Curieux Magazine

University of Canberra's free student magazine. Published by the UCSA. Contact: [email protected]

[curieuxmag]

Watch this Space: Coda Conduct

Jemma Lee

Hip hop duo Sally and Erica a.k.a. Coda Conduct are no strangers to the oddities of Canberra. Growing up Southside, “Woden Valley 4 lyf”, the capital has a special place in their hearts.

Coda’s tour with Citizen Kay has taken them across Australia, and rejoice! It’s our turn tomorrow evening.

Jemma Lee had an in-depth chat with the girls so you can get better acquainted ahead of their gig at ANU bar tomorrow night.

Jemma: How would you describe Coda Conduct to someone who had never heard your music before?

Sally: “Fully sick hey.”

Erica: The buzzwords are: energetic, witty, tongue-in-cheek hip hop.

J: So, Canberra girls! What’s your favourite memory from Canby as a child? 

S: Favourite childhood memory is a big ask… I have great memories of running through all the sprinklers on the Red Hill Reserve golf course with my Dad and getting yelled at by the golfers.

J: When did you two meet? Was it a love of music that brought you together?

S: Yes and no.  Growing up in Canberra we’d kind of crossed paths, but we were a year apart at school and that pretty much dictates your friendship groups growing up!

E: The first time we hung out properly was when travelling in India – we went on a trip with some mutual friends. And while we were there we decided to start rapping, and we’ve been doing it ever since. J: How did 'Coda Conduct' come about? (Ps. Love the name!) 

S: It came about out of desperation!  We were booked to play a gig and they needed something to put on the poster. E: We’d been trying to come up with rapper names, and one of Sally’s ideas for herself was ‘Coda’.  I was like, “Huh?  As in, ‘Coda Conduct?”.  And that was what we ended up with! S: We originally intended to change it, but it’s us now! J: Were you always in to hip hop? If so, who were your early influences? E: We both grew up on Australian music. I was initially very into bands like The Offspring, The Cat Empire… Then I discovered Hilltop Hoods, Muph & Plutonic, Thundamentals and Drapht.

S: Early influences for me were definitely Australians too – it was the first time I’d heard someone using an Australian accent to rap with, and I suddenly found it accessible.  But after getting hooked I think we both started re-visiting UK and US hip hop and being able to see that with new eyes. J: It’s been quite a ride since you were first discovered, what has been the single most incredible moment of the journey so far? 

S:  I think it would have to be the Canberra launch of our EP, Butter Side Up, at Transit Bar earlier this year.

E: Yeah.  Seeing 250 friends, family and total strangers pack out a venue with huge grins on their faces was incredible.  I think that’s the first time we realised just how many people we had behind us.

J: It must have been pretty special playing GTM in your hometown, what was that experience like? 

E: Yeah, pretty incredible!  It’s a massive stage, and we love running around, so the performance was great.  It was crazy having people in the front row know the words, and then getting to stand side stage and watch Hermitude and Sticky Fingers and a heap of other great acts.

S: We had to play the after-party at midnight, so we had twelve hours in between shows, we were pretty exhausted by the end of it. J: How much touring have you guys done since Coda Conduct took off? Have you got a favourite aspect of touring? And a least favourite? S: Yeah, it’s pretty crazy.  We’d never played an interstate show before this year, but in the last eight months we’ve played in Melbourne five times.  I guess the best part about touring is just playing the shows. And the worst part is spending all our money.

E:  We have a few traditions.  We always forget toothbrushes – that’s a tradition. Sally always gets the window seat, I get the aisle, and our DJ is stuck in the middle. J: Have there been any specific crowds (city/town-wise) that have been particularly receptive to your unique brand of hip hop? S: Canberra’s always our favourite. But we’ve had a Sydney crowd that printed pictures of our faces and wore them as masks, that was fun. J: Seems like you’re spending a lot of time in Sydney these days, what do you get up to in Sydney apart from Coda Conduct business?  E:  Things are pretty hectic - I’m a full-time uni student, and I work a few days a week as a barista to pay the bills. S: I work four days a week as a bartender, and then two days a week as a publicist for a music festival.

E: We also run a radio show every week on FBi radio. So life is busy! J: Do you get the chance to come home much? 

E:  I guess that’s another of our favourite things about touring – we’re always home for gigs!  I think we’re pretty much back in Canberra ever few weeks.

J: The Queanbeyan Rap. Haha - I can almost see you two sitting around and pulling that one together. Did you cop much flack from QBYN punters denying the blatant truth of their (basic) ACT heritage? 

S: It totally wasn’t like that!  Matt (from Matt and Alex) asked us to do a weather rap, and then after we agreed he told us we had to do it on Queanbeyan. So we had this tricky line to walk of living up to expectations, and being a bit cheeky, and not actually making the entire town hate us!

E: The initial response from Queanbeyan was actually really positive – Riverside Plaza were so excited they got a mention, and we had heaps of good feedback.  Then there was this crazy ‘RAP DUO SLAMS QUEANBEYAN’ article on the front page of the Canberra Times, and things went a bit weird… Some serious feuds happened on our Facebook page.

J: Aaaaaaaand did the Queanbeyan mayor ever end up composing his own rap in response?

E: Yep!  With a Queanbeyan group called Macho Duck.  I’ll say no more – just look it up.

J: What most excites you about playing to a hometown crowd? 

S: People treat us like celebrities!  Haha, we’re totally not celebrities.  But it’s awesome when people know our lyrics.

J: What can punters expect from Coda Conduct leading in to the future?

E: Keep your ears peeled for some brand new music!

Coda Conduct are opening for Citizen Kay’s show at ANU bar tomorrow night. Get your tickets here.

[curieuxmag]

Album Review: Too by FIDLAR

Donovan McComb-Gray

Soaring off the success of their 2013 self-titled release, LA punk rockers FIDLAR are back again with their sophomore album, Too, offering a deeper look into the life of 20-something punks. Putting aside the days of drinking cheap beer and eating shitty pills, lead singer Zac Carper has used this album as a way to move forward from his past, reflecting about feelings of loneliness, addiction, regret and depression. After coming into the open about alcohol and drug abuse, this record offers an insight into what it has been like for a recovering drug addict to go completely sober, with Zac being clean for over a year now.

Musically the album has taken a more ‘grown-up’ approach to the writing process whilst also showing progression in lyrical themes. As Zac and their bassist Brandon has pointed out, though it was fun to write songs about partying and getting drunk it was time they essentially  ‘grew up’. In tracks like ‘40oz On Repeat’ you can hear that not only has the writing style changed but they have also advanced their skills as musicians whilst still maintain the fun side of the band that grew their fan base. Tracks like ‘West Coast’ have the same feeling whilst as you move through the album, darker themes evolve. In ‘Overdose’ and ‘Bad Habits’ the lyrical content is real, something Zac has always been good at, but what has been added to this passion is the music behind it. Too will easily be played on repeat anytime, anywhere.

8.5/10

[curieuxmag]

Album Review: Future/Vintage  by ¡MAYDAY!

Cameron Swift 

From the first play through I was tapping my feet, but I didn't quite realise how much I enjoyed Future/Vintage until I'd heard it through a few times. Hip Hop band ¡MAYDAY! has always been something of an outsider, and it remains true with this album.

The first songs feel a little airy, with ‘Jettison’ and parts of ‘Fuel to the Fire’ both feeling space age at times. This quickly gives way to more traditional influences, from the dive bar aesthetic of the aptly named ‘Dive’ to the jazzy ‘Something in the Air’.

Their extensive use of instruments in the songs really stands out as a high point, and both Wrekonize and Bernz really come through on their vocals whether they're rapping, singing or anything in between.

Thematically, a large section of the album focuses on relationships, a topic they seem to talk about with a lot of honesty. That honesty is heard across the album, especially on ‘Space Cadet’, singing, "All my teachers told me I'm a dreamer, such a waste of breath".

For all of its good points Future/Vintage falls prey to one of my pet peeves, long skits at the end of songs - complete with discussions about defecating on doorsteps. Lovely. Some of the tracks didn't catch me either, the hook in ‘Antenna’ is particularly annoying, and the verses leave something to be desired.

All together, Future/Vintage manages to tie together vast musical influences into a cohesive album that works, despite its flaws.

8/10

[curieuxmag]

Movie Review: Macbeth

Connor Harvey

Michael Fassbender. Have your loins been stirred enough yet? Now imagine him clothed in a dressing gown, with a full grown beard, eyeliner applied and spouting his best Shakespearean with a Scottish accent, directly after he has gifted multiple stab wounds to the man dying at his feet. This is the guarantee that the latest film incarnation of the famous play will provide you.

This 400-year-old piece stands as one of William Shakespeare’s most well-known tragedies. Compared to other works, there are surprisingly few adaptations for The Scottish Play. Among them include Ian McKellan in 1978, James McAvoy in 2005, Patrick Stewart in 2010 and now Michael Fas… oh my, they’re all Professor X or Magneto from the X-Men films, whoa. Starting the #shakespearewasamutant hashtag right now.

If you haven’t delved into the blood-soaked pages of Macbeth, here’s a quick recap: a powerful man hears of a prophecy about becoming king. A powerful woman goads him on. He knifes the leader and has to spill a lot more blood to stay there. No wait, that’s the leadership of Australia – oops, sorry.

Anyway, this new interpretation actually comes from one of South Australia’s finest, Justin Kurzel, best known for the grisly Snowtown and the upcoming Assassin’s Creed adaptation (which is set to star the same leads). For a fairly small-time director, he deftly handles this prestigious title, breathing life into the play and proving that arthouse cinema can make an Elizabethan play new and relevant.

Unfortunately, the symbolism was a bit too in-your-face in the final battle, with the red drenched colour palette making it hard to see anything at all. Luckily, the moors of Scotland have never looked quite as good thanks to fellow Aussie Adam Arkapaw as cinematographer. Rounding up production is Kurzel’s brother, Jeff, providing a haunting soundtrack that compliments the emptiness of the scenery.

But really, this movie could’ve been named The Michael Fassbender Show and I would’ve been none the wiser. His insane portrayal really does own the screen; any scenes without him seem like a waste of time. Whilst the lead character is usually portrayed as the antihero, Fassbender has turned him into a full blown villain. It’s a pity that he’s such a tour de force – it overshadows the performances of his great co-stars, including Paddy Considine as the loving father and friend Banquo, and Sean Harris, the arguably more tragic-than-thou figure, MacDuff.

The largest overshadowing, I feel, is of Marion Cotillard. Here is an Oscar winner playing one of the most powerful, manipulative wives from fiction, and instead of influencing the King’s major decisions, she mostly satiates his sexual desires. Her sole monologue is one of the standout scenes in the feature, but it differs slightly from the source material and her craziness isn’t nearly on the same level as her husband’s.

Whilst this has relatively few, no screen version of a Shakespeare work is without differences to the original. A large amount of effort has gone into replicating the speech, clothing, weaponry and locations. It makes you wonder why it was necessary to cut out portions of the script, yet add a couple of dead children to the protagonist and an extra young girl to the Three Witches.

The minor faults may stick out, but this really is a motion picture worth watching. Come for the Fassbender, stay for the Fassbender. 

8/10

[curieuxmag]

Welcome to the Jungle: The Unstoppable Force of the Giants

Clare Brunsdon

Hailing from Brisbane, The Jungle Giants are an upbeat and unstoppable foursome who have risen to fame over the last couple of years. Their first album, Learn to Exist, satisfied fans with its killer dance numbers and consistently happy vibes. Singles like ‘I Am What You Want Me to Be’ and ‘Every Kind of Way’ cemented the group as a pop-indie force that couldn’t be stopped from infiltrating the charts and getting fans bopping along all around Australia.

Their new album Speakerzoid was released on the 7th of August and was featured as album of the week on Triple J. Stand-out tracks like ‘Kooky Eyes’ and ‘Work it Out’ have satisfied those hungry for more material from the dynamic and intriguing quartet.

Clare Brunsdon was lucky enough to interview quirky and excitable frontman, Sam Hales, to ask about the pressure of the new album as well as his hopes for the future.

Clare: So the band has grown in popularity over the last few years, have you all noticed a significant change or is it work as usual?

Sam: I think we’re exactly the same. I guess one thing is it gives us an extra incentive to keep things going and build on things. Having people come to our shows and buy the records and all that kinda stuff definitely helps with the experience. Being able to play festivals, there are so many images that have imprinted in my mind like playing at Splendour and people going crazy and singing along. The experiences have definitely helped shape who we are and who we’re gunna be.

C: You’ve just released your second album Speakerzoid. Did you feel a lot of pressure following up on your first album?

S: I think you can safely assume that with your second record people are going to critique a lot harder because they heard your first thing and they have an opinion now. I was wary of that but I didn’t wanna let that affect me as a writer. I guess one thing I knew was we work with a certain formula, and for me, Speakerzoid was a fun chance to get that formula and play around with it. It’s kinda like making a soup; I had that first original recipe for the soup and Speakerzoid is adding more things to that soup or taking some things out and making a different soup but one that came with the same base recipe. I think we thought ‘fuck, we have all these ideas and things we wanna do let’s fucking do it’. Coz we’re completely independent, we don’t have a label breathing down our necks and telling us what to write.

C: Your first album is consistently upbeat while Speakerzoid has some experimental songs. Was this a conscious decision or a natural progression?

S: Yeah, it just kinda happened I guess. I’ve always been into writing a lot of different things. With Learn to Exist at the halfway point it kinda goes in this other direction so songs like ‘Devil’s in the Detail’ and ‘Home’, and I always loved those songs because they were like country ditties that were all just guitar and vocals. And they’re songs only people who bought the record would know coz we never really played it live. For me, if you buy a record that has lots of different flavours I feel like you get more value from it. It’s like a showbag; rather than getting just a piece of chocolate you get a bag filled with all different kinds of chocolate and for me that’s tastier.

C: The new album has been supported by Kobalt Label Services and has set up markets in Europe and North America. Does the band have big plans for international popularity in the near future?

S: Fuck yeah! For us it just kind of came together. But yeah, that’s the plan and it’s a step by step thing, we’re going to get our foot in the door. Having the support from Kobalt and we also just hooked up with a really good publicity team that are selling our songs over there; they’re the company that have done Block Party, Peter Bjorn, John and Phoenix and Tame Impala’s album Currents, so now they’re taking our songs to radio over in America. So yeah, it’s a good time and we’ve put together a plan for a tour in America so we’ll be over there in October.

[curieuxmag]

My Feminism Experience

Lucy Bladen

Feminism is a word that has never scared me, but many feel there is a stigma attached. I feel the only way to overcome this is to embrace the term as – “the advocacy of women’s rights on the grounds of the equality of the sexes”.

Although I’ve never been afraid to identify myself as a feminist, my experience has definitely developed throughout the years in the same way as the various waves of feminism have developed.

At the age of seven someone said to me, “Lucy, make sure you marry a rich man”, and to which I responded, “No, I will be the rich one”. I was determined to never be defined by a man.

The first wave of feminism began with the suffragist movement in the late 1800s/early 1900s. Although modern women owe a lot to this group, they were a bit naïve in thinking that gaining the vote would ensure equality. My ‘first wave’ of feminism was similar; I thought that if women were not expected to do the majority of the housework then equality would ensue. I’ve always hated the idea of my future encompassing housework.  

Then I entered my second wave of feminism. Historically, it occurred in the 1960s/70s and dealt with far greater problems such as reproductive rights, women in the workplace and issues of male dominance. Its emphasis was on equality, much like my so-called second wave. This occurred in my early teenage years, but upon reflection my view was incredibly distorted. I felt that in order to be a true feminist I had to disassociate myself with elements of what I thought to be “too feminine”. I became less emotional, stopped liking pink and stopped admitting I liked ‘chick flicks’. I now feel this was a terrible form of judgement on my behalf, as I ultimately connected elements of my femininity with weakness. I believe society needs to start seeing femininity as a form of strength.

Third wave feminism is now considered to be the current stage. This is the recognition of women’s cultural differences and the need for a multicultural approach in the global world.  In my experience I have embraced the idea of difference. Women should continue to strive for equal opportunity whilst embracing and challenging the stigma. I have begun to recognise that fundamental structural change needs to occur if equality of the sexes is to succeed.

There are issues affecting women in the most awful ways, from domestic violence, the gender pay gap and sexual exploitation. Feminism is absolutely necessary for issues such as these and many more. There is no ‘one size fits all’ form of feminism, the most important thing is the issue of choice.  

In the beginning I was naïve to think issues of equality could all be attributed to housework and ignorant to think feminine action was a sign of weakness. In spite of this, what has never changed is the view that I believe men and women should be equal. I am not perfect and neither is feminism, but it will continue to develop whilst striving for the goal of equality.  

[curieuxmag]

Exhibition Review: X-Rated – The Sex Industry in the ACT

Sam Kennedy-Hine

 Sex is great; very few people don't enjoy sex in one way or another. Luckily for us, we live in the nation’s capital; the home of pollies, porn and pyrotechnics. Even luckier is the fact that the Canberra Museum and Gallery has a new exhibition that explores Canberra’s sex industry in all its glory – and there is plenty of glory to be explored.

Since the 1980s, when it became legal to sell and make porn in this little town we call home, the sex industry has had ups and downs and... ups and downs. The gallery takes you through the history with truly fascinating displays. From thigh-high boots only the brave could wear, to images of condoms on all our famous landmarks. The exhibition made me laugh and cringe; it’s not afraid to bare warts and all.

The most confronting display, for me, is the documentary on sex work in disabled care – a necessity practice that isn’t recognised by any law. The video of quotes from sex workers and sex adverts from the last 20 years also caught my attention: 'No bad whores, just bad laws'. The piece depicts a period when sex workers fought for better conditions and rights, paving the way for the legal practice of sex work.

It’s hard to imagine porn as anything other than a thumbnail and 20 seconds of video these days. Before our time, however, it was widely distributed media and now, has all sorts of weird and wonderful remnants of a time long gone. Some such remnants are found in the gallery. VHS porn covers for one make me giddy with boyish embarrassment, and the even older porn books were much worse. It’s a far reach to see how the industry which produced titles such as Dial a Sailor and Phone Call Girls has evolved to the titles we see today.

X-Rated is definitely worth checking out. Take your partner; better yet, take you partner’s parents, it’d be the perfect family outing to bond over. My favourite discovery is the greatest Australian porn name of all time: Alice Springs. Make your own discoveries at the Canberra Museum and Gallery; the exhibition is open till the end of September.

[curieuxmag]

United Nations Take On the World

Eleanor Horn

Forming a band was a long-awaited dream of Australian singer-songwriter Xavier Rudd, and now, after finding the perfect members, his vision has come to fruition in Xavier Rudd & the United Nations.  

Each member of the nine-piece band bring their individual culture to the mix, with musicians from Australia, Africa, New Guinea and Samoa. The diverse sounds harmoniously mesh with Rudd’s earth-based and organic twist on reggae and indie folk. 

After the recent release of their debut album, Nanna, Xavier Rudd & the United Nations embarked on a world tour, leading the band through Europe, North America and to their current pit stop of Australia.

Xavier took some time out of his busy schedule to chat to Curieux contributor Eleanor Horn about Nanna, the Flag tour, and coming together as a Nation.

Eleanor: What has the experience of touring as a band been like for you, and how would you compare it to performing solo?

Xavier: It’s been very powerful, the shows have been really powerful around Europe, America, and now Australia. It feels good to be home. 

E: How have audiences responded to the new band and your new material from Nanna? 

X: Really strongly – it’s been quite emotional in a lot of ways too and a beautiful experience. It has felt more like a ceremony than a show.

E: Do you think it’s important to visit regional areas on your tour?

X: Definitely. It’s particularly important to get to the regional areas of Australia because the whole idea of this band is uniting the nations; the idea of one people and different cultures learning to learn about each other and walk together.

E: Nanna has a lot of reggae influence; did Errol Brown or your new band members help influence this?

X: Yeah, it’s a reggae record predominantly, but it was a big honour to have Errol mix it. He’s mixed all the Bob Marley classics… and he’s such a great producer, so it was a real honour to have Errol work on the record for sure, and his influence is definitely prevalent, for sure.

E: Your music has always come from a very pure place of country and culture, how do you feel these influences and messages have developed in the past year with your new tour and album?

X: I guess all my albums are different, and although the messages are similar through the records, it’s a changing journey. I feel like I’ve got a really great support base of people that are with me on the journey and are really intrigued with where I’m at, but also where we’re at as a society. Nanna is just a continuation of that and I feel like, spiritually, it’s the next stage after Spirit Bird.

E: Nanna feels like a very timely album. You and the United Nations really promote a sense of unity and togetherness as one people. Do you think this message is significant to Australia at this present time?

X: Yeah, I do. There’s been racial issues since colonisation in Australia, and unfortunately it’s still travelling in our society. We’ve seen some big changes and there’s definitely change in the wings in this country, but it’s been a bit slow in terms of our government.

E: When you perform, is there one lasting message you’d like to leave with your audience?

X: I’d just like to see big smiles on peoples’ faces, you know? At the shows we’ve seen the celebration of positivity and of walking together. We’ve had a lot of different cultures at these shows in Australia, and it’s so great to see everyone coming together and celebrating together, it makes me feel proud.

Catch Xavier Rudd & the United Nations this Sunday the 6th of September at the UC refectory.  For ticketing information visit oztix.com.au

[curieuxmag]

5 Common Misconceptions about Bisexuality

Ruth Scott

Image Source: Wikimedia

Within our community there are many misconceptions and myths about bisexuality. While the LGBTIQA+ acronym includes bisexuality, it’s regularly dismissed and overlooked, meaning many of us who identify as bisexual feel left out of the very community we should be a welcome part of. I will address some of the more prevalent myths around bisexuality, in order to dismantle the ultimately harmful ideas that make it hard for us to feel like we belong.

1. “Bisexuals are greedy, and should just choose a side already.”

It’s pretty awful when people claim you’re just being greedy when you’re not monosexual. I can’t tell you the number of times I’ve heard this, and it really hurts. Having a wider pool of potential partners doesn’t equal greed, and it doesn’t suddenly mean we are attracted to everyone. 

As for needing to choose, we have chosen: we identify as bisexual. There is no rulebook on sexuality that says you can only be attracted to one gender.

2. “Bisexuals are more promiscuous, unsatisfied by monogamy, and more likely to cheat.”

There is no evidence to suggest that being bisexual makes you more promiscuous. Sure, some bisexuals enjoy casual sex, but so do plenty of other people who are not bisexual – it’s not a prerequisite.

As for not being able to engage in monogamous relationships, the notion that a bisexual isn’t satisfied in a monogamous relationship is again, false. Many bisexuals are very happily monogamous, and their sexuality doesn’t mean they can’t feel fulfilled if they are. It also doesn’t mean they’re more likely to cheat; just look at all the cheating that happens in straight relationships.

3. “If you’re sleeping with someone of the same gender you’re gay, if you’re sleeping with someone of the opposite gender, you’re straight.”

This concept is probably the one I encounter the most, and I completely understand why people think this way; we are naturally inclined to assume sexuality by the gender of who someone is dating, and this makes sense for most gay and straight people. However, we need to separate behaviour and sexual identity. The gender of the person you sleep with is not always going to be the same as your sexual identity. Crazy right? A person’s sexuality doesn’t change depending on what gender they’re engaging in a relationship or sex with. It’s best just to stop assuming you know a person’s sexuality from the gender of their partner.

4. “Bisexuality isn’t real, it’s just a phase, and you’re in denial.”

I believe the sheer number of people who identify this way, and science, would vehemently agree that bisexuality does exist. A sexual identity, sexual attraction and sexual experience study published by the CSIRO in 2014 revealed that 3.5% of Australians identify as bisexual. 

As for whether or not it’s a phase: plenty of people may identify as bisexual and then later go on to identify as gay or straight – though this isn’t true in every case – but it is none the less true at the time, and just as valid. Either way, if someone says they are bisexual, you should be taking them at their word and treating them with respect.

5. “Oh you’re bisexual? You wanna have a threesome with my partner and I?”

I’m unsure as to how often bisexual men are propositioned in comparison with how often bisexual women are, but this is probably because threesomes – or more specifically the two girls one guy kind of threesome – are seen as the holy grail of sexual fantasy for the straight male population. Someone being bisexual doesn’t give you any more right to proposition them. The assumption that, because they are attracted to more than one gender means they will definitely be up for it, especially if they haven’t met your partner and have likely only just met you, is plain ridiculous. We don’t exist to fulfil your sexual fantasy, and it’d be nice if you could treat us as a people instead of objects for your pleasure.

The bottom line is this: bisexuality is real and a completely valid sexual orientation. It’s not your business how a person identifies in terms of their sexuality, even when you’re dating or sleeping with them. We need to stop making assumptions about people based on how they identify, and ultimately realise that they are human, and deserving of your respect just the same as anyone.

[curieuxmag]

Album review: ‘How Big, How Blue, How Beautiful’ – Florence & the Machine

Andrew Nardi

Image Credit: Anais Photography

It’s truly fascinating to witness the maturity of Florence Welch – as a musician and as a woman. Her albums play out like a coming-of-age story, overflowing with emotional torment, obsession, and – most prominently – self-understanding.

It’s this quest for identity that seems to take shape as Florence’s holy grail. Within her lyrics, one gets the sense that Florence is seeking a series of keys that open complex locks, behind which the intricacies of her personality are finally made clear to her. Perhaps those keys will only reveal themselves when she calls for them through music and metaphor. And so, the red-haired queen of indie rock continues to sing with all the strength of her mighty lungs.

That’s why it’s so interesting to observe the symbolism that occupies Florence’s discography. Unlike other musicians who have tried, the fantasy worlds that Florence crafts – and in which she proceeds to lose herself – feel genuine and meticulous, sometimes scarily so. Her debut Lungs conjured up images of a young girl toying with dark magic in nighttime groves and rococo English gardens; hopelessly feeding love potions to a boy she couldn’t hold on to. On the other hand, Ceremonials painted baroque medieval landscapes haunted by lingering demons, as a matured woman strove to fight them off – all the while piecing together her childhood and her inevitable death by drowning. Her fantasy realm is where tragedy, drama and magic exist as illustrations of her very complex feelings about herself.

How Big, How Blue, How Beautiful retains these fantastical allegories to the extent that Florence knows no better way of expressing herself. But now there’s a sense that her internal world has opened a rift to reality. Literally, in the opening track, Florence begins with the line, “don’t touch the sleeping pills, they mess with my head.” And then she’s joined by the company of great white sharks, a killer whale, red-eyed mice and ravaging seawater – all in the setting of her dark bedroom, where her life is falling apart around her. “Did I build this ship to wreck?” It’s the way Florence’s mind works: she makes sense of reality by exploring unreality.

It’s the lead single – ‘What Kind Of Man’ – that really sets the tone of the album, however. It comes in looking like the old Florence – lost in thought, with a ghostly choir backing her. But then a rough, grizzly guitar kicks in, some strong, hard-hitting horns, and of course, some thunderous drums. All of a sudden, Florence has come back down to earth, sporting the attitude of an upset, fed up lover. Torn on what she thought she believed about love, she belts out, “what kind of man loves like this?” It’s that raw, brutal honesty that characterises How Big. The album has a heartfelt, intimate, but adventurous sound that harkens way back to Fleetwood Mac’s Rumours.

With that said, fans looking for an album loaded up with big, catchy singles – like Lungs ­­– might be expecting too much. That’s because, rather, How Big is characterised by its completeness. Each song gracefully carries the momentum of the last, ultimately telling a story in which Florence’s hopeless frustration is transformed into acceptance – for herself, and for her ability to love and forgive. After arriving at the beautifully soothing ‘St Jude’, the weight of Florence’s heavy heart becomes real and vivid. Backed by only a humble organ, the peaceful sonata whispers catharsis in the dim, morning light – it feels as though this troubled person is finally making an honest, meaningful breakthrough. “And even though I’m grieving/I’m trying to find the meaning.” Keep on going, Flo.

That’s not to say that How Big is all about Florence and her very intense feelings, however. ‘Queen of Peace’ is a powerful rock/folk anthem in the style of ‘Rabbit Heart’, and ‘Delilah’, in particular, is a kind of gospel jive that moves to and fro with such energy. Likening Samson’s temptress to inebriation and losing oneself to music, it almost calls back to ‘Hurricane Drunk’ – it’s sure to be a festival favourite. On the other hand, songs like ‘Various Storms & Saints’ and ‘Third Eye’ deliver on Florence’s miraculous healing abilities, as the latter song promises listeners, “you are flesh and blood/and you deserve to be loved”. The result is that – just like Ceremonials – How Big is the perfect medicine for a broken soul.

The triumphant title track ‘How Big, How Blue, How Beautiful’ deserves a special mention. There’s every reason to claim that it might be the most grandiose song the indie diva has ever written, as she herself describes its closing trumpet crescendo, “that’s what love feels like to me: an endless brass section that goes off into space. And it takes you with it. You’re so up there. And that’s what music feels like to me. You want it just to pour out endlessly, and it’s the most amazing feeling.” It’s a musical approach that may not agree with every listener, but for those who share Florence’s understanding of this big, blue, beautiful world, there’s no doubt that this song – and album – will leave your mind cleared, your heart warmed, and your body breathlessly lifted high above the ground.

9/10

[curieuxmag]

All But The Sun: The Rise of Winterbourne

Maxine Monus

Central Coast duo, Jordan Brady and James Draper make up indie rockers Winterbourne. Forming in 2011, the endlessly energetic pair busked their way across the east coast of Australia, and into their first headline Australian tour. 

Winterbourne’s melodies radiate charisma as they tinker on their guitars, slide a well-timed clap and a sweet slice of tambourine in the mix. 

With only Coonabarabran left on their tour, Winterbourne are keen to get back into the studio and record more jams for all their fans to rock out to.

Maxine Monus was lucky to talk to one half of the band, Jordan Brady, before the end of their tour.

M: First of all, how is the tour going?

J: Awesome so far! We’ve done Melbourne and Sydney now, and both shows in each were pretty crazy! The over 18s Melbourne show sold out and both of the Sydney ones sold out.

M: To go from supporting artists such as Little May, Patrick James and Woodlock to having your own sold out shows must feel surreal!

J: It’s a really weird feeling! I think those supports are the only way we could have sold out so many shows because they got such varied crowds to come and see us.

M: Do you have a favourite band that you’ve supported so far?

J: The Patrick James tour last year was great. The guys were so nice and supportive, and we got along so well with the group. Plus they have really nice fans. Everyone that came to a Patrick James show was just a really cool person, and we spent many nights up late talking to people!

M: Does this tour feel very different to when you’ve supported bands?

J: Its an incredibly different feeling, the shows are quite similar and we’ve had a bit of experience playing in front of these types of crowds when we toured with bands, but being in charge of everyone’s evening is quite a pressured situation! Sometimes we get half way through our sets and realize that this is the last thing, and we are the highlight of the crowd’s night.

M: Since Winterbourne started out busking, do you prefer the more casual style of playing, or shows on tour?

J: Busking got us to a very good place, but its nice to do a couple of proper tours and expand our shows to accommodate a bigger venue. But we’ll still be going back to busking whenever we can!

M: Can Winterbourne fans look forward to new music anytime soon?

J: We’ll be releasing another EP to get a bit more traction since All But The Sun has been out for some time now. We’ve got the songs ready to go, we just need to get into the studio and record - which should be happening straight after this tour.

M: Do you have any words of encouragement for people hoping to achieve their dreams like you and James did?

J: James and I went to university for a year to study media but decided to put it on hold and focus on our music, which after three months, led to us getting signed. So I guess the message is to get out there and give whatever you love doing a go!

Winterbourne’s EP All But The Sun is available on iTunes.

[curieuxmag]

Exploring Utopia: Hitting the Road with 360

Joanna Mackerras

Since the blow-up success of his second studio album, Falling And Flying, the Melbourne hip-hop artist 360, aka Matthew Colwell, has proven time and time again that he still has what it takes. His latest offering, Utopia, and a string of headline shows across the country, are set to reinforce that even further.

“I didn't really approach the album to try and be as successful as the last album,” Colwell says, “because I think it is important to approach everything just to make the best music possible. And that's just always how I go about making music – just to make music and not have any agenda for it to reach a certain level of success. It's always just to make sure that I'm making music for myself and doing it the right way.”

That approach certainly connects with a great deal of his fans, although 360 is also a target of scorn for many. Perhaps it's because his unique blend of hip-hop/pop/dubstep/dance and whatever else takes his fancy doesn't fit neatly into a box. One thing that is certain about his music is that you are forced to make a decision – most either love it or hate it. But even cynics cannot deny that after reaching the level of success and fame that he has, everything changes.

Falling And Flying’s lead single, 'Boys Like You', was when things got crazy for the Melbourne local. The single was voted #8 in Triple J’s 2011 Hottest 100, and after reaching #3 in the ARIA singles charts, it went quadruple platinum. The album took off and went double platinum. 360 also won two ARIAs for Breakthrough Artist and Producer of the Year, as well as an APRA for Best Breakthrough Artist. After so much critical acclaim, it would be hard not to feel pressured into sticking with what sells, but not for Colwell.

He hasn't abandoned his trademark flow or his raw and down-to-earth lyrics, but Utopia lets us in on a side of him that we haven't seen before. It's been hailed as an album about growing up and moving on, and with good reason.

“As an album you can see the growth of me as a person – from the last album Falling and Flying to Utopia – and how much I have grown as an artist and as a person," Colwell says. "Simply due to what I've been through in my life.”

He is also not afraid to speak up about social issues such as mental health and suicide, which have impacted him and the lives of those around him.

“I have experienced a lot of stuff with mental health issues, both personally – and suicide, dealing with a lot of people around me committing suicide and being around it a lot. It's definitely something I've had to deal with and I like to try and raise awareness for it.”

After some long nights studying rappers, both old and new, who have achieved success in their own right, Colwell has used those influences to mature his own vocal stylings and create a unique and personal sound.

Combining this with the local talent on Utopia means the release is really special. Colwell has supported and collaborated with many local musicians instead of going abroad. For this one album alone, he has worked with Daniel Johns of Silverchair, Chris Cheney of The Living End, and fellow local hip-hop legend and best friend Pez. All the while Colwell is trying to break into the hip-hop scene overseas and close the divide between the Australian and American hip-hop landscapes – he's played South By South West, Lollapalooza, and graced his fair share of dive bars.

A stand-out track from Utopia is 'Price of Fame', for which he brought back fellow Aussie artist Gossling (who also features on 'Boys Like You'). It seems like when this dynamic duo get together, all they ever create is musical gold. Literally. The song has already reached gold sales status.

“Every song that I write is from personal experience or something that I have gone through,” Colwell says. “And that was just one of the songs that came out.”

“A lot of young kids think that when you grow up you want to be rich and famous and stuff like that, but I think that is the wrong attitude. People don't understand that there is a lot of depth to being famous and there is a lot more to it than the glamour and glitz and that side of things. So it is better for people to aim just to be happy, rather than to be rich and famous.”

It is clear that he has learnt this lesson the hard way. Earlier in the year, Colwell supported hip-hop legend Eminem on his Australian and New Zealand tour. While on the surface it was a huge accomplishment as it was fulfilling a childhood dream, if you dig a little deeper below the surface, it was also monumental as the first tour that he had completed sober. What began as an alcohol abuse problem evolved through many years and many substances, but after going through detox he is now completely clean, and the thrill of the music and performing live has never been greater.

“I thought I would be incredibly nervous [performing live for the first time sober] and I would struggle a lot, but I wasn't nervous at all. I was really calm and it was quite easy, which was great, it was a lot of fun,” Colwell says. “You get a little bit of nerves, but it's more excitement for me nowadays rather than nerves. I just get pumped up to go out there and do it.”

And after a two-year break from headlining tours, Colwell will be doing just that – he's just got back on the road and completed the first leg of his tour in New Zealand.

“The first show in Queenstown was amazing – a good turnout and a really, really good vibe!”

He'll be back on Australian shores in coming days, and we can expect some amazing live shows. If you have ever seen 360 perform before, you know what to expect. If not, you are in for some insane energy levels, wicked beats, astounding support acts (including Hospin, Miracle, Lunar C, Gossling, and Pez), and plenty of charisma. Colwell is an artist on top of his game, and it is well and truly showing.

360 will be bringing the party to the UC Refectory on Wednesday September 3. Grab your ticket to utopia from uclive.oztix.com.au.

[curieuxmag]

Soaring Sky High: The Paper Kites Glide Back To Australia

Gemma Varcoe

Making their maiden voyage to the chilly capital is Melbournian indie-folk quintet, The Paper Kites. Coming off a slew of tours in the US, Canada and New Zealand, the band have now booked a national tour of their homeland, to promote the release of their debut album, States.

“The first few little demos and EPs were sort of carved and folded up ourselves. We went into RMIT studios and our friends’ studios, and we were recording everything for free,” says guitarist Dave Powys.

He’s calling me from the front of the café where he works as a barista. The hustle and bustle of a busy Melbourne street is easily discernible behind the kind voice of the guitarist.

“Yeah, we got on board to help out for one festival, and after that we just sort of kept playing together,” laughs Powys.

And aren’t we glad that they did. The combination of Christina Lacy’s whimsical vocals and the seamless interplay of intellectually placed instrumentals create a genuine grassroots vibe that fits the band’s pace. They are also becoming well-renowned for their compositional talent – not only with regard to their music, but as a result of the clear, creative innovation of their unique and mesmerising music videos, which have garnered them over ten million YouTube views.

“Sam is the brains behind all of our videos, and we have had some experiences where we’ve been on set, involved in a shoot, helping out, directing and things like that,” Dave tells me. “But most recently, we’ve had producers come in, and film crew – people that we don’t know, just professionally doing the clips for us,” he says.

“We still try. I don’t know, I guess our ethos is to create a low budget piece of art. I don’t think that you need heaps of money to create something beautiful.”

Their 2012 single ‘A Maker of My Time’ was one such video, which required the band to travel to semi-arid desert to meet the film crew. While travelling to the location however, Powys says he was excited to learn that a lamington festival was taking place in a nearby town.

“We were shooting all day, so by the time we were done, all the bakeries and everything were closed. So we missed out on all the lamingtons…” he mutters dejectedly.

Travelling doesn’t always involve the quest for fresh lamingtons, however. Having recently returned to Australia after performing a string of shows across the United States, Canada and New Zealand, Dave revealed something greater that he had discovered on tour.

“The most interesting part about travelling anywhere is the people you meet and the stories that you get to hear. I think you would never meet these people unless you all had something in common, and we found that we connected through our music with these people,” says Dave.

Connecting with people through their performances was a common theme throughout their international tour, and Dave was left especially pleased by the response that The Paper Kites received in Arizona, Canada and Auckland.

“I think all of our shows sold out in Canada, and people were just really warm and friendly. No one felt like they couldn’t talk to us, you know? Everyone was hanging around, asking questions… Everyone was really genuine and wanted to hang out,” exclaims Dave.

“As for Arizona – I really loved it. The venue was great, the people were great and it was just so different to home. It really felt like we were in the United States, and I really liked that. The sort of dry, arid culture in Arizona… It’s really cool.”

The bands ethereal presence and deep, lyrically-laden choruses have garnered them international acclaim and a variety of bookings across the globe. Powys talks about the experiences with a quiver in his voice – his enjoyment for his craft glaringly evident across the telephone line. Particularly, he recalls their recent show in Auckland.

“It was a sold out show at the King’s Arms,” he recalls. “It was so good to be there with everyone, it felt like a joint experience... you know, [we weren’t] behind barriers, or up on a big stage, and the crowd weren’t far away. It was an experience where you could see the whites of people’s eyes, and enjoy the whole night together… That’s my favourite kind of show to play.”

The Paper Kites are made up of Dave Powys, Sam Bentley, Christina Lacy, Sam Rasmussen and Josh Bentley. The five-piece will bring their eclectic mix of melancholic indie-folk to Transit Bar on Saturday May 31. Doors open at 8pm and tickets are $20 + bf.

[curieuxmag]

Gig review: Boy & Bear @ ANU Bar, 23 May 2014

Gemma Varcoe

“They thought we were Boy & Bear and I didn’t do anything about it!” laughed James. “I was like ‘Yep, I wrote that’.”

James left the stage as he appeared – humble and appreciative of the crowd – and everyone began waiting for the headliners to appear. Since the 2011 release of their debut album Moonfire, Australia’s indie-darlings have moved from strength to strength, and they're still adored by their huge Australian fan base. An adorable set of geriatric twins stood grinning up at the stage, their bespectacled smiles focused on the place that James had just vacated. A group of flannelette-clad 20-somethings stood nearby, playfully shoving at one another as mothers and grandmothers shuffled in to what they hoped would prove to be vantage points; it's all about viewing strategy when you are watching a gig at ANU Bar. If you’re too short or misjudge where you stand, you could be looking at the back of a teenager's head for the entirety of a gig. Not fun.

It was fifteen minutes before Boy & Bear were due to start when the room suddenly cut to black and the crowd erupted as sneaky silhouette’s took to the stage. It was here that the headliners made their entrance; the lights turned on with Dave Hosking sauntering towards centre-front. Wearing a cheeky grin and swigging from an open stubby, Hosking and the band wasted no time with introductions before launching into a three-song medley.

The quintet opened with crowd-pleaser 'Three Headed Woman' (“‘Cause the love that keeps me sane is killing me all the same’”), an achingly relatable tale of love, doubt, and insecurity, before delving in to the rollicking rhythms of one of their earlier tracks, 'Rabbit Song', a piece so charged with optimistic wonder that you could feel the elevation of their mood. 'Lordy May' closed out the introduction and Hosking turned to the crowd with an amazed smile.

“I cant get over how beautifully attentive you all are,” he gushed before launching into the tour and album title-track, 'Harlequin Dream'.

It was here that the combined talent of the Hart brothers, with Jon at the keys and Tim at the drums, shone through as they backed up the corner-stone saxophone solo that makes the otherwise simple 'Harlequin Dream' so damn special. The track was quickly followed up with the energetic 'Milk & Sticks'.

The seamless combination of instruments, rolling guitar ballads and instrumental solo’s contributed to the morose middle section of the set, as poignantly delivered tracks such as 'Back Down The Black' (“Oh my legs don’t work and my limbs all hurt as my body aches to take the weight that’s been thrown down on top of you”) and 'A Moments Grace' (“I forgot just what it was, that I had needed for all the time I’d been given”) were performed.

Blistering banter was knocked back and forth with the audience, and at one point, upon realising that patrons had been banned from bringing alcohol into the room, a horrified Jon Hart called out, “Is that another one of Tony Abbott’s cuts!?”

Hosking launched into 2011’s 'Part-Time Believer' before perhaps deliberately following up with new track, 'Southern Song'. The contrast between these two songs showed that the band are boys no more. They have come full circle and they proved it with a set that oozed with practiced professionalism and class.

It's Boy & Bear's propensity for emotion that really knocks you off your feet. They go from leisurely mellow, simple and soothing, to the deep bass, high-energy, drum-fuelled ballads that litter much of their earlier work. Hosking's forever-friendly face can split in two with grief, and his deep and earthy croon often takes you on a journey through addiction and mistrust.

Patrons went nuts when the band closed out with the familiar drum-bass combination of 'Feeding Line' (“Oh I want to be somebody, somebody, someone!”). Bowing out, the band left as they entered: in to the black. Their exceptionally delicious set-list overflowed with the infectious rhythms of Moonfire and the matured melancholy of Harlequin Dream – to leave a Boy & Bear gig feeling satisfied is now a given.

[curieuxmag]

Just Complete Madness: Boy & Bear Bring it All Back Home

Gemma Varcoe

“Oh, I’m terrified I’ll achieve nothing at all.” – Boy & Bear, 'Big Man'.

This is absolutely the last thing that Australia’s indie-folk darlings Boy & Bear have to worry about. The band has had a whirlwind twelve months filled with nothing but achievements after having released their sophomore album, Harlequin Dream, and then embarking on a set of tours that have yet to provide the boys with rest.

Having just concluded an international tour – including their second appearance at American festival South By South West – and never ones to rest on their laurels, they've returned and promptly booked a massive 30-date regional tour of their homeland. They're showing no signs of slowing down.

Gemma Varcoe: You’ve been touring extensively for quite a while now, how was the US and the UK?

Jon Hart: Yeah, they were pretty incredible. It’s been what seems like a long year already, so we started in the UK in February, crossing into Europe, and then the US and Canada. I guess they were, for their own various reasons, great places to visit and tour. It’s nice being in other countries and being able to play your music.

G: On an international level, which crowds have been the most receptive to your music?

J: Maybe in the Netherlands, I think we have a bit of a thing happening. It seems people know about things in the Netherlands a bit more. I think the Canadian crowds were great, but then the American ones were too. I guess Germany, Netherlands, and then pockets of America and pockets of Canada. We saw interesting things, like in America, it seemed like people knew the newer material better. Like they knew ‘Southern Sun’ ‘cause there’s been a bit of radio play, but then in Canada it’s like people knew the first album a bit better, so you’d get a good response to different songs. We found that an interesting thing to see.

G: That’s sweet! How was South By South West, was it different to the last time you guys played there?

J: Yeah, it was different to last time. I mean the festival itself is pretty similar. It’s just complete madness. It’s a sea of people, within I guess a few city blocks, and then they have all these little venues, and if you’re playing, you kind of have to lug your gear in amongst through the crowds of people who are walking along the street. During the festival it’s just all blocked off, it is just people walking everywhere. I think we played four shows on the first day we were there, and then we played maybe three on the second. So we kind of don’t really have time to know what’s going on. But at the same time, we were much better organised than we were last time around, and we have a really great crew who come around with us and they were kind of on top of it all. So I feel like we made the best of it and it was enjoyable.

G: Now that you’re back, you’ve booked a huge regional tour. Are there any specific locations on that schedule that you’re especially excited about?

J: Well, I mean on a personal note, I’m excited to go to Canberra, ‘cause my girlfriend lives in Canberra. I don’t see her as much as I’d like, and so I think she’s excited about the fact that there’s a sneaky little Canberra show. But, you know, I’ve been to Canberra before, so it’s not as interesting as some of the places we’ve never been before. So I’m really looking forward to Broome, because I’ve never been to Broome but a lot of people talk about it and say it’s kind of an amazing place to go. And then I think, in these last couple of weeks, we have stuff like, for example, Dubbo, which I’ve never been to; Shepparton, which I don’t think I’ve been to; and we went to Warrnambool, on the southern Victoria coast. Maybe I’ve driven through there on a family holiday sometime, but I guess I was really interested in the places we’ve never been, as opposed to going back to places we’ve played before. So it’s been really great for that.

G: When was the last time you guys played in Canberra?

J: We actually did a show in Canberra in October, so we have been there recently and it was a surprise to me that Canberra was considered regional. But it was a regional show nonetheless, so we’re there. Which works well for me.

G: Do you have any fond memories from previous shows here?

J: The first time we came to Canberra, I’m pretty sure, was when we were supporting Angus & Julia Stone, which was back in 2010. So we’re playing at the same venue that we did with them, and I remember that was kind of a really nice thing. The first afternoon of the tour, and meeting the two of them, and being really terrified about being on a big tour - ‘cause it was the first big-sized tour we’d done. That was a fun show. I think we’ve done a few festivals as well. But that last show itself, in October, was really awesome. It was nice to have it at a different level when we got back there. And I think the fact is that more people have heard of the band now, so you get a turnout of people who know the music. I think ‘cause it’s at the uni bar, you get a nice uni crowd, which is always good for us - we enjoy that sort of thing. Like we say, we get to sneak back again. Canberra’s the only place in Australia that’s had two shows from us in a year, so I think that’s gonna be a nice thing. And like I mentioned, I’ve got other reasons for enjoying it. Although I’ll probably be nervous as well, because she’s got a bunch of friends coming along, and I’ve met all these people, and they’ll think “Ah yeah, he’s in a band, whatever”. Now they’re actually going to be coming along to the show and seeing it. And I’ve seen a bit more of Canberra now, so I’ve got the scoop on the good cafes and places.

G: There are some fantastic cafes!

J: There’s a scene really blossoming there, isn’t it? It seems like things are opening up all the time now, and there’s just little pockets of awesome places.

G: Yeah it’s getting really good, it’s getting there. And I’m sure you’ll blow her friends away, don’t worry!

J: Hopefully!

G: I remember in 2011 when you guys played Foreshore, it was raining so much!

J: Yeah, that was insane!

G: It was so good though. I was right up at the barrier and I remember turning around, and there were just thousands of people watching when you were playing ‘Feeding Line’, it was amazing! Definitely in my top ten festival memories.

J: That was really memorable actually. That was one of those things that looked really dramatic, thankfully everything kept working and the rain - apart from being maybe subtly annoying to some people - wasn’t problematic. Yeah, that was really fun.

G: So you’re doing a lot of touring, what’s your favourite part about it all?

J: I guess it depends where we are. So in Australia, it’s nice ‘cause it’s pretty manageable and you get a few nights at home and then a few nights away doing shows, and that’s exciting. I guess our following’s biggest in Australia, so it means we can go a lot of places, and be able to play the music to a lot of people, and that’s really enjoyable. Once you take it overseas, it kinda gets different, ‘cause you’re getting to go places that you’ve read about or heard about, and never seen. I enjoy the travel side of things and just hanging out with the guys. I mean the shows are great, but we’re doing that all the time, and it’s nice being able to do it somewhere different. I think the best ones are where you can kinda have a day off, somewhere that you’ve not been, and get to play there as well. So you can get to be a bit of a tourist as well as working. I think when they come together, like we had that in Amsterdam this year, when we were travelling through, you get to go and take in a bit of city, and then play a show. I think they’re my favourite experiences when they happen like that.

G: And least favourite experiences?

J: It’s probably the endless amounts of time in planes and buses and cars and taxis and kinda waiting around. For example, in America, we had maybe one day off in the month we were there, so every other day we were doing a show or driving ten or twelve hours from one city to the next, and then we’d have to get up in the morning, or drive after the show sometimes, so the actual physical kind of time travelling and spent in the car, it kinda gets to you after a little while. So you have to have your own strategies like music to listen to, or books to read, because basically you spend more time in the tour van than you do doing anything. We’ve been going since the middle of February, so you’ve gotta find ways to relax and try and not let that get to you.

G: You play an interesting assortment of instruments. Which did you initially start with?

J: I was a guitarist before anything else really. And then when I started with Boy & Bear, because my brother’s in the band, he kinda said “John can play some keys” - which wasn’t quite true, but it was almost true. And then, as a result of playing guitar, I kinda fiddled around with mandolin a bit and banjo. So I kinda did a bit of stuff on those and learnt a few things on the keyboards, for the songs that we had at the time, which wasn’t very many - I think we had like four songs or five songs. So I was able to get it together. I don’t really play guitar in the band at all. In the studio I can get involved with that a little bit more, but live it’s just keyboards now really, and when we do acoustic stuff I’ll play mandolin. And Tim does the banjo duties now, so I don’t even get to do that that much anymore. But I think I started with a guitar, which is the one thing I don’t actually play anymore in the band. That’s where it began.

G: In what ways do you guys feel you grew as a band between the composition of Moonfire and Harlequin Dream?

J: Well firstly, there was the immediate thing that happens when you release any sort of body of work - in our case, a CD. You hear it again, so you hear what you’ve recorded and chosen as the end result, and then you get to, with the benefit of time, think about whether that’s something you like or not, or what you do or don’t like about it. So we had our own thoughts about the first record and how we felt about it. And then in the meantime, we did quite a lot of touring on the back of the record, so we were playing together as a band a lot, and working on new material as well. So you have that time for it all to sort of settle a little bit more. And we were listening to different music than we were leading into Moonfire, and I think we changed relatively strongly, in a way that’s been beneficial I think for us as a band. I feel like the evolution’s direction has been something everyone’s really proud of.

Boy and Bear will bring their special blend of seductive soft rock, folk and blues to ANU Bar on Friday May 23. Doors open at 8:30pm, and tickets are $41.30 + bf through Ticketek.

[curieuxmag]

Goodbye Future, Hello Presets: Australian Electro-Rockers’ Return to Dance Music

Andrew Nardi

Up until recently, Australia’s catalogue of electronic dance music has been very brief. Before, an Australian electro-head’s library might have included the likes of everyone’s favourite electronica hit-and-runners, The Avalanches, as well as tunes from PNAU, Cut Copy, The Aston Shuffle, Sneaky Sound System and Midnight Juggernauts.

Nowadays, the game has changed significantly. With the recent flush of bangers from artists like Ta-ku, Wave Racer, L D R U, Tyler Touché, Yahtzel, DCUP, Peking Duk, Flight Facilities, Kilter, Touch Sensitive, Emoh Instead, Seekae, Hermitude, Knife Party, Hayden James, Indian Summer, Cosmo’s Midnight, Willow Beats, Motez, Alison Wonderland, and of course, Sydney’s fresh prince, Flume, Australia is experiencing what many have dubbed a ‘golden era’ of EDM.

It’s only appropriate then, that these were the musicians who influenced the Australian electro duo when they started out.

“We were just two nerdy guys that liked techno, going to nightclubs, and listening to new bands like Daft Punk and The Prodigy!”

Listen to The Presets' latest single, 'Goodbye Future' on YouTube.

Hamilton, The Presets’ vocalist and keyboardist, would humbly refuse to admit the band’s integral significance to the Australian electronic scene though.

“Certainly, we might have been the first [dance act] to ever win the ARIA for best album. But, if we didn’t, someone else would have, and Empire of the Sun won it the very next year, for instance.”

But that’s just the kind of guy Hamilton has always been – modest, diligent, and innovative. In 1995, at 19 years of age, Hamilton was enrolled at the Sydney Conservatorium of Music, where, apart from the occasional night out thrashing the city’s nightclubs, the future Presets member was all about learning and gaining the dexterities of the accomplished musician he is today.

“I really enjoyed the library, and I really loved learning piano and learning about all these composers, and gaining skills and all that boring stuff that university isn’t really about! It should be about partying, but yeah, I was a bit of a music nerd.”

The Conservatorium of Music was also where Hamilton met his band mate and life-long friend, Kim Moyes. From the beginning of their bromance, they have shared a passion for producing electronic music with subtle hints of meaning, and a love for turning those tunes into gargantuan dance floor anthems when they perform.

“He was the one like-minded person who I hung out with,” Hamilton says. “Kim and I really saw eye-to-eye on music and performance and thankfully, we have ever since.”

Australia’s proudly owned electro rockers have recorded two EPs, three albums, and a handful of remixes since then, and have celebrated their work with a stack of awards, including six ARIAs in 2008 and one in 2009, an APRA award, and one J Award. These days, both band members are married with children, but according to Hamilton, the quieter life hasn’t impeded on their ability to produce tunes for the party-goers.

“It’s funny, I considered myself pretty settled down way before I even had kids,” he says. “I mean, I used to go to nightclubs and party on and have a good time like everyone else, and obviously, we’ve both got kids now and we’re having a bit more of a family life than we used to, but it just doesn’t feel too different to the life before all that … I mean, I don’t need to go to nightclubs all the time to understand that techno music is fun to dance to!”

Arguably, The Presets’ success is owed entirely to the unique sound that they have cultivated over the years. In 2005, their debut album Beams was recognised for its experimental, subtly sinister and twisted approach to electro-rock – but it was in 2008 that Apocalypso made their name by carving out a thunderous, dystopian new rave of angst and sexual frustration. Their 2012 follow-up album Pacifica holds onto the band’s nocturnal and aggressive elements, but in the context of warmer, more inviting techno-house. Across their discography, however, the common motif is the band’s unmistakably dark edge.

“A lot of people will tell you it’s a bit more difficult to paint with a light brush. So to make a happier song, it’s hard, whereas to make a darker thing, it’s a little bit easier,” Hamilton says. “Certainly, songs like ‘Promises’ were probably some of the trickier songs that we’ve had to write – or have ever written. But it’s interesting, I guess we just try and do what we’re feeling on the day. We try to explore all different human emotions and energies in our music … we sort of like it all.”

When it comes to translating their songs to the big room sound, it’s evident that Moyes and Hamilton are perfectly in sync. The aesthetics and production of their thumping live shows are widely renowned, combining Hamilton’s ruthless ‘80s-style voice with Moyes' adept percussionist skills. Critics have labelled their performances as an incredible sight to be seen, with one reviewer writing, “I skipped Kanye West to see The Presets, and I don’t have a single damn regret.” It should be no surprise then that these guys supported Daft Punk when they toured Australia in 2007 (which was, coincidentally, also the series of shows when The Presets launched their signature song, ‘My People’ – and what a gig that would have been!).

After seven years of relentless touring however, Hamilton has seen the landscape of electronic dance music change to the point where he feels detached from it – that is, if The Presets were ever a part of it to begin with.

“There was no such thing as EDM, as a term, when we first started,” he says. “When we made ‘My People’, for instance, we wanted to make it tough and aggressive and have a big drop moment, before they were really calling it drops … Now, dance music has really become the style of the day, and even pop bands like Katy Perry’s sound like EDM.”

It’s no secret that a number of industry-established artists, DJs, and listeners have grown tired of the developing staleness of EDM in recent years. While Hamilton respects the thriving talent throughout the industry, he’s grown to disassociate The Presets with the electronic dance scene that’s shaped itself around large music festivals like Future and Stereosonic.

“You go to these festivals, especially some of the EDM festivals in the United States, and it’s just: build up, drop, build up, drop, build up, drop,” Hamilton says. “It’s really cool, but to us, it’s just a drop. It’s just aggression, and noise. There’s not really much more to it beyond that … And the fans, you know, they love it. They jump around to it and have a great time. But when you think about how [The Presets] stand apart, or whether, or how we are apart of it – it’s very valid and enjoyable, but it’s not really what we’re about. We’ve always considered ourselves a bit more of a band.”

In that light, it may come off as a bit ironic that The Presets’ Groovin The Moo live shows are going to be conforming to what Hamilton describes as “DJ culture”. Following the band’s decision to leave Moyes’ floor-shaking drums in the studio, Hamilton clarified that The Presets are going to be introducing their new live routine, which utilises a range of electronic equipment, at the regional festival.

“It’s really cool, and in fact, I’m having more fun in rehearsals than I have in a very long time!” he says. “It’s a whole new beast, and we’re really looking forward to unleashing it on the Groovin The Moo audiences.”

Check out The Presets' 2008 hit, 'My People' on YouTube.

One can only hope that Hamilton’s vocals will be delivered through a microphone, and not via Ableton Live. But even if that were the case, given the band’s long history of annihilating music venues the world over, is there really any reason not to have faith in The Presets? The immensely positive reaction to their latest single, ‘Goodbye Future’, is a clear indication that their Groovin The Moo set, which will close the Triple J and V Music stages, will be one to remember.

“It’s just going to be us standing behind a laptop! [Laughs] Nah, it’s not going to be that. It’s a really exciting new show and we’re really looking forward to taking it onto the stage.”

Get locked up with The Presets' people when the band performs at Groovin The Moo at the University of Canberra Meadows on Sunday April 27. Tickets are $99.90 + bf through Moshtix.

Photography by Jordan Graham and Elvis Di Fazio.

[curieuxmag]

Groovin The Moo 2014 - Curieux's Choices

In the lead-up to one of the biggest events of UC's calendar year, we've picked the acts we're most excited to see at Groovin The Moo. If you just can't decide who to see on the day, stick with us and you'll have an absolute blast.

Disclosure:

Listen: Disclosure - 'Latch feat. Sam Smith'

Dizzee Rascal:

Considered one of the originators of the British grime sound, Dizzee Rascal is known for his over-the-top energy and rapid speed of delivery. Australian audiences will know him best from his party anthem 'Bonkers', although his earlier albums especially were acclaimed for their exploration of new musical styles as well as their insightful lyrical content. Songs like 'Fix Up, Look Sharp' and 'Stand Up Tall' show a younger Dizzee making his mark, while more recent standouts include his feature on Jessie J's 'Wild' as well as the fast-paced 'I Don't Need A Reason' (the video for which is one of the strangest in recent memory). People looking for a high-energy show with plenty of charisma will absolutely get what they're looking for when Dizzee Rascal performs at Groovin The Moo. - Cameron Swift

Listen: Dizzee Rascal - 'I Don't Need A Reason'

The Jezabels:

We welcomed The Jezabels back late last year when they released their new tune, 'The End'. The offering thankfully included the band's unique and dramatic instrumental sound, and returned front-woman Hayley Mary’s delectable croon to the ears of delighted fans. ‘The End’ was the first snapshot we got of The Jezabels' sophomore album, The Brink. The album continued to carry on the theatrical legacy of their first album, Prisoner, and hugely impressed me due to the band retaining their ballad-style, story-telling, emotionally charged, howling Hayley Mary-ness! When The Jezabels hit the stage at Groovin The Moo this year, I’m really hoping that they give the music from their old EPs a real whirl, particularly when gems such as ‘Hurt Me’ and ‘Disco Biscuit Love’ are amongst the mix. - Gemma Varcoe

Listen: The Jezabels - 'Disco Biscuit Love'

Karnivool:

Karnivool have sadly left Canberra off their sights for their last few tours, but finally – after all this time – they're heading our way for GTM! I will definitely be in the front row to get my mind blown by their fantastic musicianship, which has continued from their debut album released nearly a decade ago through to the epic Asymmetry released last year. Australian progressive rock suffered a loss with Cog’s disbandment a few years back, but these guys have definitely filled the void, releasing an ARIA Award-winning number one bestseller, and proving that metal has a place here. Ian Kenny is definitely one of Australia’s best vocalists – so good that he has to split his time with another band (Birds of Tokyo). Do not miss out on them. - Connor Harvey

Listen: Karnivool - 'We Are'

The Naked and Famous:

It’s a torrid love affair that I have with The Naked and Famous. Made up of four guys and one girl, this striking team from New Zealand speak so perfectly of our generation. 'Young Blood' is the truest anthem of life and it’s the reason I fell so madly in love with them. There for me in all emotional states, their eccentric and hypnotic basslines flow spectacularly into their pulsing clash of drums and guitar. Currently touring their second album, In Rolling Waves, what sets them apart from your average synth-rock group is the passionate connection and harmony between singers Alisa Xayalith and Thom Powers. The duo penetrates your feelings with such precision and truth, and with the emotionally intense instrumentals, their performance is set to make for an entrancing and wildly energetic experience. - Hannah Quill

Listen: The Naked and Famous - 'Young Blood'

Robert DeLong:

For those who were lucky enough to see Robert DeLong play at Splendour in the Grass, there is one word that comes to mind: energy. The one-man band truly involves fans in the music festival experience and gives himself over to them completely in his performances. His performances are particularly notable for using video game paraphernalia (think Wii remotes hooked up to a midi interface) to make them special, and his passion adds extra warmth to his live sound. DeLong is a must see in my book, and if his hit 'Global Concepts' doesn't get you on your feet and jumping, you may wanna check your pulse. - Joanna Mackerras

Listen: Robert DeLong - 'Religious Views' and 'Global Concepts' - (Live from Venice, CA)

Parkway Drive:

When the line-up for Groovin The Moo was released, I was ecstatic to see that one of Australia's top hardcore metal bands, Parkway Drive, was on the list. Parkway Drive, hailing from Byron Bay, manage to put on an absolutely killer live show, and they're a must see if you're into heavier music. The mosh pit is guaranteed to become crazy – people have this tendency to just go insane in their presence – so if that sounds like your kind of party, make sure you come along. Personally, I can’t wait until they start playing their iconic, older music, especially 'Romance is Dead'. Check them out on YouTube – that's what it's for, after all – and join in the fun on the day! - Jayden Whillier

Listen: Parkway Drive - 'Romance Is Dead'

Architecture in Helsinki:

Architecture in Helsinki tend to either come across as oddball kooks or pop geniuses. Sometimes both. It's an odd compliment, I know – but they seem to have developed a rare skill for turning left-field eccentricities into undeniably charismatic pop hooks, and it works. 2011 saw Architecture kick out a brilliant midday set at Foreshore, and it proved one thing: if you've got your dancing shoes on and can scream along to “Heart It Races” with the rest of the crowd, you're set. Perhaps when you get an act that can successfully resist the draw of convention, their audience are much more likely to follow suit. Let's face it – it's easy to lose yourself when the band on stage are losing themselves too. Get your heart racing this year. - Jeremy Stevens

Listen: Architecture in Helsinki - 'Escapee'