’s coolest music venue generally, it’s a little-known fact that Cherry Bar, in AC/DC Lane, is also home to the world’s longest-running weekly soul night. Every Thursday for the last decade, DJs and PBS radio personalities Pierre ‘Soulgroove‘66’ Baroni and Vince ‘Soul Time’ Peach have been playing vinyl into the wee hours under the heading of Soul In The Basement. Visitors over the years have included The Rolling Stones’ entourage and Cathy Freeman. To celebrate their tenth birthday, Cherry is putting on what is sure to be a night to remember: Baroni and Peach alternating spinning duties on an hourly basis until the sun comes up. How exactly has it come to pass that there’s been ten years of soul nights at Cherry? Peach reckons divine intervention may have had a hand, but apart from that he’s clueless. “It’s a bit of a minor miracle, I think. Nobody’s ever managed to keep a soul night going this long. It’s amazing. I don’t know how it happened. And it feels like it could go for another ten years even. It’s crazy. People get off on the music, I suppose. Nobody else does what we do.” According to Peach, the best thing about being part of musical history such as this is that it affords him unlimited bragging rights. “It’s something I’m very proud of. And I make sure my contemporaries in the UK know all about it. They’ve always had soul nights on over there. It’s always been the most popular underground music scene in the UK. Paul Weller and all of these guys are into it as well. They put nights on. We hope that when Paul Weller’s over here for his next tour that he might do a little spot.” One of Soul In The Basement’s most interesting features is that Peach and Baroni only play original

Talking of Cherry, Peach says that it’s the nature of the venue itself that is the main contributing factor to Soul In The Basement’s longevity.

The JSB’s play Revolver on Friday. HOW DID YOU GET TOGETHER? James Murphy, vocals/synth: “We were all contestants on Deal Or No Deal.”

LONG FOR LINDSAY

“Really, I think that the reason it’s been so successful for so long is because it’s been at Cherry. There’s a good vibe there, everybody knows it’s a non-violent, friendly venue. That’s the most important thing, or as important as the music. People feel safe there. I mean, Cherry Bar’s Cherry Bar. Everyone in Australia knows how great it is.”

Folk noir troubadour Lindsay Phillips returns for his first show proper since the May release of his debut longplayer Varning this Friday at the Wesley Anne. Special guests for the evening The Orbweavers will display their haunted daydream harmonies, whilst Angel Eyes examines the depths of solitude via his one-man brand of epic doom psychedelia. Doors open at 8.30pm and $7 will see you in.

As well as being an obvious good-time environment, Soul In The Basement also has something of a learning atmosphere, with Peach and Baroni subscribing to the notion of ‘one they know/one they don’t’ DJing.

DEATH PROOF

“Well, it’s one they know, one they’re going to get to know. Hardly a day goes by when I don’t get records landing on my doorstep from somewhere around the world, so I’m always introducing new stuff.” In parting, Inpress wants to know what Peach sees as the single best thing about Soul In The Basement. His answer is simple and straightforward. “It’s the music,” he says. “One of the greatest things that happens there is when you get the whole place rocking and everybody’s singing along. It’s amazing. It happens with Marvin Gaye’s Ain’t No Mountain High Enough or Gloria Jones’ Tainted Love. There’s nothing in the world quite like it.” WHAT: Soul In The Basement WHEN & WHERE: Thursdays, Cherry Bar

CRAFT SPREAD Art:Noise takes over Revellers North in Fitzroy for some free art and noise-making shows. Get crafty while hearing a soundtracks of great live music for the next two weeks. This Thursday sees locals Red Hymns, Jaguar Spring and Beloved Elk take to the stage and the following Thursday 8 July you can catch Zombirds, The Enclosures and The Lights kicking up a storm. Entry to both is free – all you need to take is your creative brain for some art-making fun!

A band that has already made a big impact in very little time, Death Audio will be playing one more show in Melbourne before heading in for a long and uninterrupted onslaught of studio time that won’t see them back on the live local scene for some time. After a start to 2010 that has seen the guys play Australia’s biggest heavy music festival Soundwave, Death Audio’s show is set to be a definite do-notmiss for 2010. Go and wish them well on their anticipated break in the studio when they play the East Brunswick Club this Friday with Eye Of The Enemy, who are finally set to unleash their debut album, Weight Of Redemption. Entry is $12 from 8pm.

FIVE ON THE SIDE The Black Hill Five are a lovely little rock’n’roll band from Melbourne. They’ve recently supported Epicure at their last ever Melbourne show, and have gigs coming up with Dan Kelly. But this month they’ve been playing every Wednesday at the Birmingham Hotel. Get down for the last show of their residency tonight, Wednesday 30 June, with The Messengers and The Swiftones. Entry is $5 from 8pm.

PICK UP THE SIGNAL Prepare yourself for a stunning line-up of Melbourne’s finest post-punk bands at the Brunswick Hotel this Saturday. This will be a night of night of spiky post-punk styled tunes, audience participation, don’t-care dancing and power-tool abuse. Creating a stir wherever they go with catchy tunes and witty lyrics are the Anglo-Australian Signal X, joined by the sardonic white noise of dashing young gadflies The Rhetorics and the cutting DIY-garage-clang of Toyota War. Entry is free from 8.30pm.

The internationally acclaimed and immaculately dressed Mikelangelo heads to the Northcote Social Club on Thursday 8 July with his latest project – surf‘n’western band The Tin Star. With original tunes and a unique outlaw style of twanging instrumentals and sordid tales of love, death and despair this is the very last chance to catch them as they say farewell and head to warmer climes for the winter. This farewell gig is set to be an extravaganza – with Mikelangelo guesting with the Sljivovitz Orchestra and a special guest on theremin. Plus, just announced, Captain Frodo will be taking his acclaimed saw playing and a new rope act to the venue to join The Tin Star for this night only. Tickets are $15 from the venue or $18 on the door from 8pm.

The Shock Of The New return to the Order Of Melbourne this Saturday for an excursion into the dark depths of dystopian synth and indie music. Join Kapitolina & Kiti on Saturday as they take you on a trip though synth-pop, new beat, neue Deutsche welle, electronic body music, dark wave, kosmische, Italo, Dutch electro, new wave and synthgaze. Entry is free from 9pm to 3am. New stuff this month from Crystal Castles, A Hundred In The Hand, Trans Am, !!!, Fabulous Diamonds, Black Cab, Holy Fuck, College, Zola Jesus and Desire.

HAVE YOU RECORDED ANYTHING OR DO YOU PREFER TO TOOL AROUND IN YOUR BEDROOM? Murphy: “We’ve just finished our debut EP, which we recorded with Kunsthaus Records on the Mornington Peninsula.” CAN YOU SUM UP YOUR BAND’S SOUND IN FOUR WORDS? Jake Milligan, vocals/guitar/synth: “Elvis Presley plus synth.” IF YOU COULD SUPPORT ANY BAND IN THE WORLD, WHO WOULD IT BE AND WHY? Murphy: “Living or dead?” Milligan: “Dead I’d have to say Howlin’ Wolf.” Hamer: “For me it would have to be the MC5.” IF A HIGHER POWER SMITES YOUR HOUSE AND YOU CAN ONLY SAVE ONE RECORD FROM THE FIRE, WHAT WOULD IT BE? Murphy: “Frank’s Wild Years by Tom Waits.” Milligan: “Tago Mago by Can.” Hamer: “The Man-Machine by Kraftwerk.” DO YOU HAVE A LUCKY ITEM OF CLOTHING YOU WEAR FOR GIGS AND WHAT IS IT? Murphy: “Jake and I tend to end up wearing ugly, ugly shirts. It’s become a tradition.” Hamer: “Jelly sandals.” IF YOU INVITED SOMEONE AWESOME ROUND FOR DINNER WHAT WOULD YOU COOK? Hamer: “Depends on the scale of their awesomeness. For like a four, probably mi goreng. For someone up in the eight to ten region, probably a lasagne of sorts.” WHAT’S YOUR FAVOURITE PLACE TO DRINK IN MELBOURNE? Murphy: “Cookie.” Hamer: “The Order Of Melbourne.” Milligan: “Alone, in a dark corner. Yeah, I’m THAT guy.”

WARM YER HEALS As the winter chill continues, Dancing Heals are set to keep you warm and fuzzy with a return show back north at the Workers Club on Thursday 8 July after a long flirtation with the south. Drawing comparisons to the likes of Teenage Fanclub and Doves, and their forthcoming single Out Of This just starting to grace the airwaves, the five-piece is a fresh but accomplished face on Melbourne’s live circuit, gathering pace with their melodic and memorable tales of nostalgia, angst and lust. Joining them will be the familiarly spectacular Skybombers and newcomers Red Berry Plum. Dancing Heals’ forthcoming new single, Out Of This, will be available on iTunes on 26 July.

This Sunday, the Bendigo Hotel in Collingwood welcomes NSW all-girl outfit Shiny Shiny, a brand new three-piece that has been especially created to be queer, visually exciting and musically brilliant! Two of the band’s members have recently returned from performing at festivals and venues in the UK. Patty makes the beats and keeps the girls in line, and also does vocals and jumping about. Bec plays guitar, keys, sing, and performs fancy dance moves. Melania plays the guitar, keys and vocals, and fancy dance moves too. With support from White Amsterdam and Tinka, the stage will be loaded up with talented, female artists! Music kicks off at 3pm and it’s free!

SHOCK THERAPY

Murphy: “It was crazy – turned out Jake lived really close and we just started jamming.”

Murphy: “You’re both strange.”

QUEER AND SHINY

MIKELANGELO, DUDE

Harley Hamer, drums: “Yeah, James and I were sitting in the crowd together and got talking with Jake about music after we didn’t get picked at the start.”

ALEX FROM SCHOOL Swinburne Radio hosts a band night extravaganza on Thursday at the Bendigo Hotel! Featuring sets from local bands Alex Anonymous, Vincent and We Will Adapt as well as cheap jugs and other specials, this event is sure to be a hit! Take all your friends and get rowdy at the Bendigo in Collingwood. Doors open at 8.30pm and entry is $5.

JUST LIKE HONEYS There are glossy finished bands and there are matt finished bands. The House Of Honeys are definitely the latter, with big ballsy rock but none of the typical ego. The House Of Honeys have been on a musical journey of exploration that’s seen the trio refuse to stand still, maturing and growing ever bolder as a rock force to be reckoned with. Get come down to Yah Yah’s this Sunday to celebrate their forthcoming debut EP. Joining the party will be the mighty Red Rockets Of Borneo and the ferocious Indian Mynah to blow the roof off Yah Yah’s. Entry is free from 5pm.

live@inpress.com.au

PRAY TO SWAMPLORDS

SCHOOL-NIGHT PLAGUE

Hailing from the subtropics of Queensland, touring on the backs of dolphins and drinking coconut juice instead of morning coffees, The Swamplords are a ranchero surf rock band nurturing vintage tones and sub-Saharan melodies. The band has been performing countless headline shows throughout Brisbane, and is now set to release their EP for their Melbourne Tiki tour. Playing “thrashy surf blues, Afro-no wave explosions and crooner melodic waves of harmony”, The Swamplords will headline Yah Yah’s this Thursday, supported by The Beat Disease, The School Of Radiant Living and Constant Mongrel. Doors at 9pm.

Plague Doctor knows the true meaning of the blues. He’s seen scorpions crawling on broken glass. He’s woken in the gutter with the planets whirling above him. His magic undergarments are soaked in liquor and wax. Join Plague Doctor tonight, Wednesday 30 June, as he caps off a month of Wednesdays at the Old Bar, featuring music from above and beyond the grave. Plague Doctor is a scifi pre-apocalypse blues ballad explosion machine playing the soundtrack for these strange times on terror-firma. Now that’s a Wednesday night out!

BILLY’S A VILLAIN Rockabilly surf thrash out of Brisbane, Villains Of Wilhelm are fans of brevity, with songs barely stretching to three minutes. Like the Stray Cats on huge doses of mephedrone driven by the beat of Meg White’s drum, a live set by this lot is like watching the Muppets Band go thrash. Villians Of Wilhelm play the Birmingham Hotel this Thursday with special guests! Entry is $5 from 8pm.

IT’S WINTER, BITCHES

COME ON ALEX! Alex Hallahan’s live show is an impressive hybrid of folk, alt.country and soul, sewn together by his hand and stamped with his unmistakably eclectic style – his band are wolves that haunt, they leap and bound and bite and tickle. Hallahan and co take up residency at the Edinburgh Castle each Sunday afternoon in July, playing brand new songs. It’s free in the front bar, with two sets from 5pm.

WELLINGTON WALK Drawing from a rich tapestry of influences and sounds, Left On Wellington have created a dynamic and unique blend of poetic pop and powerful alternative indie rock. With their dramatic flavour, soaring melodies and infectious hooks they are already creating waves of followers. Ranging from edgy melancholy to prime-time power ballads they, do not serve to disappoint. Join them as they unleash their debut self-titled EP at the East Brunswick Club on Sunday 11 July with The Moons and Who Needs Enemies.

Oh yes, it’s cold outside, but that’s no reason to avoid indie favourites Winter Street when they take their intense live set and tunes from their new EP to the warm halls of the Workers Club on Thursday 15 July. With comparisons ranging from Editors to Bloc Party, the band will be delivering a phenomenal set to keep you warm that fateful winter’s night. Joining them will be the pop frenzy that is Loon Lake and melodic powerhouse The Ocean Party. What more could you need? Doors open at 8pm.

WILLS AND A WAY Since the independent release of her new EP, Somebody For Everyone, in May this year, Ainslie Wills and her four-piece band have been busy doing a mini-tour throughout Victoria, NSW and Tasmania. For the first four Thursday’s in July they will be taking their live set to the Empress Hotel with a special guest each week – go spend a cosy evening with Wills and send the winter blues away.

CLAVIANS STUMBLE HOME After four massive weeks headlining Revolver as part of their June residency and in celebration of releasing their debut self-titled EP, electrifying jungle-punk duo Clavians will take the stage one last time tonight, Wednesday 30 June, to cap off their epic five-week stint. Go join in the party as Clavians scuzz out alongside the rock’n’roll thrashings of Death Valley Band, the grungy grit of the Dead Sets and the post-punk explosion that is Big Gun. What a fanatical month – over 15 awesome local bands, numerous Scatter Brain DJs and all for a gold coin donation on entry. Revolver doors open at 8pm.

HAVE YOU HEARD?

Magic Silver White play the Builders Arms tonight (Wednesday). HOW DID YOU GET TOGETHER? Jojo Petrina, vocals/keys/bass: “I assembled the band from people I knew and worked with already. Lucky for me they were all keen to join in – all I had to do was ask!” HAVE YOU RECORDED ANYTHING OR DO YOU PREFER TO TOOL AROUND IN YOUR BEDROOM? “I’ve recorded a bunch of songs, for myself and also for other people, usually producing or writing arrangements. For MSW, I record vocals, bass and other instruments, like piano, baritone guitar or my Moog, then add other parts using soft synths – things like harpsichords and synthesisers; instruments that I don’t own or can’t get my hands on.” CAN YOU SUM UP YOUR BAND’S SOUND IN FOUR WORDS? “Transcendental easy listening. That’s only three, hope that’s okay.” IF YOU COULD SUPPORT ANY BAND IN THE WORLD, WHO WOULD IT BE AND WHY? “Hmm, maybe Francoise Hardy, Viens era, circa 1971, or late ’60s Mina with full band. I guess I love the idea of being part of a grand production – full band, back-up singers, the works. Something we don’t get to see so often now.” IF A HIGHER POWER SMITES YOUR HOUSE AND YOU CAN ONLY SAVE ONE RECORD FROM THE FIRE, WHAT WOULD IT BE? “Sorry to sound like a smart arse, but I’d be grabbing my hard drive to make sure I had all my music with me. I just can’t narrow it down to one.” DO YOU HAVE A LUCKY ITEM OF CLOTHING YOU WEAR FOR GIGS AND WHAT IS IT? “High heels.” IF YOU INVITED SOMEONE AWESOME ROUND FOR DINNER WHAT WOULD YOU COOK? “My partner makes amazing pizza, so I’d probably get him to whip up a few while I fi xed the drinks.” WHAT’S YOUR FAVOURITE PLACE TO DRINK IN MELBOURNE? “I can’t say I have one place that I prefer to frequent. At this time of year I guess I might go to the Supper Club – somewhere cosy.”

live@inpress.com.au

SHORT FAST

DEPARTMENT

Hardcore and punk with STU HARVEY shortfast@inpress.com.au

All things under 18 with KENDAL COOMBS accessallages@inpress.com.au

OF YOUTH

REPORT

So it’s mid-June and the announcements for Soundwave 2011 are already starting to come through. Three bands have been announced by Soundwave already – Welsh post-hardcore act The Blackout were the first, followed by Canadian metal act Protest The Hero, and then on Sunday night The Ataris broke the news they’ll be heading back to Australia to be part of the festival next year. The dates for the event have also been announced: Brisbane – 26 February, Sydney – February 27, Melbourne – 4 March, Adelaide – 5 March and Perth – 7 March. New York Hardcore legends Madball are set to enter the studio this July to begin work on their first album in almost three years. Tentatively titled Empire, the veterans explain: “Madball has come a long way from being street kids to becoming very established in our genre, and even beyond the music. We’re finally at a point in our life where we’re taking control of our things, where as before we didn’t have control of some things or didn’t choose to have control. We have the feeling that we’ve built a little empire for ourselves with our band, brand, and different endeavors.” The band have signed a deal with Good Fight Music, the new label set up by the team previously behind Ferret Records when it was at its peak. Just less than twelve months ago Jim Lindberg left his post as singer and main songwriter for Pennywise. After 20 years fronting the band Lindberg offered little explanation as to the reason behind his departure, simply stating “my time in Pennywise has come to an end”. He then thanked everyone who had supported him and the band over the years and wished the band the best of luck. Soon after, Zoli from Ignite replaced Lindberg and Pennywise are currently recording their first album with the new frontman. As we wait to hear exactly what Pennywise 2.0 will sound like, Jim Lindberg has launched his new band, The Black Pacific. The band are signed to SideOneDummy Records and speculation is an album will follow in the next couple of months. You can get your first taste of The Black Pacific, a song called The System, at myspace. com/blackpacific. As you would expect with such a distinctive voice, The Black Pacific does not sound too dissimilar to Lindberg’s previous work. Old mate Chuck Ragan isn’t too good with keeping news to himself. When he was here a couple of months ago he was mentioning on stage that Hot Water Music would return to Australia later in the year. Now, while on tour in the UK, it seems Ragan is sharing news again, telling fans

THE

RACKET Metal, heavy rock and dark alternative with ANDREW HAUG theracket@inpress.com.au A little more Metallica Australian tour goss: according to Metallica.com the opening acts are set to be Lamb Of God and Baroness. Soulfly have just confirmed a return tour to Australia in September, bringing with them City Of Fire featuring Fear Factory vocalist Burton C Bell and bassist Byron Stroud as well as Jed Simon (ex-Strapping Young Lad). System Of A Down frontman Serj Tankian will release a new studio album, titled Imperfect Harmonies, on 7 September via Serjical Strike/ Reprise Records. Tankian says, “Imperfect Harmonies could be classified as rock because it is punchy with many peaks throughout, but the instrumentation is somewhat different. Though there are live drums, bass, and some guitars, the driving aspects are electronic and orchestral. It’s quite unique in its sound palette. This is, in essence, music that has sat in the vat and matured to a ripe sensation and is now ready to serve. So far, Imperfect Harmonies is shaping up to be as powerful and musically eclectic as its predecessor. I have been calling the music ‘electro-orchestraljazz-rock’ because it has all of those aspects in prominence within the songs. A few are more stripped down, but the majority of the songs have this huge wall of sound presented in a way I’ve never heard before. It’s not common to have a song that is both electronic and orchestral since one is synthetic and the other organic, but I found a way of meshing a lot of these colours together.”

that a new Hot Water Music album is in the works! No further news at this stage, but I’m sure the story will develop as Chuck continues to tour! Trevor Keith of Face To Face let his Twitter followers know last week that recording of the band’s eighth album, to be titled Laugh Now Laugh Later, is complete: “New Face To Face record is in the can. Heading back home for a few days, then it’s on to the Warped Tour.”

SHORT FAST REPORT TOP 5. The Amity Affl iction. Congratulations to the boys from Gympie/Brisbane, their second album Youngbloods debuted at number six this week! Make sure you get a ticket soon if you want to catch the Youngbloods Tour, because all shows will sell out! Against Me! Tour. The new album may be far from their best work, but rest assured Against Me! are still one of the best live acts in the world. Tickets are on sale now for 8 October at the Hi-Fi. Norma Jean. New album Meridional is out in a couple of weeks. The band are talking it up –“We honestly believe [Meridional] is not only our heaviest, but also our best album to date!” –and after listening to it a few times already I have to agree. It hits stores 16 July. Blink-82. Rehearsing in June and July, then a couple of shows, then into the studio to work on a brand new album. Mark Hoppus confirmed on his blog “new Blink-182 music is on the way” and word is once those couple of shows are done, no more until 2011. The Longest EP is a collection of 30 NOFX EP tracks from 1987 to 2009, plus rarities, out of print stuff and previously unreleased outtakes. Looks like this will serve as the follow-up to their collection from 2002, 45 Or 46 Songs That Weren’t Good Enough To Go On Our Other Records. Vinyl fans should keep an eye open for pre-order details as the vinyl will be a strictly limited pressing. Catch Stu every Wednesday night at 10pm presenting Short.Fast.Loud on Triple J. It’s almost time for the SFL Mid Year Report, so email you five favourite punk/hardcore releases of the first half of 2010 to shortfastloud@triplej.abc.net.au, then tune into the show next Wednesday 7 July as Stu counts down the best of the year so far.

As reported last week, Korn’s boycott of BP has started a groundswell of like-minded musicians intent on making a statement against the devastation in the Gulf caused by the company’s record-setting oil spill. The following top touring artists have joined the cause and have committed to avoid the use of fuel sold by BP or its affiliates on their upcoming tours for 2010: Disturbed, Rob Zombie, Megadeth, Black Label Society, Anthrax and Hellyeah. “This is the worst thing that has ever happened to the environment in US history,” said singer Jonathan Davis. “From everything we’re hearing about now, it’s become clear that BP cut corners to put profit ahead of safety. The message we are sending should tell all the oil companies to spend the money and take the necessary precautions to make sure this doesn’t happen again. I’m really proud that this many artists have already come on board, and I hope more will join soon.” According to Metal Insider, Maryland rockers Clutch will enter Magpie Cage Studios in Baltimore with J Robbins next week to record approximately half a dozen songs for an acoustic EP, to be released before the end of the year. Alaskan group 36 Crazyfists will release their new album, Collisions And Castaways, on 27 July via Ferret Music. According to a press release, Collisions And Castaways is “a fierce, dark, crushing collection of 11 tracks that rip from the speaker like a runaway train”. Arguably the band’s heaviest effort to date, it also happens to be a melodic affair and the kind of record 36 Crazyfists and Brock Lindow have wanted to “write ten years ago,” says the singer. “If this was the end of the band, this record is exactly what I wanted our band to do at one time,” Lindow said. “Maybe a lot of people will think we’re just metalcore, but it’s so much more than that. It’s a heavy record with some big choruses and everything we’ve been about for a long time with a cool metal feel to it that I’ve been wanting.” British extreme epic power metallers Dragonforce

Congratulations to the PBS/RRR Megahertz for getting over the line in a fight to the death, do-or-die tussle at the Community Cup on Sunday. At half time Megahertz co-captain Jacinta Parsons told the Espy Rockdogs to watch out because they were lulling them into a false sense of security, and you know what, we all laughed, but the Megahertz put on a gallant final half and taught us all a little something about hope and, believe it or not, footy. The real winner on the day, however, was music. After a rough and tumble year for music in Melbourne, the Community Cup was just what we needed to show how diverse and inspiring the local scene really is. As you may have noticed over the last few weeks the FReeZA Push Start Battle Of The Bands heats are in full swing and we have quite a few round one winners on our hands. From Warnambool Less Than 33 took out the Barwon South West heat at the start of the year, followed by Prelude To Doomsday, who took out the Eastern Metropolitan heat back in April. That same month The Shackles took out the Hume heat, followed by Orchestrate The Sky, who won the second Hume heat in May. The first of the Northern Metropolitan heats saw The Kilniks move into the regional finals. Heats are continuing to happen across the state, so check out your local FReeZA committee for dates and registration to get in on the action.

FRIDAY The first of the Southern Metropolitan FReeZA Push Start Battle Of The Bands heats is happening from 6pm at the Cranbourne Public Hall. Entry is $10 on the door.

SATURDAY The Amity Affl iction, Misery Signals, Confession and Flood Of Red Tickets play at the Hi-Fi from 2pm. Tickets can be purchased from thehifi.com.au or on the door. ID must be shown as this gig is strictly under-18s.

SUNDAY Carpathian and guests Ghost Town and The Vultures play at the Seaford Community Hall from 1pm. Tickets are just $15 on the door.

MONDAY The Amity Affl iction tour rolls into Ballarat for an all-ages show at the Karova Lounge.

have announced the release of their first live album. Titled Twilight Dementia, it is confirmed for a 13 September release, and features 13 tracks, including such pivotal numbers as Fury Of The Storm, Operation Ground And Pound, My Spirit Will Go On and Valley Of The Damned. Shredmeister Herman Li comments: “For years, fans have been asking us to record a live album, but honestly, we never really had the time due to our worldwide touring commitments and studio album recording. However, due to the overwhelmingly positive feedback from fans on the Ultra Beatdown World Tour, we decided to finally put some real thought into it... The idea was to record every single show from the last leg of the tour, so we could pick the best take of each song without needing to do any overdubs in the studio, keeping the whole thing ‘live’, like all the classic live metal albums. These recordings really capture the raw sonic energy of a Dragonforce show in fine detail. It is so real that you can hear the noise of the crowd and experience the show as it was that night – you can even hear the guitar pedals being stepped on!”

TOURS, TOURS, TOURS Om – Sunday 11 July, National Hotel (Geelong); Friday 16, the Hi-Fi Testament – Friday 6 August, Billboard Slash – Wednesday 11 August, Festival Hall Napalm Death – Sunday 5 September, the Hi-Fi Soulfly, City Of Fire, Incite – Wednesday 8 September, Palace Mayhem – Thursday 23 September, the Hi-Fi Overkill – Friday 24 September, the Hi-Fi Andrew Haug hosts Triple J’s The Racket every Tuesday from 10pm – triplej.abc.net.au/ racket. Email theracket@inpress.com.au

live@inpress.com.au

THE

6s & 7’

BREAKDOWN Pop culture therapy with ADAM CURLEY Following last week’s vent/rant about the state of the ‘hype machine’, it’s comforting to get to the end-of-the-month music wrap-up and realise that, over the last four weeks, there have been releases that have naturally found themselves repeatedly on the Breakdown playlist. One in particular arrived in a clump of media quotes and was listened to and put aside, only to keep finding its way back in those moments when you just need an album that knows who you are – equally solace-providing and strut-causing. Wild Nothing’s Gemini came out through Spunk at the tail end of May and is in some ways an ode to the masters of melancholy and in others a very personal and un-self-conscious manifesto by a romantic and a dreamer. There are definite shades of Ride and Smashing Pumpkins and The Cure and even Sonic Youth to Virginia one-man act Jack Tatum’s songs, all used in tasteful measures to give a sense of knowing and security. Lines can also be drawn to Ariel Pink’s ‘chillwave’ revolution (the one he hates to talk about, understandably), but the album is essentially made up of naïve, bedroom guitar lullabies; the kind of everlasting sadness and joy. And when Tatum warbles (in lo-fi harmony) “Boys don’t cry, they just want to die… Can I still be your pessimist?” in Pessimist, the moment of intelligent reference and re-imagining is lost to honest emotion. (And that’s enough ‘honest emotion’ on my part, thanks.) In Melbourne, the younger Reptiles (as opposed to Nick Barker’s re-formed band) finally produced a follow-up to their rough and raw 2008 EP Smell My Skin, which hinted at a band unafraid to step out of their local influences to attempt a melody of their own but also to go all-out with their onstage bravado in a way Australian bands are rarely forgiven for. (Which, in my book, is a very good thing: entertainment and art do not always have to come with a shrug and shy smile.) If that EP was a grimy rock’n’roll beastling, then their newie, Come Get Me!, is that beastling grown into a bucking mutant horse. There are gothic country rhythms added to the swampy and deep-voiced drawls and scowls and some sharp hooks at work – I and others I know have woken up repeatedly with one of the songs stuck in our heads. Also in Melbourne, Fabulous Diamonds made very good on their promise of a second album, II

ROOTS DOWN

Blues ‘n’ roots with DAN CONDON rootsdown@inpress.com.au

BONNAROO PART II Clearly not as much of a drawcard to the Bonnaroo audience as he is to so many Americana fans around the globe, Dave Rawlings and a couple of his mates, together as Dave Rawlings Machine, kept things pretty causal. But the fact his mates are his partner, the absolutely stunning Gillian Welch, and Old Crow Medicine Show’s Ketch Secor, Willie Watson and Morgan Jahnig, meant that this was one bullshit good hoedown. Material from all over the place was covered – obviously tracks from Rawlings’ debut album A Friend Of A Friend, but also Welch’s Look At Miss Ohio, Old Crow’s I Hear Them All, Neil Young’s Cortez The Killer and Woody Guthrie’s This Land Is Your Land among many other good time tunes. Welch and Rawlings are an unstoppable force when they play and sing together and the addition of the Old Crow guys fleshed things out perfectly. The fellas even added a little bit of choreographed dancing to the show – it was just an all round hoot. Australian promoters, pay them anything they want – just get them out here! The enormous What Stage was not the right environment for reggae legend Jimmy Cliff – the poor guy mustn’t have been able to see much but a whole lot of open space. It didn’t seem to hinder his performance though; the 62-year-old bounded across the stage while his massive band held down his classic tunes with perfection. Many Rivers To Cross and I Can See Clearly Now got the biggest crowd response, but tunes like King Of Kings and Wild World were executed best. While Cliff was decked out in a fluoro yellow tracksuit, his entire band wore Jimmy Cliff t-shirts – hilarious. The Avett Brothers captured Australian hearts when they made their first visit to our shores earlier this year, but it was pretty obvious that they’d won over America quite a while ago as an enormous crowd assembled to see their

(out on Chapter Music), as hypnotic as it is deeply, strangely melodic and complexly and masterfully arranged. All that makes it sound like a difficult listen, or at least an overly cerebral one, and they are perhaps the most musically neurotic band in the country, but there’s a wonderful naivety to Nisa Venerosa’s choir-girl voice and some intensely body-feeling synth drones and rhythms made by her bandmate Jarrod Zlatic that pull the album up to being an all-over therapeutic massage. That the album can be listened to intently or stuck on in the background, providing very distinct experiences, says a lot about the way they write, creating sonic ecosystems from laboured detail. From Perth, the 6s & 7s project from songwriter Josh Fontaine releases its debut album, Choose Sentinel Blooze, on 3 July (through Fuse) and it’s a pretty awesomely warped and schizophrenic (not in an obscene ‘crazy, man’ way; in the sense that disparate and often troubled voices interject the songs at times, the tunes changing tack and shifting melodies in condensed, paranoid movements) pop album. There is, as has been suggested, probably some Xiu Xiu in there, as well as The Magnetic Fields, but who cares about references when the result is a strong, uncompromising new Australian voice. Even though it’s getting plenty of attention elsewhere, it feels like it’d be remiss of me not to again mention Sleigh Bells. Their Treats album is now out in Australia (through Liberator) and is providing some madcap dirgey beats and cooing cheerleader vocals for getting-ready-fora-night-out time. On that pile, too, for some easy listening, is the OST to The Runaways (out through Warner), the film fantasy of the creation of the ‘70s glam rock band. It’s a soundtrack for those discovering proto-punk, with Suzi Quatro, MC5, Bowie, The Stooges and the Sex Pistols mixed in with The Runaways and Dakota Fanning singing not-too-terrible (if sweetened up) versions of Cherry Bomb and California Paradise. A base but still excellent selection.

twilight set at this year’s festival. They kicked off with punk-like ferocity on The Fall before shifting into a steadier gear for the majority of their set – playing material predominantly from their latest effort I And Love And You. The most wicked, dirty, funked up, psyched out, otherworldly riff emanated from the speaker stacks late on the third night before Stevie Wonder was revealed standing on the stage, keytar strapped on, grinning widely as he belted out this incredible slice of funk. What followed was nothing short of life-affirming, Wonder and his enormous band launching into Did I Hear You Say You Love Me and Master Blaster (Jammin’) before they stopped for breath. Uptight (Everything’s Alright), For Once In My Life and Higher Ground all sounded incredible and made the 100,000-strong crowd seem like a bunch of friends. Wonder’s deep rendition of the Parliament classic Give Up The Funk (Tear The Roof Off The Sucker) into the classic Motown standard I Heard It Through The Grapevine could well stand as one of the finest moments in funk and soul to happen anywhere this year. Signed, Sealed, Delivered I’m Yours, My Cherie Amour and Superstition all sizzled, certainly moreso than the cover of Give Peace A Chance, which was performed with the right intentions, but a little unnecessary. The final days began with an incredible set of droning Malian blues from the much adored Tinariwen. It was hard work watching these guys while standing in the midday Tennessee sun, but the handful of people who braved the heat were rewarded with a deep, heavily groovy but often very raw set of Tuareg music. It didn’t take long to fall into a deep trance-like state while watching, which in turn meant I got incredibly sunburnt… When he was out here in 2008 it was so exciting to see John Fogerty still singing and playing with vitality, and thankfully nothing has changed. He ripped through a set of Creedence classics (name a Creedence hit – he played it), his own little way of inviting us onto his porch, looking over the bayou. The songs are timeless and we’re so lucky that this iconic songwriter is still performing them. Believe it or not, there’s more! Hit streetpress.com. au/spa_touring for full reports and happy snaps.

live@inpress.com.au

COMMITTAL HEARING

DINGOES GO CAMPING

VINCE STEALS SOULS

The Caravan Music Club (located at the Oakleigh/ Carnegie RSL in Oakleigh) continues its showcase of musical delights with the all-star Model Super Orchestra featuring Sean Kelly, Billy Miller, Jack Howard, Cal McAlpine, Mark Ferrie and James Black this Friday night! That’s huge! Shane Howard then launches his new album Goanna Dreaming at the Caravan on Friday 16 July, while Barb Waters & The Mothers Of Pearl are showcasing their new album Buffalo Mountain Girl on Sunday 18 July. And just announced, The Dingoes with special guest Mick Thomas play the Caravan on Wednesday 4 August. Go and check out the beautiful old stage and candlelit seated theatre style setting and hear some amazing music while you’re at it. See caravanmusic.com.au for show and ticket details.

After massive third birthday celebrations last month, Soul-A-Go-Go is desperate to get their party on once again. This Saturday at the Johnston in Fitzroy promises to be one for the purists with an all-star line-up of Melbourne’s best soul and funk selectors. The Soul Room features your favourites Vince Peach, Pierre Baroni, Richie1250 and Daniel Harvey, who recently strutted his stuff on the turntables at an open decks night at Gertrude’s Brown Couch. The Funk Room sees DJ Manchild surrounded by Melbourne’s freshest and funkiest female DJs, PBS’ Miss Goldie and Emma Peel and welcoming back to Soul-A-Go-Go, the one and only Blackbird. Entry is $5 for PBS members or $10 general from 9pm.

The Committal boast high-end screams coupled with vocal harmonies, dirty and melodic guitars and post-hardcore drums with beat-driven basslines. The band haven’t been on the live circuit for long, but its members have plenty of tales to tell of touring, playing festivals, supporting international acts and getting media exposure, including regular airplay on Triple J, as well as overseas airplay. Catch them when they play Revellers North in Fitzroy this Saturday night with special guests. Entry is $10 from 8pm.

On Thursday 8 July, head to Gertrudes Brown Couch and be lavished with a buffet of local Victorian produce as some exciting up-andcoming bands get together for a show. En Tout Cas, Winter St and Left Feels Right are joined by Newcastle math-pop outfit Long Island Sound to combine scrumptious winter melodies with experimental delights to appease your live music appetite and warm you up like a slow cooked indie pop casserole on a chilly night. Doors open at 8pm and entry is $8.

LISA PLUS THREE Four distinct voices get together for a show at the Builders Arms this Friday. Lisa Richards is an award-winning Texas-based singer/songwriter (originally from Townsville) who is teaming up with Melbourne songwriters Liz Stringer, Suzie Dickinson and Tracy McNeil to present a night of song swapping. “It’s an opportunity to meet other artists and share our work with each other and with the audience in an intimate environment. It’s always a very magical experience,” Richards said. Entry is $20 from 8.30pm and will mark Richards’ first ever gig in Melbourne.

BEARDS COVER DONG Forget Movember, July is all about beards as Adelaide legends The Beards stop off at Ding Dong Lounge this Friday on their national tour for a beard trim and rock’n’roll pamper. You see, The Beards are all about… about beards. In fact they’re ardent advocates of beards and sing rollicking bluesy rock songs about – you guessed it – beards! Like ZZ Top duck walking with Chuck Berry, you have to see these guys to believe it. Joining the night are The Working Horse Irons and Deadly Are The Naked. Doors open at 8pm – BYO beard. Entry is $12.

CHERRY’S SOUL FRUIT Cherry Bar in ACDC Lane celebrates a decade of soul at Cherry with the Soul In The Basement tenth birthday bash this Thursday night! The night is the longest running weekly soul night in the world! This Thursday from 8pm to 5am catch Saskwatch live. as well as PBS icons Vince ‘The Prince’ Peach and Pierre Baroni, who’ve been playing nothing but original 45 RPM soul 7”s at Cherry for ten soulful, sexy and sinsational years. Get there, celebrate, dance and no doubt pick up at the sexiest Thursday in Melbourne ever.

ROCK YER LIFE Revolver Rock is Melbourne’s longest running rock retro electro cheese nights and is happening once again tonight, Wednesday 30 June. For the last three years it has been the place to go for a dose of your fave rock and ol’ school tracks. Located at the iconic Revolver Upstairs, Revolver Rock is the place to beat the mid-week blues with your mates, and eat some great Thai food while you’re there! Join DJs Spidey, Mary M, Adalita (Magic Dirt) and Whitt (Spiderbait) every Wednesday night for a night you wont forget – until next week!

COLLECT THE SET

HIT ON THE BOSS Black Devil Yard Boss (featuring exMammal members Zane Rosanoski and Pete Williamson) are busting out their blues rockinfluenced grooves this Friday at the Espy Gershwin Room. Black Devil Yard Boss hit the stage at 9pm sharp, with Freestate, Tread and Gripping Water also taking the stage.

MEMORIAL DAYS Lee Memorial are launching twin singles Tip Toe and We Let Our Women Down – the first recordings with their new line-up – at Yah Yah’s on Saturday 10 July. Dispersed across the country for the early part of 2010, the band bounced tracks from living rooms to workshops, warehouses and back again, layering up the parts along the way. American producer Kramer (Galaxie 500, Low, Will Oldham) came on board to add his silky touch to We Let Our Women Down, while the band took charge of production duties on up-tempo Tip Toe. In support at the show are Tassie darlings, Transcription Of Organ Music, and good friend Machine Translations (solo). Entry is $12 or $15 with a CD.

JACKING GENRES Jack’s Castle are an indie pop ambient prerock post-folk surf (boogie board) minimalist four-piece band based in Melbourne. They are one of the best indie pop ambient pre-rock postfolk surf (boogie board) minimalist bands in the country. Some say the world. They play the Evelyn Hotel with guests James Sidebottom and Louis Rowe this Friday. Doors open at 9pm.

The Songwriters Collective is a group of premiere Melbourne singer/songwriters with great passion for their craft. Each artist is uniquely talented, and has a magnetic stage presence that captivates and inspires their audiences. Songwriters Collective events aim to provide an ambient environment where both stage artists and audience alike can connect on a more intimate level, and 10% of earnings from each gig go to genuine causes (such as the Asylum Seekers Resource Centre). Songwriters Collective events are for all those who love quality music and/or making a positive impact in the community at large. Tonigh, Wednesday 30 June, at the Evelyn Hotel, catch Ben Smith Band, Chris Caville, Shaun Kirk and Jess Heiser all sharing their songs.

ROMANCE WITH OLDIE Nathan Hollywood will be playing his first show in over a year at the Old Bar this Saturday, however under a different guise. His new band Romance is an electronic duo, which draws influence from the perverted sounds of Prince and the desolation of early Cure. It’s something like a love affair on ketamine. Romance will be joined by the insatiable Darren Sylvester and by the cashmere tones of Fatti Frances. Entry is $8 from 8.30pm.

WASTED TALENT Wasted Truth are a bass/drums two-piece who’ve been playing in Australia for around two or so years. They combine influences of thrash, power violence and straight up punk to create a powerful surge. Alongside them at their last ever show at the Workers Club this Thursday are three amazing Melbourne acts, all varying – Pathetic Human, Marco Fusinato and Occult Blood. It will be an excellent and noisy evening. Entry is $8 from 8.15pm.

HOLY SHIPS! Possibly four of the best bands going around Melbourne at the moment are appearing on the one stage at Pony this Friday. Barely out of their teens, Ships Piano thrash, wail and holler through a set full of charisma and enthusiasm. No one can deny their brash and catchy tunes. After selling out their EP launch in May, the infectious post-punk rhythms of In Tongues will leave you gyrating on the dance floor and still wanting more. Cast & Crew melt together to create some noise in order to assault the ears of their listeners. Opening the show, Baryshnikov will suck you in with their upbeat style of DIY pop. Doors at 9pm. Hell yeah!

HAVE YOU HEARD?

SHOTGUN KABOOM! On Friday 11 June, Melbourne’s newest alternative club Shotgun holds its grand opening party! Live bands Forgiven Rival, Foucault and So Last Summer take the stage, plus guest DJ City Escape, and there’s the official album launch party for Therefore I Am (USA) with giveaways all night thanks to Fist2Face. com.au! Get in early for bar specials between 8pm and 10pm, plus there’s so much more shiz the crew have got planned you will just have to get down and see! Shotgun happens on the second Friday of every month at the corner of Ferntree Gully and Jells Rd, Wheelers Hill. Entry is $15 or $12 VIP list (get on your own VIP list and get paid to party – contact guy@murderscene. com.au). Hit facebook.com/shotgunclub for details.

GANGA BUSTERS Ganga Giri launches the first single from his upcoming album Good Voodoo at the East Brunswick Club this Saturday. The single, Bayami, is an upbeat electronic roots fusion that features Ganga Giri on vocals with Gumaroy singing in Indigenous language. Ganga Giri is renowned across the world for his dynamic and exuberant live show. He’s toured the USA, Canada, Bali, Portugal, Germany, UK, Spain and many other countries, and performed at festivals such as Glastonbury, Joshua Tree and Vancouver Folk Festival. This show will also be the last before he leaves Australia on a two-month tour through Italy, Germany, Canada and the USA. Support comes from Bass Bin Laden, Culture Connect and DJ Papa Stylee .Tickets are $15+BF from the venue or $18 at the door from 8.30pm.

SUGAR FROM AMAYA

SYN SWEET 16 All I Know EAGLE & THE WORM Before You Judge Me THE BLACK LIPS Golden Town SUPER WILD HORSES Time To Wander GYPSY & THE CAT No More Tears THE PANICS Live In The Dark THE BOAT PEOPLE Jacqueline Susan PERNICE BROTHERS Fiery Stars BEARHUG Greezy CHARLIE 2NA Leo BARB Home Is For The Heartless PARKWAY DRIVE Want Everything THE VERSES Beautiful People THE BOOKS Born Again RICHARD ASHCROFT Crossfire BRANDON FLOWERS When We First Met HELLOGOODBYE

LOVE IN LONG ISLAND

Amaya Laucirica will debut new tracks from her LP when she supports Mark Lanegan on Wednesday 7 July at the Corner and on Friday 9 at the Espy. An intriguing and beautiful blend of country, folk, rock and pop, Laucirica’s debut LP, Sugar Lights, was RRR’s Album Of The Week. However, as bold as Sugar Lights was, it’s Laucirica’s latest LP, Early Summer, that truly defines her sound. Early Summer is denser, more detailed and darker than its predecessor, yet at the same time, it retains the rawness, hope and beauty which made Sugar Lights such an enticing debut. Tickets for both gigs from the venues.

DESERTERS FOR STAYERS Deserters’ much talked about debut record, Pale Morning, is still doing the rounds. The band were recently hand-picked by Rolling Stone magazine as one of the hot new acts to watch in 2010 and will grace the stage at the Retreat Hotel this Thursday with good mates Royston Vasie. Deserters features members of The Pictures, The Anyones and Dead River Deeps. Pale Morning will be for sale on the night. Entry is free!

Chemistry Set play Penny Black on Saturday and the Empress on Sunday. HOW DID YOU GET TOGETHER? Denny Cruse, vocals/guitar: “We formed about five years ago when my brother Tim pledged his support to my dream of starting a band. Since then we’ve been through 1,000 line-up changes... I like to think the current line-up is the definitive Chemistry Set.” HAVE YOU RECORDED ANYTHING OR DO YOU JUST PREFER TO TOOL AROUND IN YOUR BEDROOM? “A little of both. I love mucking about with my son and making demos at home with him using Logic. Our guitarist Derek does the same at his home using a Sony program. We plan to release a ‘proper’ EP very soon, which was recorded by my friend Lee Cardan, who is a talented guitarist with the band Blue Panther.” CAN YOU SUM UP YOUR BAND’S SOUND IN FOUR WORDS? “For modern pop enthusiasts?” IF YOU COULD SUPPORT ANY BAND IN THE WORLD WHO WOULD IT BE AND WHY? “I’m in love with Dirty Projectors right now. I saw them at the Hi-Fi earlier in the year and they only confirmed their genius in my eyes. In a perfect world Talking Heads would re-form and pluck us from obscurity for a support slot...” IF A HIGHER POWER SMITES YOUR HOUSE AND YOU CAN ONLY SAVE ONE RECORD FROM THE FIRE, WHAT WOULD IT BE? “I’d rather go up in flames with my CD collection than be forced to choose just one!” DO YOU HAVE A LUCKY ITEM OF CLOTHING FOR GIGS AND WHAT IS IT? “I have a lucky plectrum. I swear I’ve had that thing for a decade. I constantly lose it but it always turns up in the end. I may have to retire it one day soon.” IF YOU INVITED SOMEONE AWESOME ROUND FOR DINNER WHAT WOULD YOU COOK? “My culinary skills are sadly limited. Maybe a pasta bake, with a whole lot of alcohol to wash it down. Or burritos – even I struggle to fuck them up.”

live@inpress.com.au

INFLUENCING CATS

MENTAL IN THE COUNTRY

Direct Infl uence have completed their debut album tour in support of War In My Kitchen across a mammoth schedule of 19 shows throughout Australia and NZ. As a result of some huge performances and chuffed punters, DI will be returning to the road again soon, but in the meantime they have returned home to Melbourne to play several new shows for longtime supporters and new fans alike with a four-show mini-residency at the Night Cat venues across two weeks in early July. Catch them at the Night Cat Fitzroy on Friday 9 and 16 July, and at the city venue on Saturday 10 and 17 July, with special guests each show!

Mental As Anything will return to Victoria in a couple of weeks time to play their songs, old and new at a bunch of mighty fine venues. Tonight, Wednesday 30 June, they play the Gateway Hotel in Corio from 8pm (ph: 5275 1091); this Thursday they play Wellers at Kangaroo Ground from 8.30pm (ph: 9712 0266); and on Friday they roll into the Sandbelt in Moorabbin (ph: 9555 6899). Might be a good excuse for a road trip to see your old mates?

REDCOATS MAKE YA DEAF

BAREBONE MOUNTIN’ With roots in melodic pop, rock, folk and country, The Barebones mix solo acoustic and full band mode for a night of powerful musicality at the Empress Hotel this Friday night. Performing songs from their debut EP, due out in August, The Barebones explore questions on modern life and love. In support is the sprawling rock poetry of Edwardian gents The Rostovs and opening the night is Revolver & Sun.

UNGUS, NO F Progressive funk rock pop psychedelia outfit Ungus Ungus Ungus have been crafting a unique fusion of styles for three years. The band features the saxophone, guitar, vocal and drumming sound creations from funk rock jazz fusion outfit Fuji Collective, a six-year young group two albums deep and also hailing from Sydney. Having recently played at Peats Ridge Festival, and toured via Melbourne and the Adelaide Fringe festival, Ungus Ungus Ungus are bringing their first full-length album, Giftwrapped Landmine, to Pony for their album launch show this Saturday with guests You And Your Music, Found Heads (featuring Jumbledat) and Good Suns. Doors open at 9pm.

Holy rock’n’roll balls Batman – the Tone Deaf party crew are ready to do it all again at Ding Dong Lounge this Saturday night! Getting you in the groove as headliners on the night will be the brain-shattering Sabbath meets Led Zeppelin rock beast that is the mighty Redcoats! Joining them for some mind-bending space jams are the psychedelic Alba Varden, the sonic assault of Fangs and the psychobilly surf thrash of Brisbane’s Villains Of Wilhem. Make sure you get down early as opening up the night are Tone Deaf’s latest discoveries, Kingswood. As ever, the Tone Deaf DJ crew will be pumping out the tunes ‘til 5am. Get your tix from dingdong.oztix.com.au or hit up tonedeaf.com.au/live/ to get in at mates rates.

3PBS TIPSHEET InnerSpeaker TAME IMPALA Alfalfa Males Once Summer Is Done Conform Or Die HARD-ONS Next Stop Soweto Vol 3 VARIOUS ARTISTS The Bride Screamed Murder THE MELVINS Ye Fre Mi Richy Pitch RICHY PITCH Lloyd Miller & The Heliocentrics LLOYD MILLER & THE HELIOCENTRICS The Garden RUTH MOODY Prevenge HUORATRON Fish Market Part 2 CHALI 2NA My Volcano RICHARD IN YOUR MIND

STEVE’S BIG TICKER

CHARLES’ BLUE BALL

MEOW MEOW

After the success of last year’s sold out Blue Atlas Winter Ball, Charles Jenkins is back with his band The Zhivagos to celebrate the second Winter Ball at the Corner Hotel on Saturday 17 July. Jenkins will be joined by a red-hot roster of musical guests including Nick Barker, Rebecca Barnard, Rob Craw, Stephen Cummings, Suzannah Espie, Georgia Fields, Angie Hart, Davey Lane, Jeff Lang, Ash Naylor, Kat Spazzy, Rob Snarski, the mighty Zhivagos and more. Get frocked up and rock up to soak up some Winter heat with a stunning line up of Melbourne’s fi nest musicians peforming all their latest and greatest and blowing the lids off a bunch of their faves! Get tickets from the venue.

Hobart’s The Native Cats return to Melbourne for a special one-off gig with buddies The UV Race and Super Wild Horses as they launch the vinyl version of their awesome album Always On at the Birmingham Hotel this Saturday. With a crunchin’ drum machine and bass guitar and the genius lyrics of Peter Escott, The Native Cats have made friends in Australia and beyond with their hypnotic and awkward electronic pub rock. Having left an impression last time they were in town for the 2008 Flip Out! Festival the guys will be back with new songs from their upcoming second album. Entry is $10 from 8pm.

If superbly crafted pop rock and great songwriting is your thing, then look no further than Steve Lane & The Autocrats. Tickertape is the fi rst release from The Autocrats’ forthcoming album and will be officially launched at 2pm on Sunday 18 July at the East Brunswick Club, in a special matinee show. And direct from Darwin, the support act will be the luscious Jess Ribeiro & The Bone Collectors in intimate ‘duo mode’. Tickertape – along with B-side Dark Side Of Sunday – is available as a free download from myspace.com/stevelaneandtheautocrats.

GET IT NOW The Get Go are a four-piece rock pop band formed in Melbourne a bunch of years ago. They have been described by some of Melbourne’s music identities as being masters of melody; their aqua delaydriven guitar progressions mixed to power emotive vocals are the motive behind such claims. The lads have had a reasonably good time of it since their formation and their first EP release Dark Entwine is a testament to their hard work. It will be launched this Friday at Yah Yahs with supports Saint Jude and Money For Rope. Doors open at 9pm and entry is $10 (or just $15 with a copy of the EP).

live@inpress.com.au

Lazy Susan

HOWZAT! Local music news by JEFF JENKINS

THE DADS ARE ALRIGHT Clem Bastow recently pondered the pitfalls of an artist being labelled “adult contemporary”. “Not because there’s anything wrong with it,” Clem wrote in Inpress, “after all, the AC category at the ARIAs is regularly the most interesting, but because it must be a bit like being described as having a ‘great personality’ in the face of the more exciting genres’ flashiness.” Paul Andrews, the singer in Sydney band Lazy Susan, laughs when his band is called “dad rock”, adding, “It would probably be sad if we were still singing about taking drugs and having crushes on girls who look like Joan Baez.” Lazy Susan’s fourth album, Places That Made Us, is out on Friday. Yes, it’s a grown-up record – there’s even a song called Responsibility Of Love, while another track, Ghost, is about trying to avoid ex-lovers – but it’s as thrilling as any pop album you’ll hear this year. It’s funny and heartbreaking,

nostalgic and melancholic, with memorable melodies and lines that leap out. “Liberace had a favourite saying,” Paul sings, “make sure you’re sleeping with whoever’s paying.” “I have to admit I have no idea if Liberace actually said that,” Paul confesses. “I came up with that line and it struck me that it was something he might have said.” Paul takes inspiration from anywhere. Recently, he saw a friend write on Facebook that she was having a “James Coburn Weekend”, watching his movies on DVD. “What a great idea for a song,” Paul thought. “I’m determined to write a song off the back of that: ‘I had a James Coburn weekend and a Donald Pleasence night ...’” Like all the great bands, Lazy Susan has more than one fine songwriter. Guitarist Pete Wilson is Paul’s Forster to his McLennan. Coincidentally, The Go-Betweens played their part in the making of the new album. One summer, Paul stood behind violinist Amanda Brown and was transfixed by the “costume marks on her back”, which ended up becoming a line on the album’s closing song, I Can’t Wait. “When we were all at high school and getting into The Go-Betweens, I think we all had crushes on Amanda Brown, am I right?” About seven years ago, Paul wandered off the Hopetoun

stage and bumped into Go-Betweens drummer Lindy Morrison. She said: “I’d love you to meet my friend, Amanda Brown.” Paul didn’t tell Amanda that he’d written a line about her, but he, Pete and then bass player, Duncan Young (who left Lazy Susan to focus on his acting career, appearing in Farscape and Ghost Rider) spent the night drinking with Lindy and Amanda and were later joined by Ronnie Peno. “It was awesome,” Paul recalls, “one of the best nights we’ve had in the band.” Paul still occasionally sees Amanda at gigs and “my heart still misses a beat”.

CHART WATCH

Places That Made Us opens with one of Pete’s songs, Easy Targets, which is about cryptic crosswords. Pete believes the world is split into two camps – those who do cryptic crosswords and those who don’t. Pete does them, Paul doesn’t. Once asked who he most admired, Pete replied: “Mick, Keith, Rod Stewart, Phil Ceberano and those people who drive around town in trucks with billboards on the back.” His favourite indulgence? “Waxing, rice pudding and Rod Stewart.” Pete also contributes the sparkling Don’t Get Too Excited, which was inspired by a line uttered by Tony Soprano: “Every day is a gift. But why does it have to be a pair of socks?” Every Lazy Susan album is a gift. For hardcore fans, their debut, 2001’s Long Lost, is like Weezer’s Pinkerton – it will never be topped. But Places That Made Us comes close. “Dad rock” has never sounded so cool.

Closure SCARLETT BELLE (38, debut)

Kylie’s new single slips from 14 to 22. We No Speak Americano YOLANDA BE COOL (number five) All The Lovers KYLIE MINOGUE (22) iYiYi CODY SIMPSON (27) Lying AMY MEREDITH (28) Unbroken STAN WALKER (30)

Baby, I’m Gettin’ Better GYROSCOPE (40) Sia lands at two, while Thirsty Merc arrive outside the top 10. We Are Born SIA (number two, debut) Youngbloods THE AMITY AFFLICTION (six, debut) Intriguer CROWDED HOUSE (nine) Mousetrap Heart THIRSTY MERC (14, debut) Down The Way ANGUS & JULIA STONE (15) Compass MARK VINCENT (23) Iron Man 2 AC/DC (26)

HERTZ SO GOOD, REPTILES ROCK AFTER THE SHOW With a comeback that had Howzat! recalling the 1983 Grand Final, the Megahertz stormed home to win the Community Cup by a point – their first victory since 2005. Surely, this will be enough to save coach Neil Rogers’ job? He is believed to have delivered the finest half-time address since Ron Barassi at the 1970 Grand Final. The Megahertz were goalless in the first half, but Patrick Delves inspired the greatest comeback since John Farnham, with Stu Farrell scoring the winning goal with the final kick of the day. Rockdog Nick Barker then delivered a blistering set with his re-formed Reptiles. The gig was a one-off, but it’d be great to see the Reptiles return to their homeground, the Espy, or how ’bout a gig at the Corner?

Immersion PENDULUM (27)

HOWZAT! PLAYLIST Don’t Get Too Excited LAZY SUSAN Closer To You REBECCA BARNARD Avalanche BRITISH INDIA Your Wedding Day PRINCESS ONE POINT FIVE (Sure Beats) Goin’ To Pieces NICK BARKER & THE REPTILES

gigguide@inpress.com.au

Ben Carr Trio, Darrin Archer Quartet 303 Ben Smith Band, Chris Caville, Shaun Kirk, Jess Heiser Evelyn Hotel Bermuda, Silent Screams, Buried In Verona The Spanish Club Bitter Sweet Kicks Cherry Bar Clavians, Death Valley Band, Deadsets, Big Gun Revolver Upstairs E-Wah Lady, Simon Gardner, Charles Donahue Gertrude’s Brown Couch Extortion, Faceeater, Rort, Collapsed, Trench Sisters Arthouse James Morrison, The Idea Of North Forum Theatre John Flanagan & The Begin Agains, The Stilsons Wesley Anne Little John’s Bluegrass Sessions Marquis Of Lorne Hotel Luna Girl, Gen Finnane & Flora Smith The Drunken Poet Magic Silver White, Clue To Kalo, Great Earthquake Builders Arms Hotel Mental As Anything Gateway Hotel Open Mic Bender Bar Open Mic with Matt McFarlane Brunswick Hotel Plague Doctor, Mass Cult Suicide, Sunny The Magosapher The Old Bar Saskia Sansom, Joel Silbersher, Microflora Empress Hotel Sex On Toast, Mandek Penha The Toff In Town Single Twin, Running Away With the Circus Edinburgh Castle Hotel Tetuzi Akiyama, Candlesnuffer / Sean Baxter, Candied Limbs, Shit To The Spirit, Cured Pink, DJ Defenestration Horse Bazaar The Blaselies, Fransis Plagne, Far Concern Bar Open The Bowers (Duo Show) The Standard Hotel The Vintage Suits First Floor

THU 01

Ainslee Willis, Yffer Empress Hotel Alex Anonymous, Vincent, We Will Adapt Bendigo Hotel Art Noise Reveller’s North (downstairs) Built On Secrets, While The City Sleeps, Aral Window, Dynon Road, When We Fall, The Severity Ruby’s Lounge Carpathian Next Changing Falls, The Blue Swimmers, Paint Me A Pheonix Arthouse Dave Graney & The Lurid Yellow Mist, The Dames Grace Darling Hotel Dog Trumpet, JVG Guitar Method East Brunswick Club

Grunt Bucket, Skywest & Crooked Retreat Hotel Hi-Life Wedding, Vixia, A Friend Of Mine, DJ Lo-Tek, 3181 Thursdays Revolver Upstairs Ida Braim, Special Guests Evelyn Hotel Impregnito, The Final Cut, Jester Crew, Humidity Entertainment Esplanade Lounge Jade Leonard Kaye Sera’s BiZARRE Karaoke Brunswick Hotel Kate Martin, Patinka Cha Cha, Emma Heeney Edinburgh Castle Hotel Ladies Night Transport Hotel (Fed Sq) Mad Polly, The Gems, Courtney Barnett 303 Mental As Anything Wellers Mr Percival, Jack Nobody Northcote Social Club New War, TT.o (Pi-o), Breathing Shrine Bar Open Overload Poetry Night The Drunken Poet Riverside Travellers The Spanish Club

THREE MEN, ONE BUCKET This Thursday night, the Retreat Hotel welcomes loveable lads Gruntbucket for the first time (Mikey Madden, Tim McCormack and Dave ‘Suit’ Watkins) with help from guitar/drum duo Skywest & Crooked (featuring Ramblin’ Van Walker and Jo Brockman). Friday night sees The Deserters and friends Royston Vasie with DJ Dave The Scot to keep you dancing ‘til 3am. On Saturday the Retreat sees The F100’s rocking the front bar from 7.30pm and then Sunday you can head down and hear Ben Smith launch his brand new CD with help from El Moth & The Turbo Rads from 7.30pm. And don’t forget Bogan Bingo is back on every Monday night from 8pm, it’s free to enter but be warned, it’s adults only with a high possibility of swearing and nudity. See you there!

GOOD MOURNING The Mourning Sons return to the stage after a short break following the successful release of their debut single from their forthcoming album, Pipedreams. The boys will be putting it on for young and old with their rockin’ guitar onslaught doing the 2am slot at Pony on Friday 9 July (actually Saturday morning), followed by a show at Cherry Bar with Wicked City on Saturday 10 July. The band are currently finalising arrangements for their next single release, Ramble, which is expected to come out in August. Rock Aerobics, The Beat Disease, School Of Radiant Living, The Swamplords, Pauli Douglas Yah Yah’s Saskwatch, SOUL 10th BIRTHDAY Cherry Bar Slight Of Build, Our Anatomy, The Ovals The Old Bar Songlines NAIDOC Acoustic Sessions, Deline Briscoe, Guests Bender Bar Stephen Cummings Union Hotel Brunswick Steve G. Mileham III w/ Cassie La Forge, Tall Tim Woods, Jakksen Fish, Bois et Carbons Wesley Anne Sunny Albeau The Toff In Town Tailor Made For A Small Room, Tequila Mockingbirds, Extreme Wheeze Builders Arms Hotel The Ben Smith Band The Great Britain The Kickers, Orange Room, In The Woods, The Messengers Ding Dong Lounge The Third Estate, House Of Leaves Esplanade Basement Trjaeu, Mr Maps, Caught Ship, Slowdance Pony Ungus Ungus Ungus Blue Tile Lounge Wasted Truth Show, Occult Blood, Marc Fusinato, Pathetic Human Workers Club

Zoe Frater, Ronny Ferella Trio, Ben Hauptmann, Jordan Murray, Ian Whitehurst, Carl Pannuzzo Bennetts Lane

FRI 02

Amy Cordle The Satire Club April Maze Grind ‘n’ Groove Bar Art of Wor, Amirala, Volyton, Sarah Saunders The Spanish Club Butter Time, The Jupiters The Night Cat Celadore Memorial Hall (Yarra Glen) Dead Actors Club, Villains of Wilhelm, Jinja Safari, San Fran Disco Esplanade Lounge Death Audio, Eye of The Enemy, House Of Thumbs, Feed Her To The Sharks East Brunswick Club Destruktor, Dawn Of Retribution, Wreak, Desecrator Barwon Club Earl, Jika, Sandor Brunswick Hotel Gaylord Lovelace, Smoke Machine, The Open Fires, The Anti Socials Grace Darling Hotel Graf Orlock, Robotosaurus, Coerce, Dangers Arthouse Gut, Vice Grip Pussies, Bitter Sweet Kicks Cherry Bar

Heirs, Scul Hazzards, Black Widow, Loamlines The Old Bar Jack’s Castle, James Sidebottom, Louis Rowe Evelyn Hotel Jade Leonard Kaye Sera’s BiZARRE Lindsay Phillips, The Orbweavers, Angel Eyes, Little Sisters Of The Poor Wesley Anne Lisa Miller, Frally, Tash Parker Corner Hotel Lisa Richards, Suzie Dickinson, Tracy Mcneil, Liz Stringer Builders Arms Hotel Live Music Reveller’s North (downstairs) Mental As Anything Sandbelt Hotel Mezzanine BluAfterGlow Model Super Orchestra, Sean Kelly, Billy Miller, Jack Howard, Cal McAlpine, Mark Ferrie, James Black Caravan Music Club Poprocks at the Toff, Dr Phil Smith The Toff In Town Rushcutter, Tom Richardson Project, Chris Cavill Ruby’s Lounge Ryan Meeking & The Few, Matheson, Tom Kline Northcote Social Club ‘Scarlett’ Queer Girls night, DJ M.A.F.I.A., Lezbellah, Chairman Meow Bendigo Hotel Shane Howard St Brigid’s Hall Ships Piano, In Tongues, Cast & Crew, Baryshnikov, Bombing Angels, Applejack Pony Solid Light, Hey Presto, Jslyde, Bronson Loop Son Of A Gun Chair 14 Sons Of Lee Marvin, Dom & The Dead Beats, Boss Charlie The Public Bar Tenpenny Joke Reveller’s North (upstairs) The Beards, The Working Horse Irons, Deadly Are The Naked, DJ Stone Love Ding Dong Lounge The Blow Waves, Lovertits, Ghetto Pussy, Godzilla, Mummy Complex w/ Agent Cleave, John Pants Esplanade Basement

What are you doing AFTER DARK on July 17? Visit coopers.com.au for all details. 76

The Desert Shore, Tall Buildings, D. Rogers Edinburgh Castle Hotel The Deserters, Royston Vasie, DJ Dave The Scot Retreat Hotel The Fuck Fucks, Fred Negro Bar 362 The Get Go, Saint Jude, Money For Rope, Adalita Yah Yah’s The JSBs, Johnny Rock, The Limits, These Patterns, Tomaki Jets Revolver Upstairs The Original Snakeskin Builders Arms, early show The Rostovs, Barebones, Revolver & Son Empress Hotel Tin Can Radio, Yeo, San Salvador Workers Club Tony Johannsen & The Land Of Plenty Gertrudes Brown Couch TOP 40 & COMMERCIAL PARTY TUNES Transport Hotel (Fed Sq) Ungus Ungus Ungus The Horn Vicuna Coat, Johny Gibson, Duncan Graham Bender Bar White Boyz Can’t Funk Bar Open

SAT 03

80’s RETRO TUNES Transport Hotel (Fed Sq) Acoustic Inc Great Ocean Hotel Actor Slash Model Northcote Town Hall Appetite for Death Attraction, Shout At The Bastards, Velocity, Overload Esplanade Gershwin Room April Maze Burrinja Café Ash Grunwald, Jordie Lane Corner Hotel Atomic Moon Ruby’s Lounge Barons Of Tang, Good Ghip, The Stillsons The Grace Bandroom Benny Walker, Tom Richardson, La Mauvaise Reputation Wesley Anne Black Jesus Experience, Dj Cassawarrior Bar Open

Blueline Medic, Hawaiian Islands, Following Sea Arthouse Bum Creek, Blank Realm, Table Mountain, No Zu, Tasty Cakes Yah Yah’s Celadore Pure Pop Records Celadore, Holliava, Fly By Wire Workers Club Chris Wilson Union Hotel Brunswick Council, Legends Of Motorsport Cherry Bar David Hosking, The Killjoys Chapel Off Chapel Delivery Boy, Guests Bender Bar Dreamboogie 303 Fergus McAlpin w/ George Hyde Edinburgh Castle, early show Ganga Giri, Bass Bin Laden, Culture Connect, Papa Stylee East Brunswick Club Geoff Achison & The Souldiggers, Dan Dinnan Spenserlive Glittergang, Ken Eavel Barwon Club Heather Stewart Trio The Drunken Poet Hugh Feehan Reveller’s North (downstairs) Jade Leonard Kaye Sera’s BiZARRE Jay Howie Grind ‘n’ Groove Bar Joy Fm’s Dj Liz, Michelle Parsons, Louise Bendigo Hotel Koshowko, Winduptoys, Apell, Dj Zaziz Builders Arms Hotel Look Who’s Toxic, Fatal Flaws, Bitchslap The Public Bar Megan Kent, Kate Price, James Dobson Edinburgh Castle Hotel Mental As Anything Theatre Royal (Castlemaine) Mission Control, Sambrose Automobile, Hollow Everdaze, Poon Dj’s, The House deFROST, Andee Frost The Toff In Town Mysterious Travellers Thornbury Theatre N-Tice BluAfterGlow Ownkind, Tinman, In Volume, The Charge Evelyn Hotel Phil Para Bar 362 Phil Para Esplanade Lounge Plum Crazy Barwon Heads Hotel

kwp!CPR10778

WED 30

Tin Can Radio, Heartbreak Club, Simone Gill Band, Jessica Paige, Little Fish Esplanade Lounge Weekend Pharoahs, The Pups Workers Club

Wed. 30th (Wine, Whiskey, Women) 8pm: Luna Girl 9pm: Gen Finnane & Flora Smith Thurs. 1st 8pm: ‘Overload’ Monthly Poetry Night Fri. 2nd 6pm: Traditional Irish Music Session with Dan Bourke & Friends Sat. 3rd 9pm: Heather Stewart Trio Sun. 4th 4pm: Jules Boult & Chris MAc 6.30pm: Sime Nugent Tues. 6th 8pm: Weekly Trivia

All Shows Always Free! The Drunken Poet, 65 Peel Street (Directly opposite Queen Vic Market). Phone: 03 9348 9797 www.myspace.com/drunkenpoets 77

gigguide@inpress.com.au Romance (Nathan Hollywood), Darren Sylvester, Fatti Frances The Old Bar Spinifex Rose, Kizzy, Signal X, The Rhetorics, Toyota War Brunswick Hotel The Amity Affl iction, Misery Signals, Confession, Flood of Red HiFi Bar The Animators, Sophie Patterson & Band, Mad Polly Empress Hotel, Arvo Show The Bois Et Carbon Builders Arms, early show The Committal Reveller’s North (upstairs) the F100’s, DJ Xander Retreat Hotel The Glorious Bastards The Post Office Hotel The Good Ship, The Stillsons, The Barons Of Tang Grace Darling Hotel The Kujo Kings, Loonee Tunes, Piranha Party Chandelier Room The Native Cats, UV Race, Super Wild Horses Birmingham Hotel

The Orphanage, The Blue Jays, Special Secret Band, Jack On Fire, Jimmy Tait Band, Dead Man On Deck Empress Hotel The Reffaellas, The Messengers The Great Britain The Sirens of Venice, Mini Bikes, Boarders Northcote Social Club Tonedeaf, Redcoats, Alba Varden, Fangs, Villains of Wilhelm, Kingswood, Tone Deaf DJ’s Ding Dong Lounge We Are Fans, Tin Can Radio, The Moxie, Nick Thayer Revolver Upstairs You and Your Music, Ungus Ungus Ungus, Found Heads ft. Jumbledat, Good Suns, The Blue Swimmers, Pink Fitt Pony SUN 04 Alex Hallahan & Band Edinburgh Castle, early show Andy Baylor & Peter Baylor Williamstown RSL Ash Grunwald, Shaun Kirk Ruby’s Lounge Bad Co Experience, Bear The Mammoth, Atlastone, The Dirty Sirkus, Mz Wood Esplanade Gershwin Room

CONTROL BRIEF Melbourne’s Mission Control are ragged melody, white noise and synths reminiscent of the Bladerunner soundtrack. Their influences range from narcotic guitar torture to the synthscapes of Vangelis and acclaimed French producer M83 (with whom Mission Control will collaborate on their debut album). This Saturday, Mission Control play an intimate gig at the Toff In Town with support from Geelong’s teenage schralpers Sambrose Automobile and Bachus Marsh wunderkinds Hollow Everdaze. Between bands, the Poon DJs will prove that they’re not just Australia’s most notorious skateboarding talents, but have fine taste in music. Entry is $10 from 9pm. Bewilderbeast, Hello Satelites, Prayer Babies, Adam Simmons, Tram, The Monday Project, Mal Webb 303 Celadore Workers Club Chemistry Set, Colour Kids, Squid Ink Empress Hotel Comics At Work Esplanade Basement

Corner Guitar Soiree & Music Market Corner Hotel Country Folk Corroboree, Lee Morgan, Liz Stringer Thornbury Theatre Danielle McDonald, Austin Busch & The Good Reasons Transport Hotel (Fed Sq) David Knight Grind ‘n’ Groove Bar

Edward Guglielmino, M Jack Bee, Heather Stewart, Dan Dinnan Wesley Anne El Moth & The Turbo Rads, Ben Smith Retreat Hotel Headspace, Dale Ryder Band, Bad Boys Batucada Esplanade Lounge Jules Boult & Chris Mac, Sime Nugent The Drunken Poet Local Resident Failure, Kill The Matador, The Decline, Backyard Surgeons Arthouse Lowriders Manhattan Hotel Neil Wise, Craig Fraser, The Supergig, Parliament of Rooks, The Cactus Chanel Brunswick Hotel Open Decks Bender Bar Pete Donohue, Louise Dempsey Chandelier Room Phil Para Band Sandbelt Hotel Pugsley Buzzard, Paul Carey’s Trio Novo Northcote Social Club Regurgitator, Ouch My Face, Worlds End Press East Brunswick Club Revolver Sundays, Boogs, Spacey Space, Radiator, T-Rek Revolver Upstairs

Sabrina & The Red Vans Builders Arms, early show Spectrum St. Andrews Hotel Table Mountain, Blank Realm, Loamlines Empress Hotel, Arvo Show The Death Rattles, Kirsten Verwoord & the All Night Riders, Mojo Juju The Old Bar The Hallrunners The Great Britain The High Horses Union Hotel Brunswick The House of Honeys, Red Rockets Of Borneo, Indian Mynah Yah Yah’s The Idle Hoes Carringbush Hotel The Swamplords, Dead Ants Rainbow, Space Cactus, Couching Tiger DJ’s Bar Open Waz E James The Standard Hotel White Amsterdam, Tinka Bendigo Hotel

MON 05

Apple Jack, Sooty Hawke, Prairie Wesley Anne Bogan Bingo Retreat Hotel ‘Crotchety Knitwits’, Sewing & knitting & Boozing, All Welcome The Old Bar Hail Hail St Andrews Open Mic & Jamm Night St. Andrews Hotel Josh Owen Band Esplanade Lounge ‘Lebowskis’ Present 303 Passionate Tongues - Poetry and Spoken Word Brunswick Hotel Splodge! 16mm Cult Films Empress Hotel Swing Classes The Toff In Town

TUE 06

Beat Brothers, The Revels, Sex On Toast, Mandek Penha Evelyn Hotel Black Hills, Kittens in a Basket, Glass Empire, David Blyth Esplanade Lounge

Custom Kings, Ben Birchall, The Corrections The Toff In Town DJ Adalita Retreat Hotel Joel Edmonson The Old Bar Karaoke Bender Bar Klub M.U.K 303 Never Cheer Before You Know Whos Winning Revolver Upstairs Open Mic Night Empress Hotel The Brunswick Discovery, Old Salty, Rumourtism Brunswick Hotel Trivia The Drunken Poet

140 Sydney Rd

BRUNSWICKHOTEL.NET

9387 6637

NO COVER CHARGE

WED JUNE 30

THE BRUNSWICK OPEN MIC - 8:30 PM WITH HOST MATT MCFARLANE. $10 JUGS! REGISTER AT 8PM ON THE NIGHT! (FREE BEER PER PERFORMER!) THURS JULY 1

KARAOKE! - 9PM FIRST THURSDAY OF EVERY MONTH FRI JULY 2

EARL! JIKA SANDOR

SAT JULY 3

SPINIFEX ROSE - 5PM KIZZY 9PM - SIGNAL X THE RHETORICS TOYOTA WAR

SUN JULY 4

NEIL WISE - 5PM WITH GUEST - CRAIG FRASER 9PM - THE SUPERGIG PARLIAMENT OF ROOKS THE CACTUS CHANEL MON JULY 5

PASSIONATE TONGUES

POETRY AND SPOKEN WORD FEATURING A CONSTANTLY CHANGING LINE-UP OF SOME OF MELBOURNES FINEST POETS. KICK OFF AT 8PM. HOSTED BY MICHAEL REYNOLDS

TUES JULY 6

THE BRUNSWICK DISCOVERY

GIVING CHANCES TO NEW UP AND COMING ARTISTS (ENQUIRIES TO BRUNNYGIGS@GMAIL.COM) THIS WEEK: OLD SALTY RUMOURTISM

gigguide@inpress.com.au

303 Wednesday Ben Carr Trio, Darrin Archer Quartet Thursday Mad Polly, The Gems, Courtney Barnett Saturday Dreamboogie Sunday Bewilderbeast, Hello Satelites, Prayer Babies, Adam Simmons, Tram, The Monday Project, Mal Webb Monday ’Lebowskis’ Present Tuesday Klub M.U.K

ARTHOUSE Wednesday Extortion, Faceeater, Rort, Collapsed, Trench Sisters Thursday Changing Falls, The Blue Swimmers, Paint Me A Pheonix Friday Graf Orlock, Robotosaurus, Coerce, Dangers Saturday Blueline Medic, Hawaiian Islands, Following Sea Sunday Local Resident Failure, Kill The Matador, The Decline, Backyard Surgeons

BAR OPEN Wednesday The Blaselies, Fransis Plagne, Far Concern Thursday New War, TT.o (Pi-o), Breathing Shrine Friday White Boyz Can’t Funk Saturday Black Jesus Experience, Dj Cassawarrior Sunday The Swamplords, Dead Ants Rainbow, Space Cactus, Couching Tiger DJ’s

BENDER BAR Wednesday Open Mic Thursday Songlines NAIDOC Acoustic Sessions, Deline Briscoe, Guests Friday Vicuna Coat, Johny Gibson, Duncan Graham Saturday Delivery Boy, Guests Sunday Open Decks Tuesday Karaoke

BENDIGO HOTEL Thursday Alex Anonymous, Vincent, We Will Adapt

EAST BRUNSWICK CLUB

WEDDING WALTZ Hi-Life Wedding have been sitting on a secret and are ready to bring it public this Thurday at Revolver. Having wrestled the reclusive DMan and Leif out of music hibernation they are eager to bring you a banging, all new, live electro pop set. And if that’s not enough we’ve invited the friendly A Friend Of Mine to warm you up, the young guns Vixia to turn it up, and DJ Wayne Lotek to keep the beats going until midnight. Climb those stairs up to Revolver Upstairs from 9pm – entry is $5. Hi-Life Wedding also play Open Studio Northcote on Sunday 11 July from 6pm. Friday ’Scarlett’ Queer Girls night, DJ M.A.F.I.A., Lezbellah, Chairman Meow Saturday Joy Fm’s Dj Liz, Michelle Parsons, Louise Sunday White Amsterdam, Tinka

BIRMINGHAM HOTEL Saturday The Native Cats, UV Race, Super Wild Horses

BRUNSWICK HOTEL Wednesday Open Mic with Matt McFarlane Thursday Karaoke Friday Earl, Jika, Sandor Saturday Spinifex Rose, Kizzy, Signal X, The Rhetorics, Toyota War Sunday Neil Wise, Craig Fraser, The Supergig, Parliament of Rooks, The Cactus Chanel Monday Passionate Tongues - Poetry and Spoken Word Tuesday The Brunswick Discovery, Old Salty, Rumourtism

BUILDERS ARMS HOTEL Wednesday Magic Silver White, Clue To Kalo, Great Earthquake Thursday Tailor Made For A Small Room, Tequila Mockingbirds, Extreme Wheeze

Thursday Dog Trumpet, JVG Guitar Method Friday Death Audio, Eye of The Enemy, House Of Thumbs, Feed Her To The Sharks Saturday Ganga Giri, Bass Bin Laden, Culture Connect, Papa Stylee Sunday Regurgitator, Ouch My Face, Worlds End Press

EDINBURGH CASTLE HOTEL

Friday Lisa Richards, Suzie Dickinson, Tracy Mcneil, Liz Stringer Saturday Koshowko, Winduptoys, Apell, Dj Zaziz

Wednesday Single Twin, Running Away With the Circus Thursday Kate Martin, Patinka Cha Cha, Emma Heeney Friday The Desert Shore, Tall Buildings, D. Rogers Saturday Megan Kent, Kate Price, James Dobson

CARAVAN MUSIC CLUB

EMPRESS HOTEL

Friday Model Super Orchestra, Sean Kelly, Billy Miller, Jack Howard, Cal McAlpine, Mark Ferrie, James Black

Wednesday Saskia Sansom, Joel Silbersher, Microflora Thursday Ainslee Willis, Yffer Friday The Rostovs, Barebones, Revolver & Son Saturday The Orphanage, The Blue Jays, Special Secret Band, Jack On Fire, Jimmy Tait Band, Dead Man On Deck Sunday Chemistry Set, Colour Kids, Squid Ink Monday Splodge! 16mm Cult Films Tuesday Open Mic Night

CHERRY BAR Wednesday Bitter Sweet Kicks Thursday Saskwatch, SOUL 10th BIRTHDAY Friday Gut, Vice Grip Pussies, Bitter Sweet Kicks Saturday Council, Legends Of Motorsport

CORNER HOTEL Friday Lisa Miller, Frally, Tash Parker Saturday Ash Grunwald, Jordie Lane Sunday Corner Guitar Soiree & Music Market

DING DONG LOUNGE Thursday The Kickers, Orange Room, In The Woods, The Messengers Friday The Beards, The Working Horse Irons, Deadly Are The Naked, DJ Stone Love Saturday Tonedeaf, Redcoats, Alba Varden, Fangs, Villains of Wilhelm, Kingswood, Tone Deaf DJ’s

EMPRESS HOTEL, ARVO SHOW Saturday The Animators, Sophie Patterson & Band, Mad Polly Sunday Table Mountain, Blank Realm, Loamlines

ESPLANADE BASEMENT Thursday The Third Estate, House Of Leaves Friday The Blow Waves, Lovertits, Ghetto Pussy, Godzilla, Mummy Complex w/ Agent Cleave, John Pants Sunday Comics At Work

ESPLANADE GERSHWIN ROOM Saturday Appetite for Death Attraction, Shout At The Bastards, Velocity, Overload Sunday Bad Co Experience, Bear The Mammoth, Atlastone, The Dirty Sirkus, Mz Wood

ESPLANADE LOUNGE Wednesday Tin Can Radio, Heartbreak Club, Simone Gill Band, Jessica Paige, Little Fish

Thursday Impregnito, The Final Cut, Jester Crew, Humidity Entertainment Friday Dead Actors Club, Villains of Wilhelm, Jinja Safari, San Fran Disco Saturday Phil Para Sunday Headspace, Dale Ryder Band, Bad Boys Batucada Monday Josh Owen Band Tuesday Black Hills, Kittens in a Basket, Glass Empire, David Blyth

EVELYN HOTEL Wednesday Ben Smith Band, Chris Caville, Shaun Kirk, Jess Heiser Thursday Ida Braim, Special Guests Friday Jack’s Castle, James Sidebottom, Louis Rowe Saturday Ownkind, Tinman, In Volume, The Charge Tuesday Beat Brothers, The Revels, Sex On Toast, Mandek Penha

GERTRUDES BROWN COUCH Friday Tony Johannsen & The Land Of Plenty

GRACE DARLING HOTEL Thursday Dave Graney & The Lurid Yellow Mist, The Dames Friday Gaylord Lovelace, Smoke Machine, The Open Fires, The Anti Socials Saturday The Good Ship, The Stillsons, The Barons Of Tang

HIFI BAR Saturday The Amity Affliction, Misery Signals, Confession, Flood of Red

Friday Ships Piano, In Tongues, Cast & Crew, Baryshnikov, Bombing Angels, Applejack Saturday You and Your Music, Ungus Ungus Ungus, Found Heads ft. Jumbledat, Good Suns, The Blue Swimmers, Pink Fitt

RETREAT HOTEL Thursday Grunt Bucket, Skywest & Crooked Friday The Deserters, Royston Vasie, DJ Dave The Scot Saturday the F100’s, DJ Xander Sunday El Moth & The Turbo Rads, Ben Smith Monday Bogan Bingo Tuesday DJ Adalita

REVELLER’S NORTH (DOWNSTAIRS) Thursday Art Noise Friday Live Music Saturday Hugh Feehan

REVELLER’S NORTH (UPSTAIRS) Friday Tenpenny Joke Saturday The Committal

THE DRUNKEN POET Wednesday Luna Girl, Gen Finnane & Flora Smith Thursday Overload Poetry Night Saturday Heather Stewart Trio Sunday Jules Boult & Chris Mac, Sime Nugent Tuesday Trivia

THE OLD BAR Wednesday Plague Doctor, Mass Cult Suicide, Sunny The Magosapher

Thursday Slight Of Build, Our Anatomy, The Ovals Friday Heirs, Scul Hazzards, Black Widow, Loamlines Saturday Romance (Nathan Hollywood), Darren Sylvester, Fatti Frances Sunday The Death Rattles, Kirsten Verwoord & the All Night Riders, Mojo Juju Monday ’Crotchety Knitwits’, Sewing & knitting & Boozing, All Welcome Tuesday Joel Edmonson

THE PUBLIC BAR Friday Sons Of Lee Marvin, Dom & The Dead Beats, Boss Charlie Saturday Look Who’s Toxic, Fatal Flaws, Bitchslap

THE SPANISH CLUB Wednesday Bermuda, Silent Screams, Buried In Verona Thursday Riverside Travellers Friday Art of Wor, Amirala, Volyton, Sarah Saunders

THE STANDARD HOTEL Wednesday The Bowers (Duo Show) Sunday Waz E James

THE TOFF IN TOWN Wednesday Sex On Toast, Mandek Penha Thursday Sunny Albeau Friday Poprocks at the Toff, Dr Phil Smith Saturday Mission Control, Sambrose Automobile, Hollow Everdaze, Poon Dj’s, The House deFROST, Andee Frost Monday Swing Classes

MARQUIS OF LORNE HOTEL Wednesday Little John’s Bluegrass Sessions

NEXT Thursday Carpathian

NORTHCOTE SOCIAL CLUB Thursday Mr Percival, Jack Nobody Friday Ryan Meeking & The Few, Matheson, Tom Kline Saturday The Sirens of Venice, Mini Bikes, Boarders Sunday Pugsley Buzzard, Paul Carey’s Trio Novo

PONY Thursday Trjaeu, Mr Maps, Caught Ship, Slowdance

Tuesday Custom Kings, Ben Birchall, The Corrections

THORNBURY THEATRE Saturday Mysterious Travellers Sunday Country Folk Corroboree, Lee Morgan, Liz Stringer

TRANSPORT HOTEL (FED SQ) Thursday Ladies Night Friday TOP 40 & COMMERCIAL PARTY TUNES Saturday 80’s RETRO TUNES Sunday Danielle McDonald, Austin Busch & The Good Reasons

UNION HOTEL BRUNSWICK Thursday Stephen Cummings Saturday Chris Wilson Sunday The High Horses

WESLEY ANNE Wednesday John Flanagan & The Begin Agains, The Stilsons Thursday Steve G. Mileham III w/ Cassie La Forge, Tall Tim Woods, Jakksen Fish, Bois et Carbons Friday Lindsay Phillips, The Orbweavers, Angel Eyes, Little Sisters Of The Poor Saturday Benny Walker, Tom Richardson, La Mauvaise Reputation Sunday Edward Guglielmino, M Jack Bee, Heather Stewart, Dan Dinnan Monday Apple Jack, Sooty Hawke, Prairie

WORKERS CLUB Wednesday Weekend Pharoahs, The Pups Thursday Wasted Truth Show, Occult Blood, Marc Fusinato, Pathetic Human Friday Tin Can Radio, Yeo, San Salvador Saturday Celadore, Holliava, Fly By Wire Sunday Celadore

YAH YAH’S

BUM FLUFF Bum Creek, No Zu, Blank Realm and Table Mountain will play Yah Yah’s this Saturday for what will be an eclectic and wild night of experimental weirdness and chaos. Headlining will be Bum Creek, who play a live show that has been described as a “triumphant lurching mess of synth squiggles, Kraut percussion and vocal gibberish”. No Zu’s duel drumming, wild delay drenched trumpets, bad-dance synth squalls and funk bass lines conjure images of a James Brown biopic with a sweaty Bill Hunter in the title roll. Brisbane’s Blank Realm will bring their swag of gloriously textured sounds, and Adelaide’s Table Mountain will kick off proceedings ceremonially from within her invisible echo-chamber of hypno-percussion. Doors at 9pm.

Thursday Rock Aerobics, The Beat Disease, School Of Radiant Living, The Swamplords, Pauli Douglas Friday The Get Go, Saint Jude, Money For Rope, Adalita Saturday Bum Creek, Blank Realm, Table Mountain, No Zu, Tasty Cakes Sunday The House of Honeys, Red Rockets Of Borneo, Indian Mynah

EMPLOYMENT ADMINISTRATION HEADROOM SOUND AUSTRALIA Using; P Audio, B & C, JBL and E.V. Top quality drivers in all our custom built bins. Top boxes, mids, subs, wedges to spec. This online pic is our new folded horn with one 18inch challenger, putting out 137db – 140+ when coupled. Call us for a free quote. 0414355763 iFlogID: 3100

ARE YOU LOOKING FOR FREEDOM? Do you earn a great income but have no time to enjoy it? Are you working harder and harder to help someeone else live their dreams? Can you follow a simple and proven system? Do you have a burning desire to change your personal and financial situation. ONLY if you’re SERIOUS and READY to act NOW...... visit: www.ezylifenow.com. au iFlogID: 5496

NEW ONLINE BUSINESS OPP

bought a few years back for $2000. It has a beautiful vox like clean sound, great for blues jazz. The overdrive is great for that vintage blues rock tone. reason why I’m selling it so cheap is that it needs a service. Fuse needs repairing, reverb unit needs replacing. The cost of repair with the sale price is negligible compared to the value for money you are receiving with this amp! Check out more here... http://www.flickr.com/photos/ scooterjohn/349150246/ iFlogID: 5915

MARSHALL VINTAGE MODERN

RADIO CAREERS Short of time but want that break in being a radio guru? Why not do short courses at the 2SER Radio School then get involved with volunteer work at the station’s radio programs. 2SER is run by volunteer programmers who’ve ended ahead in the industry with radio skills. Learn voice presentation,editing, interviewing, podcasting and more. There are fees for the course based on accredited units and you can enter into a payment plan so you invest on your radio skills. Contact Annamarie 02 9514 9511, email radioschool@2ser.com and grab this hot opportunity! iFlogID: 5459

VOCALSIT / MC’S WANTED Male or Female vocalists or MC’s wanted for Downtempo, electronic, trip hop or whatever its called. Either way its a bit dark and moody and very much beat driven. If interested then send a demo to itsmaximillion@ gmail.com iFlogID: 5893

ENTERTAINMENT WANT TO WORK IN THE MUSIC BIZ?

iFlogID: 5889

Positions Available all over Australia in the most exciting Discount Travel Business ever seen! This is not some Get Rich Quick Scheme. This is a real business, and it will take some real work on your behalf. But the business systems that we have in place make everything simple: step by step!. Here are just some of the benefits this new business can provide: The Ability to Make a Great Part-Time Income or Extraordinary Full-Time Income. A Flexible Work Schedule you can arrange. Being Able to Stay Home with your Family. Being Debt Free and Financially Independent. Spending More Time Doing Things You Really Love. Vacation Whenever You Want. And, for the First Time, Being in Complete Control of Your Life! Affordable Startup Costs - Less than $1000 StepBy-Step Blueprints To Follow. Professional Training, Support & Marketing Tools. Aussie Pyxism Melbourne: 03 9005 8160 www.aussiepyxism.com info@aussiepyxism.com

Excellent condition Marshall Vintage Modern 100W Head VM2466 and two Marshall Vintage Modern 4 x 12 Cab, that separates with roadcases made by Transitpak in Thomastown, Melbourne, which is one of the leading custom road case manufactures in the world. Constructed of lightweight high strength 8mm laminated plywood with aluminium extrusions, quality butterfly catches and castor wheels. Roadcases only for head and top amp, bottom amp has no road case. $4000 Negotiable. Contact Rob - 0430 203 859. iFlogID: 5925

BUSINESSES MUSIC INDUSTRY BIBLE

FOR SALE AMPS

iFlogID: 4839

IBANEZ THERMION GUITAR HEAD

Ibanez Thermion TN120 All Tube Guitar Head. Good Condition, great amp. $600 iFlogID: 4027

LOOKING FOR A JOB BACKSTAGE ?

VIPER GUITAR AMP.ALL VALVE

The Directory is a sourcebook for all the contacts in the Australian music market. There are over 5,000 listed companies & individuals in 70 sections covering all business sectors from Artists cross referenced by Booking Agents, Managers & Record Labels, Promoters, Music Media, Venues, Lawyers, Publishers & much more! We have 3 versions of the Directory available in Print $55 (GST & Postage included)--6 Month Online Subscription $40--iPhone App $19.95 (from Apple iTunes Store). To purchase your print or online version go to www. immedia.com.au/amid or call the IMMEDIA! Office (02) 9557 7766 iFlogID: 5078

CD / DVD “COLOURS” EP OUT JUNE 1ST

cost. Will also deliver for free within sydney and help to install. 16.5K new, Im only asking 10K ono. Cheaper than buying overseas!! Call Brent 0406 501 192

PEARL EXR CYMBALS RACK STANDS

Pearl EXR (2005 model) drum kit with the following: - 14” snare - 8” tom 10” tom - 12” tom - 13” tom - 16” floor tom - 22” bass - double kick pedal - single kick pedal - Pearl drum rack - numerous clamps for additional drums and/or cymbals - brand new skins for all 5 toms - Drum City cymbal bag (leather) - clamp arm 3x boom cymbal stands - 2x straight cymbal stands - stool - additional tom arms Cymbals: - Zildjian A Custom 14” hi-hats - 10” splash - 17” crash - 18” crash - 16” fast crash - Zildjian A - 21” sweet ride All in perfect condition, reluctant sale. Call Kieran on 0410691616. Pickup from Sydney. iFlogID: 5091

SABIAN CYMBALS Sabian 20” AA Rock ride, Sabian 17” med thin crash, Sabian 14” AA Regular hihats all with Ragone case. As new, $700, ph 0419760940 iFlogID: 5821

GUITARS ACOUSTIC GUITAR MATON M225 Maton M225 Solid Sitka Spruce soundboard Queensland Maple Back, sides & neck Rosewood with dot inlays fingerboard Australian Made Original Elixir strings Natural Finish $750 *pick up in Sydney area

OTHER HEADROOM SOUND BRAND NEW SEAGULL ENTOURAGE RUSTIC BURST ACOUSTIC IN BOX Top : Select Pressure Tested Solid Cedar Back & Sides : Wild Cherry Neck : Silver Leaf Maple with the Seagull Slim 1.72” nut width. Fingerboard & Bridge : Rosewood Tusq® nut and compensated saddle Finish : Rustic Burst Custom Polished Finish Electronics : Godin Quantum I PICKUP RRP $ 949.00 SELL $700.00 SHIPPING $30.00 Phone: 02 49597421

Rare 7string Ibanez AX7221, 22 fret, equipped w/Seymour Duncan Invader pickup (w/volume & tone control) & DiMarzio clip-lock strap. Heavy tone & huge sustain. Features hand-painted (by owner) biomechanical landscape in the style of H.R.Giger. Price includes new black guitar hard case & postage if required. Call for more info, I can custom-paint any guitar.. Michael 0417184213.

For sale is a mint condition, Maton Mastersound Deluxe electric guitar for $1000 off the recommended retail price!!!! I bought this guitar four years ago. It has a beautiful sound, is extremely versatile (especially with the coil taps on both the bridge and neck pick ups). The reason for selling is that I don’t play electric guitar anymore (have taken up the oud), and this beautiful instrument just sits at home unplayed. Sale price $1700 o.n.o. Contact me at brent.keogh@ students.mq.edu.au Specs as below: Maton Mastersound Deluxe Tone Cap: Blackwood or Rock Maple Binding: White Neck: Set Rock Maple F/Board: Rosewood F/Board Radius: 12 inches Fret Markers: M.O.P. Blocks Scale: 25.5 Fret Wire: Jim Dunlop 6130 Bridge: Chrome Tailpeice & Bridge Finish: Gloss Machines: Chrome Grover Bridge Pick Up: MVB2 (Coil Tapped) Magnets - Alnico 8 1000G Coils - 2x8.5k Neck Pick Up: MHN2 (Coil Tapped) Magnets - Alnico 5 950G Coils - 2x8.5k Controls: 2 Volumes 2 Tones (2 Coil Tapped) 3 Way rotary selector switch Colours: Sunburst iFlogID: 5555

HUGE GUITAR CLEARANCE

Genuine 1980’s Pete Townshend jap model. all original. in case. amazing action. beatiful tone and sustain. plays great. nice patina. very rare. suit collector. EXCELLENT CONDITION! $2500.00 Ph Jimbo on 0428744963. iFlogID: 5835

SELLING EPIPHONE LESPAUL

iFlogID: 5352

LOOKING FOR WORK. Studying sound engineer looking for part time work at a venue or with a band. Hard working and reliable. availiable nights and weekends

iFlogID: 5831

MARSHALL VS100 VALVESTATE AMP.

iFlogID: 5686

SELF-EMPLOYMENT LIFETIME OPPORTUNITY Would you like to be able to offer everyone you know and everyone they know and so on, the BEST PRICES GUARANTEED in the world for all their new brand name shopping? Well take a look at this. This is most certainly a lifetime opportunity to launch ongoing income well into the future. www.hotglobalbusiness.com/fortunate iFlogID: 2992

iFlogID: 5442

SECONDHAND 1960 RI LES PAUL GOLDTOP IN EXCELLENT CONDITION W/CASE ONLY $3395 CALL US 07 54743033 - MUSIC@NOOSA

iFlogID: 4384

MUSIC@NOOSA - INTEREST FREE

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PROFFESSIONAL ROYALTIES EARNING POP ROCK SONGWRITER AVAILABLE FOR TUITION AND GUIDANCE. TRAINED WITH LEADING NYC VOCAL TEACHER WHO HAS WORKED WITH ARTISTS IE. AVRIL LAVIGNE, KELLY CLARKESON AND BEYONCE. COMMERCIAL RADIO PLAY FOR ORIGINALS. LOCATED EASTERN SUBURBS. AVAILABLE TO TRAVEL. ORIGINALS WELCOME OR BEGINNING FROM AFRESH. K.I.S.S. = $$$$$. 0435 426 012 iFlogID: 4454

PRODUCTION/MIXING TUITIONS I’m a professional Music Producer and Sound Mixer who has worked with internationally renowned artist such as Seal and De La Soul, and I’m offering private tuition in Mixing and Production. Bring your own session (Logic or Protools) or use one of mine, and I

GUITAR TUTOR - WE COME TO YOU Experienced guitar teacher in many styles of music, teaching in the northern suburbs of Melbourne. We come to you. Learn to play guitar in the comfort of your own home. $30/ 1 hr lesson. 0412 291 577 iFlogID: 5795

MUSIC PRODUCTION TUITION 1. Master Audio and MIDI. 2. Ten Years Experience in the Industry Tutor. 3. Weekdays or Weekends, Flexible. 4. Learn with Up to Date Technology. 5. Intensive Theory and Practical Sessions. 6. Individual Student Hands-On Practice. 7. Only $30 per hour. contact me on vangelis2133@yahoo.com or on 0449672435 between 8 a:m and 2 p:m or after 6 p:m. iFlogID: 5879

VIDEO / PRODUCTION 360 DEGREE INTERACTIVE VIDEO

Panoramic Video create interactive 360 degree online videos that are a unique addition to any website, putting your fans and web viewers virtually there with you. We can add in hotspots into the videos too so that you can direct users to other web sites for ticket or music purchasing, and with the ability to be embedded into other pages such as blogs etc, a Panoramic Video is a perfect choice for viral marketing.. Our videos keep the interest and by their nature keep users and fans on your website for longer than a standard video. It’s cool, and it’s unique, and a great option if you are looking for something different and innovative.. Costs will vary depending on where you are and what we do for you, but our rates are very reasonable.... We are a new innovative business in Melbourne and looking to help promote local bands and artists with our interactive videos.. so give us a call for a great deal. Check out some of our samples at www.panoramicvideo.com.au then give us a call on 03 9457 7600 today.. We would love to hear from you! iFlogID: 2774

MUSIC VIDEOS Bird-dog Media low budget music video production. State of the art HD equipment. Talented Staff. Prices start at $500. Examples online. Ph: 0412060489 Email: bdvideoproduction@gmail.com iFlogID: 5701

MUSICIANS AVAILABLE

For a limited time. Free online and print classifieds Book now, visit iflog.com.au 82

BASS PLAYER BASS PLAYER AVAILABLE

Gary Soloman Bass player for Marie Wilson, Bo Diddley, Free zone etc is available for local/ touring gigs and recordings. Original acts or covers OK , any genre styles OK call Gary 0407505764 iFlogID: 5037

DRUMMER

JASON AYRES

WANTED

Acoustic Pop-Rock Specialist -www. jasonayres.com-

SYNTH NOISE MAKER WANTED FOR ELECTRO POP ROCK BAND, WE LIKE INTERESTING SOUNDS, BANDS LIKE THE KNIFE, BOWIE, NINA HAGEN, ENO, DELTRON, PORNO FOR PYROS, KRAFTWERK AND MORE. BALLARAT AREA...WE HAVE RELEASES..WE NEED A DEDICATED OPEN PERSON..OWN GEAR, TRANSPORT, WE HAVE SYNTHS TOO, MULTI INTRUMENTALIST WOULD BE GOOD..OPPORTUNITY TO CO WRITE NEW MATERIAL..HAVE FUN..TRAVEL AND PLAY..EMAIL softrobots@gmail. com PHONE Jez. 0421 836 876

iFlogID: 5777

MUSICIANS WANTED BASS PLAYER BASS PLAYER WANTED

TOP PRO DRUMMER AVAILABLE

Bass playwer wanted for originals band in Melbourne. Have the basics of songs completed, just need to learn the songs to add the bass and get them gig ready. Looking for someone determined and eager to play. Influences are Sonic Youth, The Cure, My Bloody Valentine, Slowdive, etc. Contact 0403929446. iFlogID: 4224

VOCALIST WANTED for gigs,tours,sessions etc. Good equipment, professional attitude. Many years pro experience working with well known artists. Please check out my website, www.mikehague.com Ph 0419760940 iFlogID: 5819

Professional band with clubwork and agent, looking for charismatic male vocalist.Ideal influences would be 80’s 90’s pop/soul.Must be true showperson. Age: 35 - 50years of age. For details call Cora on 0418 122 370. iFlogID: 4994

BASS PLAYER WANTED

DRUMMER AVAILABLE! Drummer is seeking recording experience as a session musician. This service will be free. Bachelor of Music completed. Been playing drums for over 10 years. Drumming style: rock/ funk. My influences are Red Hot Chili Peppers, Blink 182, Toto etc. No Jazz or Metal. My services would suit University students, audio engineering students and professional musicians. Have own professional gear and transport. Based in Cambridge Park N.S.W. Phone Will: 0413 772 911 iFlogID: 5869

Bassist wanted to join melodic metal band with death/black/thrash influence. Must be determined, skilled and have own gear and transport. Easygoing but professional environment. Ages 18-30 Wollongong/Sydney based. Influences: Dimmu, Old man’s child, arch enemy, children of bodom, immortal, megadeth, slayer, amon amarth etc. Interest gained nationally and internationally with distribution deals on offer for the band. Great opportunity. www.myspace.com/ asmodaiaus or email asmodai_aus@ hotmail.com

Rock Monster are in need of a bass player. Bonus points if you can sing! Melbourne - eastern suburbs. Male or female, mid-20s to 40s. myspace. com/RockMonsterMelbourne RockMonsterMelbourne@gmail.com iFlogID: 5901

DRUMMER FUNKY RYTHYM SECTION WANTED! funky rythym section wanted for dynamic sexy funk/rock/blues hip hop band.influences-the meters,early rhcp,sly stone,james brown,jimi hendrix,parliament/funkadelic.phone 0421727864. iFlogID: 4238

WANNA BE IN MY BAND??!!! Who wants to be in a all girls original pop rock band hav some fun and make some $$$?! Guitar/bass/ drummer needed. Must be able to sing passable back up vox and luv performing!Practice 1-2 times per week. Gig asap. All ages welcome. www.myspace.com/nicolesero 0435 426 012 iFlogID: 4394

DRUMMER WANTED Drummer wanted for originals band in Melbourne. Have the basics of songs completed, just need to learn the songs to add the drums and get them gig ready. Looking for someone determined and eager to play. Influences are Sonic Youth, The Cure, My Bloody Valentine, Slowdive, etc. COntact 0403929446. iFlogID: 4431

SONS OF GENGHIS NEED DRUMMER!

iFlogID: 5302

GUITARIST GUITARIST TO FORM/JOIN BAND

BASSIST WANTED

i am looking to form a serious band, influences include Stone Roses, The Smiths, Beatles, Kinks, Suede. Preferably looking for vocalist to collaborate with, then add bass and drums later. songs ready, looking to be gigging asap. own transport preferable. email - thevilliers@hotmail.com iFlogID: 4990

LEAD GUITARIST AVAILABLE Lead guitarist looking to jam/form a heavy metal band, preferably on the central coast but willing to travel. Influences: Mercyful Fate, Judas Priest, Metallica, Iron maiden - Blake 0403138542 iFlogID: 5350

OTHER SAXOPHONIS AVAILABLE

Hunting Foxes is a new band that blends driving, progressive indie rock, with an emphasis on complicated instrumentation, interesting song structures, and catchy melodies. We are currently seeking a male bassist who is similar in terms of ability, image, influence, stage presence and age to ourselves; therefore from 24 – 28 years. Influences range from Apparat, Aphex Twin, Battles, Bloc Party, Don Caballero, Friendly Fires, Foals, Flying Lotus, Jimmy Edgar, Grizzly Bear, Minus the Bear, Mute Math, Phoenix, Radiohead, Russian Circles, Squarepusher, The Police, Zombi, etc. We currently rehearse once a week and have just completed recording our debut EP; produced entirely by ourselves. www.huntingfoxes.com For more information please send an email to huntingfoxes@hotmail.com with details. iFlogID: 5570

Experienced saxophonist is looking for bands and studio sessions. Jazz, funky, afro, reggae, latin, rock, folk. If interested contact me at 0410041979. Cheers. Lorenzo iFlogID: 2848

PRO TROMBONIST AVAILABLE

Professional Trombone player available for gigs, session and tours. Jazz, Funk, Latin, Pop, Rock and Classical. Can sight read, improvise and write parts. Contact Brendan 0409833827. iFlogID: 4101

SINGER LOOKING FOR LIFE TIME BAND genuine music man searching life time members. iFlogID: 2424

HAVE VOCALS WILL TRAVEL Vocalist looking for home. Happy to begin with new band or established. Influences blues rock punk folk metal everything. Have experience playing in bands and vocal training. iFlogID: 5369

iFlogID: 5638

SYDNEY DOOM BAND SEEKS BASSIST Sydney doom band Rituals of the Oak are seeking a bass player. Influences include Candlemass, Pentagram, Solitude Aeturnus, and Warning. Must have own gear etc, rehearsing in Belmore area. Currently waiting to record second album, first album released on Eyes Like Snow label from Germany last year, signed for 2 more albums. Contact Matt on 0418435898. www. myspace.com/ritualsoftheoak iFlogID: 5823

GET SIGNED TO A MAJOR LABEL! Session Bass Player Wanted! Drummer is forming a fast paced professional original alternative rock band to get signed to a major label. Must be ambitious, self-motivated, committed, reliable and have a lot of drive. No metal! Age: 18-30. Rehearsing at Wetherill Park. Only contact me if you want to get signed to a major label! E-mail: cooleywill2@hotmail.com. iFlogID: 5861

BASS PLAYER FOR ROCK MONSTER

iFlogID: 2631

Sydney Based “Sons Of Genghis” need versatile drummer, if you play like primus meets Chilli Peppers, Faith no more meets Pantera,this is the band for you and we want your chops!! Check the sounds at www.myspace. com/sonsofgenghis. Call Jono 0410 330 702 or Andy 0420 771 357.

iFlogID: 4392

Female vocalist/guitarist wanted for inner city suburbs dream pop/shoegaze band. Demos at www.myspace. com/vhsdreamvhsdream. Contact Matt on 0407580065 or vhsdreamband@gmail.com

DRUMMER NEEDED - ROCK/ POP BAND

iFlogID: 5531

KEYBOARDIST WANTED

For 50s & 60s RocknRoll Band Make New Mates, Have Fun & Play Gigs Practice in Osborne Park (WA) Area Mike - 0438 935 031 Leave a Msg if No Answer

NEED KEYBOARD &/OR GUITAR

iFlogID: 5754

“Original rock band seeking lead guitarist with b/vox. Cognito is 28-35yo, western suburbs, regular rehearsals, pro equipment, pro attitude but flexible. Successful applicant will be similar. www.myspace.com/cognitoband john.cognito@gmail.com” iFlogID: 5839

GET SIGNED TO A MAJOR LABEL! Session Guitarist Wanted! Drummer is forming a fast paced professional original alternative rock band to get signed to a major label. Must be ambitious, self-motivated, committed, reliable and have a lot of drive. No metal. Age: 18-30. Rehearsing at Wetherill Park N.S.W. Only contact me if you want to get signed to a major label! E-mail: cooleywill2@hotmail.com.

GUITARIST FOR ROCK MONSTER

Attention all Rock bands! Valleyarm Digital are releasing an Aussie Rock compilation album called “ROCK ME DEAD!”. The album will be exclusive to iTunes and will released and promoted worldwide. We want to show the world that Australia has the best rockin’ bands on the planet so submit your track (1 per band) and bio to info@valleyarm.com now to secure a spot. We’ll also be offering a $5000 online marketing and global digital distribution deal to a “Stand Out” act that we think has what it takes...this could be you!! iFlogID: 5512

TECHNO WANTED FOR ITUNES! Attention all Techno, Dance, Electronica bands, DJs and producers! Valleyarm Digital are releasing an Aussie Electronic compilation album called “Technically Australian”. The album will be exclusive to iTunes and will released and promoted worldwide. Submit your track (1 per band) and bio to info@valleyarm.com now to secure a spot. We’ll also be offering a $5000 online marketing and global digital distribution deal to a “Stand Out” act that we think has what it takes...this could be you!! iFlogID: 5514

iFlogID: 5666

LEAD GUITARIST WANTED

SEEKING KEYBOARD PLAYER/ GUITARIST FOR LONG-TERM COLLABORATION. I CURRENTLY HAVE A SONGWRITER’S CONTRACT FROM NASHVILLE AND HAVE MANY IRONS IN THE FIRE. IF YOU ARE PROFICIENT WITH APPLE, GARAGEBAND IT’S A BONUS. CALL ME TO SET UP AN AUDITION ON 0407-781156 or Email me. iFlogID: 5799

COVERBAND REQUIRE KEYS Sydney based, agent backed coverband requires a keyboardist. We are looking for ages 18 - 35 yrs, and we are playing modern covers. Must have good gear, own transport able to gig most fri / sat nights. Please send your details to brotherbooth@gmail.com iFlogID: 5903

METAL BANDS WANTED FOR ITUNES Attention all metal bands! Valleyarm Digital are releasing an Aussie Metal compilation album called “METAL AS F#@K!”. The album will be exclusive to iTunes and will released and promoted worldwide. We want to show the world just how heavy Australia is so submit your track (1 per band) and bio to info@valleyarm.com now to secure a spot. We’ll also be offering a $5000 online marketing and global digital distribution deal to a “Stand Out” act that we think has what it takes...this could be you!! iFlogID: 5516

ELECTRONIC MUSICIANS WANTED Electronic musicians wanted to form a live act. Preferably using Ableton & with some hardware. Influence :Groove Armada, Bent, Justice, Faithless, Röyksopp, Nightmares on Wax, Thievery Corporation, Air, Bonobo, Cassius. Tell me a bit about yourself & preferably send some links to your soundcloud : whooyeah@gmail.com. Also Want to hear from other musicians that would like to colaborate on this type of project. iFlogID: 5522

MUSICIANS WANTED

COVERBAND REQUIRE KEYS Sydney based, agent backed coverband requires a keyboardist. Must have good gear, own transport able to gig most fri / sat nights. We play mostly modern covers and are after ages 18 - 35. Please send your details to brotherbooth@gmail.com

iFlogID: 4485

iFlogID: 5067

KEYBOARDIST AVAILABLE!!! I am looking for a job that is musically related, preferably performing or something along those lines. Studying a B. Music (Performance) at AICM. mobile number: 0435544916 email: brat.dog@hotmail.com Thankyou

FEMALE GUITARIST WANTED

DRUMMER WANTED looking for a drummer, age 13-15, some experience with drum

iFlogID: 5409

iFlogID: 5863

AAA BASS PLAYER WANTED Are you a bass player and are tired of playing cover songs where you cannot truly express yourself? Are you being confined to root notes, and would like to play “lead bass”? Then get in touch with The Clue: we are a Sydney-based band, play mostly original stuff (classic rock, pop and folk), and rehearse every Monday in Ultimo. We are looking for YOU! Good gear a must, vocal harmonies a plus. See you soon!

G4 Guitar is an Australia wide network of Guitar Teachers who teach from their own homes and studios. With over 100 teachers we are the No.1 name in guitar tuition. We welcome both inexperienced and experienced teachers and we provide online training and support. To apply to become a teacher please visit our website at www.g4guitar.com.au or phone 0430426137

ROCK BANDS WANTED FOR ITUNES

iFlogID: 5905

Rock Monster are in need of a guitarist for lead and rhythm. Bonus points if you can sing! Melbourne - eastern suburbs. Male or female, mid-20s to 40s. myspace.com/RockMonsterMelbourne RockMonsterMelbourne@ gmail.com

OTHER MUSICIANS AND AUDIENCE WANTED

SKILLED KEYBOARDIST WANTED We are seeking an experienced drummer for a Rock/Pop band in the Western Suburbs - male or female. You will need to give dedication, determination, motivation and have the want to stick to the band in the long haul. We have a few gigs coming up after August so we are looking for someone as soon as possible. Check us out at www. myspace.com/thewrittencrusade. If you feel this is the band for you and would like to partake in this moving forward band, please contact Dinora on 0419 198 696. iFlogID: 5668

DRUMMER WANTED Drummer wanted for inner city suburbs dream pop/shoegaze band. Demos at www.myspace.com/ vhsdreamvhsdream. Contact Matt on 0407580065 or vhsdreamband@ gmail.com iFlogID: 5750

METAL DRUMMER NEEDED

to complete lineup of new show. Ability to cover orchestrations and excellent sounds to match a must. High quality show with good pay. Contact: onemoreguitar@yahoo.com.au iFlogID: 4323

MULTI-GENRE KEYBOARD PLAYER SEEKING KEYBOARD PLAYER WITH A LIKING AND SKILL IN VARIOUS GENRES OF MUSIC FROM THE 60’S ONWARDS. IF YOU ARE INTERESTED IN A LONG TERM PARTNERSHIP WITH A PROFESSIONAL LYRICIST, SINGER WITH AMBITION TO FROM A SONGWRITING DUO TO CREATE SONGS FOR ALBUMS, FILM AND OTHER MEDIA. PROFICIENCY IN APPLE, GARAGEBAND A DISTINCT ADVANTAGE. , PLEASE CONTACT ENRICO ON 0407 781156 FOR FURTHER DETAILS. iFlogID: 4976

MUSICIANS WANTED FOR POP BAND

GUITARIST

Melbourne bassist seeking RELIABLE, DEDICATED, CONFIDENT, CREATIVE musicians to form pop band. Influences: Faith No More, INXS, Peter Gabriel, David Bowie, GnR, Soundgarden, The Police, Godflesh, Icehouse, M.I.A, Depeche Mode, Pantera, Genesis ect listen to demos at soundcloud. com/integra and call Mike on 0424 838 782

GUITARISTS WANTED TO TEACH

SYNTH NOISE MAKER

Guitarist and bassist need drummer.Playing in the style of Pantera,BLS,Children of bodom.Some demos recorded, If you love metal and are keen to jam text steve on 0433709133 iFlogID: 5756

iFlogID: 5226

iFlogID: 2923

BANDS WANTED FOR ITUNES ALBUMS

If you want to join a band, form a band, find a new band member, get exposure, or just jam, then Ozjam is for you! Whatever instrument or genre of music you play, Ozjam can connect you with other talented, like minded musicians who are looking to jam, gig, and even tour the World! Ozjam is loaded with features, it’s free to join and with over 4000 members its fast becoming the largest online music community in Australia today!

LIVE BAND MEMBERS 4 SOLOARTIST Solo composer looking for musicians to support for live acts/form a band. If you play bass, drums, piano/ keyboard, guitar or sing then you can help me out playing original songs + help compose :) To hear them musical style visit and listen @ www.myspace. com/ stevewilliams91 or http://www. reverbnation.com /stevewilliams91 Ages 17-25 contact via myspace (above) or stevewilliams91musicprofiles@ gmail.com

SINGER Five world-class passionate vocalists wanted for a Gospel music CD project. Must have beautiful, passionate, powerful and devotional delivery. iFlogID: 3585

iFlogID: 4843

Male singer-songwriter wanted(experienced)! Drummer is forming a fast paced professional original alternative rock band to get signed to a major label. Must be ambitious, self-motivated, committed, reliable and have a lot of drive. No metal! Age: 18-30. Rehearsing at Wetherill Park N.S.W. Only contact me if you want to get signed to a major label! E-mail: cooleywill2@hotmail.com. iFlogID: 5865

FREESTYLE MC WANTED Freestyle MC Wanted for finished Punky/Rappy/Rocky/Dirty/Kuduro House EP. You will get paid / record in a real studio / chauffeured to the session / get released. I will make you a Dirty South or Kuduro EP afterwards, if that’s what you want. I might even bring you to Europe with me next year. Influences: Prodigy, Buraka Som Sistema, Salt n Pepa / anything fusing electro with hiphop culture. You have to be the best, no excuses. areyouthebest2010@hotmail.com iFlogID: 5887

Singer needed for hard rock band. We’re looking for a singer, male or female, for our all original hard rock band. The guitarist and I (bass) have been playing together for over 8 years now and over 3 years with our drummer. We have been writing new songs the last 2 years and continue to work on fresh original material. We have also been playing gigs all over Melbourne for the last year getting some stage experience up but we are really dying to get a frontperson with a voice that works with our music. We’re willing to give anyone a listen, we’re all easy going and in it for the fun above all else, but also been keen to take the next step and make it a serious commitment. Have a listen at our myspace link upon application. http://www.myspace.com/psyecho Please note the myspace recordings are over 2 years old now and we have progressed in style and skill greatly since then.

SONG WRITER GET SIGNED TO A MAJOR LABEL! Male singer-songwriter wanted (experienced)! Drummer is forming a fast paced professional original alternative rock band to get signed to a major label. Must be ambitious, self-motivated, committed, reliable and have a lot of drive. No metal! Age: 18-30. Rehearsing at Wetherill Park N.S.W. Only contact me if you want to get signed to a major label! E-mail: cooleywill2@hotmail.com. iFlogID: 5867

SERVICES BEAUTY SERVICES WEB & GRAPHIC DESIGNSYDNEY

Established and agent backed OZ Red Hot Chili Peppers Show are looking for a experienced singer, to front the band. Must be based in Sydney, with own transport, and ready to gig on weekends.Gigs waiting. Please email details to info@ozredhotchilipeppersshow.com.au iFlogID: 5242

SIMPLY RED VOCALIST REQUIRED Professional Sydney based band with club work and agent requires a frontman for Simply Red tribute show.For further information call Dianne on 0418 122 370. iFlogID: 5290

PINK TRIBUTE NEEDS SINGER

Inspire Design Studios provides meaningful, smart and economic design solutions that communicates clearly with a given market. From website design, to branding, we can take you through the entire process of creating an identity for your organization. Maybe you just need some business cards, or maybe you need a completely new look. From logo design, to website creation, to company apparel, and anything in between. To provide you with the most competitive pricing contact us to discuss your requirements without any obligation. Special prices Static website (within 5 pages) $495 CMS website (within 7 pages) $695 Online shopping site $795 No hidden charges or on-going monthly fees To find out more please visit www.lydiay.com iFlogID: 2762

GREEN, GLAM & GORGEOUS

iFlogID: 5677

GOSPEL SINGERS WANTED

Valleyarm Digital are looking for bands to be included on compilation albums that will be featured on iTunes worldwide, you’ll still own 100% of your recordings & publishing plus make money from the sales!! All genres are welcome and we’ll also be offering a Worldwide Digital Deal to a band or artist that we think we can market on a global scale! This will include $5000 worth of online marketing and a worldwide release on all the major digital stores. Submit your tracks (1 per band/artist) along with bio and contact details to - info@valleyarm. com www.valleyarm.com

iFlogID: 5728

GET SIGNED TO A MAJOR LABEL!

iFlogID: 5131

iFlogID: 5610

Details: http://hotelwilliam.yayabings. com.au This is the underground melting pot of music jam sessions, organised by the Yayabings Music Club with the JazzKatts romping the Fusion Bar. Musicians/singers, comedians and artists at all levels perform by coming in on that evening. Totally impromptu and musicians may improvise with other musicians/singers or perform their own set. Local/Backpackers/ Internationals all welcome.

iFlogID: 4579

SINGER NEEDED

We are VIRGINIA KILLSTYXX and we need a frontman with a voice that could kill, charisma, attitude and a will to do what it takes... think from Guns N Roses to Motley Crue to AC/ DC to Motorhead etc... check us out on www.myspace.com/virginiakillstyxx 0418639860

RED HOT CHILI PEPPERS SINGER

iFlogID: 5899

KEYBOARD

at home, and now about 10 in a studio. We’re not looking for anyone interested in making money as soon as they join a band as we are not gigging yet, but will be looking to just for fun to start, then who knows. Whilst we dont like to admit to being influenced directly by any particular bands, we all like a mix of, The Specials, Toots and the Maytals, Madniess, Reel Big Fish, Prince Buster, Sublime as far as ska goes, we also individually have many opposing influences such as, The Clash, The Ramones, Stiff Little Fingers and thats just me! We have had a great time in the rehearsal rooms in Marrickville, Sydney for the past couple of months, doing 2 hours every fortnight until we get storage then looking to make it more regular. We are now finding that we are hitting a wall without a singer and are looking for someone to come along and give us some input and help us over this hurdle. We are looking for a singer who is decent, but doesnt feel the need to bash it out at 100% all the time, someone who can relax into a voice and also belt out some cheeky stuff every now and then too. If you feel you would have a good time practising with us, give us an email and see how you go. If you enjoy our company then I am sure you would be a welcome friend.

SINGER FOR GRUNGE/ROCK BAND Sydney Grunge/Rock band Samsara looking for a talented singer and front man to join a complete band looking to gig and record. An albums worth of music is already written but need vocal melodies and lyrics. Influences include Silverchair, Nirvana, Alice In Chains, Pearl Jam, Led Zeppelin, Chili Peppers, Foo Fighters, Black Sabbath etc etc. Contact Daniel: 0403 885 433, for more information and demos. iFlogID: 4187

SKA SINGER WANTED We are a new band called Low Gear. Have had about 16 practices together

The Australian Pink Show, Sydney’s well established and leading Pink Tribute needs a Fill In singer. We require someone with experience and the stage presence to be Pink. We are agent backed and have loads of gigs ready to go. You need to be available on weekends to perform. So... Ya reckon you can do it? then email Rob at info@ozpinkshow.com.au or go through the link on our website www. ozpinkshow.com.au iFlogID: 5379

VOCALIST / ENTERTAINER Rolling Stones Tribute Band are currently running auditions for the role of Mick Jagger. Professional attitude and experience required. Industry contacts well established. (some guitar and harmonica skills would be an advantage) Contact Chris 0431 530 330 E-mail bazza40@tpg.com.au iFlogID: 5415

CAN YOU FUCKING SING???

Aley Greenblo who was crowned as a finalist in January for the MISS EARTH AUSTRALIA PAGEANT TEACHES THE WORLD HOW TO ADOPT A GREENER WAY OF LIFE. Aley is studying COMMERCE LAW at UNSW and has been speaking out to encourage others to get active. In a speech Aley delivered to her fellow peers on Friday she mentioned that “MANY PEOPLE ARE INTIMIDATED BY THE IDEA OF ‘GOING GREEN’. IN REALITY HOWEVER, “GOING GREEN IS VERY SIMPLE AND MANY PEOPLE WOULD BE SURPRISED HOW EASY IT IS TO FOLLOW AN ECO-FRIENDLY LIFESTYLE”. ALEY GREENBLO’S ACTS INSPIRE US TO INCULCATE GREEN LIVING IN OUR LIVES AND SPREAD ENVIRONMENTAL AWARENESS IN OUR OWN LITTLE WAY. TO FIND OUT MORE GO TO: http:// aleygreenblo.blogspot.com/ or facebook: aley greenblo iFlogID: 5314

For a limited time. Free online and print classifieds Book now, visit iflog.com.au 83

GRAPHIC DESIGN WANT A LOGO FOR YOUR BAND?

100 Full Colour A4 Gloss Posters = only $40 100 Full Colour A3 Matt Posters = only $50 100 Full Colour A3 Gloss Posters = only $80 and many more options to choose from Posters • Flyers • Handouts • Business Cards We can print a sample for you while you wait and complete the job within the hour. bsd@zip.com.au www. blackstar.com.au iFlogID: 4552

PI BAND ART AND DESIGN

Want a logo to differentiate yourself from other bands? We can make you stand out from the rest! Boggleworks are currently offering a special price of $250 (RRP $349) for your very own custom designed logo. Visit www.boggleworks.com for more info. Be sure to enter the promotional code “IFLOG” for the special discount! iFlogID: 2808

GRAPHIC DESIGN SERVICES

PHOTOGRAPHY

100% devotion to music and the packaging it comes in. Pi (Paul Ikin) has a Complete Design Studio aimed at album cover design, packaging and Band Websites. Based in Melbourne Central Complex its easy to get to. Some of the services include * Art Layout design for CD’s/Digipack/Gatefolds, * Vinyl Sleeves 12” & 7”, and professional Band Websites. Feel free to visit our site to find out more about our services www.paulikin.com

SUPER CHEAP COLOUR PRINTING

AFFORDABLE GRAPHIC DESIGN

We can promote your band with great design for a great rate! We specialise in great promotion and killer design on a limited budget. Our services include posters, logos, adverts, programs, album covers, Shirt design, illustration, flyers, websites and much more. www.melissahowarddesign.com 0402 796 254 iFlogID: 5881

OTHER PARTY & FUNCTION PHOTOGRAPHY With over 20 years experience, ACE Design & Print has gained an unequaled reputation as a reliable supplier of quality printing with exceptional service and competitive prices. Our print services are designed for fast production and fast delivery within your budget. Here are some prices for your consideration, let us know your specific requirements and we can quote & deliver! 100 A4 Posters printed in full colour onto 150gsm gloss = $40 250 A6 Leaflets printed

$70

$35 $60 $50 $50 $15 $20

Global Sanctuary Photography are currently running their yearly May, June and July specials. To name a few people we have shot: John Mayer, Jimmy Barnes, Iva Davies, Cruel Sea, Panic at the Disco, Human Nature, Killing Heidi and Delta Goodrem. We come to you on location or at your gig or come to our awesome warehouse studio at Botany. Studio style or grungy warehouse, the choice is yours. We are creative and easy going producing quality work using canon pro gear. Call us on 0416 144 277 or email us at globalsanctuary@mac. com. Visit www.globalsanctuary.biz iFlogID: 4518

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PRO TOOLS/LOGIC TRAINING UTS:Pro School offers high quality, professional short courses in Digidesign Pro Tools 8 designed to improve your music and audio postproduction skills. PT 101 12-13 July PT 110 14-16 July PT 201 19-20 July PT 210M 21-23 July Logic Pro 101 7- 9 July Ring 9514 9931 or go to http:// www.utsproschool.uts.edu.au to book your place

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Need band photos? Then contact Atomic Pics as we can provide high quality live show and Promo Photos at a very affordable price Contact me with a message @ www.myspace. com/volume11

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in full colour onto 150gsm gloss = $50 250 Full Colour Digital Business cards onto 300gsm gloss = $50 100 A3 Posters printed in full colour onto 150gsm gloss = $80 1000 Business Cards in full colour 2 sides with plastic coating = $160 1000 A5 Flyers printed in full colour onto 150gsm gloss = $210 1000 A4 Letterheads printed in full colour onto 100gsm bond = $230 1000 A4 Flyers printed in full colour onto 150gsm gloss = $300 500 A2 Posters printed in full colour onto 150gsm gloss = $490 1000 A5 Booklets 8pp printed in full colour onto gloss = $735 500 Presentation Folders printed in full colour on white board = $795

Do you need an affordable Illustrator? Freelance illustrator Paul Ikin can create a range of styles for your project. No hidden cost at an affordable price. Album Covers - Film Clips - Book Sleeves - Children Books - Online Images - Fliers - Posters Editorial Artwork. Visit www.paulikin. com - T: 0403 996 129

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OTHER THE CHILLI MAN IS BACK!!!!

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THE CHILLI MAN IS BACK!!!!!! The Chilli Man has spent months of trial and error handpicking the best fruit and veggies to put into his sauces. The world’s hottest company has spiced things up and has created the most delectable, mouth watering and delicious range of Chilli sauces on the market. “The stuff is so incredible you will be eating it straight out the jar!” All products use fresh Australian grown products and perform exceptionally well at BBQs and Dinner parties. It will undoubtedly spice up ANY dish. For More information or to order chilli sauce today: www.thechilliman.com. au chinwag@thechilliman.com.au iFlogID: 5125

FINISH LINE

INDUSTRY NEWS BY BRYGET CHRISFIELD

At the APRAS, Clockwise from top: Eskimo Joe, Jimmy Little, Sue and Michael Gudinski. Pics by Tony Mott.

YOUNG & HOT Submissions for the Qantas Spirit Of Youth Awards (SOYA) have opened with a new category added for budding photographers. Entrants must be aged 30 or under with skills in one of the following creative fields: fashion, film, visual arts, visual communications, music, photography or industrial and object design. 2010 winners will receive $5,000 in cash, $5,000 in Qantas flights and a 12-month mentorship opportunity with an appropriately matched leading light in their chosen artform. This year’s musical mentor is British producer/ composer/mixer Lee Groves who has worked with artists such as Goldfrapp, Depeche Mode, Gwen Stefani and Marilyn Manson. Head to soya.com.au to be in it. Submissions close Monday 9 August and the SOYA 2010 Awards ceremony will be held on 11 November in the Foundation Hall of the Museum of Contemporary Art, Sydney.

As another sweltering day dawns, we decide to ape The Ramones and head way out east to Rockaway Beach. It’s a long ride on the A train, and it turns out that Rockaway is a forlorn place, a salt-bleached, grimy enclave of poverty and social breakdown. Parts of it are virtually shantytown. But from there, it’s a 20-minute bus ride into another world: Long Beach, a long strip of land that faces onto the Atlantic and is home to genuine (if kinda crappy) surf, along with holiday homes for NYC types who can’t quite afford the Hamptons, and a smattering of retirees who’ve clearly been here forever and all look like old leather that’s been left out in the sun. The houses are all decorated with chintzy nautical-themed paraphernalia (anchors, lighthouses, marlin-shaped letterboxes) and have fl owers that match their paintwork. The water is a welcome respite, but the news that from the start of July it’ll cost $10 to swim there pretty much kills all enthusiasm for the place.

MOVES & SHAKES Warner Music Australia has appointed Billy MacLeod in the newly created position of Vice President, Promotions and Publicity. Dew Process welcomes Craig May to the Head of Marketing role. The Workers Club have announced Nicci Reid as their new band booker. Reid has been the band booker at the Empress Hotel for the past four years and will be joined by Evelyn Morris (Pikelet/Baseball/True Radical Miracle) at the venue. Reid can be contacted on nicci@getnotorious.com and Morris, shows@getnotorious.com. After four years as Popfrenzy’s Label Manager, Julia Wilson is moving on but will continue with all things Rice Is Nice (julia@ riceisinice.net).

CLASH OF THE IOTAS

Applications for Whittlesea 2011, which takes place from Friday 11 to Sunday 13 February, are now open. As an independent community festival, Whittlesea Country Music Festival is committed to presenting a broad program encompassing many genres. Head to whittleseacountrymusicfestival.com.au for further information.

VINEYARD SAVED Last weekend Melbourne’s Birmingham Hotel unveiled its new bandroom, shifted to the front bar following noise complaints from a neighbouring property, as part of the venue’s second birthday celebrations. Melburnians also had reason to celebrate when protests over the Tote’s liquor licensing problems led to its reopening earlier this month. However, it was the Vineyard’s turn to have its future threatened as a live music venue this week. The City of Port Phillip was called to vote on a proposal to reduce its capacity to 100 and put the lease out to tender last Monday. Public support for the St Kilda venue was immediate and a Keepin’ The Vineyard Live Facebook page was set up, with members nearing the 3,00 mark. Some celebrity supporters, including actor Damian Walshe-Howling (Underbelly) and Mental As Anything’s Greedy Smith, turned up to the St Kilda Town Hall chamber for the council meeting, at which Mayor Frank O’Connor revealed a letter from the state government had swayed the council to enter into a private treaty with the current owners – brothers Adrian, Johnny and Alex Iodice – giving them a reprieve on their lease. Twenty submissions were read out at the meeting, including a message of support for the Vineyard from Molly Meldrum that was read out on his behalf by a music agent. Only one dissenter was heard. The Sydney Morning Herald reported that ratepayer Adrian Jackson was booed when he suggested there were ‘’enough live venues around’’ and therefore the Vineyard’s lease should go to tender. The lease will now be held until April 2011 at least but O’Connor stressed that the council still intended to “thrash out” the Vineyard’s liquor licensing and building code issues.

Got news? Announcements? Gossip? Unsubstantiated but hilarious rumours? Send them all to finishline@streetpress.com.au.

TALES FROM BUSHWICK TO BROADWAY WITH TOM HAWKING

People take various measures to combat the heat. Whenever you walk along a Manhattan street, you have to dodge a constant hail of water dripping from above, testament to a million air conditioners and a Calvinist desire to prevail over nature, whatever the cost. In Brooklyn, you’re more likely to see people out on their stoops drinking beer or just kinda hanging out; the street around the corner from our place has hosted a month-long game of dominoes featuring a revolving cast of old Puerto Rican dudes. Every few blocks, someone will have jacked a fire hydrant, and a host of shrieking, giggling kids will be cavorting in the resultant spray.

Parliament/Funkadelic’s Garry Shider died on Wednesday 16 June age 56 from complications relating to cancer. Known as “Diaper Man” and “Star Child” to fans, thanks to his penchant for wearing oversized diapers onstage, Shider earned guitar, vocal and songwriting credits on the majority of P-Funk’s records, including their most recent album, By Way Of The Drum. Original bass player with The Kinks, Pete Quaife died on Wednesday 23 June age 66 from kidney failure. Quaife played on early hits such as You Really Got Me, All Day And All Of The Night and Tired Of Waiting For You before he left The Kinks in 1969. The band’s frontman paid tribute to his former bandmate during his set at Glastonbury, dedicating The Kinks’ classic See My Friends to Quaife’s memory.

PLAY WHITTLESEA

CONVERSATION Summer is well and truly here in New York City, and it’s not without a fair old chunk of envy that NY Conversation has read reports of the recent cold snap in Melbourne – this column is being written in a room that feels pretty much like a sauna, only without the fragrant wood and the elderly Eastern Europeans. The last couple of weeks, in particular, have been unrelentingly oppressive; venture out during the day and it feels like someone is putting a pillow over your face while you walk.

PASSING NOTES

After recently winning 2010’s Triple J Unearthed High competition, Iotah have announced they’re changing their name to Stonefield, for legal reasons. A local cabaret performer who started his musical career in the ‘90s (remember his debut album The Hip Bone Connection?) goes by the name iOTA so the four Findlay sisters from Gisborne High have implemented the change.

JUST A NEW YORK

APRAS TO THE ESKIMOS The annual APRA Music Awards were announced at the Sydney Convention Centre in a ceremony hosted by Julia Zemiro and Jonathan Biggins last week. This year there were three acts that walked away with a statuette in each hand: Eskimo Joe’s Foreign Land single was deemed Rock Work Of The Year and also Most Played Australian Work; Empire Of The Sun picked up Dance Work Of The Year (Walking On A Dream) and also received the Breakthrough Songwriter Award; and AC/DC scored Songwriters Of The Year plus Most Played Australian Work Overseas (Rock ‘N Roll Train). The Temper Trap took out the major Song Of The Year gong for Sweet Disposition and Jimmy Little was honoured with the 2010 Ted Albert Award For Outstanding Services to Australian Music.

BANDS’ AID

GUESTS CELEBRATE GLASTO’S 40TH

Eagles Of Death Metal’s bassist Brian O’Connor has been diagnosed with cancer and requires surgery and chemotherapy to help him battle the disease. Dean Fertita (QOTSA/The Dead Weather) has been recruited to fill in for O’Connor for all upcoming Eagles Of Death Metal tour dates. O’Connor has no health insurance and so his family of cross-pollinating band members have joined forces to raise money to cover his medical expenses. Them Crooked Vultures have scheduled a benefit show at London’s Brixton O2 Academy on Monday 5 July and another concert set to take place in LA is currently being finalised. Contributions to O’Connor’s medical care fund can be donated through pablove.org. Also diagnosed with cancer this month was Mick Karn, former bass player with UK glam punk-turned-electronic band Japan. Karn is also facing a struggle with medical bills despite being considered one of the most influential bass players of the ‘80s. Band Aid founder Midge Ure (and ex-member of Japan contemporaries Ultravox) is organising a benefit concert for Karn that is rumoured to include a reformed Japan. Karn recently updated his website to announce that his financial burden has been eases as he is now eligible for state assistance in Cyprus where he is now based.

This year’s Glastonbury performances were big on guest spots as it celebrated its 40th anniversary. U2-replacements Gorillaz led the guest charge with the band’s Mick Jones, Paul Simonon and Damon Albarn being joined by the likes of Lou Reed, De La Soul, Shaun Ryder, Bobby Womack, Mark E Smith (The Fall), Bashy and Kano joined Gorillaz onstage for various songs throughout their set. Snoop Dogg took the stage for the band’s final cut, Clint Eastwood, performing his own Drop It Like It’s Hot lyrics in place of Del The Funky Homosapien’s original rap contribution. Muse ensured it wasn’t a completely U2-free Glastonbury when they welcomed the band’s guitarist The Edge to the stage for the encore of their Saturday night headline slot and performed a rendition of Where The Streets Have No Name. La Roux received a visit from Heaven 17’s Glenn Gregory for a version of his band’s 1983 smash, Temptation. Florence Welsh of Florence & The Machine fame was in high demand performing You Got The Dirty Love – the mash-up of You Got The Love and Dizzee Rascal’s Dirtee Cash – first with Rascal and then The XX (for their remixed version of the track). Pet Shop Boys relied on a virtual Dusty Springfield to supply her parts on What Have I Done To Deserve This? before the band’s frontman Neil Tennant encouraged, “Glastonbury, let us remember the late, great Dusty Springfield.” Rumours circulated late last week that Kylie Minogue would grace the Glastonbury stage during Scissor Sisters’ set and indeed the singing budgie joined Jake Shears and co onstage to sing Any Which Way from the band’s new Night Work album. (With Scissor Sisters touring our shores as part of Splendour In The Grass next month, Minogue may once again share their limelight. Minogue will be returning to her homeland for the birth of her sister Dannii’s first child, due late July, after all.) And the festival closed with UK rave icons Orbital playing their version of the Doctor Who theme joined on stage by current Doctor Who Matt Smith.

PRINCELY NEWS Prince has another album ready to drop and will once again opt for an unconventional means of distribution with his latest 20ten set scheduled for release on 10 July through the Belgian newspaper Het Nieuwsblad or the August edition of Germany’s Rolling Stone mag. Warner will distribute the Purple One’s latest ten-track set to all other regions. Prince was also honoured with a lifetime achievement award at LA’s 2010 BET Awards over the weekend and accepted the award wearing a skivvy with a print of himself wearing the skivvy emblazoned across the front. For real.

Back in town, there’s the question of how to spend another sleepless night. The nights are the worst; the heat never abates and our air conditioner has given me a cold, so it’s off until we work out how to clean the filter and avoid getting Legionnaire’s disease. Happily, there’s plenty to do. You can avail yourself of one of plentiful free events in the city’s parks: today it’s Gil Scott-Heron; yesterday it was Omar Suleyman tearing shit up in Central Park. Last week, various members of the Buena Vista Social Club were meant to be playing in Prospect Park, but were apparently denied visas (in the same way that poor old Ibrahim Ferrer got stiffed when he won at the Grammys and couldn’t accept the award because he couldn’t get a visa). Or you can just wander the empty industrial backblocks of Bushwick in search of the next party – on any given night, you can see bands like Zola Jesus or Ducktails or our very own Tame Impala playing at any of the technically illegal underground venues that have sprung up in warehouses and factories left abandoned when the recession hit here last year. These rooms are like furnaces; the rough-and-ready nature of the events is part of their appeal, which means no air conditioning and, most likely, warm beer. The vibe is invariably tripped-out and tribal; if there’s an identifiable sound du jour at the moment in NYC, it’s percussion-heavy and psychedelic. The drug of choice is weed, and it manifests itself in deeply stoned music, claustrophobic and atmospheric, based around rhythms borrowed from African music and/or hip hop beats. The doyen of such sounds for NY Conversation is one Balam Acab, who’s due to release an EP later this year on Triangle, the label founded by the guys who run the most excellent 20 Jazz Funk Greats blog. On further investigation, he turns out to be a skinny 18-year-old kid who goes to college in Ithaca, NY. I resolve to try to track him down – but that, unfortunately, will have to wait for next month. Until then… More at nyconversation.com! Gil Scott-Heron