My Aural Fixation

The Novocaines : Idle Time

2011-11-04T15:27:00.208+10:00

Cover art by Jimi Dee

Today, The Novocaines released their anticipated debut album, Idle Time.

I've been hanging out for this album following the success of Cup of Coffee and Summer Waiting, alongside the band's impressive performance at Brisbane's Big Sound Live.

The album arrives in an annihilated jewel case - hate those things, as they rarely survive the post - but the inner sleeve is fantastic. Contains all the lyrics, a few band photos, and an A4 size fold-out album art poster. The cover art by Jimi Dee is detailed and decidedly macho in a 'boys like robots' way. Reminds me of Tron meets The Wizard of Oz.

The track listing:

1. Trampled Hearts | 2. Summer Waiting | 3. Memory Memory | 4. Rabbit Hole | 5. Answers Everything | 6. Space is Closer than America | 7. Heavy Like Iron | 8. All the Action Wants | 9. The Leisure | 10. Just an Obstacle | 11. The One We Laughed About | 12. In Treason.

Trampled Hearts wakes me up with a manic guitar opening and slides with a sexy bridge into the, by now embedded in my brain, catchy chorus. Second verse doubles in time and pounds into the chorus again, with Corey's dirty vocals spitting and screaming "For you I thank-for, for you I'm thankful, you make my everything everything" from the depths of his gut. His vocals have some great qualities; he can soar, groan, scream and croon.

Summer Waiting - which you've probably heard on Triple J by now - reminds me of both Placebo (vocals) and The Living End (song construction). The band makes the most of repetitive lyrics, carrying different emotions with each line through a slight variation on drumming, guitar or vocal style. And I can't dismiss the bass player here; the band has a strong groove carrying through each song.

Memory Memory is beautiful and I can smell the scent of early Nirvana in here. Smooth bass lines roll into Edge-like guitar reverb:

Remembering it complicates my longing
In deep inside my own obsessive mind
Left tilting on an axis
On an axis known to grind...

Rabbit Hole shows a strong '90s rock influence, which I love. I'm very happy for at least one young band to be embracing a tough, raw sound versus indie folk. The guitarist's delicate, twinkling sound shines in this song, with catchy Oasis-style harmonies during the chorus. I couldn't stop singing along to this song while I wrote this review - listened to it around four times in a row.

Answers Everything is a more gentle song with some gorgeous lyrics:

I go spare with time
Lie on my stomach for hours
Oh what I could have been
What a waste of time
I feel alone like a loan shark
I should write a book
In hieroglyphics I will start
They make no sense they pull apart
To raise a question that
Answers everything you've felt before...

The song reaches an angry orgy of tension release.

Space is Closer than America is probably my least favourite song on the album, which isn't saying much as it's still well-written and performed. It's just a little slower paced and I can imagine it'll be the song the Triple J festival crowd will sway and sing along to.

Heavy Like Iron opens with a grunting swagger of a bass line, like Isaac Hayes sauntering down a street. Guitars and shouts enter the frame, with some fancy high-hat tapping adding dynamics. Vocal echoes, indecipherable lyrics. But all resulting in a mind tingle of a track.

All the Action Wants has lyrics that make my lips taste of cherry cola.

Cough syrup and chupa-chups
I take a shower in hurt
To rinse you out, hell I will rinse you
To wash away my brain...

Lyrics return to the Rabbit Hole theme from earlier:

Police won't ever find me
In the rabbit hole
In wasteland.

Insistent repetition and melancholic anger left hanging in the air like threads of a bad dream...

The Leisure and Just an Obstacle are two more great tracks, but a little less impressive than others on the album. Still, definitely not filler. However, the chorus of the latter drives this one up a notch. The band is at its best when there's a bit of grunt involved; the slower songs/parts don't grab me as much. God I'm so bloody predictable sometimes...

Although...going to completely contradict myself by liking The One We Laughed About. A slower groove, but the vocals and the evident enjoyment the band get from playing this one makes it special. Some psychedelic reverb guitar and echoed backing vocals gives it a dreamy, trance-like quality.

In Treason, the final song on the album, is BEAUTIFUL. Delicate. Twinkling. Plaintive. Astute.

Who is right? What is wrong?
Alone
Alone we are
The condition we all came in
Alone we have to leave
Believe, alone, naive a-ha-ha
Together we chain
The chain of reactive mind
Disclosure is all we seek...

Then it explodes into a Hendrix-style cloud of hallucinatory, tribal, chanting ride of realisation. Inspiring, manic, and a fantastic way to end an album.

Idle Time just has me thankful The Novocaines exist. I've lived through a few generations of musical trends and the things I've missed in music lately have been angst, musical proficiency, talented vocalists, meaning, and the creation of something I want to listen to when I catch the bus to work in the morning, when I go to bed at night, and when I go out on the weekend. There's an overt emphasis on youth in the music industry which isn't always justified but, in this case, the hype surrounding this young band is well deserved.

If the band hadn't sent me this review copy, I would've bought the album. I can only encourage you with great enthusiasm to buy it now.

Learn more on The Novocaines website.

Band members: Corey Marriott, Jay Marriott, Steven Turnock & Liam Young.

Produced and engineered by Alan Brey and recorded at Ampersonic Studios in Western Australia. Mastered at Abbey Road in London.

Kentin Jivek : Now I'm Black Moon

2011-10-26T11:14:00.000+10:00

Kentin Jivek is a French songwriter and singer of dark folk and psychedelic music who sings in English, French and Spanish. He has just released his new album, Now I'm Black Moon.

Track one, What If, sets the mood with a 1970s-style acoustic psychedelic feel. Beautiful Tragedy recalls hints of Echo and the Bunnymen's The Killing Moon, with its gentle, strumming guitar and plaintive vocals. Romantic, hypnotic and entrancing. This mood continues with Encore De Bout.

D.Q. begins with reverberated piano keys outlining a simple yet melancholic melody. Discordant background texture lends moments of The Velvet Underground to a soaring acoustic track, reflected in the following song, Stig Dagerman.

3m is sung in French in the traditional chanteur style of spoken word with music. The title track Now I'm Black Moon harkens back to early Pink Floyd with its crazed, shadow background vocals and experimental sounds overlaid with a simply beautiful central vocal. An interesting song which begs a live performance.

Mother Absintha is like a Mark Ryden painting: innocence twisted and distorted until it resembles a nightmare. Not one of those obvious nightmares that wake you in a pool of sweat, but one that leaves you with faint memories throughout the day, just enough to lend an air of unease. The lyrics are very Freudian.

Die Merseburger Zauberspruche opens with sounds of a balalaika with dark chanting lyrics. This track creates a theatrical air of demons carried through the night on an enduring chorus, reminding me of UK prog folk from the '70s. There are hints - small ones - of early Genesis.

Black Moon Still plods a little with some inaccurate guitar playing that grates on my nerves. Perhaps this shouldn't have made the cut.

The final track In Questio Specchio ends the album with a mood of satanic ritual and drama, of magic and impending evil. Not quite where I thought it would end when I began listening to what appeared to be a gentle, romantic collection of songs, but surprising nonetheless. I would love to see a collaboration between this musician and Tasmanian musician Diable Amoreux. I think it could be dangerous.

All in all, a very interesting collection of songs. Personally, I prefer the former tracks in the vein of Beautiful Tragedy. But one thing you cannot call this musician is boring or predictable. Now I'm Black Moon is a highly experimental collection of music which you may grow to love. These songs summon something of the spirit world into the living, it's just that the spirits are a little dangerous and somewhat unhinged.

Learn more about Kentin Jivek and buy a copy of this album on his website.

Interview : The Novocaines

2011-10-11T12:14:00.000+10:00

A month ago, I attended Big Sound Live, part of the Big Sound music conference held in Brisbane each year. It's a pretty hectic few nights where you run from venue to venue partially missing bands' showcases because another ran over time. You pick which bands you want to see because you've listened to one song of theirs featured on the Big Sound artists web page. Sometimes, it's hit or miss: what sounded great in a recording might not be indicative of a band that performs well, and vice versa.

Being a music blogger who doesn't listen to Triple J - I know, how can I live with myself etc - I wasn't intimately aware of the existing success of this stellar band named The Novocaines. I'd heard Cup of Coffee a couple of times before and accordingly followed them on Twitter. I had no idea they were Unearthed darlings, that they'd supported such international acts as Them Crooked Vultures ("When you meet/share the stage with Dave Grohl, John Paul Jones and Josh Homme on a random week night, it's pretty hard to top."), or that their single had appeared on the Scream 4 soundtrack. To me, they were just a band I thought had a great sound who I wanted to check out.

So I pretty much had an 'augasm' when I heard them play at Big Sound Live. Holy shit. What a condensed block of energy in one unit! Not only was their performance incredible, but I think they sound better live than recorded. I was blown away, took heaps of photos, felt infinitely sorry for anybody who missed the gig, and made it my life's mission to ensure nobody missed out on knowing who this amazing band is and what gets their juices flowing. With 2439 fans on Facebook, I suppose you could say I arrived at this party when everyone else was already drunk and I had some catching up to do.

The Novocaines are four guys from Northam in Western Australia. They take me back to that Saints punk ethos: musicians influenced by '60s music as well as the do-it-yourself post-disco aggression. They also bring some of the '90s grunge element of power rock - minus the spandex tights of the '80s - to their show. Perhaps a splash of Nirvana before Kurt completely fucked himself, back when they were raw and before shirtless football players loved them. Think Rape Me. Think Bleach. Add a touch of '60s Californian garage bands like The Chocolate Watchband, with their enamouring combination of 'fuck you' attitude and catchy songs, and you sort of have some idea of what The Novocaines are like when you see them perform onstage.

So, naturally, being impressed made me want to dive into their brains to get to the meat in the sandwich. I was fortunate enough to interview drummer Liam Young to get a sense of what drives The Novocaines and where they're headed.

The Novocaines formed in 2006 and consists of singer Corey Marriott, Jay Marriott on guitar, Steven Turnock on bass/baritone guitar, and Liam on drums. As mentioned before, they're from WA which, for those of you who don't live in Australia, is a long flight from the east coast where most of the gig opps happen. They met in highschool and from seeing each other around town, and Liam hooked up with the rest of the band in 2008. When asked to describe the band, Liam says they're just a bunch of "dudes hanging out and writing tunes".

"It's such a special thing to be able to find out about, listen to - whether it be live or on record - and share music with your friends," he says.

I ask Liam what sort of topics they like to write songs about.

"We nearly always write our own parts and Corey's the main lyricist, so it doesn't always turn out about the same thing to all of us. But main lyrical content is on bitches 'n' hoes."

When I manage to get a hold of Corey to ask him if he agrees, he adds "I tend to write about a reflection of epiphany moments and try to reinterpret it into feeling, as I feel it is the most honest relection of who I have been, and who I am becoming."

Glad I clarified that one! 'Bitches'n'hoes' wasn't exactly the gist of what I got from their lyrics when I saw them ;)

The band finds they're heavily inspired by listening to records.

"It's a wonderful feeling to discover a band or musician who gives you something you haven't felt in a while," says Liam.

Some of his favourites from recent album purchases include: The Flaming Lips - Embryonic; Toro Y Moi - Underneath The Pine; Fucked Up - David Comes To Life; Battles - Gloss Drop; and Frenzal Rhomb's newbie, Smoko at the Pet Food Factory.

So how did it feel when Triple J Unearthed got behind Cup of Coffee and what did that do for their career?

"It really kicked things off for us so, of course, it was an awesome thing to be a part of at our age."

The band's single was included on the Scream 4 soundtrack when Riptide, a US production company, gave The Novocaines that and many other great TV slots. Liam says that "they like us and we like them for that". It's a bit of a mystery how the band ended up on the Big Sound Live line-up, as Liam says he just got a text saying they'd be playing and that was that. The mysteries of band management :)

I ask Liam how he thought their Big Sound Live showcase went, as they really blew people's minds despite having some bad foldback problems.

"It's always great to hear positive reactions to our show, media and punters alike," he says.

"We had fun. It's a struggle to balance the show(case) when crap like that ain't going your way, but we tend to get over it pretty quick. I'm not the guy to be storming around backstage and pissing off other bands. Life's too short."

Liam managed to catch some other bands at Big Sound Live and says "Redcoats were tight as hell - really awesome stoner grooves. Also the Laurels were one of the best shoegaze bands I've seen in ages. I'm sure our buds from The Chemist did well too, but we were on at the same time".

Many bands I've interviewed and spoken with recently say that the only way a band makes money these days is to tour and sell merch. I asked Liam about this and whether or not coming from WA or even Australia places some geographic boundaries in their way.

"It's expensive to tour and do the things you need to do, so it takes a lot of good management to really make it work. We seem to be doing alright so far; I'd like to thank our own management team for a lot of this. The universe has a bit to do with it as well."

"[In the US] we got to hang out with some amazing people who took wonderful care of us while we were on the road, played some sweet showcases with some awesome bands and generally had a crazy time. The shows were very receptive with some successful outcomes."

One of the major challenges facing any band seems to be how they stick together and don't kill each other on tour.

"I think we've spent too much time together to really take petty tour annoyances too seriously, or generally care too long," Liam says.

"There's a bigger picture at hand. If you can't see that, then it's not going to work. We take the piss like you wouldn't believe too. It eases the tension. Do it and have fun whilst doing it. Worry about the other shit later."

So what's in The Novocaines' crystal ball? They've released a video for their upcoming album's debut single Trampled Hearts (I love, love, love this song and big thumbs up for promoting a visual artist in their video!!). Their debut album Idle Time will be released on 4 November 2011, launching at the Amplifier Bar in Perth. (In support of this launch, the band created a montage video, giving fans an insight into how they operate in the studio.) Then tour, tour, tour!

For further news and all that is Novocaines, visit their website.

Interview : DZ Deathrays

2011-09-14T23:38:00.000+10:00

Last week, I attended Big Sound Live to check out some new music talent, along with swarms of industry folk and music fans. One of the bands that impressed me was local Brisbane duo DZ DEATHRAYS.

When I ask drummer Simon Ridley how DZ DEATHRAYS got on the Big Sound line-up, he tells me "we walked into their office, smashed our resume down on the director's desk and said, 'That's your line-up!'. I know he's probably being sarcastic, but this encapsulates the aura of casual acceptance these guys have about the attention they've been grabbing since Big Sound showcases were held.

Twitter and the music media alike have been abuzz raving about Simon and vocalist/guitarist Shane Parsons. In what seems to be a typical downplaying of this hype, Simon told me he thought their showcase went pretty well, "although I fucked up a few times, but no one threw anything at us".

When I was watching their gig in Bakery Lane (in the carpark behind the Doc shop, to locals in the know...Simon and I agree more parties should happen there) the crowd consisted of loads of girls thrashing down the front, boys with pretty hair holding back a bit, and music talent spotting folk all up the back drinking and checking their iPhones (of course). The girls were going a bit crazy over these two. I think from a music marketing perspective, they've got that mix of cuteness, attitude and being easygoing that makes industry types salivate.

There they were on stage, throwing this amazing music at us, with their big hair, lots of strobe lights and absolutely infectious grooves, and there seemed to be a 'bit' of onstage beer swilling. Yes, the duo enjoys a tipple, as I heard them discuss on 4ZZZ this afternoon, and this comes through in a few of Simon's responses. When I asked which bands he'd seen at Big Sound Live, he says "I saw Tiger Beams. They weren't really on the line-up, but they were my favourites. I didn't see that much as I was kinda doing a lot of bar work that night..."

Music is evidently the basis for a lot of fun for Simon and Shane. He says the duo is a party band, so "going out with friends and hazy memories" create the inspiration for their music. When he cites The Bronx, Nirvana, Death From Above 1979, Portishead and Massive Attack as favourites, I'm a bit surprised by his inclusion of the last two; frankly, I was expecting at least a nod to '80s hair metal. I find it fascinating to learn from musicians what music inspires the music they create. When asked to describe their music in five words, Simon says:

"Thrash music for house parties."

I'm sure they've played at a few too. It's obvious DZ DEATHRAYS has great local fan support, but Simon tells me Brisbane musicians also really support each other's bands, regardless of genre. I asked him what challenges have faced them so far, being located over here, away from the rest of the world.

"Australia is one of the most isolated continents in the world, so travelling is expensive.

"But that's kinda where being a two piece helps out, [although] it's very limiting musically as we can't just add in extra melodies on top of the others very easily.

"I guess we've just done everything we could to the best of our abilities, like working full-time jobs to pay for tours."

There are so many people out there in the industry telling young bands what they need to do, who they need to hire etc to succeed. I asked Simon for his take on this, for some advice for bands seeking to get their music known. Apart from telling me that deciding on a music career is "literally financial suicide, but a lot of fun", he says loyalty is an important aspect when working with others to promote your band.

"The more people you have working for you means the more people out there pushing your music," he says.

"The most important thing I feel is picking the right people, so once you start working with them they will stay working with you from the bad days to the good (if there are good)."

Having just returned from a UK tour, I asked Simon how overseas audiences have responded to their manic brand of aural assault.

"The experiences have been amazing, as we've always dreamed of travelling and playing music," he says.

"As far as the reactions go, it's been really varied; we've played shows in New York to literally four people and then 400.

"In the UK, the response has been just incredible: we went over there with nothing and came back with label deals and an amazing booking agent...it kinda felt like a Disney movie."

I'm happy to say there's nothing very Disney about these two. They seem to be just a couple of cool guys who like a good time and love creating sounds that tell your body you'd better bloody dance/thrash/groove or else. Oh, and they don't mind blasting faces off either.

If you're interested in seeing what everyone is now talking about, they're playing at Brisbane's Alhambra Lounge this Saturday night (doors open at 8pm on 17 September). This'll be their last gig before they head off on a European tour in October in support of their EP's (Ruined My Life) release over there. After they're finished that, they'll then return to Australia to start on their debut album. Whew. I'm exhausted just writing that! I wish the band good luck, good fun and minimal hangovers.

Check out:
DZ DEATHRAYS on Bandcamp
DZ DEATHRAYS on Facebook
DZ DEATHRAYS on MySpace
DZ DEATHRAYS on Tumblr
DZ DEATHRAYS on Twitter

Big Sound Live 20110908

2011-09-12T14:00:00.000+10:00


DZ Deathrays @ Bakery Lane

So, I've already written about the first night of Big Sound Live...you might want to read that first for context. Now we get on to the business of the second evening's showcases.

My picks for Thursday night ended up being difficult to stick to, if purely for the reason that my feet no longer felt attached to my body after the first night's shenanigans. Missed Jakarta completely and ran straight to see DZ Deathrays at the open-air Bakery Lane venue.

Brisbane's DZ Deathrays blew my mind. A two-piece metal explosion featuring a crazed hair monster singer/guitarist and an Animal-inspired drummer. (If you've never seen The Muppets, that's not my problem.) The punters at this gig were going absolutely mental. Mind you, I noticed lots of girls headbanging and lots of boys minding their hairdos... Nevermind the audience, the band was a lot of fun to watch and made a lasting impression.

Pluto Jonze @ Rics

Next up, I caught The Mercy Beat at the Tempo Hotel. Power rock, good calibre. I'd like to see these guys again in a different venue. The Tempo's not my favourite and the standard - or lack thereof - of punters on the night detracted from the gig. You can only have so many drunk girls fall into you before it impacts upon your ability to provide a reasonable assessment of the band's skills.

The Adults disappointed entirely: I couldn't help but feel they were lacking in presence and that their music was bland and predictable. Perhaps I'm biased: the band features the Shihad frontman and sounds nothing like Shihad. I suppose I came to the gig expecting something else.

My award for the weirdest band at Big Sound Live has to go to Pluto Jonze, who I caught at Rics on their teeny weeny stage. I'm a theremin hound, so any band sporting one interests me to begin with. When the band fails to utilise the theremin entirely throughout their music, the theremin becomes a gimmick. And I don't like gimmicks. Regardless, the band grooved through the few songs they managed to perform due to too lengthy a soundcheck. Highlight was Triple J's Richard Kingsmill standing directly in front of me, impeding my view. If it'd been anyone else...but I let him get away with it.


Dubmarine @ The Zoo

Why didn't more people catch the Dubmarine show at The Zoo? The band was amazing, sporting a feelgood, love the world, hippy vibe. The scent of ganja seemed smeared on everyone in the crowd...I think the band might appeal to stoners? Anyhow, their musicianship was spot on, vocals delivered with passion and energy. I grooved through this show before I had to run across the road to see Floating Me. Special mention must go to the bass man's 'O' face.

I've missed several gigs by Floating Me lately, so I felt destined to see this show. Starting after what felt like a painful soundcheck, the band was plagued by mix problems throughout their entire gig. This must've been disappointing to them, but nonetheless they powered through. Their music and onstage presence is reminiscent of '90s Seattle bands, and they've got a great, dirty bass sound. The lead singer's vocals soared, but the set did start to drag toward the end and I lost interest about halfway through. I think the bad mix just got to me, as it seemed to get to the band.

All in all, the second night of live music wasn't as impressive as the first, but I still found a couple of new favourites: DZ Deathrays and Dubmarine.

I should have some interviews with my favourite bands from Big Sound Live coming up over the next month, so you can find out more about them and their music.

Here are some more photos from the night.


Some of the wall erotica @ Electric Playground


The Mercy Beat


Dubmarine


Dubmarine


Floating Me

Big Sound Live 20110907

2011-09-12T13:19:00.000+10:00

Brous @ Woodland

Big Sound, for those not in the know, is a Brisbane music conference held in September each year to which music industry types from all over the world come to see Australian bands showcased and to talk about relevant industry topics.

Big Sound Live is the live show element, held across two nights and multiple venues in Brisbane's Fortitude Valley.

This year, I was fortunate enough to obtain a media pass for Big Sound Live.

I sat down with my Big Sound Live timetable and picked bands I thought would be interesting, based on the one song of theirs featured on the artist profile page. This is what my schedule looked like. As you can see, my feet would suffer from walking between venues all evening.

First up, Brous played at The Woodland Bar. What a spellbinding performance. Part 1960s French chanteuse, part early Goldfrapp, I thoroughly enjoyed watching Melbourne musician Sophia Brous enchant her way into the hearts of participants on the first night of Big Sound Live.

The Laurels @ The Aviary

Next up was a jump across the street to The Aviary where I saw Sydney four-piece The Laurels, whose brand of psychedelic shoegaze had me hypnotised. The venue was packed out, so there must've been a significant amount of industry buzz about these guys.

Boy in a Box was playing down the road at Bakery Lane, and although I only caught a couple of songs, I wasn't overly impressed. Citing The Clash as an inspiration is probably a dangerous thing to do with someone like me, as I'm a Clash maniac. I found the set adequate, but missing anything special.

Adalita performed next at Electric Playground, where I spent most of the night bemused by the drink hostesses in hotpants and stilettos with these weird little hats pinned to their heads. What can I say? I'm from the Magic Dirt generation, and what I saw from Adalita on Wednesday night was, simply put, sad. I'm not sure what the overall aim was for the set, but it felt incomplete, unrehearsed, unprofessional. While I love Adalita's voice and talent, this was not her best show.

Adalita @ Electric Playground

Next, I was running up to the other end of the Valley back to Woodland Bar to see Redcoats. Oh. My. God. What an amazing band! Their brand of '70s-style Sabbath power rock, combined with frontman Emilio's abundant charisma, engaged the room like no other band I'd seen that night (or at the rest of Big Sound Live). Incredible. Inspiring. You will not be sorry if you book this band as a support spot for an international act; they can really carry their own onstage.

Unfortunately I completed missed Strangers. I'd been looking forward to seeing them but the Redcoats gig overlapped. Shame. I wanted to see the talent behind that impressive handlebar moustache...

I caught a few songs from World's End Press at The Zoo. Do bands get any more retro than this? I thought I was standing there watching Orange Juice perform in the mid '80s. Cool band, if that's what you're into.

The Novocaines @ The Aviary

The Novocaines. What can I say? Their show at The Aviary was my favourite of Big Sound Live. Dynamic. More than energetic...explosive. The frontman powered through the set writhing with tension. I was disappointed that more punters at the gig didn't get into the spirit, although three guys down the front more than made up for it. Punk rock at its finest. Brilliant. I could see this band a thousand times and I'd never tire of them.

The last three bands of the night perhaps suffered at the hands of The Novocaines blowing my mind, but for incredibly hyped bands, none impressed me in the slightest. While all three bands seem to have adoring followers, they simply weren't my cup of tea. Calling All Cars and The Vasco Era didn't register at all, and Velicoraptor...well, I just thought I'd accidentally gone to a Beatles revival gig.

Too derivative. Not enough of themselves in the music to make it lovable. Having said that, Velicoraptor packed out Electric Playground. Lots of 'faces'. I get it - I was once a '60s revivalist back in the '80s as a teen. I just think bands back then, like The Stems, did it better. Or did it just annoy me that, with so many guitars, they could've sounded like Ride, but didn't...? Not sure. All I know is, I didn't stay for long.

The first night of Big Sound Live was so much fun. I also got to meet a Twitter pal I'd never met in person before: Mr Brandle, your hair is as lovely in person as it is in photos. It's a pity I didn't get a full media pass so I could share info from the conference with you all. Maybe next year! So, favourite bands of the night were: Brous, Redcoats and The Novocaines.

Here are the rest of my photos I took on the night (with my little Sony CyberShot...I am in no way or form a professional photographer, so no hating, ok?).


The Vasco Era


Brous


Brous


The Laurels


The Laurels


Photographer Stephen Booth taking pics of The Laurels


The Laurels


Adalita


Redcoats


The Novocaines


The Novocaines


The Novocaines


The Novocaines


The Novocaines

The Clouds @ The Tivoli 20110818

2011-08-19T11:47:00.054+10:00

On 18 August 2011 I saw The Clouds perform at The Tivoli in Brisbane. Yes, theoretically they were supporting Jesus Jones and The Wonderstuff. But I was there to see only The Clouds and left after their performance. It was magic.

The girls have lost none of their melodic power. Hit after hit flowed, carrying their dedicated fans from the '90s back in time.

The Clouds formed in Sydney in 1989 and became the primary reason for myself and many of my female friends picking up instruments. Jodi Phillis and Trish Young were, back then, a sight for sore eyes and ears, leading the new movement of grrrl power in Australia.

While their songs were radio-friendly, they were still complex and well crafted. The harmonies of Jodi and Trish remain one of the most beautiful elements of the band's music.

One of my favourite albums from any Australian band is The Clouds' Penny Century. I remember when my friends and I heard the first single from the album in 1991, we fell in love with them. Live performances only solidified our obsession. One friend was obsessively in lust with Jodi and Trish; this became a common ailment among the guys (and girls) in my social group.

It was a beautiful evening at The Tivoli, not only for reminiscing but because The Clouds showed they are still an incredible live band. I can only hope the success of this support spot convinces the band to perform more regularly again, introducing their music to a new generation.

Learn more about The Clouds through reading their Wiki entry.

Listen to Triple J music specials on The Clouds.

Follow @CloudsThe on Twitter to hear about future gigs.

Interview : Suzi Quatro

2011-08-07T15:42:00.000+10:00

Photo used with permission from Suzi Quatro's management.

Where do I start with Suzi Quatro?

The woman is responsible for my love of music. It's that simple and meaningful.

"A one, a two, a one two three...Well at the age of 5..." she sang on her 1974 single, Devil Gate Drive. At the time, I was 5 years old; do you know, I actually thought the song had been written for me? The lounge room was my auditorium, the carpet my stage. I would wait until my family was outside doing something, and I'd pop on my brother's vinyl of this song and gyrate around the lounge room strumming my tennis racquet-come-bass while singing to my imaginary, fawning fans.

With my floral embroidered flares, Tom (from Tom & Jerry) t-shirt, blonde afro...I thought I was the coolest, hippest cat in the land and Suzi Q was the one who made me dream - right from the start - that little girls could grow up to become rock'n'roll stars. When I saw her appearances on Happy Days as Leather Tuscadero...well, that just solidified her cool factor for me.

So, when I heard Suzi was touring Australia again, I thought I'd catch up with her for a quick Q&A to find out what she's up to.

47 years in the music industry so far! What drives you and keeps you motivated to write and tour?

I was born to rock and, to go further, to entertain. It is in my blood. Every show, I feel like I have to go out and prove myself all over again. It's part and parcel of being an artist; I love it! I certainly don't do it for the money...

As a child, I first became enamoured of your music upon hearing Devil Gate Drive. It was raunchy and your vocals shredded. What inspired you to become a musician and what music back then influenced you?

I was an Elvis fan from the age of 5. I played bongos with Dad at age 8, took classical piano then percussion. Then at 14 I saw The Beatles on TV. My sisters and I started an all girl band, The Pleasure Seekers. We come from a musical family, so it's not a big deal that we play several instruments each. There were three pianos - one on each floor - and any instrument you wanted was somewhere in the house.

What music influences you now?

I like a lot of the new bands coming up. Thank god: there was a real draught for real musicians. I also like Keane, Red Hot Chili Peppers and Arctic Monkeys.

Speaking of influences, you’ve been a major one for many young female musicians. Your blend of confident, sassy musicianship has always been refreshing amidst the bevy of female artists signed more for their looks than talent. Do you have any thoughts on why the music industry focuses on what women look like and downplays their abilities to create good music?

I can only speak for myself. I wanted to be taken seriously so I never even wore make-up, not for a long time. A lot of women are putting themselves out there with 'looks' being at the forefront, and making soft porn-style videos, so is it any wonder that this is how they're being perceived? I would like to see this trend reverse itself, as I think that'd be healthier for the music industry. Adele is a positive example.

Do you have any thoughts about the current state of the music industry? Many musicians have spoken to me about the difficulty of breaking even, about the lack of album sales etc. As someone who’s been in the industry for a while, what’s your take?

Yes, it's not easy. Nobody wants to pay for music anymore and this is how we make our living. The internet has been wonderful in lots of ways, but this is not one of them. We need music to go back into the shops where it belongs. CD shops are disappearing at an alarming rate and it's scary. At least downloads now count.

Tell me about your new album, In the Spotlight (released in Australia this week).

First, I made Back to the Drive, which was a collection of songs over 15 years. This was very personal for me, an autobiography in words and music. Then I wrote my story, Unzipped. My journey was well and truly chronicled. Mike Chapman had executive produced Back to the Drive and Andy Scott (from The Sweet) produced. After my book had been out for about a year, Mike said "Now that you've got all that out of your system, let's make an album. I know exactly what to do: which songs, which musicians to use...I have a vision". I trust Mike completely, as a producer and as a friend.

What was it like working with Mike again?

Although we haven't made an album for a long time, we have always made the odd track through the years. But doing this one was like putting on my favourite pair of blue jeans and, funny enough, they still fit.

Which is your favourite song from the album and why?

Favourite is hard to pick. I like them all for different reasons. Spotlight was the best song to sing, I love the vibe on Strict Machine. Lots of people have picked my composition Hurt with You as their favourite, which makes me feel proud. And of course, I am happy that Singing with Angels (my Elvis tribute song) is finally on a CD as a bonus track.

You've included some covers on your album. It interests me to see a cover of Goldfrapp included on the track listing: are you a fan?

Yes, especially Strict Machine. If you notice, we did a little tongue-in-cheek reference to Can the Can. I would be very surprised if they didn't get a little influence from my hit; it's too similar.

With the various changes in the technology available to musicians across the past few decades, is there any new technology you’ve embraced?

Not really, I'm old fashioned. I don't even like lots of dials and switches on my bass; I leave that to the guitarist. I like to keep music real and spontaneous.

For your upcoming tour, what bass guitar will you be playing and do you have any favourite brands/models?

I'm using a Fender Jazz. I prefer Fender Precision the most, but got a good deal on this one from a shop my son worked in. You can't beat a Fender.

You seem to tour Australia fairly regularly. What's your attraction to this country?

I've always gone there since 1974. We understand each other. We have grown up together. We are family. I'm no bullshit and Australia is no bullshit: a perfect union.

I’ve seen a couple of your shows and both times have been impressed with your onstage vigour. What steps do you take to stay fit and energetic?

As I write, I've just returned from my morning jog of five miles...in the Spanish heat. Not easy: downhill all the way then uphill on return. Phew!

Who will we see in your current band line-up when you tour Australia?

Andy Dowding (drums), Tim Smith (guitar), Ray Beavis (sax), Carl Membrino (piano), Toby Gucklhorn (trombone) and Dick Hanson (trumpet).

You can catch Suzi on tour in Australia starting 16 September 2011.

Find out more:
Suzi Q website
Suzi Q on Twitter
Suzi Q on Facebook
Suzi Q on MySpace
Buy In the Spotlight

No Anchor : Real Pain Supernova

2011-05-29T18:39:00.000+10:00

Local Brisbane band, No Anchor, is an organic entity. 'Organic'. There's no more appropriate term for them or their music. I'll tell you why.

Their sound is straightforward and direct, without any fancy trimmings. Their engagement with fans is more intriguing than marketing. And the effort that goes into their packaging and merchandise...if only every band had a talented artist as a member. Although I'm yet to see them perform live, I'm told on good authority their shows are tribal, intense and a little bit mad.

So it is with great interest that I sit down on this peaceful Sunday afternoon to write this review of No Anchor's full length album, Real Pain Supernova.

I'd say it's a pretty safe bet assuming the title is a play on the Oasis song Champagne Supernova. And it's kind of appropriate, as you couldn't reach deeper inside the abyss to find a band less like the Oasis blend of Beatle-esque, radio friendly, Metamucil-style pop. The version of Real Pain Supernova that I am reviewing is the digital version; there is also a longer format vinyl edition, but no CD format. The track listing for this digital version is:

1. The End | 2. Wolves Bite and Disappear | 3. Dead Pony | 4. Gatton Bohemia | 5. Shut My Mouth | 6. The Perils of Small Town Living | 7. Come Again | 8. Key Cutter

The End opens the album with sparse death metal chords and vibration, lightening up with a seductive bass melody, and ultimately evolving into a bass and drum driven howling eruption. The end is the beginning, and on to Wolves Bite and Disappear, a wall of sound Phil Spector would be proud of. Primal is one word to describe it; screams from the gut, a cacophony of melded musicians creating an intense - sexual, even - peak and release. Dead Pony begins with a deceptively gentle opening, then quickly leaps into a pool of vocal fury. Melding metal and punk, this song pretty much ripped my ears from my skull and probed my brain with its angry little fingers. At 2.30 minutes, it indulges even the most dedicated windmill hair thrashing desires.

Gatton Bohemia's title intrigues me. When I was a kid I picked veg with my family in Gatton, a rural farming community, so the words 'Gatton' and 'Bohemia' just don't form a logical pairing in my mind. Although, where better to remove yourself from the mainstream than the sticks? I can't tell what words are being sung - and the band member I spoke to on Twitter said they're not an important part of experiencing their music - so I can't really tell what the intent of the song is, lyrically. This is a bit annoying for me because I'm a lyric hound, so I've tried to just sit back and absorb the music and the overall vibe. This song seems - to me - to represent some kind of frustration, desire to escape. The vocal atmosphere is of insanity, of chains waiting to be broken, and reminds me of John Lydon (if he was backed by competent musicians, which I would never really call The Sex Pistols!). The experimental, ear-splitting noises drove me to the edge of my seat - I hate high pitched sounds...they unnerve me - so if the desired outcome of this song was to make me feel really uneasy, it succeeded. The drumming toward the end of this track is phenomenal, the bass relentless. This song is insanity in a jar and is physically exhausting to listen to (it goes well past 17 minutes in length). And I like that about it. I enjoy being challenged with music versus digesting little bite-sized, radio friendly pieces that ultimately offer no creative satisfaction. I can see why you would buy this album on vinyl: the textures, I believe, would really suit that format. I can imagine lying on the floor at night in a dark house with this blaring on my stereo, feeling the vibrations shudder through my body.

Shut My Mouth is the most 'commercial' of all the songs, and while I type that I'm laughing because it's not commercial in any sense of the word. I mean, it's got a definite groove, song structure, and it's fun to thrash along to. I can imagine people with shorter attention spans really digging this track. The Perils of Small Town Living initially sounds like a different band entirely; it's almost gentle. The vocals echo and resonate alongside a jungle rhythm, tempting my headspace into Mojo Risin territory (is this what taking peyote would feel like?). Completely different to the rest of the album, but the drumming draws it into the Real Pain Supernova family and it has a big metal finish. Around the 4 minute territory I'm reminded of early Jane's Addiction. I think I could fall in love with this song, and this is the one that has created a burning desire to see No Anchor perform. Come Again once more reminds me of Jane's but with a bit of Sonic Youth thrown in for good measure. The final song, Key Cutter, is a more traditional rock song structure which vocally sounds like another local band, SixFtHick. I would've omitted the female vocals at the end, as they just don't sit well with the rest of the album and are a little jolting. However, a miniscule criticism. Another grooving song to end the album.

For me, one of the fantastic aspects of No Anchor is that their music resonates with the faint memory of genres - particularly from the '90s grunge, experimental sound - but I can't pinpoint any precise influences or bands they particularly sound like apart from, perhaps, an overarching Melvins vibe. That's pretty great, because it means No Anchor sounds like No Anchor.

What a surprising, amazing album with a powerful impact. Respect.

Band members are: Alex Gillies on drums, Ian Rogers on bass/vocals, and Donovan Miller on bass/vocals. The album was released on 9 May 2011 and was recorded and mixed by Donovan Miller at Nowhere, mastered by Mell Dettmer, and additional textures are by Lawrence English. The fabulous album artwork was designed by the multi-talented No Anchor drummer, Alex Gillies.

All images on this post have been taken from the No Anchor website and remain the property of the band.

Interview : Cosey Fanni Tutti

2011-05-23T15:55:00.002+10:00

Photo Credit: © Paul Heartfield

Cosey Fanni Tutti is likely best known to you as one part of the highly influential band Throbbing Gristle and through her music projects with Chris Carter: Chris & Cosey and Carter Tutti. To me, Cosey is a boundary shaker who has inspired us with her continuous activities over the past few decades across multiple creative streams. Much has been written about Cosey's life, so I will leave that to existing sources. I recently had the opportunity to ask her some questions which I've often wondered about, having been a fan since the 1980s. Despite being very busy with her current projects, Cosey was kind enough to respond.

What first encouraged you to pursue music as a form of creative expression?

My father's gift of a tape recorder when I was about 10 years old.

I've read you studied piano - begrudgingly - as a teenager. Although you felt the lessons were boring at the time, did they become useful to you when you became involved in music? How do you feel formal lessons enhance or restrict creativity?

Strangely the boredom I felt in playing the set pieces prompted me to open the piano and play with the insides. I could have been a pretty competent pianist - I have the hands for it, apparently, and I found the music theory very easy - but the rules were frustrating to me. The freedom in not being taught how to play music has been invaluable to me because I can improvise solely on the sound and my brain doesn't drag up learnt chords etc.

Did Pop Art and its associated ideals surrounding the promotion of mechanical means of reproduction in art have any influence on you musically?

In some ways the philosophy had some influence and was in keeping with my own attitude of accessibility and non institutional interference of creative practice, as well as the notion of challenging established practice. But overall I felt it was rather decorative and wasn't 'dirty' enough.

As an artist, how do you find visual and performance art elements complement music or vice-versa? How do you utilise these different forms of expression to engage your audience?

I don't think they can necessarily be a good fit. Most of my art actions are done in silence (except for the ambient noise). Music brings another possible interpretation to the action that is not always helpful or constructive. It's a little bit like determining the outcome and interpretation of the performance via the sound. Conversely, if the sound is part of the action then it's very different - such as in some of the COUM pieces using contact microphones, or in the sound piece 'Marcel Duchamp's Next Work'.

Watching live performances from decades ago, your gigs were so primal. How much of your performance is about tension and release?

All of it. And as much for the audience as me.

Do you feel there's an elemental connection between physicality (sex, death, pain) and your music performances?

Yes, that's what my music is about: the human condition, our relationships, empathies both good and bad.

How much of your performance art has been inspired by the Surrealist explorations of sado masochism and gender stereotypes?

It sounds crazy in this age of information research approach to art but I had little knowledge of Surrealism when I did my early work. My overarching approach was for freedom of my own expression, an avoidance of 'influence'. When I later studied for my degree in late 2001, I was very satisfied with my original approach when I read Kant etc and compared and contrasted their writings to my own findings and ideas.

Over the years - in part due to your nude performance art and exploration of identity through pornography - you have earned a reputation as an anarchist and feminist icon. How does the tag 'feminist icon' sit with you, as a woman who loves men (as sometimes, in feminist circles, this can be an oxymoron)?

I've never seen the point of labels of any kind. I can see why people would say I was a 'feminist' but it would be a very specific definition that would apply to me. I've always approached life as a human being; the fact that I am a woman has never seemed an obstacle or consideration and gender should never be to anyone, male or female. It makes me sad to say that even the most 'enlightened' male artists I've worked with have misogynistic tendencies. I see that as their weakness and, unwittingly, my strength.

What are your feelings about the current commoditisation of women's sexuality in the music industry?

It's also about desexualisation and desensitisation, which worries me more. Women have always had commodification but add the present across-the-board approach to everything, then it becomes even more damaging. Life is about subjective experience: that's how we evolve. Homogenising is a dangerous path. It leaves people feeling largely unfulfilled and does nothing to enhance or empathise with the human spirit.

Has it been easy, being a woman in the music industry? Do you believe you've challenged gender stereotypes?

I don't regard myself in that way. The only time it comes to mind is if it is blatant sexism. I guess I've challenged gender stereotypes by subconsciously not acknowledging their existence.

Back to your music, what do you think of the genre tag 'industrial' and has your association with its beginnings limited or expanded your development as a musician?

The association with industrial hasn't limited what I want to do as a musician. What industrial was when we first founded the genre is very different to what passes as 'industrial' now. The ethos is not the same. It was always more than the harsh sounds of machines; we had such subtleties of the use of sound that aren't present in the genre today.

What have advances in technology meant to you as a musician and performer, and what are your favourite instruments?

Freedom and endless possibilities. I'm in a state of ecstasy when I have so many options at my fingertips and in such a small, portable format. [I like] Ableton Live, Alchemy, Guitar Rig, guitar and cornet. They all inspire me as soon as I interact with them and fulfil that itch I get when trying to find a sound that matches my inner emotions and external stimuli.

Lyrically and musically, what are your main themes these days?

I guess we have a more sensitive and seductive style in our Chris & Cosey and Carter Tutti music and lyrics. The themes of life and death and all that passes for life in between remain the same but are cloaked in more accessible musical arrangements and lyrics which have double meaning and ask questions.

What current projects are you working on?

I have a number of projects in the pipeline and I can't tell you all of them. I have a number of works exhibited at Tate Britain in June, Carter Tutti's series of 'Harmonic Coaction' which we hope to release in 2012, numerous live shows coming up this year and TG's last official album 'Desertshore'. So 2012 will be a busy year for releases.

Can you tell me briefly about last year's Cosey Complex and how you felt about that entire experience?

It was a momentous event having all these wonderfully talented artists come along and take part. I was rather humbled by it. The works were amazing and there's a book on the whole event being published this year.

Is there anything/anyone around at the moment which you find particularly inspiring?

The fact that people are beginning to access their inner selves more and moving away from the superficial culture that has dominated for far too long. That inspires me and makes me sigh with relief.

Many younger musicians I speak with on Twitter are very inspired by TG's music. How does it feel to still be an inspiration to others?

Inspiring others is an amazing honour that I don't take lightly.

What achievements in your life are you most proud of and is there anything you would've done differently, in retrospect?

Life is too short for retrospective regrets or pride. I have too much to think about and too much to do.

Interview : Twitch The Ripper

2011-05-07T21:47:00.002+10:00

I've been following the music career of Connecticut musicians Twitch the Ripper for a couple of years. Their style is a moody blend of darkwave electronica and emotionally raw lyrical content which, somehow, results in sweetness instead of bitterness. I reviewed their debut EP, Don't Go Out Tonight, back in 2009 and earlier this year they released their debut full length album, Bodiless.

Between finishing up the album, promoting it, and touring throughout the US, vocalist Jon Dobyns agreed to sit down - via email - to have a chat with me about the band's sound, vision and themes.

Twitch the Ripper (TTR) consists of yourself - Jon Dobyns - and Lonn Bologna. You were previously in a Connecticut hardcore band named The Distance. Did you meet each other during this time and how did you come to the decision to break away from that genre and form a duo together?

Lonn and I actually met in our pre-teens and formed our first band together. The project was in the same genre as The Distance, but occurred one year prior. We decided to break away from the Distance in early 2008, and I really wanted to begin a project to play the style of music I never would of been able to in previous bands. While in The Distance, my tastes and influences came from all of my favorite acts in early new wave, post punk and electronic genres. So the time came to finally take the plunge to create the kind of music that has inspired me for years. Timing was everything, and it made sense to start the next phase at this time.

Has it been an easy transition from bass and drums to becoming multi-instrumentalists? How has this challenged you both, as musicians, and also what benefits have come from this move?

Initially it was pretty difficult, but we just went with the flow. With the first steps of TTR, I went ahead and booked studio time four months ahead to record an EP. We wrote the songs on a sampler, acoustic guitar and bass; not too far from the writing process we used in The Distance. Lonn and I went with everything we knew at the time. It was an interesting transitional phase with trial and error to get to this point in our present day supporting Bodiless. Lonn taught himself how to play synth, I had to learn how to sing for the first time (which was done during the Don't Go Out Tonight sessions), and we both taught each other how to program, etc. We like to think of the early stages as an experimentation of finding ourselves and learning how play a new genre of music.

TTR aside, this process has made us become better musicians and able to communicate on a more professional level with each other. It wasn't until writing and doing pre-production for Bodiless where we really stepped out of our comfort zone and dropped everything we knew from our hardcore/punk days. That is one of the main reasons for the evolution of style and sound from the EP to the LP.

Your debut EP, Don't Go Out Tonight, was self-released in 2009. How was this do-it-yourself experience different to that of previously being in a signed band?

Coming from that world, everything was DIY. So being in a signed band you still had to maintain those set of ethics and mentality to stay afloat. Now coming into this new world with TTR, our ethics haven't changed one bit. We have gotten everything from working hard on our own and constantly pushing. From the tours we have lined up present day, to hopefully releasing a proper LP on a label down the line, we will continue to do everything ourselves. I'm sure an aspect of this is being in control, but it's controlling your own destiny/career and path you walk down. I wouldn't feel comfortable leaving our 'baby' completely in someone else's hands.

In your debut album, Bodiless, the songs weave seamlessly to create a delicate hybrid of elegant new-wave-style electronica with highly textured, ominous and atmospheric sounds. Tell me a little about your inspiration for the mood of this album and how you went about creating it.

When it came time to write Bodiless, we wanted to carefully execute each part for every song. Don't Go Out Tonight wasn't the best representation of TTR, but why should it be when it was our first EP? Bodiless was the result of both of us finally finding ourselves and catching our stride. We wanted to write a record that was an accurate sound of all of our influences, which was something we never did before. As I stated earlier, I am inspired by the genre's earlier sounds. We were looking to create a moody yet danceable record which the listener can get lost in at times. I take a lot of inspiration from bands like Massive Attack to Erasure to Fever Ray, so I think that is another reason how we created this hybrid of a sound. A good amount of the moodiness also stemmed from the current events at the time in our personal lives. Lonn and I were both going through a lot, so execution was both brutally honest and passionate.

Your lyrics appear to be quite personal, telling tales of desolation, control, love, lust and suffering, albeit in an obscure manner which both allows the listener to relate and simultaneously have no idea what you're singing about. How important is the art of subtlety in your lyrics and music, creating a dynamic between dark and light?

It's very important to me for the listener to create some form of a connection of familiarity with the lyrics. At the same time, I don't want them to seem so plain and generic that it would come across as being elementary. I like to be able to take my life stories and say them in an artsy manner. It'll also allow the listener to interpret the song however they like; so as long as they can connect on some level, I'll be happy. I have a weird thing where I need to have a contrast between everything, whether it's in the music, lyrics, artwork or stage show. I enjoy a healthy balance, which I also believe has helped create our aesthetic.

You and I have discussed our mutual appreciation of the horror film genre. Which are your favourites, why do you love them so much, and how does this type of influence impact upon your musical style, mood, or even your songwriting/recording process?

I grew up on horror movies, mostly the Universal films of the '30s and '40s. From an early age, I've been attracted to the cinematography and settings. We talked before about the inspiration of moodiness in Bodiless, and I can also say a lot of that came from early horror cinema. Universal movies aside, I have a strong love for Italian horror cinema of the '60s and '70s. Mario Bava was a genius when it came to lighting. Of course, Argento is a master of it, but he took all his cues from Bava. When we write - and even in past studio sessions - we have movies on in the background non-stop. Not just for inspiration, but also for comfort.

I like to think I am able to create the same feelings from watching these films and put them in our music. They are more than horror films to me. Early Universal horror, Italian giallos, RKO pictures, there is so much humanity in these films which make them great cinema. Now, in this digital style of music, we try to bring a human touch to the sound. Some of my favorite films include Blood and Black Lace, Cat People, Freaks, The Old Dark House, and Daughters of Darkness, to name a few.

As a visual aesthete, how important do you feel the image or visual presentation of a band is and what mediums - such as video, photography etc - do you feel allow you to even further express your musical vision?

I think visuals are crucial for bands in this day and age, especially for younger ones. It's another way to express yourself artistically which will help create the whole package. At this time, I wish we were able to have more visuals on stage with us, but for each tour we will bring more and more. There are endless opportunities for musicians to explore that will help get their creative vision across, whether it's a light show, stage props or video.

A younger band opened up the tour package we were on in North Carolina. They were an industrial/noise duo and one member was controlling video with a projector live while simultaneously performing synth. It was quite refreshing and added a lot to their performance. I was able to see what they were about on a deeper level. For TTR, I'd like to help direct our first music videos and I've been dying to shoot them in the vein of Italian giallos. Everything from the technicolor film, to storyboard, to POV camera angle. I feel our music could fit quite nicely if placed correctly.

Do you feel certain instruments or effects have become a staple in your music; which do you enjoy using most and why?

We have an obvious love for classic drum machine samples and reverb-ing them out! I also have a 'go-to' for favorite pads. My ears tend to go towards anything with an ethereal, airy sound. I'm a sucker for airy pads over classic sounding dance beats (just look at my influences). I know Lonn's 'go-to' synths may be somewhat similar, but he does enjoy a lot of hip-hop sounding samples. Whether they get used for TTR, or personal fun projects, I am always impressed with what he comes up with.

How have you adapted to live performances with only the two of you to perform all of the instrumentation?

Starting out, we really tried to perform every aspect of the instrumentation live. Our first shows took us way too long to set everything up. We played warehouses and smaller rooms, but had gear that could fill an amphitheater. It started making less sense as we played more and more. Each phase of shows, we re-configured our live set-up. It wasn't until after our first shows, after the recording of Bodiless, where we began to get an idea of what and how to perform live. We come from a different world, so we would take notes from a lot of the bigger bands we performed with and put our own twist on it. It's funny to see bands on stage and you know they are all performing to a backing track, like karaoke; that's something we always wanted to steer clear of. So if it takes a little longer for the two of us to set up everything, so be it. We are constantly evolving, so I'm sure our fans who saw us last week will see something different next time we come to their city.

You've recently played gigs in America's north east and have been included on the line-up for a couple of US tours. What has been the audience reaction to your music and how has it felt to play your new songs live?

The reactions have been great. A wonderful part about this music scene is that the fans have a wide array of musical tastes. Groups in genres of electronica, industrial, goth rock, new wave, EBM can all be on one bill and have it make sense. That's one thing I really enjoy and don't take for granted. Packages have such an opportunity to create an eclectic mix, and we are lucky enough to fit in a lot of places. For example, when we played with The Birthday Massacre, their fans are very open minded and seem like down to earth music lovers, so we had a fun time performing for them. We were lucky enough to land these spots as the first shows post studio. It was much more comfortable playing these songs live, and finally had that "at home" feeling. I think you could see that from watching us perform as well.

I hear you had the opportunity at several gigs to meet fans with whom you have engaged online; was it rewarding to listen to their opinions about your music and how it makes them feel?

I really do enjoy meeting fans from online. I have a good memory and am usually able to remember who is who, and how I met them. It's humbling to hear their thoughts and reminisce of conversations had, especially when you get to witness their facial expressions and sincerity. Twitter doesn't give you that!

Where would you like to see TTR progress from here? What do you seek to achieve in your music and your career?

In the end, I'd like to be able to get us in a position where our career is an actual career. That's the dream, right? At this point we are lucky enough to embark on another tour - this time with Thrill Kill Kult and 16 Volt - which will be a full national tour ending in July. I am really looking forward to beginning the process of a new LP after the Bodiless touring cycle. Lonn and I are constantly writing, and can't stop talking about doing another record already. With that said, another record will most likely happen sooner rather than later. I won't divulge too much information about that now since it's really early, but this is a constant evolution. It's comforting to know that we finally hit our stride as musicians with the release of Bodiless, and there are no signs of slowing down. Was it you [Yes, yes it was - MAF] who said that we were the "Sade of industrial"? Let's see where we go with that now!

Find out more about Twitch the Ripper's music and current US tour dates on their website.

Photos courtesy of Matthew Bologna Photography.

Distaudio : No Control

2011-04-18T09:02:00.000+10:00

The EP No Control is a collection of remixes of songs from Distaudio’s debut album Milieu Control, which was released in November 2010. These songs have been re-imagined by the collaborating musicians, further elaborating on the original maddening aural landscape of Milieu Control.

No Control features seven tracks remixed by the following artists:

Cellmod http://www.cellmodmusic.com/

Cold Divide http://www.colddivide.com/

Hexakai Dekagon http://higherbeingscommand.weebly.com/

Mr Mark Dollin http://m.thequietrevolution.net/mmd/

Sefiros http://www.sefiros.co.uk/

T-Zero http://t-zero.bandcamp.com/

You Shriek http://youshriek.com/

No Control will be released during 4zzz’s (http://www.4zzzfm.org.au/) ‘Dark Essence’ radio show live on-air Monday 18 April 2011 at 10pm (Australian EST) and will be available for free download from http://distaudio.bandcamp.com/album/no-control from that time.

Distaudio is musician Heath Friend from Brisbane, Australia. Distaudio is a solo project for which Heath writes and records in his home studio. Heath draws inspiration for his music from the darker elements of industrial music, while injecting an element of groove which is sorely missing from this genre. Growing up on a healthy diet of funk music, then discovering bands with a heavier edge, has shaped the foundations of Distaudio’s sound. Listening to Rage Against the Machine and Insurge at a young age led to an enhanced socio-political awareness, and this interest has inspired the lyrical content and maddening aural landscape of his music.

So far, Distaudio's debut album Milieu Control has received airplay on:

· ‘Sounds from the Sandbox’ (http://soundsfromthesandbox.libsyn.com/ ), an online podcast direct from Baltimore, U.S.A. and Kuwait

· 4ZZZ radio’s ‘Dark Essence’ show in Brisbane, Australia (http://www.4zzzfm.org.au/)

· Michigan’s WIDR FM ‘After Hours ADPAPAM’ show (http://www.widr.org/)

Distaudio is currently focused on forming a live band to perform the music in 2011.

Find out more about Distaudio : http://www.distaudio.com

Download No Control : http://distaudio.bandcamp.com/album/no-control

Buy Milieu Control : http://distaudio.bandcamp.com/album/milieu-control

You Shriek : Somewhere Between (Heaven & Sorrow)

2011-03-23T12:49:00.000+10:00

Boston's You Shriek appeared on my radar last year: their music instantly made a strong and positive impact on me and I've followed the band ever since. So I am very excited to introduce you to their third full-length studio album, Somewhere Between (Heaven & Sorrow).

You Shriek was founded in 1990 by singer Raziel Panic, who says he is influenced by music from the New Romantic, Goth and Industrial genres.

"My life in music took some agonising turns in the past three years," says Raziel.

"I needed to shelve the songs I was working on and go back to re-live another era, to resolve these unfinished ideas and make them modern."

While it would be simplistic to say the band has an '80s sound, their choice of instrumentation and samples points to a predilection for darkwave and electronic music from that era. When I listen to You Shriek, I am reminded of bands such as Japan, The Cure, Echo and the Bunnymen, Kraftwerk and The Alan Parsons Project. Somewhere Between (Heaven & Sorrow)'s tracks would not be out of place on the soundtrack for a futuristic, noir thriller such as Bladerunner, or a bleak yet romantic film such as The Crow.

I could listen to this album on repeat for days on end...and I have. Here are some of my favourite tracks and why I love them so much.

The rhythmic quality to third track, Daggers, is mesmerising and the lyrics are moody and poetic.

My favourite song from the album, fourth track No Heroes, literally makes my skin shiver with excitement (covered in goosebumps as I type this). Reminiscent of Burn by The Cure, the guitar effects create a vaporous, time-lapse world in which the jaws of darkness are an alluring aphrodisiac.

Fifth track, Lilith in Libra, has an uncomplicated and yet hypnotic melody enhanced by dynamic rhythmic accents and a catchy guitar riff.

Track seven, Ever and Anon, captured my attention through its compelling bass line and dancefloor-friendly grooves; this song reminds me of Duran Duran's Planet Earth, which is a compliment considering I've been a 'Duranie' since 1981!

Final track, She Does Not Go To Parties Anymore, is a luscious, sensual song which weaves a celestial web around Raziel's bewitching vocals.

The accompanying vinyl 12" EP, Music From The Ceasium Fallout Series, will contain exclusive extended and remastered live, instrumental recordings originally featured in a trilogy of the Spies on Zero Zero Island video podcast episodes.

I highly recommend this album and, if I were to mark it, I think I'd give this one 10/10. It's such an intelligently considered and quality piece of work that I feel not one part of the album was not the best the band could do. I love it, and I hope you do too.

If you would like to find out more or buy the album, visit the You Shriek website.

RIP Mike Starr

2011-03-09T12:22:00.000+10:00

When Alice in Chains released 'Facelift', I was 21 and by the time it hit Australian clubs, 22. I cannot begin to explain to you the power of the single 'Man in the Box'; Layne Staley's voice reached inside my gut and twisted something to make me really feel their music. They remained my favourite band from the 'grunge' genre throughout the '90s.

The wonderful vocals of Layne were lost forever in 2002 when he died from an OD of heroin and cocaine. So pointless. And now, nine years on, bassist Mike Starr has been found dead; whether this was from prescription pills or heroin is inconsequential. It's just another pointless drug-related death in the music industry.

RIP Mike Starr (April 4, 1966 – March 8, 2011)

Touring Brisbane? - A local's guide

2011-02-25T14:18:00.004+10:00

One of the things that pisses me off when I travel to other countries is finding out about cool places I should've visited...after I'm already back home. And that plane flight from Aus isn't a cheap one, so once you're gone, you're not returning for a few years.

With that in mind - and after hearing of all the terrible restaurants people have taken touring bands to, and the general boredom they seem to suffer in Brisbane - I thought I'd put together this little guide suggesting a few places to eat, things to see etc while you're in town for a couple of days.

If you're after nightlife, you can pretty much wipe the inner Brisbane CBD off the map...unless tacky casinos in heritage-listed buildings are your scene. What you need to do is head into Fortitude Valley (10 min walk from the inner CBD) or over to West End (across the river at the top of the Queen Street mall).

Fortitude Valley is the part of town that used to be really seedy in the '80s and was a hotbed of corruption (prostitution, gambling etc). Now, it's home to most people under the age of 30 every Friday and Saturday night. It contains a very small Chinatown and lots of great places to have a drink or a spot to eat.

Favourite haunts in Fortitude Valley / New Farm

Kim Lan, located in the Chinatown mall, has really cheap but fantastic Chinese food, quick service, friendly smiles. I can't rave enough about this place; it used to be my home away from home before I was diagnosed with coeliac disease (can't eat soy sauce now = elimination of most Chinese food from my diet). BYO

FATboys Cafe - You can't go past FATboys in the Brunswick St Mall if you need a meal late at night.

Ric's Bar - Right beside FATboys, Ric's is a cool place to have a drink and see some local bands while you're in town.

The Mana Bar - If you love gaming and you like to drink, this is the place for you.

Campos Coffee - One of those 'best kept secrets' type places in town, located at 11 Wandoo Street, just behind the James St Markets. Excellent coffee, tasty treats.

The Continental Cafe - My favourite Brisbane restaurant, is a little fancier and features French-style cuisine and an excellent wine list. The Continental is located in New Farm, which is around 30 min walk (very short cab ride) from the Valley mall toward the river.

Bar Alto - A beautiful spot right on the river to have a drink and a light meal. Gorgeous at sunset and at night. The added bonus about having a drink here is that you can then explore what's on at...

The Brisbane Powerhouse - An awesome venue for music, comedy and the arts. There's always something interesting happening at this place, which is actually an old power station. Another lovely aspect of this place is that you can stroll outside and take a walk along the river, go for a jog or chill out in New Farm Park, or check out the local markets which are held outside the Powerhouse every second and fourth Saturday from 6am to midday.

The Palace Cinema Centro - Lush cinema featuring mostly foreign films. Located across the road from the James Street Markets. Has a few bars around it, as well as some eateries, and the Queen's Arms Hotel is just up the road.

The Zoo - One of my favourite live venues in Brisbane, always chock-full of goodness. Check out who's playing if you'd like to catch a local or visiting band.

The Step Inn - Excellent local venue featuring alternative bands.

The Tivoli - The goddess of all live venues. If you get to see a gig in this venue while you're here, consider yourself lucky - she's divine. If you're thinking of touring Brisbane in future, check it out so you can consider it as somewhere you might perform one day.

Inner Brisbane CBD

Aromas Cafe - Located in the foyer of what used to be The Regent Theatre in the Queen St Mall, Aromas serves by and large the best coffee with the best atmosphere of any cafe in Brisbane. But that's just my opinion. They are also in the habit of hiring musicians, so have a chat to your barrista; it's likely they're in a local band.

Govinda's - Cheap, vegetarian food in a laidback atmosphere. Perfect for lunch or early dinner. The CBD one is located in Elizabeth Street just up the street from Border's.

Tribal Theatre - If you're a horror movie fan like me, or just like off-the-wall cinema that is BYO, head to Tribal in George Street.

Across the river, at Southbank / West End

Queensland Art Gallery & Gallery of Modern Art - If you're an art buff like me, you like to catch some galleries while you're travelling. These two galleries have excellent collections, and as an added plus, GoMA has its own little cinema inside which features some very cool films.

Sciencentre - Located downstairs from the Queensland Museum, the Sciencentre is full of fun, interactive games and interesting info. Well worth a play :)

Southbank - Built on the old 1988 World Expo site, Southbank has a fake beach and Friday night markets. Not my scene, but it might be yours if you want to take a dip in the CBD. I just prefer the ocean...

Caravenserai - My favourite local Turkish restaurant complete with belly dancer if you go on a Friday or Saturday night. Located in a beautiful old Queenslander-style house at the top of Highgate Hill, just above West End.

Trang - The best Vietnamese in town, in my opinion. BYO

Out of town

A short cab fare/bus ride out of Brisbane CBD is the best Indian restaurant in town, Halim's. It's located in a suburb named Rosalie, which was recently hit by the Queensland floods. Across the road is my favourite wine shop, The Wine Experience. Best burgers (including gluten-free) are located around the corner at Grill'd.

If you're after a massage due to the stress of performing, I can highly recommend the therapists located up the road from Rosalie at Paddington Urban Retreat. Just down the road in Paddington is the Paddington Clinic if you're in need of acupuncture, naturopathy or remedial massage. (I can highly recommend Rachel, who is my acupuncturist and specialises in Toyohari.)

Also in Paddington you can find lots of cool vintage clothing stores dotted up and down Given Terrace / Latrobe Terrace. If you have dietary requirements, you can find The Fundamental Food Store in Given Terrace and it's sister cafe, Fundies, next door.

A cute place to head for brekky is The Pandemonium Cafe just down the road from Fundies, which is decked out in a 1960s look.

And finally, if you like football, check out our local team, who are usually playing a game at Suncorp Stadium in Milton (one suburb toward the Brisbane CBD from Paddington).

If you're after some wildlife experiences, visit Lone Pine Sanctuary in Fig Tree Pocket (around 30 min drive from CBD) which features Australian animals or Australia Zoo (over an hour drive from CBD) which also features larger game animals and, of course, lots of crocs.

My favourite beach?

Greenmount Beach and Rainbow Bay at Coolangatta. The esplanade at Coolie also has great sushi, pizza and bars so head there if you've got the whole day to spare and want to see our beaches. Currumbin Wildlife Sanctuary is a little drive up the highway toward Surfer's Paradise from Coolangatta and is lovely if you want to see some local animals.

So that's it, in a nutshell.

I hope this little list has been helpful. Just remember that Brisbane-ites are pretty friendly people so, if you're wandering around town lost for ideas, just ask a local where they like to go. There is also an information booth in the Queen St Mall in the Brisbane CBD to help you with public transport timetables, free maps, what's on etc.

Most of all, have fun while you're here.

Amanda xx

Twitch the Ripper : Bodiless

2011-02-01T09:00:00.156+10:00

Back in May 2009, I reviewed Twitch the Ripper's EP Don't Go Out Tonight. This band from Connecticut in the US had a sound that really appealed to my sensibilities and I've been looking forward to hearing their first album with high levels of anticipation.

This debut album, Bodiless, enshrouds every beautiful element I expected from the minds and hands of Jon Dobyns and Lonn Bologna. Seamless electronic grooves with soft melodies and almost primal percussion.

The first track, Disconnected, begins with an '80s sounding synth, melding into dreamy vocals and the gentle plucking of guitar with some subtle distortion and reverb. The synth sounds are reminiscent of Yazoo era Vince Clarke while the mid-final percussive section of the song is all early Depeche Mode.

The title track Bodiless is a wonderfully atmospheric, haunting song. The lyrics and vocals are intensely sensual and some of the keyboard effects in this are unexpected. The insistent percussion in this song is strongly reminiscent of that on the Tears for Fears album, The Hurting. Which is great for me, it being one of my favourites.

Next track, Bright is Impossible, is my favourite on the album. Relying heavily on layered, breathy harmonies and interesting melody changes, it moves from dark to alt-Sade smoothly.

Nothing in these empty sheets
But sacred uncertainty
Bright Is Impossible
I’m swimming in your sea
It’s how you’ll get to know me
Bright Is Impossible

I especially love the heavy synth groove toward the end.

Never Got You Anywhere has an infinitely more club-friendly rhythm, while retaining the echoed vocals and '80s electronic vibe.

White as the marble I laid you on
This old place stood, with forgotten bloom
You soaked me in, toes curling reaching for the moon

It reminds you how it speaks to your skin
Do it again

Keep Me Cold has a snake-like charm, weaving its way through your body to gently probe your soul. Mortality, water and sensuality continue as lyrical inspirations.

Held under the water
It feels better down here
Thought he saw her
Until she disappeared

Body Blue changes approach slightly with a funkier bass line and a very strong chorus. Eternity reminds me of New Order, with hints of Blue Monday percussion and synth. Nurse Price, a slower track, is heavy with atmosphere.

A Place for Polaris returns to form, filled with yearning melancholia.

Haven’t done all I can do
Suspend me from the delicate image of the truth

This is primal
Glazed together
Passion is forever

It's a fitting note on which to end the album, encapsulating all that is memorable of Twitch the Ripper's sound and appeal. The juxtaposition with this band is you never quite know if their lyrics are about love, death, misery or pain. My guess is all of the above.

If you like poetic, sensual music with an '80s electronica temperament, vibrant percussion and dreamlike vocals, you will love this album. Already a favourite for this year. I love this band and am sure they won't remain a secret for long.

Read more about Twitch the Ripper and buy this album.

Footnote: In May 2011, I was fortunate to interview Jon Dobyns. Read it for a deeper insight to what drives the band, their lyrics and sound.

Grinderman @ The Tivoli 20110124

2011-01-25T16:26:00.002+10:00

How do I even start writing a review of an out of body experience?

Let's start at the beginning.

Lining up outside ye olde Tivoli (in Brisbane, Australia), the prevalence of bogans drinking UDLs somewhat unnerved me. After all, I was queuing to see one Nick Cave, the godfather of Australian punk and goth. Lord Voldemort of the music world, if I may. (And I will continue momentarily with this Harry Potter reference...)

Once safely ensconced within the beautiful deco walls of The Tivoli - Brisbane's plush red carpeted, balconied, divine temptress of sound - I sent a text to my friend who was meant to meet me there. Seems she and her sister decided that the Jubilee Hotel down the road was an infinitely more inviting option versus seeing Grinderman's support. So I spent an unwise $6 on a plastic cup of shiraz, drank half, and left the other half for some poor alcoholic in need of sustenance to imbibe.

I managed to squeeze into the front row...albeit far left without a banister to lean on. Good vantage point for the support musician, who annihilated his guitar while presenting us with a terrific display of heartfelt songs performed with blues mastery, guts and soul. His name was Ed Kuepper. He was in this little band you might've heard of: The Saints.

Just before Grinderman came on stage, I managed to lose my prime position as down swept the sleazy, drunk, 50 year old men who - somehow managing to escape from their wives and kids for the night - decided to annoy / press up against women in the front row. I slid away and up into the small alcove at the bottom of the stairs and, surrounded by a bunch of 20 year old AFI fans resplendant in matching tattoos and lobe extenders, I awaited Grinderman.

Slithering on to the stage came what appeared to be ZZ Top headed by Professor Snape. Yes, here's my second Harry Potter analogy. I had memories of Nick Cave from gigs I had seen him perform in the '80s and one gig at the Big Day Out in the '90s some time ago. I remembered him as smooth and sexy. The man before me onstage last night was neither smooth nor sexy. You know how, when you watch Harry Potter films, you can't help but get an erotic charge from Alan Rickman's Professor Snape? Well, Cave carries that air: dark, dangerous, kind of creepy, a bit tormented...and he actually hisses. Dressed in black trousers, VERY shiny black shoes, and a collared shirt, he resembled the drunken bachelor uncle at a family wedding who, despite being an incredible sleaze, manages to woo all the bridesmaids with his hip thrusts and smooth talking. With his slicked black hair and frown, Nick embodied PRESENCE.

His three compadres - Martyn Casey, Warren Ellis, Jim Sclavunos - were three hairy bastards (hence the ZZ Top reference) clothed in brown op shop splendour. Martyn on bass was a smooth operator, all charisma and smoochy expressions to the ladies. I couldn't take my eyes off his abused bass, resplendant in scratches and marks just like a bass should be. The funk he brought to the house was sublime.

Sclavunos destroyed my hearing last night. Every time he beat that kick drum, the entire podium I was standing on shook, my body vibrated, and my brain pounded. What a groove master! He rode that drum kit last night like it was a horse of the apocalypse.

Ellis' beard is so damned long I think I actually saw a bird fly out of it at one stage. That man is a whirling dervish on stage. How many instruments did he play? Too many to note. Whether he was bashing high hats with maracas, wielding violin feedback in our faces, or shoving reverb down our throats, he was messing our shit up all night. On the floor. Flying through the air. Diving to the ground. Creepily grooving with pelvic thrusts. The man did not stay still to breathe. Scary and beautiful. Mad and divine. And no, he's not the Warren Ellis on Twitter (that's the writer).

The songs were brilliant. The lyrics downright amusing at times. Cave's wiry body flung from left to right, lurched into the crowd at every opportunity, and wreaked havoc on the mic stand and general stage set-up. (Kudos to the curly-haired guy to the right of stage whose job it was to fix whatever Cave had fucked up; he was onstage most of the night on his knees while we laughed at him...poor guy.) Singing about gingerbread men and biscuit tins and making it sound like he wants to fuck you from the inside out, Cave licked the faces of young men who looked like they really wanted it. He made grown women cry with a touch of his hand. I saw more than one hand reach up to touch his cock when he was leaning into the audience only for him to jerk away at the last minute. The tease. He said "I got sunburnt in Brisbane today. You can grab my arse, but you cannot grab my shoulders or my legs". I think the crowd obliged.

Cacophony. The sounds did not reach my ears, they brutally raped my ears and my body and ripped my insides out and twisted them around my throat until I could barely breathe. The wall of sound, the feedback, the growling, the howling, the leaping and the gyrating. It was like a voodoo ritual with a heart of funk and blues born from the Bayou mud.

There was laughter too. Plenty of it. Grinderman knows how to have fun together, how to push the crowd to its limit, how to create havoc onstage while mischievously grinning at each other throughout. It was like watching a secret society with the associated handshakes and winks and nods.

Next time I see Grinderman I will know what to expect and will not stand six feet from the wall of speakers. Lucky for me I was wearing earplugs but the AFI boys were trying to ram their fists in their ears most of the night, the noise was SO FUCKING LOUD AND CONSTANT AND PENETRATING.

If you are a Nick Cave fan, don't see Grinderman expecting anything dark and brooding; the Cave in Grinderman is a funky devil overlord with temptation in his hands and a frown upon his brow...but with the spirit of Dennis the Menace inside. Every so often you see peaks of it glimmering through the darkness and it's delightful to watch. Yet when he stands at that Korg and sings a ballad while staring into your soul, it's a moment you remember for a while. His black guitar might still be shiny, but I look forward to the day when it too shares the war wounds of Casey's bass.

I may feel violated by Grinderman but, while I lick my wounds, I remember the thrill and tremendous beauty...and the partial deafness slithers into oblivion.

http://www.grinderman.com/

Queensland Floods 2011

2011-01-13T13:56:00.000+10:00

At the end of December in 2010, parts of regional Queensland began experiencing flooding. This worsened until in January 2011 Mother Nature began displaying her fierce potential, reminding many residents of the worst flood we'd seen previously: the flood of 1974.

On January 11 the city of Ipswich, west of Brisbane, experienced severe flooding and by January 13, that water had made its way down to the Brisbane CBD.

These photos are of the area near which I live and are in no way a comprehensive listing of the damage. Regional areas throughout Queensland were also greatly impacted, specifically Toowoomba, Rockhampton and Grantham.

More information on the floods can be found on the ABC news site, and you can donate money to the relief efforts.

The photos below were taken around 9.30am on Thursday 13 January 2011 in the Brisbane CBD and at Rosalie in the western suburbs.

(All photos owned and copyrighted by me, Amanda Schneider 2011)

Taken from William Jolly Bridge looking toward Go Between Bridge

Journalists set up alongside the engulfed bikeway

Former bikeway

Looking across river from William Jolly Bridge toward West End's Paul's factory

View from William Jolly Bridge looking toward the CBD

View from William Jolly Bridge looking toward the Gallery of Modern Art

The force of the water is phenomenal

Queensland Gallery of Modern Art

Looking down Montague Road from William Jolly Bridge

River views almost came too close for residents of the Riverside Hotel, South Brisbane

Looking down Grey Street, South Brisbane (Queensland Museum on the left)

Fortunately, alternative arts venue Burst City (far right) in Grey Street survived!

Queensland Gallery of Modern Art's back yard

Looking across to Roma Street end of the William Jolly Bridge toward submerged bikeway

Homes in the western Brisbane suburb of Rosalie hard hit - but thanks to Queenslander style of home, survived!

Influx of worms line the streets of Rosalie

Looking down toward Rosalie Village in Nash Street, Rosalie

Grill'd at Rosalie

Beck Street, Rosalie

Distaudio : Milieu Control

2010-12-28T15:25:00.000+10:00

Just when you thought the spark had disappeared from the Australian music industry, along comes the electrifying voice of Distaudio.

Debut album, Milieu Control, is a brilliant package of songs to drag the most apathetic soul from their hiding place. The lyrics pack a punch and are accentuated by the dynamic fusion of industrial/post-punk sounds with an underlying and persistent groove.

Multi-instrumentalist Distaudio draws inspiration from the world around him, and points a finger at the apathy and self-obsession that permeates modern society. Milieu Control alerts the listener to the prevalence of Big Brother and its reliance on ignorance to succeed in its oppression of mankind's hope and humanity.

The music is complex and layered and brings to mind predecessors Nine Inch Nails, Aphex Twin and - lyrically - the potency of The Clash. Distaudio's vocals are intense, impassioned and grab you by the throat and squeeze.

Although difficult to pick favourites, standout tracks for me are Culture, The Other Side, Market (Reprise), and the instrumental March of the Moral.

Everything, down to the album's artwork and design, was done by Distaudio, making it an impressive one-man production. I can't wait to see the live gigs when all of this comes to life and you can all experience the music firsthand.

The difference for me writing this review is that this album is the result of my love's efforts over the past four years. I have lived the writing, recording and production of this album and have listened to each song many times over, from their infancy as ideas to fully fledged tracks. Being a music reviewer means I get somewhat jaded about music generally at times, but Milieu Control embodies everything I love about quality music that inspired me to get involved in the industry in the first place. I love it more with each listen and I couldn't be more proud. I hope you enjoy the album as much as I do!

For more information
Distaudio website
Distaudio on Twitter
Buy Milieu Control

Medollic : Dollhouse

2010-12-28T14:22:00.000+10:00

Who is Medollic?
Medollic is Lix Bacskay, James North and Steve Pope. Lix and James first recorded together in 2006. In 2007, with a handful of songs and guitars in tow, Lix moved from New Zealand to Brisbane, Australia, where she, James and Steve began arranging, recording and writing more of what would become Medollic’s debut album, Dollhouse.

Standout tracks
Dollhouse opens with Black Begins, which reminds me of The Cranberries; fantastically catchy chorus and beautiful production, especially on the guitars. Breaking Days and Fable highlight the dusky qualities of singer Lix' beautiful voice. Dollhouse brings a bluesy, ballsy '70s vibe to the album, which I think would rock in a live performance.

Overall opinion
The album is a mixture of rock/pop, anthemic and more introspective songs which blend seamlessly to create an uplifting and delicate storybook of personal experiences. Strong undertones of female singer/songwriters such as Dolores O'Riordan, Ani Di Franco, Sarah Blasko and Fiona Apple.

Further information
Medollic website
Medollic on Twitter
Buy Dollhouse

Edwyn Collins : Losing Sleep [album review]

2010-10-03T18:42:00.003+10:00

From one of my favourite singer songwriters over the past 30 years, Edwyn Collins, comes his new album, Losing Sleep.

In around 1987, I was introduced to the music of Orange Juice by a friend from the UK (thanks, Craig S). Edwyn was the lead singer of this Scottish post-punk band formed in Glasgow in the late '70s, and I was immediately entranced by his unusual, emotive vocal quality. Back then, as it was more difficult to get your hands on music from overseas, I relied on mixtapes to inform me of the band's music.

Many of you younger readers are possibly more familiar with Edwyn's 1994 hit, A Girl Like You.

I don't wish to be glib about what an achievement this album is. In 2005 Edwyn suffered a pair of life-threatening cerebral haemorrhages; if you get an opportunity, watch the documentary Home Again on YouTube. Following a lengthy and brave rehabilitation, in the middle of a November night in 2008 the urge to write songs - which had deserted Edwyn since his illness - made an abrupt return. Losing Sleep is Edwyn's seventh solo long-player and features tracks co-written with Johnny Marr, Roddy Frame, Alex Kapranos and Nick McCarthy of Franz Ferdinand, Romeo Stodart of The Magic Numbers, and Ryan Jarman of The Cribs and The Drums.

Not only is it incredible that the man is capable of singing and creating music again, but the album matches and surpasses the music he has created during his accomplished career as a professional musician.

I could write a lengthy description of Edwyn's musical style - an energised blend of Motown, '50s rock, jazz, soul and pop influences - but what it comes down to, for me, is his voice. Nobody else sounds like him. His acutely aware lyrics delivered through such a vulnerable voice is what makes his sound so special.

Edwyn's melodic and catchy grooves harken back to a time when music was less about production and more about heart. There are some standout tracks on this album. Humble reminds me of A Girl Like You, with its handclap percussion and sophisticated, smooth modern jazz sounds. Come Tomorrow, Come Today takes me back to his Orange Juice days, with a driving bass groove, tambo and Marr's '60s guitar sound; so beautiful. In Your Eyes soars and swells into a full and luscious aural sensation and combines the best of the '80s with the now. All My Days is a delicate song featuring a gentle guitar stroking the fragility of Edwyn's plaintive vocals.

This album is terrifically uplifting and pure of soul. It is an incredible return to form for a man who has survived some horrific setbacks and challenges over the past few years. Not only is Edwyn's talent impressive and eternal, but both his story and music are inspirational. I thank him for continuing to create music from his heart.

Track listing:

1.   Losing Sleep
2.   What Is My Role? (Co-written with Ryan Jarman)
3.   Do It Again (Co-written with Alex Kapranos & Nick McCarthy)
4.   Humble
5.   Bored
6.   In Your Eyes (Co-written with The Drums)
7.   I Still Believe In You (Co-written with Ryan Jarman)
8.   Come Tomorrow, Come Today (Co-written with Johnny Marr)
9.   It Dawns On Me (Co-written with Romeo Stodart)
10. Over The Hill
11. All My Days (Co-written with Roddy Frame)
12. Searching For The Truth

Visit Edwyn's website to buy his album or check out his tour dates.

This article was written for The Dwarf.

The Basics : The Basics Live [album review]

2010-09-20T14:35:00.000+10:00

Music that can help you to escape yourself is a godsend.

By that, I mean if you're like I am today - fluey, pretty much annoyed at everything - and you put on an album that makes you feel awesome, therein lies the power of well written music.

I'm fortunate enough to be reviewing The Basics' album - The Basics - which was recorded live at the Northcote Social Club in Melbourne. I've seen these guys perform at The Zoo in Brisbane once before, and while their recorded music is also excellent, it's live that they really shine. They are a phenomenal live band, the type to make you lose yourself in the moment, like some hallucinatory shaman scene from the mind of Jim Morrison. If you've never heard their music before, think of The Beatles meets Motown meets ska meets funk. It's a blend that works.

The Basics - based in Melbourne, Australia - consists of Wally De Backer on drums and vocals, Kris Schroeder on bass and vocals, and the lovely Tim Heath on guitar and vocals. When they perform live, the band is substantially fleshed out with additional musicians to embody the soul and spirit of Motown, so it's essential you see them in some seedy bar like those jazz clubs in 1950s films.

This live album is incredibly uplifting and has a positive spirit that embodies The Basics' live ethos. What is more surprising is that the band has offered this album as a free download from their Bandcamp for an indefinite period of time. I would've paid good money for music this good! The band also offered a limited edition vinyl set to fans on a pre-order basis, so lucky you if you got your hands on one of those.

So, I've played this album three times in a row today, and I'm feeling better already (despite this wretched flu rubbish). If someone could imbue a product with the essence of The Basics, it could become a modern day cure all for every ailment known to man. Even the lovelorn laments are so beautiful they create a sense of joy within me.

The strongest aspects of The Basics' live performance is the shock and awe of punters as they realise those on-record harmonies are as good - if not better - in person. The Basics keep it simple, and I don't say that with one ounce of condescension in mind. They remember what the reason for music is: to make people feel something. The music is simple enough that the lyrics, always written with care and laced with raw emotion, can take effect. And you can hear the appreciation of the audience on this album, which gives it great atmosphere (especially love the audience percussion on Three Cool Cats).

The songs chosen by the band for this album are brilliant and create a great flow. Favourites of mine include Like a Brother (which reminds me of some '70s action tv show theme...wacka wacka slap slap ;), Have Love, Will Travel (because I'm a go-go dancer from waaay back), Feels Like Love (I'm a total lost romantic not made for these times), the super funky (kinda sleazy sounding, but not) U R The 1, the pop/ska brilliance of Lookin' Over My Shoulder (I'm a REAL sucker for ska), and their cover of You Got It (The Right Stuff). That they can make a New Kids on the Block song cool says much for the calibre of their talent!

On this album, the musicians joining The Basics onstage were David Bramble, Simon Imrei, Gideon Brazil and Uncle Monty Mackenzie.

You can catch The Basics on tour around Australia in October and November. Visit their website for the details, and make sure you buy some of their other albums. I cannot highly enough recommend this live album and yes, I think they should be charging something for it :)

This review was written for The Dwarf.

The Midnight Juggernauts @ The Hi-Fi 20100821

2010-08-22T23:09:00.006+10:00

The Midnight Juggernauts is a continually surprising band. I saw them, around four years ago, in tiny clubs packed to capacity with rabid fans, and at festivals where some of the punters were so blitzed off their faces anybody could've been onstage. I was fortunate to experience their rise to mainstream popularity when their single Shadows from the EP Secrets of the Universe became the 'feel-good dance hit of the summer'. In 2007, the band released their first album, Dystopia, on their own label and began to achieve recognition overseas.

However, I was a little concerned for the future of their career in Australia. You know how Australians can be: if someone gets popular that's okay, but if they become too popular, some Australians tend to shun them. The band quickly becomes a big fish in a little pond and invariably moves to Europe.

While Australians have generally maintained love for the Midnight Juggernauts, the band has also gained a dedicated following in Europe, both through gigging and DJ sets in clubs. In fact, it certainly seems like they've been gigging for the best part of four years.

Which is why I was so pleased to hear they would release a new album - The Crystal Axis - this year. When I first watched the clip for This New Technology on YouTube, I was blown away. The band's sound had evolved from a funky '80s-inspired electronic band to one with more heart and soul, dynamics, atmosphere, and a slightly darker edge. But the doubters arrived on the scene; the people who weren't so willing to embrace this new side to the band, those who wanted the lighter dance element back. They were bemoaning the loss of their old festival band while here I was loving them even more.

So I set off to West End's Hi-Fi venue on Saturday night wondering what the fan response would be to their new music. The band was absolutely, kick-arse, blow the rest out of the water incredible onstage. Not only are they much better live musicians now, but Vincent Vendetta's lower vocal register is stronger and didn't falter once throughout the set. Andrew Szekeres seems much more relaxed performing live now and hovered between bass, guitar, synth, and percussion. Andrew displays such vitality onstage and is the perfect diversion from Vin's relative stillness. Daniel Stricker is a powerful drummer and this is really where I find some 'dance' bands fail; they lack a strong live percussion element in their gigs. Not so the Juggernauts. Daniel displayed why the Lost Valentinos are probably still lamenting his decision to pursue a career with the Juggernauts instead. Watching Daniel was like immersing myself into a tribal voodoo dance ritual in which only the beat mattered. Amazing.

The audience was a little rusty to start with - as sometimes Brisbane audiences tend to be - and appeared initially more responsive to the older singles. But the new material was so impressive - not only the music, but the vocal harmonies were spotless - that even the lightweight fans were won over by the end, when the gig culminated with fans and other random folk jumping onstage to end the night with an orgy of dance.

If you missed the gig, you should be regretting that decision by now. The Midnight Juggernauts were cool four years ago, but they're phenomenal now. Even leaving the gig to the news Tony Abbott could potentially be our new Prime Minister couldn't dampen my mood. Well, maybe it did a little... ;)

For more info on the band, visit their website.

This review was written for The Dwarf, one of the best sources of credible information about music in this country.

Big Sound 2010

2010-07-07T19:54:00.000+10:00

Press release from Big Sound organisers:

"BIGSOUND 2010 continues to grow with more world-class speakers and artists joining the conference and festival line up in Brisbane this September 8-10.

Leading the newest batch of BIGSOUND 2010 speakers is one of the most important artists Brisbane has produced – Ed Kuepper. Starting his career with genre-defining punk outfit The Saints, Kuepper went on to release a string of critically acclaimed records with The Laughing Clowns and as a solo artist. More recently Kuepper was recruited as one of Nick Cave’s Bad Seeds – making this rare opportunity to hear him speak at BIGSOUND 2010 all the more special.

Also in the new list of speakers is leading digital music specialist Jonas Woost. Based in Vancouver, the German native is former head of music with leading online service Last.FM and has worked for an impressive batch of high-profile labels worldwide including dance music leaders Ministry of Sound.

Tim Dellow, co-founder of UK label Transgressive Records that’s home artists including Foals, The Subways and Regina Spektor, will be heading to BIGSOUND 2010. More than just a label owner, Dellow has moved into management and publishing, and is now director of Rockfeedback – a music TV media company, live promoters and online music magazine.

They will be joined at BIGSOUND 2010 by Editor-In-Chief of Australian Rolling Stone Mathew Coyte, Rod Kukla, A&R with American Recordings – the label headed by iconic US producer Rick Rubin – and LA-based Australian artist Simon Lewicki who has released records under the Groove Terminator moniker and scored a number one Billboard hit as Chili Hifly.

Also making the trip to Brisbane in September will be Mark T Grose from arguably the country’s most respected and successful indigenous music company Skinnyfish Music.

With more to be announced, these speakers add to an already bumper conference line-up that will feature leading industry figures from around Australia and the world including journalist and author Michael Azerrad (USA), Chairman of The Mushroom Group of Companies Michael Gudinski, and BIGSOUND 2010 keynote speaker John O’Donnell (Odfellows Publishing / Cold Chisel management).

Meanwhile, the BIGSOUND Live line up expands with the addition of Bridezilla, The Gin Club, Hungry Kids of Hungary, Ernest Ellis, Fire! Santa Rosa, Fire!, The Holidays, The Jezabels, Parades, Stiff Gins and Bonjah.

BIGSOUND Live, the live music component of BIGSOUND 2010, brings an urban music festival to Fortitude Valley with six venues, including two outdoor stages, hosting 60 of the country’s most exciting acts across three nights.

The new BIGSOUND Live artists join Children Collide, Boy & Bear, The Vasco Era, The John Steel Singers and Last Dinosaurs – with dozens more to be announced in the coming weeks.

This year, from the festival that keeps on giving, BIGSOUND 2010 partners with Valley Fiesta. Brisbane's largest street festival, Fiesta’s weekend of live music and more kicks off on Friday September 10 as the BIGSOUND 2010 program officially winds down.

BIGSOUND 2010, an initiative of peak industry body Q Music, is proudly supported by the Queensland Government through a major sponsorship by Trade and Investment Queensland and through Arts Queensland."

Visit www.bigsound.org.au for full ticketing details.

BIGSOUND 2010 SPEAKERS ANNOUNCED SO FAR...

Michael Azerrad - author / journalist (USA)
John O’Donnell - Odfellows Publishing / Cold Chisel management (AU)
Michael Gudinski – Chairman, The Mushroom Group of Companies (AU)
Dave Faulkner - Hoodoo Gurus (AU)
Ed Kuepper – artist (AU)
Brian Ritchie - artist (USA/AU)
Rae Harvey - Crucial Music (AU)
Peter Jesperson - New West Records (USA)
Morgan Lebus - Domino Recordings & Publishing (USA)
Tom Windish - The Windish Agency (USA)
Andy McGrath - ATO (USA)
Johnny Beach - Bowery Presents (USA)
Tim Levinson - Urthboy / The Herd / Elefant Traks (AU)
Chloe Walsh - Press Here Publicity (USA)
Joel Carriere – Dine Alone Records / Bedlam Music Management (CAN)
Courtney Hard – Senior A&R Manager Sony Music (AU)
Tak Furuichi – JVC Victor Entertainment (JAP)
Mark T Grose – Skinnyfish Music (AU)
Mathew Coyte – Rolling Stone Australia (AU)
Rod Kukla – American Recordings (USA)
Tim Dellow – Transgressive Records (UK)
Simon Lewicki – artist (AU)
Jonas Woost – digital music consultant (GER/CAN)

BIGSOUND LIVE 2010 ARTISTS ANNOUNCED SO FAR...

Children Collide
Boy & Bear
Bridezilla
The Vasco Era
Last Dinosaurs
The John Steel Singers
The Gin Club
Hungry Kids of Hungary
Ernest Ellis
Stiff Gins
Bonjah
Fire! Santa Rose, Fire!
Parades
The Jezabels
The Holidays

Follow BIGSOUND online:
Twitter @bigsoundsummit || www.facebook.com/BIGSOUNDmusic

Twitter : record label profiles to follow

2010-07-02T23:57:00.000+10:00

In addition to my other blog entry on music marketing profiles to follow, I thought it might be rather handy for you musicians to have a list of record labels I follow on Twitter.

Some of these are traditional labels, some huge and some small, some specialising in digital releases etc.

Take a peek and, once again, follow the ones that suit your objectives.

Amanda

Taperjeanrec
mistletone
fharrorecording
Musichunt
dreamboatrecrds
ninjatunehq
emotionmusic
obeserecords
BoomtownRecords
outerrecords
Interscope
Digital_Noir
MuteRecords
IpecacRec
whtgreyblk
warnercanada
nuevaforma
MetropolisRec
warriorrecords
CodeOneRecords
IslandRecords
vagrantrecords
bandroomrecords
matadorrecords
resistrecords
ozindies
UncommonRecords
redpillmusic
AMAdeaRecords
merenoise
spankbetty
rrusa
cominghomerec
dewprocess
inertiamusic
Roadrunner_UK
ZManRecords
impedance
ShockRecords
modularpeople
Universal_Music
warnermusic
curve_music
rcrdlbl
valverecords
SUGARRUSHRcrds
Bonefinger
Sony_Music
EMIMusicAU
emimusic_de
virginredroom
SonyMusicGlobal
ivyleagues
rcontrol
RubberRecords
10thplanetmusic
MySpaceAU
RCAMusic
bigrigrecords

Twitter : music marketing profiles to follow

2010-07-02T23:41:00.001+10:00

So you're on Twitter. Great. But one annoying factor of Twitter is it's so difficult to find verified accounts or follow profiles that are useful for what you are ultimately on Twitter to do: promote your music.

I have come across a few profiles on Twitter associated with different forms of music marketing. These range from people who talk about using social media for music promotion purposes to music management companies to music promotion research to online sites that can assist you in getting your music to a wider audience. There are companies offering a wide variety of promotional tools.

Here are some of the ones I've found on Twitter. Take a look at each profile and website, see if they interest you, and follow if you think they're useful to helping you achieve your goals.

Amanda

twitter
GrindEFX
wefollow
musicadium
MuchoBravado
BRISBANESOUNDS
artistshouse
plugola
musicextension
artistforce
MusicBizGuy
iTunesTrailers
amazonmp3
twtfm
cdbaby
discmakers
iodamarketing
Bandtag
red_octopus
tribeofnoise
musefy
roundhouse_av
SN4M
authenticmgmt
entertainAMG

RatbagMusic
Musiccoaching
iTunesMusic
twibbon
subgirlmusic
we_are_hunted
hypem
brizbands
soundslikebne
bandcamp
twibes
ARTISTdirect
soundcampaign
ReverbNation
hypebot

1476 : A Wolf's Age

2010-06-30T12:03:00.000+10:00

The atmospheric, dark and moody cover art for 1476's A Wolf's Age is deceptive. The first track, Anno Domini, holds more Green Day energy than Bauhaus skulk. Dynamic and rollicking, the song contains elements of Australia's Living End.

Swallow the Sun is driven by abrasive guitars and insistent drumming, with consistently atmospheric vocals. Son of the Hunter pursues an alt-country vibe, which is totally unexpected. This is not Lucid returns to the rockabilly punk style of the album's beginning, lyrics delivered with a shot of acid. follows the same path. Dithyramb does the same.

Evoke You is a stand-out track which diverts from the traditional genre path and delivers something more unexpected and vitriolic; the melody changes, using lots of minor chords, takes the song into a darker place than the rest of the album. I am reminded of The Clash; not in style so much as the energy coming from this track is similar. The bass takes a front seat and, in some quieter moments, helps the drumming to develop a sense of drama.

Herne's Oak takes yet another route, with dark resonant vocals a la Dave Gahan, double-kick drumming, HUGE guitar wall of sound. This song takes me back to the big rock sounds of '90s bands like Stone Temple Pilots, Live and The Screaming Trees.

Oriens Astrum returns to the rockabilly punk vibe, with metal guitar leading into the chorus. The Demons in the Circle adopts the radio-friendly alt-country style once more. The Cleansing Scourge amps it up again. Medicine Man...now here's a track I can get into. What a sexy down-home Bon Temps style; gentle groove, slide guitar, acoustic guitars...until the chorus, which reminds me a little of Kings of Leon. I would've loved to see this song continue the vibe it started with; the verses are fantastic.

Speaking of Bon Temps, Der Vampyr takes alt-country to its luscious Nick Cave potential. Melancholic, dark, sublimely deep vocals, great lyrics...now THIS is a band I would pay good money to see. This song has presence, takes its time and is individual enough to avoid genre stereotyping. I adore this track. Adore the swamp it seduces me into.

The Wanderer's loud guitars rip me out of my cosey dark cocoon, which I didn't want to leave so quickly. Closed Casket Heart ends the album with some acoustic guitar-induced swaying and swooningly powerful vocals. Like something you'd hear in an Irish pub at 2am. Darker than a ditty.

Overall, this album is enjoyable, but I can't say you'd love it if you like Green Day or Nick Cave or any other band. It has moments of punk rockabilly aggressiveness, then subtle, beautiful and memorable moments of pain and longing. Which means, I can't stereotype this band. Which means I like it.

If you'd like to find out more about 1476, an American band unheard of as yet in Australia, visit their website which has all their related links to MySpace, Facebook and Twitter profiles.

Save the Regent Theatre

2010-06-29T19:31:00.001+10:00

If you follow me on Twitter, you would know by now that the impending destruction of Brisbane's Regent Theatre is, quite frankly, really pissing me off. A venue which not only houses some of my more memorable teenage experiences on my way to becoming a film buff, but which was also a regular venue for my Dad when he lived in West End in the '50s.

The theatre, which was later converted into a cinema, opened on Friday 8 November 1929. It is a gorgeous example of deco architecture, particularly the Regent Showcase Theatre, which the developers plan to turn into a shopping mall with offices above.

I particularly recall when The Regent was used to its absolute best as a cinema: showing an approximately four hour digitally re-mastered version of Lawrence of Arabia, with two intermissions. I've dressed up as Magenta and danced to The Rocky Horror Picture Show in the front row. It has also been the home of the Brisbane International Film Festival every year since its inception.

On top of all this, it's a sublimely beautiful building and, despite developers arguing to the contrary, it is not enough to salvage the foyer and demolish the rest of the building. The Regent Theatre foyer leading to...a store? Fuck off.

On Saturday 26 June 2010, Distaudio and I headed off to the Rally for the Regent in Brisbane's CBD. We rallied. We asked people to sign petitions. Later, we sat in the foyer of the theatre and had a coffee at Aromas. While we were there, so many tourists, out of towners, and locals walked up to the theatre doors - which are locked shut - peering in, wondering what was happening. When we told them, they were devastated. They were absolutely appalled that our governments (local and state) would allow this to happen. One woman from Napier, the art deco capital of New Zealand, actually started to cry just thinking about the complete disregard for architecture displayed by our governments. Some people from Melbourne said with pride that, when The Regent Theatre in Melbourne was threatened, there was no WAY the people of Melbourne would allow that to happen. They were disgusted in the Brisbaneites who don't give a damn. Some tourists from China were shocked that our governments would so willingly give up our heritage. "You sell your culture?" one girl asked me, in disbelief. Everyone thinks that this impending development is beyond ridiculous, beyond tragic, and I for one am disgusted that not our Lord Mayor Campbell Newman nor our Premier Anna Bligh will save The Regent once and for all, in its entirety.

I grew up in the '80s, when then Premier Joh Bjelke-Petersen used to hire the Deen Brothers to come into Brisbane under the shadow of night to demolish heritage buildings in our CBD. I mistakenly thought the Queensland Government had grown since these times of corruption, but it seems now it's just done in broad daylight instead.

BUT...

It's still not too late to reverse this decision. What can you do this month and during early July to save The Regent?

Sign THE PETITION now!
Write to the Premier of Queensland asking her to save the entire Regent Theatre complex, including the Showcase Theatre.
Read more about The Regent's plight on Brett Debritz' website.
Join the Facebook page to receive info.
Make up your mind about who is responsible for this farce.
Inform yourself: type into Google "Regent Theatre" + Brisbane and plough your way through the many blog entries and forum discussions on the matter. Here's one example.
Follow Save the Regent on Twitter.

There's also a gig at The Globe on 10 and 11 July, headlined by Wolfmother on the 10th and Katie Noonan on the 11th. Your participation would be appreciated.

We who care about preserving Brisbane's architectural heritage would love you to help us reverse this decision, so please sign the petition and write to Bligh now. We have no time to waste!

Here are some photos from Saturday's Rally for the Regent, organised by Jason Sharland and supported by Aidan McLindon, who has provided his support for the petition. Thanks so much to everyone who joined us in making this important statement.

The Cult @ The Tivoli 20100505

2010-05-09T21:50:00.000+10:00

I have mixed emotions about this gig.

I first saw The Cult in 1987, when they had just hit it big in the US. They were brash. They were arrogant. Their lyrics were about sex and peace and sex and revolution. They were touring hot on the heels of their album Electric, a wild, love-child guitar fest channeling the ghost of Hendrix/Steppenwolf past. I saw them at Easts' Leagues Club in Brisbane; I was mad keen for Ian Astbury, my friend for Billy Duffy. Ian made intense eye contact with me throughout the gig, let me bang his tambourine for a bit; as 18 year-olds back then were inclined to do, I fell more than a little in love.

I saw them again at The Roxy/Arena in Brisbane in around 1995. This time, my idols had somewhat changed. Out with the hippy rocker threads, in with the '90s sneakers/short hair look. They looked fit, seemed positive, and were very energetic. Healthy, even. Their sound had modernised; they were current and seemed more than a little hesitant to embrace their hedonistic past. In fact, I got the distinct impression they wished all of the audience members were young enough not to know any of their music prior to their most recent album. They were pushing forward and moving on.

So, I saw them yet again, this time 15 years on. I am now 40. The lovely wafty '80s are over. The rock and grunge of the '90s are over. We're in this musical era where there is no defining ethos or sound...well, none I can relate to anyhow. I live in a city which appears to have lost its sense of identity, culture and history. In fact, our government is allowing the destruction soon of an iconic theatre in Brisbane's CBD and only a handful of people seem to care. Around me, I see apathy and greed winning out day in, day out. I live in hope that things will change, that people will start to care about something other than themselves again, but I don't really see it happening at the moment.

I considered a night out to see one of my favourite bands of all time might be an enjoyable trip down memory lane, that it might provide me with a couple hours of enjoyment amidst what I fear has been the poorest musical period of my life. But it didn't quite go that way.

I got to the gig early enough to grab the front row centre spot. I persevered through the support band soundcheck, then silence, then the support band (who were incredible by the way; see my photos of The Black Ryder on this blog), and then the longest I have ever had to wait for a band to come on stage. In fact, it was a pretentious display of disregard for the audience that The Cult did this. Not only did we have to stand there listening to the same bizarre mix of music play over the sound system - three times - but it is exactly this type of technique Jim Morrison used to stir up the crowd before The Doors would play. It's a well known fact that if you make your audience wait, they will become annoyed and impatient; it's common human behaviour, really. Well, it began working. People were getting drunk, aggressive and intolerant.

Finally, after over an hour of waiting, the band arrived on stage. Billy Duffy just looks the same whenever I see him; the only part of him that changes is his hair colour and cut. Kudos to the English for having good skin genes, because he appears to be ridiculously well-preserved. Ian Astbury, on the other hand...where do I start? Rugged up in gloves and a leather jacket, he looked like he thought he was playing in Alaska, not a steamy Brisbane venue full of sweat and humidity. He appeared to be really uncomfortable in general with being on stage, and seemed to experience mic stand problems for most of the first set. But what struck me the most was that he wore sunglasses throughout the entire first set of their performance. This is a personal bugbear of mine; when a musician wears sunglasses while they perform, I totally disengage. I can't see their eyes, can't see what the lyrics mean to them, and subsequently, the experience means less to me.

The Cult's album Love remains one of my favourites, and these are the songs around which their current tour revolves. If you want to know what the playlist was for the first half of the gig, check out the songs on the album. Better still, go out and buy the album. The line-up was impressive, including John Tempesta on drums, Chris Wyse (bass) and Mike Dimkich (rhythm guitar). I remembered all the words to every song and enjoyed the music...but something prevented me from connecting. I put it down mostly to Ian's disconnection from the whole experience. After a little while, the crowd became more aggressive and, as Ian sang Revolution, I felt the irony creeping into the back of my mind; a bunch of drunk people, pushing others around, singing about a revolution when they didn't seem like people who really give a shit about anything. And it looked like Ian sensed that...or maybe I'm reading him wrong. Nothing was coming together so, tired of being pushed and shoved by drunkards, I moved to the rear of the theatre to watch from afar.

And, of course, that's when it all heated up.

The second half of the gig was The Cult playing many of their well-known songs from the past 25 years or so: Fire Woman, Wildflower, Electric Ocean, etc. Ian whipped off his sunnies and it was like the whole room electrified with energy. He started raging about the bad music around at the moment, about apathy, about...hey, about what I've been thinking. And it was there and then that The Cult re-engaged me, turning the second half into a rocking tirade. And yes, I was pissed off I'd given up that front row centre spot. The people off the main floor seemed to be there more for the music than the aggro, so it was great fun dancing next to people who I dimly recognised from clubs in the '80s. Watching 40 year-old women's faces dissolve into those of the 18 year-olds they were when they first saw The Cult in 1987. The band was incredible, the songs punched out like a kick in the face. But what struck me most was that Ian is an angry young man. And I saw seeds of what I'd fallen for when I'd first seen him perform in The Southern Death Cult. That man really gives a shit. He thinks. He feels. He has what musicians SHOULD embody: PASSION.

I remember the morning after that 1987 gig. I took my Love album to the record fair at the Ekka grounds so The Cult could sign it. I remember Ian sitting there with his sunglasses on, dismissing me as though I was a common fan - well, I was, but not in my own mind...you know, we're all special when we're 18 ;) - and he signed my album 'Wolf Child'. I was so annoyed, for some weird reason, that he hadn't signed his name. But on Wednesday night, I had a glimpse of what began back then; it's as if, with fame, Ian started to feel as though the fame was stealing something from him, so he started going to lengths to protect it. That's what I saw at the beginning of the show; that self-protection.

But you know what? I think he can rest easy knowing that not only does he still have it, but the fans I saw respect and admire this band for the music, not for the long hair, the leather pants, or their music from the '80s. If they started new musical ventures, we'd likely all still check out what they're up to because they're interesting, talented and relevant. These guys have fire in the gut and shoot poetic bullets for words. They will be around for a while longer yet, and I await with keen interest to hear what projects they'll work on next as The Cult, as solo artists, or with new bands.

Thanks so much for taking me back, guys. I look forward to what's in store...

Photos : The Black Ryder @ The Tivoli 20100505 (supp The Cult)

2010-05-09T17:18:00.001+10:00

For more information on this band, visit their website.

All photos are copyrighted. If you're the band featured, or a music website/magazine, and you're interested in obtaining higher quality versions for publication, please contact me on amanda [at] myauralfixation [dot] com

Photos : The Dead Weather @ The Tivoli 20100323

2010-03-24T10:05:00.002+10:00

I've lost that loving feeling...

2010-03-22T09:08:00.001+10:00

The music industry is a funny one. Similar to acting, there appears to be much hype surrounding image and publicity. That music has its own Oscars is reflective of this. You don't see such shenanigans with visual artists or poets. Writers are apparently meant to be neurotic, angry and self-loathing, so people don't generally ask more than that of them. Musicians, on the other hand, are somehow meant to be sexy, stylish, distant yet engaging, talented and yet consumable. Not many other creative arts industries - apart from actors - even conceive of making a living from what they do. Musicians - and there are SO many of them now, it seems - do appear to believe a career is inevitable.

With all the hype dedicated to the music industry, I've found that everyone wants to be a part of it. I've had friends state to me that they wish to become music bloggers purely because they will get free passes to gigs; they don't seem to hear me when I tell them that I buy my tickets to 90% of the gigs I write about. They don't care about giving an honest and unbiased opinion about a band's performance; they'll do anything to get access. And that, to me, is the flipside of blogging; sure, it gives everyone the opportunity to express themselves, but it can also be a part of the problem. Fans who blog are giving assurances to their idols that anything they write will be positive; it's like unpaid PR.

When I began writing about music, I was in the throes of studying part-time for a journalism degree that I thought might pull me out of my aimless government job and throw me into the world of Hunter S. Thompson and John Pilger. I thought the music journalism experience would be a key to gain entry into the wider world of journalism. How wrong I was.

Writing for free for the many music publications that are out there can be demoralising at times. You are thrown crap music to write about and you do your best not to tear shreds off people and destroy their dreams of becoming an artist. (And yes, some people ARE that sensitive.) You constantly ask to cover gigs of musicians you really like, only to be turned down because someone closer to the editor got the gig. You get asked to write positive reviews about bad albums, yet your positive reviews about good albums don't get published because the editor has an 'issue' with that band. In some cases, editors are even personally abusive and, when you're writing for them for free, that's REALLY not on! THEY depend on the contributors, and the more editors who realise that and stop disappearing up their own arseholes with self importance, the better. You start to meet musicians at gigs who seem really friendly...until you realise many of them only speak to you because you can promote them for free. Like one guy in a local band who acted like a really good friend for a couple of years until I stopped writing for Faster Louder, when apparently, I ceased to exist. I've come across more users in this industry than I care to admit, but on the other hand, I understand their desperation: it's a nasty race with far too many competitors on the same track.

Since I began writing about music - it's been six years now - I've begun to feel that I don't LOVE music as much as I used to. I find that, after listening to so many albums, I have become desensitised to the formulas many musicians depend upon. Like a porn addict, I am now in search of more and more unusual and confronting music to get a rush. And 9/10, I am disappointed and left feeling empty and unchallenged, as a listener.

When I began writing about music, I was also a dabbler in music. I could play piano, drums, a bit of bass. I'd been in a couple of bad bands in the '80s and had never quite thrown those aspirations away. Since I've been writing about music, I've mentally turned to the other side of being a voyeur instead of participant. And this saddens me. I would rather be creating than writing about people who are creating. Does any of this make sense?

So, yes, I started writing about music because I loved it, but after six years of doing it without any kind of remuneration just because I don't like Lily Allen or Lady Gaga - watching other people make money from the writing that I and countless others do for free (and there will ALWAYS be someone out there willing to do it for free) - I've reached the point where I've thrown my dreams of writing for one of the big publications to the wind. I've watched people who've just started writing sky-rocket into the paid music journalism racket, writing for Rolling Stone, J Mag and the like, because they have the right image; funny how the image 'thing' trickles into the businesses at the edge of music as well... You begin to wonder: what am I doing wrong? why that person and not me? And it's a pointless process because you either have what people want or you don't. My music writing appears to land in the latter group.

I have decided, for the time being, to keep things simple with My Aural Fixation and to learn from the musicians who I admire not only as creators of something wonderful, but as famous people who have some integrity and substance. No more news updates or excessive tweeting; I've found Twitter, for me, to be the single biggest time waster in the history of the internet! Useful, for other reasons, but bloated offerings. I mean, how many times can something be re-tweeted before it loses its value? I will only tweet if I have written a new review, or have written something interesting about the industry. I won't be engaging as much with musicians on Twitter who, let's face it, rarely respond anyway. (Although, ironically, I will get responses from very famous people like former Duran Duran member, Andy Taylor, and Slash, but a local musician will ignore me. Funny.)

I will continue to seek out interesting music from across the globe, and let you know about it when I come across something special. But I would like to stop and think about the actual craft of writing and my love of music...I need to fall in love with music again.

Soundwave Festival 2010 @RNA, Brisbane [20 February 2010]

2010-02-21T15:06:00.001+10:00

It's the day after the 2010 Soundwave Festival, held at Brisbane's RNA showgrounds on Saturday 20 February. I have blisters on my achy feet and sunburn, but new memories comprising a collection of absolutely stellar music moments.

While I usually forgo a day of dehydration, sweat, crowds and bad fast food at festivals by showing up around 6pm for my favourite headliners, this year I made a concession for one band: The Gallows. What I'd heard of this Brit band's music was enough to inflame my desire to see them perform live. What I got, at 12:40pm on one of the first slots of the day on a small stage at the rear of the RNA, was an explosive, dynamic, tongue to the floor gig. The band gave 110% of itself in response to the audience showering them with energy, enthusiasm, and adoration. Pulling the biggest crowd I've ever seen from a relatively little known, early festival slot holder, singer Frank Carter was surfing the crowd more than he was on stage. His easygoing banter and sense of humour incited a bit of good natured recklessness among the punters in the pit. While the band's been around for a few years, they're still relatively unknown in Australia. Hopefully, their performances at Soundwave will change that. They're the closest I've seen or heard to punk in a long time.

I then drifted from gig to gig during the lead-up to Placebo at 4:15pm. I saw a little of Taking Back Sunday's gig. The main thing impressed upon me by this band was the lead singer wearing a full sleeved black shirt, black jeans, and black waistcoat while performing in the middle of an Australian BRISBANE summer, in the daytime. His face was bright red. When he climbed a lighting rig to hang upside down, his face morphed into a beetroot and I wasn't sure he'd make it down again before passing out and collapsing to the floor. He did, albeit with a bit of a struggle due to his hands being so sweaty they kept slipping on the rig. After seeing The Gallows, though, I must admit that Taking Back Sunday seemed as hard rock to me as The Wiggles.

Eagles of Death Metal were up next. Singer Jesse Hughes lamented his experiences in New Zealand where he was apparently beaten up for hitting on some other man's woman. Something told me he was up for a bit of loving on the road, as he flirted onstage with the entire female audience. Bassist B.O.C. sported the biggest set of mutton chop sideburns I've ever seen, while the band's drummer on this tour was from noneother than Queens of the Stone Age. (I suppose he needed another gig now that Josh Homme's off with Them Crooked Vultures...) They played a few of their hits but all in all, it was a bit of a slow set. I thought they had it in them to play some of their raunchier numbers.

Next up, I caught the last few numbers from the Clutch set. I didn't know much about them or their music before Soundwave, but they were awesome! Their music is very luscious and bass rich, funky and bluesy. They had a tight live sound and I'd highly recommend you check out their set on this current Soundwave tour. Next up, Anvil, Canadian heavy metal icons who've been around since the 1970s. Okay, they were good. The crowd went wild for them. Lead vocalist Lips sounded like Dio. But I wasn't in the mood, on the day, for some '80s throwback metal, so sadly they didn't rock my boat. However, they impressed their fans, so if you love '80s hair metal, definitely check them out.

Saw the tail end of Paramore's set while I waited for Placebo. I can't say one nice thing about Paramore, so I won't say anything at all. Oh wait, I can: the 14 year olds at Soundwave LOVED them.

I have adored Placebo since their inception, however I recall thinking, while seeing a Big Day Out set they played early on in their career, that their live shows were a little lacking. Yesterday at Soundwave, Placebo defined themselves as not only excellent songwriters with an interesting image, but as impressive and captivating live performers. Brian Molko's voice has matured and he has a much stronger stage presence; much more confidant. Stefan Olsdal on bass continues to play up the sexy, androgynous diva onstage, and yesterday he did not disappoint, dressed in shiny, pewter pants and a see-through singlet top. In fact, it must be said the entire band looked amazing, with a black and white theme that extended through to their equipment. Fiona Brice, a touring member of Placebo, impressed me greatly with her multi-instrumentalist skills on keys, electric violin, theremin, and backing vocals. She's absolutely gorgeous to boot. The lyrics were delivered like a dry martini: bitterness with a dash of seduction. People really should read Placebo's lyrics a little closer; they make some damned accurate observations about politics, society etc that I don't think a lot of people seem to 'get'.

Next up: AFI. Didn't impress me one iota. This band appears to suffer from a musical identity crisis; their music is all over the shop.

Now, for one of the bands I'd been waiting YEARS to see: Jane's Addiction. As one of their old-timer fans (I'm 40 so yes, I was in my 20s when they first came on the scene) I was a fair way away from the stage, just enjoying the vibe more than wishing to be squashed. First thing that impressed me was that I paid more attention to the crew setting up Jane's backdrop than I did listening to AFI. The backdrop was absolutely beautiful: a vintage flocked wallpaper design that glowed purple, gold, and white. This design was flanked on both sides by large cut-outs of voluptuous, naked women. When Dave Navarro took to the stage, he was resplendent in rock star cliches: tight leather pants, shirtless, nipple piercings, sex on legs. But can that guy play guitar! He's quite brilliant, and although his rock persona sometimes gets in the way of people realising that, you'll notice if you catch Jane's live some day. His guitar playing throughout the set complimented Perry Farrell's vocals, changed the dynamic of the music completely, sexed it up and played it cosy. Perry was absolutely stunning, a thorough diva onstage in his new suit, scarf slung just so around his neck. He's a legend, this man, and I adore him. The band navigated its way through a set that included some very well known numbers such as Jane Says and Been Caught Stealing with less known (in Australia) hits. The band was joined onstage by two lovely women dressed up in saucy outfits which resembled an amalgamation of a geisha costume, some 17th century courtesan, and Dita von Teese. They cavorted with Perry, each other, and themselves, including some video cam action. Very erotic. Naughty. Provocative. Just like Jane's Addiction themselves. I was betting around 90% of the male punters left that gig more than a little aroused...

When Faith No More came onstage, a giggle escaped my mouth. I wasn't sure what many of the younger kids who weren't familiar with the band would make of their pastel, wedding singer suits. I'm sure they thought they were a bunch of 'oldies'. It didn't take them long to show that they are still one of the most musically innovative, impressive live bands on the planet. Sublime is one word to describe their performance last night. One of the best gigs I have seen in my entire life is another way in which to say their set was faultless: brilliant, witty, energising, complex, sarcastic, sexy, and experimental. They somehow managed to perform many of their biggest hits while curve-balling the songs with seeming improvisations that added something new to the music; it didn't just sound like a well known band playing their greatest hits. Mike Patton, who impresses me with every musical venture he partakes in, was on fire last night: part theatrical showman, part trouble instigator, his voice soared and screamed and gave birth to sounds I've never heard before. He cavorted with the cameraman offstage, forcing the camera on to the audience instead of himself. That was before he quickly whipped the camera down for a full view of his trouser fly before he reached in and pulled out what we can only assume was his cock for a brief tug before returning the camera to the cameraman, who stood there in shock, hands raised in the air as if to say, "Not my fault my camera just showed someone's genitals to everyone at Soundwave". I don't want to ruin future Soundwave gigs for people who are waiting to see Faith No More on this tour, so I won't give you a full setlist rundown. I will, however, tell you that you will not be disappointed: their set was filled with their biggest hits and they've obviously tried to give everyone a great taste of their musical accomplishments within a limited amount of stage time. From start to finish, this was a perfect set, only making me fall deeper in love with the music and the mischievous antics of Faith No More. I didn't think I could become more of a fan, but today I'm already missing them. They were absolutely incredible. Please, do not miss their set at Soundwave for anything.

I think this year's Soundwave offered up some truly inspiring music and that all in all, it was one of the better Soundwaves I've been to. Of course, the addition of Faith No More to the lineup might've biased me somewhat. To all those people who bought Big Day Out tickets instead: ha ha. And yes, I did mean that in a Nelson from the Simpsons kinda way...

Brian Jonestown Massacre @ The Zoo, Brisbane [18 February 2010]

2010-02-19T13:16:00.002+10:00

I've heard SO much about Brian Jonestown Massacre's live performances. In the minds of some, the most earth shattering live band on the planet. So of course, in one sense, I was going to be slightly disappointed the first time I saw them.

A little late arriving onstage, I was initially blown away by the sheer quantity of people in the band: eight in total, with four guitarists, one bass player, one keyboard player, a drummer, and the ever so boheme looking Joel Gion out front with the tambo. The current tour line-up for BJM is:

Anton Newcombe - Guitar/Vocals
Matt Hollywood - Guitar/Vocals
Frankie Teardrop - Guitar
Ricky Rene Maymi - Guitar/Feedback
Collin Hegna - Bass
Daniel Allaire - Drums
Rob Campanella - Organ/Guitar/Percussion
Joel Gion - Tamborine/Maraca

Of course, with a set-up like that, the night was inevitably going to be filled with the jingle-jangle of guitars in that beautiful psychedelic style BJM has mastered, so reminiscent of the '60s. Many fans were there to ogle Anton Newcombe, who I admit to having a fondness for due to his experimental nature, the way he lives his life without limits. I know it's probably not the healthiest lifestyle, but he's interesting. And really, in a lot of ways, that's all I ask for in musicians and artists these days.

(He also uploads wild and crazy videos on YouTube, which I really enjoy watching. Okay, so that's not linked directly to the music, but it's rather fun all the same!)

While I don't really know that much about the band -- for some odd reason, unless bands really have a message to hard-sell, I prefer it that way, because it allows the music to be the star instead of the musicians -- I did see DiG! so I knew what to expect in a sense. I have some of the albums, so knew what the music would sound like. But it was the carpet ride I wasn't expecting.

I suffer from gig ADHD. I find it difficult to focus on what's going on with the music if there are annoying punters around me; people who shove, talk loudly etc. But last night, I was intently focused on what was happening on the stage. Well, almost. This focus wasn't, I might add, helped by the extremely poor mixing effort, as my ears were constantly assaulted by ridiculously loud bass levels. Or the annoying girl in front of me who kept shoving her digital SLR in the air and taking random photos with a flash of the band -- few of which turned out (yeah, it helps to actually look at what you're taking a photo of, you twit) -- throughout most of the gig. (Whatever happened to The Zoo having 'flash for first two songs only' rules for gigs?? If they apply to professional photographers, they should apply to punters also. Really. Fucking. Annoying.) Also, note to male punters: it's time for the gentlemen to return to the fold. No more tall guys pushing in front of 5'4" women at gigs, okay? It's really rude.

Vent complete.

The music was this rolling ocean of sound. I was transported back to the '60s, a time when you get the gist that musicians were quite mystical and into otherworldly pursuits. While there weren't many surprises, the songs played were crowdpleasers and provided a very groovy, continous snake-train vibe. I particularly enjoyed the rhythms created by the percussionists; BJM's music is the kind of music I can imagine lots of stoners having sex to. I felt a bit of that vibe among the audience.

At one point, a punter offered a gift to Anton of -- and I think this is what it was, as I couldn't see it properly -- a My Little Pony necklace. His reaction showed he has a healthy sense of humour and isn't the psychotic that many members of the music media make him out to be. The band members, generally, gave out a very positive feeling overall. I think they'd be really enjoyable people to hang out with. They seemed...dare I say...nice? THAT was one preconception -- created by my exposure to mass media -- that was smashed last night.

What I was disappointed with was the lack of newer, more experimental music being performed. I would've liked to see more of this, less pandering to the crowd. I wanted to experience the full expanse of what I believe BJM is capable of and I didn't get that. I would've enjoyed 20 minute explorations versus catchy pop. I felt as though the actual stage performance was a little disorganised; there appeared to be only a sketchy set-list. The crowd seemed to be dictating what got played, which meant more well-known songs won out.

But overall, wow. I really enjoyed myself last night and would definitely see BJM again. The mindset of the band, the seemingly lackadaisical yet effective way they win new fans while maintaining old ones; the entire concept of BJM is joyful in comparison to other overhyped/overmarketed bands who play the industry in a more overt way. I was sad when my carpet ride came to its conclusion, but so happy I'd experienced it.

Visit BJM's MySpace for more info on their music and tour dates.

Porcupine Tree @ The Tivoli [5 February 2010]

2010-02-07T13:04:00.001+10:00

It's rare that I will attend a gig not knowing much at all about a band. I'm usually an avid fan or at least familiar with the music on offer. Porcupine Tree was a different matter. I had a limited recollection of hearing a couple of their songs played on Triple J in the '90s, but I always associated them with that Tool, prog rock style, which bored me senseless at the time when I was into NIN, Ministry etc. I dismissed them somewhat.

Fast forward to this past week when my partner persuaded me to see them with him at The Tivoli, Brisbane's most beautiful live venue. It was an interesting experience, seeing a band with no knowledge of them or their music to back it up. As I watched the fans roll into the venue - many wearing Tool t-shirts - I became a little wary. "Please, no prog rock tonight!", I begged of the music gods. I didn't feel like being bored to death for several hours while my feet steadily ached more and more (a symptom of seeing a prog rock band, I've found, because you don't dance or move much so your feet become anchored to the floor and hurt like buggery).

The Australian support band didn't help. Yes, their music was fine, but it was all 'out there'; no light and shade, just 100% full-on constantly. Their set went for waaaay too long and frankly, I switched off after the first four numbers. And note to Australian bands: saying 'fuck' every time you open your mouth in between numbers doesn't make you sound so much cool as illiterate.

Prior to Porcupine Tree coming on, we met up with a couple of new friends who were also die-hard fans, so I was at least hopeful they wouldn't completely suck. Over the loudspeaker came the message that none of the performance was to be recorded on video cameras, so if you see some vids pop up on YouTube, they're not authorised by the band. Next, the lights dimmed, and the band walked onstage and announced they would be playing the first disc from their new album, The Incident, in its entirety. "Nooooooo!", I screamed internally... I could imagine the next hour being utterly bored to death while my feet grew roots.

I couldn't have been more wrong. The combination of the band's polished and tight performance, the inspirational visuals and lighting, and the dynamics of their music delivered a revelation to me: I love me some Porcupine Tree. The album is incredible and now, of course, I'll have to buy it. Porcupine Tree had its Tool-ish moments, but they were few, and I was left with the overall sense of an up-to-date, more acerbic version of Pink Floyd's Dark Side of the Moon. The combination of dark Edvard Munch-style visuals and this music that catapulted me from elation to nihilism to love to pain was gut wrenching. I felt as though throughout the entire performance I was on a small boat in the ocean: sometimes the ocean was smooth and gentle and I could gaze at the stars, other times the waves threatened to throw me into the dark depths, never to see the stars again. Yes, the performance affected me. My favourite song from this part of their performance was 'Circle of Manias', which is simply awe-inspiring.

After EXACTLY a 10 minute break - yes, the band had an onscreen counter - they returned to play some older songs, which pleased many of the hardcore fans who expressed their appreciation through, in some cases, interpretive dance moves, which was quite amusing to a couple of us. However, I found the older songs much less impressive than the band's new music and drifted off a little toward the end of the performance. One thing I will say about the Porcupine Tree fans is that they are dedicated with a capital 'D' and lovingly showered the band with appreciation throughout the gig. Actually, it's difficult for me to recall experiencing such love among punters in a long time; usually, the poseur to genuine fan ratio is higher and many people seem to be at gigs to be seen or take photos of themselves versus listening to the music. Porcupine Tree fans were there 100% for the music, which was frankly delightful to experience. I definitely felt the love and positive atmosphere. And no violence!! Loved it.

When the gig came to its end I was, I must admit, a new fan of Porcupine Tree. They're evidently in this industry for the music, not the groupies or the potential corporate ad dollars. Their no bullshit, love us or leave us attitude is refreshing and I'm happy to say that the next time they tour Brisbane, I'll probably be in the front row and I might even know all the words to their songs.

And the beat goes on, as my love of music continues to grow stronger every day...thank you, Porcupine Tree.

Find out more about the band here.

The above photo is taken from the Porcupine Tree website and is by Diana Nitschke.

Music Trends: where to in 2010?

2010-01-30T09:52:00.000+10:00

Music trending. It's something all music journalists at one stage or another attempt to guess.

I wonder how accurate my method is? Over the past couple of decades, I've noticed literal connections between the worlds of fashion, film, art and music. Based on these observations, I've seen the recent saturation of popsy folk music as akin to the early '80s lollypop sweetness and the DJ obsession as similar to the mindless rantings of late '70s disco. Now what came after both of these music movements in the past? In the case of disco, punk followed. In the case of pop, goth - which then morphed into industrial - followed.

As I am also a jewellery designer, so pay a fairly keen awareness to fashion (well, moreso than most music journalists would!), I've noticed a move away from the neon 'Choose Life' '80s fashion revival into a more glamorous, vintage style: film noir - my favourite - which was quite fashionable in the early goth/new romantic phases of '80s music. There are also fringe fashion designers who are opting for quite the sado masochistic look, not unlike Vivienne Westwood's designs that epitomised punk. As fashion is usually predictive and one season ahead, sometimes I've noticed music, art etc all follow. Fashion - an industry that turns over billions of dollars, it seems, each day! - has a vested interest in getting it right, having their finger on the collective pulse of people all over the world, and cashing in on it.

So my guesses for 2010 - based on current fashion predictions and the moanings I'm hearing from music fans about the lack of depth, intensity and aggro in popular music (the recent lamentations regarding Triple J's 'Lamest 100' are a perfect example) - are that music will toughen up or darkly romanticise our existence. People want to hear music that represents what's going on in the world which - if you haven't noticed lately - is not a pretty place to be. I predict a punk-like delving into more anarchistic lyrics and simultaneously, a more gothic darkening of music in general. I believe this will eventually lead into a revival of the '90s industrial and grunge styles of music: think NIN, Ministry, Nirvana, Alice in Chains, Sonic Youth, etc.

I think the time has passed for musicians who shove their heads in the sand/clouds and sing music better suited to a Prius ad jingle. Although, I'm sure, there will always be a place for it, considering humanity's propensity for apathy and self-delusion.

Let's see how right or wrong I am!

Amanda xx

Mr Meeble and the 'M' word

2010-01-26T18:15:00.002+10:00

Since I first heard it discussed en masse at The Big Sound Summit last year, I've noticed many conflicting viewpoints about the 'M' word in the music industry: marketing. Current opinion among experts is that marketing music these days must include some aspect of online engagement and promotion; to not be online, marketing oneself for 90 per cent of the day, is tantamount to career suicide. The other camp claims it's far more important to be writing music and performing than fiddling around with a multitude of online accounts.

It seems to me that the problem isn't people spending too much or too little time online marketing themselves, it's that many people don't fully understand yet how to utilise the resources at their disposal to maximise the time they DO have to self-promote. I'm talking about bands who aren't signed to major labels, musicians who are their own accountants, PR machines, and booking agents. To many indie bands, marketing either comes naturally, or it's the monster in the room that nobody wants to talk about.

Although I freelance in media/marketing/communications for my day job, I'm no expert on what works best for musicians when they're faced with marketing themselves in their own spare time. I thought I'd be perceptive and pay attention to some independent musicians who seem to be doing something right, so hopefully I can learn from them and, in turn, you can too. This interview is the first in what I hope to be an ongoing series in which I present case studies of how working musicians are going about getting their name and music 'out there'.

An American band named Mr Meeble first came to my attention on MySpace because of their amazing music. However, it was from reading their tweets that I became interested in an aspect of them besides their music: how they used various online tools to promote their music. I thought it would make for an interesting read - especially if you're a musician wondering where to start with marketing - so I had a chat with Mr Meeble's producer/songwriter/programmer/vocalist Devin Fleenor to find out more.

At the time of writing, Mr Meeble's Twitter page has 14,854 followers and their MySpace has 26,198 friends. In current terms of measuring online popularity, they're doing quite well for an independent, unsigned band. And that's not all: they also have their own website and profiles on Facebook, YouTube, Last.fm, Friend Feed, Blip.fm, iTunes, Amazon, CD Baby, iLike, and Vimeo. That's a lot of websites to be constantly updating and monitoring. I ask Devin if, when the band first started out, they established simultaneous identities on all these sites, or if it was a more ad hoc, progressive development of an online band identity.

"It is, like most things, a gradual process," he said.

"We keep adding more and more...it never ends."

I wonder, how does a band decide which online spaces to inhabit and is it essential to take different approaches to how you engage with fans on each of these?

"I basically go where I think our fans will be. It's basic marketing: who are your fans? Where do they congregate? I try to be open and genuine no matter what, so that means spending time interacting with fans. You build a fan base one person at a time."

"I think you have to be yourself. Anything else is a waste of time. If you are a real person and somewhat interesting and likeable, people will pay attention. It's pretty simple, actually."

I ask Devin how he markets a band whose music isn't mainstream.

"Being independent is about being creative, efficient, tenacious, and crafty. You have to determine your demographic and systematically approach those fans. The crafty part is figuring out how to approach people without turning them off or annoying them. I happen to have a natural ability for that."

I mention the extent of the band's popularity on Twitter and ask how long it has taken for the band to get to this point.

"Who knows how long Twitter will be the hip, new, social darling. I can already feel the momentum dropping off. However, I am just more tenacious and dedicated than most independent artists out there."

Many musicians spend a lot of time pondering their logos, band names, band photos, what wallpaper to have as their Twitter background, etc. How important does Mr Meeble think this aspect is of marketing a band?

"It's a very difficult thing to do. I'm not sure we have much of a brand identity for Mr Meeble. We don't have a logo or even a good band picture. I think it's much more important to make amazing and compelling art."

"I spend two hours a day on marketing. Blain [bandmate] and I look after all the visual imagery together; that's more time consuming than anything."

Two hours a day on marketing seems like a lot of time when you consider many musicians also work full-time. How does Devin juggle his music and these marketing commitments?

"I roll with the momentum. I'll work on marketing for 12 hours straight, then spend two days entirely on music. It is a balancing act, just like life. I'm not necessarily the most balanced person; I probably spend too much time on the marketing."

I have watched several Meeble videos and they've always impressed me. I ask Devin if he has any guidance on making music videos inexpensively and on how to create amazing atmospheres at shows (their live set up, as seen in one video, is sublime and very effective).

"Not sure I have any great advice, except to pursue excellence from A to Z. Yes, it is expensive. And yes, it takes amazing amounts of work to prepare for an epic show or video shoot. You have to learn how to take on and conquer monumental challenges one way or another."

What marketing techniques does Mr Meeble use to gather and maintain fan contact details?

"We have an official mailing list at meeble.com, but that is something I need to work out a little better. I'd like to combine our blog and mailing list so they become one. We have run contests before, but we need to do more of that kind of thing. You can give me a C on my report card in this department!"

What stream provides the band with the most revenue at this stage?

"Live shows pay the best, but we haven't been playing enough of them. Once we release our second album, the plan is to play a tonne of shows."

What's Devin's opinion about giving music away in exchange for email addresses, and generally about marketing concepts involving giving the music to fans for free?

"I think anything that builds your loyal fan base is a great idea. Exposure and interaction are more important than short-term profits."

If Devin could give bands or musicians who've written some songs and want to start promoting themselves one piece of advice, what would it be?

"Be professional. Be personal. Be tenacious. And don't look for your big break. Instead, work hard and build on the little breaks that come your way."

Hopefully this chat with Devin has provided you with some ideas for how indie bands can use online tools to promote their music and build fan bases. I think it's one of the important considerations to discuss with bandmates at the start of any band: who will do the marketing and, if nobody in the band is so inclined, is it worth outsourcing this to a freelance PR firm or marketing guru. Or do you really need the support that an indie label can provide? Overall, I think it's important to point out that one size doesn't fit all: marketing your music has to work for you and for your fans. The next time you hear an online social marketing expert throwing advice around, listen to it, but only take on board the advice that feels right for you.

It's an interesting aspect, in this modern world, to being an artist. Not sure that back in Mozart's day musicians had to do much more than write music, perform it, and snuggle up to wealthy patrons. In 2010, musicians need to do so much more just to be heard amongst the throng of an over-populated industry. But something I think you can take away from this interview with Devin is the importance of remaining true to yourself and writing amazing music. In the end, as a reviewer, I believe that the quality of the music speaks volumes louder than any schmick promo photo ever could. It's just how to get it heard that's the hard part.

If you're an unsigned musician and you've achieved some great success with online engagement and promotion, or with building fan communities, I'd love to hear from you. Hit me up on Twitter @myauralfixation. I'm especially interested in concepts that have involved a bit of risk-taking or that consist of something a bit different to the norm.

Thanks for reading :)

Amanda

Blonde on Blonde : Tease [EP Review]

2009-11-15T11:57:00.000+10:00

Every so often online social networking sites allow you the opportunity to literally stumble upon a musical gem from your own home town who, possibly, you should've known about already. Such is the case with Blonde on Blonde.

I was on Twitter and saw a profile pic for one Jack Bratt, followed the MySpace band link on his profile, and discovered Blonde on Blonde, a Brisbane band which I had never heard of before. Their sound is something wonderful, an amalgamation of the old and the new. I contacted the band on MySpace and they sent me their EP, "Tease", for review. Apparently, they've been giving the EP away for free! Crazy kids.

"Tease" entertains the art of seduction from the get-go with an alluring EP cover photo and packaging. And that's just the beginning. Monsieur Bratt's vocals are lazily sexual, reminding me of a less androgynous Courtney Taylor Taylor (The Dandy Warhols). In fact, that's the band Blonde on Blonde sounds most like, with their blend of '60s hep-cat cool and hedonist boheme pace. Their music reminds me of bits of early Stones tossed with Velvet Underground dressed with T-Rex. Part glam, part psychedelic, compressed by the laidback attitude that comes from certain indulgences, it packs a punch while maintaining an underlying sense of sensuality a la Cowboy Junkies. Yet, it has balls, like Queens of the Stone Age.

The first track from their EP, "Oh My Oh My", is currently enjoying popularity on Triple J's Unearthed site. A catchy guitar riff and funky drum beat embeds this song in your brain and, when the boy/girl harmonies kick in, the song begins caressing you from the ears down. This is radio-friendly single material to the max. It even carries an element of early '90s Manchester music movement in its solid yet undulating grooves.

"Pretty and Wide Eyed" ramps it up a notch and in this track, Bratt's verse vocals are channeling Marilyn Manson. My favourite track from the EP, it dresses up in shiny black leather and lets the whip hang loosely by its side, with an occasional crack, threatening and teasing at once.

"Marlon Brando" moves into early '70s art rock sounds and the guitar tangents lightly scratch your brain to provide a juxtaposition to the solid harmonies. "Say Say Say" gets down and funky with throbbing bass and whacka whacka guitar, like some blaxploitation theme song meets Led Zep grunt. My second favourite song from the EP, this song would be wild live, and that's when I next want to hear this music. I HAVE to see this band perform, as their sound is something phenomenal. They make old sounds contemporary and quicken the pulse.

If you'd like to listen to Blonde on Blonde, request a copy of the EP, or check out where they're playing next, visit their MySpace.

The Basics @ The Zoo, Brisbane

2009-11-14T12:39:00.001+10:00

Okay, let's get the musician bias out of the way first up. If you know about The Basics, chances are you heard of them through their association with Wally De Backer (Gotye). The Basics is the band Wally performed in prior to his solo success as Gotye. It would be wrong of anyone to believe that The Basics' music is anything like that of Gotye or that the other members of the band are any less significant than Wally. The Basics knocked my socks off on Thursday night at The Zoo, and I think they're an incredible bunch of talented people.

The band normally consists of Tim Heath (guitar, vocals) - sadly sans moustachio magnifico on Thursday but looking 20 years younger, Kris Schroeder (bass, vocals), and Wally De Backer (drums, vocals, and bass drum case warmer). However, on Thursday evening, they were joined by Simon Imrei (guitars, percussion, vocals and keyboards), Dave Bramble - or, as he explained to me in the noisy confines of The Zoo, "bramble, like in Enid Blyton stories" (keyboard, tamborine, backing vocals), and two amazing sax players: Gideon Brazil (who has played in the Gotye mini orchestra) and Jake Mason (who also plays in Cookin' On Three Burners). The sound was much fuller than I recall from their earlier music, which contained a pared back '60s vibe. Their new album, "Keep your friends close", has elements from many musical forces working together to create a luscious, sensual sound, like being wrapped in velvet while simultaneously enduring a mild beating.

Absolute standout performances of the night go to several songs, one sung by each main member of The Basics. Wally's drumming on the song "Keep the door open" was mindblowingly phenomenal. His arms, like the extended limbs of an arachnid, flail seemingly randomly while creating a beat so powerful and overwhelming I was transfixed to the spot, as if absorbed by a voodoo ritual. Of course, the multi-talented pixie sang flawlessly for that song as well, as if his body weren't already exerting itself to its full potential on drums.

Kris channeled Eric Burdon while singing the song "The Executioner", a dark and sultry piece with reggae undertones. The band's sound is more than a sum of its influences; the overall effect is this exquisite blending of diverse eras in music - motown, The Animals, Johnny Cash, and The Specials - with an element that makes them sound unlike any other band. Their music makes you dance, makes you think, makes your heart race and your body shake. Their onstage presence is alarmingly innocent at first: their white business shirts and grey trousers make them resemble a bunch of high school kids, all freshly shorn and boyish. Then the onstage dirty jokes begin, the predatory glances, the blues guitar, the tribal beats, and you know these guys are more than they appear to be.

Tim's raw vocals on "Trouble in his head" were astoundingly atmospheric. The song's lyrical content is well crafted and it resonated with me as one of the night's 'moments'. The audience, still as stones lying on a cold, wintry beach, stood transfixed by both the beauty of the moment, the perfection of the song, and the emotive quality of Tim's voice. Except one girl, who just wouldn't be quiet and seemed quite oblivious to the fact that other people had paid to hear the people on the stage, not listen to her (you know who you are, with your dark pigtails, white dress, and whining voice.)...but even she couldn't ruin the moment. If I had to categorise the three Basics into singing styles, Wally is Sting, Kris is Burdon, and Tim is Cash, the blues man, with a voice containing more edge than the others'.

The vocal harmonies in "The No. 1 cause of death amongst youth today" were spotless and, when the band performed the single from their new album, "With this ship", the entire audience sang along enthusiastically. Tim's telecaster guitar offers a compressed and subtle sound, yet provides an undulating overlay to the music.

At the beginning of the gig, it took a while for the Thursday night crowd to warm up (and in some cases, to shut up ;), but once they did the house was rockin'. When The Basics returned to the stage for an encore, they performed songs from their back catalogue, including a couple of songs from "Stand out/fit in", "For girls like you", and "Get back".

The Basics are a live performance force of nature, both primitive and nuanced. The balance of energies between members onstage is near perfect. I absolutely loved their show and will definitely catch them next time they make it to Bris town.

For further information on The Basics, visit their website at http://www.thebasics.com.au. There, you will find links to their MySpace, Facebook, YouTube, and where to buy all of their wonderful EPs and albums.

The Basics performed at The Zoo on Thursday 12 November 2009.

Photo credit: Distaudio

This review was written for The Dwarf and will also be published on their website.

Nick Barker @ The Troubadour, Brisbane

2009-11-08T12:31:00.007+10:00

The Troubadour in Brisbane is easily my favourite intimate live music venue. It's cosy with a nice colour scheme, has a red tassled frame around the stage with persian rugs on the wall, and faux antlers are mounted around the place, casting demonic shadows on the walls. It's a bohemian den of iniquity meets "Rawhide", and that sensibility suits me perfectly.

I first saw Nick Barker as I was entering the premises. As I walked up the stairs, he sprinted down them, a youthful vision in white t-shirt, jeans, and sneakers, with a short spiky 'do'. This is a far reach from the long-haired, black jeaned, winkle-pickle wearing swampy rocker I recall from copious gigs in the '80s with his band Nick Barker and The Reptiles. I like the change. He looks healthy, fit and happy these days, which can only be a positive thing.

As my man and I walked into The Troub, I noticed the prevalence of guys who must've been spraying hair fertiliser on their faces for the past week: is it just me, or does 'Movember' get more popular every year? One guy, who resembled James Hetfield from Metallica circa '80s (imagine this with a handlebar mo) kept removing his shirt and getting told off (gently) by the bouncer (who sported the most impressive, substantial black mo of the evening, a la Alfred Molina in "Boogie Nights"). Another guy resembled Korn's Jonathan Davis with a porn mo. I must say, the porn mo looked great on him. From hereon in, I shall refer to them as James and Jonathan.

The support bands had almost ended. As I'd not been feeling the best all day, I'd opted to turn up just before Nick's performance which, I know, isn't the best way to operate but, when you're feeling dodgy, it's sometimes all you can do. There was a decent crowd for The Troub and, while the audience predominantly consisted of people around my age who probably had some curiosity about the new Nick versus '80s Nick, there were a good number of younger punters sporting that '60s fashion vibe. It's always good to see new fans of musicians who've been around for a while; I like - and encourage - that. I add, though, that it's kind of weird seeing '60s revivalists in clubs when that was the 'alternative' look most popular when I was a teenager in the mid '80s. What comes around goes around, evidently, several times!

Nick's set kicked off sans guitarist Justin Garner (from South Poor), who was otherwise distracted at the bar. A quick call-out over the mic for him to get onstage saw the complete band present within seconds. I was most impressed by the burly drummer, Michael Barclay (Paul Kelly and The Messengers, W.P.A.), sporting a frangipani behind his ear; I often do the same in frangi season, but have never seen a man do it. The juxtaposition between manly man and delicate flower was hilarious. The bassist, Alan Brooker, needed no introduction to some older members of the audience due to his work with Paul Kelly and The Dots. Justin, now fully in the moment, impressed me with his spontaneity in style and gutsy backing vocals. Nick - even with his small electric acoustic which, he joked, made him feel slightly inadequate - is still a force to be reckoned with during live performances. He has lost none of his edge, but he now has a darker quality which lends more credibility to his music. He still swears a lot on stage, but it's in that Aussie bloke way where it's more of an adjective than abuse. Into the set, he calls out to 'Jonathan', asking him if he liked the restaurant he was eating at earlier, adding he couldn't forget 'that' moustache. Mid gig, 'James' rambles on to the rear of the stage, shirt off, beer in hand, rocking out to the gig. This character was pretty hilarious, so we made sure we got a shot of him.

The evening was filled with this old-school Australian pub vibe, a laidback and fun vibe I haven't felt at gigs for a while. There were even the dodgy drunk dancers at the front of the stage who, if I was on stage, I would find really distracting; I often don't know how the band stops themselves from laughing. That drunken side-step with the lurch where they almost fall over, but don't...gets me every time.

The music performed tonight was a mixture of music from Nick's new album, "Black Water Blues", music from bands he respects, and some older music from the rest of his career. Highlights from the evening were the songs "Where I Wanna Be", a gorgeous slower song which, on the album, features female backing vocals. In this case, the drummer performed backing vocals with the guitarist adding vocals toward the end. It still worked and tugged on my heart strings. "Sunny's Song", written for Nick's son about the break-up of his relationship with Sunny's Mum, was another showstopper. The set was vibrant and dynamic, the country vibe of the album taking a back seat to a rockier edge. When Nick returned to the stage for an encore, he pleased some of the older punters with a rendition of his '80s cover hit, "Come up and see me (make me smile)". However, my favourite song from that era was "Down Today" and I must admit, it made me RATHER happy to see Nick performing that after all these years with such an edge and gritty vocals.

Nick is performing more gigs around Australia later in November and throughout December, so check out his MySpace for details. His album can be bought online at Hired Goons or at one of his gigs.

[This gig was held on Saturday 7th November 2009]

Thanks to my man, Distaudio, for taking these photos for me with his phone cam when my point and shoot failed miserably due to lighting conditions and the desire to shoot without a flash.

Nick Barker : Black Water Blues [Album Review]

2009-10-02T12:43:00.002+10:00

Nick Barker has always been an intriguing and integral part of the Australian alternative music scene. He started out in the mid '80s with Melbourne band The Wreckery, then branched out to form his own group, Nick Barker and The Reptiles. He reached a level of mainstream fame with their cover of Steve Harley's 1975 hit song, "Make me Smile (Come up and see me)". Since then, he's had a successful solo career, collaborated with other musicians, and has even become involved in acting and score-writing.

As a teenager in the mid to late '80s, I saw every Brisbane gig that Nick played in these bands and, among his fans, there was an evident sense of loyalty and devotion to this singer-songwriter. Not only does Nick have an evocative story-telling style within his lyric writing, but he's an extremely likeable person. I always found his onstage persona to be witty, jovial, and very down to earth. So it pleases me to no end to be reviewing his latest album, Black Water Blues.

While his style has morphed from swamp punk to rock to blues over the years, the fundamental elements which make Nick's music stand out are still here: reading his lyrics, it's like being slapped in the face by a poet, simultaneously melancholic and confrontational.

If I could think of a nice word to say
I'd find wet cement and I'd write it today
Down near you throwing cash
To the local white trash
Thinking you're doing good
Like some new Robin Hood
But you're thicker than paint
And hardly a saint
The lines on your face hide the mind of a child.

[From Mind of a Child]

The care taken with the packaging of this album also reflects the attitude with which Nick approaches all aspects of his music: it's deeply original, creative, all done with integrity. The atmospheric artwork by Emma DeClario sets the mood to listen to this gem of an album.

There's a sense of home in this album's sound. By that, I mean it's intimate and real. The music takes you on a journey into Nick's life and mind and you leave the experience feeling touched by the subtleties and mood created. Although the album, genre-wise, borders on country / blues - and I'm not normally a country music fan - the authenticity of his approach creates a sound that is wholly his own. With Nick Barker, there is no 'front', no walls erected. There are few other musicians who can entice me to listen to country-sounding music - Johnny Cash is one - but I believe that when a musician sings the blues, and really considers his or her lyrical content when doing so, it creates a ripple effect of raw emotion in the listener. Combine this with infectious, toe-tapping guitar riffs which promise great live renditions and this album is a winner.

The song Black Water paints a portrait of everyday life and creates vibrant mirages in the mind of the listener: The black crud from the coffee machine is dripping through me slowly. Where I Wanna Be adopts its bluesy roots in a more traditional form, and features the sublime vocals of Felicity Urquhart. This song is so incredibly beautiful, I literally get shivers listening to it. The use of the dobro brings a traditional feeling to Sugaree. Good Days Bad Days takes toe-tapping to a new level with banjo accompaniment; how can you say no to a banjo?

Black Water Blues is a moving album experience and creates a warmth of feeling. It brings to mind images of sitting on the verandah with friends, discussing those shared experiences that make you laugh, think, weep and remember.

Nick Barker is setting out on an Australian tour during October through to December. For details and more information about Nick and his music, visit his MySpace at http://www.myspace.com/nickbarkermusic.

This review was written for The Dwarf.

Ravior : Sub Rosa [EP review]

2009-09-17T13:09:00.001+10:00

Listening to the first track Lethalogica on West Australian band Ravior's new EP, Sub Rosa, I'm reminded of old Soundgarden. Remember Chris Cornell before he met Timbaland? That crazy energy, those wailing vocals and '70s guitars? I hear something in Ravior's music initially that gives me a sense of the best of the '90s happening all over again.

The EP itself includes nice dark, brooding design elements which are professionally reflected in their website, MySpace etc. But yet again - argh, another pet hate of mine! - I can't find the band members' surnames anywhere. You're musicians guys, not some creepy online perv. You can own up to who you are and take the credit / criticism that comes with making music for a living! Oh well ... Ravior consists of Trent on vocals, KG (oh god, not even a real name!) on bass, Paddo (it gets worse) on drums, Rodney on guitars, and Rhino (oops, there you go, just lost me) on ... more guitars? On the title of the EP, it might have been opportune to show some originality in the titling, instead of naming it after a 2003 album by Eagle-Eye Cherry. It also helps out music media when reviewing if you provide an image of your EP somewhere - on your website, MySpace, anywhere - otherwise someone like me just picks some random photo from your MySpace. Press FAIL. But back to the music ...

Second track Animal is decidedly more commercial sounding, not necessarily a bad thing. This track is just much more mainstream than the first, heading Ravior to a different potential fan base. The vocals are consistently strong - I love it when people put in the effort - and there's a hint of The Edge in the tonal qualities of the guitar riffs. They also remind me a little of Noiseworks ... remember them? Solid, mainstream rock. Third track, Age of Reason is, yes, a cover of the John Farnham hit and, although I'm not a Farnham fan by any stretch of someone's warped imagination, I think his version was better. Always a risky move putting a cover on an album, let alone an EP. It just seems lazy, especially for a first release.

With I'm Carrying, the band's channeling part Nirvana, part Live, part Nickelback, resulting in maximum Triple M (Brisbane rock radio station) friendliness. Nothing surprising, no extreme innovation, just good mainstream rock music.

Final track SDP is the slow, emotive piece on the EP which is sadly ruined for me by bad mixing and inappropriately jarring drum programming mid-song. Which is a shame, because the end of the song screams to life with some great guitar riffs and lovely vocals.

I can't say this EP has inspired me greatly or has displayed anything unusual - it's in fact a bit disappointing for a band that's been playing live since 2006 - however Ravior should find some commercial success through radio play because their music is made for mainstream rock programming.

If you're interested in finding out more about Ravior's music, check out their website.

This review was written for The Dwarf.

Why I'm flipping Them Crooked Vultures the bird.

2009-09-17T11:24:00.000+10:00

Attending the Big Sound Summit recently, I was mesmerised by the sage advice from one Mr Glenn Wheatley, particularly on the issue of gig pricing. He said that promoters have to be really careful about pricing out bands by charging ridiculously exhorbitant ticket prices, as it's a very dumb way to alienate fans. I agreed wholeheartedly.

And I agree 100% particularly on this lovely morning after persevering the banal and seemingly never-ending marketing campaign for Them Crooked Vultures, the latest supergroup comprising Dave Grohl (Nirvana, Foo Fighters and various other collaborations), Josh Homme (QOTSA et al), and John Paul Jones (Led Zep). I logged into Ticketmaster to buy my tickets on pre-sale and discovered that Frontier Touring is charging $104.50 plus booking fees for the Brisbane gig.

This comes on the tail of paying over $40 PER TICKET more (over $150 per ticket) to attend the 2010 Soundwave Festival, compared to 2009 prices. And the only reason I'm doing that is because I have never seen Faith No More and they're headlining it. One of those "blink and you'll miss it" moments. I also have the utmost respect for Mike Patton as a musician and individual; he's always been someone who gives his best and creates constantly interesting and unusual music. He appears to me to have something called artistic integrity.

But I will not pay $104.50 to see a band purely because one person from Led Zeppelin is in it. That's the reason they think they can get away with this, right? Because I think the last time I saw QOTSA, comparatively, it cost me $50. Promoters charge these prices because they know Australians will pay them, because we're grateful we've been remembered at all. That makes us suckers. What I wonder is if similar prices are charged in Japan...which isn't very far away, if you think about it.

Them Crooked Vultures was only created this year. We've only seen small snippets of their songs on YouTube and the most we've heard about them is about Frontier's marketing of their forthcoming tour, with all the vulture posters hanging around and the constant tweets and emails. Getting we Australians all excited about the mere fact that a "supergroup" would be blessing our strange and far away shoreline when these days, many bands consider us too far away to bother. Just like the '80s all over again...

But is it right that, for being somewhat geographically isolated, we the fans deserve to be taken advantage of financially, especially considering many of us (yours truly included) have recently found ourselves unemployed and ineligible for Centrelink payments (ah, if only they measured the TRUE unemployment numbers). In other words, we're living off our savings and when they run out, we're screwed...or maybe THEN the government will consider helping out...god bless 'em.

For me, Soundwave tickets were a major expense and a gamble that I will be gainfully employed soon...as in, by next year. Otherwise, my money tends to be spent on such frivolous excesses as ridiculously high rent, electricity, gas, food...you know, those silly little things we unemployed really should learn to live without.

So why would Frontier and Them Crooked Vultures - consisting of band members who USED to be anti-corporate, angry young men who would've flipped the bird at the prospect of spending this much money on one band - think that $104.50 to see a band which hasn't released an album yet is even viable? I mean, who would do such a crazy thing? Well, their UK tour sold out in around 12 minutes. I'm sure this tour will sell out in record time too. Why, I ask?

Sure, there's the potential their music, from what I've seen, rocks out. But to be honest with you all, I'd much rather pay $10 to see a local, unsigned band do something innovative and real for the love of the craft, instead of the desire to get rich quick.

In my opinion, some bands and practically ALL promoters have become exceedingly greedy and I believe soon, the fan revolution will begin. People will begin to wisen up and realise they're being taken advantage of. I hope. And maybe then, musicians will realise there is a balancing act to be perfected here, if they wish to have any fans at all.