SEVEN/SEVENM A G A Z I N E

07

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EDITOR IN CHIEFPAIGE RICHARDS

paige@sevensevenmagazine.com.au

DIRECTOR OF PHOTOGRAPHYIVAN LEE @ IJ PRODUCTIONS

ivan@sevensevenmagazine.com.auivan@ijproductions.com

ART DIRECTORNICHOLAS CAIRNS @ KINGDOMS & WOLVES

nicholas@sevensevenmagazine.com.aukingdomandwolves@gmail.com

CONTRIBUTORSKATE COCHRANE

NIKITA ALLANRUSS BENNINGSIMONE VINSKILEIGH CROWDALE BORDIN

JAYNELLE LORDING

EDITOR’S� � � � � �

Hi, and welcome to issue five of SEVEN/SEVEN! If you’ve read our previous issues, you will know that we are big supporters of the Australian creative industry, featuring the best up and coming talent we can every issue. So when it came to putting together this one, we decided why just feature one creative from the industry, when we can do a full-issue focus? Thus, the industry issue was born!

In music, we have the biggest feature selection in SEVEN/SEVEN history - speaking with Melbourne band, Calling All Cars, Sydney singer/songwriter/producer, Elizabeth Rose, and Sea t t l e -bor n/Aus t ra l ian - re s id ing songstress, Kym Campbell, and a bumper reviews section featuring new records from The Temper Trap, Olympic Ayres, and Jackson Firebird.

In fashion, we have a fantastic editorial, featuring the talents of designer, Amelia Agosta and the beautiful model, Paige Royal. In addition to the spread, we also have interviews with the two ladies, as well as Sarah Willcocks of StyleMelbourne, creative industry all-rounder, Corrine Grbevski.

We’ve focused very intently on the arts in culture, with interviews and features on Isobel Knowles (Artist and musician extraordinaire), the future of projection art, and seasoned photographer (and new columnist) Russ Benning speaks about amateur vs. professional photography.

Until next time!

Paige

Hello, and welcome to issue seven of

SEVEN/SEVEN. The summer tour season

is just around the corner and we can not

be more excited! To get you in the spirit

(and maybe help you decide on what sets

to catch!) this issue we chat to Husky, the

very talented Melbourne four-piece about

their latest record, and Falls Music and Arts Festival (which they’ll be playing).

We also speak to the incomparable Tex Perkins about his latest adventure with

The Dark Horses, and home-grown

guitar wunderkind, Joe Robinson ahead

of his homecoming tour.

In fashion, we take a fresh look at the

minimalist make-up trend (with all the

products featured under $50!) Our

editorial this month features fantastic

fashion from up and coming label,

Gwenadue, and speaking of up and

coming, we have full coverage of

Chandellier Rose’s inaugural fashion and

arts evening, Underground Collective.

In culture, resident Instagram addict Russ

Benning talks about the origins of his

addiction, we speak to PR maven, Stacey Piggott about her book, Blow Your Own

Trumpet, and we have a look at what’s to

come from Optus Flix in The Stix this year.

From all of us at SEVEN/SEVEN, happy

holidays, and we’ll see you next year!

Until next time;

Paige

TH

IS

ISSUE

words: Paige Richards

Blow Your Own Trumpet

Love independent music? Stacey Piggott does. The publicity maven behind boutique publicity house, Two Fish out of Water, Stacey has funneled her experiences in the industry into what has shaped up to be Blow Your Own Trumpet: A Musician’s Guide to Publicity & Airplay; a must-have book for all up and comers. We spoke to Stacey about the book, her experiences, and the happy accidents that led her to finding her place in the music industry.

music

tex perkins p/10joe robinson p/14husky p/18reviews p/22

fashion

the new nude p/28anywhere but here p/30underground collective p/44

memoirs of an instagram addict p/52blow your own trumpet p/56flix in the stix p/60

culture

page 10

page 56

page 44

music

What can you say about Tex Perkins that hasn’t already been said? A legendary presence in Australian music, he has been a part of Beasts Of Bourbon, The Cruel Sea, TnT, among many others, he has performed onstage in The Man in Black, written the score to the acclaimed film Beautiful Kate, and is the band leader for The Dark Horses—our topic for the day. Tex speaks to us about the new Dark Horses record, his writing process, and the art of interpretation.

TEX PERKINS

/INTERVIEW/

WORDS: PAIGE RICHARDS

p 10

What can you say about Tex Perkins that hasn’t already been said? A legendary presence in Australian music, he has been a part of Beasts Of Bourbon, The Cruel Sea, TnT, among many others, he has performed onstage in The Man in Black, written the score to the acclaimed film Beautiful Kate, and is the band leader for The Dark Horses—our topic for the day. Tex speaks to us about the new Dark Horses record, his writing process, and the art of interpretation.

TEX PERKINS

Always the consummate professional even after a long day of interviews, I was greeted with a warm hello, and an eagerness to talk about the new record. Provocatively titled, Everyone’s Alone, I wanted to know what made such a bold statement a great fit for the record. “Well that’s questionable; is it a great name? I’m not even sure what I’m trying to say there”, offered Tex with a charm that undoubtedly has made him such a fan and critic favourite.

Serving as a follow-up to 2011’s Tex Perkins and the Dark Horses, Everyone’s Alone sees the band move from Tex’s backing band into a unified front. “[On this record] I was able to use the band as part of the songwriting process. Last time, it was Murray [Patterson] and myself that would write the songs, demo them on our computers, and present the band with arrangements and they’d take it the next step, but this time I had the band around while I was still writing, so band arrangements were written while the songs were still being developed so it does have a more unified band sound.”

“A lot of the music started as demos and I’d take those demos to the band and we’d start a rudimentary recording then I’d listen to that recording and write lyrics and a melody.”

It is tremendously interesting to hear how one of the great Australian songwriters crafts his art, and Tex is more than happy to offer insight into his writing process. “It’s really about opening your mouth and making sounds come out. It’s a terrifying thing we all face, the blank page, the black canvas. You’ve got nothing and it’s a tremendously exciting and terrifying thing - the first opener. I don’t know what it is, but you just need to get the ball rolling. Sometimes I’ll go in and just make sounds that fit the phrasing of the music and eventually, you come across something that sounds like a word like that, and you can work from there. I don’t think any of these songs started with me having that specific idea and tried to impose that idea onto the music. I’ve just had to face that terrifying moment of having nothing and opening it up.”

Continuing on, he adds, “a lot of these songs [on the record]...they come charging up from my subconscious. You do start to recognise themes, and ideas and try and connect them all together, but what a lot of these songs are about alludes me a lot

of the time. I only really get to know what they’re about when people hear them, and they tell me what it means in context of their lives. I really enjoy that; I’m not dogmatic about what my songs are about. I’m actually deliberately leaving them open-ended and open for interpretation. They’re songs in search of meaning, and they find them in the lives of the listener.”

“I mean, I have written songs with a lot of detail, where there’s a narrative and a story, but I’ve written just as many that have the possibility of many interpretations. You’ll lead the listener down a certain track with the choice of words, but I like to let the listener of the leash...you like the alliteration there?”, he laughs.

The art of interpretation is something that seems to serve as great inspiration to Tex. “A lot of great art, especially paintings, are open to interpretation. Ten different people could look at a painting and see ten different things; physically see different things, and therefore will have a different emotional response. There’s a few instrumentals on the record, and the same can be said for that, it’s completely freeing the listener up [to their own interpretation]—freeing their imagination.”What else seems to be open ended is the cover art for the record. A barren landscape, (photographed by Tex’s partner Christina in New Zealand) is devoid of life seems to echo the title, but in the background a hopeful mountain-scape appears. A classic ‘half empty/half full scenario. “Originally, we were heading towards a different cover, one that included the title, but once we’d decided on Everyone’s Alone, this seemed like the right fit.”

The record itself is wonderfully crafted, with many interweaving themes running throughout the tracks, but is it a concept album? “I am a big fan of the concept album, and if I had added some sound effects, a little bit of dialogue floating here and

there a la Dark Side of The Moon, I almost feel like there was enough elements to have it as a concept album. So it’s almost there. Last album was more like an accumulation of songs, written over a period of time, and it was like ‘oh, I’ve got a lot of songs, I’ll go and record them’, but this record was written within a confined space in time. Without really having a true concept, the songs are certainly are connected to each other and I see them as a group, existing much more comfortably together than individually.”

Having been a part of iconic bands The Cruel Sea, TnT, and Beasts of Bourbon, written the score to Beautiful Kate, and starred in The Man in Black: The Johnny Cash Story, just to name a few of his projects, it seems that there’s nothing that Tex hasn’t tried his hand at. I asked whether there was anything more he wants to accomplish.

“All of those things are opportunities that people bring to me. I guess I could go out and spruik myself - yelling ‘soundtrack writer available!’, but I have to wait until I’m invited to be a part of these projects. I’m very lucky to be in a position where people do think of me, but I kind of just have to wait for opportunities to come up. That’s one of the wonderful things about all the other aspects of my career, other than making music, I don’t know what’s coming next. I don’t have any goals, my only goal is to accept opportunities as they come along. The exception is creating music, putting a band together, that’s the only thing that I truly have control of.”

“Something else I’d like to explore more and more is to really find out what The Dark Horses is. For a long time it’s existed as my backing band, I really want to explore the idea, and provide a platform for these interesting musicians to interact. I struggle to really nail down what sort of band this is, I guess it’s sort of a folky/country/acoustic centre to it, but it can go all sorts of ways and can expand, so we’re still exploring where this band can go.”

What will be exciting for fans to hear, is there may already be plans for the next record underway. “We planted the seeds of this record touring the last record, so I imagine we will do that again this time. I get very anxious if I’m not doing things these days, I really get a sense of wasted time. Maybe it’s me getting older, but I really feel a true anxiety building, so I really need to get involved in these projects just to relieve that anxiety.”

One thing that he (and the fans) don’t have to wait for is a tour for this record. At the time of the interview, The Dark Horses had just played shows in Tasmania, and were preparing for the record’s release and the rest of the tour. I asked what should audiences expect from the shows.

“The show is] a great blend of interesting personalities and musical styles. Basically I’ve got a bunch of interesting people on stage with me; there’s a lot of instrument swapping...we’re all in the centre of a very confusing mix of crossed leads and equipment.” A bunch of great musicians playing songs from our past, songs from the new record...I’ve done a little bit of polling on Facebook, looking for obscure gems [people want to hear], and we’ve been paying attention and putting a lot of the requests in—especially the interesting ones that we haven’t done in a while, or even those that we’ve never done. We’ll be continuing to do that. I think the show will get broader, and longer as we go along.”

Tex’s passion for his craft is apparent throughout our conversation, especially as we had long past the allotted time for the interview, he showed no sign of fatigue speaking about the record. Although having been a mainstay within the industry since the 80s, Tex seems to be no less excited to be making music now than at the beginning of his career; a testament to why audiences continue to fall in love with his music time and time again.

Everyone’s Alone is out now through Dark Horse Records/ Inertia.

/INTERVIEW/

p 1 2

Always the consummate professional even after a long day of interviews, I was greeted with a warm hello, and an eagerness to talk about the new record. Provocatively titled, Everyone’s Alone, I wanted to know what made such a bold statement a great fit for the record. “Well that’s questionable; is it a great name? I’m not even sure what I’m trying to say there”, offered Tex with a charm that undoubtedly has made him such a fan and critic favourite.

Serving as a follow-up to 2011’s Tex Perkins and the Dark Horses, Everyone’s Alone sees the band move from Tex’s backing band into a unified front. “[On this record] I was able to use the band as part of the songwriting process. Last time, it was Murray [Patterson] and myself that would write the songs, demo them on our computers, and present the band with arrangements and they’d take it the next step, but this time I had the band around while I was still writing, so band arrangements were written while the songs were still being developed so it does have a more unified band sound.”

“A lot of the music started as demos and I’d take those demos to the band and we’d start a rudimentary recording then I’d listen to that recording and write lyrics and a melody.”

It is tremendously interesting to hear how one of the great Australian songwriters crafts his art, and Tex is more than happy to offer insight into his writing process. “It’s really about opening your mouth and making sounds come out. It’s a terrifying thing we all face, the blank page, the black canvas. You’ve got nothing and it’s a tremendously exciting and terrifying thing - the first opener. I don’t know what it is, but you just need to get the ball rolling. Sometimes I’ll go in and just make sounds that fit the phrasing of the music and eventually, you come across something that sounds like a word like that, and you can work from there. I don’t think any of these songs started with me having that specific idea and tried to impose that idea onto the music. I’ve just had to face that terrifying moment of having nothing and opening it up.”

Continuing on, he adds, “a lot of these songs [on the record]...they come charging up from my subconscious. You do start to recognise themes, and ideas and try and connect them all together, but what a lot of these songs are about alludes me a lot

of the time. I only really get to know what they’re about when people hear them, and they tell me what it means in context of their lives. I really enjoy that; I’m not dogmatic about what my songs are about. I’m actually deliberately leaving them open-ended and open for interpretation. They’re songs in search of meaning, and they find them in the lives of the listener.”

“I mean, I have written songs with a lot of detail, where there’s a narrative and a story, but I’ve written just as many that have the possibility of many interpretations. You’ll lead the listener down a certain track with the choice of words, but I like to let the listener of the leash...you like the alliteration there?”, he laughs.

The art of interpretation is something that seems to serve as great inspiration to Tex. “A lot of great art, especially paintings, are open to interpretation. Ten different people could look at a painting and see ten different things; physically see different things, and therefore will have a different emotional response. There’s a few instrumentals on the record, and the same can be said for that, it’s completely freeing the listener up [to their own interpretation]—freeing their imagination.”What else seems to be open ended is the cover art for the record. A barren landscape, (photographed by Tex’s partner Christina in New Zealand) is devoid of life seems to echo the title, but in the background a hopeful mountain-scape appears. A classic ‘half empty/half full scenario. “Originally, we were heading towards a different cover, one that included the title, but once we’d decided on Everyone’s Alone, this seemed like the right fit.”

The record itself is wonderfully crafted, with many interweaving themes running throughout the tracks, but is it a concept album? “I am a big fan of the concept album, and if I had added some sound effects, a little bit of dialogue floating here and

there a la Dark Side of The Moon, I almost feel like there was enough elements to have it as a concept album. So it’s almost there. Last album was more like an accumulation of songs, written over a period of time, and it was like ‘oh, I’ve got a lot of songs, I’ll go and record them’, but this record was written within a confined space in time. Without really having a true concept, the songs are certainly are connected to each other and I see them as a group, existing much more comfortably together than individually.”

Having been a part of iconic bands The Cruel Sea, TnT, and Beasts of Bourbon, written the score to Beautiful Kate, and starred in The Man in Black: The Johnny Cash Story, just to name a few of his projects, it seems that there’s nothing that Tex hasn’t tried his hand at. I asked whether there was anything more he wants to accomplish.

“All of those things are opportunities that people bring to me. I guess I could go out and spruik myself - yelling ‘soundtrack writer available!’, but I have to wait until I’m invited to be a part of these projects. I’m very lucky to be in a position where people do think of me, but I kind of just have to wait for opportunities to come up. That’s one of the wonderful things about all the other aspects of my career, other than making music, I don’t know what’s coming next. I don’t have any goals, my only goal is to accept opportunities as they come along. The exception is creating music, putting a band together, that’s the only thing that I truly have control of.”

“Something else I’d like to explore more and more is to really find out what The Dark Horses is. For a long time it’s existed as my backing band, I really want to explore the idea, and provide a platform for these interesting musicians to interact. I struggle to really nail down what sort of band this is, I guess it’s sort of a folky/country/acoustic centre to it, but it can go all sorts of ways and can expand, so we’re still exploring where this band can go.”

What will be exciting for fans to hear, is there may already be plans for the next record underway. “We planted the seeds of this record touring the last record, so I imagine we will do that again this time. I get very anxious if I’m not doing things these days, I really get a sense of wasted time. Maybe it’s me getting older, but I really feel a true anxiety building, so I really need to get involved in these projects just to relieve that anxiety.”

One thing that he (and the fans) don’t have to wait for is a tour for this record. At the time of the interview, The Dark Horses had just played shows in Tasmania, and were preparing for the record’s release and the rest of the tour. I asked what should audiences expect from the shows.

“The show is] a great blend of interesting personalities and musical styles. Basically I’ve got a bunch of interesting people on stage with me; there’s a lot of instrument swapping...we’re all in the centre of a very confusing mix of crossed leads and equipment.” A bunch of great musicians playing songs from our past, songs from the new record...I’ve done a little bit of polling on Facebook, looking for obscure gems [people want to hear], and we’ve been paying attention and putting a lot of the requests in—especially the interesting ones that we haven’t done in a while, or even those that we’ve never done. We’ll be continuing to do that. I think the show will get broader, and longer as we go along.”

Tex’s passion for his craft is apparent throughout our conversation, especially as we had long past the allotted time for the interview, he showed no sign of fatigue speaking about the record. Although having been a mainstay within the industry since the 80s, Tex seems to be no less excited to be making music now than at the beginning of his career; a testament to why audiences continue to fall in love with his music time and time again.

Everyone’s Alone is out now through Dark Horse Records/ Inertia.

/INTERVIEW/

p 13

/INTERVIEW/

JOE ROBINSONWORDS: RUSS BENNING

Earlier this month I had the pleasure of

chatting to home-grown guitar hero and all-

round nice guy Joe Robinson closely

following the release of his new EP, Toe Jam

and preceding his current Australian tour

(check out http://joerobinson.com for

dates). Over the course of our conversation,

Joe spoke to me about the tour, his

influences, and a surprising collaboration

aspiration.

Joe’s unique style is heavily influenced by

‘classic era stuff’ including 50’s psychedelic

rock, and blues rock, as well as groups like

The Police that inspired the ‘power trio’

style of his last show. Listing his current

motivations, Joe mentions a lineup of

alternative music including artists like Gary Clark Jnr and the Black Keys, admitting,

“there is a lot of modern music that is really

good”, and quite wisely pointing out that as

an artist it is important to “let as much

influence you as you can”.

New fans will enjoy the fresh, smooth and

technical sound that Joe has personalised,

and will undoubtedly be impressed by the

standard and professionalism of the 21-year-

old artist. Existing fans are in for a treat with

the new EP, bringing a ‘rawer’ sound to the

table, promising to “capture the feel of a

live show.” The super talented artist wrote

and recorded Toe Jam in just five days, and

is constantly working on new material with

another few EP’s on the way. He is very

mindful of the fans and his plans are to

“keep the lines of communication flowing

with my audience and just release as much

stuff as I can.” Australian fans will be well

advised to check out the current tour

bringing to our shores a more local flavour;

“In the past I have had American musicians

come over with me, from Nashville, but this

tour I’m using all Aussie bands, so that’s

pretty cool and this show is a little heavier

than the others I’ve done in the past; its

definitely got more of a hard hitting

influence to it”.

Although Australia is “always going to be

home” for Joe, and he adds that he “will

always be coming back here”, currently, he

is based in Nashville, Tennessee. Littered

with writers, musicians and studios,

Nashville was a logical step forward for Joe’s

music and has pushed him to enhance his

music due to its competitive nature. “I think

Nashville is a place with a legitimate music

industry, it’s really a huge thing, and I think

unless you’re in Melbourne [in Australia] it

can be hard. I'm from the mid-north coast

and up there it’s really hard to be a

professional musician”.

Another tick for the music city; Vegemite

and Weet-Bix available, providing a little

taste of home! As much as he loves our fair

land, "it’s hard because it’s so far from

Europe and America”. Plans of moving to

Los Angeles are in the mix, however, to

somewhat bridge the gap between home

and abroad, as well as to further develop his

career.

p 16

When asked about his career highlight we

are taken back to Tennessee for a festival

that was named one of the "50 Moments

That Changed Rock & Roll" by Rolling Stone

magazine; Bonnaroo which he performed at

in 2010. The four-day festival hosts some of

the biggest and most diverse names in

music including the Red Hot Chilli Peppers, Alice Cooper, Skrillex, Eminem

and Stevie Wonder. Number one on Joe’s

wish list of collaborators (much to this

reporters surprise and delight) is Kanye West. He explains that Kanye is “really

creative and pretty brilliant” regardless of if

‘you’re into hip-hop’ or not.

Joe is back to the US in 2013 for a jam

packed calendar of gigs as well as to “put

the foot down and write”, wanting to

release more music as soon as he can. Joe’s

Australian tour wraps up on the 15th of

December, then he’s back off to the States

for Christmas. Be sure to check out the new

EP ‘Toe Jam’ available in stores and iTunes

now, and keep an ear out for the name Joe

Robinson; I have a feeling this young star is

only just getting warmed up…

Toe Jam is out on iTunes now. For upcoming tour dates, go to joerobinson.com.

p 17

HUSKYWORDS: PAIGE RICHARDS

HUSKY have certainly had a massive year. After releasing their debut record Forever So, late last year, they’ve been touring extensively throughout Europe and the US to rave reviews. Now back in the country, the Melbourne four piece are heading back on the road ahead of the Falls Music and Arts Festival. We spoke to frontman Husky Gawenda about the festival, life on the road, and what inspires him.

/INTERVIEW/

You’ve just wrapped your North American tour, but are back in the country for a national tour ahead of the Falls Music and Arts Festival; How does it feel getting back to some familiar faces?

We only just got back yesterday, actually. We

had an amazing time and got to go to some

incredible places and meet some amazing

people, but it’s always really nice to be back

home. We’ve been away so much of this

year, and we really missed it. I think we’re all

really happy to be back, and can’t wait to get

out and play some shows, and see some

familiar faces and old friends. It’ll be good to

be back on the road in Australia, that’s for

sure.

Having toured through Europe and have Forever So out in the US, how does it feel having gained an such an international following?

It feels kind of surreal on the one hand; it was

not something that I thought that would

happen at this point, if ever, really. When we

made Forever So and released it, we had

fairly humble plans and we only really

thought about Australia and touring around

Australia and that was a dream for us, so to

go beyond these shores and go all over

America, and the UK and Europe, it’s kind of

surreal. But it’s great; it’s such a privilege to

get to travel the world, and see so many

different and interesting places, and most of

all, just being able to meet people from all

over the world and have them come to our

shows, and listen to our music, and get a

sense of where they’re from, and what makes

them think. It’s an amazing experience.

Do you find that the US and Europe have a different response to the show?

I think there are probably small differences in

audiences in different places, but I think it’s

hard to generalise about audiences, for

example, all over America, or all over

Australia. I think you find differences within

audiences in different places in Australia, and

the same definitely goes in America, with it

being so huge and having so many people,

and such different states. I will say though,

being a foreigner in a different place, people

generally are very open and interested in you

because you’re from somewhere else, and

the audiences [overseas] have been very

warm and welcoming to us, which has been

really nice because we were so far away from

home, playing in places we’ve never been

before. It’s been really nice.

The record, Forever So, has such a stunning, engaging quality to it; where did your inspiration for the record come from?

I think that inspiration is a very mysterious

thing; I think it comes from not any one place

- not for me, anyway. I think at the time of

making the record and writing the songs

what was inspiring me was internal and

external. Things that had happened in my

life, happened in my past, memories, and

dreams.

p 20

/INTERVIEW/

That, as well as things that I was seeing in

the outside world; everyday things...a

beautiful spring day, a bird singing outside of

a window - anything, as well as books I was

reading, or music I was listening to. I think

that it sprung out of so many things. The

other thing that I think was inspiring us was

just the idea of making something

worthwhile, something that people could

listen to and get something out of - that was

definitely inspiring and motivating us.

Are there plans underway for a follow-up record?

We’re probably done with the overseas

touring for a little bit - we’ve really spent

most of the year touring, so now that we’re

back and we’ve got a few shows and some

great festivals to play. At the beginning of

the year we’re going to start recording, I’ve

been writing as we travel, so we’ve got some

songs to start off with, and we’ll continue to

write.

It seems like you are constantly touring; what’s been a highlight from the road?

I think it’s hard to pick one highlight; I could

pick a few cities that I’ve loved visiting....I

guess going to places like New York, or San

Francisco, or Berlin...places I’ve grown up

reading about, and seeing films about, it’s

been amazing to actually go and get to

know a little bit. But the highlight of the

touring is always getting to play these great

shows, and the warm responses we get from

the audiences. Getting to meet people after

the shows and getting to know them, and

learn more about the place they live...that’s

always the highlight.

What should audiences look forward to for your set at Falls?

If they know us, and our music, hopefully

they’re looking forward to hearing the songs

in a live setting. I don’t think there’s anything

like hearing live music. I’m a big fan of

records, and always have been - you can

have amazing experiences through listening

to them, but I think live music is the soul, it’s

the heart of what we do. We put everything

into our live performances so I hope we rise

to the expectations.

Is there anyone on the roster you’re looking forward to checking out?

Yeah, there’s lot of people. From an

international perspective, I’m excited to see

Rodrigo y Gabriella, First Aid Kit - I saw

them for the first time in LA and they were

beautiful singers, our Sub-Pop labelmates

Beach House, I haven’t had a chance to see

them yet, and locally...there are so many

great local bands, some of which are our

friends - Tin Pan Orange, The Trouble with Temperton and many others. It’s a great line

up.

HUSKY are touring nationally now, and will

be playing Falls Music and Arts Festival in

Lorne. Forever So is available on iTunes and

in record stores.

p 21

/INTERVIEW/

THE DARK HORSESEVERYONE’S ALONE

/REVIEW/

There isn’t a lot that Tex Perkins can’t do, or for that matter, be. Having been a vital part of Australian music for decades, we’ve seen him as a singer/songwriter, rock legend, pub rock icon, and now with The Dark Horses, one fifth of a well-oiled machine. Following up from 2011’s Tex Perkins and The Dark Horses, Everyone’s Alone explores Tex, the bandmate, rather than Tex the solo artist.

The piano-driven title track is a world-weavy musing, with lyrics like,“we use a word like ‘forever’, but it’s just pretend”. The subject matter is handled brilliantly by Perkin’s delivery with the instrumentation serving as a stunning back drop. The tone of the track is carried through to beautiful ballad, ‘Who Do You Think You Are’.

Fans of Perkin’s work with The Beasts of Bourbon will appreciate ‘You Already Know’ and ‘A Real Job’, both featuring fuzzy guitars and Perkin’s distinctive growl.

What is a h ighl ight is the beaut i fu l instrumentals punctuating the record; keeping the tone running throughout, and uniting the songs with a common thread.

Everyone’s Alone sees the The Dark Horses move from Tex’s backing band to a full entity, and if this is a sign of things to come, the Horses will take their place alongside Tex’s previous vehicles in Australian rock royalty.

Download:‘Everyone’s Alone’, ‘You Already Know’.

p 22

p 2 3

/REVIEW/

LISA MITCHELLBLESS THIS MESS

Lisa Mitchell; Australian Idol, Hottest 100 entrant, Australian Music Prize winner, and Triple J darling. Following her debut record, Wonder, her latest effort, Bless This Mess (with production of Dann Hume of Evermore) shows a more mature Lisa, full of variety and confidence.

Recorded in rural Victoria, Lisa took notes from the area and took the time to explore and experiment, and the record is much richer for it.

Arcade Fire influenced, ‘Providence’ opens the record and sets the tone for what’s to come. Lisa appears much more confident her songwriting, with larger scale instrumentation entering the fray. On ‘So Much More to Say’, she speaks to the audience directly,

announcing she’s “Still filling my space, still finding my place,”

‘The Present’ is a standout, featuring vocals from Clare Bowditch and Georgia Fair’s Jordan Wilson, and first single ‘Spiritus’ marks the graduation from her debut.

Overall, the record strong statement of Mitchell’s career progression. Her voice is stronger too (although fans will be happy to know her pixie range still comes into play). A grown up record for a young girl becoming a strong woman.

Download:‘Providence’, ‘Spiritus’, ‘The Present’.

FLUMEFLUME

/REVIEW/

Since w inn ing Tr ip le J Unearthed’s competition to play Field Day, 21-year-old Flume (AKA Harley Streten) has gone from strength to strength, and now with his debut release, his reign as Australia’s electro wunderkind is only cemented further.

The self-titled record is full of Flume’s signature swooping melodies, synths, and trip-hop beats, extending the sound introduced with ‘Sleepless’, his breakthrough track that caused audiences everywhere to fall in love with him.

The record isn’t all a rehashing of what we’ve already heard though; ‘On Top’ (featuring rapper ...) sees the producer delve into hip-hop, and Bring You Down is a sweeping, ethereal pop song, punctuated perfectly by vocalist George Maple.

Featuring appearances from Chet Faker, Jezzabell Doran, Moon Holiday and George Maple, the guests (and the diversity of) is definitely the highlight of the record. Each bring another dimension to the tracks, rounding them out and breathing more personality into them.

Overall, the record is a solid debut. A departure of the bastardised dance scene, the record is a polished, well-presented set of tracks that is sure to be the beginning of a long and successful career.

Download:

‘On Top’, ‘Sleepless’, ‘Bring You Down’

p 24

/REVIEW/

SAN CISCOSAN CISCO

With the refrain from their mega-hit,

‘Awkward’ still collectively stuck in the nation’s

mind, San Cisco don’t call for an introduction.

Following their EPs, Golden Revolver and Awkward, their self titled LP is sure to

continue the bands success.

Album opener, ‘Beach’, continues the theme

of Jordi Davieson and Scarlett Stevens

sharing the vocals over the breezy track’s catchy melody.

‘No Friends’ is definite single-material, with

the band returning to the fast-paced and

youthful sound that gained them recognition.

‘Metaphors’ is surf-pop at it’s best, and is sure

to be a go-to for any summer barbeque mix.

Delving further into unknown territory, ‘Nepal’

sees the band play with electronica. The track itself is built around strong verses; showing a

lot of growth.

San Cisco’s work ethic is incredibly evident

with this record. Lesser bands may have fallen

back onto previous hits to power the record, but the band is more than happy to let the

music speak for itself.

Download:

‘No Friends’, ‘Nepal’.

p 25

fashion

TREND REPORT:

THENEW NUDE

/BEAUTY/

1. Garnier Miracle Skin Perfector BB Cream $13.95 2. NP Set Concealer set $28.00 3. L’Oreal Paris Mega Volume Collagene 24H mascara $27.95 4. Napoleon Perdis Ultimate Contour Palate $45.00 5. e.l.f. Studio Cream Eyeshadow $.9.99 6. Lucas Pawpaw Ointment $4.99

THE PRODUCTS:

1

2

3

4

5

6

Fresh(faced) from the runway, last year’s minimalist trend has gotten a makeover. But unlike the last time we saw this trend where less was definitely more, this season's minimalism is all about a flawless finish, with the slightest bronze accents to create a subtle contour.

To create the look at home, all you need is the products below. Want to know the best part? Every product is below $50!

To start, apply a thin layer of Garnier Miracle Skin Perfector BB Cream ($13.95) to your face. Matching to your skin’s natural tone, the cream provides great coverage without feeling heavy, and stays dewy throughout the day.

To cover any dark circles, or blemishes, use the NP Set Concealer set. The palate can be built upon and blended to match the coverage desired, and with five creamy shades for $28, it won’t take too much from your wallet, or room from your make up bag.

For the illusion of razor sharp cheek bones,

reach for the Napoleon Perdis Ultimate Contour Palate ($45.00). Much like the NP Set Concealer, this compact offers three shades in one - a bronzer, an illuminator, and a blusher. Sparingly sweep the bronzer from your ear towards your chin to contour, apply the blusher to the apples of your cheeks, and use the illuminator across your brow bone, and down the bridge of your nose.

For a subtle eye colour, e.l.f. Studio Cream Eyeshadow ($.9.99) in bronze is a perfect fit. Creamy in nature, the shadow blends fantastically into skin, setting as a light shimmer. To complete the eyes, L’Oreal Paris Mega Volume Collagene 24H mascara ($27.95) extends and plumps eyelashes to false lash proportions. Build from the bottom of the lashes to create more volume, then sweep out almost horizontally for silky, non-clumpy lashes.

To finish the look, apply a dash of everyone’s favourite lip balm, Lucas Pawpaw Ointment ($4.99) to your lips. Simple!

p 29

anywhere but here

anywhere but here

photographer: leigh crowphotographer’s assistant: dale bordin

stylist: simone vinskihair/make up: jaynelle lordingmodel: danielle @ gear models

previous/this page:

earrings: stylist’s owntop: naven from scene fashion & lifestyle (107 High Street, Preston, Victoria, (03 90041310)pants: gwenadue(www.gwenadue.webs.com)Shoes: stylist’s own

previous/this page:

necklace: stylist’s ownjacket: gwenadue (www.gwenadue.webs.com)top: stylist’s own skirt: gwenadue (www.gwenadue.webs.com)

necklace: eat.me.do (www.etsy.com/shop/eatmedo)top: someday’s lovin’ from scene fashion & lifestyle (107 High Street, Preston, Victoria, (03 90041310)jacket: gwenadue (www.gwenadue.webs.com)skirt: stylist’s own

jacket: gwenadue (www.gwenadue.webs.com)top: someday’s lovin’ from scene fashion & lifestyle (107 High Street, Preston, Victoria, (03 90041310)skirt: sgt sookie (www.sgtsookie.com)shoes: stylist’s own

earrings: bam bam vintage (www.vintage-cloth-ing.net.au)jacket: sgt sookie (www.sgtsookie.com)top: stylist’s ownskirt: stylist’s own

UNDERGROUND COLLECTIVE

Melbourne’s finest up and comers from the world’s of music, fashion, and design gathered at the city’s favourite art space, Revolt Productions to celebrate the Underground Collective—brainchild of stylist, Chantelle Asciak and graphic designer, Tom Fancke, and featuring fantastic labels, Sol Hermana, El and Tino, Tee Ink, and many more.

All images courtesy of David Harris PhotographyDHphotographics.com

Melbourne’s Revolt Productions served as

the perfect backdrop for the Underground

Collective to take over on a Wednesday

evening, with the many quirks of the venue

echoing the unique and talented artists

showcasing their work. Organised to launch

the rebranding of Chandellier Rose: Online Independent—an online store allowing up

and coming designers to get their work

shown (and more importantly, worn), the

evening was filled with amazing designs,

fantastic music, and delicious drinks.

Soundtracked by local bands, Jakubi and

Good Morrows, the vibe of the evening was

fun, fresh, and exciting—much like the labels

on display.

Not a conventional runway (and, really, who

would want that!), the models made up

flawlessly by Academy of Make Up and Biba

sauntered across the floor in front of a pop-

art inspired film spot for each designer.

Opening the show was El and Tino’s special

brand of alternative evening wear from their

latest collection, Ti Voglio Bene (translated; I

love you so much it hurts), the feminine

shapes punctuated by the hand embroidered

take on Russian prison tattoos.

Fiends and Lovers showcased their clash

between hard and soft, with flirty dresses

paired with studded jackets and punk prints,

and SEVEN/SEVEN favourites Sol Hermana

brought the fun with innovative shapes and

punchy prints.

Jewellery was supplied by bohemian inspired

Barbarian Gypsy, and for those that like

their pieces a little tougher, the rock-chic

aesthetic of GMK Exclusive.

Ameca Calleja gave a different take on

spring/summer, playing with shapes and hem

lines, offering the crowd something to stand

out in.

For the boys, Sydney brand, Tee Ink showed

off their take on mens fashion with their in-

house designed prints on tanks and tees, and

for the boys in the audience, Mijanou Swimwear’s sexy take on beachwear had the

models beach-ready.

Closing the show was the ‘grade A best sh*t

in town’, Harry Wragg, showcasing the best

vintage pieces you can get your hands on.

If you missed out this time around, don’t

worry! Plans are underway for the next

showing of the Underground Collective for

early next year, and in the meantime, don’t

hesitate heading to Chandellier Rose: Online

Independent to get your hands on the

fantastic pieces from the designers now!

chandellierrose.com.

p 46

culture/LOOK! IT’S ISOBEL

KNOWLES/TO INK OR NOT TO INK/ FUTURE PROJECTIONS/ BEYOND KONY/ OH, YOU HAVE A NEW CANON DSLR AND NOW YOU’RE A PHOTOGRAPHER?/

InstagramMemoirs of an

Addict

Words: Russ Benning

Instagram; I am an addict.

I denied it for a long time and covered it up

when I realised what was happening, but I

can’t deny it anymore and I need to admit it

to the world…I am addicted to Instagram.

An #igaddict is what they call us, and what

we call ourselves. How did it happen? I’m

glad you asked…

The global phenomenon, accept-no-

substitute, instant photo sharing sensation

that is Instagram didn’t start off as gloriously

as its current market position. The retro-

rehash, square format, smartphone photo

craze started almost as early as the first sales

of the original iPhone with its 2 megapixel

camera back in 2007 ( smar tphone

photography exists on Android and

Blackberry based phones, but not nearly as

popularly). Instagram rose to supremacy

somewhere between its launch date in

October 2010 to the present day, surpassing

such pioneers as ‘Hipstamatic’ and ‘Camera

Bag’, mainly due to it’s easy clean interface

and flawless marketing. When Facebook

picked it up for a cool one billion dollars

earlier this year the app exploded in

popularity and features. As well as the app

itself, there are now over 20 tag-along apps

all trying their hand to capture a slice, from

extra filter apps, to frame and diptych apps.

Also there was the emergence of such

websites as ‘Statigr.am’ which offers online

access to all of your pics, followers, stats,

and so much more including options to get

a collage of your Instagram pics as posters,

stickers and my personal favourite pillow

cases! Too far? Probably.

Photographers quickly jumped on board

seeing it as the compact, go-anywhere

version of what we do professionally. In fact,

Damon Winter published a summer series

for the New York Times using Instagram, and

got a third place in the ‘Pictures of the Year

International photojournalism competition’

for Hipstamatic shots covering the War in

Afghanistan. Frowned on by many as it was

seen as becoming a bastardisation of

p h o t o g r a p h y , t h e l a t e r t a g g e d

‘iPhonography’ was defended by brilliant,

and highly accredited photographer Chase

J a r v i s , i l l u s t r a t i n g t h e p o i n t t h a t

photography is meant to be enjoyed by

everyone, therefore isn’t this a good thing?

Where it gets very interesting, and slightly

controversial for me, is the point where

photographers started using Instagram to

share their professional portfolio. I was

personally disappointed by this movement

believing that it’s one or the other;

professional portfolio through the regular

means (websites, social media, galleries), or

iPhonography which puts everyone on a

level playing field. This was until Facebook

swooped in and created the above-

ment ioned boom and made i t an

undisputed channel of promotion, especially

for photographers since the app is images

only. It became borderline ridiculous not to

embrace the extra channel so I gave it a go.

p 54

Sure enough after posting a few shots from

a recent studio shoot I got an extra 50 plus

notifications overnight. Impressive. I dug a

little deeper (as I was getting followers and

l i k e s f r o m u s e r s s u c h a s

“ g e t m o re f O 1 1 O w e r s h e re 4 0 7 ” a n d

“mcacashking3”) and discovered there are

Instagram bots that can be purchased to

auto follow, auto like and auto comment.

Turns out it’s big business and some people

are making a good living off such

promotions. The part where I personally

draw the line is posting other peoples work

as your own to grow followers and likes to

sell off as a marketing tool. You’re not

doing it right, have no morals, or are a

robot, and do not have my or any other

serious photographers respect.

Should we all be posting our pro photos

and/or adverts and inspirational quotes or

keep it strictly iPhonography? I feel there is

a healthy balance somewhere in between. I

love the challenge of shooting and editing

solely on an iPhone, where the end result is

based on your creativity and understanding

of light only verses the quality of your

equipment; but I also cannot argue with the

marketing potential offered by such a

streamlined and attractive app. You can

never have too much exposure, and as

such, please accept my shameless

instagram plug—@randr_digital.

@randrdigital’s photo stream

p 55

words: Paige Richards

Blow Your Own Trumpet

Love independent music? Stacey Piggott does. The publicity maven behind boutique publicity house, Two Fish out of Water, Stacey has funneled her experiences in the industry into what has shaped up to be Blow Your Own Trumpet: A Musician’s Guide to Publicity & Airplay; a must-have book for all up and comers. We spoke to Stacey about the book, her experiences, and the happy accidents that led her to finding her place in the music industry.

/INTERVIEW/

words: Paige Richards

Blow Your Own Trumpet

Love independent music? Stacey Piggott does. The publicity maven behind boutique publicity house, Two Fish out of Water, Stacey has funneled her experiences in the industry into what has shaped up to be Blow Your Own Trumpet: A Musician’s Guide to Publicity & Airplay; a must-have book for all up and comers. We spoke to Stacey about the book, her experiences, and the happy accidents that led her to finding her place in the music industry.

it more realistic. Knowing that a band like The Waifs literally did all their own stuff, delivered their CDs to record stores, rang the local pub, contacted the media and built up their own database. It’s so much easier now that everything’s on the internet, at your fi ngertips, and all these state bodies that support the arts. It’s really broken through that outer layer.”Stacey is no stranger to starting grassroots, having started her own publicity career as a happy accident. “I started with The Waifs—they were doing everything for themselves; they were booking themselves, distributing themselves, managing and publicising themselves. I met Donna [Simpson, singer/songwriter for The Waifs] when I was waitressing in Bondi. I was a freelance journalist at the time, and I started working with them as a bit of a joke. I was going to newsagencies with a notepad, taking down names and contact numbers for the magazines, and went home and started calling people. I had no industry experience, no publicity experience, but we had a really good time, and did a really good job with it. Through those guys I got a lot of other bands asking if I could work with them.”

Stacey’s passion for her work is obvious. When I asked about what it is she loves about independent music, she responded without hesitation; “I take it very seriously when somebody hands me something that they’ve created—like an album, or if they’d put the work in to do a tour. I like knowing that if I do what I’m meant to do right, I can make a difference to them and help get them to the point where they don’t have to work a day job, and they can make a living from their music. You get to know these people when you work so closely with them, and they’re good people and they love music, and they really want to work really hard. You also get to see the joy that music brings. I remember being at a Clutch gig, these two big bikie guys were there and when the music started they had tears in their eyes and started hugging each other—just being so excited. I love being a part of that, bringing the music and people together and helping to inform people where they can get the music that makes them feel like that.”

“Also, with the bands, they put so much work into what they do. I love that independent bands they get to keep creative control, and they don’t have to bend in any particular way. I feel really strongly about bands being able to run their own brand, and their own business. I like the idea of being able to facilitate that. There’s so much good music coming out of this country, so many talented musicians and talented songwriters coming out of here.”

On the subject of the state of the industry, Stacey offers “I think that [now] bands are now feeling more empowered. Some of those old record deals are archaic; making bands feel like they’re trapped in a really bad marriage, so it’s great seeing the industry as a whole is changing [to facilitate new media]”.

For her hopes for Blow Your Own Trumpet, Stacey says, “I hope that it is helpful to people, I’ve spoken to a lot of artists and I just get really sad that there’s a disillusion [about the industry].” She adds one last piece of advice as our interview draws to a close; “Bands sometimes don’t know where to start, so [unfortunately] they just don’t. I think it’s important for people to know they have the power to make things happen. If you want a gig, you can pick up the phone. Want a story in stress press, get contact details, and pick up the phone. It’s all about starting talking to people; there’s no fast way to do it. For me personally, I’ve had ‘no’ said to me so many times over the years that I’m used to it - you just roll with it and move onto the next thing. [laughs]”

Blow Your Own Trumpet is out now. You can order your copy from twofi shoutofwater.com.

Blow Your Own Trumpet was born from Stacey wanting to shed more light onto her industry, and to empower musicians to take control of their careers. It began when she started to put helpful information down in a Word document, “to give people who are grassroots who approach [Two Fish], guiding them how to handle their publicity for their single, or their fi rst EP release, and to let them know all the things they can do for themselves fi rst [before taking on a publicist]. [People] can end up wasting a lot of money if they’re not ready for a publicist, and a lot don’t really know what it is that a publicist actually does, or what a radio plugger does”.

“I was talking to a couple of our clients about it and they offered stories about their own experiences, and what they had done for themselves and the different things that they’d learnt, and it got so big that it wasn’t going to be contained within one document, so it had to become a book. Then

I thought of other people that I could talk to to illustrate the different pathways artists can take and approached a lot of people that seemed really keen, and now it’s fi nished.” She explains, excitedly.

The book aims to dispel industry myths, and to educate up and comers about what they can do for themselves. “I found people contacting me, asking if we could sign them and I had to explain to them that it doesn’t really work like that. You know a publicist will work with you, but it will cost you, and unfortunately, there are smaller bands that take a publicist on and end up paying much more than what they can afford. I think that to do your own publicity, it’s not hard and it’s not something you necessarily need to study for. You just need to have really good songs, and something to talk about, and have the time to be able to do it.”

Continuing, she adds “I don’t think people realise that you can get your songs on radio without paying a radio plugger, or think that without paying a publicist you can’t contact journalists, but they can. If you’ve got a really good product, or album, or a great live show, you can push a little bit harder, and contact those people.”

Blow Your Own Trumpet not only is full of helpful advice from Stacey, but includes interviews and advice from artists, including punk hero, Henry Rollins, Dan Williams from Art Vs Science, and Gareth Liddiard from The Drones. “Having the different artists experiences [within the book] really illustrates that there are many, many different ways that an artist can make a career. There are contradictory opinions in there, but what works from one may not work for the other. I think that having those was a lot more powerful than some faceless publicist putting a whole lot of stuff down on paper,” She laughs. “There’s artists stories and opinions in there that other artists can relate to, because they are fans of that artist, or are aware of them, so it makes

p 58

it more realistic. Knowing that a band like The Waifs literally did all their own stuff, delivered their CDs to record stores, rang the local pub, contacted the media and built up their own database. It’s so much easier now that everything’s on the internet, at your fi ngertips, and all these state bodies that support the arts. It’s really broken through that outer layer.”Stacey is no stranger to starting grassroots, having started her own publicity career as a happy accident. “I started with The Waifs—they were doing everything for themselves; they were booking themselves, distributing themselves, managing and publicising themselves. I met Donna [Simpson, singer/songwriter for The Waifs] when I was waitressing in Bondi. I was a freelance journalist at the time, and I started working with them as a bit of a joke. I was going to newsagencies with a notepad, taking down names and contact numbers for the magazines, and went home and started calling people. I had no industry experience, no publicity experience, but we had a really good time, and did a really good job with it. Through those guys I got a lot of other bands asking if I could work with them.”

Stacey’s passion for her work is obvious. When I asked about what it is she loves about independent music, she responded without hesitation; “I take it very seriously when somebody hands me something that they’ve created—like an album, or if they’d put the work in to do a tour. I like knowing that if I do what I’m meant to do right, I can make a difference to them and help get them to the point where they don’t have to work a day job, and they can make a living from their music. You get to know these people when you work so closely with them, and they’re good people and they love music, and they really want to work really hard. You also get to see the joy that music brings. I remember being at a Clutch gig, these two big bikie guys were there and when the music started they had tears in their eyes and started hugging each other—just being so excited. I love being a part of that, bringing the music and people together and helping to inform people where they can get the music that makes them feel like that.”

“Also, with the bands, they put so much work into what they do. I love that independent bands they get to keep creative control, and they don’t have to bend in any particular way. I feel really strongly about bands being able to run their own brand, and their own business. I like the idea of being able to facilitate that. There’s so much good music coming out of this country, so many talented musicians and talented songwriters coming out of here.”

On the subject of the state of the industry, Stacey offers “I think that [now] bands are now feeling more empowered. Some of those old record deals are archaic; making bands feel like they’re trapped in a really bad marriage, so it’s great seeing the industry as a whole is changing [to facilitate new media]”.

For her hopes for Blow Your Own Trumpet, Stacey says, “I hope that it is helpful to people, I’ve spoken to a lot of artists and I just get really sad that there’s a disillusion [about the industry].” She adds one last piece of advice as our interview draws to a close; “Bands sometimes don’t know where to start, so [unfortunately] they just don’t. I think it’s important for people to know they have the power to make things happen. If you want a gig, you can pick up the phone. Want a story in stress press, get contact details, and pick up the phone. It’s all about starting talking to people; there’s no fast way to do it. For me personally, I’ve had ‘no’ said to me so many times over the years that I’m used to it - you just roll with it and move onto the next thing. [laughs]”

Blow Your Own Trumpet is out now. You can order your copy from twofi shoutofwater.com.

Blow Your Own Trumpet was born from Stacey wanting to shed more light onto her industry, and to empower musicians to take control of their careers. It began when she started to put helpful information down in a Word document, “to give people who are grassroots who approach [Two Fish], guiding them how to handle their publicity for their single, or their fi rst EP release, and to let them know all the things they can do for themselves fi rst [before taking on a publicist]. [People] can end up wasting a lot of money if they’re not ready for a publicist, and a lot don’t really know what it is that a publicist actually does, or what a radio plugger does”.

“I was talking to a couple of our clients about it and they offered stories about their own experiences, and what they had done for themselves and the different things that they’d learnt, and it got so big that it wasn’t going to be contained within one document, so it had to become a book. Then

I thought of other people that I could talk to to illustrate the different pathways artists can take and approached a lot of people that seemed really keen, and now it’s fi nished.” She explains, excitedly.

The book aims to dispel industry myths, and to educate up and comers about what they can do for themselves. “I found people contacting me, asking if we could sign them and I had to explain to them that it doesn’t really work like that. You know a publicist will work with you, but it will cost you, and unfortunately, there are smaller bands that take a publicist on and end up paying much more than what they can afford. I think that to do your own publicity, it’s not hard and it’s not something you necessarily need to study for. You just need to have really good songs, and something to talk about, and have the time to be able to do it.”

Continuing, she adds “I don’t think people realise that you can get your songs on radio without paying a radio plugger, or think that without paying a publicist you can’t contact journalists, but they can. If you’ve got a really good product, or album, or a great live show, you can push a little bit harder, and contact those people.”

Blow Your Own Trumpet not only is full of helpful advice from Stacey, but includes interviews and advice from artists, including punk hero, Henry Rollins, Dan Williams from Art Vs Science, and Gareth Liddiard from The Drones. “Having the different artists experiences [within the book] really illustrates that there are many, many different ways that an artist can make a career. There are contradictory opinions in there, but what works from one may not work for the other. I think that having those was a lot more powerful than some faceless publicist putting a whole lot of stuff down on paper,” She laughs. “There’s artists stories and opinions in there that other artists can relate to, because they are fans of that artist, or are aware of them, so it makes

p 59

Optus Flix in the Stix returns in 2013 with a record number of events to celebrate their fifth year. Twelve regional centers across the east coast of Australia will play host to the annual evening of eclectic short films, spine tingling music performances, spoken word, comedy, delicious nosh and great company. Held under the stars in stunning surrounds, including botanic gardens; sprawling paddocks and picture perfect vineyards, Optus Flix in the Stix will undertake their most ambitious tour to date calling into multiple cities in Queensland and Victoria for the very first time.

Aside from expanding the tour, what else is exciting? Flix in the Stix is taking on it’s first guest curator in 2013; Nash Edgerton. An industry heavy weight with their finger on the pulse of the freshest short films being created, Nash took out the honour for favourite film last year.

After winning the popular choice award for best film of 2012 for his short Bear, it seems only fitting that Nash would return in 2013 to share his own favourites, for an evening of the best short films on offer.

Edgerton is a true multi-hyphenate. After getting his break at 18 years old as a stunt performer, he has gone on to establish himself as an multi-award winning actor, stunt performer, editor, producer, writer and director of indisputable talent.

Back in 1996 Edgerton made his short film directorial debut with Loaded, a year which also marked the beginnings of the film collective Blue Tongue Films, formed with his brother Joel Edgerton and friend Kieran Darcy-Smith. A year later Nash began amassing his collection of awards, taking out the top prize at Tropfest and heading straight to the Sundance Film Festival with Deadline and he’s since directed 8 multi-award winning short films including Fuel, Lucky, Spider and last year’s Optus Flix in the Stix audience favourite Bear. This is a guy who knows his way around a good short film, which is why he’s been

asked to choose his favourites for you.

Recently he’s been splitting his time between Australia and the US, working on The Great Gatsby, Kieran Darcy-Smith’s Wish You Were Here and Sofia Coppola’s The Bling Ring as well as directing music videos for The Hilltop Hoods, Bob Dylan, and The Killers frontman Brandon Flowers, all in between going through submissions and deciding on his personal best picks for inclusion in the program for next year’s Optus Flix in the Stix.

Twelve regional centres across the east coast of Australia will play host to the annual evening of eclectic short films, spine tingling music performances, spoken word, comedy, delicious nosh and great company. Held under the stars in stunning surrounds, including botanic gardens; sprawling paddocks and picture perfect vineyards, Optus Flix in the Stix will undertake their most ambitious tour to date, calling into multiple cities in Queensland and Victoria for the very first time.

ARIA Award winning collective The Whitlams have also been announced for the Optus Flix In the Stix 2013 tour.

Tickets go on sale December 3rd 2012 through Ticketek.

For more information, head to flixinthestix.com.au

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PHOTOGRAPHYIJ PRODUCTIONSijproductions.com

MUA/HAIR:NATHALIE PRINCEnathalieprince.com.au

THIS ISSUE:PHOTOGRAPHYR & R DIGITALrandrdigital.com.au

LEIGH CROWleighcrow.com

MUSICTEX PERKINStexperkins.com.au

JOE ROBINSONjoerobinson.com

HUSKYhuskysongs.com

FASHIONSIMONE VINSKIsimonevinskistylist.webs.com/

GWENADUEgwenadue.webs.com

CHANDELLIER ROSEchandellierrose.com

CULTURESTACEY PIGGOTTtwofishoutofwater.com

FLIX IN THE STIXflixinthestix.com.au

After more information on anything featured in this issue? Look no further, we’ve got it all here.

Win with and !

As part of celebrating their launch in Australia, our friends from Zipbuds have generously provided us with pairs of earphones to give away!

How do you win them? Just be the 50th new ‘liker’ to our facebook page, and a fresh new pair of earphones will be zipping into your ears. Easy right?

A runner-up will also get their hands on a pair, so what are you waiting for? Get liking! And while you’re at it, welcome Zipbuds Australia to Facebook.

SEVEN/SEVENM A G A Z I N E . C O M . A U