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In And Soon The Darkness, Stephanie and Ellie, two American girls on a bicycling vacation in Argentina quarrel and separate. When Stephanie feels guilty about leaving, she decides to return to the infamous stretch of road where she left her friend. She fi nds her friend is missing

and, as time passes and there is no trace of her, she imagines the worst and turns to the police for help. Skeptical of the sheriff’s competency, she enlists help from an American ex-pat staying at their hotel. Together they go on a frantic search for Ellie, but Stephanie soon realises that trusting his seemingly good intentions may drag her further from the truth. With danger mounting, and time running out, she must fi nd her friend before darkness falls. Thanks to Roadshow Entertainment we have fi ve copies of the DVD up for grabs! Subject Line: AND SOON THE DARKNESS

Thanks to Kristian Fletcher we have two double passes up for grabs to An Evening

of Horror at the Globe Theatre on Sunday February 27. Carrie (1976) (R18+) - 4.30pm, Child’s Play (1988) (M) - 6.15pm, Night of the Living Dead (1968)

(M) - 7.45pm will provide a triple treat of scares. There’s something there for all horror movie fans! Entrants must be 18+. Subject Line: HORROR

Thanks to Popfrenzy we have three awesome prize packs up for grabs! Each pack contains a copy of new releases by Jonny, Wire and Gruff Rhys. Jonny is the self-titled debut album from Norman Blake

(Teenage Fanclub) and Euros Childs (Gorky’s Zygotic Mynci). Featuring the lusciously sweet single, ‘Candyfl oss,’ Jonny’s irresistibly infectious and breezy indie-pop is hitting all the right notes with music critics and tastemakers. As vital and relevant as their own illustrious past recordings, Red Barked Tree rekindles a lyricism sometimes absent from Wire’s previous work and reconnects with the live energy of performance, harnessed and channeled from extensive touring over the past few years. Hotel Shampoo is the third solo album from Gruff Rhys (Super Furry Animals, Neon Neon). The title of the record is a reference to Gruff’s unfortunate habit of hoarding mini shampoo bottles and other complimentary hotel products whilst on tour. Subject Line: POPFRENZY CDs

One of the UK’s most infl uential late 70s seminal rock bands, Gang of Four, return with their new album Content. To celebrate the new album, the band are touring Australia as part of Soundwave which hits the RNA Showgrounds on Saturday Feb 26, and they’re also playing a Sidewave gig the night before. Thanks to Consume we have two double passes up for grabs to their Sidewave gig at The Hi-Fi on Friday Feb 25. I Heart Hiroshima and Rebuilding The Rights Of Statues are supporting. Entrants must be 18+. Subject Line: GANG OF FOUR

TIME OFFGet your music industry news fromThe Front Line 14Lowdown – news, opinions, tours, Backlash, Frontlash 16Bring Me The Horizon discuss thelove/hate relationship the public seem to have with their music 20Mike Ness of Social Distortion is as energised by playing music as ever 22Post-punk pioneers Gang Of Four

are still entertaining 23Why is Temptation the best album The Waifs have ever made? 24We get behind the thoughts and experiences that made The Whitlams’ Eternal Nightcap 26Local indie rockers Nova Scotia talk happy pigs, sex faces and the 2008 AFL Grand Final 27Gympie’s Darren Hanlon talks about matching it with indie rock’s fi nest 28Martha Wainwright stands out by being herself 28The Gin Club are charitable souls 30There’s something deeply personal running through Thousand Needles

In Red’s debut album 30Evil Eddie stands up for hip hop 32Change is important for Lior 32On The Record has the latest, greatest and the not so greatest new musical releases 34Chris Yates spotlights the best (and worst) tracks for the week in Singled Out 34

FRONT ROWThis Week In Arts plans your next seven days 36After 15 years Topology are as vital as ever, albeit a little less minimal 36The Looking Glass looks into artisticlitigation, or lack thereof 36Three more costume changes than a Cher show? Weird Al Yankovich must be in town 37We go nuts with World Theatre

Festival reviews 38This year’s Flickerfest series is looking better than ever 38 Cultural Cringe has Matlida on its mind 39

BACK TO TIME OFF!Get the drum on all the coolest happenings in local music last week, this week and beyond in Live 41If you’re hitting Good Vibrations on the weekend, don’t forget your Map and Times 47Dan Condon gets the dirt on the bluesscene from the Roots Down 54Adam Curley cuts sick with another musicapop culture rant in The Breakdown 54Lochlan Watt gets brutal in our new metal column Adamantium Wolf 54Sarah Petchell has enough punk rock to Wake The Dead 54We take you behind the music Behind The Lines 60iFlog: Funny name, seriously good classifi eds 62

Front Row: Mandy Kohler, Lauren Dillon, Adam Brunes, Matt O’Neill, Mitch Knox, Jessica Mansour, Guy Davis, Rowena Grant-Frost, Danielle O’Donohue, Helen Stringer, Alice Muhling

Photography: Stephen Booth, Kane Hibberd, Alex Gillies, Silvana Macarone, Brad Marsellos

EDITORIAL POLICYThe opinions expressed in this publication are not necessarily those of the publishers. No part may be reproduced without the consent of the copyright holder. ©

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CONTRIBUTORS: Time Off: Lawrence English, Ben Preece, Dan Condon, Craig Spann, Daniel Johnson, Chris Yates, Matt O’Neill, Alex Gillies, Richard Alverez, Mark Beresford, Emma Heard, Adam Curley, Daniel Wynne, Lochlan Watt, Roberta Maguire, Kenada Quinlan, Carlin Beattie, Tyler McLoughlan, Mitch Knox, Sam Hobson, Rachel Tinney, Tony McMahon, Benny Doyle, Lily Luscombe, Jake Sun, Sarah Petchell, Helen Stringer, Brendan Telford

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HOW TO ENTER:Email: give@timeoff.com.au with the designated Subject Line. Entries MUST include your full name, address and contact phone number in Body of Text. Please note our Giveaways policy: Email before Friday 3pm unless stated otherwise. If you have won a prize you will be notifi ed by email. One entry per person/per competition. Prizes must be collected from the Time Off offi ce during business hours with the presentation of ID. Prizes must be collected within 10 working days from email notifi cation unless stated otherwise. Prizes are not transferable, exchangeable or redeemable for cash. Failure to collect the prize within the time specifi ed will result in it being forfeited. Deadlines for entering and collection must be strictly adhered to.

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INDUSTRY NEWSINDUSTRY NEWS

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DIGITAL NOT ENOUGH YETDIGITAL NOT ENOUGH YETARIA released their report for 2010’s wholesale fi gures last week, painting an expected picture of dwindling physical sales and a rise in digital that’s not yet strong enough to sustain the drop. For the physical side of things, 29,174 CD singles were sold, down 94.25 percent while the 23,521,928 album units shifted was a 16.27 percent drop. Overall physical revenue shed 23.83 percent. Digital had better percentages, with the 49,180,48 individual tracks sold a 36.74 percent increase and the 3,301,366 albums sold a 44.82 percent increase. Unfortunately as a whole, the industry’s dollar value was down 13.92 percent.

BIDDING FOR THE CAUSEBIDDING FOR THE CAUSEThe Rock’n’Roll Auction is still under way to raise funds for the Queensland Flood Appeal with a range of items and experiences up for grabs. Two of the biggest prizes currently available include a meet and greet with Katy Perry at her Brisbane concert and fl ights and tickets to the sold out Coachella festival in California. Head to rocknrollauction.com.au to browse them all.

EXCELSIOR HOTEL SOLDEXCELSIOR HOTEL SOLDSydney property heavyweight Justin Hemmes and his Merivale Group have added The Excelsior

Hotel in Surry Hills to their portfolio, paying about $4.5 million for the venue, the Sydney Morning Herald reported. It is believed that Hemmes is taking a gamble on the small venue due to the infl ux of wealthy people moving into the Surry Hills district, but this places doubt over the venue’s future with live music. Hemmes bought the struggling Beresford Hotel for $14.6 million last year and is expected to make more purchases in the Surry Hills district in the future. The Merivale group owns properties such as Ivy, Chinese Laundry, Tank and is responsible for the Good Vibrations festival.

AN END IN SIGHTAN END IN SIGHTOne of Australia’s most recognisable rock bands The

Living End will re-enter the studio with Nick Didia (best known in Australia for his work on Powderfi nger records) to begin recording the follow-up to their White Noise record. In a statement frontman Chris Cheney said, “The aim has been to construct something more direct, simple and therefore tougher and bigger sounding than anything we’ve done before. We’ve spent a lot of time experimenting with the parts of the songs to achieve this. Also and most importantly this will be an album, not just a bunch of songs.” The band has reportedly written 40 songs for the record, with a release slated sometime mid-year.

KIDS GO LIVEKIDS GO LIVEGold Coast Council’s A-Venue Making Music

Live! program kicks off Saturday Mar 5, providing 14- to 19-year-olds with the opportunity to jam, rehearse and eventually play a gig for friends and family come Saturday Jun 25. The ten-week program is open to any kids with an interest in music, not necessarily established musicians. Email cscdc@goldcoast.qld.gov.au before Thursday Mar 3 to reserve a spot in the program.

FRESHLY INKEDFRESHLY INKEDBertie Blackman has signed a deal with Mercury/Universal for her new record, which she is currently recording now with Francois Tetaz. According to the label the new material is sounding more percussive and ‘landscape-y’. Industry veteran Jon Stevens has signed a management deal with Ralph Carr Management in the lead up to the recording and release of his new album Changing Times, which is due for a release summer this year through an as-yet-undetermined label. “Having known and respected what Ralph has achieved over the years,” Stevens said in a statement, “I am really excited to be working with him and his team and really looking forward to the next phrase of my career.” Ralph Carr added, “I am thrilled to be part of this new chapter in his career. We look forward to helping Jon reach even greater heights”. Gold Coast’s Skinwalkers have announced that they’re working with manager Greg Sawers and their next EP, due May/June, will be distributed through MGM. Sydney buzz-band Cameras are starting to make international inroads with the announcement that they’ve signed a deal with Los Angeles-based indie label Manimal Vinyl. The label’s owner Pail Beahan gushed in a press release, “never has such a band graced us with their presence with such integrity and encapsulate the true spirit of Anglo-Pop as Cameras. We are thrilled to be a part of their journey and make them a part of the international consciousness.” Lenny Kravitz will release his new album Black And White America through Roadrunner in June.

VOICE GROWS LOUDERVOICE GROWS LOUDERThe Artist Voice agency has announced that it has added Dave Batty, Stephanie Sulway and Rob

Jefferson (heading up their new New Zealand offi ce) to their staff as well as adding Custom Made’s CW

Stoneking, Tegan & Sara and The Jezabels and Select Music’s Cloud Control to their roster.

SAXON OUT, HOLT INSAXON OUT, HOLT INSaxon have pulled out of Soundwave, it was announced through the festival’s promoter AJ Maddah’s Twitter, as they cite a family illness and work on their next album taking longer than they’d anticipated. The band won’t be replaced at this late stage; instead their slot will be fi lled by other acts extending their playing times. “Saxon have had to postpone their touring plans due to a combination of album recording running late and illness in the family,” Maddah posted. “Their allotted 30-minute set at SW will now be split between Slayer, Dimmu [Borgir] and one or two of the other bands.” In other Soundwave news, it seems Exodus’ Gary Holt will be joining Slayer as a fi ll-in guitarist for Jeff Hanneman, who’s currently recovering from surgery. Hanneman contracted the fl esh-eating disease necrotizing fasciitis after a suspected spider bite. The band decided to continue with their commitments due to their recent form of injury and not wanting to disappoint fans again.

WHO’S GOT THE BEST SCENE?WHO’S GOT THE BEST SCENE?An about face by Sydney Lord Mayor Clover Moore has come as welcome news to the Sydney music scene while comments from Victorian Police Commissioner Simon Overland has thrown doubt on Melbourne’s. In a statement last week, Moore called for more late-night trading in the city to help establish its international reputation. “People should have choices if they are heading out at night – from a street bar with live music, to an energetic club to an inspiring art exhibition or bookshop,” she said. “Currently most cultural venues and cafes operate normal business hours and are not often open till late. It needs to change – it’s time Sydney catches up to the rest of the world.” It’s a stark change from last year where her council tried to push through amendments to the city’s Development Control Plan that would have granted the council power to review licenses at any time and at their will, a move which was stopped by New South Wales Planning Minister Tony Kelly. Kelly’s offi ce was surprised at the announcement by Moore.

It seems possible that Moore is also targeting Melbourne’s mantle as Australia’s creative hotbed as much as international recognition, given that Overland lashed out at the Melbourne CBD in a column written for the Herald Sun last week. “Sadly, it is all too clear to me that we have lost our way,” he wrote. “The drinking culture has transformed to exploit a new determination among some people to drink until excessively drunk. Melbourne CBD has too many licenced premises,” he claimed. “A balance needs to be struck between the interests of the licence applicant and the potential impact on local communities. Government might also look at alcohol pricing and taxation. There is evidence to suggest this would be an effective intervention in changing behaviour.”

The dark horse is of course Brisbane, who hope their Fortitude Valley entertainment precinct will surpass both cities’ claims to the mantle.

648 Ann Street Fortitude Valley QLD 4006

Wednesday 23rd Feb The Submariners (Album Launch) Cannon Maggie Collins

TThursday 24th Feb BOYS & GIRLS Wherewolves Finders Keepers I am Villain 2 for 1 entry for students

Friday 25th Feb Special Ticketed event Jim Beam Bootleg series feat Eddie Evil | Rudekat System Tickets available from Oztix

Saturday 26th Feb Nightmaster “ Tiger” Ep launch Mr. Maps The Slow Push Cutloose | Charlie Hustle

Sunday 27th Feb Sounds of LA: Oh no Tigermoth | Gavin Boyd Hood Wolf Tickets available from Oztix SexyPie

Wednesday 2nd March The Firetree Pensive Penguin duo Maggie Collins

CLOVER MOORE GO SOUTH DEAR ARTISTSGO SOUTH DEAR ARTISTSThe Australian and New Zealand acts offi cially accredited for Texas’ South by Southwest festival have been announced with 45 Aussie acts and 13 Kiwis set to make the showcase. From Australia there’s An Horse, Art vs Science, Beni, Blank Realm, Bliss N Eso, Blue King Brown, Boy & Bear, Clare

Bowditch, Cloud Control, Dan Brodie and the

Grieving Widows, Darren Hanlon, Dash & Will, Dom

Mariani, DZ Deathrays, Hungry Kids Of Hungary, Injured Ninja, Kim Churchill, Lenka, Little Red, Matt Corby, Miami Horror, Operator Please, Qua, Sampology, Sherlocks Daughter, Snob Scrilla, Sparkadia, The Amity Affl iction, The Boat People, The Cambodian Space Project, The Chevelles, The

Holidays, The Jefferson, The Jezabels, The Level

Spirits, The Novocaines, The Snowdroppers, The

Vaudeville Smash, Twerps, Wagons, Washington, Whitehorse, Wolf & Cub and Young Magic. New Zealand will be represented by Battle Circus, Brooke

Fraser, Die! Die! Die!, Family Cactus, Kids Of 88, Kimbra, King Kapisi, Liam Finn, Ruby Frost, Street

Chant, Surf City, The Naked and Famous and Zowie. The festival’s music leg kicks off Wednesday Mar 16 and runs until Sunday Mar 20. Latest rumour is that Radiohead will be making an appearance.

BEST OF BRITBEST OF BRITThe Temper Trap missed out on a BRIT Award last week in the International Breakthrough category, but even being nominated with the likes of Justin Bieber (the eventual winner), Bruno Mars, The National and the Glee Cast indicates how strong their presence is in the UK at the moment. Big in Australia before anywhere else, Mumford & Sons won British Album Of The Year for Sigh No More, Laura Marling Best British Female, Plan B Best British Male and Take

That Best British Group. Rumoured to be visiting Australia on a promotional tour in the upcoming months, Jessie J won Critic’s Choice. In this week’s cover story in 3D World, the starlet confi rmed that she was interested in both men and women. “I’ve never put a label on my sexuality. I’ve been very comfortable to be open that I’ve dated men and I’ve dated women. I’m 22, I’ve not been in a failed relationship, but I love who I love – I fall in love with a person. I think my generation is very more accepting of that. I’m happy to not deny it because it is what it is. I’m all about being honest,” she told the magazine.

KIDS TUNING INKIDS TUNING INABC digital channel ABC 3 have announced that a new youth-focused music show has gone into production in Sydney. Stay Tuned will be user driven as viewers submit questions to artists and those with industry experience via video on the Internet. Production started in Sydney last week with a view to 30 15-minute episodes. The program’s developers hope to take a behind-the-scenes industry approach and executive producer Lisa Gray said in a statement, “We wanted to take a different approach and create a music show that was driven by the viewers.” ABC TV’s Children’s Head of Commissioning and Development Carla De Jong said, “ABC3 has been waiting for a music show like Stay Tuned to connect our audience and the music industry. We are thrilled the online component will be play such a huge part in the show.” In a statement to The Front Line Music Victoria’s CEO Pat Donovan congratulated the ABC. “While the new Adam Hills show is offering some opportunities, it’s virtually impossible for Australian acts to obtain the mass exposure that was traditionally offered by such as Countdown, Simon Townsend’s Wonderworld and Recovery that helped take them to the next level,” he said. “And considering most music shows on commercial TV these days are basically three-minute soft porn videos, it’s refreshing to see that ABC3 will be offering insights into the reality behind the gloss of the music industry. Hopefully it will tap into Australia’s young talent and showcase live performances.”

THE LIVING ENDTHE LIVING END

SAXONSAXON

L ast Friday Sony announced their intentions for the digital music market in Australia with the launch of Music Unlimited and Qriocity – a ‘cloud’

based subscription service. Anyone even remotely interested in the music industry will have been, over the past couple of years, inundated with discussions of the future of the industry, whether subscription models or any other plan were the future or the answer. But while there’s been an abundance of talk there’s been very little action, the reason seeming to be that no one has ever actually been convinced that they had the answer, or has the money to implement them.

Apple’s iTunes has undoubtedly been the dominant distribution service for online tracks and they’ve enjoyed a monopoly because of the lack of strong competition, particularly in Australia. Sony hope that Music Unlimited will be the fi rst big challenger to that standard download platform, but speaking to The Front Line, Sony’s Technology Communications Manager Paul Colley was realistic about how the immediate affect the launch will have. He’s hesitant to comment on the battle between the two and it seems that earlier reports that Sony would pull out of iTunes are untrue.

“I’d say for a while both ‘download to own’ and streaming services will complement each other,” he says, “but really the way that, particularly young consumers, nowadays are accessing content, it’s ‘I want it now’. They don’t think about where they’ve got it.”

There he’s referencing the ‘cloud’ model of Music Unlimited. For the $12.99 monthly fee, users will get access to the six million plus tracks available in the cloud (all four majors are involved as well as ‘leading’ independent labels, although Sony couldn’t provide The Front Line with an exact list) across their Internet-enabled Sony devices. At the moment that’s TVs and PlayStations, but will extend into mobile devices such as phones and the next PSP model, whenever they appear. The beauty, so Sony claim, lies in the ability to streamline those tracks across the devices, allowing playlists and other managers to be accessible from whichever platform.

Looking long term, Colley is confi dent that they’ve got the correct model.

“The ease of use and access is critical… a lot of the services [available] at the moment are bound to the PC. Unless you get third party technical gadgets to expand it over devices, it’s not very consumer friendly,” he reasons. “So the fact that you can now stream music straight to your home stereo system rather than having to manage it off your PC… makes it a much more seamless experience. Additionally the sound quality and range of content is also critical.”

In a statement, Kazuo Hirai, Sony’s President of Networked Products & Services Group said Music Unlimited, “signifi es a paradigm shift which redefi nes the existing music listening experience by revolutionising music access, discovery, integration and personalisation”. Colley carried the line saying that the way that new releases will be instantly available at no additional cost “changes the way we explore music and discover music”.

Still, it means little at the moment because unfortunately for copyright holders, that’s the way that most people already consume music through illegal downloads. And they’re rarely worried about trivial things like release

IS YOUR MUSIC IS YOUR MUSIC LIMITED?LIMITED?

Sony’s MUSIC UNLIMITED subscription streaming service launched to little fanfare last Friday, as a cynical industry seems to doubt anything will work. It’s not when something will work, now it’s if it will. By SCOTT FITZSIMONS.

dates, as these days it’s harder to fi nd an album that hasn’t been leaked before release than one that has.

Reports released by ARIA last week of the wholesale sales fi gures for 2010 proved that digital track and albums sales are on the rise, but they’re still not compensating for the huge losses being sustained by the physical markets. While digital revenue was up 31.94 percent and physical was down 23.83 percent, together the market suffered a loss of 13.92 percent. Singles are virtually dead and the promising vinyl rejuvenation has faltered. Speaking on the reports, PPCA and ARIA CEO Dan Rosen said, “Clearly it’s not entirely replacing the reduction in physical, so that’s something we need to continue to work on and will come down to working with the Government to make it harder for people to do the wrong thing.”

There are international rumblings worth remembering as well. European based Spotify recently signed a deal with EMI that boosts their launch into the United States and Google’s music service is rumoured to be closer than ever after plenty of speculation and ‘insider sources’ regarding their dealings with various labels. What Google have launched this week is their paid subscription service for magazines, apparently rushed through the day after Apple launched in order to have theirs directly compared – the big difference is that Apple are going to take 30 percent of the takings, whereas Google are offering it for ten percent.

“[It’s] a fascinating time,” says Rosen. “Apple came out with their subscription, not for music specifi cally but I think [it’s the future] and Google came the next day. It’s going to be a very, very interesting time.”

In a statement from a spokesperson to The Front Line, copyright protectors APRA|AMCOS were “pleased to have concluded a licensing agreement for the Qriocity – Music Unlimited service in Australia and New Zealand,” given that the service pays songwriters, artists, publishers and labels. “We are extremely pleased that Sony has included Australia and New Zealand in the initial roll out of the service as this demonstrates their confi dence in our markets and represents yet another positive step in bringing music creators and consumers together,” they said.

Even though Sony have made one of the fi rst moves of the new year, there’s still a long way to go in their model. “We’re focusing on the home devices at launch, but obviously its critical to be able to consume music especially on mobile devices. So you’ll see the platform expanded out to Android, PSP, all those sorts of devices,” says Colley, but there’s little he can provide by way of time frame. “We can’t – we don’t have any information on timing this stage, but this is one of the fastest global roll-outs of a music service and that’s obviously a critical piece.”

What’s critical for the music industry is that plans like this are carried out this year and not just discussed.

15

SONY’S TECHNOLOGY COMMUNICATIONS MANAGER PAUL COLLEY (LEFT) WITH CHIEF SONY’S TECHNOLOGY COMMUNICATIONS MANAGER PAUL COLLEY (LEFT) WITH CHIEF EXECUTIVE OFFICER OF SONY COMPUTER ENTERTAINMENT, MICHAEL EPHRAIM.EXECUTIVE OFFICER OF SONY COMPUTER ENTERTAINMENT, MICHAEL EPHRAIM.

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SEIZE THE DAYFans of Christian metalcore and well-played, technical metal alike should be jumping for joy with news coming through that Iowa’s For Today will be in our country next month! For the past half a decade For Today have built a solid reputation in their native United States for the passion and integrity, witnessed in both their live performances as well as on their three albums for Facedown Records and now they are bringing that passion to us. When they are out here on their fi rst ever Australian tour they will be joined by Sydney Christian metal dynamos For All Eternity, who have impressed greatly on a couple of national tours they embarked on last year. Get ready to mosh your little guts out when they hit Redcliffe PCYC (all ages afternoon show) and Rosie’s (18 + evening show) on Saturday Apr 2 and Expressive Grounds, Gold Coast (all ages) on Sunday Apr 3.

It has been revealed that new Smashing

Pumpkins bassist Nicole Fiorentino was one of the girls on the cover of the band’s 1993 classic Siamese Dream.

Deftones fans in Bangkok have rioted after the band cancelled a performance there last week.

Sony Music have announced a new cloud based music service Music Unlimited powered by Qriocity.

There were almost 20 million more CD albums sold than download bundles in 2010, ARIA sales fi gures have revealed.

Born This Way, the new single from Lady Gaga, has become the 1000th number one single in Billboard chart history.

Former Alice in

Chains bassist Mike Starr has been arrested for possession of prescription pills. He was featured on the television program Celebrity Rehab in 2009.

Rod Stewart and wife Penny Lancaster have had a baby boy. It is Stewart’s eighth child and he says it will be his last.

Mötley Crüe

frontman Vince

Neil has been jailed for two weeks for Driving Under the Infl uence, after which he’ll be under house arrest for a further 15 days.

Sneaky UK superstars Radiohead released their The King Of Limbs album a day early last week.

Tim DeLaughter, leader of choral pop group The

Polyphonic

Spree, is currently ‘tinkering’ with a new band.

Female post-punk quartet Electrelane are reforming for a series of shows over the UK summer.

Ol’ 55’s Frankie

J Holden has apologised to organisers after making lewd comments and actions onstage at a charity event.

The new album from Booker T Jones, who recently pulled out of this year’s Bluesfest, will feature collaboration with The Roots, My

Morning Jacket’s Yim Yames, Matt Berninger of The National, Sharon Jones and Lou Reed.

Japanese sludge/prog rockers Boris

will release two albums concurrently in April. Attention Please and Heavy Rocks (a completely different work to their 2002 album of the same name) are their names. No Australian release date yet.

Billy Ray Cyrus has told GQ Magazine he wishes that Hannah Montana – which made his daughter Miley Cyrus a global megastar – never happened.

Omar Souleyman, who plays Brisbane early next month, has collaborated on a new record with Bjork.

REMEMBRANCE DAYS Alright kids, this is going to be massive. A Day

To Remember are one of those rare bands who have been able to appeal to an incredibly wide audience, but still retain a certain distinct credibility as well. Their infectiously hooky brand of pop punk crossed with metalcore has earned them legions of fans of all ages, particularly since the release of their Homesick and What Separates Me From You records of 2009 and 2010 respectively. Another band who have enjoyed a huge amount of success both in the mainstream and underground are Underoath, though they have also managed to work their way through some mighty tough line-up changes. The six-piece released Ø (Disambiguation) last year, their darkest release to date and one which has seen them reinvent their sound admirably. Both of these bands are set to destroy Australian venues this May and you can see them playing an all ages date at The Tivoli on Sunday May 15 and one strictly for adults at the Coolangatta Hotel Tuesday May 17. These will sell out, so get your tickets from Ticketek and OzTix respectively as soon as the clock strikes 9am on Wednesday Mar 2.

COPY THAT Their latest record Zonoscope is fresh off the press and selling like nobody’s business and they’ve just wrapped up a highly successful run around the country with the St Jerome’s Laneway Festival, so it seems like the perfect time for Australia’s most exciting purveyors of electro pop Cut Copy to announce a headline tour of our nation. The group have just announced album opener Need You Now as their new single, so you can bet you’ll be hearing it on the airwaves and dance fl oors plenty over the coming months and it will just sound so damn good when the band bring it to the live stage when they drop by The Tivoli on Thursday May 19 with World’s End Press as their special guests. Tickets for this show are on sale from Ticketek as of Friday morning and given the group’s huge popularity you won’t want to wait around to grab one.

GET HARDThey’ve just returned from a whirlwind tour of Japan and now Sydney’s kings of sludgey pop-punk the Hard-Ons

are set to kick off their Australian campaign for 2011 – 27 years after their inception. The band are still as good as ever, as heard on their killer latest record Alfalfa Males Once Summer Is Done Conform Or Die and they are still a force to be reckoned with in the live arena, delivering blistering shows every time they come up north. The band are also honouring requests from their back catalogue and ask that you email them to mgt@hard-ons.net, promising they’ll consider all ridiculous suggestions. Check it out for yourself when the band play Woodland Friday Mar 11 and Lismore’s Tatts Hotel Saturday Mar 12.

SAMPLE THE GROOVEHe has been at it for a long time now, but Sampology

is fi nally fi nding a huge amount of support for his awesome shows that blend his great DJing skills with stunning visuals to make for a complete audio-visual experience! He has been hard at work on a brand new show, which he will be taking out on the road as a part of the Groovin’ The Moo festivals around regional Australia in a couple of months and before he gets it out there he will hold a special preview show for his hometown fans and will be donating proceeds from the night to the Premier’s Disaster Relief Appeal. This preview happens at Lightspace on Thursday Mar 3 and then he will follow that up with a big show at The Zoo on Saturday May 21 at the tail end of the regional tour with support from his good pal Tom Thum. Tickets for the preview show are available from Moshtix right now for just $10 + bf and will be $20 on the door. Tickets for The Zoo show are available from OzTix now for $20 + bf.

NO MEAN FEATAnother week, another massive Bluesfest announcement! The line-up for this festival just gets bigger and bigger and we’re awfully excited to let you know the latest acts to be added to the bill. Legendary LA rockers Little Feat head it up, while Fishbone, Cecilia

Noël, Osibisa, Leah Flanagan, Kim Churchill, Grace

Woodroofe, The Red Eyes, Lowrider, Melbourne Ska Orchestra, Jack Thompson & The Original

Sinners (Normie Rowe and Kevin Borich), Bayjah, The Aggrolites, Wagons, Resin Dogs and Yodelice bolster it. One last announcement is that Grace Jones will also play a show on the Tuesday of the festival. A few tickets are still left, but not many, so head along to bluesfest.com.au to grab yours. It hits the Tyagarah Tea Tree Farm Thursday Apr 21 to Tuesday Apr 26. Proudly presented by Street Press Australia.

SURFING THE SEAIt has just been announced that burgeoning Sydney indie rockers Deep Sea Arcade have inked a deal with Ivy League records and that they will issue a brand new mini-album in a couple of months time. Before they do that though, they are heading out on the road with Kiwi friends Surf City, bringing an exciting mess of indie rock goodness to hot nightspots up and down the east coast of the country. Both of these acts well-and-truly live up to the hype that has been foisted upon them recently, so make sure you get along to be hip with the times! They play the Beach Hotel, Byron Bay Thursday Feb 24 (with Mosman Alder), Elsewhere, Gold Coast Friday Feb 25 (with Oceanics) and Woodland Saturday Feb 26 (with Mosman Alder).

CLIMB EVERY MOUNTAINThey’ve well-and-truly announced their return to the Aussie rock scene and Jebediah look set to take the country by the scruff of the neck following the release of their new album Kosciuszko. The band are all over the radio at present with their new single She’s Like A Comet, already proving the success of their reappearance on the scene, and we reckon the rest of the album has plenty of similarly awesome gems on there as well. We’ll see when the record is released on Friday Apr 15 and then we can see how they go in the live setting when the Kosciuszko tour hits The Hi-Fi on Friday Jun 3 and Toowoomba’s Irish Club Saturday Jun 4. Tickets are on sale now from Moshtix and OzTix respectively.

SWEET AND RAW She is obviously best known to Australian audiences as the frontwoman of the legendary Magic Dirt and has been for many, many years, but now Adalita is getting ready to release her fi rst solo record, simply titled Adalita, and will be heading out across the country to push it at the end of next month. The record was produced by the much missed Dean Turner and while the songwriting retains that distinct Magic Dirt fl avour that Adalita has always lent to the band, the instrumentation is stripped-back and the songs are allowed to do the talking for themselves. The new tracks have us excited to see and hear them performed in the live sphere, their rawness seems to lend itself to that environment, so we look forward to catching her at Byron Bay’s Great Northern Hotel on Thursday Mar 24, The Old Museum, Studio 3 Friday Mar 25 and the Miami Tavern Shark Bar Saturday Mar 26. Support for all shows comes from revered up-and-coming indie songstress Amaya Laurcirica and you can get your tickets from OzTix right now.

MASH N’ MOSHMetalcore bands honestly do not get much bigger than Byron Bay’s Parkway Drive and they look forward to showing you exactly why this is when they come back home for another massive tour of the country this May. The band spent the majority of 2010 on the road following the release of their great third album Deep Blue, not only making new fans but also new friends, some of whom they look forward to bringing out on this Mix N’ Mash tour. The name kind of speaks volumes about it all as the line-up is quite diverse, but absolutely fucking enormous with the UK’s You

Me At Six, Californian heavyweights Bleeding Through, Philadelphian pop-punks The Wonder Years and Melbourne smashers Confession all coming together on what is one of the fi nest heavy music bills we’ve seen in a while. The bands all stop by the Brisbane Riverstage on Wednesday May 18 and the Byron Bay High School Thursday May 19 – both shows are all-ages events. Tickets are available from this Friday morning.

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FEELIN’ FINE They’ve been one of the world’s most infl uential psychedelic indie rock bands for the best part of 15 years now and we’re pleased to report that The Dandy Warhols are on their way back to Australia. The band have enjoyed a lengthy love affair with Australian audiences, making a big impact around these parts with their 1997 record ... The Dandy Warhols Come Down and have kept coming back ever since, their popularity remaining steady throughout. The band’s next tour of the country will be a full headline club show run, so you can expect nice long sets packed full of all their hits as well as plenty of that gloriously jammy rock’n’roll we’ve come to expect from them. They hit The Tivoli on Tuesday May 31 and tickets are available from Ticketek as of 9am Thursday Mar 3.

BELIEVE THE HYPE They’re the most revered socially conscious punk rock band in recent memory, their hard-hitting songs earning them praise from critics and audiences all throughout their 25-year career and now one of Canada’s fi nest rock bands Propagandhi are heading back to Australia, where their fanbase is still as big as ever. The group released their Supporting Caste record to great acclaim back in 2009 and made their way out here in support of it, delivering some of the most passionate and well-received live shows we’ve seen on these shores for a very long time. They will return in May of this year and we guarantee you there will be some very happy punk rockers around Australia after hearing this. They play The Coolangatta Hotel on Saturday May 28 and The Hi-Fi on Sunday May 29. Tickets go on sale from 9am Monday.

Brian McFadden

has said that he was not arrested, wasn’t very drunk and did not smoke while onboard a fl ight last week as reported. He was released without charge after being detained following the fl ight.

Saxon have pulled out of this year’s Soundwave Festival.

Pete Murray has pulled out of this year’s Bluesfest.

Mondo Rock have pulled out of their support slot alongside Roxy Music.

Kylie Minogue has kicked off her fi rst tour in three years in Denmark.

Los Angeles Lakers basketball superstar Ron

Artest has released a new mixtape to coincide with NBA all star weekend.

BEATS ALL NITEThe quality international hip hop line ups just keep coming thick and fast in 2011 and we’re pretty damn happy about it. The latest in what has become an increasingly large number of killer bills is hitting Australia this week, with Californian underground MC Planet Asia and Columbus, Ohio mainstay Copywrite joining forces to bring some of the fi nest sounds from the urban underground direct to your ears like only they know how. Planet Asia has been a darling of critics around the world since he began dropping rhymes back in the 90s, the quality of his poetic fl ow earning him credits alongside names like Ghostface Killah, Talib Kweli, Kurupt, Bun B and Linkin Park. Copywrite’s latest record The Life And Times Of Peter Nelson was one of last year’s most lauded hip hop releases, a perfect next step for the artist who has previously been a member of The Weathermen and the MegaHertz crew. The two artists have just released the single Up All Nite and will be bringing this track and many more when they hit the Step Inn on Thursday Feb 24, support comes from Tage Future and TriState and tickets are available from OzTix now for $28.60.

MICKEY, SO FINE?Apparently rap-rock trouble maker Mickey Avalon played at Jane Fonda’s Christmas Party at the end of last year, we reckon that is pretty funny though not entirely surprising. The cheeky LA native is heading back to Australia for the fourth time in three years early next month on his latest tour Looking For Mrs Avalon... At least he’s making his intentions known. The glam rapper will be dropping all sorts of knowledge about sex, drugs, rock’n’roll and possibly entering other realms of debauchery, you just never know with Avalon. So lock up you daughters, girlfriends, wives etc. because Avalon will be at the Coolangatta Hotel on Saturday Mar 5. You can grab yourself a ticket from OzTix right now for $39.80..

BELLIE UPBoard The Apartment Up is the brand new single from Aussie indie-pop dynamos Seabellies, it’s the fi nal single to be taken from their stunning debut album By Limbo Lake and the band will be in Brisbane to launch it very soon! While the success of their debut has been beyond enviable and indeed quite prolonged, the band seem keen to move on and apparently have a swag of new material that they will be showcasing at their upcoming Brisbane date. We’re certainly excited to hear it, as well as all of the awesome material from their debut, and if you’re the same then be sure to be nowhere else but The Globe Theatre on Saturday Feb 26 to see the band turn in what could be a very special performance. Support comes from The Cairos and Glass Towers

and tickets are available now from OzTix for $13.30.

CONTACT FROM HELSINKI It has been a decidedly quiet couple of years for Melbourne’s most danceable indie ensemble Architecture In Helsinki, but we’re happy to hear it has also been a very productive one. We heard a couple of weeks ago that the group – who are now a fi ve-piece – have been hard at work on a new record by the name of Moment Bends (which will be released at the beginning of April) and now they have announced that the fi rst single from it will be a tune called Contact High. It is up on the Internet now so get amongst it and most importantly get ready to see the band resume their position as one of the country’s most electric live bands as they head around the country in support of the new record this May. They’re heading to Brisbane for a show at The Hi-Fi on Friday May 27 and you can get yourself a ticket from Moshtix from Monday morning for $40 + bf. This is the band’s fi rst headline tour in three years, so don’t miss it!

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MILE HIGH FLUBWe’ll probably never know what happened on that plane, but just the thought of being cooped up with Brian McFadden and Kyle Sandilands and their sanctimonious egos is enough to make one feel sorry for the other passengers anyway…

CORGAN DONATIONCorgs has offi cially lost it if he expects us to believe that it’s mere coincidence that the new Smashing Pumpkins member was one of the kids on the front of Siamese Dream, what an inane way to pick a new band member…

ABOUT TIMEFev is trying to extract sympathy for him being sacked by the Lions, but now he gets paid out (allegedly) well in excess of a million bucks to do nothing but walk away, all for acting unrelentingly like a total douche. Yeah, tough gig that one…

ON YR BIKESFantastic news that the Japanese government has suspended this year’s Antarctic whale hunt, citing “obstructionist activities”. Not because they’re endangered and still hunting them makes you a nation of jerks? Whatever, good result…

FEEL SO REALThey mightn’t have played much together for a long time, but last week’s show by UK legends Swervedriver was nothing short of extraordinary. Let’s hope it’s not another decade until they return…

BABY STEPSAustralia’s quest for a fourth successive World Cup victory kicked off with a gutsy victory over traditional rivals Zimbabwe – cricket was the real winner in that thrilling contest. One down, heaps to go…

KYLE SANDILANDS AND BRIAN MCFADDEN

IN BRIEF

WILD BIRDS There’s not much we can really say about Western Australia’s rock powerhouse Birds Of Tokyo. Over the past couple of years they have become one of the country’s most highly-lauded acts both on record and on the live stage and for good reason – their powerful songs, faultless musicianship and unrelenting energy are just three of the elements that make the band such a hugely popular part of the Australian music scene. The band have recently released Wild At Heart, the next single from their hugely successful self-titled record, and they’ll be in Queensland for two very special shows in support of it this May. You can see them, with support from Last Dinosaurs, at The Tivoli Wednesday May 11 and the Lake Kawana Community Centre Thursday May 12. Tickets are on sale from 9am Thursday Mar 3.

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metal parts and ambient parts. I guess our dream is to unite the general music scene under one roof.

“Because we come from the hardcore/metalcore/metal scene our fanbase is primarily going to consist of that, unless we were to go ahead and write an album that was radio friendly then who knows what would happen? But even if you look at bands like Parkway Drive, they’re a hardcore band from a hardcore and metal scene but they’ve become so successful – especially in Australia – that the average Joe is getting into that band. And I guess that’s what we want as well.”

Even as they emerged on the back of their 2006 album Count Your Blessings, released through Visible Noise which gave them a bit of profi le, Bring Me The Horizon were a band that self respecting metal fans stayed away from. Be it because it was the height of the unjustifi ed ‘emo’-backlash or because their breakdown-heavy deathcore was predictable, they were fi rmly in the ‘love or loathe’ basket. But that all started to change with 2008’s Suicide Season, which broke down some of those walls due to its diversity, and the trend continued following last year’s There Is A Hell, Believe Me I’ve Seen It. There Is A Heaven, Let’s Keep It A Secret, which expanded the Sheffi eld fi ve-piece’s songwriting template even further.

Speaking to Time Off backstage at Sydney’s Hordern Pavilion the last time the band were in Australia – supporting Bullet For My Valentine and about to be announced on Soundwave – the record was still awaiting release and while the band were excited for it their focus was – perhaps rightfully so – fi rmly on their upcoming show. They didn’t get a soundcheck (the headliners certainly did though, rattling the venue, the vibrations making a mess of audio recordings) and seemed kind of bored but defi nitely professional. That said, frontman Oli Sykes was getting a tattoo of what looked like a Japanese-style pin-up girl headshot at a glance as Time Off left, which was something to think about.

Five months down the track and the album’s out – it debuted atop the ARIA charts in Australia, albeit with low sales – and the band have just fi nished a show in Berlin. Backstage, things are starting to get a little bit “rowdy” when the responsible vegan/straight-edge Australian connection of the group, guitarist Jona Weinhofen jumps on the phone.

PART OF THE GANGBring Me the Horizon’s Australian connection comes – apart from a horde of fans – from their guitarist Jona Weinhofen, an Adelaide boy originally. After being instrumental in the rise of one of Australia’s most-loved metalcore bands I Killed The Prom Queen, he spent time as guitarist for Bleeding Through before being drafter into the Horizon ranks.

Curtis Ward left Horizon in 2009, and Weinhofen – already friends – was asked to join as a touring guitarist. It wasn’t long before he was confi rmed as a fully-fl edged member. According to him the move was a seamless one and he defi nitely sounds settled in the group.

“I joined just over a year-and-a-half ago and luckily and thankfully the guys invited me straight in to help with the writing of the album so I was there the entire way through and I even wrote some of the music and had some production ideas and recorded on the album.

“They could have just said you’re a trial guy or a session musician for now and you can sit this one out. But we’d been friends for a few years before and we’d worked together in other bands so I was really luckily that they were willing to let a new guy come straight in and have a big part in the album. I think that benefi ted both of us as well, because that was a bit part of me showing them what I can do and that I was a decent musician who has something to offer to a band that is as established as Bring Me The Horizon.”

WHO: Bring Me The Horizon

WHAT: There Is A Hell, Believe Me I’ve Seen It. There Is A Hell, Let’s Keep It Secret (Visible Noise/Shock)

WHERE & WHEN: Soundwave Festival, RNA Showgrounds Saturday Feb 26

“There’s defi nitely nights where we’ll come off stage, have a shower and go straight to bed or go straight to the bus and watch a movie and keep quiet,” clarifi es Weinhofen. “Or nights like tonight when we’re in a cool city, there’s a lot of friends here and everyone’s keen to get a bit rowdy.

“I don’t think being a professional musician really interferes with us just having a general social lifestyle and vice versa. It’s not really to the point that we get so hammered at night that we can’t play well the next day, that would make it a bit more of a problem and we’d probably have to cut back on the social side of things…

“I’ve been touring full time for six or seven years and part time for a couple of years before that. I can’t really talk either because I don’t drink or party or smoke really or anything like that so I’m kind of like the responsible clean living one, but the other guys in the band they’re all at an age now – their mid-20s – where they’re like, ‘We’re not going to go out and party seven nights a week, hang out with girls backstage and all that kind of stuff’. It still happens but it’s a bit more of a part time thing, it just gets a bit old after a while.”

As things start to build for the band – most of that German tour was sold out and the venues they’re playing all around the world are getting bigger – so to is that professionalism that keeps getting mentioned. Sitting backstage at the Hordern they were just starting to work out how the tracks from There Is A Hell… would translate live, something they’ve largely fi gured out now.

“I guess we’re still in the process of learning to work with them all like that,” the guitarist says. “We have stepped everything up production-wise onstage and we are now almost all running click tracks and in-ear monitors and backing tracks just to make those new songs come across the way we want them to live.

“There always seems to be some sort of discrimination towards using click tracks and backing tracks, some bands believe that it’s not punk rock enough, too rock star and other bands really like to work that way and they would hate to have people come and see those songs live and go away thinking ‘Where were all the strings and all the keyboard parts?’

“We want to give [fans] a full performance, but in a way [where] we’re actually still playing our instruments it’s not like we’re playing to a CD or something like that. So yeah we’ve been using click and backing tracks on the new songs and we’ve even started converting some of the older songs

from the last album that has electronic drum beats and ambient parts like that ‘cause those songs have never been played live with those extra elements.”

As everyone saw during their early career, Bring Me The Horizon were and are a band that will inspire different opinions. However the drop off rate of fans from the last two albums was less than the rate at which they were picking them up. Even if they’re using technologies onstage that will invariably take away the absolute freedom of a live show, the band’s honesty – especially Syke’s vocals – is ever apparent. The last notes of the new album are lead out with the cry of “Revive me”. “I guess you could call it a cry for help,” he said last year, never shying away from the personal nature of the lyrics.

So are they still a punk rock kids from Sheffi eld or a stadium bound touring outfi t these days?

“I think Bring Me The Horizon sits in a pretty even place between both of those worlds,” Weinhofen mediates. “There are so many elements of our music, the genre we play, and our live show and the fact that we make it all about moving around and going nuts and playing in the crowd and climbing on stuff that people can relate to us being the more ‘punk rock’ and the live vibe of a live show.

“I guess we get discrimination from both sides of the fence. But thankfully people from both sides seem to like our album. We’ve had a lot of people that hated us in the past and hated all our old stuff, confessing up that they actually tried to hate the new album but they couldn’t help and liked it.” As if to ensure he doesn’t give one side too much weight in his answer, he continues, “And the other way, people who thought of us not being a professional enough band or not being a tight enough band have heard this album and come and seen us live playing these songs and thought, ‘They’ve stepped it up’.”

As a full-time project they’ve got to think about fans and how they want to present themselves, it comes with the territory. Unsurprisingly, they’ve outgrown their initial cut of the music-listening public and as There Is A Hell… will scream to you, they’re looking outside of their own box.

“We’re not out alienate any fans and we’re not out to… I mean you always want to make some new fans along the way. I guess the whole thing we’re about is combining all of our musical infl uences into one band and somehow trying to make that come across so it doesn’t sound like 50 bands chucked onto one CD… we have electronica parts so hopefully some people that are into dance music will come to our shows and we have hardcore breakdowns so we please a lot of the hardcore fans. And we have fast thrashy

It’s okay guys, it’s been acceptable to like BRING ME THE HORIZON for a while now. With a new album that’s harder to hate than anything they’ve produced before, SCOTT FITZSIMONS sat in with the band last time they were in Australia and then called in mid-way on their album release tour to talk on their use of backing and click tracks and wanting what Parkway Drive have. Photos by KANE HIBBERD.

HEAVEN AND HELL, PUNK ROCK AND PROFESSIONALS

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them, but this time I wanted to just do it myself and see what happened – it really allows for an intense amount of focus on detail, and from start to fi nish I really enjoyed it. I enjoyed producing it as well as writing it – it was not a hard record to write, because a lot of these songs are four or fi ve years old so I had a great start on the record.”

On Hard Times... Ness, as is his wont, has crafted a batch of songs which portray him as the consummate survivor, facing down the travails that life throws at him and conquering all before him. The road is long and hard, and sometimes survival is its own reward.

“I don’t know – I mean there’s probably an underlying theme about life’s lessons and struggles,” he ponders of any thematic links to the album’s tracks. “I don’t know if it’s anything new and profound. I think more than anything – more than a theme – I think that this record is more a statement of what this band is about and what we’re capable of doing. Yes we have deep roots embedded in punk rock, but we’re also a lot more than that... The thing that I kind of wanted to do is embrace what I got from punk rock – the honesty, the energy, the angst, the attitude – but incorporate all of the other styles of music that I love and grew up with as well, and to craft it into one soup.’

Their rollicking cover of Hank Williams’ Alone And Forsaken speaks volumes in this regard – harking back to Ness’ pair of 1999 solo albums Cheating At Solitaire and Under The Infl uences, which both also contained versions of Williams tunes (says Ness: “as far as country music goes he’s probably the one who shaped me the most, so to do his songs is just my way of paying tribute”) – but closing number Still Alive is also a telling moment, almost seeming like a rejoinder to early nihilistic tunes such as the menacing Hour Of Darkness.

“Defi nitely, I thought it was great closure for the album,” Ness shares. “The piano’s almost a moment of refl ection, and it’s a combination of things lyrically – mainly to the people who told us that we couldn’t do this 30 years ago. Not only did we survive but we succeeded and got good at what we did, so it’s kind of like ‘He who laughs last, laughs best.’”

Ness seems unsure as how to attribute Social Distortion’s longevity – even given the fact that he’s the only surviving original member, it’s still incredible that they’re still touring and releasing relevant music some 30 years after their inception, especially given the tales of hard living and debauchery which used to follow the band like the plague and which Ness spent many years documenting lyrically.

“I don’t know,” he muses. “Obviously I have a passion for this. I love what I do – I love touring, I love making

records. You’d think we’d be burnt out by now. But all the guys in the band love what they do – I look at these guys sometimes and I have to smile, because I realise that these guys would be doing this if they made a hundred dollars a week, because they just love playing music. I’d still be doing it too – I just love playing music. I’m so grateful at being able to make a living at doing what I love, you know? But I am lucky also that I never had to make any compromises, I never had to change anything – I did it my way, and I guess Frank Sinatra did it his way too,” he guffaws.

Ness reckons that the new material has been going over like a treat live, but that Aussie audiences aren’t going to be hearing too much of it because they’re going to be pulling out the classics for their inaugural visit to these shores.

“Yeah, it’s so fun,” he tells of playing the new material, “but right now we’re only doing about fi ve new songs in the set. Especially coming down to Australia for the fi rst time, we can’t just go there and showcase our new album. People want to hear Mommy’s Little Monster and Ball And Chain, they’re going to want to hear Story Of My Life, they’re going to want to hear Ring Of Fire... And that’s great because I love playing those too, but of course I love playing the new stuff because it’s fresh. It fi ts so well – you could put this album alongside [1983 debut] Mommy’s Little Monster and be like, ‘Yeah, it’s a little different, but it could fi t right on!’ I wanted to keep the signature sound, but at the same time show people that we’ve evolved.

“We’re so excited about coming to Australia – the vibe we’ve been getting from the press and in interviews has been overwhelming, everyone’s just as excited as we are. For us it’s just so cool to go to a new place and play, because it’s uncharted territory. So to go over there and already have fans is amazing – we certainly don’t take that for granted. We’re just sorry it’s taken so long, but everyone can look forward to a high energy, fun Social D show – that’s what we take pride in, our live shows. We try to deliver every night – that’s the job. We all look at each other before we go onstage and remind each other that we have to deliver – we’re the delivery men!”

THE DELIVERY MENTHE DELIVERY MENLegendary US outfi t SOCIAL DISTORTION have been waving the punk rock fl ag for three decades, and on the eve of their fi rst tour to Australia the band’s heart and soul MIKE NESS tells STEVE BELL about survival, integrity and above all delivering the goods when it matters.

WHO: Social Distortion

WHAT: Hard Times And Nursery Rhymes (Epitaph/Shock)

WHERE & WHEN: Soundwave Festival, RNA Showgrounds Saturday Feb 26

22

A ustralian fans of legendary Californian punk rockers Social Distortion can fi nally relax, because they’re about to end a 30-year

drought and witness their heroes in action for the fi rst time when they arrive for this month’s Soundwave Festival. Well maybe not relax, because there’s been a few misfi res in the past – Social Distortion tours which have been announced and then subsequently cancelled – but this time it appears that they’re actually going to make the long journey southwards.

Not only that, but they’re coming armed with a brand new Social D album Hard Times And Nursery Rhymes – their seventh studio album and fi rst for almost seven years – which maintains the fi re and brimstone of their early output but builds on the fl ourishes of rockabilly,

country and blues that has crept into their work over the years. This is a band who after three decades in the game are striving to build on their legacy rather than rehash it, and anyone who’s been privy to the uncompromising attitude of founding member, frontman and songwriter Mike Ness over the journey would hardly be surprised at this turn of events (well, except maybe the bit about them fi nally coming Down Under).

“I’m really happy with it. I spent all summer in the studio, kind of in my own world there, but I’m really happy with how it came out,” Ness offers from on the road in San Francisco about the band’s new record, which he also produced himself for the fi rst time. “I wanted it to sound different to the last record, I knew that. I’ve worked with a lot of other producers and I’ve learned things from

K A T I E N O O N A N . C O M

A VA I L A B L E N O W

MARCH 4Judith Wright Centre Theatre

BRISBANEwww.judithwrightcentre.com (07)3872 9000

T I C K E T S O N S A L E N O W

ENTERTAINMENT CONTENTENTERTAINMENT CONTENTFor 30 years, GANG OF FOUR have been offering their politically-charged jagged funk. But lead shouter JON KING tells ROSS CLELLAND they’re fi nding there are just new ways artists (and everybody else) are being exploited.

They’ve always seemed to know that there’s lessons in history, or you’re doomed to repeat the mistakes. One of the new album’s songs drawing a not-too-long bow between the mindless persecution of 17th century witch trials and the more recent horrors of Guantanamo Bay.

“You could hear the same voices, from both sides, at both times,” King explains. “So we made it a duet of oppressor and oppressed between Andy and me. It’s a dialogue, which you hope won’t happen again. But seems bound to.”

L eeds doesn’t really strike as a revolutionary city, even a musical one – that’s more often left to Manchester or Liverpool at the other end of the M62 motorway across

north England. However, from the late-70s through the 80s the local university’s reputation brought a creative and political edge.

“Did I expect to be in a band for 30 years? I wasn’t even looking to be in one then,” admits Jon King, a man whose words still tumble out in a torrent of forceful thought.

They weren’t short of imagination, or front. King and fellow student Andy Gill somehow parlaying their research grants – the latter’s actually to study and photograph gothic architecture in northern France – into tickets to New York, where they fell into the city’s burgeoning ‘punk’ scene, seeing the likes the Ramones and Blondie at the now near-mythical CBGBs club.

“Yeah, it was legendary – in about a 12-block radius immediately around it,” King recalls. “Did we think we were part of history? Not really. We were watching what we thought were exciting bands, in a sweaty dive of a place. That was good enough.”

Suitably inspired, they went back to the UK and built their own band. Gang Of Four made music unlike anything heard before. Funk bass and drums were scribbled on by Gill’s feedback-drenched guitar, while King yelled/sang/declaimed on everything from political worldviews, to emotional insecurities, through the failure of capitalism, to sexual paradigms and stereotypes.

They struck a nerve – well, several. Their avowed left-wing sloganeering perversely found a home with then-colossus, EMI. As King now states: “The best music – the music that endures – has something unique and new in it. We had that. EMI saw a chance to make money – as they would, some would say as they should – and gave us an outlet.”

There were odd achievements, which the singer can now smile about. “We had one more song than The Sex Pistols banned by the BBC,” he announces proudly. Among the reasons for the blackballings: refusing to remove a mention of condoms in At Home He’s A Tourist costing them a spot on Top Of The Pops and I Love A Man In Uniform being denied airplay for its apparent potential to undermine the Falklands War effort. To be fair, Split Enz’s Six Months In A Leaky Boat was off the radio in England on the same reasoning.

“But there’s a gold record on my wall. I can actually see it from where I’m sitting,” he laughs down the line. “Even if we never actually made money from any of our fi rst four albums. Really – we’re still paying it off from the days when record labels gave you money to tour, to advertise the fact you had a record to sell. We knew the game. We called that fi rst album Entertainment! – with the deliberate exclamation mark – to show we were aware of just what we were.”

Fast forward to now and that self-awareness remains, albeit updated. Through the usual aggravations and delights in the life of a band: break-ups, a mid-90s reformation of the original line-up that didn’t quite gel, to a swathe of combos successful this century paying obvious and admitted debt to Gang Of Four’s music and/or ideals. Among the most obvious are Franz Ferdinand, Bloc Party and latter generation Leeds boys, Kaiser Chiefs. Although an awkward silence, longer than the standard international phone call delay, suggests King isn’t totally enamoured by some of those comparisons.

“They may have taken some element of our music and made something of their own,” he offers. “That’s what happens; it’s the distinctions you have to fi nd. What I’ve been thrilled by over the last few years is that our music still seems to make sense to our audiences, whatever age they are. They tell us that our music means something, that it makes them want to go start a band. That amazes me.”

The much-anticipated and well-received album of Gang Of Four’s latest resurrection is descriptively entitled for its times: Content.

“For that’s pretty much what we’ve all been reduced to,” King contends. “Whether that’s me as a musician, or you as a journalist, or a photographer, a visual artist – any artist is now just that, fi lling space on a hard drive. Or you pronounce it as ‘content’, as in relaxedly, ignorantly happy with a situation. Which sounds pretty close to ‘contempt’, as well.”

So, has creativity been devalued?

“Yes, of course it has. But we just seem to have accepted it. Yes, the big record companies were money making corporations, but the net and the information exchange of now – I thought that was supposed to change things?” he rightly grumbles. “All we have is new middlemen. It’s Google, Apple, YouTube as the gatekeepers now. iTunes are probably the worst record company we’ve ever had – of that 99 cents you pay for a song, they get 49 cents. Or look at the ‘stars’ of now. Lily Allen, Lady Gaga – and I do love some of what they do and what they represent – they could get literally ten million YouTube hits and really make just a couple of hundred pounds from it.” Now, there’s a discussion point for you.

That’s not to say Gang Of Four are above not making use of the new ways. Many traditionalists were taken aback to hear their Entertainment! classic Natural’s Not In It soundtracking the latest X-Box ad campaign. Does he see any ethical dilemma?

“To be honest, I’m not sure how the whole advertising thing works. But as a gamer, I at least have some idea of the product. And no, I haven’t been given a new console yet,” he chuckles. “But back to earlier, it might get us a bit closer to clearing that black hole of debt to EMI. I’m happy to just take that.”

WHO: Gang Of Four

WHAT: Content (Groenland/Inertia)

WHERE & WHEN: The Hi-Fi Friday Feb 25, Soundwave Festival, RNA Showgrounds Saturday Feb 25

“Did I expect to be in a band for 30 years? I wasn’t even looking to be in one then.”

23

came together and met up in Minneapolis. I have this friend that’s got a basement studio and collects vintage instruments. There’s this rickety old house upstairs, and we all just moved in together for ten days. [We] ate beautiful big meals on this massive big table, recorded through the night, recorded live, recorded early in the morning after a big beautiful breakfast cook up. It was pretty cool. It was the way I always thought our records would have been made. There was so much love there, I mean we’re all older and we’ve grown and been through so much together. Next year is our 20th year together,” she says in amazement.

She picks out her favourite tracks from Temptation as Moses And The Lamb, a country-blues romp infl uenced by bandmate Josh Cunningham’s fi nding of faith, and Someday, which was penned by her sibling sidekick Vikki Thorn.

“I should be picking my own songs,” she laughs, “but I actually really, really love this record and I’ve never said that about one of our albums before, but I really, really do. And I listen to it a lot. I even love my songs – I’m really proud of them. It’s just full of gems. It’s the record I wish we’d made years ago – I always wanted to make this one.”

Simpson offers some thoughts on why she’s feeling this way for the fi rst time in her lengthy career. “Maybe it’s the recording experience. Maybe it’s because I started writing again. Maybe it’s because we’ve not had any plans or any pressure,” she suggests. “I stopped writing for a few years, which was kind of frustrating but I had to deal with a lot of personal stuff. I didn’t want to share, and I can’t share anything that’s not honest. I can’t just make up a song and write it, I just can’t. And I fi nd it hard to hide my real thoughts and feelings.”

Being unable to write is about as bad as it gets for a songwriter, particularly for one who has enjoyed the highs of offering The Waifs’ 2002 breakthrough single London Still to the world.

“I had the toughest four years of my life. I just physically didn’t have anything in me to pick up a guitar and write and be personal,” she recalls. So what was the impetus for Simpson getting back on the horse? “When my life started to get back on track,” she answers fi rmly. “I moved to a new country, I got married, I got divorced, I had a baby, I became a single mum – this is all from a girl who’s been on tour for the last 15 years, you know what I’m saying? And then [I] ended up in rehab – a lot of things went wrong, it was a really, really hard time and it was hard to be in the public eye for a lot of that, trying to keep it together. You can’t just sort of let things

slide, you’ve got to deal with stuff. And I did real good… I had a lot of support, from my band particularly.”

Sharing a band with a sibling and a dear friend has made Simpson very aware of the special connection they share across the hard times, the good and through their voices.

“Vikki was 17-years-old when we fi rst started singing together and now she’s this woman. We’ve just been through everything together – everything. I don’t know if a lot of bands have that, or if they do maybe it’s not as acknowledged about how close you really become. To say goodbye to The Waifs would be the most devastating thing that would ever happen I think. We have had our break ups and our fi ghts over the years. We all cry and hug, it’s soppy but it’s true,” she laughs.

“It’s been nothing but growth really,” she remarks of their vocals. “We’ve learnt to sing together and we’ve been inspired by a lot of harmony workings, and for the fi rst time we’re actually working in three-part harmonies, me Vik and Josh all together. Vikki did her fi rst solo show the other week and she said to me, ‘It’s so weird to sing without you’. I’ve done solo shows as well and I can actually hear her singing – I could swear that I can hear her singing in my head.”

Simpson is enormously excited about the upcoming dates for Temptation, and is not phased in the slightest by a tour that would be a monumental and largely impossible undertaking for most bands.

“We’re used to it. It’s like a big holiday now. It’s great – you get to go all around Australia in the middle of summer and play music together, all be together, hang out, eat, travel, tell stories, laugh – it’s unreal! [ I’ll] dress up – put on some high heels and some lipstick, stay in hotels and leave my wet towels on the fl oor,” she giggles, though struggles to name her favourite place to play because she has friends in every stop who are coming to hear her.

“Where are we playing in Brisbane? Where’s that beautiful theatre that we love?” she asks herself. “The Tivoli!” she exclaims before swooning about the theatre’s intimacy despite its size. “We love The Tiv, love it.”

FAMILY REUNIONFAMILY REUNIONDONNA SIMPSON is in love with Temptation, the record she has always wanted to make. TYLER McLOUGHLAN enjoys a terrifi c chat with the singer/guitarist about band camp THE WAIFS style in the lead-up to their 23-date Australian tour.

WHO: The Waifs

WHAT: Temptation (Jarrah Records/MGM)

WHERE & WHEN: The Great Northern, Byron Bay Tuesday Mar 1, Nambour Civic Centre Wednesday Mar 2, The Tivoli Wednesday Mar 3

24

The Whitlams perform LIVE their quadruple platinum ARIA breakthrough album, ETERNAL NIGHTCAP.

with the Queensland Symphony OrchestraFeaturing best-selling hits NO APHRODISIAC, CHARLIE NO. 2 and YOU SOUND LIKE LOUIS BURDETT.

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L ooking at the traits of the stock drovers of bygone eras, it’s not hard to draw comparisons to The Waifs, a band Australians love to love.

Independent, tough, devotees of the long haul and vivid storytellers, both are easily counted as Australian icons.

“Wow, I never thought of us as Australian icons!” laughs Donna Simpson heartily from her adopted city of St Paul, Minnesota, on the banks of the Mississippi. That the three core singer/guitarist members have each found an American home doesn’t make them any less Australian, it just means that we get to see less of them.

“I can’t believe that people say it’s been two years [since we last toured Australia]. I had no idea until I started doing interviews. It really shocked me,” she says seriously, mulling further on the point. “Oh my God, it’s

been that long. It’s sinful in a way. I can’t wait to get out – can’t wait to meet everyone and start playing music again. Especially after making this record over here.”

When it came time to record their sixth studio album Temptation in November, Simpson’s family commitments as a single mother meant that the choice of recording facilities was vastly limited, though this limitation soon turned into the most enjoyable recording experience of The Waifs’ career. The rest of the band agreed that if she could fi nd a good studio, they would all come to her. With a drawn out, happy sign, she fondly recalls the occasion.

“These are my best friends in my life, these people, and we hadn’t seen each other for quite a long time. We all just love playing music together so much, we always have, we gel, and that’s why it’s worked for us. We all

25

defi ned the band entirely when they used it for the title of their best of compilation in 2008. Eternal Nightcap went on to sell 200,000-odd copies and ensured the band with ARIA Awards for Best Independent Release and Best Group (this award presented to them by the man they were named after, Gough Whitlam).

“Most records refl ect about the last two years of experience, but Eternal Nightcap, because it was the fi rst one that I had wrote all myself after Stevie died, seemed to be about my whole 20s and about that whole decade,” Freeman refl ects fondly. “It’s quite schizophrenic and has a lot more ups and downs than I remember – it has these love songs and then it’s got these sad songs and angry songs and these fl ippant songs – it’s more like a compilation of my 20s than a statement as such. Listening to it all at once now, I can tell it came from a long period of time.”

Now 13 years on, the album will receive the special treatment from The Whitlams and the Queensland Symphony Orchestra who will gather for one show to play the album in its entirety. The Whitlams are certainly no strangers to the road but their orchestral shows are few and far between.

“The show was actually on ABC2 last Sunday so I hope not everyone has seen it on the telly,” Freedman laughs. “It was a show we produced last year with the Sydney Symphony and we were already doing half the album with the orchestras so we thought we could add the other half and it works well. It’s very lavishly arranged – we play a little less than we normally would, making way for the arrangements, but we’re there when needed.”

Freedman explains that having an album he created over a decade ago receive a fully-blown orchestral arrangement is quite the kick.

“These composers are really good,” he comments. “They give the songs new life, they give them new melodies, new textures – so it’s great to drag the horse around the track one more time. All the songs are the same length, they have the same verses – I sent the album to the arrangers so they don’t change any structures. We had to re-learn all the songs on the record; when you’re in the band you don’t really listen to the record and the songs change – they get longer or shorter, faster or slower. So we got together and listened to it to make sure to take it back to what it used to be, we’re arranging from the album itself – the real recordings.”

Having really not turned his back on his discography as some might with what they consider overplayed songs, Freedman continued to perform the songs from Eternal Nightcap at both solo shows and, of

course, those of The Whitlams. He seems to realise the album is now an Aussie classic but still fi nds a new favourite every time he listens to it.

“I’m proud of the songs,” he concedes. “I’ve been playing them for a lot of years – I’m not going to be rude to them. My new favourite off the album is Up Against the Wall which is like a really... about an angry young man, in his early 20s, suddenly realising he’s awkward – it’s just basically early 20s angst. He’s very angry and I hadn’t heard that particular kind of angst expressed in a song – I enjoyed listening to it again because I don’t feel a lot of those things anymore. I’m unashamed to say it, but now I’m rather content. Most of my new stuff is quite cheerful and my two rules with it were no heartbreak and no booze – I just avoid love now, it’s easy!”

And “the new stuff” he alludes to won’t actually become the next Whitlams record, in fact, Freedman is currently working on material that will eventually become his fi rst solo record. The band isn’t breaking up, he simply is seeking something different.

“I’ve been recording and writing my solo record which will come out next year,” he reveals. “I was playing shows where I was playing a lot of new stuff and not old stuff, I shouldn’t call that The Whitlams because people would come along wanting to hear The Whitlams. I thought I’d give all that stuff a break for a couple of years. I’m hoping it’ll be made by the middle of the year, it’s not fi nished but in a lot of the songs younger girls aren’t the same as the young girls I went out with I was a young man. It covers pornography and ladettes and daughters, a nice little lullaby for my daughter – so yeah, it’s about pornography and family. I just don’t like these young girls and the amount of pornography they watch and men aren’t good enough for them – I guess it’s young people but I don’t go to dinner with young men. I assume it’s the men who started it but who knows? I had to express that in writing.

“I am sort of glad I didn’t deliver it on time,” he continues, “because everyone else seems to be delivering solo records – Glenn from Augie March and Paul from Something For Kate – but it’s always going to happen. The girls are already solo – Sally Seltmann, Sarah Blasko and all those – but boys have their gangs more so when they get sick of their gang after ten years, they have to have a holiday. I will go back to my gang but it’s good to have a break, that’s all.”

GANG MENTALITYGANG MENTALITYThirteen years on from their classic and formative record Eternal Nightcap, THE WHITLAMS are celebrating in style. Mainstay TIM FREEDMAN takes a walk down memory lane with BEN PREECE.

WHAT: The Whitlams

WHERE & WHEN: QPAC Concert Hall Thursday Feb 24 and Friday Feb 25

26

Over 4 days in March, 550 artists from 32 countries will perform across 7 stages in Adelaide’s magnificent Botanic Park!

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I t’s safe to say that if you have no recollection of Eternal Nightcap, the defi ning and now classic album from The Whitlams, you’re either incredibly young

or simply not Australian. The year was 1997 and The Whitlams, to be put it quite simply, dominated! At the time, a 33-year-old Tim Freedman was still reeling from the death of friend and founding member Stevie Plunder, whose body was found at the bottom of Wentworth Falls in The Blue Mountains while the band was riding high on the success of single I Make Hamburgers. Many doubted the band would continue but Freedman began to write songs, for the fi rst time alone. He reformed the band with several new members who, after a few months, were replaced with a new line-up and the recording of songs that would eventually make up Eternal Nightcap began.

The resulting record is undoubtedly a beautiful album, dedicated to Plunder in its entirety, whimsical in nature but not depressing in its execution. It has the typical rock songs (Where’s The Enemy ), the sweeping piano ballads (Buy Now Pay Later and the other two parts of the “Charlie” trio), classic piano-pop (Melbourne, Laugh In Their Faces ) and even a cover of Bob Dylan’s Tangled Up In Blue. But driving the success of the whole thing almost entirely was the opening track and classic single No Aphrodisiac, a song with lyrics co-written with Pinky Beecroft and Chit Chat Von Loopin Stab of Machine Gun Fellatio and a hook that couldn’t be denied. It topped the triple j Hottest 100 for 1997, nabbed the ARIA for Song Of The Year in 1998 while the song’s defi ning line – “Truth, beauty and a picture of you” – almost

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OLD TO BEGINOLD TO BEGINLocal indie-rock quintet NOVA SCOTIA have their eponymous debut album out now and its release has come not a moment too soon. DAN CONDON chats with the band about fi nally getting to this point.

“Absolutely none at all!” Gygar exclaims. “We scheduled a beer meeting in my living room where everyone would bring some photos that we thought might be suitable to use. When we were making a shortlist in a folder my girlfriend Holly snuck that photo in. When we were in Japan we went to this happy pig farm, so for the record that’s the happy pig farm in Kyushu. But we were there in springtime and that’s in winter. So our sensei Leskashen san didn’t actually approve the photo, but I’m sure if we send him a copy it will sit pride of place on his mantelpiece.”

A t a deserted bar in Brisbane’s inner-west, four-fi fths of local indie rock champions Nova Scotia sit around a table, still celebrating the release of their debut long player.

“It’s just like the biggest relief ever,” guitarist and vocalist Scott Brique says, describing their feeling of accomplishment. “It took so long to record in different places and then a really long mixing process. So just to have it... It makes me think about pulling a sex face every time I look at it. Words cannot describe it.”

The theme of time continuously crops up. The band has been together for half a decade and – not for want of trying – their LP only materialised in its fi nal form two weeks ago. But let’s go back to the start.

“Scotty had recorded a whole album of stuff that never ended up getting used,” guitarist Nathan Gygar begins of the band’s genesis. “Ash [Timms – guitar] and I heard this album and thought this material was too good to just forget about. So we said we would be his band.”

The musical goal for the band was clear – Brique wanted to remove himself from his noisy past with former band Toadracer and focus on writing pop songs.

“With all the old Toadracer material, a lot of it was really abrasive and noisy and there were all these seven- and eight-minute songs, so when we started jamming this, it was more to try and write shorter poppier stuff, as opposed to having a different guitar tuning for every song and doing some awful eight-minute song of screaming and horrible noisy guitar,” he says. “We were trying to write some more catchy material.”

“That’s where Dan [Callaghan – bass] and Cam [Scott – drums] came into it,” Timms adds. “Dan played in The Sips and Cam used to play with me in A Thousand Parks and we’d always done those shorter punchier songs and Nathan and I in Eat Laser Scumbag! were doing a similar kind of thing.”

“Ironically now some of our favourite songs to play are the really long songs,” Gygar adds.

Given Brique was initially the sole songwriter, his vision for the band was one he was hell bent on keeping pure.

“I was probably more of a Nazi than I am now,” he recalls. “‘You have to play this’ or ‘This is the part I’ve written for you’. It’s not so much like that anymore.”

“You used to try and play drums for Cam and he used to get so annoyed,” Gygar says to a hearty laugh from all.

“Yeah, I used to take it too far,” Brique admits.

To say the recording process for their album was convoluted would be a vast understatement. The conversation becomes jumbled as different sessions with different engineers in different locations are thrown around.

“It was Grand Final Day in 2008, Hawthorn Vs Geelong,” Timms recalls of the very fi rst session. “That was the lion’s share; we did six of the songs that ended up on the album. [Then] we had a few sessions at Dan’s place, at the Hangar, at my house, in Scott’s living room... we tracked all that stuff ourselves and then Andrew [White] polished it off for us.”

The band were close to fi nishing tracking roughly 18 months later, but by that stage they had new material and some members were hell bent on including it on the album. As such a session with Stephen Bartlett gave the band Snakes And Ladders and Don’t Forget Your Lunchbox, two newer songs to add to the collection they had amassed.

“You and I were quite insistent that we record those two extra ones,” Gygar say to Timms. “It was making it a bit more current for us. Our habits had changed and we had new material and we wanted to include it.”

“I was really against going and recording those two new songs, because I had the next album mapped out already,” Brique admits. “It was going to be a Sonic Youth noisefest and I wanted all these songs that were written around the same period of time so there’d be a kind of coherency.”

Much of the recording was done by Callaghan and the band initially attempted to mix it themselves as well. It soon became clear this wouldn’t work, so local musician/producer Andrew White was called in to pull together these somewhat disparate sessions.

“After we fi nished the initial tracking there was about a year and a bit of us trying to mix it and in the end it was just too hard, too close to home,” Brique recalls.

“That was when Andrew and Phil [Laidlaw] from Lofl y were talking to us about wanting to be involved with it,” Timms continues. “Andrew had mixed stuff with Restream and Mr Maps and some other bands as well.

“Andy mixed it when he got all of the recordings together; he effectively mixed it and produced.”

The most obvious reference point when describing the band’s sound is the work of 90s kingpins Pavement. The band are fans, no question, but they are also eager to ensure people know their infl uence runs far deeper than that.

“People who listen to our stuff really quickly and say we sound like Pavement probably don’t listen to enough music to fi nd that we’re not just doing that,” Gygar affi rms. “I think we’ve all got opinions on what we’re trying to do. The comparisons are pretty obvious but it’s not the end of it. I’m sick of hearing that comparison myself, I understand it but it’s a pretty quick and easy one to make. It’s not something we’re ashamed of, we all love that band, but it’s not the only band that we listen to, we have infl uences that are far broader.“

“I only listen to Phil Collins and Genesis these days. So, y’know...” Timms adds.

The eye-catching photo that graces the cover of the album features three pigs with their snouts in the snow. It’s a bizarre image and the band admit there’s no relevance there.

WHO: Nova Scotia

WHAT: Nova Scotia (Lofl y Recordings)

WHERE & WHEN: Lower 151 Musgrave Rd, Red Hill Saturday Feb 26, Tym Guitars Sunday Feb 27

27

I t’s impossible to discuss Martha Wainwright without touching upon the considerable songwriting legacy she has been associated with for her

entire life. Daughter of Loudon Wainwright and the late Kate McGarrigle and younger sister to Rufus Wainwright, Martha Wainwright’s life and career has seen more often than not been defi ned in relation to the accomplishments of her family members.

“My mother actually thought the highest form of art was playwriting. She thought that if you could write a great play, then that was an absolutely incredible thing. She always wanted me to be a playwright,” Wainwright refl ects of her background. “I didn’t actually want to be a musician originally – but that was mainly because I was concerned about being one of many in my family.

“It’s not really a concern anymore, though. It’s more of a problem – we’re all here now, so there’s nothing any of us can do about it – but it’s a nice problem to have,” the songwriter laughs. “I do wonder, sometimes, what anyone would say about me if they just heard me sing or heard my songs. I do think our family is a fascinating story, though, so I don’t begrudge anyone wanting to tell it.”

This, however, has never been entirely fair. Aside from the fact that Martha Wainwright – regardless of elected vocation – is an individual, her work has never been particularly derivative of that of her family members. Worlds away from the precision of Rufus or beauty of McGarrigle, Martha’s work has always been too jagged and spontaneous to fi t comfortably within the Wainwright lexicon.

L ast year was undoubtedly a glowing one for Darren Hanlon. Following the release and subsequent praise of his fourth album I Will

Love You At All, he embarked on a successful album launch tour, selling out venues Australia-wide before taking a three-month journey overseas where he performed shows with the likes of Sean Lennon, Corin Tucker, Cursive’s Tim Kasher and Billy Bragg.

“Billy I know and he’d been promising me another tour for a few years. I played with him years ago and it just kind of worked out that way,” Hanlon explains casually. “David Dondero was another I toured with and is a friend of mine like a lot of these people – they were either friends or contacts I’ve gathered. The Tim Kasher tour came about because I was drinking tequila with his manager in Conor Oberst’s house in Omaha not knowing who he was [the manager] and he asked what I was doing later in the month and when I said, ‘Nothing really’ he said that I’d get on really well with Tim and should go on tour – that’s how that happened. That was one of the best times I’ve ever had as well – all of that band are outstanding gentlemen.”

With a successful international tour and Australian tour under his belt, Hanlon’s I Will Love You At All

ONE AMONG MANYONE AMONG MANY CHUGGING ALONGCHUGGING ALONGBorn into songwriting royalty, MARTHA WAINWRIGHT has nevertheless managed to establish herself as a singular artist. MATT O’NEILL speaks to the singer-songwriter ahead of her latest Australian tour.

As one of our most beloved singer-songwriters, DARREN HANLON is releasing a new EP and focusing some attention to his profi le in the States, but as he tells BEN PREECE, not before heading around the country one more time.

“I always thought the only way I could work successfully would be not to create a persona or name apart from my family but to really kind of go into my room with a guitar and try and somehow connect with something that is intrinsically me,” Wainwright muses. “You know, something that’s truthful and deep down and only me. My honest impressionism.

“You know, if there’s nothing there that’s different, you’d have to create something but, if there is something there, you don’t have to worry because you’re always going to be different. I think it’s always just been about leaving myself open and listening to my inner voice – and hoping that, if I do that, it will speak loud enough.”

Evidence of Martha Wainwright’s idiosyncrasy can be found sprinkled all over her two full-length albums (2005’s Martha Wainwright and 2008’s I Know You’re Married But I’ve Got Feelings Too ). Raw and stripped-back, Wainwright’s work as a songwriter is rough-hewn and visceral – awkward lines (such as her sophomore album’s title) proving equally uncomfortable and brutally evocative.

Wainwright’s current Australian tour, though, is perhaps the ultimate demonstration of the point of difference that writhes through her work. Originally arranged to showcase her 2009 tribute to Edith Piaf and its subsequent live album Sans Fusils, Ni Souliers, à Paris: Martha Wainwright’s Piaf Record, the tour is now geared towards showcasing Martha Wainwright’s entire body of work.

“It will be a hodgepodge – though I’m not sure if that’s a word people would like to use,” the songwriter laughs. “You know, obviously it’s not a tour in support of a new Martha Wainwright record and, while it is technically a tour in support of my Piaf record, I’ve been writing a lot of new songs lately and am hoping to throw them in – as well as all the old proverbial hits.

“You know, I’ve been painting – and not in the creative way, in the ‘choose colours for the wall’ way – for the past couple of weeks and just working on being domestic in general. I’m really hoping that this tour will help me get back into the swing of things creatively.”

received a US release with a couple of bonus tracks, so now he’s decided to release those tracks locally along with new single Butterfl y Bones as a special digital EP. With one previously-released track and one “stripped-back” version of another, plus two brand spanking new tracks – Cloudy Mind and I Waited For The 17 – it provides quite the bonus for completeists.

“There were some songs lying around for promo that we used for the American release so we just thought it’d be a good opportunity to have it there for Australian fans as well,” Hanlon reasons. “It was never recorded as, you know, a “piece”, it’s just a collection of things we’ve had lying around. The one I wrote about the 17 bus was something I wrote really, really quickly. It was a true story just about missing or not fi nding a bus in the US, in Portland. It’s funny though as it became this live favourite on the last tour I played, and since then I’ve had a few people email with photos of the 17 like it’s a rare animal or an endangered species. Once people spy it, they send me photos. So it was good to release that one too.

“Butterfl y Bones is an interesting choice of single but we fi gure it has a lot of the qualities Falling Aeroplanes did back in when I fi rst started. It’s a short song, it’s very understated and acoustic kind of based. There were other tracks people thought we should push as singles but we just thought we’d keep it nice and simple. But also I had a great idea for a music video so that’s another reason we chose that one.”

Coming up for Hanlon is another US tour plus the fi rst big national tour he’s completed since the release of I Will Love You At All.

“This time heading to the States, we’re trying to capitalise on all the people I met last time,” he explains. “I’m buying a car and doing it with a band this time around. We’re touring with friends this time, it’s going to be a party. The Aussie tour is the big band tour and it’s the last one for the year – we have some big overseas plans and it’s going well... you know, I chug along.”

WHO: Martha Wainwright

WHERE & WHEN: The Tivoli Tuesday Mar 1

WHO: Darren Hanlon

WHAT: Butterfl y Bones (Flippin’ Yeah Industries)

WHERE & WHEN: The Majestic Theatre, Pomona Friday Feb 25, The Zoo Saturday Jan 26

28

SPOTS STILLLEFT FORHEATS

3 AND 4

29

“I t’s actually something that Q Music organised,” she chirps, relaxed. It’s a quiet, Thursday afternoon, and Bridget’s at home. Her words

bounce as she talks. She’s elated, and has very good reason to be. Still riding the high of last year’s Deathwish, The Gin Club are a band, that by all accounts (and status-updates on those accounts) are approaching the new year with a renewed, and repurposed serenity. Having rather impressively released almost as many records as they’ve had years active, the band sees this year as something of an opportunity to tie up a lot of loose ends. Being in their most comfortable of positions yet – perhaps a nice, sturdy lean – 2011, for The Gin Club looks to be the year in which they’re spoken for by a surplus of prior hard work.

But back to the right now, and the band are sizing up for two outings in the name of charity. First up, they’re auctioning off a private, live show: “It was [Q Music’s] idea as a way to raise some money for the disaster relief appeal,” Lewis intones. “A whole bunch of people have donated all kinds of different stuff. There’s lots of autographed merch-packs, and things from lots of different artists, and [when] they approached us...we said yes, and they said, ‘Well, what have you got to offer?’” Lewis breaks, falling into a bout of chuckling. Carried out through Internet auction megalodons eBay,

FOLK’S HELPING OUTFOLK’S HELPING OUT I SEE REDI SEE REDProlifi c and treasured Brisbane folk-favourites THE GIN CLUB can now have adjectives like ‘benevolent,’ and ‘magnanimous’ added to abstracts leading into pieces about them. The band’s cellist, and of her own labelling “just the woman down the front, in the left-hand corner”, BRIDGET LEWIS talks to SAM HOBSON about just why that is.

CLINT BOGE, vocalist for THOUSAND NEEDLES IN RED, speaks openly to BENNY DOYLE about working with one of his heroes and the harrowing personal matter that has spawned one of the band’s best songs to date.

who don’t normally allow the sale of ‘intangibles’, bidding for the band’s services continues until Friday Feb 25.

“It’s something we’ve done a bit of – we’ve played for birthday parties and weddings and stuff in the past, and we’ve always really liked that personal touch that you can [bring to shows] when you know the people that you’re playing for,” Lewis offers. “We looked at the auction [page] for a couple of days, waiting for someone to bid – we thought we’d be totally embarrassed if no-one wanted it! But it’s taken off, and everything’s looking good so far.” As of the time of this interview, the bidding’s at over $1000. Learning of this update, Lewis is thoroughly pleased. “It’s really generous of people. Really lovely.”

But that’s not where the generosity stops. Come Sunday Mar 6, at the Old Museum, The Gin Club’ll be playing alongside the likes of legends Robert Forster and Don Walker at Brisbane’s Friends Of Folk Festival – the proceeds of which are being donated to the Premier’s Disaster Relief Appeal.

“We were approached some time ago with the idea [of our involvement], and we’ve always loved that building in particular – the Old Museum – and for years we’ve tried to organise something there, and it’s always sort-of been [more of] a logistical nightmare,” Bridget explains, playing down the humanitarian bent the question asked of her was loaded with. “I think it’s just delightful that they’ve started using it for gigs, and it’s such a great space. I used to go there and watch the Youth Orchestra, we had a friend who was in it, and I’d go along and watch their rehearsal’s sometimes. It’s such a great place to be.”

Not to ignore the theme of charity-work running through this piece, she concedes to the intentions of the prior question. “It’s just lovely to be part of it. It’s an iconic Brisbane building, and it’s so nice to be able to use that to contribute to the Flood Relief, too.”

cool too, which was good because sometimes you don’t want to meet the people that make the music you love because it can be a disappointment.

“Jeff bought to the table a few different instrumentation ideas. He helped me out with a harmony idea, which was nice because he plays like 40 or 50 instruments so obviously his knowledge of notation, polyrhythms and harmony is excellent. And he really did bring that old school rock style into the studio. He walked in with these boots on and his shirt open; necklaces and shit, the bandanna on – so that was cool. The experience gave us tremendous scope and a good kick in the pants to strive for more.”

Into Eternity was written based on a conversation Bouillaut’s late father had with Bouillant’s godfather more than 20 years ago from his hospital bed in France prior to his passing. Boge discusses the careful steps that he had to take to make sure the lyrics did justice to the subject matter.

“I was really careful to preserve the feeling and the gravity of the situation, the extent on how it affected Tristan’s life, and not only him but his brother and obviously his mum as well. I think the story needed to be told in such a way that I wasn’t telling it third-hand, so I tried to put myself into that fi rst person and how I’d feel, y’know? I have two young boys myself so I think it drew deeply on how I’d feel if I was told I was terminal and I was leaving before my time.

“So on a lyrical and a personal point we took great care. But it’s a beautiful song to listen to, it carries a great message and I always say to Triz, ‘Your Dad’s listening’. We played last year on his birthday and we took out drinks and everything, and I poured a little on stage because he was a muso as well – it’s just paying homage to the man that he was.”

WHO: The Gin Club

WHAT: Deathwish (Plus One/Shock)

WHERE AND WHEN: Friends Of Folk Festival, Old Museum Sunday Mar 6

WHO: Thousand Needles In Red

WHAT: Into Eternity (Independent)

WHERE & WHEN: Hamilton Hotel Thursday Mar 3, Villa Noosa Hotel Friday Mar 4, Albany Creek Tavern Saturday Mar 6, Surfers Paradise Beergarden Sunday Mar 6

30

F rom a musical kinship formed with Sydney-based guitarist Tristan Bouillaut almost two years ago, Boge and his friend and writing partner are

now on the cusp of their debut release. The powerful vocalist talks positive about the preproduction for Thousand Needles In Red’s fi rst full-length album.

“It’s been awesome – in lyrical terms, it’s just fl uid,” he exudes. “Everything has been really hassle free. There is no pressure on us to create this album so I think that frees us up a lot to just deliver. And the fact that Triz and I are the only two writers in the band makes a lot of difference. As soon as you start putting more people in the mix, I fi nd the songs start getting further and further away from where it should be.

“It’s such a nice change to have an abundance of songs that we can pick and choose from depending on how we want the album to sound. And that’s our only dilemma at the moment – how we’re going to structure the album. Otherwise, we’ve got a really good deal at Loose Stones Studios where we’re going to record it on the Gold Coast with Matt Bartlem. They have even bought specifi c gear for us to go in there which is crazy!”

For their latest track, Into Eternity, the band took to the studio with uber-talented Jeff Martin, the Canadian best known for his work with The Tea Party. “To have him sitting in on our track was amazing,” Boge marvels. “I’m a huge Tea Party fan so getting to hang out with him was cool and in the end he was

43

ALEXANDER by ALEXANDER is released Friday 25 February.

ALEXANDER

Alexander, AKA Alexander Ebert of Edward Sharpe & The Magnetic Zeros, follows

his band’s whirlwind Australian tour with the release of his debut self-titled solo

album. During breaks from Magnetic Zeros over the past year, Alexander began

building the songs for this album alone in his bedroom. From guitar and organ to

clarinet and violin, there isn’t a single sound on the ten track album that Alexander

didn’t perform himself. Infl uences cited for the solo project include Mungo Jerry,

Zip A Dee Do Da and children’s clapping game Patty Cake.

NEW SOLO ALBUM - ALEXANDER

POWERED BY STREET PRESS AUSTRALIA

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“I f people say hip hop’s dead, I think the focus is pretty narrowly directed at American hip hop.”

Eddie’s in the midst of recording, right now. With tracking all but done, and the task of mixing looming ahead, he’s an exhausting confl ation of excited, and fed-up. It’s put to him – as a means of getting his mind off the particulars of the studio process, and admittedly as a litmus test for his particular standing in the world of hip hop – the idea that American hip hop ‘is dead.’ He mulls over the maxim for a moment, before repeating the question again, slowly.

“I don’t think it’s dead in the rest of the world,” he muses. “I don’t think it’s dead in Australia – defi nitely not. I think it’s really starting to fl ourish here now.” His voice is weary, but he’s engaged in what he’s saying. Almost insulted at the suggestion that perhaps the scene over here’s not enough of its own beast, he continues: “...I do think we’ve put our own twist on it. I think there’s so much more territory to be explored within the boundaries of what’s called hip hop in Australia. I don’t think it’s going to die any time soon.” He laughs, roughening his voice for the incoming colloquialism. “I think it’s got a few good years left in it.”

“But I don’t think American hip hop has to be dead, either.” he’s keen to continue. “It just seems to be overrun by a lot of whack stuff.” When prompted for names, his voice turns up in disgust. “I couldn’t even tell you the names of the

In a short period of time, Lior Attar, or just Lior as he’s known to his wide and dedicated following, has carved out an established name for himself

simply through writing well-rounded, accessible music that talks to the listener as much as it entertains their ears. But before taking his swag of tunes overseas for the majority of the year, the songwriter has one fi nal tour lined up that by benefi tting from the advantages of social media, is very much a sign of the times. Lior discusses what fans have to look forward to.

“Because late last year I did the whole big band tour album launch, I just naturally like to go from one extreme to the other so I decided I’d do an intimate style show with a string quartet,” he tells. “And then just having three albums out now, I thought it might be interesting for the fans to choose which songs I’ll do. Then that kind of spread with a bit of twist to say well, they can request three songs they want to hear that night but also maybe suggest a cover to interpret. So the shows will consist of the most requested songs by that audience and also a handful of covers that they’ve chosen which I’m going to be attempting to interpret.”

Given the open book that fans have been provided with, you would imagine that many of the requests coming in via email and Facebook would surprise

A FAMILIAR STATEA FAMILIAR STATE I BELIEVE YOU, LIORI BELIEVE YOU, LIORFresh off the release of his fi rst single as a solo artist, a win from its placing in triple j’s Hottest 100, but faced now with turning that success into a long-play release, ex-Butterfi ngers frontman EVIL EDDIE talks at length with SAM HOBSON about hip hop, Queensland, and forging ahead.

Following the unique experience of the 2009 Shadows And Light tour, vibrant Melbourne-based songwriter LIOR has another treat for fans that is slightly left-of-centre. BENNY DOYLE gets the lowdown on what to expect from the upcoming run.

bands that I hate. When I hear them, I just go: fuckin’ hell. Sometimes the raps aren’t so bad, but I think a lot of the backing music that comes with the new school commercial hip hop is just awful. Cheesy, and dance-orientated.”

Which is defi nitely something which can’t be said of his breakout single Queensland. The latter half of that statement, at least.

“I was really nervous about releasing that song,” he reveals, “especially as my fi rst one, just ‘cos it was about Queensland, and I thought there might be a bit of a hard sell in front of me to the rest of Australia, but it seems to be going really well. I’m really happy with the way it’s turned out.”

On his intentions for the song, and its purpose as something of a California Love-style shout-out, Eddie’s quick to concede. “Yeah, California Love was pretty much what got me started. I was like, ‘There’s no songs about Australian states!’ So yeah, that was pretty much the inspiration.”

But the prospect of transforming the success of Queensland into an album not only worthy of its head start, but also of his departure from Butterfi ngers, holds for him some trepidation.

“It’s going pretty good...but I’m still a few songs short of a whole record,” he admits. “It’ll be singles and stuff released, but I had told people that the album was coming out possibly April, but now it’s probably going to be a little bit later than that.

“And the process I like, but fi nancially, not so much.” He laughs a tired laugh. “It’s been a little bit diffi cult juggling all the fi nancial details, but, I don’t know, we’re getting there.” There’s a moment’s contemplative pause, and an audible shrug. “I’ve been listening to a lot of what hip hop dudes have done in the past. It’s probably gonna be nothing new, really. It’s just what I like, you know?”

Lior. However he assures that the only surprise found has been a pleasant one with the artist and his fanbase seemingly on the same page.

“I haven’t been surprised in the sense that it’s been quite diverse – I’ve been really happy actually,” he admits. “And it’s been good because most of the faves coming in are my faves too so that’s been nice. I did expect the more well-known tracks to be clear favourites though but they haven’t been. I’ve been really inspired by the fact that people are requesting songs from across the albums and across the tracks within those albums as well.”

And as for the cover side of things?

“There’s been a mix. Like there’s been your expected classic songwriter ones but there’s also been some Alice Cooper requests, some Bon Jovi. There have been some really good ones actually,” he positively states. “So it’ll be a mixture of some more classic ones with a couple of peculiar ones that have come in as well. A big part of this tour is also about saying thank you to the really loyal and great following that I’ve had over the last six years since Autumn Flow came out. So I did want to put on a tour which is a bit more personal and embracing the community of fans that I have because that’s really what it’s all about.”

A string section attempting Feed My Frankenstein...? It sounds like a recipe for disaster, although but according to Lior, they are more than up to the task.

“What I’ve tried to do is involve [the string section] as well and quite a few of them have written string arrangements to some of the covers. So it’s been a collaborative process getting this show up and running. We’re really solid though and have a great relationship,” he continues. “And after having worked with a lot of string players over the last few years, you then have the luxury of selecting not only the players that you like the most but also those that are the coolest in the sense that they’re open to all types of music and can bring their own creative fl air to it as well.”

WHO: Evil Eddie

WHAT: Queensland (Bewilderbeats/MGM)

WHERE AND WHEN: X&Y Bar Friday Feb 25

WHO: Lior

WHERE & WHEN: Old Museum Saturday Feb 26, Joe’s Waterhole Eumundi Sunday Feb 27

32

WE MAKE THE MUSIC

NEW ALBUM

NEW ALBUM

OUT SOON

OUT SOON

thursday 3rd marchthe gollan hotel, lismore

friday 4th marchjack’s shed, byron bay

saturday 5th march, 8pmbeetle bar, brisbane

sunday 6th march, 2pmcrown hotel, lutwychevinyl out

soon on cd out

april on

www.leadfinger.com.au

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33

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JANELLE MONAETightrope (Featuring Big Boi) (Warner)

Tightrope is good, honest, modern soul from one of the industry’s most justifi ably hyped pop artists of the last year. The high energy crisp and choppy beats are matched with a rapid fi re powerful lyrical delivery that is mature, cool and classic all at once. The brisk pace of the track is also a perfect match for a top notch guest spot from Outkast’s Big Boi – always at his best when he is spitting quickly without drawing breaths. Janelle is also a bit freaky, the album that this track is lifted from is called ArchAndroid Suites II And III and is a bizarro concept album about an android named Cindy Mayweather who becomes an electronic lady messiah for a Fritz Lang’s Metropolis-inspired futuristic land of robots. Awesome.

LADY GAGABorn This Way (Universal)

So Gaga did this song at the Grammys or some shit after being born out of a giant egg or something and it was bloggable and ‘Like’ worthy and shared on Tumblrs and Tweeted about and all that. Some people listened to the song, remarking that there was an uncanny similarity between Born This Way and Express Yourself by Madonna. Those people were pretty much spot on, it might as well be the same song which wasn’t Madonna’s best, and consequently it’s not Gaga’s either, but it still continues to pave the way for actual pop music being in the actual pop charts that is singable, danceable, and good time fun. She may not be the most infl uential artist of our generation as has been suggested by her team of publicist monkeys, but she still fucking rules, sometimes wears Muppets, and does bad ass pop tunes that take much longer to hate than anything by The Black Eyed Peas.

THE LEVITATORSMicrophone Freak (Independent)

The words ‘Funk’ and ‘Fusion’ are very rarely used in the same sentence as ‘Excellent’ or even ‘Good’ unless it’s with the help of a negative such as “Funk fusion bands are rarely good and never excellent.” The Levitators have no idea what kind of music they should be creating, and so they have utilised disco drums, corny ass electro synths, 80s Stevie Wonder-style funk bass keyboard lines and some guy rapping the same verse and chorus three times. The very idea that just chucking together different musical styles randomly can create something appetising is like throwing spaghetti, chocolate cake and oysters in a blender and calling it a gourmet shake. Gross.

J MASCISNot Enough (Sub Pop)

Mascis solo and acoustic is a completely different grizzly beast to the wall of distortion and swirly never ending guitar solos of Dinosaur Jr. The upside of the solo work is that you really get a chance to concentrate on his songwriting and his incredible way of creating hooks that sound effortless and natural but work their way into your brain on just one pass. Not Enough is fantastic – a slight country tinge to the acoustic guitar with a tiny amount of jingle jangle percussion and some backing vocals – all that’s needed to fi ll out the audio spectrum with feel good indie goosebumps. From the impending album Several Shades Of Why which will no doubt prove as essential and timeless as pretty much everything he has ever released.

DEREB THE AMBASSADORDereb the Ambassador(Other Tongues)

This album’s an exceedingly diffi cult one to review. Being of the unanimously pejorative and infi nitely generalised ‘World Music’ genre to we Westerners, it’s probably not one you’ll even ever come across. Perhaps you’ll catch a late-night triple j play, or, with any luck, hear it in a Jarmusch fi lm somewhere down the track – there are some very yearning ties between Dereb’s music, and Broken Flowers, for ye in the know – but really, it’s not something we, in our musical culture, are particularly exposed to.

And because of that, it’s also quite a confronting listen. Without hooks or even a recognisable language to tether the un-savvy listener down for repeat visits – or even the troubled reviewer to interpret for the un-savvy listener – it’s going to be a hard sell. But, to focus largely on the album’s inherently alien nature would be to ‘other-ise’ it too much. To compare it to recognisable, Western infl uences would be to ‘us-ify’ it too much, but would certainly help to endear you to its particular appeal.

What this album has in spades, is rhythm. All of Dereb Desalegn’s songs – a reworking of Eastern covers, and traditionals – have a fantastic rhythmic intensity to them. Not understanding a lick of what the Ethiopian native is saying greatly accentuates this. It’s what you’d imagine a middle-eastern big-band to sound like. A dramatic, Gershwin-like jazz piano stumbles the album into being; it’s a mood that’s dark, and enigmatic, and a sound that very quickly settles on a clomping, chordal run. Kicked into modernity by a thumping backing of brass and bass, that refrain’s repeated, and then polyrhythmically undercut by Desalegn’s otherworldly warble. Part avant-jazz – ala Jaga Jazzist and Shining – and part Ethiopian folk, it’s a dizzying listen everyone should try at least once.

★★★ Sam Hobson

FUJIYA & MIYAGIVentriloquizzing (Full Time Hobby/Other Tongues)

Fujiya & Miyagi’s fourth studio full-length Ventriloquizzing should be more likable than it is. The ideas are all there for a solid serving of good, old fashioned electro-krautrock: the opening title track sheds atmosphere for a deeply minimalist funk groove, and vocalist/guitarist David Best’s hushed “I’m sexy but indifferent” vocal style initially sets the mood nicely as arpeggiated synths slowly crescendo and take over, but the constant pulsating beat and “hold the fort” approach to the bass line do nothing to retain interest, and Best’s vocals – which remain pretty much in the same register at the same level of non-aggression for the entirety of the album – eventually feel lacking.

This is perhaps compounded by the fact that Best – despite coming from the country in which the language was invented – seems to kind of suck at English, or at least is not very imaginative in his use of it. Second track Sixteen Shades Of Black And Blue repeats the title phrase and variations there of (“Eight shades of black/Eight shades of blue/16 shades of black and blue” ) to the point of farce, as does Cat Got Your Tongue, making both songs’ down-step beats and unchanging paces feel less bearable than they should be.

The album is not without its high points – the sultry instrumentalism and percussive work on Taiwanese Boots fi nally adequately offsets Best’s pseudo-monotony, and Minestrone is actually kind of lyrically interesting, but that might be because it involves the Devil, who’s always dramatic – but before you know it, there Best is, fi ring lyrical genius like “You go up and go down like a yo-yo” (Yoyo ) at you an unnecessary amount of times, as though you might have missed some kind of subtle depth the fi rst time around. Which, suffi ce to say, you didn’t.

★★½ Mitch Knox

J MASCISSeveral Shades Of Why (Sub Pop/Inertia)

J Mascis’ efforts in Dinosaur Jr over the past 25 years have been monumental, yet whilst he perforated the ears of slacker fanatics everywhere it was his bandmate and Sebadoh ringmaster Low Barlow who carved out the eloquent ballads. With the thunderous rollercoaster of Dinosaur Jr’s two reunion albums and quaking live shows, it seemed likely to remain that way. But Mascis has always been full of surprises, and with Several Shades Of Why, he delivers an album that ramps up the pathos, fragility and elegance, in doing so creating an achingly beautiful gem.

Listen To Me immediately throws you – Mascis standing on his own, his questioning vocals laid bare without the rambunctious rhythms of his day band. It’s the notable absence of drums that is most prevalent here, placing all the emphasis on the iconic vocals, and that acoustic guitar, which he wields with the same level of profi ciency, bravado and nuance as his electric counterpart. The beautiful title track is all melancholy, heightened by some elegant picking and the haunting violin of Sophie Trudeau (of A Silver Mt Zion fame), whilst the rambling Not Enough has some jovial tambourine and a long list of guest backing vocalists such as Ben Bridwell, Kevin Drew, and Kurt Vile. It’s savvy vocal interplay that elevates the toe-tapping sweetness of Not Enough, or the haunting catch-in-your-throat Very Nervous And Love. These collaborations never take away the focus of Mascis’ innate brilliance at curling words, carving pop hooks, and even a beautifully iconic electric solo explosion in back porch crooner Is It Done?

The infl uences of other troubadours such as Nick Drake or Springsteen lurk in the shadows, but this is decidedly Mascis’ show, one which we can only dream he will continue to bring to us for another 25 years to come.

★★★★★ Brendan Telford

RADIOHEADThe King Of Limbs (Independent)

Key to understanding Radiohead’s eighth studio album is an awareness of the band’s attitudes following the release of their seventh – 2007’s game-changing In Rainbows. Following that album’s lengthy gestation period (nearly three years), members of the band claimed they never wished to go through that kind of process again – Thom Yorke even claiming at one point that the band would no longer release albums but singles and EPs.

The King Of Limbs, arriving some two years after those statements, is very much a product of those attitudes. While presented and marketed as an album, King Of Limbs’ eight songs make much more sense when viewed as belonging to two separate EPs as opposed to one full-length album. The dense rhythmic collages that constitute the record’s initial four songs share limited similarities with the stripped-back numbers that draw the record to a close.

The fi rst half of the record is arguably the more interesting of the two. Exceptionally production heavy, tracks like Good Morning Mr Magpie and Little By Little maintain the rhythmic focus of In Rainbows but incorporate the jagged spontaneity of 2003’s Hail To The Thief with fascinating results. The more spacious songs of the album’s second half – pulsing ballad Lotus Flower, austere lament Give Up The Ghost – just sound like Radiohead-by-numbers by comparison.

The attitudes surrounding the album are both welcome and frustrating. On account of their cultivated distrust of harrowing recording processes, The King Of Limbs is the rawest and most unpredictable Radiohead album to date – and that is something to enjoy. For those very same reasons, however, The King Of Limbs is also perhaps the band’s most fl ippant and weightless album to date – and, while an intriguing novelty, that is also somewhat disappointing.

★★★½ Matt O’Neill

MOGWAIHardcore Will Never Die, But You Will (Rock Action/Spunk/EMI)

Scottish instrumental rockers Mogwai unleash their hotly anticipated seventh album, which has them returning to the fold of producer Paul Savage (who worked with them on their seminal debut Young Team some 14 years ago) and churning out ten songs that ostensibly uphold the archetypal “Mogwai sound” in texture and tone yet are as tangential as this band has ever been.

Initially it’s hard to ascertain how this may be. All the usual Mogwai tropes are present and accounted for – fi ery crescendos and muscular riffs morphing with intricate dynamics and haunting balladry. There aren’t any immediate showstoppers at either end of this spectrum that meets the likes of nihilistic atom bomb that is Like Herod, or the menacing beauty that is Hunted By A Freak. Yet Hardcore... is an album showing a band pushing beyond the confi nes of the genre they invariably fi nd themselves in; one that, like other Mogwai releases before it, grafts itself into your being with every fevered listening. This is a game changer in some ways – a possible bridge into another chapter of their sonic evolution – due to the blessed out tracks and the more studied, hushed build ups within their songs. When they do explode – whether it be the sustained attack of Rano Pano, or the sudden fi t of apoplectic rage that engulfs You’re Lionel Richie – it’s more measured, more controlled than ever before. In the lighter moments, such as the evocative Letters To The Metro, the crystalline tinkering of Death Rays or the funereal dirge of Too Raging For Beers, the structure of the songs and the sounds placed therein are prescient in their perfection.

Mogwai continue to push the instrumental envelope, to explore the myriad infl ections within the sounds of light and dark, and take it to another realm.

★★★★ ½ Brendan Telford

IRON AND WINEKiss Each Other Clean(4AD/Remote Control/Inertia)

There’s a notable change in direction for Sam Beam, the critically lauded and commercially viable brains behind Iron And Wine. Although it’s been a while since 2003’s The Shepherd’s Dog, the spark is present throughout Kiss Each Other Clean via use of layered parts of simple arrangements, sampled beats and the odd sax solo. Some may baulk, but it’s this revamp of his minimalist approach keeps things interesting without ever suffering from gimmick or cliché. Despite the risk apparent in alienating fans of the old ways, the foray into a world rich with sampling and electronic drums has allowed Beam to explore his inner pop demon.

The observational past-tense ballad Walking Far From Home, despite being a repetitive affair on the fi rst listen, builds to reveal a mind set in the creative freedom of pop. There’s a notable air of late-70s and early-80s classic radio goodness, such as Me And Lazarus which revisits the Let’s Dance Bowie era without pressing too hard the atmosphere of that particular decade. Along with Glad Man Singing and Big Burned Hand, Beam has the dancing shoes on of a guy who looks more comfortable with a beard and acoustic than brass and bass. Tree By The River is a more contemporary folk affair and throughout the album there are still many simple acoustic tracks, however these have been blessed with more vocal layers and unconscious experimentation – Godless Brother In Love is exactly this and more, with ebbs and fl ows between piano guitar and voice to form a timeless singular vocal harmony.

The risk of change has paid off with a completely thoughtful and atmospheric piece, which is simply a great addition to an already impressive canon.

★★★★ Adam Wilding

SINGLES

34

BY CHRIS YATES

ALAIN JOHANNESSpark (Rekords Rekords/Liberator)

Following the loss of Natasha Shneider, his wife, soulmate and creative partner, Alain Johannes has taken to doing what he does best to pay her the ultimate tribute. But with earthly textured guitars, stripped-back production and an introspective nature throughout the entire sound of Spark, this record is more than just a tribute, it’s as if Johannes is still singing to her spirit at the foot of their bed. As such, the aching beauty turns more into a celebration than memories of a tragedy and the album sounds all the better for it.

Johannes creates every sound heard on Spark and allows the notes to breathe, paving the way for the emotional undertones throughout. The note bending guitar plucking that drives the music has been created by using a myriad of niche guitar models that see the songs smoothly transition between Middle Eastern hymns (Speechless), rootsy southern bluegrass (Make God Jealous ) and disturbed, dark tales of loneliness (The Bleeding Whole ).

The lyrical content has understandably been pulled from deep within Johannes but avoiding metaphors and clichés, he provides insight into his pain, the passion between the pair that was once shared and where he has been left on a presently lonely planet. “It’s killing me that I must go on living”, sings Johannes on album opener and highlight Endless Eyes, and in the moment of those words, you truly are on the outside looking in to his bleeding heart and internal struggle.

Spark is a beautiful and powerful yet heartbreakingly fragile album given the circumstances but never does it feel tacky or sad. As pure celebrations are, this is a piece of refi ned beauty that resonates with the listener, all the while providing the kind of personal send-off that only two people will ever understand.

★★★ ½ Benny Doyle

GENERATIONALSCon Law + Trust EP(Park The Van/Other Tongues)

New Orleans natives Generationals have released an album (released in the US in 2009 and paired here with the subsequent Trust EP) that is steeped in equal parts summertime psychedelic pop and electronic tapestries that are equally rich in their melodious harmonies.

Angry Charlie stands as the song, which encapsulates the majestic pop song craft Generationals are capable of. Whilst the record stumbles at times through GBV-styled humble indie rock and Phoenix-esque cultivated electronic pop at no point does the song work of Ted Joyner and Grant Wider – the duo who comprise Generationals – not sound like an expressive and innovative world of sound unique to their experiences and lives in New Orleans.

Their beautiful world of indie pop often recalls the organic acoustic and harmonic fervour of The Band or The Travelling Wilburys, particularly in the sheer optimism which shines through particularly on the aluminous pop of Faces In The Dark. Whilst the piano and tribal rhythm via 60s orchestral pop of When They Fight, They Fight recalls 60s girl group The Ronettes, the sheer diversity of sound Generationals are capable of serves to produce an album that rather than being convoluted and unfocused is rather mesmerising from start to the fi nish.

Generationals’ electronic excursions, Wildlife Sculpture and Bobby Beale, prove rather tepid and unadventurous efforts at introducing a more modern element to the sound, particularly when heard in contrast to the band’s skewed interpretation of 60s psychedelia. Whilst Generationals are certainly not reinventing the wheel, they succeed in reinterpreting a sound from the past whilst placing their personalities and experiences in New Orleans at the forefront. Generationals on their debut record merely hint at the genius they are capable of, one hopes their next record realises this.

★★★½ Denis Denutu

SEEFEELSeefeel (Warp/Inertia)

Seefeel marks the 14-year return of the eponymous English act, and sounds just as relevant as ever. The hiatus seems to have energised the ambient indie four-piece, presenting here 11 songs of live electronic unease that, whilst not straying too far from their material from the 1990s, proves that their attempts to marry the shoegaze zeitgeist of the era with the rave movement was well ahead of its time.

Opening with the distilled nuance of O-on One, the album segues into Dead Guitars, an anthem that perfectly distils the Seefeel MO – Mark Clifford’s elliptical creeping guitar loops, lethargic yet schizophrenic synth, and Sarah Peacock’s otherworldly sighs. It’s an effective track, a brooding, abstract atmospheric number that permeates the album. Faults, is eclectic electro-folk, evoking The Beta Band, whilst Rip-Run elevates their sound to a ghostly skitchy dubstep, all wavering basslines and simplistic beats. New drummer Iida Kazuhisa (formerly of The Boredoms) inverts his usually combustible style to wrestle with Clifford’s lurching guitar lines like two alien creatures wrestling underwater. Making creeps like a malicious wraith, Peacock’s breathy vocals warbling in and out of the mix, guitars threatening to explode yet failing to do so. You can hear contemporaries like Boards Of Canada as the album lurches towards oblivion, fi nishing with the elongated mechanical drones of Sway.

It is this ominous crawl to the middle of a nightmarish dreamscape of inertia that Seefeel captures beautifully. Nevertheless there is also a sense that there is a redemptive pulse, a purging of noise, lurking underneath it all, waiting to get out. It is this strangulation that makes this an alluring yet slightly frustrating aural journey, but one well worth taking.

★★★½ Brendan Telford

BEATS WORKINGFound The Sound (Handsome Records/Hydrofunk)

It’s always good to see Aussie hip hop branch out a little. Though we’re renowned for our production-fi nesse, our MCs often fall prey to dorky white-boy ebonics, and embarrassing, culturally ignorant Americanisms. There’s something about the fl atness of the Australian accent, too, that just doesn’t lend itself to convincing word-smithery. Things tend to sound a little bogan-y, and thick, and to the discerning hip hop listener it’s the kiss-of-death to be so unconvincing. ‘Wack,’ in the borrowed parlance.

And, apologies for that bizarrely misleading intro, but Beats Working are no particular exception to this extreme prejudice. They do, however, succeed in making some really honest, intelligent, and eclectic outsider hip hop. They very much succeed in branching out.

And the winning formula for outsider hip hop, in an amalgam, is as follows: organic instrumentation is a must. Take the K-OS/The Roots route and use real instruments, real samples, and you’ll create a heftier whole. Play in and out of rapping, too; have it not the focus of the delivery. And, fi nally – switch up the mood, as obvious as it sounds. From an album like this – from a scene such as it is – there needs to be moments bereft of the sheen, and pub/beach mentality that plagues a lot of current Aussie hip hop. Beats Working, thankfully, embody this just-then imposed formula tremendously. Switching between old-school Sir Mix-a-Lot meets Ice-T delivery and a drunkenly unwound, The Cat Empire drawl the band genre-hop more than Wyclef Jean. There’s some very convincing attempts at grime, punk, and even old-school hip hop (opener It’s War has a drippy, 90s bass-guitar sample pulled straight from Bel Air; it’s a fantastically pitched piece of retro silliness.)

Quite palatable, considering.

★★★ Sam Hobson

35

frontrow@timeoff.com.au

ENGINE EARS

There’s a strangely contradictory contour to the career arc of Topology. Originally formed in

1996 as a consistent and considered counterpoint to the shambolic and unpredictable Brisbane classical concert series of the mid-90s, Topology’s career has nevertheless seen them grow more diverse and unpredictable with each passing year.

“It’s always been a real avenue for us as composers to try different stuff while still having people around you to help you do it,” saxophonist John Babbage says of the group’s formation. “We’d worked together at stuff like concerts featuring ten different composers in a night – one would have harp and a trombone, another would be a string orchestra – and that had just got too involved.

“You know, it was just too under-rehearsed and rushed. We wanted to do something a little bit more professional. It’s kind of hard to say what our sound is at this point. You know, if you look at the line-up, you have viola, violin, and piano – which can take it in a classical direction – but, then, you have a jazz trio of

upright bass, piano and saxophone.”

Over the course of their career, Topology’s work has encompassed aspects of jazz, minimalism, serialism, pop, folk, rock, and transdisciplinary artwork. Their list of collaborators encompasses everyone from folk singers like Katie Noonan and Tara Simmons to comedy acts like the Kransky Sisters and jazz ensembles like Misinterprotato.

“We’ve had the same line-up since the end of 1996 and, when we started out, we were classifi ed as minimalist, playing stuff like Terry Riley and Philip Glass, but I think we’ve long since moved beyond that,” Babbage refl ects. “It’s very diffi cult, though. We’ve had meetings and business plans about stuff as simple as where we put our CD in a shop. That said, we do enjoy being hard to categorise.”

Each year, the quintet seem to travel further and further beyond the standard expectations of a classical ensemble. 2010 alone saw the band stage a tribute to the popular music of 1990, perform a piece geared entirely around drinking and blowing

beer bottles, and, most impressively, deliver a sprawling 60-minute work (Ten Hands) composed collectively by the fi ve members of the group.

“We’re looking more at doing that style of piece. You know, one big work that everyone’s contributed to as opposed to one work that was just written by one of us,” Babbage says of Ten Hands and the group’s associated weirdness. “I think it’s just about using everyone in the band and

showcasing the best of their talents.”

To this end, the group’s forthcoming Difference Engine release would seem like something of a side-step. While exceptionally beautiful and thoroughly accessible, the minimalist-infl uenced melodies and structures of the band’s latest album can’t help but feel like something from their past – until one learns that, having been initially written as far back as 2004, it is exactly that kind of record.

“Yeah – it’s great to have it fi nally coming out,” Babbage laughs. “We recorded it a couple of years ago. They’re still tunes we love, though. We’re still really proud of it.”

WHO: Topology

WHAT: Difference Engine

(Independent)

WHERE & WHEN: Visy Theatre,

Brisbane Powerhouse Sunday Feb 27

TOPOLOGY HAVE BEEN REDEFINING THE ROLE OF THE CHAMBER ENSEMBLE FOR NEARLY 15 YEARS. MATT O’NEILL SPEAKS TO SAXOPHONIST JOHN BABBAGE ABOUT THE LAUNCH OF THE BRISBANE ENSEMBLE’S LATEST ALBUM, DIFFERENCE ENGINE.

WEDNESDAY 23Queensland Filmmakers For Flood

Relief – top Queensland fi lmmakers, such as the Spierig Brothers (Daybreakers, Undead), Louise Alston (Jucy, All My Friends Are Leaving Brisbane), Evan Clarry (Blurred), and more, presents their fi lms past and current in a bid to raise funds for the fl ood victims. Powerhouse Theatre, Brisbane Powerhouse. 7:30pm.

Weird Wednesdays – double feature of Carnival Of Souls (1962) and Dementia 13 (1963). Tribal Theatre, 6:30pm.

THURSDAY 24The Whitlams with Queensland

Symphony Orchestra: Eternal Nightcap – The Whitlams plays their 1997 album Eternal Nightcap in its entirety with the QSO. Expect to hear No Aphrodisiac, Charlie No. 2, and You Sound Like Louis Burdett. Concert Hall, QPAC, 8pm. Repeats tomorrow.

Andrew MacK: Broken Boards, Broken Hearts And A Broken Mind: A Skateboarders Stories – an evening with skater Andrew MacK, a man who’s spent the past 40 skating, a pivital face in the Brisbane scene. In conjunction with MoB’s The Stoke: Skateboarding In Brisbane. Powerhouse Theatre, Brisbane Powerhouse. 7:45pm.

Flickerfest – one of the best short fi lm competitions in the country comes to Brisbane, bringing wth it the best of the best from the fest. Dendy Portside until Saturday Feb 26.

FRIDAY 25The Room – Tommy Wiseau’s must-see disasterpiece of melodrama set in Los Angeles. Bring your friends, bring your plastic spoons, and prepare to laugh until you hurt. Tribal Theatre, 10pm.

SATURDAY 26Antidote Films: A Good Man – a special screening of a particularly touching fi lm, A Good Man. Struggling farmer Chris Rohrlach desperately needs a second income. Fourteen years ago, his pregnant girlfriend Rachel suffered a massive stroke which left her quadriplegic at age 21. Now married, with a teenage son and a second child on the way, they fi nd life on the farm is getting tougher and pressures are mounting. To make ends meet and to the horror of the local townspeople, Chris fi nally decides to open a workplace for the oldest of professions - a legal brothel in the heart of country Inverell. Poignant, funny and deeply moving, this is a powerful story of love, commitment and resilience. Award-winning Australian fi lmmaker Safi na Uberoi’s sensitive treatment of this inspiring couple’s amazing story earned the fi lm Offi cial Selection at IDFA, Offi cial Selection at Hot Docs, and saw it take out the Documentary Prize at Foxtel Sydney Film Festival 2010. Turbine Studio, Brisbane Powerhouse, 3pm. Free entry.

ONGOINGJulius Caesar – La Boite’s opener for the year, and it’s another Shakespeare classic, under the direction of La Boite artistic director David Berthold. Roundhouse Theatre until Sunday Mar 20.

Wicked – See the world’s most popular musical from the past decade before it’s gone. Lyric Theatre until Sunday Mar 6.

THIS WEEK IN

ARTS

36

GIVEAWAY!The Farrelly brothers – best known for There’s Something About Mary and Dumb And Dumber – are back in cinemas with Hall Pass, starring Owen Wilson, Jason Sudeikis (SNL), Christina Applegate, Jenna Fischer (The Offi ce (US)), and Stephen Merchant (The Offi ce (UK)). Wilson and Sudeikis star as happily married men whose wives let them have a week off their marriage, via the titular hall pass. LOLs ensue. We’ve three in-season double passes to the fi lm up for grabs so for your chance to win one email give@timeoff.com.au with ‘HALL PASS’ in the subject line.

WITH HELEN STRINGERAt the risk of perpetuating a possibly false stereotype, Americans seem compulsively litigious. They sue each other with gay abandon; there seems to be a national proclivity towards extracting money from each via court orders. They seem particularly inclined towards this type of activity if two key factors align: first, they’ll get a shitload of publicity by doing so; and second, the person from whom they’re attempting to extract money has a lot of it to begin with.

Photographer David LaChapelle has filed a lawsuit against pop-tart Rihanna on the grounds that her new music video contains “wilful, wanton, and deliberate” reproductions of his images. I’m hoping that in response every porn magazine in existence will sue LaChapelle for plagiarising their fine photographic artistry; LaChapelle’s candy-coloured work invariably involves naked women clutching various phallic objects to their crotches (snakes and frothing champagne bottles are a recurring visual motif). With no porn magazine litigation frenzy in sight we’ll have to settle with giving the puerile photographer a lesson in art history: artists steal from other artists and they do it all the time.

Andy Warhol took popular images and reproduced them repetitively and was not, to my knowledge, successfully sued once. Of course there are many differences between LaChapelle and Warhol, the most obvious being that the latter was an artist and the former is a well-funded pornographer.

In 1983 Warhol’s close friend and oft-collaborator Jean-Michel Basquiat - arguably the more interesting artist of the two - famously recreated the Mona Lisa as the face of an American dollar

bill. In 1963 Warhol had himself created a version of the Mona Lisa in his iconic pop colour palette with the enigmatic lady replicated in Warhol’s much emulated serial style (i.e. the same image over and over again). Basquiat’s version was a loving homage to both his friend and Da Vinci’s masterpiece - with some social commentary woven in. Nobody was sued.

But well before the Warhol and Basquiat made their names artists were imitating, appropriating, reimagining, replicating, emulating, and generally partaking in various types of possible plagiarism under the guise of various other euphemisms without fear of law suits being filed against them.

In 1957 Francis Bacon painted nothing but versions of Van Gogh’s landscapes. Obviously Van Gogh was too dead to sue by the time Bacon started this endeavour, but Bacon’s work was hailed as some of his best nonetheless. Perhaps critics were just happy Bacon had left his genre-defying, screaming, distorted portraits on the backburner for a short while. Those paintings - the most famous being Bacon’s Pope series - were, incidentally, usually recreations of other works of portraiture.

Of course, there’s no excuse for plagiarism of any variety; it’s beyond disrespectful, but David LaChapelle’s work is so offensive that I’m naturally inclined to defend any action that has the potential to really, really annoy him. Perhaps he should simply be grateful that society is yet to move on from the pubescent sexualisation of women he’s so fond of perpetuating rather than suing Rihanna for being willing to degrade herself on celluloid for a few extra dollars and a whole lot of publicity.

THE LOOKING GLASS

ONE NIGHT ONLY: WILLIAM SHATNER LIVEWilliam Shatner, who rose to fame as Captain Kirk in the TV series Star Trek, and has more recently graced our screens as Denny Crane in Boston Legal and the titular father in Shit My Dad Says, is coming to Australia for one exclusive show each in Sydney, Melbourne, and Brisbane. The show will entail an opening speech from the actor, waxing lyrical on his life, before engaging in a Q&A with the evening’s guest host. Concert Hall, QPAC Monday Apr 11. Tickets through Ticketmaster.

SUPANOVA - ERIC ROBERTS IN THE EXPENDABLES

ERIC ROBERTS, ‘DRACO MALFOY’ FOR SUPANOVASupanova Brisbane 2011 is shaping up to be the best yet, with a superstar cast of talents lined up to feature, including Back To the Future’s Christopher Lloyd (Great Scott!), Julie Benz (Dexter), Dennis O’Hare (True Blood), Dileep Rao (Inception), and lots, lots more from projects such as Twilight, Battlestar Galactica, Buffy, Stargate, and Saw. In addition, two new faces have been revealed: Eric Roberts and Tom Felton. Roberts – aside from being the brother of Julia and father of Emma – is a bad-ass actor who has an enviable CV that includes fi lms such as The Pope Of Greenwich Village, Australian fl ick The Coca-Cola Kid, Runaway Train, The Dark Knight, and The Expendables, whilst Felton will go down in history as Draco Malfoy in the Harry Potter series. Supanova takes on the RNA Showgrounds Friday Apr 1 to Sunday Apr 3. Head to supanova.com.au for more information.

frontrow@timeoff.com.au

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BLACK SWAN (MA15+) THU/SAT/MON-WED 10.00, 2.25, 6.50PMFRI 10.00, 2.25, 9.00PMSUN 9.45, 2.10, 8.50PM

THE KING’S SPEECH (M) THU-TUE 10.00, 2.25, 7.00, 9.20PMWED 9.55, 2.15, 7.45PM

TRUE GRIT (M) THU-TUE12.15, 4.45, 9.30PMWED 12.10, 4.30, 8.45PM

HEREAFTER (M) THU-WED 10.05 AM

ANOTHER YEAR (M) THU/MON-WED 10.45, 1.20, 6.30, 8.55PMFRI-SUN 11.55, 4.15, 6.40PM

THE FIGHTER (MA15+) THU-WED 4.55 PM

BLUE VALENTINE (MA15+) THU/MON-WED 3.50PMFRI-SUN 5.10PM

SARAH’S KEY (M) THU/MON-WED 1.15PMFRI-SUN 9.50AM

NY MET OPERA: NIXON IN CHINA (CTC) (NO FREE TIX)

SAT 11.30AMSUN 1.00PM

CULT CINEMA PRESENTS: MIYAZAKI MONTH! (NO FREE TIX)

PRINCESS MONONOKE (M)FRI 8.00PM

NAUSICAA OF THE VALLEY OF THE WIND (PG)FRI 10.15PM

THE GIRL WHO KICKEDTHE HORNET’S NEST (MA15+)(NO FREE TIX) ADVANCED SCREENINGS

FRI/ SAT 10.10, 1.00, 6.30, 9.20PMSUN 10.00, 12.50, 6.20, 9.10PM

INSIDE JOB (PG) THU/ FRI/ MON/ TUE 10.00, 2.20, 6.45, 9.10PMSAT/ SUN 10.00, 2.20, 6.45, 9.00PMWED 10.30 (GOLDEN LUNCH), 2.20, 6.45, 9.10PM

RABBIT HOLE (M) THU 10.30 (BABES), 2.30, 7.00, 9.00PMFRI 2.00, 4.00, 6.15, 8.30PMSAT 9.40, 3.40, 6.15, 8.30PMSUN 10.15, 12.15, 6.15, 8.30PMMON- WED 10.10, 2.30, 7.00, 9.00PM

127 HOURS (MA15+) THU/ TUE 2.10, 8.30PMFRI 2.10PMSAT/ SUN 2.15PMMON 2.10, 8.45PMWED 2.20, 8.30PM

TAMARA DREWE (M) THU/ MON- WED 12.10, 4.30PMFRI- SUN 12.10PM

TRUE GRIT (M) THU/ TUE/ WED 12.30, 4.45, 9.15PMFRI- SUN 3.50PMMON 2.40, 4.50, 9.15PM

CATFISH (PG) THU 10.10, 12.20, 4.15, 6.20PMFRI 10.30, 12.20, 6.20PMSAT 10.40, 12.30, 6.40PMSUN 9.40, 11.20, 6.40PMMON 10.30, 12.20, 7.10PMTUE 10.30, 12.20, 4.15, 6.20PMWED 10.15, 12.40, 4.20, 6.20PM

BLACK SWAN (MA15+) THU/ TUE/ WED 10.20, 2.40, 6.50PMFRI 11.45, 4.10PMSAT/ SUN 4.20, 8.40PMMON 10.20, 12.30, 4.00PM

ALLIANCE FRANCAISE FRENCH FILM FESTIVAL 2011

TICKETS NOW ON SALEALLIANCE FRANCAISE FRENCH FILM FESTIVAL 2011

TICKETS NOW ON SALE

37

Here’s a challenge: head over to YouTube and watch the video for Chamillionaire’s

Ridin’. Pretty tough looking stuff, yes? Now check out the video for Weird Al Yankovic’s parody thereof, White And Nerdy. That’s some funny shit. Now, here’s the rub: go watch the Chamillionaire video again, and impossibly it’s now almost even funnier than Weird Al’s song, and you’ll never think Chamillionaire looks tough with his grills again.

They say Death is the Great Leveller – actually, it’s Weird Al Yankovic. The curly-maned one’s razor-sharp musical lampoonery has been keeping pop singers honest since 1981, making sure that if they do get carried away with bitches and bling, he’s there to point the finger and snigger. All in the best possible taste, of course.

Weird Al’s in Los Angeles right now, preparing for his third jaunt to Australia – all of which have happened fairly recently.

“It was 20 years into my career before I toured Australia for the fi rst time but I make a point of coming back as often as I can because the fans are so great,” says the 51-year-old. “It’s pretty trippy to realise there are people on literally the other side of the world who like what I do.”

No one could say that Weird Al’s not prolific. At the moment he’s putting the finishing touches on his 13th full-length album in a career that’s chronicled (and outlived) the rise and fall of many an artist.

“The album’s exactly one song away from being done,” he says. “I’ve got 11 songs recorded and mastered, the artwork is done – it’s basically waiting for me to come up with a hit single! That’s the only thing holding me back! I can’t say when it will be because I don’t want to rush in and do something that’s not up to snuff. I have my fi ngers crossed it’ll be out sometime this year.”

Of course, hardcore Al fans have only one question on their lips: will the new album contain a polka medley?

“I can safely say there will be a polka medley,” Weird Al says with the requisite gravitas. “If there weren’t a polka medley on the album, there would be rioting in the streets.”

Probably what all that fuss in Egypt was really about, then. But joking aside, Weird Al is more than just a comedian with a decent singing

voice and a sharp eye for song-based satire. He’s actually something of the canary in the coalmine of popular culture. You can be pretty sure if Weird Al cares enough about one of your songs to parody it, you probably have a long career ahead of you – though he admits it’s getting tougher to work out who has the staying power, artist-wise.

“Pop culture’s gotten very fragmented over the last couple of decades,” he says. “Back in the day, people watched MTV, and were familiar with all the videos in rotation. There weren’t as many choices perhaps on TV or the radio then, and now, everything is very compartmentalised. It seems like the days of real top 40 radio are going away. I don’t think we have as many bona fide superstars now as we did in the 80s. There are very popular artists, sure, like Lady Gaga or Jay-Z but I don’t think they are as iconic as people who came up through the old system like Michael Jackson or Madonna or Prince or Bruce Springsteen. Maybe that makes me sound old, but it’s hard to know what the hits are any more.”

As well as holding a mirror up to these iconic artists, Weird Al’s career has paralleled the rise of the internet – which, of course, has been a double-edged sword for the entire music industry.

“I’m not sure who exactly is buying music now,” says Weird Al. “Certainly fewer people are buying it than two decades ago. The record industry is trying to fi gure out a way to stay viable – it kind of looks like a deer in the headlights from time to time. YouTube has harmed record sales but it’s a great way to promote things. I’ve used my website and social media and YouTube to publicise concert dates and new videos so I look for the silver lining and fi nd a way to use the technology in a positive fashion.”

They say the secret of comedy is all timing, and that’s one way in which the web has really helped Yankovic’s biting satires to stay current.

“When I did my T.I. parody Whatever You Like, I got permission to do it, wrote it, recorded it, mastered it, and released it on iTunes all within a two-week period and I got it out for retail sale while the T.I. song was still No.1 in the

POP-SONG PARODY PARAGON WEIRD AL YANKOVIC TALKS TO BAZ MCALISTER ABOUT HIS IMPENDING AUSTRALIAN TOUR AND THE FINE ART OF GENTLY LAMPOONING POP CULTURAL ICONS.

IN THE EYEA POLKA

chart,” Weird Al says. “I’ve never been able to be that topical before and that’s something I would like to attempt again.”

With his high-energy multimedia-infused live show coming to Aussie shores, Weird Al promises a hugely entertaining night out for old-school fans, pop culture nerds and their families with a set list drawing from the entire Al oeuvre.

“It’s tough to settle on a set list because unfortunately we can’t do an eight-hour show,” he says,

laughing. “But we throw in some of the biggest hits, a lot of the newer material we’re trying to promote, we throw in obscure deep cuts and golden oldies and also a few unreleased tracks for the fans who think they’ve heard everything.

“I’m always amazed by how wide a demographic comes to my shows, everybody from great-grandparents to young kids. When I was first starting out, I appealed mostly to a teenage audience but those teenagers have been following my

career and now they’re bringing their kids. I’m bringing the same band I’ve had since the 80s – some of the best players in the world, they’ve done everything from zydeco to gangsta rap. And there’s a lot of costume changes – I’m not sure how many there are exactly in the show but I’m told there’s three more than Cher uses.”

WHO: Weird Al Yankovic

WHERE & WHEN: Concert Hall,

QPAC Tuesday Mar 15

WEST END FILM FESTIVAL: IT’S BACKThe West End Film Festival will take over the Rumpus Cinema (behind the Rumpus Room) on Sunday Mar 27, showcasing 23 short fi lms across a variety of strands, that this year also includes Animation Award and Indigenous Australian Award. For programme details visit westendfi lmfestival.com.au.

frontrow@timeoff.com.au

AMERICANA KAMIKAZEVisy Theatre, Brisbane Powerhouse

Americana Kamikaze turns out to be something entirely different from what it appeared to be at fi rst. Billed as a psychological horror story, opening with a total blackout and using video screens, eerie lighting, and dark curtains, I expected it to try its level best to scare me out of its wits for 70 solid sphincter-soiling minutes.

In reality, though, theatre company Temporary Distortion’s Americana Kamikaze is more deeply rooted in seedy noir detective fi ction than either Eastern or Western horror. It has J-horror elements which work nicely on video, which is used to some effect throughout, and the eerie The Shining-like hotel corridor shot that opens the show sets the scene nicely, but after 15 minutes, the scariness of the show isn’t really followed through on.

The actors are pinned into small boxes like upright coffi ns, and deliver their lines staring blankly ahead, unmoving, growling breathily into microphones – which is incredibly alienating. The performers are restricted to using only their voices, in effect, taking away much of the art of what they do and relying on the video footage to showcase the action. A lot of what was accomplished in the footage could easily have been staged and would be far more compelling.

The ghost-story plot with its non-linear timeframe is interesting enough, and some dialogue (like the opening one, revolving around killing a cow) is utterly compelling, but Americana Kamikaze is hampered by its arm’s-length method of delivery.

Season fi nishedBAZ McALISTER

DOWNTOWNTurbine Platform, Brisbane

Powerhouse

It’s diffi cult to know what to make of Rosie Dennis’ Downtown. From a certain point of view, it’s simply one woman on stage talking (with the occasional aid of an LED roadworks sign). Developed over the course of fi ve previous performances at the World Theatre Festival, tonight’s showing consists largely of Dennis riffi ng on a handful ideas regarding intimacy and humanity and telling strange stories about Yoko Ono. Yet, for the most part, Downtown remains both highly entertaining and surprisingly profound.

One can partly accredit such success to Dennis’ remarkable talents as a speaker and performer. Self-deprecating, quick-witted, and imbued with a surreally dry sense of humour, Dennis is a joy to listen to and could transform the most mundane and pointless of stories into something both amusing and insightful. Her simple refl ections on the process behind the construction of Downtown – such as her Twitter-inspired decision to follow random strangers in downtown Brisbane or her writing to Yoko Ono to ask if she could use her name in a fi ctional story – actually prove quite hilarious. Her spontaneous asides, meanwhile, are simply delightful.

The rest of the equation can be explained by the fact that, beneath her quick wit and surreal patois, Dennis buries deeply profound and affi rming ideals regarding togetherness and communication. One doesn’t fully recognise until long after the performance is over that, through her clever asides and seemingly random ramblings, Dennis establishes and illustrates a profound

truth regarding the joy and necessity of collective human engagement. The whole show is actually something of a brilliant magic trick – seemingly distracting and diverting audiences while simultaneously planting a faintly revolutionary idea in their minds.

Season fi nished

MATT O’NEILL

RANDOMTurbine Studio, Brisbane

Powerhouse

Easily one of the most conventional works on display at this year’s World Theatre Festival, Debbie Tucker Green’s Random nevertheless challenges its audiences with the same ferocity – providing an arguably greater and more comprehensive insight into a foreign culture than any other work at the festival (save perhaps Diciembre).

A one-woman show geared towards illustrating the often unacknowledged impact and cost of random acts of violence in the UK through the microcosm of one family’s experience, Random’s brilliance stems from the work of two key creatives: writer Debbie Tucker Green and actress Zahra Newman. Granted, the rest of the show’s creative team also excel – from director Leticia Caceres to set designer Tanja Beer – but, where their work scintillates, the work of Green and Newman is blinding in its brilliance.

Green’s script is simply a magnifi cent piece of work. Intricately structured while remaining organic and spontaneous, Green’s heartbreaking portrait of a family destroyed by crisis is illustrated with both intelligence and artistry – successfully capturing the rolling rhythms and linguistic distortions of London’s urban dialect without resorting to over-

simplifi cation or condescension. The writer avoids cliché and impressively crafts a satisfying narrative without a hint of genuine resolution – preferring to simply illustrate a moment than provide an answer.

The work only soars, however, with the aid of Zahra Newman. Required to construct a fragmented narrative through Green’s densely complicated wordplay and fi ve distinct characters, Newman’s performance is nothing short of a devastating triumph of nuance and sophistication. Portraying father, mother, sister and brother (and an assorted cast of bit-players), Newman never misses a beat – bringing exquisite technical skill, laudable comic timing and profound emotional resonance to a tale that, in the wrong hands, could easily have disintegrated into melodrama.

Season fi nished

MATT O’NEILL

DICIEMBREPowerhouse Theatre, Brisbane

Powerhouse

In Guillermo Calderon’s Diciembre, set in 2014, Chile of the near future is at war. Three siblings share a Christmas Eve meal under a tangle of multi-coloured light bulbs subject to sporadic blackouts. Their constant bickering often escalates into explosive verbal attacks and it would be a familiar, albeit surreally heightened scene but for one fact: sisters Trini and Paula are sparring over their polar opposite views on the ongoing conflict. Brother Jorge – a soldier on leave – is caught in the middle of this pacifist vs nationalist struggle.

In this Chilean, Spanish-language production from Calderon’s Teatro en al Blanco (Theatre On Target) the director and playwright uses

a sparse, simple set and pointed direction to focus the entirely verbal action on the follies of war. Over the course of the 75-minute production Paula and Trini passionately extol the virtues of war and peace in turn, exposing its horrors and the ugliness of nationalism in the process but forgetting entirely the toll of confl ict on the individual, despite Jorge being an infantry soldier on the frontline.

Diciembre is a surreal production with heavy doses of black comedy thrown in to the mix. The interactions between the three actors are so exceptionally intimate and fi nely tuned that the interruptions by three ultimately superfl uous characters are an unfortunate stammer in an otherwise hard-hitting production.

The geographical references might be beyond foreign audiences, and some may struggle with the English supertitles that play above the stage, but Diciembre is nonetheless a masterful exploration of the unfathomable political prerogatives that drive confl ict and the propaganda that turns ordinary people into irrational nationalists.

Season fi nished

HELEN STRINGER

ROOM 328The Graffi ti Room, Brisbane

Powerhouse

Initially presented last year as part of Metro Arts’ Allies programme, the original incarnation of Daniel Santangeli and Genevieve Trace’s immersive Room 328 was a sprawling and unpredictable realm of aimless self-destruction and deeply affecting poignancy. Re-worked and polished for the World Theatre Festival’s Scratch Series, the work has become somewhat different – not necessarily better or worse, but different.

The key difference is one of location. Whereas Room 328’s original showing fl ourished in an expansive gallery space, Room 328 circa 2011 takes place in a room only slightly bigger than a bedroom. Whereas one’s experience of the work was originally something akin to being lost within the dreams of several chaotic young men, it has now become infi nitely closer to being locked in a room with several chaotic young men – more of a brawling experience than an escapist one.

The rest of the show has altered in accordance with this change in dynamic. Everything about the work is entirely more vicious and confronting – from theatrical moments like Erica Field’s rant against power and Robbie O’Brien’s monologue on maturity to more spontaneous moments like a performer’s glorious charge into the apparently-bleeding vagina of a blow-up doll named Tiger. There’s a taut aggression and mindless desperation to everything about the work.

One cannot help but question, however, if this change is to the work’s benefi t. While an infi nitely more visceral experience when compared with its predecessor, Room 328’s increased adrenaline would seem to have come at the expense of some of its innate profundity. The work has become so theatrical and extravagant that – while audiences are forever immersed within the heart of it – its once-accurate portrayal of the crippling ambiguity of young male adulthood feels somewhat lacking in substance.

Season fi nished

MATT O’NEILL

GETTIN’ FLICKED

It’s a balmy day in Byron Bay, and Flickerfest director Bronwyn Kidd’s rushed off her feet. Too polite

herself to have this intrude upon our conversation, it’s nonetheless prodded out of her that she’s a lot propped up on her shoulders. “It’s nothing new for me, that’s for sure, but certainly each year the festival grows.” She laughs a throwaway laugh before continuing, “...[and] we’ve 1,793 entries this year, which is a massive amount to get through.”

Since its inception at a Sydney high school in 1991, Flickerfest has grown in leaps and bounds. With partners now in Movie Extra, and a dedicated, and ongoing television programme showcasing the latest and greatest in local shorts, Flickerfest is a festival backed by a real passion for those small, and often unsung moments of mini-cinema.

“For me,” Bronwyn continues, “short fi lm is really the place where people can be truly creative and innovative.

And independent too, you know? [The fi lms and their makers] are not relying on the box offi ce infl uence.”

And she raises an important point. Because they’re not marketed to certain demographics, sold on who’s in them, or what they’re about, short fi lms are opened up to a unique and unbridled set of freedoms. Not of the studio system, these mini-fl icks are just raw, re-appropriated moments; quick fl ashes of inspiration, turned into quick fl ashes of inspired cinema. They’re fi lms made for the sole purpose of expression.

For the festival’s director, too, getting this stuff out there is just as much a labour of love. “We start to call for entries in May, so each year we wrap up our tour which ends at the end of March, and then we start to call for

entries already for the next festival.” On the unenviable task of cutting the fat from this year’s massive selection, Bronwyn’s fi rm, but reproachful. “Really, I’m looking for stuff that’s interesting, and unique. When you’ve got that many fi lms, I mean, it’s the ones that are going to jump out of the screen and tell you a new story, or something you haven’t seen before. [I’m looking for] things that are a bit surprising, things that look at the world in a different way.”

And this year’s line-up is certainly not failing in that regard. Showcasing a bevy of both international and local talent, and over a period of three days, the festival this year couldn’t be more eclectic. From the wonderfully minimalist Jarmusch-by-way-of-Godard French outing

Donde Esta Kim Basinger, to Shanghai’s visually sumptuous, and rapturously innovative Babel, to a tense retelling of the William Tell story in New Zealand’s Careful With That Crossbow, Flickerfest has something for everyone. For the unconvinced still, Bronwyn’s all confi dence: “I think you’ll be very pleasantly surprised. The standard of the fi lms is incredibly high, and you get to see a whole range of themes within the one program, and it really does encourage that discussion and debate around cinema that you just don’t get with feature fi lms. People watch those and then just come out and go home.”

WHAT: Flickerfest

WHERE & WHEN: Dendy Portside

Thursday Feb 24 to Saturday Feb 26

WITH THE RENOWNED SHORT FILM FESTIVAL FLICKERFEST LOOMING, SAM HOBSON TALKS TO ITS DIRECTOR OF 14 YEARS, BRONWYN KIDD, TO GET THE LOWDOWN ON JUST WHAT IT’S ALL ABOUT.

38

GIVEAWAY!Stieg Larsson’s Millennium trilogy – which consists of The Girl With The Dragon Tattoo, The Girl Who Played With Fire, and The Girl Who Kicked The Hornet’s Nest – is one of the biggest literary phenomena of the past decade. From the books came the excellent Swedish fi lm adaptations (the third and fi nal of which hits Australian cinemas on Thursday Mar 3), and a decent-looking English-language remake is due soon, helmed by David Fincher. To celebrate the release ofThe Girl Who Kicked The Hornet’s Nest (the Swedish original), and to get you up to date if you’re late to the party, we’ve fi ve pretty awesome prize packs to giveaway, each including all three books, the fi rst two fi lms on DVD, and an in-season double pass to The Girl Who Kicked The Hornet’s Nest. For your chance to win one of the packs, email give@timeoff.com.au ‘with ‘MILLENNIUM’ in the subject line.

WORLD THEATRE FESTIVAL REVIEWS

WHEN THE WIND CHANGES, SCREENING AT FLICKERFEST

frontrow@timeoff.com.au

closing dateAll entries must

be received by 20 October 2011

and be accompanied by an entry form

The National Cannabis Prevention and Information Centre (NCPIC) Short Film Competition gives young people between the ages of 15 and 25 years the opportunity to showcase their creative talent and express their thoughts and ideas about cannabis and its negative impact upon sporting performance.

brief The film can be in any style or genre (i.e. drama, comedy, documentary, science-fiction, etc.), but must creatively explore the issues associated with how the use of cannabis may impact negatively on sporting performance.

prize money There will be one national winner selected with prize money offered of $5,000 for the designer of the winning entry. There will be two runner-up prizes of $2,000 each.To download the entry form and for more information, please go to: http://ncpic.org.au/go/film2011/or call (02) 9385 0208

short film competition

national cannabis prevention and information centre (ncpic)

39

CULTURALCRINGEWITH MANDY KOHLERSydney: Brisbane, God, no one in Sydney sees a cheap Jetstar fl ight to Brisbane and thinks, “Ooh, I’ll pop up up for a weekend and take in a show and maybe an exhibition.” No, Brisbane is like, lame.

Melbourne: Sydney, stop picking on Brisbane, we love their sunny weather and their arts scene is really cute.

Brisbane: Stuff you both. You may have booming arts scenes, but it’s like walking down the main street of Taipei. It’s a long street but it’s the same four shops over and over again. There’s only so many times in one week that you want to eat meat off a stick and buy Hello Kitty stationary.

There’s a touch of sadness that looms over Brisbane when it comes to keeping cultural venues alive but there are things Brisbane does very well. For example, the quality of independent theatre productions is outstanding. Often a show in a 97-seat theatre is as fi t for a main stage as any that grace a large theatre.

To celebrate the year that was and commend the best of Brisbane theatre 2010, the annual Matilda Awards will be held on Monday Mar 7 at the Judith Wright Centre. Five major Matilda awards are given for special achievements and commendations in ten categories will be given out on the night. Indies are well represented and it’s sure to be close call in all categories, especially the main fi ve.

BEST MAINSTAGE PRODUCTION

Grimm Tales (QTC), Hamlet (La Boite), I Love You, Bro (La Boite), The Little Dog Laughed (QTC), The Story Of The Miracles At Cookie’s Table (Bungabura Productions and QPAC co-production).

BEST INDEPENDENT PRODUCTION

The Bitterling (La Boite Independents), boy girl wall (The Escapists at Metro Arts), Furious Angels (Metro Arts), Single Admissions (Metro Arts), [title of show] (Oscar Theatre Company).

BEST DIRECTION

Daniel Evans for Single Admissions, David Berthold for Hamlet, Leah Purcell for The Story Of The Miracles At Cookie’s Table, Michael Futcher for Grimm Tales, The Escapists for boy girl wall.

BEST FEMALE ACTOR IN A LEAD

ROLE

Amy Ingram in Fat Pig, Helen Christinson in Macbeth, Leah Purcell in The Story Of The Miracles At Cookie’s Table, Liz Buchanan in [title of show], Melanie Zanetti in Engine.

BEST MALE ACTOR IN A LEAD ROLE

Christopher Sommers in Fat Pig, Daniel Murphy in Blackbird, Hugh Parker in Betrayal, Leon Cain in I Love You, Bro, Lucas Stibbard in boy girl wall.

I’ve managed to get to about 80 percent and wish I could have made it 100. It’s all been fantastic. The Matilda Awards are open to the public - rvsp your attendance to rsvp@matildaawards.com.au.

THE GIRL WHO KICKED THE HORNET’S NEST THE WAY BACK

THE GIRL WHO KICKED THE HORNETS’ NESTIt’s sad to say this, but the trilogy of movies based on the late Swedish author Stieg Larsson’s Millennium trilogy has rolled downhill since its promising beginning. The opening fi lm, The Girl With The Dragon Tattoo, did its best to set up a great rapport between arse-kicking goth hacker Lisbeth Salander (Noomi Rapace) and ball-busting investigative journalist Mikael Blomkvist (Michael Nyqvist). Sadly, the second and third fi lms have done their level best to keep the characters apart.

That odd couple buddy relationship is noticeably absent in this, the third fi lm in the series. Salander and Blomkvist have become deeply embroiled with rogue security splinter group The Section and its plans. This has already cost them much, and the third

fi lm is about the consequences and ramifi cations of their investigations. There’s not much in the way of action – Salander is out of action, one way or another, for nine-tenths of the movie – and while one can see how this endless round of shadowing suspects in cars and staking out faceless buildings might work as thriller novel, it gets a bit dull on screen.

Both leads lose screen time to a plethora of far less fascinating characters, but both remain compelling – it’s just a shame they’re not allowed to play off each other. A classic example of an adaptation that doesn’t really work onscreen. David Fincher’s going to have to have a long think about how to make the third instalment a bit more gripping, if he makes it that far with his US remakes.

WHERE & WHEN: Screening in

cinemas from Thursday Mar 3

BAZ McALISTER

THE WAY BACK Some people had a big problem with The Lord Of The Rings. “It’s just a movie about people endlessly walking through forests and over mountains,” they’d sneer, contemptuously. Here’s a tip: if that’s you, avoid The Way Back at all costs.

Set in 1941, Peter Weir’s new fi lm is loosely based on war memoir The Long Walk about a group of prisoners who escaped from a Siberian Gulag and walked 4,000 miles south to India and freedom, across frozen forests, pitiless deserts, and towering mountain ranges.

Jim Sturgess is Polish POW and de facto leader Janusz, driven by a desire to get back to his wife. He’s aided by quiet American Mr Smith (Ed Harris) and violent Russian criminal Valka (Colin Farrell, having great fun with the role) along with a rag-tag

group of ragged fellow escapees.

The Way Back is infused with Weir’s typical gravitas at every turn. It’s a remarkable chronicle of a remarkable physical ordeal, and the performers’ portrayals of exhaustion and sunstroke are fi rst-class, particularly Harris and Saoirse Ronan, who plays a late addition to the group, a Polish waif. But one can’t help the feeling that Weir is asking rather a lot for us to sit through more than two hours of conversation and perambulation. Shorn of some of its length it might have been a taut, tense thriller but – not wishing to take away from the real-life escapees’ feats – as it stands, it evokes feelings of ‘Are we there yet’ by about the 90-minute mark.

WHERE & WHEN: Screening in

cinemas from Thursday Feb 24

BAZ McALISTER

REVIEWSFILM

40

Important information: Competition starts on 31/01/2011 and closes on 02/04/2011. The winner will receive a VIP Music Festival experience of their choice. The total prize value is a maximum AUD4500. The draw will take place on 13/04/2011 at the Commonwealth Bank of Australia (the Promoter) ABN 48 123 123 124, Level 13, 201 Sussex St Sydney NSW 2000. The winner will be notified by telephone and details published in The Australian on 20/04/2011. Authorised under NSW Permit No. LTPS/10/12507, ACT Permit No. TP10/5697. For full terms and conditions please go to commbank.com.au/heapsfree. MasterCard and the MasterCard Brand Mark are registered trademarks of MasterCard International Incorporated. CBC2319_E

HEAPS AWESOME AUSSIE FESTIVAL VIP EXPERIENCETO BE WONA VIP experience to an Aussie music festival of your choice, with 9 friends in tow sounds heaps good, doesn’t it? If you’re a full time or part time student, or an apprentice, simply sign up for an Everyday Account with Debit MasterCard® by 2 April 2011 and that’s what you could win. If you already have an Everyday Account, just make sure you select Debit MasterCard.

To find out more, drop into your local branch or visit commbank.com.au/heapsfree

SILENT FEATURE ERAMEMBER/ROLE IN BANDGreg Cathcart – songwriter, vocalist.

HOW LONG HAVE YOU BEEN TOGETHER?Th e project has been going on for approximately four years. Th e record has been a collective of about 20 people so far. Although the current live line up is a fi ve-piece with extras from time to time, depending on the show I guess.

HOW DID YOU ALL MEET? We were all associated from previous projects. We’re all long-term friends from various ventures. Our recording space ‘Th e Ark’ brought the current live band together…. we were working on other projects as well as this one. Th en there was a demand for us to get out and perform this record live….. So we did.

YOU’RE ON TOUR IN THE VAN – WHICH BAND OR ARTIST IS GOING TO KEEP THE MOST PEOPLE HAPPY IF WE THROW THEM ON THE STEREO? Probably Paul Kelly. But it’s a hard question, because there are so many records I think we’d all be happy to spin.

ISSUE 1515 - WEDNESDAY 23 FEBRUARY 2011

WOULD YOU RATHER BE A BUSTED BROKE-BUT-REVERED HANK WILLIAMS FIGURE OR SOME KIND OF METALLICA MONSTER? Oh easy….. Hank all the way. I’d much prefer to be broke and appreciated, than wealthy and cursed. You know, that Napster thing ?? I guess I’d better not bring that up.

WHICH BRISBANE BANDS BEFORE YOU HAVE BEEN AN INSPIRATION (MUSICALLY OR OTHERWISE)? Our Ithaca Creek, Th e Black Alles Band …… and of course Th e Bee Gees.

WHAT PART DO YOU THINK BRISBANE PLAYS IN THE MUSIC YOU MAKE? Mostly lyrical. I grew up here and often write about my childhood. Although our recording space used to be on Lutwyche Rd, so Brisbane trucks, busses, taxi horns and road workers all literally played a part in many of our recordings.

IS YOUR BAND RESPONSIBLE FOR MORE MAKE-OUTS OR BREAK-UPS? WHY?

Break ups I guess, although I don’t think I want that on my conscience. But lyrically there is nothing that young lovers would want to make out to. Although I fantasise that if there was a break up, there would be an argument over who gets to keep the Silent Feature record.

WHAT REALITY TV SHOW WOULD YOU ENTER AS A BAND AND WHY? A medical one, like RPA. We’d all enter at the same time (through the front door) then split up to diff erent wards. A couple of us to the psych ward, one of us to the outpatients and the remainder to the fl orist and visitors desk.

WHAT’S IN THE PIPELINE FOR THE BAND IN THE SHORT TERM? We will be playing some shows down south, and trying to get as many folk to hear the record as possible. I’ve been writing new material, so it may be time to pull out some microphones and hit record again very soon. We will also be assisting and producing Luke Sullivan’s record in the next block of spare time.

Silent Feature Era play Woodland on Friday Mar 4. Th is Old Leather Heart out through Plus One/Shock.

Photo by BRAD MARSELLOS.

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INTERNATIONAL SURF CITY: Byron Beach Hotel Feb 24, Elsewhere Feb 25, Woodland Feb 26TORO Y MOI: Woodland Feb 24GANG OF FOUR: The Hi-Fi Feb 25RIHANNA: BEC Feb 25THE BRONX: Step Inn Feb 25HIGH ON FIRE: The Hi-Fi Mar 1MARTHA WAINWRIGHT: A & I Hall Feb 26, The Tivoli Mar 1ROXY MUSIC: Riverstage Mar 1IMELDA MAY: Great Northern Mar 2, The Hi-Fi Mar 3SILVERSTEIN, BLESSTHEFALL: The Hi-Fi Mar 2SLASH: The Tivoli Mar 2KE$HA: Riverstage Mar 3MGMT: Beach Hotel, Byron Bay Mar 3JOANNA NEWSOM: The Tivoli Mar 4THE CHEMICAL BROTHERS: Riverstage Mar 4MICKEY AVALON: Coolangatta Hotel Mar 5MONARCH: The Hi-Fi Mar 5RYAN FRANCESCONI: Judith Wright Ctr Mar 5BELLE & SEBASTIAN: The Tivoli Mar 7WAVVES: The Zoo Mar 8OMAR SOULEYMAN: The Hi-Fi Mar 9THE HOLD STEADY: The Zoo Mar 9BEST COAST: Woodland Mar 10EDDIE VEDDER: QPAC Mar 10 & 12JUSTIN TOWNES EARLE: Step Inn Mar 10, Joe’s Waterhole Mar 11THE CLEAN: The Zoo Mar 10SWANS: The Hi-Fi Mar 11THE BESNARD LAKES: The Zoo Mar 11D.O.A.: Prince of Wales Mar 12, Shed 5 Mar 13DONAVON FRANKENREITER: The Zoo Mar 14, Coolangatta Hotel Mar 15, Beach Hotel Byron Bay Mar 16WEIRD AL YANKOVIC: Jupiters GC Mar 14, QPAC Mar 15STONE TEMPLE PILOTS: Riverstage Mar 23FINNTROLL: The Hi-Fi Mar 24SANTANA: BEC Mar 24LUKA BLOOM: The Tivoli Apr 1, Joe’s Waterhole Apr 2MOTORHEAD: Gold Coast Convention Ctr Apr 1TIM BARRY: Rosie’s Apr 2CHERRY POPPIN’ DADDIES: The Hi-Fi Apr 6DEAD KENNEDYS: The Hi-Fi Apr 7STAR FUCKING HIPSTERS, AC4: The Zoo Apr 7CITY AND COLOUR: The Tivoli Apr 8GOOD CHARLOTTE: BEC Apr 8JIMMY EAT WORLD: The Tivoli Apr 9THE SCRIPT: Brisbane Convention Ctr Apr 10BONE THUGS N HARMONY: Fitzy’s Apr 15, Shooters Nightclub Apr 19KEITH URBAN: BEC Apr 15HORRORPOPS: The Hi-Fi Apr 23INDIGO GIRLS: QPAC Apr 26JUSTIN BIEBER: BEC Apr 26NATURALLY 7: QPAC Apr 27 & 28CHRIS BROWN: BEC Apr 29HUGH CORNWELL: The Hi-Fi Apr 29, Kings Beach Tavern Apr 30, Caxton St May 1, Coolangatta Hotel May 1DISTURBED: BEC Apr 30ESCAPE THE FATE: The Tivoli May 1HOUSE OF PAIN: The Hi-Fi May 2, Coolangatta Hotel May 5THE GO! TEAM: The Zoo May 3THE WOMBATS: The Tivoli May 3UNKLE: The Hi-Fi May 3DATAROCK: The Zoo May 4KYUSS: Coolangatta Hotel May 4, The Tivoli May 6THE DRUMS: The Hi-Fi May 4AGAINST ME!: The Hi-Fi May 5DARWIN DEEZ: The Zoo May 5KATY PERRY: BEC May 5 & 15ERIC BIBB: Brisbane Powerhouse May 10, The J May 11, Soundlounge May 13

GANG OF FOUR

Leeds post-punk legends Gang Of Four are out here on the unprecedentedly humungous Soundwave bill, but for their fans who (a) either missed out on tickets to the sold out event; or (b) wanted to see their heroes but didn’t feel like braving the sea of black t-shirts and tattoos, the quartet are doing a very special sideshow at Th e Hi-Fi the night before. Th is isn’t some mere nostalgia trip either, the band are returning to our shores armed with brand new album Content, which is as vital as anything that the pioneers have issued in their esteemed past, so the show is bound to be something special. Joining them for the extravaganza on Friday night at Th e Hi-Fi are Brisbane’s own prodigal sons and daughter I Heart Hiroshima, and the awesomely-named Chinese outfi t Rebuilding Th e Rights Of Statues. Who can steal when everything is free?

GIG OF THE WEEK

THE HI-FI FRIDAY FEB 25

CARIBOU, FOUR TET, THE FROLLIXTHE ZOO: 15.02.11

Local two-piece Th e Frollix start of tonight’s embarrassment of electronic riches with an unassuming set of bass-heavy beats on a stage awash with cables and noise machine thingies. Th eirs is a set of live looping groovy house with nice layered synths which get the crowd’s heads nodding in appreciation.

Th ere’s a tiny bit of stage shuffl ing as Four Tet’s elaborate rig is lifted forward into place, a metres wide motherboard which from a distance resembles two 44 gallon drums and a plank of wood but with slightly more bells and whistles than a uni student’s shelving. Th e sonic nutbag with the Hamburglar eyes creeps onstage mostly undetected and for starters unleashes a cacophony of discordant church bells which morph into heavy beats and a magically bouncy version of Sing from latest opus Th ere Is Love In You. Th e folktronica glitch pioneer follows this with an incendiary version of Angel Echoes, utilising his onstage arsenal with some knob that releases a pulse of noise whenever pushed. Kieran Hebden bobs his head manically throughout, eternally lost in the moment in a plain white t-shirt, focused on the job at hand. A tribal wall of drums come crashing down before Love Cry takes on a whole new form live with Hebden weaving ad-libby sonic booms throughout. An absolutely shit-hot set of gonzoid electro brilliance from a giant of the genre.

Caribou’s Swim made a huge splash last year and with his prior Caribou (plus Manitoba) work much heralded also, the Dan Snaith-led Canadian four-piece appear and show just what it takes to follow Four Tet. Th eir stunningly composed structures set around blissful electronic psychedelia and performed largely with live instrumentation are something to behold. Snaith’s delicate voice recalls Nick Drake as it takes a somewhat rowdily-drunk-for-a-Tuesday-night crowd through a fantastic version of Hello Hammerheads.

A laptop meltdown creates an unexpected delay two songs in before the band re-commences with Leave House, the positioning of the drummer at front of stage further focusing one’s attention on the percussive ingenuity at work here. Th e trippy circle visuals projected behind the band seem to unify the experience somehow, or maybe they’re just pretty to look at. Th e Andorra days are visited via the sunny 60s pop via twisted beats of Melody Day and Snaith hitting the drums himself for After Hour, literally.

Kaili soothes the hot muggy air when the hypnotic vocals arrive a few minutes in, Jamelia keeps the party going and an epic Odessa completely fl oors the room. Th e call of “Sun! Sun!” goes up around the crowd during the encore break and the band don’t disappoint with an astonishing version of, you guessed it, Sun to close the night.

ED MATTHEWS

TOUR GUIDE THE WAIFS: Great Northern

Hotel Mar 1, Nambour Civic Centre Mar 2, Th e Tivoli Mar 3THE CHEMICAL BROTHERS: Brisbane Riverstage Mar 4KARAVAN GYPSY MUSIC FESTIVAL: Th e Hi-Fi Mar 4IN-SURGE FESTIVAL: Greenslopes Bowls Club Mar 5FRIENDS OF FOLK FESTIVAL: Old Museum Mar 6WAVVES: Th e Zoo Mar 8THE HOLD STEADY: Th e Zoo Mar 9THE CLEAN: Th e Zoo Mar 10BALL PARK MUSIC, EAGLE AND THE WORM, WE SAY BAMBOULEE: Th e Loft Mar 11, Th e Zoo Mar 12STONE TEMPLE PILOTS: Brisbane Riverstage Mar 23RIC’S BIG BACKYARD FESTIVAL: Ric’s Mar 26HALFWAY & KNIEVEL: Th e Zoo Apr 2THE HOLIDAYS: Elsewhere Apr 14, Th e Zoo Apr 15, Great Northern Hotel Apr 16CHILDREN COLLIDE: Th e Zoo Apr 20BLUESFEST 2011: Byron Bay Apr 21-25HUGH CORNWELL: Th e Hi-Fi Apr 29, King’s Beach Tavern Apr 30, Coolangatta Hotel May 1GROOVIN’ THE MOO 2011: Townsville Cricket Grounds May 1CAXTON STREET SEAFOOD AND WINE FESTIVAL: Caxton Street May 1HOUSE OF PAIN: Th e Hi-Fi May 2THE WOMBATS: Th e Tivoli May 3UNKLE: Th e Hi-Fi May 3DATAROCK: Th e Zoo May 4DARWIN DEEZ: Th e Zoo May 5KYUSS LIVES: Coolangatta Hotel May 4, Th e Tivoli May 6

PRESENTS

SWERVEDRIVER, GIANTS OF SCIENCE, LOOMERTHE ZOO: 16.02.11

It’s a small crowd gathered at Th e Zoo at eight o’clock to catch Loomer, Brisbane’s progeny to the shoegaze, no-wave gods, and they don’t muck around, launching into tracks from their recent LP Ceiling. Th ey have some diffi culty reining in their sound – much of the reverb-heavy eff ects bleed into each other – but there is some brute strength behind these songs. Th is is further highlighted by the drummer’s frenetic skin bashing, unwittingly forced centre stage by the small confi nes. “Shit, they’re good aren’t they?” is uttered behind me – a sentiment that will grow throughout 2011.

If the crowd – mid-20s to late-40s – isn’t enough to remind everyone of the main act’s genesis, then the next support does the trick. Giants Of Science have lain dormant for years – hell, the last time I saw them, Th e Healer still existed! – yet this unabashedly Swervedriver-loving hard rock band show no wear or tear, ripping into their back catalogue like they have just fi nished headlining a festival tour. Drawing mainly from last album Here Is Th e Punishment, the boys prove that they are still lean, hungry, and know this rock business inside out. Th ey rock, laugh, drink, and give a shout out to another much-missed Brisbane band, Th e KT26ers. Now, if they could only get some more beers into them…

Yet despite this lead up, the excitement is palpable. It’s been a long time coming – 13 years in fact – but when they do emerge, Swervedriver don’t waste any time asserting their authority, sounding as relevant now as they ever have. Sci-Flyer swirls, double helixing guitars ricocheting around the room, Adam Franklin’s croon the stuff of legend. Meshing the slack sonics of Dinosaur Jr with the wall of sound of stable mates My Bloody Valentine, Swervedriver’s sound tonight is crisp and electrifying – Jim Hartridge handles his myriad pedals with laconic grace, Steve George providing the backbone and Graham Bonnar back behind the drums, fusing the band together into an organic beast. Th ey move through much of their entire back catalogue – songs from Mezcal Head and Raise dominate, yet Juggernaut Rides takes us to their early EPs; Scrawl & Scream and the excellent Neon Lights Glow showing even their b-sides aren’t off limits tonight. Th ere is little interaction or banter from the Oxford four-piece, but that just adds to the atmosphere – every person is in thrall to the sonic brilliance on display. Personal favourites Girl On A Motorbike and She Weaves A Tender Trap are highlights, but you could take your pick really – there is not a dud song here tonight. It’s been 13 long years, and 90 minutes of glorious guitar abandon and meticulously-executed pop songs is not enough to fi ll that void. Nevertheless, Swervedriver assert the notion that they don’t build ‘em like they used to – and the music world is all the poorer because of it.

BRENDAN TELFORD

Swervedriver @ The ZooSwervedriver @ The Zooby Stephen Boothby Stephen Booth

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ALESTORM: The Hi-Fi May 12GARY NUMAN: The Tivoli May 12SUICIDAL TENDENCIES: Coolangatta Hotel May 12, The Hi-Fi May 13JAMES BLUNT: Brisbane Convention Ctr May 14A DAY TO REMEMBER: The Tivoli May 15, Coolangatta Hotel May 17BEN FOLDS: QPAC May 17JOE BONAMASSA: The Tivoli May 21THE HAUNTED: The Hi-Fi May 26PROPAGANDHI: Coolangatta Hotel May 28, The Hi-Fi May 29THE DANDY WARHOLS: The Tivoli May 31NEVERMORE: The Hi-Fi Jun 9RANDY NEWMAN: QPAC Jul 22KINGS OF LEON: BEC Nov 8

NATIONAL GUINEAFOWL: Alhambra Feb 24SEABELLIES: ASP Surfi ng Awards Feb 24, Globe Theatre Feb 26THE WHITLAMS: QPAC Feb 24 & 25DARREN HANLON: The Majestic Theatre Pomona Feb 25, Zoo Feb 26, Lismore City Bowling Club Feb 27EVIL EDDIE: X & Y Bar Feb 25THE WAIFS: Great Northern Mar 1, Nambour Civic Ctr Mar 2, The Tivoli Mar 3KATIE NOONAN AND THE CAPTAINS: Judith Wright Ctr Mar 4SYDONIA, JERICCO: Step Inn Mar 4THE JOHN STEEL SINGERS, JONATHAN BOULET: Great Northern Mar 9, Spotted Cow Mar 10, Kings Beach Tavern Mar 11, The Hi-Fi Mar 12BALL PARK MUSIC, EAGLE & THE WORM: The Loft Mar 11, The Zoo Mar 12HARD-ONS: Woodland Mar 11DEEZ NUTS: Rosie’s Mar 18THE BEAUTIFUL GIRLS: The Hi-Fi Mar 18ADALITA: Great Northern Mar 24, Old QLD Museum Mar 25, Miami Tavern Mar 26DEAD LETTER CIRCUS: The Tivoli Mar 25GARETH LIDDIARD: The Zoo Mar 26HOUSE VS HURRICANE: YAC Mar 31, Hard Rock Cafe Apr 1, The Fort Apr 2, Rosie’s Apr 2OH MERCY: Neverland Mar 31, Alhambra Lounge Apr 1 BONJAH: Beach Hotel Byron Bay Apr 1, Duporth Tavern Apr 2, Noosa Surf Club Apr 3MILES AWAY: YAC Apr 7, The Fort Apr 8, Rosie’s Apr 9SPARKADIA: Coolangatta Hotel Apr 7, The Hi-Fi Apr 8BRITISH INDIA: The Zoo Apr 14, Coolangatta Hotel Apr 15, Great Northern Apr 24, Kings Beach Caloundra Apr 25THE HOLIDAYS: Elsewhere Apr 14, The Zoo Apr 15, Great Northern Apr 16THE AMENTA: Rosie’s Apr 15CHILDREN COLLIDE: The Zoo Apr 20HOLLY THROSBY: Brisbane Powerhouse Apr 29 – 30 WASHINGTON: The Tivoli May 4FRENZAL RHOMB: Coolangatta Hotel May 6, The Hi-Fi May 7BIRDS OF TOKYO: The Tivoli May 11, Lake Kawana Community Ctr May 12 PARKWAY DRIVE: Riverstage May 18, High School Byron Bay May 19CUT COPY: The Tivoli May 19ARCHITECTURE IN HELSINKI: The Hi-Fi May 27JEBEDIAH: The Hi-Fi Jun 3, Irish Club Toowoomba Jun 4

FESTIVALS SOUNDWAVE: RNA Showgrounds Feb 26 KARAVAN INTERNATIONAL GYPSY MUSIC FESTIVAL: The Hi-Fi Mar 4 FUTURE MUSIC FESTIVAL: Doomben Racecourse Mar 5 FRIENDS OF FOLK FESTIVAL: Old Museum Mar 6 RICS BIG BACKYARD FESTIVAL: Fortitude Valley Mar 26 SUPAFEST 2011: RNA Showgrounds Apr 16

TOUR GUIDE

points his muscular, top-naked frame away from the audience while his fi ve-piece band kick off with an instrumental version of You Don’t Wanna. Showing off Really Real from latest album Mixed Race, everything appears to be going swimmingly until a dirty guitar riff signals Motörhead’s Ace Of Spades. Th en it is obvious that although Tricky may be present in body, the head of the man hailed as a pioneer of trip-hop is not in the house. Sans microphone, he fi lls the stage with audience members just four songs in, then proceeds to smoke, sing, mingle and forget he’s mid-song and not, in fact, at a house party.

Overcome sounds ripe to off set the oddity until an abrupt halt; Tricky wants to plug the book of a close friend. Retreating, he allows his brilliantly patient band to continue. Spending most of the set with his back to the audience, the show belongs to vocalist Franky Riley, due in equal parts to Tricky’s reluctance to do anything other than a spot of impassioned movement, and the weighty choice of tracks featuring lead female vocals. Th ere’s a glimpse of his greatness as Tricky warns “don’t push me ‘cause I’m close to the edge” through the lyrics of Vent – yeah, everyone’s picked up on that vibe tonight, mate. He may be erratic, though he is gifted in the control of his band, fl ailing wildly to indicate a softer sound, to build, to switch to frenetic mode. Th ey navigate his gestures to climax, then plateau, at least three times, whilst Tricky strangely touts a little Australian fl ag before wandering off .

Adding clothes for the encore, Tricky fi nally seems aware of his spotlight role and trades husky growls with Riley’s sensual vocal in Past Mistake, then loses focus to invite everyone onstage again. He abandons them for the fl oor, chatting and posing for photos as he makes his way to the bar, the band circling Past Mistake wondering if he’ll come back. Tricky has had enough, and he’s got so many new friends to entertain that the band do newbie Time To Dance without him. Th ey sneak off before anyone, notably Tricky, is aware of the end. While many clamour to hug and praise the man a journalist once referred to as “nearly God”, the sentiment of disdain and bewilderment is clear amongst others who, given a moment with the man, would likely tell him exactly how it was: monumentally bizarre and shamefully disappointing.

TYLER MCLOUGHLAN

TIMOTHY CARROLL, HUSKY, PLANET LOVE SOUND, M JACK B.BEETLE BAR: 17.02.11

For those who’ve not been, Th e Beetle Bar’s a venue that deserves visiting at least once. It’s kitschy and cool in warring measure. Th e liquor wall’s made of shag carpet, the bar’s lit by red fl ute-lights strung with VW medallions – it’s a funky place. In front of the bar itself – which runs the length of the room, from entry to stage – Byron Bay’s M Jack B fl its around on the faded, mushroom-fi eld mural fl oor, grabbing a beer or two before he begins. And once on the stage, the man’s something of a revelation. He’s the kind of musician whose earnestness and belief in their art is so raw and unabashed, it eclipses the string of objects and interferences which combine to create the casual reality of watching him live. Alone with nothing but his guitar and a loop pedal, his sweet, love-forlorn songs brood into dense and layered mini-epics of duelling sound.

Planet Love Sound are next, making great use of the room’s acoustics. Neatly alchemising the perfect camp/hip compound, the band open with Th irsty, a track hedged with a wonderful funk sensibility. All scattered drums, and rushy choruses, Love Sound, fronted by the impeccable Tina Stefanou, dip full-swing into a simplistic but gorgeous set of soundscapes built from the bones of little, overlapping melodic ideas.

Husky, next, are cut from a diff erent cloth entirely. All hushed, delicate compositions, it’s hard to pinpoint a focal point to the band’s sound. Th is perhaps losing the crowd, the boys slink into Fake Moustache, proving nonetheless they’ve a lot to them. Th e woodland-y Hunter is next, and the sleepy Dark Sea following that, which closes with some beautiful, Saint-Saëns-like piano work. Still, there’s something missing. Call it a billing misstep, for now. Th e band just didn’t bring the same vitality as the acts that preceded them tonight.

Backed by Tom Waits’ moody I Never Talk To Strangers, Tim Carroll, befi tting of his status as tonight’s headliner, just oozes that ease of the well-performed as he walks on stage. Joined by a giant, upright bass, and a version of Lisa Hannigan at his side, the soft-spoken crooner launches straight into the swingy, he-said she-said interplay of Something Else. Trying out a new song next, he then switches places with his female cohort, taking to her side as they play with a rapturously pretty little tune; Tim’s soft falsetto atop her quiet strums like sugared icicles hanging above the crowd’s bated breath. After thunderous applause, Tim takes his guitar back, and modestly bows into Danshyttan, and the unrecorded Passenger Pigeon before closing on a heartbreaking cover of Band Of Horses’ No-one’s Going to Love You, a quiet, extended showcase of the man’s beautiful, child-like voice.

SAM HOBSON

Black Mountain @ The ZooBlack Mountain @ The Zooby Stephen Boothby Stephen Booth

BLACK MOUNTAIN, THE NIGHT TERRORSTHE ZOO: 17.02.11

Th is week’s unusual run of stellar international gigs at Th e Zoo continues, with Black Mountain the drawcards tonight. To lead us in are Th e Night Terrors – an unusual beast, wielding keyboards, synthesisers, eff ects pedals, bass, drums and an elaborate Th eremin that is the crucial “member” of the musical aesthetic. And it’s an interesting proposition to watch Miles Brown play it – with fl ourishes reminiscent of a renowned cellist – and to also hear how eff ective it can be. Like a Siren, the sounds emitted evoke otherworldly beauty and brutality, depending on the song, much like Barry Burns’ eff orts for Mogwai. Th ere are elements of “one trick pony” at times, but it’s when everything meshes together – such as on understated beauty Righteous or apocalyptic number Saturnalia – that the importance of such an unusual band in the Australian music scene can be truly appreciated.

Stephen McBean leads his Black Mountain cohorts onto the stage, looking shaggier and more stereotypically psychedelic than usual. Th e stage members take their now defi ned positions – McBean to the right, almost from view; co-leader Amanda Webber out front, armed only with her tambourine and her disarminginly soaring voice; Matt Camarind hunkers over his bass; Jeremy Schmidt, penned off by his instruments of interstellar destruction; and Josh Wells, dressed more like an Aussie punk band sticksman with his singlet and green and white football socks.

Without any cues, the band takes us on a journey into the heart of the hazy wilderness. New tracks like Th e Hair Song and Radiant Hearts get early air time, and how – their shifts into ebullient Americana and evocative politico-folk never puncture the atmospherics. Queens Will Play is a woozy serpentine groover, whilst Evil Ways is Black Mountain at their most devilish – incessant tribal drumming (Wells is possessed tonight), sultry guitar lines, sexy and beguiling keyboard bolts before the meat is fl ayed off the bone in style.

Th e centrepiece is the rolling gargantuan of a track that is old favourite Druganaut, with its extended running time devoted to creating a maelstrom of tightly wound stoner mania that gave listeners gravel rash to the jaw. It is to both the band’s and the venue’s credit that such a giant sound can be created, harnessed and contained consistently, although Webber’s normally beguiling vocals are occasionally lost in the mix. Th e set steamrolls through the crests and valleys of the dark side of the moon (as perfectly highlighted by sinuous beauty Roller Coaster), hardened by coiled precision and an innate ability to take us to the brink of cliché before throwing us into the abyss of the unknown – two factors remiss from most psychedelic rock bands.

When the dust settles after a particularly barnstorming encore (featuring Sabbath-aping Let Spirits Ride), Schmidt continues a droning synth line for some minutes before signing off . Th e stage darkens once more. Black Mountain had come in the night and stolen our souls.

BRENDAN TELFORD

GENTLE BEN & HIS SENSITIVE SIDE, SEJA, KEEP ON DANCIN’SWOODLAND: 18.02.11

With an ugly mix that sees the drums too high and the guitar washed out and not nearly loud enough, Brisbane four-piece Keep On Dancin’s begin their set in an unconvincing fashion. Drowning beneath an undercurrent of wet, surf-drenched feedback, vocalist Jacinta Walker seems to lack engagement and although the bouncier songs of their set pick up the energy levels in the room, there are just not enough intricacies within the slower numbers to make the tracks stand out. However, when Walker joins voices with guitarist Yuri Johnson and the crescendos hit fever pitch, Keep On Dancin’s provide a sun-kissed hit of joy and innocence that shows potential for their musical road ahead.

Flying solo on stage with only some keyboards, synthesisers and six-strings to keep her company, Seja begins with an uncomfortable yet strangely familiar mash-up of hypnotic guitar, down-tuned electro and emotionally-charged atmospheric electronica. I’ ll Get To You is haunting and gorgeous while Silver In My Eye is sweet and cutesy with almost videogame awkward blips that entertain. Getting her positive vibe on, the tunes are uplifting like UK duo Mount Kimbie and challenging, akin to producer Hudson Mohawk. Overall, Seja’s well-crafted, left-fi eld pop numbers provide the crowd with a warm fuzzy blanket and her stage presence leaves you with a strange urge to jump up and hug the girl – it’s all rather lovely, really.

Ben Corbett is undoubtedly one of the most entertaining and downright dangerous frontmen this country has. Th rough his incessant work with SixFtHick, he has carved a legend that recently aired documentary, Notes From Th e Underground, more than gives justice to. But Gentle Ben & His Sensitive Side are a diff erent beast entirely; a refi ned, sexy, cigar smoking, cognac-sipping beast. And with a new album Magnetic Island to showcase, the Queensland boys are energised and full of fi ght tonight. Almost six years on from the release of Th e Sober Light Of Day, the refi ned intensity of the new material oozes charisma on stage, while losing none of the bite that made the band so engaging in the fi rst place. Watching the gentle one perform is similar to witnessing a contained fi re that could rapidly spread and destroy those around while his roughhousing cavalry of merry men provide western-tinged pop sensibilities to tracks like the twisted confessional Regret It. Guitarist Dylan McCormack is especially tight, with a crisp sound that complements Corbett without ever stomping over his voice. Seja, joining the boys on stage to shine some sweetness on the swines’ sounds, is naturally a highlight but as expected it’s Corbett that is the drawcard tonight and as always, the fi lthy cane toad delivers.

BENNY DOYLE

TRICKY, DJ KATCHTHE ZOO: 20.02.11

Local DJ Katch cuts a lonely fi gure as tonight’s single support, chatting easily between the mix as he gets through a set of decent beats and melodies.

Slinking onto stage, Tricky looks good for his 43 years, easing into the performance from the rear as he

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SATURDAY 5TH MARCHHI FI BAR BALLROOM

WITH SPECIAL GUESTSNO ANCHOR

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HOPE YOU LIKE JAMMIN’ TOOTh e Acoustic Jam that has just kicked off again for 2011 at the Lansdowne Road Tavern last week has proven to be a riotous success for both artists and punters with plenty of people getting along to show their support for some great local talent. It’s all about showcasing original live music and rewarding the talent that seems to shine the brightest throughout the series of shows that happen at the aforementioned venue over the heat, semi-fi nal and fi nal stages of the event. It continues each Friday night for the next couple of months, the heat stages happening this Friday night, Friday Mar 4 and Friday Mar 11 before the semi fi nals happen on Friday Mar 18 and Friday Mar 25 and then the big grand fi nal on Friday Apr 1. Prizes include cash and recording packages so it’s well worth it for any artists looking for a leg up!

MORNINGSIDE HAS BROKENTh e Morningside RSL is where you’ll need to be on Saturday night if you claim to even having a passing interest in the world of rockabilly as there will be three fantastic Australian acts smashing it out for your enjoyment on the night. Polish up your shoes, slick back that hair and get set to see the Pat Capocci Combo in their fi rst Brisbane show since last year’s fantastic Greazefest performance and Th e Nights Of Sin, the brand new band from the always incredible Jon Flynn. DJ Lori Lee will be behind the decks spinning all of your favourite rockabilly classics as she does so well and considering both bands will be playing two sets on the night, you can be sure of a veritable feast of rockabilly music. Doors will open at 7.30pm and entry is $20.

SYN CITY Everyone wants to see the next big thing and your chance to do just that could very well be going down this Friday night. Sydney rockers Syndicate relocated to Los Angeles about six months ago to record with some of the world’s fi nest rock’n’roll producers and have come back home with the brand new single Shout, which sounds fantastic and bodes well for their debut album which should be released at some stage later on this year. Th e band are heading up to show us what they have to off er with a show at Th e Tempo Hotel on Friday night where they’ll headline a show with fellow up-and-comers Legless, Th e Auburn, Tourism, Swim and JackSeven. Entry is free!

WHAT DOES SHE DO? Safe to say we’re all pretty damn excited about the upcoming tour from everyone’s favourite American country crooner Justin Townes Earle and things just got even better with word of his support coming through this week. Lanie Lane is a Sydney based singer-songwriter who has exploded onto the national scene with her debut single What Do I Do and a show stealing guest appearance on the latest You Am I single Trigger Finger. She has been wowing audiences down south lately and will be up here with Earle in March, hitting the Mullumbimby Hall Wednesday Mar 9, the Step Inn Th ursday Mar 10 and Joe’s Waterhole, Eumundi Friday Mar 11.

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JACKSEVENBRINGING BACK THE KEYTAR AND GETTING THEIR FACEBOOK PAGE SHUT DOWN IS ALL JUST A PART OF THE JACKSEVEN – FORMERLY THE SEKS – EXPERIENCE, AS VOCALIST/KEYTARIST BROOKSY EXPLAINS TO MITCH KNOX.

“We were originally called Th e Seks,” Brooksy explains of the band’s obscured origins. “We were national fi nalists in the Jim Beam National Campus Band Competition where we won the state fi nals in Townsville. Th e other members of the band wanted to pursue other musical endeavours... I consequently approached Scott Saunders from Transport and from there we formed the current band.

“Our Facebook account then got deactivated. We had 400 fans from Turkey who didn’t even know about our band. Th ey spell ‘sex’ as ‘seks’. So they were running our page as a hook-up site. Th rough the help of Google Translator, I found out that they were saying, ‘If you are hot

and want to hook up, here’s my email…’ I even had some guy post an erect penis on there! So we decided to change the name for a few other reasons, but that’s the most entertaining one.”

With their fi rst live appearance since their renaming coming up at the Tempo Hotel, Brooksy and his bandmates have every reason to be excited about returning to the stage.

“Although people know us as a band, it’s going to be cool doing our fi rst show under the new name, JackSeven. Tempo is a great venue and being a free event, hopefully might attract those who wouldn’t normally check out an original show in the Valley.”

Th ere is at least one other reason to check out the newly-branded rockers, and that is quite simply the chance to see a fully grown man rock a keytar.

“Th e Keytar is such a cool instrument in its functionality,” Brooksy enthuses of his weapon-of-choice. “Synth pads can fi ll out the sound of a rock band and, as a performer, you can give it some performance vibe. It’s hard to do your rock moves standing behind a keyboard setup. Th ey also look like they’re from outer space. I like that.”

WHO: JackSeven

WHERE & WHEN: Tempo Hotel Friday Feb 25

ORANGE GYPSYSFolk ensemble Tin Pan Orange are making their way back to the Gold Coast this weekend, dropping by the Sound Lounge for a special show this Friday night. Th e group, which features acoustic guitar, violin, mandolin and vocals, have been bringing their gypsy-inspired folk to audiences not just in Australia but all across the world over the past few months and have attracted much approval from all corners of the globe. You can see for yourself what the group have to off er when they hit the aforementioned venue with support from Ross James Irwin this Friday night. Tickets are available from the venue’s website right now for $15 + bf, otherwise you can grab one on the door for $20.

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MAKING FRIENDSWe’d like to send out our most sincere congratulations to local punks Friends With Th e Enemy who have taken out the triple j Unearthed Soundwave competition and as such earned themselves a slot on the Soundwave festival that hits RNA Showgrounds this Saturday. Th is is just another feather in the band’s cap following their successful US tour last year as well as dates with Guttermouth and Versus Th e World, so make sure you get along early to fi nd out just what set this band apart to pick up the coveted spot. Th ey’ll be on Stage 3 at 11am.

PROVINCIAL ROCK Glorious indie-rock fi ve-piece Nova Scotia have been kicking around the Brisbane underground scene for the best part of half a decade now, but this month has seen them fi nally release their killer debut, eponymous LP and these guys aren’t about to let that happen without plenty of celebrating. Th is Saturday night the band are putting on what they describe as a real party, with the band hand selecting just about everything from the band’s the music between sets, the decor and of course the venue. Tickets are available right now from lofl y.com and when you buy a ticket you’ll fi nd out the secret location (which may or may not be the Hangar in Red Hill). Th e band have selected some great locals to support, including the one and only Arbuckle (who haven’t played a show in many, many years and are reforming for this show), Tape/Off and Scraps. Tickets are $15 or $35 with a copy of the LP on glorious 12” vinyl. It all kicks off at 8pm. Th en you can soothe the hangover earned that night on Sunday afternoon when the band head in for a free, all ages instore performance at Tym Guitars from 2pm!

MORE FRIENDSTh e Friends Of Folk Festival is almost upon us and every time we look at the line-up of artists that are set to appear on the day we get that little bit more excited. Upon our last perusal of the program it became clear that there were a couple of new additions to the line-up, with local acts Charlie Mayfair and Th e Mute Canary Project earning themselves a spot on the already enormous bill. It is going to be one hell of a day at the Old Museum on Sunday Mar 6 starting from 11am, tickets are still available from OzTix and outlets.

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NO FILTERLOCAL RAP-ROCKERS NO FILTER MIGHT HAVE A NEW SINGLE UNDER THEIR BELT AND READY FOR LAUNCH AS THEY FINISH UP WORK ON THEIR SOPHOMORE EP BUT THAT’S SIMPLY NOT ENOUGH FOR SOME PEOPLE, AS LEAD VOCALIST JONNY EPIHA TELLS MITCH KNOX.

“I assume you’re referring to the abuse we cop on the wall of our Facebook page,” laughs Epiha when discussing fan response to the band’s new single Where Are You Now. “Apparently one song is not enough! We released this track with the intent to satisfy our fans’ hunger for the new EP that is soon-to-be released. It seems to have only made them want it more. To all those in reference, rest assured the time draws near!”

Th ere’s a tongue-in-cheek sensibility to Epiha which especially shines through when he recalls how the band settled on promoting Where Are You Now as the EP’s debut single.

“We collected eight snails to represent eight possible song options, then raced them down a track and Chewy won. Congrats Chewy!”

But when the topic turns to the EP itself, it is clear he and his bandmates are nothing short of serious.

“We are especially excited about this EP for a number of reasons,” Epiha explains. “It was entirely self-recorded, mixed and produced in our own studio (Pisscotton Studios) – which was also built with our own hands. Th is has allowed us the privilege of exploration into new sounds, style refi nement and endless freedom of creativity.

“We focused more on refi ning our style though a distinct variety of tracks for this album; pushing the boundaries of contrast and genre to satisfy our very own broad musical tastes and infl uences of rap, rock, funk and metal.”

WHO: No Filter

WHAT: Where Are You Now (Independent)

WHERE & WHEN: Th e Hi-Fi Saturday Feb 26

CAPTAIN FANTASY Th e upstairs bar of the Jubilee Hotel is set to go nuts to the sound of Los Angeles’ fi nest ravecore act Captain Ahab this very Saturday night. Th ese guys turn everything you think you know about electronic music well and truly on its head and turn in some of the most furious and energetic live performances you’re ever likely to see. On the night they’ll be supported by a stellar local cast including Dot.AY, Stag, Wtem, DJ Juga Juga and B.A.S.S DJs (DJ Lame vs DJ Peer Pressure), so get your dancing shoes on and say goodbye to summer in style. Entry will set you back just $10 on the door and the fun begins from 8.30pm.

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BELLS TO RING MORE OFTENTh e new motto for local indie pop band Th e Bell Divers is to ‘get good by playing as many shows as we can’. Now for fans of the band this comes as incredibly exciting news, because to say they’ve been somewhat mute in recent times is a massive understatement. But they have a re-jigged line-up and a gutful of determination as well as something of a new sound, choosing to make the whole shebang a little louder than you may be used to from the group. Here’s hoping we hear plenty more from them in the near future and they’ll likely be more enthused to play often if you head along and see them at Ric’s Bar on Wednesday Mar 2 or X&Y Bar on Friday May 6.

VICE CAPTAINS ANNOUNCEDIf you’re a fan of Katie Noonan and Th e Captains, you would probably know by now that their forthcoming tour of the country that hits Brisbane at the beginning of next month will be your last chance to see them for quite a while as Noonan pursues other creative endeavours for the rest of 2011. Th e band have just announced the supports for the show that will be taking place at the Judith Wright Centre on Friday Mar 4 and the coveted spots have been granted to Holland and Emma Dean, making it a triple bill full of intriguing delights! You can still get tickets from the venue for $40.

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THE FLUMESTHE HEAVENLY GROOVES OF LOCAL ALT-FOLK OUTFIT THE FLUMES ARE WINNING FANS EVERYWHERE, ESPECIALLY SINCE RECORDING EP LUNAR SEA MID-LAST YEAR. WITH ANOTHER RELEASE ON THE WAY AND AN APPEARANCE AT THE THIRD ANNUAL FRIENDS OF FOLK FESTIVAL IN EARLY MARCH, THINGS ARE LOOKING UP FOR THE ECLECTIC ENSEMBLE, HARPIST/VOCALIST KAYT WALLACE TELLS MITCH KNOX.

“Since recording Lunar Sea in May 2010 we’ve steadily gained momentum, playing festivals up and down the east coast including Island Vibe and Woodford as well as more intimate shows and loving it,” says Wallace of Th e Flumes’ quiet achievements in the wake of releasing that EP. Not content to rest on their laurels, though, the band is already hard at work on their next EP, Swell, and Wallace says things are going “swimmingly”. “We’ve laid all of our tracks and are mixing and developing artwork for it at the moment,” she explains. “Th is is

the fi rst record we’ve done outside of our own home studio... although we will be adding a few specials recorded in our walk-in pantry. All of the instruments were recorded at Studio B on the Gold Coast and the vocals were done at the legendary Pix Records at Cannondale. It will be available in the next few months.”

Before Swell drops though, Th e Flumes will fi rst be lending their talents to a good cause in appearing at this year’s Friends Of Folk Festival alongside myriad other acts in an eff ort to raise funds for both the Royal Children’s Hospital Foundation and the Premier’s Disaster Relief Eff ort.

“Friends Of Folk Festival have always been community-based, donating to the Royal Children’s Hospital,” Wallace says of the event’s charitable roots. “Th is year they will be donating to the fl ood victims as well. Th ey have always nurtured local artists, and this year the line-up is a cracker. As usual, what we look forward to with festivals is being on a bill with so many amazing artists. And playing at the Old Museum; what a sweet venue.”

WHO: Th e Flumes

WHERE & WHEN: Friends Of Folk Festival, Old Museum Sunday Mar 6

FOUR AND THE GANG It’s kind of hard to believe, but the legendary Gang Of Four are going to be playing in Brisbane this weekend! Needless to say we’re very excited by the prospect of witnessing this incredible band live in the fl esh and even more excited that they will be performing a club show while they’re here as well as a date at the massive Soundwave Festival. Th e support acts for the club show has been announced and it just so happens to be the same in Brisbane as the rest of the country. Local indie pop wonders I Heart Hiroshima, pictured, are the lucky, yet absolutely well-deserving, trio to have scored the main support as they continue to play shows while drummer Susie Patten is back in the country. Th ey will be joined by China’s Rebuilding Th e Rights Of Statues who will be opening all dates. Tickets are still available from Moshtix and outlets for $50 + bf.

YOUTUBE OF THE WEEKOdd Future – Sandwiches

We’re not sure why we waited a few days to watch the performance by Odd Future Wolf Gang Kill Th em All’s Tyler Th e Creator and Hodgy Beats on Late Night With Jimmy Fallon. Probably because it’s easy to be put off by anything bloggers are so disgustingly gushy over. But when we got over our elitist hatred of elitism we witnessed one of those incredible late night TV performances people ought to talk about for years to come. Sandwiches is scary enough, but when these two young MCs are let loose on live television, it becomes ridiculous. Go and watch it and realise just how lame every other musical act who has ever been on television is.

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ANTHONY GARCIACOMPOSER AND PERFORMER ANTHONY GARCIA HAS COLLABORATED WITH WHAT CAN ONLY BE DESCRIBED AS AN ECLECTIC MIX OF MUSOS; FROM POWDERFINGER TO THE AUSTRALIAN BRANDENBURG ORCHERSTRA. TONY MCMAHON CATCHES UP FOR A CHAT AHEAD OF THE LAUNCH OF HIS AND WILLIAM BARTON’S NEW RECORD DESERT STARS DANCING.

Mixing classical and experimental guitar playing isn’t something that happens every day, but Garcia says it came fairly naturally to him.

“I began my interest in improvisation playing electric guitar as a teenager. I was also learning classical guitar with a private teacher. At the time it was like learning two separate instruments, each required diff erent techniques and philosophies. One day my electric guitar was nicked. From then on I just decided to do all my jamming and improvisation on my classical guitar with a classical technique. It took years of adapting and experimenting with jazz, Latin styles and anything I could work out by ear to develop an approach to classical playing that incorporates improvisation.”

And collaboration has obviously been an important element of Garcia’s career. His new album is a partnership with William

Barton on didgeridoo. Apparently it all goes back to that Deep Purple song.

“Perhaps the fi rst collaborations for me were as a teenager playing in a rock band. I still remember clearly the thrill of playing Smoke On the Water with my mates for the fi rst time, so naturally collaboration has impacted me greatly. It enables you to create that which you couldn’t create alone. Making music with others is fundamental.”

In summing up his philosophy of live performing, Garcia says that it comes down to reaching as many people as possible.

“I try to put together colourful programs that can touch a broad audience. Th is means I look to move between simple, accessible, beautiful tunes and more challenging out there stuff . As a composer I continue twisting and turning, getting lost and found, so my music can be a bit experimental sometimes and then quite harmonic and relaxing at others.”

WHO: Anthony Garcia

WHAT: Desert Stars Dancing (Vitamin)

WHERE & WHEN: Brisbane Powerhouse Saturday Feb 26

How did you get together?Sean Dunne (vocals/guitar): “Fed up with a fi ckle industry, Nathan and myself met for a jam and realised our values and styles complemented each other. Most importantly, we absolutely loved playing together and making this music. Th e chemistry of friendship and compatibility was ever-present from the beginning and the musical core keeps growing stronger.”

Sum up your musical sound in four words.“Gutsy, melodic, sweet and edgy.”

If you could support any band in the world – past or present – who would it be?“Th e Rolling Stones at Th e Tivoli in Brisbane.”

You’re being sent into space, you can’t take an iPod and there’s only room to bring one album – which would it be?“Without a doubt; Blood Sugar Sex Magik…”

Greatest rock’n’roll moment of your career to date?“I can still remember crushing Maltesers (chocolates) in the hi-hats during a year six concert band performance.”

Why should people come and see your band?“From songwriting to recording to live performance our personal philosophy concerning music is of purity, honesty and passion. Plastic Wood is all about how we feel playing the song, which translates into our live show.”

HYHHAVE YOU HEARD?

Plastic Wood play Friends Of Folk Festival at Old Museum on Sunday Mar 6

RUNAWAY TRAIN Next Th ursday night Brisbane audiences will be assured of a rollicking good time should they head towards the Tempo Hotel as the venue hosts some fantastic interstate and local talent that will get you tapping your toes and pumping your fi sts. Melbourne’s Graveyard Train fi rst really came to prominence in Brisbane town after scoring the national support slot for Concrete Blonde on their tour late last year, but since then they have been seemingly omnipresent, playing plenty of shows all over the place to some really very favourable reviews. Th e band are back in Brisbane next week and play the Tempo on Th ursday Mar 3 with support from our very own rollicking rockers Bang Bang Boss Kelly, Binary Circus and Tourism. Entry is free, the beers are cheap, the food event cheaper and the fun prevalent.

PERSONAL BEST RECORDS...

Best record you stole from your folks’ collection?My folks weren’t really into music, so they didn’t have much to pilfer. I remember hearing a lot of the original London Cast Recording of Oliver! (Does it show?) Flicking through my records now, I think the best of theirs is Th e Fabulous Shirley Bassey, released in 1959 in mono.

First record you bought?Dressed To Kill by KISS, on cassette.

Record you put on when you’re really miserable?I have a CD by Melbourne band Th e Spoils called Hurtsville. It’s such a heartbreaker I can’t listen to it unless I am desperately miserable.

Record you put on when you bring someone home?According to my iPod, the song I play more than any other is 80s teen sensation Tiff any’s cover of I Th ink We’re Alone Now. Coming in at number 4 is the original [version of that song] by Tommy James And Th e Shondells. Number 2 is Th rough Th e Fire And Flames by Dragonforce, and number 3 is Something Good by Utah Saints. Rounding out my, erm, eclectic top 5 is Howzat by Sherbet. If I bring you home, dear reader, you’re bound to be surprised.

Most surprising record in your collection?If anything I’ve mentioned above isn’t surprising enough, I’d nominate Bing Crosby’s White Christmas. I am the ultimate grinch and some fucker I work with bought me that hiding behind the guise of Secret Santa.

Last thing you bought/downloaded?I was in Japan last month and really lucked out, fi nding stuff I’ve had on my wish list for years. I got a compilation of Th e Chi-Lites, a Chicago soul vocal quartet from the 1970s, as well as two albums by Swedish post-rock group called Ef who I had pretty much given up on ever fi nding. And the Japanese release of Billy Bragg’s latest, Mr Love & Justice, with two Japan-only bonus tracks.

Th e Good Ship play Friends Of Folk Festival at Old Museum on Sunday Mar 6

with GEOFF ‘SEAMAN WALLY’ WILSON from THE GOOD SHIP

DID YOU KNOW...?Twenty-two diff erent musicians have played in Social Distortion over the past 32 years?

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NIGHTMASTERTRAGICALLY, MELBOURNE AFRO/ SURF/ CALYPSO OUTFIT NIGHTMASTER HAVE A DISTINCT LACK OF GROUPIES. TONY MCMAHON CHATS WITH GUITARIST CHRIS TURNER ABOUT HIS BAND’S UPCOMING TRIP TO BRISBANE WHERE, HOPEFULLY, ALL THIS WILL CHANGE.

But before the sex, let’s talk about the rock’n’roll. Where the hell did the idea ever come from to mix Afro, surf and Calypso? Turner waxes lyrical on the nature of ideas, and there’s some Vampire Weekend thrown in there too.

“One view on the nature of ideas is that there exist some ideas which are so general and abstract, that they could not have arisen as a representation of any object of our perception, but rather were, in some sense, always in the mind before we could learn them. Th is may or may not apply here, depending on your view of the nature of ideas.

“Th at aside, introducing some Caribbean and African elements into the type of instrumental music (post rock, for instance) we’re interested in came very naturally. We really just wanted to do something a bit challenging but mostly fun. Once we learned bands like Vampire Weekend were tapping into a similar thing we thought it would either (a) help us (by further popularising these sounds), or (b) hurt us (by making people think we were ripping off bands like Vampire Weekend). Turns out it did neither because (a) no-one knows who we are, and (b) no-one could likely be bothered to think about these things.”

Okay, everyone loves a broken heart story, and apparently Nightmaster have quite a few from their time playing around Melbourne.

“To tell you the truth, none of us have had sexual intercourse as a result of our association with the band Nightmaster, and this really breaks our hearts. Now, I don’t know if you’ve ever had a broken heart, but it’s not much fun. After all, isn’t meeting girls supposed to be the reason we’re doing this? It sure as hell isn’t for the money. Th ank god we all still have our day jobs as reclusive billionaires.”

WHO: WHO: NightmasterNightmaster

WHERE & WHEN: WHERE & WHEN: X&Y X&Y Bar Saturday Feb 26Bar Saturday Feb 26

How did you get together? Si Saw (bass): “We all met around the traps of Brisbane through bands and venues. It all started in Th e Basement.”

Sum up your musical sound in four words.“Dirty fuckin’ bogan metal.”

If you could support any band in the world – past or present – who would it be?“Pantera.”

You’re being sent into space, you can’t take an iPod and there’s only room to bring one album – which would it be?“Wasenob – Bonesaw.”

Greatest rock’n’roll moment of your career to date?“Rocked up to our EP launch in a white stretch limo all glammed up like something out of a Motley Crue clip. We stepped out into the crowd chanting “Bone F**kin Saw!” holding ‘I heart Bonesaw’ signs (thanks planted friends!). Got to the door and lost my wallet. Dressing like a chick pays off as I still got in, got drunk and the saw tore up the stage. Long live rock’n’roll!”

Why should people come and see your band?“‘Cause it’s metal, we’re awesome and there’s beer.”

HYHHAVE YOU HEARD?

Bonesaw play Greenslopes Bowls Club (fl ood appeal show) on Saturday Mar 5

ACOUSTIC RADIO If you’re down the coast and feel like a bit of dance on Th ursday night, then don’t hit the Surfers nightclubs, get to the Gold Coast Arts Centre for the latest in their weekly Unplugged at the Basement series. Th is week Brisbane genre smashers Tin Can Radio are going to be bringing their feelgood brand of funky pop that is bound to have you grinning from ear to ear, no matter how hot it might be! Th ese guys are just going from strength to strength in the live arena at the moment following the release of a couple of killer singles last year so you are all but guaranteed of a great show by our reckoning and even though they are playing unplugged, that won’t stop the good times. Entry is $12.50 and the doors swing open at 7.30pm.

GET TRASHEDIf you’ve gotten along to one of the Trashwolves indie-garage nights then you’ll already know that they are a hell of a lot of fun. But for this latest instalment the organisers have decided that they really need to throw a massive party. Given that Soundwave will just be wrapping up down the road when the night is heating up, they have put on some killer bands, killer DJs and special deals. Bonfi re Nights, pictured, punk-electronic wonders Card Houses, indie-poppers Friends Of Ben and 60s rockers Th e Submariners will be playing live, Violent Soho DJs will be behind the decks and if you’re coming from Soundwave then you’ll get through the door for half-price! Add in art, video games and lots of insanely attractive people (okay, not confi rmed but you should be drunk enough to think that about anyone) and you’ve got yourself a good time. It hits Th e Step Inn from 8pm Saturday night and entry is just $10.

Let England Shake PJ HARVEY100 Lovers DEVOTCHKA$ MARK SULTANAvalon Cassettes JAMIE HUTCHINGSDeath Of A Decade HA HA TONKAHead Injuries MIDNIGHT OILEverybody Loves Th e Sunshine ROY AYERS Magnetic Island GENTLE BEN & HIS SENSITIVE SIDENova Scotia NOVA SCOTIA Crazy For You BEST COAST

ON THE TIME OFF STEREO

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1. Th e King Is Dead THE DECEMBERISTS2. Kiss Each Other Clean IRON AND WINE3. Hard Times And Nursery Rhymes SOCIAL DISTORTION4. Brothers THE BLACK KEYS5. Th e World Is Yours MOTÖRHEAD 6. Zonoscope CUT COPY7. Sigh No More MUMFORD & SONS8. Pink Friday NICKI MINAJ9. Low Country Blues GREGG ALLMAN10. Th e Party Ain’t Over WANDA JACKSON

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BILLBOARD TASTEMAKER TOP 10 ALBUMS

DID YOU KNOW...?Soundwave began as a Perth only festival? Good Charlotte and Regurgitator headlined the fi rst event in 2004.

So welcome to Soundwave week! Needless to say, everyone has been gearing up for this for a while now, so don’t forget to check out this issue of Time Off and/or the Soundwave website for all the maps, travel and timetable information that you will need to plan your day. If you want my recommendations, the unmissable bands are going to be Slayer, Social Distortion, Th e Gaslight Anthem, Th e Bronx, Terror, Trash Talk and Fucked Up. And if you miss any of these bands on the day, don’t forget that there are always the Sidewaves.

In case you need a reminder of what’s happening, here is a list of the Sidewaves happening in the couple of days post-Soundwave. Th is is the fi rst year that Brisbane are getting Sidewaves so get along to what you can because they’re always fun showcases of amazing bands. On Tuesday Mar 1 there is High On Fire, Trash Talk, Protest Th e Hero and Kylesa at Th e Hi-Fi. Th is is unfortunately an 18+ show, but in my opinion is the one defi nitely not to miss. Th en on Wednesday Mar 2, you can either see Coheed & Cambria supporting Slash at the Tivoli or catch Silverstein, Blessthefall and I See Stars at the Hi-Fi. Both are 18+ shows.

In other tour news, May will see A Day To Remember hit our sunny shores for a tour with Floridians Underoath. Both bands will be touring on the backs of excellent albums that were released last year. For ADTR, their album What Separates Me From You spawned that awesome clip that I raved about just before Christmas. As for Underoath, Disambiguation, represented a return to form after drummer Aaron Gillespie left the band. Tickets go on sale on Th ursday Mar 3 for the Brisbane all ages show that will be happening at Th e Tivoli on Sunday May 15 or the 18+ show on Tuesday May 17 at the Coolangatta Hotel.

Starting next week is a tour featuring Iron Lung. Essentially a power violence act, these guys hit up Sun Distortion Studios this Saturday Feb 26, supported by Walls, Teargas, Useless Children and Cannibal.

Dear In A Couple Days When Th is Is Published,Has everyone stopped talking about the Lady Gaga song yet? Did Madonna win? Is it safe to go back to the internet now? I kind of need Facebook to tell me when to come up with a ‘wacky/original’ birthday message for my ‘friends’.Best,AdamPS. Speaking of ‘artist comparisons’, have you noticed that there have been a few of them lately? Or, if not meme-conversations, two album releases around the same that seem to relate to each other? And I don’t just mean Cut Copy’s new album and everything else on Pitchfork. Th ere have been others, too.

Like the new PJ Harvey and Adalita records coming out and repelling each other’s sense of personal and political where they once would have shared some similarities in the melding of the two as, respectively, England and Australia’s prevailing female voices of rock’n’roll dissent. Or Th e Decemberists putting out their recent country-infl uenced, Gillian Welch-featuring album Th e King Is Dead (Capitol/EMI) as if as some kind of (pretty ridiculously good) addendum to Bright Eyes’ I’m Wide Awake It’s Morning just as Conor Oberst is showing off the new cult-of-glam Bright Eyes concept with Th e People’s Key (Polydor/Universal). Or Hercules & Love Aff air’s Blue Songs (Shock) arriving around the same time as the new Teengirl Fantasy track featuring !!! collaborator Shannon Funchess, Dancing In Slow Motion (True Panther Sounds), as if to signpost the opposing directions New York’s club scene is taking with 80s/early-90s R&B pop, one towards jumpy-keys house and the other towards skewed, lo-fi scapes.

Some people would say it has something to do with some kind of ongoing conversation between artists and that all music is inextricably linked, which is justifi able but also seems too much like a shrug-off and doesn’t allow for kind-of-interesting specifi c considerations. Foxy Brown would probably say it has something to do with bitches trying to break her down, but she’s a bit of a hard-arse and should probably just stop trying to win publicity points from Nicki Minaj and come up with some new ideas of her own.

In this week’s Roots Down we’re going to take a trip down the red carpet to look at some big awards that have been presented in the blues and roots world in the past week or so, both at home and abroad.

If you were to listen only to the mainstream media’s coverage of the Grammy Awards then you’d be forgiven for thinking it’s all a bit of a yawn-fest full of lame pop and country acts (with the exception of Arcade Fire’s completely unexpected win), but fact is there are 110 diff erent categories, some of them very weird, but a lot of them actually honour artists who really deserve it.

Neil Young picked up a pretty high profi le award, winning the Best Rock Song award for Angry World from his incredible new record Le Noise. Young’s form of late has been shaky, but that record is a genuine return to form. Pinetop Perkins & Willie ‘Big Eyes’ Smith were the well-deserving winners in the Best Traditional Blues Album category, though the Best Contemporary Blues Album category wasn’t so clear cut. I think Buddy Guy’s Living Proof, the winner, is deserving, though maybe not more so than Solomon Burke’s Nothing’s Impossible or Dr John & Th e Lower 911’s Tribal, who were also nominated.

Genuine Negro Jig, the Joe Henry-produced fourth record from Carolina Chocolate Drops took out the Best Traditional Folk Album award – another excellent decision – while Ray LaMontagne and Th e Pariah Dogs’ God Willin’ And Th e Creek Don’t Rise knocked off some heavy hitters to take out the Best Contemporary Folk Album gong, beating Richard Th ompson, Guy Clark, Jackson Browne & David Lindley and Mary Chapin Carpenter. It’s a very good album but

Local drummer Todd Hansen, aft er having done time playing for numerous Aussie acts such as Th e Berzerker, From Th ese Wounds, Headkase and more, will soon be relocating his life and his furious blast-beating abilities over to Canada. As a send off , he’s playing one last gig at Monstrothic with his bands Sleigher and Nudge From Hey Dad. Perth’s Entrails Eradicated will be joining the bill alongside locals Embrace Eternity. It’s gonna cost you $10 and they will let you into the venue at 8pm. Best of luck Toddy, and thanks for all the good times and killer beats!

Chances are you’re well aware that Soundwave hits Brisbane this weekend – Iron Maiden, pictured, Slayer (featuring Exodus’ Gary Holt fi lling in for spider bite victim Jeff Hanneman), Queens Of Th e Stone Age, Dimmu Borgir, Kylesa, DevilDriver, Sevendust, Ill Nino, All Th at Remains, High On Fire, Bring Me Th e Horizon, Nonpoint, StoneSour, Bullet For My Valentine and dozens more bands will make a good mess of Th e RNA Showgrounds on Saturday. Unfortunately for some, classic metal act Saxon have had to pull out of the entire tour due to album recording delays and family illness, however promoter AJ Maddah has promised that this will result in longer sets from some of the bands, namely Slayer and Dimmu Borgir. See you there for some well-priced and sensibly-regulated mid-strength drinks.

If you’re still standing and your ears still haven’t had enough punishment for one day, deathcore outfi t Signal Th e Firing Squad play the Soundwave aft er party at Th riller. Th e like-minded Aversions Crown will be also debuting their recently re-tooled line up, with support from Draw Your Lines.

Don’t forget about the High On Fire, Kylesa, Trash Talk and Protest Th e Hero

You will all be sad to know that this is the last of the Soundwave Q&A’s this week. Toby from H2O answered a couple of questions for us, just to get you all excited about their return to our shores. Th ey defi nitely have “Nothing To Prove” as one of the most prolifi c punk-hardcore bands of the last decade.

What are you most looking forward to about heading to Australia for Soundwave?It’s been a long time since we went to Australia so I’m really interested to see if people have any idea who we are. We honestly have no idea what to expect and we’re keeping an open mind to everything. Australia is one of my favourite places in the world so I’m just psyched to be going back there.

Who are you most eager to check out on the bill?I’m psyched to check out Queens Of Th e Stone Age, and I haven’t seen Pennywise with Zoli singing yet so I’m looking forward to that. Iron Maiden are pretty much the reason I got into playing music so obviously I’ll be watching them every night.

What is something that no one knows about your band?Th at although the band was founded and has our roots in New York City, nobody in the band is actually from there originally. Toby and Todd are from Massachussets, Rusty is from Rochester NY, Todd Friend is from Maryland and I’m from the UK.

Do you have any rituals or superstitions that you have to stick to before you go onstage? If so, what...Personally, I like to warm up and play for a bit if we have a backstage that it can be done in. Usually some stretching and then we do either a group hug or a hands and then it’s off to make the donuts!

What was your favourite album of 2010 and your most anticipated for 2011.My favourite album of 2010 was a tie between Empire from Madball and Keepers Of Th e Faith by Terror. And my most anticipated of 2011... Endgame by Rise Against ... very psyched for that release!

It seems natural that ideas and sounds come in waves or cycles or whatever, but sometimes it’s just diffi cult to pick why those ideas or sounds are occurring, or why they seem to be creating a signifi cant shift in general thinking away from other ideas. Like dubstep. A little while ago it seemed like dubstep was one of those genres that anyone not interested in going on daytrips to collect shrooms for Earthcore didn’t have to worry about, and now it’s being talked about as the largest current infl uence on pop music and is moving the media focus from West Coast America over to London. Well, more specifi cally to James Blake and his self-titled debut album (A&M/Universal) of sparse, ‘crunchy’ beats under soulful vocal melodies, which to me also sounds at times a bit like a structurally experimental extension of what Sade was doing in the early-90s (though lots of UK pop from around that time was already extremely loopy and repetitive), but I guess that’s where the argument that all music is in conversation at all times comes in.

Just following Blake’s album, XL Records (through Remote Control in Australia) this week released We’re New Here, the 2010 album I’m New Here from old hip hop dude Gil Scott-Heron as remixed by Th e XX’s Jamie Smith, or “Jamie XX from Th e XX” as the radio people seem to like saying, and the two records seem somehow connected, as if they’re ‘talking to each other’ or something.

While everyone seems happy to peg Blake as a ‘dubstep’ producer, people generally seem less inclined to genre-label Smith’s production work, though ‘dubstep’ is sometimes listed alongside all the same annoying ‘emotion’ words used to describe Th e XX. And ‘sparse’. Maybe it’s a bit ‘minimal techno’ as well?

A Guardian review of We’re New Here suggested that it works because of the opposing strengths of Scott-Heron and Smith; the former’s lyrical and vocal power and the latter’s keenly selected bare beats. Maybe those two things together also suggest why Blake’s album comes readily to mind when it’s playing. Or maybe we should just give up the comparisons and accept that, baby, they were born this way to express themselves.

I’m really glad I didn’t have to vote for one of these – a tight contest if I’ve ever seen one.

Mavis Staples’ stunning You Are Not Alone album, made with Jeff Tweedy last year, would have won heaps of awards if there was any justice. Th ankfully she at least got one, picking up the Best Americana Album ahead of Willie Nelson, Roseanne Cash, Los Lobos and Robert Plant (who is English). I never thought I’d get stoked on the winner of Best Traditional Gospel Album at the Grammy Awards, but Patty Griffi n’s Downtown Church was one mighty fi ne piece of work from last year so it’s great to see it being recognised.

Closer to home, the winners of the Australian Blues Music Chain Awards were announced at the Australian Blues Music Festival in Goulburn last weekend. Hard touring one man band Claude Hay picked up the Song of the Year award for Get Me Some, Stevie Paige won the award for Female Vocalist of the Year with her song If You Don’t Love Me, the Male Vocalist of the Year award was picked up by Dr Charlie, his performance on I’d Rather Be Blind beating out some mighty stiff competition and Chase Th e Sun picked up two gongs – their Rednecks And Gentlemen album was awarded Album of the Year, while their song Live On earned them the title of Duo or Group of the Year. Word is that the Australian Blues Music Festival, where the awards are held, was once again very successful and that it will possibly expand further in 2012.

Finally, the International Blues Challenge has been and gone for another year, with Melbourne’s Sweet Felicia and the Honeytones making it all the way to the semi-fi nals before bowing out. Th e three winning bands of the 2011 event were Th e Lionel Young Band from Colorado, Th e Mary Bridget Davies Group from Kansas City and Rob Blaine’s Big Otis Blues out of Chicago (Blaine also picked up the best guitarist award). Denmark’s super classy George Schroeter & Marc Breitfelder and Canada’s very cool Harrison “Sweet Taste” Kennedy were the winners in the solo/duo category, loosening that American stranglehold somewhat! We look forward to seeing what Australia can dish up for next year’s awards.

sideshow at Th e Hi-Fi next Tuesday! Tickets are going for around $50.

Tech-savvy Internet fi ends Th e Schoenburg Automaton will headline next Wednesday at the Step Inn, with support from metalcore act Wornaway (launching their debut EP), dual vocal chaos-mongers Ironhide and the apparently sex-obsessed goth rockers Gimpus. Free entry and free pool from 7pm.

A Perth-based black/death/prog metal group by the name of Khariot will be launching their new album on April 1. Disymposium has been described by the band as “11 tracks of dissonant melodies, obscure twin harmonies and counterpoint, thrashing solos, crushing technical riff s, hypnotic basslines, dual diabolical screams and gutturals, and chaotic drumming”, with two vicious new tracks currently available for streaming via the now completely fucked and almost useless cultural fl ash-in-the-pan that was MySpace.

Ambient/post-rocking locals Echotide have posted the title track to their forthcoming album on their Reverb Nation profi le. As Our Floodlights Gave Way To Dawn is looking to be released shortly.

Adelaide thrash metal group A Murder Of Crows have announced plans to return to Against Th e Grain studios to a record a full-length follow up to last year’s debut EP Th e Twisted Path. Th ough the fi ner details are yet to be fi nalised, the band has announced their intention to perform in Toowoomba and Brisbane on May 6 and 7.

Post-metal juggernauts We Lost Th e Sea have been busy working on new material, the band having recently recorded live pre-production for six new songs at Sydney’s 301 Studios. Th e eight piece band will soon re-enter the same studio to record the tracks for their follow up to 2010’s Magnus Lindberg (Cult of Luna) produced eff ort Crimea, with a mid-to-late-2011 release being eyed.

Beer-themed Brisbane folk metal group Lagerstein have posted two new pre-production tracks over at myspace.com/lagerstein.

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Iron MaidenIron Maiden

Pop culture therapy with Adam Curley

Blues ‘n’ roots with Dan Condon rootsdown@timeoff.com.auBlues ‘n’ roots with Dan Condon rootsdown@timeoff.com.au

Metal with Lochlan WattMetal with Lochlan Watt

Neil YoungNeil Young

Hardcore and punk with Sarah Petchell. Email punk news to www.wakethedead@timeoff.com.au

55

SIXPACK

TURNERTURNER, BETTER KNOWN AS SINGERSONGWRITER RICHARD GREWAR IS RELEASING HIS FIRST SOLO ALBUM, GHOSTS, AFTER SPENDING MUCH OF HIS 20S IN BANDS. TONY MCMAHON SCORES A POSSIBLE GIG.

“I guess the ultimate reason,” says Grewar about why now was the right time for the heartfelt record, “was I couldn’t handle the crater-like hole smouldering away in my laptop from all these songs that’d been idling away in the hard drive for so long, screaming at me to give them a chance. Overall, the timing has a lot to do with the songs themselves, and my insecurities with them. I felt they weren’t up to scratch and would get self-conscious about letting them see the light of day. It’s taken me a couple of years of re-writing to be okay with releasing them into the wild.”

Having been in bands such as Th e Eighth Colour and As We Are, Grewar has been on the cusp of stardom for a while now, but

never quite managed to tip himself over. Hopefully, he says, Ghosts will do the trick.

“I’d be lying if I said I wouldn’t be ecstatic if some sort of ‘success’ came from Ghosts, but as I’ve gotten older I’ve become more aware of what success is. If a song connects with a listener in a way they can relate their own experience to, positive or negative, then that’s success.”

Th e production values on Ghosts are fantastic but Grewar says this doesn’t mean his live shows won’t be just as spectacular, despite the fact he’s scared shitless.

“To be honest, I’m terrifi ed by the challenge of recreating the songs with a full band. I’ve been playing on my own since June last year so am only now starting to get into a rhythm and not get so damn nervous. Between myself, Caleb and drummer extraordinaire Pauly Durham, we played all the instrumentation on the album, so unless I can concoct some sort of multitasking extravaganza, I’m going to need more like-minded bodies onstage. Do you play keys Tony?”

WHO: Turner

WHAT: Ghosts (Independent)

WHERE & WHEN: Inspire Gallery Saturday Feb 26

WOMEN IN MUSIC ANNOUNCE ANOTHER ROUND OF SPEAKERSWomen in Music is shaping up to be a must attend event with the announcement of more speakers including Susie Patten (I Heart Hiroshima), Kate Jacobson (Texas Tea), Michelle Brown (4ZZZ), Beauty And Th e Beats (Hip Hop collective), Anje West (Th e View From Madeleine’s Couch), Kellie Riordon (ABC Radio) and Sacha Taylor (Frankie Trouble!). Women in Music is an all day event to be held on Tuesday Mar 8 at the Judith Wright Center of Contemporary Arts. Registration is $44 or $33 per person for groups of 5+ and can be done online at www.womeninmusic.com.au.

THE ROCK N ROLL AUCTION CONTINUESTh e Rock ‘n’ Roll Auction has currently raised over $8,000 for Th e Premier’s Disaster Relief Appeal however there are still plenty of items to be bid on. ‘Money-can’t-buy’ experiences now open include the chance to meet Katy Perry and a VIP trip to the massive Coachella Festival in the USA. Th ere are also many signed items from artists of all genres. Visit rocknrollauction.com.au to view auctions and bid.

APPLICATIONS FOR THE SEED 2011 NOW OPENTh e Seed Fund was established to nurture and support artists and arts workers throughout the emerging phases of their careers. Back for the seventh year the arts fund has extended to include a publicity category and a new and exciting partnership with Next Wave festival for visual artists, under the Art For Th e Public/Next Wave category. Applications are now open through www.theseedfund.org.

AWME SHOWCASE APPLICATIONS OPENOver the last three years the Australasian World Music Expo (AWME) has established itself as a major international music industry event pioneering new networks and creating opportunities for musicians worldwide by engaging with industry representatives from around the globe. Artist showcase applications for AWME 2011 are now open through www.awme.com.au or Sonicbids before Apr 29 2011.

WANT TO KNOW MORE?For these stories and more, go to www.qmusic.com.au.

WANT TO BECOME A Q MUSIC MEMBER?For membership details and application forms, go to www.qmusic.com.au.

Q MUSIC IS A NOT FOR PROFIT ORGANISATION SUPPORTING QUEENSLAND MUSIC, MUSICIANS AND INDUSTRY WORKERS. THIS COLUMN WILL PRESENT YOU WITH INFORMATION ON GRANT AND EXPORT OPPORTUNITIES, CONFERENCES AND THE GENERAL LOW-DOWN ON THE STATE’S MUSIC INDUSTRY.

PICTURE THIS Th ey earned themselves plenty of new fans after their performances at this year’s Big Day Out and it looks like Sydney’s Cameras are set to be exposed to an even wider group of people as they hit the road with none other than Roxy Music over the next couple of weeks. Th is news contributes to what has already been a pretty incredible 2011 for the band, as well as the aforementioned festival billing they have also inked a deal with infl uential Los Angeles label Manimal Vinyl, which will help them make inroads into the United States later on this year. But fi rst, make sure you get to the Brisbane Riverstage nice and early on Tuesday Mar 1 to catch the band open things up for these legends of art-pop; tickets are still available from Ticketmaster from $123.58 – $184.96.

VAQUER FRANCÈS Anyone who has met the self-professed “French cowboy” Orville Brody on his past travels to Australia will attest to what a charming and talented character he is. Brody has announced that he is going to come back Down Under next month and this time he is bringing his backing band Th e DDD with him for all shows! Th e end of last year saw them travelling around France playing shows with our own Texas Tea, so you can bet that they already have their Australian lingo and drinking methods ready to be put into full use. Th e band hit the Beetle Bar on Friday Mar 11 with support from Th e Jim Rockfords and Skritch before they head into the Valley for a show at X&Y Bar with Texas Tea on Saturday Mar 12. Come down and say bonjour!

I SEE RED Can you believe it has been two years since Th e Red Paintings played in Brisbane? We can’t, but that doesn’t really matter because it’s true. Anyway, the band are based in Los Angeles these days but they are coming back home to play a few shows for those hometown fans who miss them so and we can guarantee you that there are more than a few of them. Th e band announced two secret shows a couple of weeks ago and they sold out in no time fl at, so to keep up with this demand they have announced a third and fi nal show at a location not yet revealed. In order to pick yourself up a ticket you will need to head to their Facebook page – they’ll give you all the info from there. Tickets start at $25 and the show happens on Friday Mar 11. It is open to all ages, so get on board.

Feb 23, 2000 – Sean “Puff y” Combs is indicted on charges of bribing a witness. According to the Manhattan District Attorney’s offi ce, Combs off ered money and jewellery to his driver, and asked him to claim ownership of a gun that police recovered from the Comb’s car following a shooting at a New York nightclub.

Feb 24, 1992 – Kurt Cobain and Courtney Love are married in Hawaii.

Feb 25, 1999 – Prince fi les a copyright and trademark infringement lawsuit against nine websites, with allegations that include selling bootlegged recordings and off ering unauthorised song downloads.

Feb 26, 1998 – Tommy Lee of Motley Crue is formally charged with abusing his wife Pamela Anderson Lee, and one of their sons, Dylan.

Feb 27, 1991 – James Brown is paroled from prison after serving two years. He had been sentenced to six years in prison after leading police on an interstate car chase.

Feb 28, 1970 – Led Zeppelin perform as Th e Nobs in Denmark after the family of Ferdinand von Zeppelin threaten a lawsuit.

Mar 1, 1968 – Johnny Cash and June Carter are married.

TIME WARP

WED 23Abby Skye Th e Tempo HotelAlbare Old QLD MuseumDeep Sea Arcade, Surf City, Mosman Alder Pacifi c Hotel YambaFree Sunny Irish Murphy’s BrisbaneGwilym Simcock Brisbane Powerhouse VisyH.R.G. Swingin SafariIretro Elephant & WheelbarrowKyzer Soze, Entrails Eradicated, Black Mask, Igniter Th e Chamber Step InnMace Fibber Magee’s, ToowoombaMark Sheils Royal GeorgeOpen Mic Th e Music KafeOpen Mic Night Birdee Num NumOpen Mic Night Th e Loft Chevron IslandRamjet Royal Exchange HotelRedspencer, Tiny Migrants Ric’sSoula’ Flare Glass Bar & RestaurantTh e Bowery Hot Five With Mal Wood Th e BoweryTh e Stress Of Leisure Confi t BistroTh e Submariners, Cannon, Maggie Collins X & Y BarTramp Fiesta, Our Ithaca Creek, Slim Johnson & Th e Power Walkers Club 299Tyson Faulkner Fiddlers GreenVenus Envy Victory Hotel

THU 24Arse Eyes, Dementia 13 Ric’sBallad Boy Loving HutBlues Jam Broadbeach TavernBoys and Girls: Wherewolves, I Am Villain, Finders Keepers X & Y BarDeep Sea Arcade, Surf City, Mosman Alder Th e Beach Hotel, Byron BayHawkmoon, Ultrafeedy, Teaser & Th e Firecat Th e Beetle BarI Can’t Believe It’s Not Th e Satellites Th e BoweryJabba Irish Murphy’s Brisbane

Jazz Under Th e Stars CloudlandLambda: Guineafowl Alhambra LoungeLocky Elephant & WheelbarrowMC Planet Asia, Copywrite Step InnMe & Steve Fibber Magee’s, ToowoombaMick Danby Th e Tempo HotelMike Barber Ryan’s Bar, Treasury CasinoNik Phillips Victory HotelParmis Rose Limes HotelRobert Henke, Alex White Institute Of Modern ArtSly Jack Delta Blues, Kniki & Mike Beale Th e Music KafeStonemason, Veralyn, Candice Mcleod, Sweet Continuum Th e Loft Chevron IslandTh e Claymores, Tesla Coil Th e Gollan HotelTh e Deckchairs, A Little Province Tatt’s LismoreTh e Seabellies ASP Surfi ng AwardsTh e Whitlams QPAC Concert HallToro Y Moi, Oh Ye Denver Birds WoodlandTransvaal Diamond Syndicate, Troublekarmafl ow, Electric Fooling Machine BarsomaTyson Faulkner Great Northern Hotel Byron BayUnplugged In Th e Basement: Blame Ringo Th e Arts Centre Gold CoastVenus Envy Royal Exchange Hotel

FRI 253 Days Off Broadbeach TavernAdrian Keys Th e International HotelAfter Glow Alderley Arms HotelAkasa Surfers RSLAustin Busch Th e Beach Hotel, Byron BayBambini, Katia Demeester, Chris Sheehy Band Th e Loft Chevron IslandBenjam Burleigh Heads HotelBigger Th an Texas Newmarket HotelBlind Lemon Th e JoyntBlindchase Kawana Surf ClubBlonde On Blue Locknload West End

Bluesville Station, Pete Cornelius, Phil Emmanuel, Jon Stevens, Busby Marou, Los Cobras, Doug Edwards, Th e Th underbirds, Whyte Zebra Agnes Waters Blues & Roots Bone Lazy Miami TavernCallum Taylor Murrumba Downs TavernComicbook Hero Hamilton HotelDan England Noosa Surf ClubDarren Hanlon Majestic Th eatre PomonaDeep Sea Arcade, Surf City, Oceanics ElsewhereDownlode Hinterland HotelDuck Duck Goose Bowler BarDuplicates Live Wire Bar, Treasury CasinoFloating Bridges Th e BreweryFlood Fundraiser: Old Growth Cola, Feet Teeth, Impromptulons, Black Vacation Step InnGang Of Four, I Heart Hiroshima, Rebuilding Th e Rights Of Statues Th e Hi-FiGreg Wall Dublin Docks TavernHemi & 2 Stroke Th e Morrison HotelHomer Q Bar Holiday InnIf I Lie, Second Circle Hard Rock CaféIndie Showcase: Alex Jones, Legless, Th e Auburn, Tourism, Swim, Jack Seven, Syndicate Th e Tempo HotelJan Lennardz J’z Jazz Crew Vida Amor RestaurantJason McGregor Ryan’s Bar, Treasury CasinoJoel Turner, Jimmy Z Billy’sK2 Duo Chatswood Hills TavernKaos Kedron Park HotelKniki & Mike Beale Upfront Club MalenyLotek, Rudekat Sound, Evil Eddie X & Y BarMacka Cannon Hill TavernMark Bono Fibber Magee’s, ToowoombaMark Plumb Narangba Valley TavernMichelle Brown Duo Caloundra Bowls ClubMick Evans, Jabba Irish Murphy’s BrisbaneMirror World Royal Exchange HotelMojo Webb & Band Seagulls

Mr Perkins Cleveland Sands HotelPeter Loveday, Th e Sixteenth Century, Dark Bower, Stag Th e Beetle BarQSM Live Soundslikebrisbane: Texas Tea, My Fiction Queen Street MallRichard Waterson Queenslander GoondawindiRihanna Brisbane Entertainment CentreRob Cini, Berst Elephant & WheelbarrowRSPCA Fundraiser: Tiny Migrants, Undead Apes, Extrafoxx, Th e Summertime Project, DJ Cheese And Biscuits Jubilee HotelRushmore Coolangatta HotelRVLR Beenleigh HotelSarenda CBXScott Dean Club Hotel WaterfordSecond Gear Horse & Jockey WarwickSlim Pickens & Dr Baz Royal Mail Hotel GoodnaSolar Rush Victory HotelStairway Fisherman’s Wharf TavernStevenson St Coolum Beach HotelTaylor Brothers Jimboomba Country TavernTh e Beam Edinburgh Castle HotelTh e Bon Scotts, Th e Good Ship Ric’sTh e Bronx, Terror, H20, Trash Talk Step InnTh e Deckchairs, A Little Province Great Northern Hotel Byron BayTh e Geoff Green Trio Th e Point RestaurantTh e Idea Of North Brisbane Powerhouse Th eatreTh e James Whiting Group Australian Legion Memorial ClubTh e Kate Mackie Quartet Gertie’s Restaurant And BarTh e Pugs, Th e Vampers, Sled Th e Music KafeTh e Residents: Lion Island Brisbane Powerhouse Turbine PlatformTh e Whitlams QPAC Concert HallTin Pan Orange, Ross James Irwin Soundlounge CurrumbinTodd Burns Centenary TavernTreva Scobie Southern Hotel Toowoomba

Tuff y Wharf TavernVenus Envy Th e Crown HotelViper Room Surfers Paradise Beer GardenWorld’s Greatest Shave: Danny Widdicombe, Gina Horswood, My Fiction, Halfway Th e Zoo

SAT 26A Petty Tribute, Missing Jade Bribie Island HotelAdrian Keys Tinbilly TravellersAfter Glow Pacifi c Pines TavernAkasa North Burleigh SLSCAustin Busch Swingin SafariAz Kerwin Pub MooloolabaBenjam Victory HotelBerst Irish Murphy’s BrisbaneBlackbirds with Steve Nugent, Ilona Harker & Renee Searles Great Northern Hotel Byron BayBlind Lemon Lennox Point HotelBluesville Station, Pete Cornelius, Phil Emmanuel, Jon Stevens, Busby Marou, Los Cobras, Doug Edwards, Th e Th underbirds, Whyte Zebra Agnes Waters Blues & Roots Bowler Bar Bowler BarBrooksy & Co Hamilton HotelBurton, Sunde And Fix Th e Arts Centre Gold CoastC4 Miami TavernComicbook Hero Royal Exchange HotelDan Acfi eld, Mark Mcintyre, Miller & Nodwell, Sunday Sons Th e Music KafeDarren Hanlon, Carry Nation Th e ZooDeep Sea Arcade, Surf City, Mosman Alder WoodlandDenise Harris Woombye PubDesert Stars Dancing Brisbane Powerhouse Th eatreDownlode Broadbeach TavernFloating Bridges Australian HotelGung Ho Fibber Magee’s, ToowoombaJimi Beavis Locknload West EndKniki & Mike Beale Marcoola Surf ClubKye Cole, Macka Narangba Valley Tavern

Lissy Stanton, Nigel Mctrustry, Caroline Hammond, Peter Miller, Garry Bagnell Th e Loft Chevron IslandMark Bono Southern Hotel ToowoombaMartha Wainwright A & I Hall BangalowMeridian O’Malley’s Irish Bar, MooloolabaMr Maps, Th e Slow Push, Cutloose X & Y BarNew Columbia, Gold Dirt Ric’sNik Phillips Newmarket HotelNo Filter, Rvlr, Sharon Friel, Sould Doubt Th e Hi-FiNova Scotia, Tape Off , Arbuckle, Scraps Secret VenueOz Hornz Live Wire Bar, Treasury CasinoPeter Loveday Room 60, Kelvin GrovePigeon, Th e Bytonics, DJ Dayjavu Th e BreweryPopalicious Brisbane Powerhouse Turbine PlatformQSM Live Soundslikebrisbane: Emma Louise, Dubmarine Queen Street MallRamjet Elephant & WheelbarrowRed Couch Redland Bay HotelRichard Waterson Queenslander GoondawindiRockabilly Bop, Pat Capocci Combo, Th e Knights Of Sin, DJ Lori Lee Morningside RSLSecond Gear Redcliff e RSLSeventh Avenue Australian Legion Memorial ClubSlim Pickens & Dr Baz, Mojo Webb & Band Royal Mail Hotel GoodnaSolar Rush Th e Crown HotelSoundwave After Party: Lagerstein, Kablammo!, DJ Iron Wombat Jubilee HotelSoundwave Festival Feat., Iron Maiden, Queens Of Th e Stone Age, Slayer, Primus, Slash, 30 Seconds To Mars, Stone Sour, Avenged Sevenfold and more RNA ShowgroundsStairway Lansdowne TavernStevenson St CBXTh e Decline Of Modern Civilisation: Captain Ahab, Stag, Dot.Ay, Wtem, DJ Juga Juga, B.A.S.S. DJs Jubilee Hotel

Th e Eggman Th e Rolling RockTh e Seabellies Globe Th eatreTh e Walters Th e Boundary HotelTLD Wharf TavernTodd Burns Centenary TavernTom Carty, Th e Wind Up Dolls Th e Tempo HotelTom Foolery Shafston HotelTrashwolves: Bonfi re Nights, Card Houses, Friends Of Ben, Th e Submariners, Violent Soho DJs Step InnTurner Inspire Gallery BarVenus Envy Surfers Paradise Beer Garden

SUN 27Adrian Keys Th e Breakfast Creek HotelAfter Glow Redland Bay HotelBlind Lemon Harrigan’s Drift InnBlock Party Elephant & WheelbarrowBluesville Station, Pete Cornelius, Phil Emmanuel, Jon Stevens, Busby Marou, Los Cobras, Doug Edwards, Th e Th underbirds, Whyte Zebra Agnes Waters Blues & Roots Casey Barnes Brothers IpswichChris Dell, Venus Envy Royal Exchange HotelChris Dillon Newmarket HotelClark Brick Waterfront HotelDanny Widdicombe Th e Tree HouseDarren Hanlon Lismore City Bowling ClubFloating Bridges Nambour OriginalsFloating Bridges Ric’sHappy Sundays, Hot Dog Live Wire Bar, Treasury CasinoHippopotamus, Benjam Broadbeach TavernKniki & Mike Beale Bribie Island SLSCLive Spark: D. Rogers, Timothy Carroll Brisbane Powerhouse Turbine PlatformMic Travers Band, Jeff Carter Irish Murphy’s BrisbaneMichelle Brown Duo Noosa Yacht ClubMojo Webb Th e Boundary HotelNew Groove Jazz Ensemble Australian Legion Memorial ClubNik Phillips Victory Hotel

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59

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melodies and I was just very conservative with them, and it sounds very vulnerable and conservative, very careful, but I think that actually transfers well. The vulnerable side is really cool. It’s very cautious but it plays into the record, juxtaposing heavier music with softer vocals.

“I had to record the bass performance of some songs fi rst while I’m humming it in my head, the vocals, and then other times I had to do guitar. I couldn’t really sing and play, and I was wondering if I could fi nd another singer. [As the producer] I could hear [the record] in my head, and basically it was just a chase to see if I could what I was hearing in my head down to tape. In a song like You Can’t Quit Me Baby, where I play bass with the drums, I basically had to go [hums the core riff] for four minutes before it changed, and then you go in and listen and wonder is it right? Is it the right amount of times? It wasn’t like ProTools editing or anything like that – if you needed to add it, you just played it again. So I had to know what I was doing basically, so all those parts are really deliberate, and that’s why it’s been kinda cool to play in that way again. To have that sort of relationship with those songs again is really cool.”

Two of the three tracks added to the original album for this reissue – The Bronze and These Aren’t The Droids You’re Looking For – came from the same sessions as the rest of the album, but were originally released as

THE DIGITAL AGETHE DIGITAL AGETHE FIRST BIG TYM INSTORESunday Feb 27 sees the fi rst live instore performance at the new, improved and recently relocated Tym

Guitars, now at 5E Winn St, Fortitude Valley. Local band Nova Scotia, who recently not only released their debut album but also supported Built To Spill, will be playing a set complete with three-pronged guitar attack. Copies of the album will of course be available for purchase on the day and the guys will happily sign them. As you might recall from my profi le of a couple of months ago, the new Tym Guitars premises has the unique feature of being a retail shop with a fully-equipped live stage for touring bands to play instores in a fully professional set-up. The fully dedicated stage area has a full backline from the store’s list of hire gear including guitars, basses, effects and amps and is running a custom-built 16-channel audio system designed and installed by Acoustic Technologies with the option of full 16-track studio quality recording of all instores. It all kicks off at 2pm, and most importantly it’s all ages and free.

DUBBIN’ UP THE STRIDESydney-based ten-piece reggae meets Afro-beat combo The Strides lucked out when they went out to fi nd a studio that could not only capture the vibrancy of their raw, musical sound but also translate a couple of the tracks on their second album, Reclamation (Earshift/Fuse), into some serious deep dub-fests, as trumpeter Nick Garbutt told me: “We had an amazing engineer/producer [Mike Burnham] at the studio we worked at, Tardis Studios in Marrickville. He’s done a lot of that stuff and is a huge reggae-head, and he had the gear – he has a big old 48-track Neve desk and all the analogue echo machines and delays – so he did his thing on it.”

VALE CHARLES KAMANThe name may not be immediately familiar but I’ll guarantee that somewhere along the line you’ve played or heard someone play the guitar that Charles Kaman, who has died aged 91, invented – one of the fi rst electrically amplifi ed acoustic guitars, the Ovation. An aeronautical engineer by day – the company he set up in his mum’s garage in Connecticut in 1945 was a billion-dollar concern by the time he retired in 2001, having pioneered a variety of major designs in the development of helicopters – Kaman, born in Washington DC in 1919, was also an avid guitarist, and in 1966, set up the Ovation Music Company to exploit the designs he was developing for an acoustic guitar with a rounded-bowl back rather than the traditional “box”. Intrigued by the idea that his design would improve the fl ow of sound, he experimented not only with different depths for the bowl but also a bracing system that would allow the traditional wooden top of the guitar to sit against the redesigned back. The other unique feature of that rounded bowl back to the guitar was the use of aerospace composite material, which remains the major characteristic in acoustic-electric Ovation guitars and basses to this day. The fi rst successful design, built by luthier Gerry Gardner, went into production soon after the company was established and essentially saw Kaman reversing the vibration-reducing technology that he had developed for helicopters to create a generously vibrating instrument.

SOUND BYTESThe self-described “mostly based in Melbourne” four-piece [ME] recorded their latest EP, Naked, at Sing Sing Studios in August/September last year with producer Matt Voigt (Oh Mercy, Big Scary), then found themselves back in the studio in November, this time recording and mixing with UK producer Simon Barnicott (Kasabian, Arctic Monkeys, The Temper Trap), having been signed to UK label Lizard King Records.

Teenage Fanclub guitarist Norman Blake has recorded an album with Euros Child as Jonny, the pair co-producing the eponymous album, which they recorded at a studio called Chem 19, near Glasgow.

Birds Of Tokyo are the latest Australian band to become Logitech endorsees through their extensive use of the company’s Ultimate Ears range of earphones. Logitech is also the main sponsor of the Katy Perry Californian Dreams Tour.

The Beggars have been tracking their new album at MixMasters in Adelaide and are mixing it on the HD System in The Red Stairs in Sydney with engineer Andrew Beck at the helm.

Utilising their warehouse rehearsal space in inner city Sydney suburb Alexandria, psych-pop four-piece Plasticine Machine invited engineer Greg Fitzgerald down to capture material for their debut EP, hooking up a Zoom HD16 Hard Disk Recording Studio and an Apple Mac laptop, running the vocal mics – an Audio Technica AT2020 and a Shure SM58 bundled together – through a Digidesign DIGI 2002.

part of The Split EP Queens Of The Stone Age shared with a band called Beaver, released the same year as the debut album. Spiders And Vinegrooms was recorded at Ironwood Studio in Seattle, Washington, with Goss co-producing with Homme, and originally released in 1997 on another split EP on which Homme included tracks from Kyuss along with Queens Of The Stone Age.

Brian Gardner at Bernie Grundman Mastering in Hollywood remastered the album.

“I’m not searching for perfection and I don’t try to correct something, and honestly, I was, like, it doesn’t need to be corrected. It’s smaller than other records when you put it on, because of where it was recorded. It’s raw, but I don’t have a problem with that. It was more adding these other songs in that were recorded on the same session, so in a way it was almost ‘preserving’ it I guess. It’s got a sound and a thing to it – there’s no need to fi nger it all day, you know what I mean? What was great was, ‘Let’s not do anything to it,’ you know? Sometimes it’s hard to get people to listen to the idea of, ‘Hey, can you do nothing to this except make all the songs the same volume?’ Brian’s just a great mastering guy here in LA. I use him on and off all the time.”

Gardner has been a mastering engineer since the mid-60s and while he’s mastered records for a huge number of artists across every conceivable genre, from actor Ann Margaret, shock rocker Alice Cooper and jazz man Art Blakey through to Xzibit and Yolanda Adams, he’s become particularly well known in recent years for his work on hip hop albums and in particular his collaborations with Dr. Dre. Hence his nickname, BigBassBrian!

Meanwhile, Queens Of The Stone Age will be recording the new album in Homme’s own studio in Burbank, though Homme isn’t in any hurry to get something new out just yet.

BEHIND THE LINESWITH MICHAEL SMITHBTL@STREETPRESS.COM.AU

STUDIO PROFILESTUDIO PROFILEACOOSTIC ZOO RECORDING STUDIOJOSEF HORHAY, MIXING ENGINEER

WHAT’S THE STUDIO SET UP YOU HAVE THERE EQUIPMENT-WISE? LOGIC Studio. Via Cranesong HEDD. Amek, Manely front end. Mics include Neuman M149, AKG, SHURE.

ANY TIPS FOR ARTISTS ENTERING A STUDIO FOR THE FIRST TIME? It’s important to enjoy the experience and be creative. Discuss openly about your recording needs and your expectations prior to recording.

We’re in the service industry so strive to put people fi rst – it’s important for me to capture the feel/vibe. Getting the right sound along with good material should always be our priority.

WHO DO YOU HAVE ON STAFF AND WHAT’S THEIR BACKGROUND IN THE INDUSTRY? Vaughn Leong – owner/guitarist

Shaun Leong – owner/drummer

60

BROUGHT TO YOU BYBEHIND THE LINES

Originally released in September 1998, the self-titled debut album from QUEENS OF THE STONE AGE has been re-issued, expanded and remastered, by the band’s founder, singer, songwriter, guitarist and on that album bass player JOSH HOMME on his reactivated indie label, Rekords Rekords. He discusses the original recording sessions and more with MICHAEL SMITH.

A s it happens, August last year saw the re-release of the second Queens Of The Stone Age album, 2000’s Rated R, in that

case with a second disc that included various b-sides and live cuts from the band’s 2000 Reading Festival performance in the UK. That was the band’s fi rst major label release, while their eponymous debut, which was essentially just Homme and drummer Alfredo Hernandez, was originally released on Stone Gossard’s indie label, Loosegroove, and the reissue includes three additional tracks from the original recording session.

“The Rated R thing was the label’s idea,” Homme, on the line from his home in California, admits. “‘Oh, it’s been ten years, let’s put all of these songs together in a collection’, which was a great idea. But the fi rst record has been out of print for years, and it feels like in the digital age, when you can anything online, it seemed stupid not to have this record available. Hearing it again has been affecting everything else we’ve been doing – it’s making us go back to all the other records and examine where we were.”

Revisiting that debut album, not only in order to re-release it but also in learning to play it as the current fi ve-piece “note-perfect”, as Homme proudly explains, has infl uenced the way he’s approaching the writing of the material for the album the band is preparing to record.

“It’s all of a sudden made everything more trancey and more strange repetitions are popping out now, so some of the fi rst record informs the new record in a way.”

About two days before the original recording session, Homme, who’d fi rst surfaced internationally with the band Kyuss, which broke up in 1995, decided to let the singer, guitarist and bass player he’d been rehearsing up the songs with go and instead headed off with Hernandez to Studio Monkey in Palm Springs, California, run by engineer Chris Goss.

“I spent every penny I had making it and it was all on tape,” he recalls. “We did it really fast. The hard part was realising the fact that I was about to be the singer, mostly because I’d never really sung and I sounded kinda shitty I guess. I’ve come to really enjoy it but I basically had these

The remastered, expanded Queens Of The Stone Age album is out now on Rekords

Rekords through Liberator Music.

Damien Haenga – songwriter/producer

Ben Nixon – songwriter/producer

Josef Horhay – mix engineer

I do online mixing for international and local clients. I enjoy mixing pop, R&B, EDM and hip hop.

ANALOGUE VS DIGITAL – DISCUSS. Digital is preferred – faster work fl ow, consistent results. In addition to digital, a good quality analogue front end is always important. That’s why most studios these days use either some form of DAW such as ProTools, Logic, Cubase etc.

I predominantly use Logic as my creative instrument. It’s my life source for inspiration and compositional tool. I enjoy making backing tracks for singer-songwriters to write to. Plus it keeps me busy and allows me to keep being creative in my spare time. I have some tracks on the site ready for collaboration as part of our “Artist Development Program”.

CAN BANDS BRING IN THEIR OWN ENGINEER OR DO THEY HAVE TO SOLELY USE A HOUSE ENGINEER? Yes, they’re welcome to contribute and I’m happy for them to have a go, no worries.

IS THE STUDIO CAPABLE OF HOLDING A FULL BAND AT ONCE FOR RECORDING? Yes and no. We don’t normally record full bands – as we generally work with solo/duo singer-songwriters in pop/R&B/hip hop collaborations. For productions that require live drums, we’ll use the top of the line V-DRUMS TD-20 – a very powerful marriage of modern tech fused with old fashioned hi-end drum recordings.

WE’RE AN IMPOVERISHED INDIE BAND – DO YOU OFFER ANY DEALS FOR ACTS IN OUR SITUATION? Defi nitely, we can absorb all the production cost involved with collaborations. We’re always happy to help others achieve their goals. Currently, we have an “Artist Development Program” for discovering and developing unsigned/signed artist with short/long term commercial appeal – where all production and recording costs are funded by us.

DO YOU HAVE ANY IN-HOUSE INSTRUMENTS AT THE STUDIO ACTS CAN USE, OR IS IT TOTALLY BYO? BYO.

WHAT’S THE ACCESS TO THE STUDIO LIKE WITH REGARDS TO PARKING, FLAT LOAD, ETC? It’s not a fl at load, but there’s street parking. Good central location 5km from CBD.

WORKING IN THE STUDIO CAN BE ARDUOUS AND WE’LL NEED A BREAK – WHAT ARE THE AMENITIES IN THE LOCAL AREA? Café. Takeways.

WHAT ARE YOUR CONTACT DETAILS? Josef HorhayMix EngineerMob: 0466 571 671Email: josef@acoosticzoo.comwww.acoosticzoo.com

QOTSA CIRCA 1998QOTSA CIRCA 1998

61

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ORIGINAL 1973 VOX AC30 Amp! Get the original from the year Brian May made it famouse!It’s now a head & cab as head was taken out and given new casing to preserve it’s condition. pics avail on request. 0403-498-103 info@nathaneshman.com

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CD / DVD

Attention Musicians, Record Collec-tors, Universities, Libraries - new Book available (print/cdROM/direct download) compiling 100 years of popular music. GO TO www.plattersaurus.com for free web-site and information on how to buy. Enquiries: (02)9807-3137 eMail: nadipa1@yahoo.com.au

iFlogID: 11523

DJ EQUIPMENT

DJ MIXER Behringer VMX1000 Pro Mixer 7 Channel Rack Mountable BPM Counters 3 Band Kill EQ 2 Mic Inputs Talkover Button Sub Woofer Out Adjust-able Cross-Over etc etc Always Cased Like New $200

iFlogID: 11556

STANTON S-650 MK2 Dual CD Decks Fantastic Condition Boxed in Original Packaging

iFlogID: 11558

GUITARS

1940 Supertone Singing Cowboys Vin-tage Guitar with original case. This guitar is super, lots of Soul, excellent condition.

iFlogID: 11509

1960s Vintage Kingston Acoustic Guitar Single “0” Size Body - with hard case. Neck joins body at 12th Fret Good Delta Blues style guitar. Ph: 0402327153

iFlogID: 11511

Fender Pink Paisley Strat. Genuine 1980s model.all original.plays great.beautiful tone and action.very rare.VGC.in case.$2500ono. Ph.0428744963.Cooroy

iFlogID: 11484

Gibson 335 chet atkins tennessean signature guitar ebony neck translucent see thru orange real head turner, no fret wear or scratchers mint condition in case $2000 no offers PH 0449536661

iFlogID: 10920

Model F11.dated 10/73.steel strings.all australian timbers.original cond.$500.Ph.0428744963. Cooroy.

iFlogID: 11488

OTHER

AKG D112. Never used! iFlogID: 11122

Excellent studio monitors, Yorkville YSM1P. Sparsely used and in great condition.

iFlogID: 11126

Legal Alternative Marijuana try a sample pack today www.legalpot.com.au

iFlogID: 11537

Lexicon MX 220 Dual Reverb Effects Processor. A pristine, never used unit, ideal for small studios.

iFlogID: 11124

Male Siberian Husky 8 month Puppy Great Affectionate Nature Pedigree Papers Chipped and Vaccinated All accessories with sale $500 negotiable call matt 0425 820 547 Sydney

iFlogID: 11502

PA EQUIPMENT

Australian Monitor F300 foldback wedge / fl oor monitor. 300W continuous 500W peak. 15” bass driver, 1” com-pression driver, 60x40 degree horn. Seven available. $299 ea. Princess Theatre, Woolloongabba, Brisbane. Ph 0400 404 919.

iFlogID: 11560

Australian Monitor, Inter-M, amps, fold-back, racks. The Princess Theatre has PA equipment for sale. Check out the list and prices at http://bit.ly/pasale. Contact Jeremy 0400 404 919.

iFlogID: 10991

Australian Monitor, Inter-M, dbx and more. The Princess Theatre is selling a number of PA components including amps, foldback wedges, rack cabinets, and crossovers. Check out the list and prices at http://bit.ly/pasale. Contact Jeremy 0400 404 919.

iFlogID: 11167

CARVER 1800W PA. rack mount.split mono.with Bose controller/pre amp.8 speaker outputs.very loud.in case.VGC.cost over $2500.sell $850.Ph.0428744963.Cooroy.

iFlogID: 11482

MUSIC SERVICES

BAND MERCHANDISE

Create your own merch! Screenprinting workshop at Monstrosity Gallery, inner Sydney $95 full day. Arrive with ideas, leave wearing your band’s merch. Fun and creative. We also print Custom Tees from $15 each. 0421356410 www.mon-strosity.com.au

iFlogID: 11194

BOOKING AGENTS

Gig Launch are looking for artists to receive free radio play in and around Australia. Lots of genres, lots of time slots. Submissions are free, we just need quality songs! To submit, head to www.giglaunch.com.au

iFlogID: 10930

Gig Launch is Australia’s fi rst online booking agency, connecting artists and promoters all over the world. Opportu-nities local and globally, we need qual-ity artists for our gigs! Head to www.giglaunch.com.au to submit.

iFlogID: 11207

Gig Launch is Australia’s fi rst online booking agency, connecting artists and promoters globally. We’re currently on the hunt for artists to play world-wide festivals and events, with heaps at home. www.giglaunch.com.au Go Aussie, Go Gig Launch!

iFlogID: 11527

Gig Launch is Australia’s fi rst online booking agency, connecting artists to promoters. We’re currently taking submissions on a large amount of opportunities and gigs, so head over to www.giglaunch.com.au to submit your songs and information! Go Aussie, go Gig Launch!

iFlogID: 10938

OzSong International is now accepting submissions! Choice of prize is yours: fl y to Nashville to record or fl y to Sydney to record. Runner-up prizes include studio equipment. Head to www.giglaunch.com.au to get submitting!

iFlogID: 10932

EP RELEASE

SYDNEY SUMMER 2011 - Compilation of Sydney bands. Download free from www.swimmingpoolrecords.com Now seeking submissions for Sydney Autumn 2011.

iFlogID: 11098

HIRE SERVICES

NOT AVAILABLE FOR FREE ADS. CL

For as low as $100, you get a profes-sional PA system with a sound mixer with operator. Suitable for weddings, pub/club band gigs, private parties etc. infovision@yayabings.com.au Contact Chris 0419 272 196

iFlogID: 10926

MASTERING

Mastering by Wayne Lotek (UK), award winning producer of Roots Manuva and Speech Debelle. From $50 per track, online service available or come into the Melbourne studio. All styles catered for, reggae, hip hop specialist. Email: wayne@lotekproductions.com Phone: 0394170760

iFlogID: 11132

OTHER

Daniel is now giving guitar lessons phone 0432 614 066

iFlogID: 11253

MUSIC PUBLICITY: Got the music but need it to be heard? Need more people at your shows? Take your band to the next level with a publicity campaign designed to put your band in front of music lovers. www.aaaentertainment.com.au

iFlogID: 11257

PHOTOGRAPHY

Pro Band photographer available in Brisbane/Gold Coast area. Live and promo shots, affordable rates for bands that don’t exist. Recent work at http://haqphoto.blogspot.com For enquiries email hannahquinn@ymail.com or call Hannah on 0459544495

iFlogID: 11421

RECORDING STUDIOS

Have you got a hit song, but no produc-tion skills to match??? Get world class production without blowing your budget. Radio quality - EVERY TIME! Don’t sing? We’ll provide session vocalists and any musos needed. www.nathaneshman.com or call 0403 498-103

iFlogID: 11053

We’re proud to introduce our new recording studio, utilising state of the art technology, at affordable community rates. The studio is available for hire both for production and as a rehearsal space. Located at Liverpool PCYC. Facebook Us!! 02 96086999

iFlogID: 11234

REHEARSAL ROOMS

“The Jam Room” in Parramatta is now open for band rehearsals from 8pm-12am Mon-Sun. Would suit regu-lar rehearsing bands. $30/hr. Option to record live rehearsals for demo’s. 0407125837 - www.jamroom.com.au - info@jamroom.com.au

iFlogID: 11429

REPAIRS

ROCKIN REPAIRS - GUITAR TECH RESTRINGS-SETUPS-UPGRADES-REPAIRS Do you live to play? Whether you’ve bought a new guitar or a favourite is feeling faded, we’ll rejuvenate it! We work hard to give you the feel/sound you want! 0405253417 tara@rockinrepairs.com www.rockinrepairs.com

iFlogID: 9346

--------SYNTH SERVICE MEL-BOURNE--------- Specialising in sales and repairs of pre 90’s analogue synths. Complete recalibration/tuning, slid-ers and keys refurbish only $130. Visit: www.synthservicemelbourne.com.au Call or Text Luke: 0424 420 605

iFlogID: 10928

TUITION

“The Jam Room” in Parramatta is now open for tuition in guitar, piano, vocals and violin/fi ddle. $35/half hour. Experi-enced teachers with a vast knowledge of their instruments. Beginners to advanced and everything in between. 0407125837 - info@jamroom.com.au

iFlogID: 11431

Private singing and acting lessons with an full time working and interanational award winning performer. Brake new boundries and let go of your inhibitions, develope fl awless techniques & have lots of fun. In Sydney inner city. $50/hr. 0412206675 www.damiennoyce.com.au

iFlogID: 11269

SPEECH LEVEL SINGING LESSONS Certifi ed Speech Level Singing (SLS) Instructor. Learn the Technique of over 120 Grammy award winners. Extend your Range. No more Breaks/Flips. Develop Strength. All Styles. Eastern Suburbs. www.mazmazak.com /slsvo-calinstructor - Contact Maz: maz@mazmazak.com

iFlogID: 11184

VIDEO / PRODUCTION

MUSIC VIDEOS offer a great way to gain exposure. Immersion Imagery has worked with a variety or atrists and strives to offer quality creative Music Videos at an affordable price. Visit www.immersionimagery.com or email info@immersionimagery.com

iFlogID: 11423

MUSICIANS AVAILABLE

BASS PLAYER

Bass player looking for a band and/or regular jam. Have been playing about 12 months. Committed, reliable and keen to learn. Sydney (Hills/West). Email: scather@hotmail.com

iFlogID: 11396

NOT AVAILABLE FOR FREE ADS. CL

26 y/o sunshine coast bassist seeks original prog/alt/rock band. Own good gear & transport. 3+ years experience in original bands. Must be keen, committed & easy going. ph: Broc 0457235607

iFlogID: 11161

Quality Bass programming avail. Can work on most styles. Prices charged on hourly rate. Visit www.nathaneshman.com for audio examples or email info@nathaneshman.com

iFlogID: 11057

DRUMMER

Drummer available for pro cover gigs in Bris or touring. Casual or Perma-nent. 39yo. 22yrs exp. Rock Blues Hick. Recently returned from cruise ships. Keen to work. Cool to rehearse. Chart reading no prob for jazz/shows. Call or Text anytime.

iFlogID: 11149

Profi cient Session Drummer Work-ing Out of Sydney City Looking for new Projects for 2011 No particular style preference Call me for any info 0425820547

iFlogID: 11492

Quality Drum programing available. Great sounds & awesome groove. Able to do all styles. Check out the audio at www.nathaneshman.com or call 0403 498 103

iFlogID: 11059

GUITARIST

18 year old Guitar player wanting to join a rock n’ roll band. Infl uences: Guns N’ Roses, Aerosmith, Led Zeppelin, Alice Cooper. I live in the south. Call Tom on 0401722767

iFlogID: 10948

MUSICIANS WANTED

BASS PLAYER

###FREE iPHONE APP### Sydney Underground Fusion Virtuosos, The Three Wise Monkeys, Download the 3WM iPhone app for Free for a limited time @: www.threewizemonkeys.com. Track Previews, Videos, gigs, and social interaction, the Ultimate portal for Three Wise Monkeys.

iFlogID: 11451

A fun Sydney indie/alt/folk band look-ing for bassist: Age 18-25, Play by ear, Saturday practice, Own transport, Good gear/fx, Backing vox. www.polarknights.com for our tunes!

iFlogID: 11293

Atmospheric electro-acoustic-psych-surf-swamp-kraut-indie-rock band

with an upcoming album release seeks friendly bass player. Call or text Danny on 0407226667 check out our songs www.transatmusic.com.upcoming LP and gigs in March

iFlogID: 11334

BASS PLAYER NEEDED FOR ALTERNA-TIVE/ROCK BAND

iFlogID: 10952

Bassist & singer wanted! (Seperate people). Aged between 18-25. Guitar-ist & drummer are very serious to start a metal band w/regular jams and gigs. Infl uences include Pantera, Metal-lica, Maiden, Sabbath & more! Contact Justin on fi nchy_77@hotmail.com or 0432905175 for more info \m/

iFlogID: 11425

Bassist wanted for female fronted psychedelic/ shoegaze/ ambient/ dream-pop band. Gigging all over Mel-bourne with radio play. Aged between 25 and 32. Rehearse weekly in Brunswick. For more information please write to owenleeis@gmail.com

iFlogID: 11437

Bassist with basic singing skills aged 18-21 wanted for established touring Brisbane indie/rock/pop band. Infl u-ences include: Bloc Party, Vines, Cold-play, Muse. Must be a rad, easy going person with own transport and gear. Find FUSHIA on facebook, iTunes and Myspace.

iFlogID: 11506

Indie/rock covers band looking for bass player to join gig-ready duo in Surry Hills to play David Bowie, Killers, Radio-head, Arctic Monkeys, Bloc Party, Dandy Warhols etc.

iFlogID: 11018

Inner Sydney venues wanting original artists, bands and solos, for mid week gigs. interstate and international touring artists welcome. Contact nowmuzik@gmail.com for more information.

iFlogID: 11447

NOT AVAILABLE FOR FREE ADS. CL

Bass player wanted for sydney based rock/funk/blues/hard rock band. We’ll start off playing a few covers then start writing our own material once we’re gig-ging. Call Ben on 0400120340 or drac-tacular@hotmail.com

iFlogID: 10918

NOT AVAILABLE FOR FREE ADS. CL

Looking for singer, bass player, drum-mer and 2nd guitarist to form a creative rock band. Applicants must want to create originals and want to expand in playing infront of bigger crowds. Contact if interested

iFlogID: 10934

ROCK BAND NEEDS BASS PLAYER. MUST HAVE PROFESSIONAL ATTITUDE AND BE READY TO ROCK. 90’S INFLU-ENCED. CALL. 0404 247 555

iFlogID: 11401

Wanted Bass guitarist between 18 and 28yo that is professional. Must have: • Great gear • Transport • Good attitude (happy and enthusiastic & see it through) • Live experience email: thestellaraf-fect@hotmail.com Our links are: reverb-nation.com/thestellaraffect Please, no time wasters.

iFlogID: 11002

DRUMMER

###FREE iPHONE APP### Sydney underground Fusion Virtuosos, The Three Wise Monkeys, Down load their 3WM iPhone App for FREE for a short time only at: www.threewizemonkeys.com. Access every 3WM track, video, upcoming shows and social media. The Ultimate 3WM portal!

iFlogID: 11455

CIRCLE NEED A DRUMMER

Circle need a drummer! We’re pretty busy so expect a reasonably exciting schedule of gigs, shoots and recordings. No tours planed at present but a possibil-ity for the near future. While we’re happy to give anyone a go, this is not a start up project and we will be auditioning for the spot so a level of ‘pro’ experience is preferred. Please visit www.ilovecircle.com and email radi@mondayrecords.com if you’re interested.

iFlogID: 11367

Drummer wanted for experimental rock band. Originals. Infl uences Primus, QotSA, Cake, Beck, Tool, Zappa. Intend-ing to gig. Fast learner preferred (by

ear). Hawthorne. Adam 0431629306 For a listen go to http://myspace.com/DBinator

iFlogID: 11297

Drummer wanted for LIBERATION FRONT Well established Sydney/New-castle based Rock/Alternate/Punk/Hard-core band. Infl uences include: Green Day, Bad Religion, Against Me!, Rise Against and Anti-Flag. To listen check out myspace.com/liberationfrontau Con-tact: liberationf@hotmail.com and Call Tim: 0416128852

iFlogID: 11051

Drummer wanted for up and coming original,covers rock blues band, require committed and experience drummer, infl uences free hendrix Deep purple Eric clapton to play with motivated Guitarist no band hoppers rehearse between cen-tral coast and newcastle 0449536661

iFlogID: 10924

DUMMER NEEDED!!! Ipswich based guitartists(both 18) and bassist(16) are looking for a committed drummer to start rock/alternative/punk band. A few infl uences are Grinspoon, Jebidiah, Red Hot Chili Peppers etc... If your keen call/txt Justin 0424790014.

iFlogID: 11497

Established Brisbane indie retro pop. EP released to great reviews. Played at all the major venues across Brisbane w/east coast touring. Write own material but nothing brilliant required. Someone easy to get along with who can rehearse once/twice a week.

iFlogID: 11038

Indie/rock covers band looking for drummer to join gig-ready duo in Surry Hills to play David Bowie, Killers, Radio-head, Arctic Monkeys, Bloc Party, Dandy Warhols etc.

iFlogID: 11020

Inner Sydney venues wanting original artists, bands and solos, for mid week gigs. interstate and international touring artists welcome. Contact nowmuzik@gmail.com for more information.

iFlogID: 11449

Session, possible full time DRUMMER wanted for central coast rock band.On a rock compilation in USA, Itunes, amazon.com, tunecore etc. Press release in late Feb, Contact Kurt on 0403915430

iFlogID: 11089

Sydney-High Energy, Well Dressed 60’s Garage/Punk outfi t looking for Male or Female Drummer who can hold a beat, and wants to gig. Once a week rehursal. Infl uences-The Stooges, Ramones, Sex Pistols, The Hives. Own kit and transport prefferable. myspace.com/jukeboxzom-bies Astro:0430243915

iFlogID: 11180

GUITARIST

###FREE iPHONE APP### Sydney underground Fusion Virtuosos, The Three Wise Monkeys, Down load their 3WM iPhone App for FREE for a short time only at: www.threewizemonkeys.com. Access every 3WM track, video, upcoming shows and social media. The Ultimate 3WM portal!

iFlogID: 11453

18 year old Guitar Player looking for another Guitar player to form a band with. Infl uences: Guns N’ Roses, Aero-smith, Led Zeppelin, Alice Cooper. I live in the south. Call Tom on 0401722767

iFlogID: 10950

Drummer Northside own quality P.A looking for guitarist to jam and pos-sibilty, of form band able to practice most day’s before 5pm. Infl uences Hot Water Music,Leatherface,Coheed and Cambria,Smoke or Fire,Cog. Ph: Matt on 0422692335 or text.

iFlogID: 11094

I’M A SINGER/GUITARIST, LOOKING TO START DUO/BAND. WANTED: LEAD GUI-TARIST/BASSIST/DRUMMER, OR WHAT-EVER BLOWS IN... I’VE A REHEARSAL ROOM BIG ENOUGH FOR DUO, MORE BAND MEMBERS AND WE’LL NEED A LARGER PLACE. I’M FROM TWEED COAST NSW AREA. CALL PONE 0430597676

iFlogID: 11363

Inner Sydney venues wanting original artists, bands and solos, for mid week gigs. interstate and international touring artists welcome. Contact nowmuzik@gmail.com for more information.

iFlogID: 11443

Inner Sydney venues wanting original artists, bands and solos, for mid week gigs. interstate and international touring artists welcome. Contact nowmuzik@gmail.com for more information.

iFlogID: 11445

Lead Guitarist Wanted:busy original band Novakayn,are looking for an easy going, peacelovin’ person 2 join us. Must be reliable, creative and profes-sional attitude. Soft Rock, catchy songs. Email: novakayn@y7mail.com or ph. 0403777532

iFlogID: 10971

We are seeking a Rhythm Guitarist.18- 28yo. Professional to join Rock/pop band. (Vocal ability bonus) Must have: • Great gear • Transport • Good attitude • Live experience Please send, MP3’s or myspace link to: thestellaraffect@hot-mail.com Our links: www.reverbnation.com/thestellaraffect & www.myspace.com/thestellaraffect

iFlogID: 11004

OTHER

OzSong International is Australia’s newest songwriting competition. Grand prize is a paid trip, accommodation and recording time in Nashville or Sydney - the choice is yours. Each contestant through to the fi nals receives profes-sional recording gear. www.ozsong.com.au for more info.

iFlogID: 11205

ROCK BAR LOOKING FOR ACTS!!! Melbourne’s newest original live music venue located in Melbourne Central, is currently looking for artists to perform. Please email Trager at johntragernoise-projects@hotmail.com for more infor-mation.

iFlogID: 11120

We’ve revamped and renamed sound-ornot.com, we’re now online @ www.indiemunity.com! Artists, upload your music and receive 100% commission on all sales. Promote your music even more with a featured ad! www.indie-munity.com!

iFlogID: 11242

SINGER

90s Infl uenced Frontman in Brisbane - Originals band with vintage sound of funk, grunge, heavy, experimental look-ing for UNIQUE frontman with energetic stagecraft, lyrics, crooning, singing, rapping & aggressive capabilities. 11 songs written. Very serious. Ages 18-27. 0423378506. jordanbleiberg@gmail.com.

iFlogID: 11291

female singer wanted for duo/trio. Gui-tarist with experience looking for Singer/Muso for duo. Led Zeppelin, Heart style covers and originals. acoustic and elec-tric. Aiming to do bars, beer gardens etc. Have gear...

iFlogID: 11531

NOT AVAILABLE FOR FREE ADS. CL

New dynamic 60’s concept show is looking for a professional male vocal-ist who can cover all vocal ranges and styles.Must be a fan of the music and times with rehersals in Eastern suburbs 1-2 times a week.Auditions 19/2 Call 0420511187

iFlogID: 11104

SINGER WANTED - ASAP Experienced Progressive Heavy Groove Band seeks, Strong Heavy/Melodic Vocalist. Think Sevendust, Stone Sour, Karnivool etc. READY TO PLAY!!!

iFlogID: 11513

Singer wanted 4 busy original band Novakayn. Harmonies and shared lead vocals required. Must be a peacelovin’, easy going person with a profession, creative, reliable attitude. Soft Rock with catchy tunes.email novakayn@y7mail.com or ph. 0403777532

iFlogID: 10973

SINGER WANTED for Chili Peppers Tribute Band, Melbourne and surround-ing areas. Serious inquiries only. Phone 0409865133.

iFlogID: 11217

SINGER WANTED FOR ROCK/ALTERNA-TIVE/HARD ROCK BAND. MUST WANT TO WIRTE MUSIC AND PLAY GIGS ANYONE 16 18 MALE OR FEMALE. OUR INFLU-ENCES ARE CHILLI PEPPERS GUNS AND ROSES AND MUCH MORE. IF INTRESTED PLEASE EMAIL US BENNY-6666@HOT-MAIL.COM OTHERWISE STAY SWEET

iFlogID: 10429

We are a band new to the live scene seeking a charismatic female vocal-ist aged18-25. Someone determined, open-minded and confi dent live. Our style includes blues, punk, rock and funk. Jam/practice sessions in Bondi twice a week. Call Bo:0401365924 or Email:andrewakman2001@gmail.com

iFlogID: 11174

SONG WRITER

Acoustic Open mic nite in Footscray at the Plough Hotel starts Feb 17th Thurs-day contact nsound@live.com.au for bookings Great Pa and equipment, great atmosphere. All instruments welcome Covers and orignals welcome

iFlogID: 11096

Inner Sydney venues wanting original artists, bands and solos, for mid week gigs. interstate and international touring artists welcome. Contact nowmuzik@gmail.com for more information.

iFlogID: 11441

OzSong International Songwriting Com-petition is now accepting submissions! Grand prize winner chooses to fl y to either Sydney or Nashville, with accom-modation, studio time and airfare paid. Runner ups receive home recording gear. More at www.giglaunch.com.au .

iFlogID: 11529

SERVICES

GRAPHIC DESIGN

Filmmaker available iFlogID: 11564

GIG POSTERS Professional Posters at a great price. nicole.a.reece@gmail.com or 1200 Design on facebook

iFlogID: 11251

Seriously Good Design. Website design ranging from only $100 - $400. Free domain hosting and email included. Check out our website for all the infor-mation www.seriouslygooddesign.com.au

iFlogID: 10987

Want to stand out from the crowd? Matte Blac Design. Album design, Gig posters, T-Shirt design, corporate identity, advertising material and more. Competitive Pricing!!! Call Matt on 0423 384 439 for a no obligation quote. Fast turnaround guaranteed 100% Original

iFlogID: 11554

WIN A T-SHIRT for your valentine! Go to amandawest.com.au/shop Just choose your ink colour and we will hand-print it for the winner. Usually $45! ENTER NOW!

iFlogID: 11219

OTHER

Boutique T-shirts in Monstrosity Gallery. Hand-printed, unique tees for the fashion evangelist from $45.00 amandawest.com.au/shop

iFlogID: 11201

PHOTOGRAPHY! Melbourne based pro-fessional photography service, special-izing in gigs/concerts, parties, festivals, shows and other events. Cheap rates. Contact Caleb on 0420415510. Check my website for examples of my other work - www.caleblloydphoto.smugmug.com

iFlogID: 10955

Senior First Aid $90 Valiant Training www.valiant.net.au Ph: 1300 600 343

iFlogID: 11176

TUITION

evening guitar lessons, in the redland shire. 1 on 1 lessons with singer guitar-ist Chris from “the febs”$20 for half hour lessons 0414340354

iFlogID: 10894

SHARE ACCOMMODATION

AVAILABLE

Room available by 14th of March. To share 2 bedroom unit on upper story - great view! 140pw Bond 400 Near beach, shops, supermarket & bus stops. Looking for a reasonable, easygoing housemate to share with a female Uni student.

iFlogID: 11467

Unfurnished Room- Rent $280 per week including electricity. In 2 bedroom 2 bathroom apartment with pool and gym, In Alexandria, close to transport.To Share with 1 female who works full time,loves music and enjoy mixing music.Available Now!contact 0411822557

iFlogID: 10946

WANTED

BUSINESSES

STALL HOLDERS WANTED FOR NEW SATURDAY PUB MARKET IN BONDI $30 INC TABLE 0426275655 ANDY FOR DETAILS

iFlogID: 10961

OTHER

Seeking manager or management for Australian,female vocalist returning to Sydney from Tokyo. A versatile vocalist, I’ve recorded many albums and have name in the game music industry.I would like to be booked for decent gigs and studio work. paulat@gol.com

iFlogID: 11415

BANDS & DJ’s GET YOURSELVES ON RADIO! Come and play at the Royal Hotel in Bondi for ABM & we’ll showcase you and your music on our network of Radio Stations for a month! Call Andy 0426275655 for details

iFlogID: 10959

62

WINONLINEMASTERING*

Sign up to the email listfor your chance to

*conditions apply

just head to matthewgraymastering.com/blog

U DRIVE SPLITTER VAN HIRE

• SEATS 11 • TRAVEL IN STYLE AND COMFORT• SECURE GEAR IN THE BACK SAFELY (4 CUBIC METRES)• TOUR COST-EFFECTIVELY ANY WHERE ON THE EAST COAST• NO EXCESS BAGGAGE COST - UNLIMITED KILOMETRES

E: INFO.NOMADTOURING@GMAIL.COMP: 0435 014 608 W: WWW.NOMADTOURING.COM.AU

The GBC, 131 Ridge St, Greenslopes QLD 4120 5th March 2011 10am - 11:45pm

Tickets are $26 plus booking fee through Rocking Horse Records and $30 at the door.

headlump music a nd time off pr esents