“A professional partier and an amateur human being.”
How Andrew W.K. would introduce himself to someone who doesn’t know anything about him reveals the depth behind the hard-rocking, party-anthem-wielding force of nature his fans have come to adore since he blew up internationally with single ‘Party Hard’ in 2001.
The reveal is appropriate.
Since 2010, the 38-year-old American has stepped back from recording to explore motivational speaking, writing, authoring an advice column, and collaborating with other artists. His work has recently seen him named person of the year by suicide prevention group the American Association of Suicidology.
Now, he’s back with You’re Not Alone: his first album of new songs in nearly twelve years. It’s a typically triumphant collection of rock tracks featuring his trademark big riffs, infectious hooks and buoyant choruses.
While he acknowledges he is lucky to have made another album at all, the finished product was only ever going to have one goal: make the listener feel better.
“I only want to put good vibes out into the world, and I’m very focussed on that mission,” he says.
“I imagine we have a perpetual need for positivity. The best things in life give us the strength and resilience to face the challenges that are worth solving.”
For the King of Partying, partying can mean a whole lot more than just getting drunk with friends.
“I’ve had a lot of experience with getting drunk, but it’s not limited to that,” he says.
“First and foremost, it’s a decision to break away from the torturous debate over whether life is good or bad, and it’s an acceptance of the possibility that it is intrinsically good. Then it’s finding the wherewithal to celebrate all that goodness. It’s basically looking at life as a celebration of not being dead, and trying to find the value in the difficult parts of that experience.”
Taking a philosophical approach to partying is fairly unique among hard-rocking musicians, but Andrew W.K.’s power of positivity reaches further, into all areas of his life. His remedy for feeling low is a common one.
“Music never fails. There are people out there, and they’re few and far between, who don’t get the power of music. I could be in a completely defeated frame of mind and turn to music, and it will instantly change not just my thoughts and mood, but the way my body changes physically. It changes the way it feels to exist for the better. Like so many people, we can just imagine a song, and it sounds so much better in our heads than it does being played. It permeates the best part of our soul, and if we can hold onto that in the face of difficulty, it will see us through.”
Another uncommon thing for a hard-rock musician to do is to include spoken-word pieces in an album, of which there are three on You’re Not Alone. Again, the themes are positivity and overcoming doubt.
“Including those was suggested to me by someone in my management team, and it never would have occurred to me,” he says.
“It’s a very exposed and vulnerable contrast to very dense and celebratory music. I didn’t allow my own fears or trepidation to sway me from recording them. I recorded them at the very last second – I literally could not have delayed putting them off any further. I recorded them in the mastering phase – you’re supposed to be completely done with all your recording by that point. The engineer was very generous, and I recorded them quickly and spontaneously. I didn’t realise it at the time, but when I transcribed them for the lyric book, those words were what I was telling myself through the recording of the album and what I tell myself in everyday life. I thought maybe someone else could relate to them as well.”
While he is reinvigorated and empowered by his new album and seemingly feeling freer than ever, Andrew W.K. is sticking firmly to his stated mission – albeit with 17 years more experience and maturity since ‘Party Hard’ made his name.
“I’ve not yet done most things, as far as what I would like to do,” he says.
“I would like to get better as a person and serve this calling. That’s really all I should allow myself. There were times in the past I felt pressure to be ambitious, to think bigger and broader, and do all sorts of other things. I’m not cut out for those things – I’m barely cut out for this. I just want to get better and better at delivering on the promise that I have committed myself to, and that’s party power.”
Australia, known internationally for its party power, is firmly in mind for a visit.
“We have been talking about coming over for concerts and I’m extremely excited about that,” he says.
“Australia has never faltered in not only appreciating party power, but conjuring it up. It would be great to be re-energised and refuelled with a Down Under trip. Hopefully it will happen this year.”
You’re Not Alone by Andrew W.K. is out Friday 2nd March 2018 via Sony Music Australia
ENGLISH alt-rockers Band of Skulls are probably one of the hardest working bands in the business.
Since their 2009 debut Baby Darling Doll Face Honey, the trio of Russell Marsden, Emma Richardson and Matt Hayward have consistently won fans the old-fashioned way; by touring relentlessly and improving with each album. Singer-guitarist Marsden explains how their hard work is paying off with new record Himalayan.
“It’s an exciting time,” he says. “It’s a tipping point now. The fact now that we have three albums to choose from really makes a difference. Only having one record makes playing a show for more than forty minutes quite a challenge, so now that we have all these records to choose from makes our shows much stronger. We’ve had the record finished for a while and it’s kind of a relief to be able to share it with people. I think that’s probably the emotion that’s going through our minds right now. We’ve been playing the songs live, so we’ve got a little bit of a feeling about how people feel about the new songs, but now people can get the record, take it home and live with it, then come see us play. When we’ll be down in Australia, that will definitely be the case, so that’ll be exciting.”
The band’s second album, Sweet Sour, was released in 2012 and saw their songs evolve with a cleaner, harder sound. This time around, they weren’t willing to sit still either.
“We changed producers for this record,” Marsden says. “That was kind of a big shift. Nick Launay came in to do this one, and we made it in London, so this was the first time we didn’t record in the middle of nowhere. We went into the studio every day and worked on the songs, instead of being stuck somewhere on a farm. It really changed the dynamic of the recording session, and I think that comes out in the music; it was fun to do it every day and we really relished the challenge. Previously it was more intense, but this time we were doing a week together and a week apart. This time we definitely took the work away, then reconvened and kept the best ideas and trashed the rest. We all had to learn to accept that fact that your idea might not be the best idea. We’re quite good at it; we don’t come to blows but we might disagree now and then. Musically, I think the sound has come of age. We know what our sound is, but we also feel allowed to not just be a blues-rock band or just a heavy band, and our audience will allow us to continue to experiment in a few different directions. It’s more of a challenge to be able to play the new songs; we’ve written some that are quite tricky and are just at the edge of our ability. We challenge ourselves, and the first few times we play them live are seat-of-the-pants moments, but once you get over the first couple of times the confidence grows and it becomes more natural. Once we get our teeth into them, it’s really great. The record comes out soon and the songs know it; I think the songs are onto us. But there’s a certain buzz about playing tunes for the first time in front of people, and that’s part of the thrill which we’ve enjoyed so far. There are a couple of tracks we haven’t done yet too, so we’ve still got a couple of those moments left.”
Despite the obvious benefits of having new songs to play live, Marsden admits the expectations the band put on themselves to write the best songs possible is the driving force behind the band.
“We give ourselves our own pressure,” he says. “Outside pressure doesn’t even get a look in. We’re really proud of the two records we’ve made and we loved working with [producer] Ian Davenport on those records, but we set the bar higher this time. If a song isn’t as good as something you’ve done before, then it basically isn’t good enough. Recording is an amazing experience, although it’s not easy. There are a lot of long hours, and it can be relentless and the hours are gruelling. It can wear you down and drive you insane. It’s a bit like sitting an important exam, where the result is going to affect your life in the future, but seeing ideas that you have in your head realised is a thrill. When something comes out well in the recording, you can’t help but sneak a thought about how it’s going to sound playing it to people in the future.
An upcoming June tour of Australia is something Marsden is hoping the group can repeat in the near future.
“We’ve been a couple of times now and the audiences are fantastic and really knowledgeable,” he says. “Your festivals are really good as well; you get a lot of international acts coming over. The competition is stiff, and we know it’s not going to be an easy ride, but we’ll be playing some bigger venues for the first time and that’s really exciting. I wish we could come back to Australia more often, but it’s a long way and it costs a lot of money for bands to come over. Hopefully this won’t be the last trip on this record. If it goes as good as we hope, we can maybe come back and do some more cities as we only have three stops this time. Hopefully we can return not long afterwards.”
HIMALAYAN BY BAND OF SKULLS IS OUT NOW. THE BAND TOUR AUSTRALIA IN JUNE.
Perth trio The Love Junkies have been busy blowing eardrums up and down the country for the past couple of years with their sweat-drenched, everything-up-to-eleven live shows. Their 2013 debut album Maybelene was an impressively pulsating mix of grunge riffs, alt-rock face-melting and bluesy jams, and this five-track home-recorded EP continues in a similar vein – to a point. You’d be forgiven for thinking the band had gone soft with a mellow space-rock 90-second intro and the poppy opening minute of single ‘Chemical Motivation’, before the point in the song long-time fans have come to expect and love; when singer-guitarist Mitch McDonald lets rip with a throaty scream that would peel wallpaper and probably knock out a donkey at ten paces. ‘Storm Troopers’, penned by bassist Robbie Rumble, is an introspective shoegaze-y affair that never fully kicks into gear and ‘Gloria To My Dysphoria’ is a somewhat solemn, slow-burning psychedelic epic. Closer ‘Blowing On The Devil’s Strumpet’ gets closest to the vein-busting screamo found on Maybelene, and just when you think McDonald’s voice can’t hold out, he goes for another couple of verses. This is another fine release from one of Australia’s best and most promising young rock bands.
Holy Ian Curtis: this ain’t no sunny pop record. English post-punk up-and-comers Eagulls have already gained a metaphoric mountain of music press attention since their 2009 formation; a situation that can be potentially favourable or fatal to a band yet to release their debut album. Thankfully the quintet seems to have dealt with the pressure of expectation well, as this self-titled ten-track collection is a solid and confident effort. All angry, bleak disillusionment and despair carried off with stark vocal arrangements, chugging bass-lines and apocalyptic guitars, this is an absorbing album that grabs you by the lapels and doesn’t let you go until it’s battered your eardrums to within an inch of their life and left your spirit just a little bit crushed. The blistering ‘Yellow Eyes’ and ‘Amber Veins’ are highlights, as is closer ‘Soulless Youth’, which could explain the basis of most of the lyrical content throughout. Singer George Mitchell rants and caterwauls with the best of them as his band recalls the sounds of Savages, Joy Division and Iceage, and it’s all topped off with flawless production. While there’s not much variety and the album is a little exhausting to listen to from start to finish, this is an important and promising addition to the post-punk genre. (Popfrenzy)
MUSICIAN, poet, humanitarian, Bono fan; these are just some of the strings to Michael Franti’s bow.
The multi-talented Californian and his band will make a return to Bluesfest next month, as well as playing a sideshow at The Tivoli. “It’s our first time to Australia in three years, and we’re super excited to come back,” he says. “This is actually our twentieth year playing music together; we started in ’94. It kind of crept up on us; one day around Christmas I was sitting around with Carl [Young, bass] and I said ‘Carl, when did we start?’ We realised it was August ’94. We feel more excited about playing music than we ever have, and it’s just really great to be in a band with these guys. We never decide what we’re going to play until about 15 minutes before we go on-stage; we always mix it up every night. There are some songs people want to hear, so we try to play those, and we’ll go through the catalogue and revisit songs we haven’t played in a while. Sometimes we’ll play cover songs and sometimes loud party music that will get people up and jumping around at a festival. We love the festival setting and we’re looking forward to coming back.”
The upcoming gigs will give Australian fans the first chance to hear songs from Spearhead’s 2013 album All People live, as well as getting an advance on tunes that will appear on the as yet untitled follow-up.
“The songs were all written while we were touring and we’ve tried them out in front of audiences, so they’ve all be road-tested, so to speak,” Franti says. “It’s great when you can write a song in the morning, play it to fans in the afternoon and get their response to it. This record is a mix of acoustic music, political songs, roots and maybe more love songs than I’ve ever put on a record. We always have new songs ready for a record, and as soon as I finish writing them I like to play them; so there are a few new songs we might pull out. It’ll probably be another year before we release another record, but we’ve already been in the studio writing this stuff. The last two records had about a two year gap in between, but I don’t think it will be that long this time.”
Known for his political and humanitarian stances, Franti has changed his approach somewhat in recent times.
“My original band put out our first record in 1987,” he says. “I think a lot of us who have been involved in doing political work and political song-writing for a long time don’t know if any of the songs we ever wrote really made a difference to the world, and it’s easy to get frustrated. Right now I’m working on a documentary film about people I’ve met who have really inspired me and made me see the world and the work I do in a different way. Instead of trying to put out the whole world that’s on fire with this little water pistol that I have, I’ve learned how to use the water pistol to sprinkle the flowers in my own back yard and have a bigger impact. Lately, I’ve been writing about that more than specific political things; it’s about tenacity, courage and creating harmony in your life.”
Franti got his first major break when a certain rock quartet with a similar approach to political and social issues took his band on tour in 1992.
“It was really amazing,” he says. “We had a minor hit at the time and U2 saw the video for it, and they invited us to come out on the road. We went from being a little band playing in punk rock and hip-hop clubs and driving around in a tiny white van, to playing Yankee Stadium and all these massive venues. I was a fan of U2’s music at the time but I wasn’t that familiar with the guys in the band, and I remember the first week Bono came up to me and says [adopts Irish accent] ‘can I have a quiet word wit’ ya? There’s this one thing I need to talk to ya about’. I was worried and thought we were getting kicked off the tour, but he said ‘you know my guitar player? His name is The Edge, not Ed’. I had been saying things like ‘yo Ed, nice guitar solo! Yo Ed, nice hat! Yo Ed, you coming to the party later?’ I guess The Edge had gone to Bono and asked him to have a word. We’ve toured with tons of bands, and they’re right up there among our top experiences in terms of being treated well by the headliner. They always made sure we had enough time and space to set up our gear and sound check, and they always hung out with us. Whether we wanted to talk about music, religion or business things, Bono was always really amenable to having a conversation about anything; it was a really good experience for us.”
MICHAEL FRANTI & SPEARHEAD PLAY BYRON BAY BLUESFEST APRIL 21 AND THE TIVOLI APRIL 23.
NORWEGIAN indie-pop five piece Highasakite haven’t had the pleasure of visiting our shores just yet, but singer and songwriter Ingrid Helene Håvik is already busy forming an image of Australia in her head.
“I know you have dingos there,” she says. “And those big animals that jump; I don’t remember what they’re called. And I’ve heard the food there is amazing. Actually, it’s so far away that I don’t know anything about it. I think we are coming to Australia at some point – and I don’t know if I’m allowed to say this – but the plan is to go maybe around September or October some time, and then in maybe February 2015. We’re just starting to plan it now, so it’s not a solid plan yet.”
The Bon Iver-approved band’s new album Silent Treatment will be released on April 11th, and is an ethereal and expansive affair, with all songs written by Håvik.
“We’re really excited,” she says. “We hope a lot of people are going to hear about it and we love playing it for people. The album is already out in Norway, so we have played everything and we’re touring with the material in the States right now. I’d probably call our style indie-pop music, or even just pop music to be brief. [My lyrics] are based on all sorts of things; from dreams I’ve had [which] I write down and use later, and many different things from different places. I can only write at home when I’m really isolated, not on tour.”
The Oslo-based band’s origins can be traced to the Trondheim Jazz Conservatory, where Håvik and drummer Trond Bersu began to write and record together – in English.
“I sing in English because it’s more natural to me,” Håvik says. “I’ve listened to music that is in English my whole life, and I’ve never really listened to any Norwegian lyrics before. English is the music language for me. It’s more natural for most people in Norway to sing in English; to sing in Norwegian is more of a curiosity in Norway. To be singing in Norwegian is pretty special.”
An already hectic touring schedule was recently made busier with an appearance at SXSW, and being added as support to growing global stars London Grammar.
“[SXSW] was really a lot of fun and super busy,” Håvik says. “People came to our shows and that’s all we were really hoping for. We played four shows and had to cancel one; our crowd sizes were never embarrassing, so it was all good fun. We saw a Norwegian guitar trio band too, but that was all I managed to see. Supporting London Grammar on tour has been going really well and it’s been a lot of fun. We’ve had full houses and everything. In the beginning we were really nervous when we started playing the new songs, but we’ve played a lot of shows already with this new material, so we feel pretty good. After the London Grammar tour we’ll be going home to Norway. We’ll be doing some shows in Europe and some summer festivals, and we’re going to the States again in May. Then we’re going to Japan.”
Silent Treatment by Highasakite is out April 11th.
THE LIVING END have just played five Soundwave shows and will headline The Big Pineapple Music Festival next month; not bad for a band technically on a break. Upright bass player Scott Owen explains why the Melbourne trio doesn’t sit still for long.
“Soundwave was fantastic,” he says. “We didn’t know what to expect as it was all very last-minute; we only got added to the bill two weeks before the festival. It was unexpected, but you can’t complain about getting up in front of audiences like that. Everyone seemed to file in there early and there was a really respectable amount of people there. [Short notice] can work either way for us; sometimes we rehearse our arses off before a show and for one reason or another it’s difficult to pull it together, and then sometimes you just have to jump into the deep end without a chance to rehearse, and they can be the best gigs. We went for the middle ground and only had a couple of rehearsals in the week leading up to it, and left it at that; just enough to dust out the cobwebs a little bit, but not overthink it.”
The band will be the top-billed rock act at next month’s second Big Pineapple Music Festival, which also features Dead Letter Circus and Spiderbait.
“Because we’re at a stage right now where we don’t have a new record out, we’re just kind of getting up and trying to tailor our set – and this probably sounds wanky – to please everyone,” Owen says. “We figure with festivals you’re there for a good time, not a long time, so we just try to play things that we think people are going to know and things people can sing along to; I think that’s our job at a festival. We didn’t really think of doing [AC/DC’s] ‘Jailbreak’ until the day of the gig at Soundwave in Brisbane, but every now and then we’ll pull out a cover and it’s normally something that’s planned. We’ve got six albums, so there’s a lot of catalogue to choose from and it can be difficult to try to think of what will please everyone, but that’s why we tend to rely on the songs most people are going to know. It’s not our own show; people are there to see a bunch of bands, so we just try to offer a good time.”
This year marks two decades since the band formed in Melbourne, but Owen isn’t keen to make a fuss of the anniversary.
“We did a retrospective tour the year before last, where we went out and played all of our albums for seven nights in each city, and that was a good way to look back over everything,” he says. “I think we’re more into looking forward than looking back now, although the plan is to do nothing for pretty much the rest of the year, apart from a few gigs here and there, and then sometime next year we’ll get together again and start thinking about the next record. This is the first time we’ve all not lived in Melbourne. Over the last couple of years we’ve all moved in different directions; Chris [Cheney, singer-guitarist] is over in America, I live in Byron and Andy [Strachan, drums] is down the coast in Victoria. There’s a bit of a distance between us and we figured it’s a good opportunity to just chill out for a reasonable amount of time. Fortunately we’ve never had any major difficulties with each other and we’ve been lucky to continue to get people to want to watch us play. I guess we just get along as mates and respect each other, and just enjoy getting up onstage and playing together. I really don’t know how to read it any more deeply than that.”
The band’s sound includes elements of rockabilly, rock ‘n’ roll and punk; a formula that has worked well for the trio, although Owen’s ‘bass stunts’ – primarily standing on his instrument mid-performance – wasn’t always the polished party-piece it is today.
“When Chris and I were in high school we were only interested in’50s rock ‘n’ roll and rockabilly,” he says. “Getting up on the bass was always part of the act; it was happening from day one. The funniest time was when Chris and I started playing; we were only about 16 or 17 years old when we started playing pubs around Melbourne. One of the very first times we played a proper pub – and we were still just doing rockabilly covers at the time – Chris climbed up on my bass to play a guitar solo and it all went horribly wrong and we ended up in a pile on the floor. It was devastating; we were thinking we could never get up onstage and show our faces again after such an epic fail. But we got over the hurdle. Luckily it hasn’t happened in front of an enormous audience.”
THE LIVING END PLAY THE BIG PINEAPPLE MUSIC FESTIVAL SATURDAY MAY 17.
The War On Drugs’ Adam Granduciel doesn’t get anywhere near the amount of recognition he deserves. The Philadelphia native’s visionary songwriting over the course of his band’s three albums is the perfect example of a musician single-mindedly ploughing his own furrow, with the finished product benefiting as a consequence.
2011’s Slave Ambient was a momentous and enthralling release which spawned over two years of touring for Granduciel and his three bandmates; out of which sprung this follow-up. Like Slave Ambient, the indie-rockers’ third album repeatedly slip in and out of focus, while maintaining the yearning for forward momentum present in all of his work, as on nine-minute opener ‘Under The Pressure’. Six minutes of unashamedly expansive guitar rock evoke images of the open road in the vein of Bob Seger or Jackson Browne, before over three minutes of shimmering, hazy instrumental psychedelia leaves the road altogether and drifts along in the breeze; making the clearest reference to the album title thus far.
Given the album took two years to record, the pace inevitably shifts; as on melancholy piano ballad ‘Suffering’, while – like a dream sequence in a sci-fi film – chilling instrumental track ‘The Haunting Idle’ divides the layers of hazy textures spread over the road-weary ‘Eyes To The Wind’ and the point at which the muscular momentum is picked up again on the excellent ‘Burning’. You get the feeling that Granduciel could probably bust out a solo with the best of them, but he’s too clever to let something as showy as that detract from the mood and rolling rhythms that make this such an absorbing release from beginning to end. (Secretly Canadian)
SHE MAY HAVE worked with Mick Jagger, Ringo Starr and Jeff Beck, but Joss Stone will be on the hunt for new Australian talent when she tours here next month.
“I’m trying to find people to collaborate with when I’m there,” she says. “I’d like to investigate music that was born in Australia. It’s nice to be exposed to other things; things that aren’t influenced by America or the UK. Maybe I’ll have a little sneak around Byron Bay and see what’s about. I really enjoyed Byron last time; it was more earthy, which I liked. We were only in Australia for a week, but that was my favourite spot. I’m definitely excited to be going back there; hopefully we’ll get more time.”
The 26 year-old English soul singer and her ten-piece band will be part of a mammoth Bluesfest line-up, as well as doing a run of shows with multiple Grammy Award-winner India.Arie.
“Expect a very good band playing what is hopefully very good music,” she says. “I love my musicians; I hold them in very high esteem. I’ve been working with them for a very long time and I just love playing with them. We have a really nice time on-stage; we just ‘soul out’ a bit and try to play a bit of music from each album. So far I have six [albums], and we like to play the songs people know as well as a few new ones. The double bill [with Arie] was just one of those things. Obviously, the second they asked me I was like ‘yes please’; I love her. When I was about 14 or 15 the song ‘Video’ came out and I got her album, and I would play the songs with the tape or CD in reverse, so I could try to learn the way she sang and her little ad-libs. I could never do it; I’m terrible with ad-libs as I’m not really that type of singer, but I would listen to her over and over. I think some days she’ll start the set and I’ll finish it and vice versa, and hopefully if we feel the vibe we’ll sing together, if I’m lucky. I know her songs, but I don’t know if she knows mine!”
Stone’s last release, 2012’s The Soul Sessions Vol. 2, was a collection of 11 soul covers, but her upcoming – as yet untitled – record promises to be more eclectic.
“It’s a little bit different this time,” she says. “A little bit more hip-hop and reggae. There are a couple of tracks on there which are just classic soul, but it’s so hard to talk about right now as we haven’t even finished the percussion yet, so I don’t know what it’s going to turn out like. In all honesty, I could turn round and go ‘oh I fucking hate this, let’s just cut it again’. I’m trying to keep that safety, you know what I mean? New influences come in naturally when I’m beginning writing, then I latch on to whatever that newness is and make that choice to continue in this path; it’s a conscious decision from that point. I’ve got thirty songs, but I’m going to see. I’ve just done two weeks in the studio, and I’ll have to listen back and see which ones I like. Normally an album doesn’t go longer than fourteen to seventeen tracks. I never really like to play a full show where I just play new songs to a group of people who haven’t got the album. Putting in new songs can be cool, but until everybody gets the album, it can be a bit of a bummer to go to a show when you don’t know any of the songs. When the record is out I’ll play them all, but when the Australian tour comes around I’ll just play a couple. I’ll rehearse my band; by now they know all the songs, but we’ll rehearse and learn a couple of the new ones, so when we get to the stage I can kind of call it, you know? I know what’s going to happen in general, but I don’t know what the audience is going to be like until I meet them. In fact, they are the eleventh member of my band. That’s the fun of it.”
Stone was a part of short-lived supergroup SuperHeavy in 2011 with Jagger, Dave Stewart, A.R. Rahman and Damian Marley, and has performed with big-hitters like James Brown, Rod Stewart and Melissa Etheridge, but one musician inspired her more than the rest.
“Jeff Beck; I’m in awe of him and the way he plays,” she says. “When he’s talking to you he’s just a normal guy, but when he plays it’s entirely different; it’s like ‘wow’. If we’re playing on the same day [at Bluesfest] we might even do a little song together. He’s amazing.”
JOSS STONE PLAYS BLUESFEST APRIL 18 AND THE TIVOLI WITH INDIA.ARIE APRIL 20.
ADELAIDE folk and roots duo The Audreys may be triple ARIA Award-winners, but it’s mostly producer Shane O’Mara’s fault, explains refreshingly down-to-earth singer, songwriter and multi-instrumentalist Taasha Coates.
“I reckon we’d still be a shitty folk band playing in the local pubs if it wasn’t for Shane,” she says. “He heard something in our music that we hadn’t heard ourselves, and pushed it in a direction that’s made it a better beast than when we started out. We just really like each other and push each other in the right way. Early on I had a tendency to be too precise and be really anxious about minute details and mistakes and he was always [saying] ‘no, get over it.’ He taught me that it’s about the performance and not about being perfect. We’ve made four records with him now, and it’s a really strong friendship and creative relationship.”
The band’s new studio album ‘Til My Tears Roll Away follows 2010’s Sometimes The Stars, and is set to propel Coates and guitarist/banjoist Tristan Goodall back into the spotlight.
“I think it’s a rockier album,” Coates says. “The label picked ‘My Darlin’ Girl’ as the new single. It’s great if you have a good relationship with your label and you trust them; that’s the kind of decision they are much better at making than you are. We gave them the record and basically told them to do whatever they wanted. You can be much too close to your own music, and the few times we’ve tried to write something for radio it’s been shit; radio is a fickle beast. When I first started making records I was conscious of making music to play live, but Shane always told us not to think about it. Now we try to make the best record we can and then worry about playing the songs liven once they’re recorded. I think it’s hard to listen back to yourself, but I absolutely loved every moment of making the last record; it’s something I’ve grown to love. We did most of it in five days; all the tracking was done live, then we re-recorded most of the vocals at Shane’s studio back in Melbourne and brought in guest players and singers and did all the mixing as well. We had a doo-wop group sing on one of the tracks, and lots of mates of Shane’s and local musos; there’s a sing-along song at the end that has something like 24 singers on it or something. It was great fun.”
A new album of course means touring, albeit with an extra person on the tour bus this time around.
“I’ve had a baby since the last album,” Coates says. “When I got pregnant I was really nice to myself and gave myself the time to enjoy motherhood, but then started to miss music after a while. It’s actually quite a good career to fit in with a child as you can fit it around everything, unless you’re away touring. When you’re playing, it’s at night when they’re asleep, or they can come along. We’re doing a tour soon; a national tour all around the country. We’ve been playing the new songs as a duo for about six months now and it’s been good fun. We can’t wait to get on the road with the band.”
THE AUDREYS TOUR NATIONALLY IN MAY/JUNE. ‘TIL MY TEARS ROLL AWAY (UNIVERSAL/ABC MUSIC) IS OUT MARCH 14.
NEW year’s eve for Wombats bassist Tord Øverland-Knudsen normally means snow and family times in his native Norway.
The band’s upcoming appearance at Falls Festival will change all that.
“On a personal level it’s going to be strange,” he said. “I’ve never been away from Norway for New Year’s Eve; I’ve always been back with my family. I’m always home for a white Christmas and a really cold winter, so it’s going to be really weird to not have snow around I think. We’re really looking forward to the shows – Australia is our favourite part of the world to play in, and playing a big gig on New Year’s Eve is going to be pretty special. We’ve done a few pretty hot shows in America and Dubai and different places, so hopefully we can cope.”
The Liverpool-based trio have kept themselves relatively out of the spotlight in recent months, with work on a new album already under way.
“We’ve been in Liverpool working on new songs,” Øverland-Knudsen said. “We’ve been making the demos and trying to finish the third album. We’ve been to LA to record one song properly, and we’ve done a few gigs here and there in between. We went to Brazil, which was a nice experience; we did some headline shows in fairly small venues in both São Paulo and Rio. It was the first time we’ve been there and it was amazing; the gigs were packed and people knew our songs, which was kind of crazy. Hopefully we’ll finish the writing this year and record half of it before Christmas, and the other half in January, with the idea of a release around March or April, but you never know with these things. It depends on when producers are available and stuff like that as well.”
It has been a long road from when the band first got together in 2003 for them to arrive at the synth-led sound they are now known for.
“We met in university,” Øverland-Knudsen said. “At our first practice we all had massive hangovers, and in the beginning we were just really crap, but I’d like to think we’re not crap any more. Murph’s song-writing is still recognisable in the early stuff, but it was more like Pixies or Weezer; except more garage-y and immature, and his voice was softer and more high-pitched in the early days. After we released our first album we didn’t stop touring for about two and a half years, and we only wrote one song in that space of time. I think we almost forgot how to write a song, and I think you have to keep doing it for a while before you can make anything good. We had to get refreshed, take a month without doing anything with The Wombats, then get down to writing again.”
We wanted to do something different, and there was only so much we could do as a three-piece, and that’s when we brought the synths in. We had a couple of synths in a practice room and brought a couple more in because we didn’t know much about them before we started experimenting with them. After we wrote more and more songs, they became an integral part of most other songs, and it’s really great that we got to learn how to handle them. We’ll still be using them on the third record. I think that as soon as you experiment with something it’s really hard to go back – especially in the studio. I really love experimenting and using technology, but maybe at some point we’ll get really bored of that and just do a guitar album again, just the three of us.”
The band’s upcoming appearances at Falls, a New Year’s Day set at Field Day, and a gig at Southbound Festival on January 4th will allow Australian fans to sample new material.
“We’re really looking forward to coming back and doing some big gigs,” Øverland-Knudsen says. “We haven’t done that many shows recently, and it’s really exciting to be able to play some of the new songs. It’s going to be nerve-wracking as well; it always is with new songs, but it will be great to play them live in a place that we know appreciates our live shows. We’re really looking forward to it.”
THE WOMBATS PLAY FALLS FESTIVAL AT BYRON BAY JAN 2.
It’s a school night and one of Brisbane’s biggest and best venues is sold out – this is something very few bands have been able to achieve in recent months. Such is the diverse appeal of English indie-rockers Foals that it’s obvious this is one of those gigs that attracts people who don’t often go to gigs. Hipsters too; lots and lots of hipsters.
Support for tonight is Melbourne indie-poppers Alpine. Having just jetted back into the country from North America after playing a number of shows there, they admit to being exhausted, but put in an energetic and typically tour-tight performance, heavy with songs from their excellent album A Is For Alpine. Singers Lou and Phoebe are charming and enchanting as ever, and they finish with ‘Gasoline’ to a huge show of appreciation from the audience. With more tour dates in Canada the States on the cards in the next few days, life is only going to get more busy for the six-piece, but they’re looking and sounding mean and lean.
Foals’ stage setup is pretty impressive. A small army of dudes spends quite an amount of time setting up a lighting and sound rig that could fry the retinas and burst the eardrums of an audience several times the size of this one, but it’s all part of their live appeal. By the time the quintet take to the stage amid a haze of pink and blue lights and kick into ‘Prelude’ and then ‘Total Life Forever’ to huge reverberating cheers, the Tivoli is as rammed as I’ve ever seen it, and the phrase “losing their shit” could be applied to the audience collectively.
Holy Fire hasn’t been around that long, so there are plenty of tunes from that album on show, including ‘My Number’, ‘Providence’, and ‘Late Night’. Frontman Yannis Philippakis’s crowd-surfing-from-the-balcony-thing may feel a bit contrived (come on, we all knew he wasn’t gonna not do it), but again, the audience responds by almost to a man losing their shit. You’d definitely feel a little hard done by if you had suffered an “immediate eviction”, as the sign says, if you’d been caught crowd-surfing at any point before this event, but I guess you can’t evict the main man.
With an encore including ‘Inhaler’, many people have gone home after this gig claiming that this has been the best live show they’ve ever been to; such is the effect of this band’s music.
Having recently celebrated ten years in the business of making top-notch punk-tinged indie-rock and with a new record full of songs spanning the band’s career, Gary Jarman, the refreshingly down to earth bassist for The Cribs, is looking forward to coming to these shores for a run of shows next month.
What can fans expect from a Cribs show in 2013?
Usually when I’m asked this question it’s a pretty tough one to answer, because we’ve always hoped that, idealistically, it’ll be somewhat unpredictable like it always used to be when we first started out. We always thrive off the idea that we never really plan stuff too much, and we’re never a particularly slick prospect, as that was the thing that used to drive us and keep things interesting. With these tenth anniversary shows we’re trying to mix in a bunch of the older stuff for people who didn’t see it the first time round, as we never toured the first album in Australia. The shows will be smaller, and I think that’s the right way to do it, and will hopefully be the best representation of where the group is coming from and from where we first started out.
If someone told you ten years ago that you’d be touring Australia for your tenth anniversary, how would you have reacted?
It would have been a real thrill, you know? But that never goes away; we’re still the same band that we were when we started out. We still have the same motivation and we have the same feelings about things. I think that comes with being in a band with your brothers; we’re still kind of amazed to be able to travel that far away from where you’re from and have people be interested in it. We never lost that sense of disbelief that a project you started with your kid brothers will be something that people will not only care about, but care about for a decade, and then to travel pretty much as far away from Wakefield – where we’re from – as possible, and have people come and be excited to see you play. That’s something we’ve never taken for granted, and being in a band with your brothers has been key to that. If I’d been in a band with other people I might have become jaded over the years, although it’s never been plain sailing for us – far from it. But the fact it’s a family thing makes us such a close and tight unit, and it makes us so honoured that it’s resonated in some way with people, no matter what level.
Some bands with several family members end up hating each other over time, but it obviously works well for The Cribs?
I think so, because the key thing is that we trust each other, and we grew up with the same stuff, and when we formed the band it was out of necessity as my brothers were the only people who had the same tastes as me, because we grew up with the same music. So it was basically a really convenient and ideal scenario for us. Over the years, we’ve managed to retain that, even though we all live in different places thousands of miles apart, and that’s been really good for us as we can all bring different things to the table from our different experiences. Rather than being alienated, it helps us.
Obviously Johnny Marr is no longer in the band, so what challenges does that bring when playing live?
Well, as far as live goes, we never expected to be a four-piece when we started the band, and we never expected there to be a fourth person there, as we didn’t have a fourth brother! Johnny coming along was like a really surreal and exciting thing for us, so we had to adapt to being a four-piece rather than re-adapting to being a three-piece, so it was really natural to go back to being a three-piece. But we do have another person playing guitar with us, who is like a live member, so we can add extra things to records and still pull them off live.
What do you miss most about having Johnny in the band, besides his guitar playing?
The camaraderie. While it lasted, it was a good way of dissipating the intensity in the family dynamic. Everything becomes really extreme in that sense; when the shows are good they’re really good, but when they’re a bit off they can be destructive. So having another person there makes it easier to reduce that intensity. There’s a different dynamic with your brothers or with your family than what you’ll have with anybody else, and you can often forget that unless there’s someone else in the room. It’s easy to forget how full-on it can be and how differently you speak to people you’ve grown up with. It was nice to have someone, not necessarily to mediate, but to see things a bit more rationally, instead of the emotionally-charged way we would always do things.
You won the Outstanding Achievement Award from the NME, and just released what’s essentially a Best-Of album. How do you feel about reaching milestones like these when you’re still so young?
Winning the award was such an amazing thing for us. When you can step away from things and look at them from a distance, it’s really a crazy kind of scenario. To get a lifetime achievement award like that, and to have a greatest hits record – if you started a band aiming for things like that, it’d be an egotistical and cut-throat thing. We never set our sights on that sort of stuff; we came from more of a punk-rock background, but it’s nice to be able to sit back and look at all the ups and downs of the last ten years and lay them all to rest and move on, in some ways. We’ve been playing a lot of these songs for ten years now, and that’s a kind of insane proposition, so this is a nice way to wrap it all up and move on to the next chapter I guess.
You’re known for having a DIY and independent approach to things. Is that something that will change as the band gets older?
If anything, it’s got a lot more pronounced. Initially, it wasn’t something strange to us, as we had no choice. But when the band started doing well, we didn’t feel the need to deviate from that, and we enjoyed doing a lot of things that way, and we took satisfaction from it. For example, we used to love playing on the main stage at the Reading Festival, and we’d be the only band who had a van; there was something perverse and appealing about that. But, from a different point of view, we’ve never been signed to a major label in the UK, so there was never a great deal of money flying around. We’re actually a really efficient band, you know? We do things on a level that avoids all that rock-star shit, and even when we’ve had top-ten records it’s been business as usual, and that’s possibly why we’re still here after ten years. We get a lot of satisfaction from adversity; we’ve always been so independent and nothing’s changed. Nobody makes money from record sales any more, and it doesn’t bother us at all; we’re used to existing on a shoestring anyway. We’ve never been dependent on anything and although it sounds like a bit of a cute statement, the only people I’ve ever depended on is my two brothers. If we get offered a show and we want to do it, we find a way to make it happen one way or another. It’s an idealism thing. I hate the idea of being dependent on things that other bands depend on to make things happen.
What are you most looking forward to about coming to Australia?
We had such an awesome time last time. We came out there in January, and it was one of the most fun tours we’ve ever had, so it’s not that I’m looking forward to one single thing, just the knowledge that we had such a really awesome time last time is enough to be really exciting for us.
THE CRIBS TOUR AUSTRALIA STARTING OCT 23 IN NEWCASTLE
In a recent interview with the UK’s Uncut magazine, The Clash guitarist Mick Jones said “Being in The Clash was a defining moment in our lives, and I’d be lying if I said I’d gotten over it.” At first these would appear to be heavy words from a guy who was unceremoniously given the boot seven years into the career of a band he co-founded in 1976 with Joe Strummer and Paul Simonon, but it reveals a little about how this new collection of The Clash tracks came about. After Strummer’s untimely death just before Christmas 2002 at the premature age of 50, all hopes of the Holy Grail of band reformations vanished, and it’s left to events like the release of this new box-set to quench the thirst for new The Clash material for their legions of fans the world over. The fact that the three surviving members – including recently rehabilitated drummer Topper Headon – got together to curate the release (and are apparently still good friends) also adds a touch of intrigue.
Fully remastered from the original tapes, this 2 CD or 3 LP 32-track box-set will probably be the last release by the band – at least officially – and that alone makes it something of an interesting record. “It seemed important to me that what we did should be preserved,” said Jones, on the subject of carrying the band name forward. One thing of which there can be no doubt is the fact that this music is top, top stuff – among some of the best ever recorded. Cute band reunions are all well and good, but do we really need another greatest hits by The Clash, no matter how nicely packaged and sufficiently endorsed by ex-members? The answer is probably no, although die-hards will buy it all the same; that’s how much the band mean to so many people. The Clash were something that is these days a rapidly vanishing part of musical culture; they were an outstanding albums band, while still being hot shit in the live arena, and they had a finger on the social pulse of personal politics. The conception, progression, and ultimate decimation of their career is played out throughout their six studio albums, and with a couple of excellent post-mortem live records available for public consumption, there is nothing much more you’ll need to hear from the West London originals. In saying that, if there has to be such things as greatest hits albums, this shines high and mighty above any of the dross you’ll find in the 3 for $20 bin down at JB’s.
Clearly someone, or probably a team of people, was in charge of sequencing, but the running order isn’t chronological as perhaps it should be, or even particularly ordered by the many genres the band covered throughout their short but explosive career. But then, The Clash’s albums were often such a versatile mix that maybe it’s appropriate. There’s straight-up punk in ‘White Riot’, rockabilly in ‘Brand New Cadillac’, Caribbean rhythms in ‘Bankrobber’ and ‘Ghetto Defendant’, rock in the likes of ‘Clampdown’ and ‘Complete Control’, and a hundred other elements throughout. Maybe it actually takes a collection like this to truly understand the range of this outstanding band.
I’ve listened to the original album versions, subsequent greatest hits packages, and then the new release, and can’t hear any real difference in the quality of sound, so don’t be expecting some mind-blowing new form of clarity here. The music sounds fantastic, but then so did the original albums. To anyone thinking about getting into The Clash, I would urge them to try the original albums first; start right at the beginning and then head for London Calling and Sandinista!, followed by the live album From Here To Eternity. But to everyone else, I’d say why not go for it? They were only one of the best bands to ever play a note; what could possibly go wrong?
Trying to remember everything that happened at BIGSOUND Live 2013 is like trying to pee with an extreme case of stage-fright; you just gotta persevere until you get it all out. When the moment of sweet, glorious relief comes, a million sweat-drenched, beer-stained memories pour out at a rate quicker than Bakery Lane filled up in the minutes before Billy Bragg hit the stage. Here are at least some of mine, mostly unsullied by the passage of time.
Forget all the industry shenanigans, the free tote bags covered in corporate logos, the lanyard-wearing, glassy-eyed matronly types who look like they haven’t been to a gig since Led Zep were last in town, the live section of BIGSOUND is – and always will be – about the bands, and there is no shortage of fine examples to sink our teeth into this time around.
Looking at the program for Wednesday evening, one name leaps out immediately: The Delta Riggs. Having seen them four or five times before, I’m keen to maybe give them a miss this time and check out someone new; perhaps Patrick James or Mama Kin – that being the whole point of BIGSOUND Live. But after procuring my blue wristband shortly before 8pm I am drawn by some invisible force towards The Zoo, where subconsciously I know there will be a rock ‘n’ roll show that probably won’t be beaten, and before I know it, I’m watching the five lithe blues-rockers knock out a suitably raucous start to proceedings. One of the great things about each band’s set being only thirty minutes is that no time is wasted cutting to the chase, and The ‘Riggs do so with ‘Stars’ and ‘America’; the first two tracks off their latest album. Frontman Elliott Hammond is all hips and wrists as usual, and as ‘Rah Rah Radio’ is fired off into a rapidly filling venue, we all know we’re in for a good night.
The walk to Electric Playground takes about two minutes, or about the same length as one of Sydney punk-poppers Bloods‘ songs. The trio of MC, Sweetie, and Dirk are all smiles and clearly enjoying themselves as they play songs from their new EP, Golden Fang, and even manage to fit a new song in, because “we’re such professionals we’re going to play a new song in front of a bunch of industry people.” There’s something pretty special about their brand of garage-punk-pop and their vibe is infectious; a clear line runs from the earliest days of Brat-pop in the fifties, to classic punk bands like The Ramones, and through to the best of nineties girl alt-rock bands. Despite some ear-melting feedback, ‘Bodies’ and ‘No Fun’ are catchy early numbers, and the slower, more melodic ‘Back To You’ rounds things out nicely. In truth, we all could stay in Electric Playground all night and have an absolute blinder, with Dune Rats, King Gizzard & The Lizard Wizard, Bleeding Knees Club, and Regurgitator putting in appearances, but alas, my fate lies elsewhere.
Next comes possibly the most diabolical timetable clash of the whole deal, as Billy Bragg, Mining Boom, and Yukon Blonde all play at the same time (I’m not concerned with Cub Sandwich, or whatever they’re called now). As I stand in the static queue to see Billy Bragg and am told by a staff member that Bakery Lane is at capacity, I recall the words of Bragg himself from his earlier keynote. “If you want change, it’s your responsibility, not mine,” and “Singer-songwriters can’t change the world. The only people who can is the audience.” With this, I immediately decide to leave the queue and go see relative newbies Mining Boom at Ric’s, and am almost instantly glad I did.
One of the first of several top performances by Perth bands this year, their set is a ragged, charming, and eccentric mix of self-conscious indie-rock stoner beauty and unassuming pop melodies. Opener ‘Craigie’ may be the best song played by any band anywhere tonight, or anywhere this year. With lines like “One day I will bash that cunt, and it won’t be pretty and it won’t be fun, but one day I will bash that cunt,” it’s a song that will stay with you a long time, and ‘Telecom’ is a wonderfully scratchy ode to the “fifty buck cap and unlimited texts”. If you weren’t one of the thirty or forty or so people here tonight, I’m tellin’ ya – you missed out. Sorry about that.
Back at The Zoo, Stonefield are getting ready to be the loudest band here tonight, and they proceed to be just that. The four sisters from Victoria step onto the stage in front of a large and sweaty audience and with singing drummer Amy Findlay taking the front-woman role for the initial part of the set, the band kick into crushing opener ‘Blackwater Rising’ and all of a sudden I want to drink harder, rock harder, and break out my The Doors and Jimi Hendrix records. New single ‘Put Your Curse On Me’ rocks in a similar fashion to their earlier tracks, and just when you think Amy’s voice can’t possibly take any more, she cranks up the action several notches more for a colossal finish.
The fight to get into Electric Playground to see King Gizzard & The Lizard Wizard isn’t one I’m ever going to win, so it’s back to Ric’s I go for a dose of dark indie-rock courtesy of Bad//Dreems. I’m going to say it here and now – these guys were the highlight of the first night of BIGSOUND. Yeah, they look like a bunch of bogans who just finished a shift carrying bricks at a building site, but they’ve got the tunes and an us-against-the-world attitude that, when combined with the sticky, almost unbreathable air and electrical-cables-lying-in-puddles-of-beer aesthetic of the front bar, it makes for quite the show. At times they might seem to opt for sheer brutality of sound from their traditional two guitars, bass, and drums set-up, but on songs like ‘Chills’ they show they can really play, and the barrage of noise that blasts the audience’s ears during closer ‘Caroline’ comes as one of those moments in which you wouldn’t trade places with anyone in the world.
Money For Rope are a Melbourne band whose surf-rock and dual-drummer sound is perfect for a venue like The Zoo, and in front of a large crowd they put in a hair-twirlingly energetic set. Mostly featuring songs from their excellent debut album, like second track ‘Easy Way Out’, their tunes take from the best of the classic rock bands like The Who and The ‘Stones, and chuck in liberal doses of flailing limbs and sweat.
Thursday night’s gig-going starts off at The Zoo once again, with Canberra’s Fun Machine. Covered in enough glitter to partially blind the growing audience, the band confidently flow through their first show in Brisbane like a pop-punk version of Scissor Sisters in hotpants. It’s a good warm-up for their upcoming shows to launch new single ‘Naked Body’.
It somehow seems strange that it’s taken until now for me to darken the door of Oh Hello! and the Triple J Unearthed stage, but Brisbane’s own pop up-and-comers Major Leagues provide enough of a draw to pull me in. Sometimes when I see them play, I want to turn the vocal volume up a couple of levels, but ultimately their understated approach is part of their appeal. Single ‘Endless Drain’ is a high point, as are the guitar lines on ‘Teen Mums’ as the packed venue heaves and sweats in unison with the band’s sweet melodies.
Over at Ric’s Sydney’s Born Lion are embarking on some sort of jazz odyssey and spewing out words that sound suspiciously like Percy Sledge’s ‘When A Man Loves A Woman’. “When a man loves a woman, he just wants to fuck her,” apparently, although this approach quickly gives way to an indecipherable wall of scream-y, squally, no-frills punk-in-tight-pants noise and head-banging that has the small venue packed to the gills once more.
By this stage Oh Hello! is rammed for The Love Junkies, and it soon becomes clear why, as the Perth trio put in the performance of night two. Relentless and raucous from start to finish, the retro rockers fill a set with bluesy grunge and rock riffs and plenty of energy from the off, and as early as second track ‘Black Sheep’ it feels like a fire has been lit under the arse of BIGSOUND and something is about to explode or go deaf, or both, despite a broken string on lead man Mitch McDonald’s guitar which flails like a windsock in a gale for the rest of the set. “My guitar is being temperamental, but we’ll all laugh about it after,” says McDonald, before unleashing another maelstrom of noise. Many a set of ears will be hurting for days because of these guys.
Back at Ric’s Bed Wettin’ Bad Boys – clearly a touch uneasy at playing at an industry event – are being heckled by their audience to produce business cards to share around. “We’re selling analogue business cards. They come in the form of T-shirts and cost fifteen dollars,” they announce, while New South Wales six-piece The Walking Who are making good use of the awkward layout of The Press Club by compacting all their members onto the tiny stage with little room to spare. Their bluesy psychedelic rock might be better suited to a venue like Ric’s or The Zoo, but their kaleidoscopic jams are strong enough to carry them through, with second track ‘Have You Seen The Colours?’ being a particular highlight, before a long, smooth, fuzzed-out jam sees them finish up. Over at a throbbing Bakery Lane The Jungle Giants have the audience bouncing with songs from their new LP, and once again I’m most impressed by the classy guitar moves of Cesira Aitken, as well as her fondness for pulling goofy facial expressions when wringing out the notes.
It’s at this stage that my evening goes temporarily awry as, after my mate and I buy a beer back at Ric’s I am accosted by a menacing big skin-headed bastard claiming to be a plain-clothes policeman and threatening to do all kinds of damage to my extremities if I don’t show him what’s in my jeans pockets. Refusing to do so unless he produces his police I.D. only gets him more fired up and in my face, and while I’m pinned to the bar and trying to casually sip my beer and appear nonchalant while inwardly shitting bricks and expecting a glassing or head-butt at any second, security guards step in after what seems like an age of illogical arguing and psychological to-ing and fro-ing. The bonehead so-called Constable has one arm in a sling which quickly pops out and appears to be fine (Ted Bundy, anyone?) and is frantically protesting to the (calm and professional) Ric’s security guards about how I have (the plot thickens) now “stolen his police I.D.” We all go outside to sort it out, I empty my pockets to prove my innocence to the security guards and after he makes a lunge for my jeans pocket once more (which contains nothing more than my wallet and timetable), he is removed from the area and I go back inside to down my beer and be thankful for the fact my nose is still pointing in its usual direction.
After a suitably angry blast of hardcore punk from Melbourne lads Clowns helps to clear my head, it’s back to Oh Hello! for the grand finale, Kingswood; and what a finale it is. The Melbourne rockers follow the trend of cutting to the chase with opener ‘She’s My Baby’, and are uniformly pumped and energetic throughout, despite guitarist Alex Lasta being chair-bound due to an unspecified injury. By fifth track ‘Ohio’ the sense of BIGSOUND soon coming to an end has unleashed desperate last-ditch attempts at crowd-surfing, and as singer Fergus Linacre’s spirit bottle is passed around and downed by the hardcore at the front, the volume is cranked up to eleven. A sublime cover of ‘Jolene’ is only bettered by closer ‘Medusa’, and we all file out of Oh Hello! not yet ready to go home.
To sum up, what can I say? BIGSOUND – you’ve done it again. Personal highlights were Mining Boom, Bad//Dreems, and The Love Junkies, with honourable mentions for Bloods and Kingswood. In saying that, last year I picked The Preatures and King Cannons as the cream of the crop, and in the last couple of weeks, one of those bands has played arenas for the first time and the other broke up, so one of these bands is probably going to do really well, and another is fucked – good luck guys. I’m off to get my ear-drums sewn back together. Well played, everyone.