Document Sample
This issue, we pay tribute to one of the      Still looking back, we examine the
greatest bands of the 90s, who changed        phenomenon of older bands reforming –
the face of music at the time; Nirvana,       both the good and the bad. Someone that
celebrating the 20th anniversary of their     exemplifies the former is The Rapture,
seminal release Nevermind this month.         who return after a break up with their self
Coming out of a place a kid in Australia      confessed greatest album to date. Arctic
had never even heard of before: Seattle,      Monkeys talk Australian tour plans, and
Washington became the home of grunge,         we also speak to industry god Michael
Nirvana were the kings, and Nevermind         Gudinski on the release of a book that
was the voice of a generation.                features all the iconic posters from the
                                              tours of Frontier Touring in Every Poster
I remember going to a record store and        Tells A Story.
buying the album ‘on CD’ for a road
trip to Byron Bay, where we listened to       It’s also a month of debuts, with the girl
Nevermind for an entire week non-stop.        that has impressed all in a very short
Where the CD booklet was pored over,          time with her amazing vocal range and
favourite tracks changed over the week        collaborations, Kimbra, releasing her
and just about every conversation referred    debut album at the beginning of this
to one of the lyrics. Boys had already        month. Sydney producer Beni calls in from
started growing their hair like Kurt Cobain   his honeymoon in Positano to talk about
and even girls were donning flannos.          his new album, and The Jezebels finally
                                              release their long awaited LP.
As a homage to the band, Dark Bells front
woman Teneil Trossell recreates some          So throw on Nevermind this month and
of the iconic images of the short-lived       remember a time when the jeans were
Nirvana in this month’s shoot and we asked    ripped, the hair unwashed, and when
various music identities on their memories    music was changed forever.
of when Nevermind was released and
what the band means to them.                  Mish
            MUSIC NEWS

                         With Triple J’s Dom Alessio

                         This month, Sydney is going all ‘Nineties
                         World’ by playing host to On The Street, a
                         subset of the Sydney Fringe Festival. The
                         likes of Knievel, The Hummingbirds, Ups &
                         Downs, feedtime (OK, they were more 80s)
                         and The Moffs (who were also a bit more
                         80s) will be playing at venues across the city.
                         In related news, it appears Knievel is close
                         to completing their new album, tentatively
                         titled Through The Rainbow Dark. It’s their
                         first record since 2003’s No One’s Going To
                         Understand In My Way.

The Moffs

             It’s been 20 years since the release of
             Achtung Baby, arguably the last great
             U2 album (although people seem to
             like Zooropa). Befitting the pomp and
             circumstance of Ireland’s favourite sons, the
             band will be releasing an absolutely gigantic
             20th anniversary edition of the record. It’ll
             feature six CDs (Achtung Baby, Zooropa
             and a cornucopia of b-sides, outtakes and
             reworked versions), four DVDs (including ZOO
             TV: Live From Sydney), five 7-inch singles,
             16 art prints, an 84-page hardback book, an
             issue of the Propaganda fanclub magazine,
             four badges, a replica pair of Bono’s ‘The Fly’
             sunglasses and the pièce de résistance, a
             sticker set. The perfect Christmas gift for that
             uncle who’s hard to buy for, perhaps?


                With the cancellation of Soundwave
                Revolution, it means that Van Halen won’t
                be coming to the country and I won’t get to
                air-drum while Alex Van Halen cannonballs his
                way through the drum intro to Hot For Teacher.
                Instead, Rolling Stone reports, the band will
                be finishing off their first studio album with
                David Lee Roth since 1984’s, erm, 1984. Van
                Halen hasn’t released a studio album since
                1998’s Van Halen III, which was so universally
                despised the band didn’t even list it in the
                official discography on their website. Let’s
                hope the group’s new record, whenever it
                comes out, is nowhere near as bad.

Van Halen

                   In October, the Millennium Stadium in Cardiff
                   will play host to a giant Michael Jackson
                   tribute concert, and the lineup so far is one
                   motley crew. Pop heavyweights Cee Lo Green
                   and Christina Aguilera will perform alongside
                   musicians that time forgot, like Craig David
                   and Alien Ant Farm (who have no doubt
                   been booked to reprise their Criminal cover).
                   The concert is being organised by Jackson’s
                   mother, and is morbidly scheduled at the
                   same time as the trial of Dr Conrad Murray,
                   who is accused of Jackson’s manslaughter.

                   Catch Dom presenting the new Australian
                   music show Home and Hosed, Mondays –
                   Thursdays from 9pm on triple j.

                   Follow me on Twitter:

                   By Dom Alessio

 Micheal Jackson
          TALK                                                                          TALK

                                                                             Take That have done it. Pulp have done it. The Spice Girls are apparently

                                                                             doing it. John Farnham’s done it (a few times). Cold Chisel, Blink 182 and
                                                                             Jane’s Addiction are doing it right now. The UK-based Rewind Festival is
                                                                             built solely around 1980s-era acts who have reformed or continued on

 REFORMATION                                                                 to the present day. Sometimes the reunions are great (Pulp), sometimes
                                                                             they’re, well, not so great (the New Kids On The Block/Backstreet Boys

                                                                             joint American tour). But, where do we draw the line? At what point
                                                                             should a band finally call it a day?

                                                                             Most of these reformed heritage acts have done outrageously well in
                                                                             terms of ticket sales for their ‘reunion’ or ‘comeback’ tours; but this should
Bands break up all the time… but (for better or worse) they just don’t       almost entirely be put down to nostalgia value, rather than it being any
seem to STAY broken up anymore. Maybe to fulfil fresh bursts of creative     indication of the performers’ skill or talent. Sure, many reformed bands
desire, maybe after realising that they packed it in too soon, or maybe in   still have ‘it,’ can still put on a kick-ass show and leave you thinking ‘why
pursuit of a quick buck, more and more long-gone acts are coming out         did these guys ever break up in the first place?’ But then again, for every
of the woodwork for the now obligatory ‘reformation/reunion/comeback         Pulp, there’s a few bands that have been largely sapped of whatever
tour.’                                                                       charisma or talent that brought them fame in the first place.

Let’s face it; you can’t do the same things at age fifty, that you could
do at age twenty five (unless you’re The Rolling Stones, of course; but
those guys seem to be biological freaks; how have they managed to
live this long? It defies nature). Many a reformation tour is marred by
an embarrassing, woeful or just plain bad gig, that is invariably all over
YouTube the next day and begging to be crucified internet-wide. Even
their new recorded material sometimes takes a drubbing; Blink 182’s
comeback single impressed pretty much nobody, and the Red Hot Chili
Peppers’ first new track since 2006 sadly saw a lukewarm reception.

But for all the so-so ones, there’s the rare one. As you’ll read, Luke from
The Rapture says that the band almost broke up after their last album in
2006, yet they’ve come back with arguably their best album ever, after a
five year break.

You can’t help but wonder what it would be like in 2011 if Nirvana were
still in existence. Would they be doing a comeback album or tour, would
Kurt have hooked up with James Murphy for his solo projects? Would
Dave Grohl’s Foo Fighters be in existence? Something tells us that the
band, and their music, may not have the same mystique and reverence
if we were hearing Smells Like Teen Spirit sung by a 40 year old.

By Josh Butler

Upcoming Gigs
Click images for tour dates

                                                 ARCTIC MONKEYS
Upcoming Gigs                                    January 3 Festival Hall, Melbourne
                                                 January 6 Belvoir Amphiteatre, Perth
Click images for tour dates                      January 10 Entertainment Centre, Adelaide
                                                 January 12 Hordern Pavilion, Sydney
                                                 January 14 Riverstage, Brisbane

BOY & BEAR MOONFIRE TOUR                                                                     BALL PARK MUSIC HAPPINESS
November 2 Panthers, Newcastle.                                                              AND SURROUNDING SUBURBS
November 3 Uni Hall, Wollongong                                                              TOUR
November 5 Enmore Theatre, Sydney                                                            September 17 Coaster Festival, Gosford
November 9 Kings Beach Tavern, Sunshine Coast,                                               September 24 Village Fair, Bathurst
November 10 Coolangatta Hotel, Gold Coast                                                    October 8 Full Noise Festival, Townsville
November 11 The Tivoli, Brisbane                                                             October 13 Shark Bar, Gold Coast
November 16 Her Majesty’s Theatre, Adelaide                                                  October 14 Spotted Cow, Toowoomba
November 18 Settler’s Tavern, Margaret River                                                 October 15 The Zoo, Brisbane
November 19 The Astor, Perth                                                                 October 21 East Brunswick Club, Melbourne
November 23 The Bended Elbow, Geelong                                                        October 22 Plus One @ Ed Castle, Adelaide
November 25 The Palace, Melbourne                                                            October 26 Beach Road Hotel, Bondi
November 26 Foreshore Festival, Canberra                                                     October 27 Great Northern, Newcastle
November 27 Hi Fi Bar, U18’s, Melbourne                                                      October 28 The Standard, Sydney
December 2 Wrest Point Casino, Hobart                                                        October 29 Stonefest, Canberra
December 3 Launceston Saloon, Launceston

          The World Bar, home of the famous teapot cocktails,
          has introduced a new small bar within its 19th
          century terrace mansion. You might remember the
          space as the musty old pokies room, but the gaming
          machines have all been cleared out in favour of an
          old worldly, slightly kitsch new drinking spot.

        The Apothecary, as the name suggests, is a saloon-
        style bar that harks back to a time when medicine
        and superstition were intertwined. Entering the
        venue feels akin to walking into a clandestine, velvet-
        draped den where sorcerers concoct illicit potions.
        Ancient looking skulls and medicine bottles clutter
        the 80-person capacity bar, which is open from 5pm
        daily to provide an early evening limbering room for
        the late night antics on offer at the adjoining World

        Not just another Kings Cross watering hole, The
        Apothecary plans to host some live music parties
        and record label shindigs too. “We’re planning to
        work with touring companies like Future Music
        to provide afterparties and private areas for
        their acts when they want to party in their down
        time,” says World Bar’s Marketing and Promotions
        Manager Grant Barnes. “We also plan to host
        listening parties for new albums through labels
        like Shock,” he adds.
        On opening night, Sydney bluegrass quintet The
        Green Mohair Suits christened The Apothecary, and
        portrait boutiques curated by Paddington creatives
        Bams & Ted were also on show. This meshing of the
        arts is a testament to Grant’s creative vision for the
        venue; “It’s a completely flexible space that can
        be made private or open to all, host DJs, bands, or
        performances of any kind,” he explains. His plans
        for the bar encompass a collaborative approach to
        design, art, music, and of course, drinking. While
        we’re on the subject, The Apothecary’s menu is as
        imaginative as its fit-out, with cocktails, concoctions
        and cure-alls that include the Elixir of Youth, boasting
        the ‘soothing properties of the soapberry revealed
        Soho Lychee Liquor, Bombay Gin and Licor 43,’ and
        the Shojo Tea, a secret vodka, sake and green tea
        fusion that promises to cure all ailments.

        If that’s not enough to spark your interest, it looks
        like Barnes is keen to keep patrons on their toes;
        “I will be booking surprise, weird live acts in
        the space every now and again without much
        warning,” he warns. Whether that alludes to mime
        artists, improvised dance acts, or makeshift medical
        surgeries, is anyone’s guess.

        For more info head to

        By Mariam Digges
              ON TOUR

                                                   AT RISK
                                                   TAKE ON
                                                   THE USA                                                    Adela Loconte for CMJ College Radio.

                                                       Sydney band Kids At Risk were the lucky recipients
                                                       of an Arts Council grant to travel to the US after
                                                       writing and recording the soundtrack to movie Griff
                                                       The Invisible. Guitarist Lee Devaney shares his tour

with Jason Alexander aka Seinfeld’s George Castanza.
              ON TOUR

                                                       DAY 1. SYDNEY - LA!
                                                       Finding out we were the recipients of a grant 3 weeks
                                                       before we left for the US was both exhilarating and
                                                       stress inducing. Now, 12,000 kms, 16 hours, 1
                                                       delay, many drinks later WE’VE ARRIVED IN LA !!!
                                                       So far no arguments, which if you know us, you’ll
                                                       know is a miracle. Bonded by excitement (and the
                                                       need to drive everywhere together as we only have
                                                       one car) on our first night in Hollywood we popped
                                                       into the famous Rainbow Bar, once the epicenter of
                                                       LA’s glam-rock scene for a late night snack/drink.
                                                       No sign of Lemmy or Dave Grohl (regulars) but lots
                                                       of relics from an era long gone.

                                                       DAY 3: SAN DIEGO                                        Adela Loconte for CMJ College Radio.
                                                       Welcome to Comic-Con. We’re here for a screening
                                                       of Griff The Invisible and to play some of our
                                                       tunes. It’s like the Olympics for nerds. Imagine a
                                                       world where everyone wears bright, tight coloured
                                                       spandex or skin paint, and has the ability to recall
                                                       word for word every line ever written from any sci-fi
                                                       show or movie ever created, and you’d be close to
                                                       being there. True believers all. Sep is in heaven.

with Jason Alexander aka Seinfeld’s George Castanza.
              ON TOUR

                                                       DAY 7: LA
                                                       Our first gig at Bar Lubitsch. It was great. I played
                                                       Paper Rock Scissors with Carole King’s engineer in
                                                       the toilet to see who could wash their hands first.
                                                       The loser (me) had to buy shots of tequila for the
                                                       other. Those tequila shots later resulted in a Sep and
                                                       Lee wrestle on the way home that itself resulted in
                                                       facial injury for both of us. Good times.

                                                       DAY 9: LA
                                                       On to The Viper Room and the stage was easily the        Adela Loconte for CMJ College Radio.
                                                       best sounding stage we’ve played on in our short
                                                       history. And the gig was good too. Not only was
                                                       Hermione from Harry Potter there but the guy who
                                                       played drums in the band after us was none other
                                                       than Red Mist from the movie KICK ASS (aka actor
                                                       Christopher Mintz-Plasse).

with Jason Alexander aka Seinfeld’s George Castanza.
              ON TOUR

                                                       Day 10: NEW YORK
                                                       Los Angeles to New York on American Airlines. Our
                                                       7 foot tall frontman, Septimus resembles a sardine
                                                       at the best of times on airplanes. Today it was
                                                       like squeezing a whale into an anchovy tin. We’ve
                                                       arrived in the middle of a heatwave. But that hasn’t
                                                       stopped us – after 10 days together, we’ve been
                                                       solo shopping (amazing), solo sightseeing (amazing)
                                                       and solo eating (amazing). Our first gig in New
                                                       York was in Williamsburgh (a bit like Surry Hills on
                                                       steroids. More people. More restaurants. More bars.      Adela Loconte for CMJ College Radio.
                                                       More everything), at a bar called Public Assembly.

                                                       To read the rest of Kids At Risk tour diary head here.

with Jason Alexander aka Seinfeld’s George Castanza.

In May, we heard rumours about the
impending Rapture. No, not the destroy-
the-world, apocalypse Rapture; that other,
infinitely more fun, NYC-based one. The
one that burst onto the scene in 2003 with
their game-changing album Echoes. The
one that penned I Need Your Love, which
continues to fill dancefloors to this day. And
the one we haven’t heard from in five years.
What’s been happening with The Rapture?

                                                   Life Goes On
          “Oh geeze, a lot of stuff!” says frontman Luke
          Jenner, when we get him on the phone one balmy
          New York evening. “My kid was born, my mum
          took her own life, I quit the band, I unquit the
          band, [former bassist] Mattie quit the band. A
          lot of life happened,” he sums up.

          We’re chatting about their new LP, In The Grace
          Of Your Love, and Jenner speaks openly about
          the pain and turbulence of the last few years.
          Luke says that after Echoes, he felt like the band
          were “shot out of a cannon… it was all a blur.”
          Matt Safer’s departure finally sparked a period of
          reflection on the band itself, according to Luke.

          “Basically, our band fell apart,” Jenner reveals.
          “Mattie was like ‘I want
          to win a Grammy and sell
          a zillion records,’ and we
          were like ‘we don’t wanna
          do that’… we had to take stock, decide
          how we wanted to work.”
          Jenner says that something had been wrong in
          The Rapture’s camp for some time now, and that
          Safer’s absence, rather than stalling progress,
          actually sparked new life in the band; the end
          result is arguably their most honest recording yet.
          “Having Mattie as a songwriter, it took us to a
          less sprawling, more tightly conceptual band,
          but I never liked that! I wanted it to be less
          tight, more loose,” he says.

          Working with Philippe Zdar, who has manned
          the production decks for Phoenix and Cut Copy,
          Jenner says the band had “forty or fifty songs,”
          which they whittled down to the final eleven that
          make up the album. Their first album since 2006,
          they returned to James Murphy’s DFA Records for
          the first time since Echoes. It was a homecoming,
                                         “I never
          Luke says, that was long overdue;
          wanted to leave in the first
          place, it was a big mistake,
          a regret. It felt like unfinished business.”

          “It feels like when you get to know your
          parents!” he laughs. “You think ‘my dad is
          actually a nice guy’! Everything is in the same
          place, you don’t need long discussions about
          aesthetics; everything is understood.”

          Last on our shores for Falls Festival and Field Day
          earlier this year, Jenner drops a hint that we’ll be
          seeing The Rapture “early next year” in Australia;
          so, fingers crossed that we’ll be seeing THIS
          Rapture before we see that OTHER Rapture…

          In The Grace Of Your Love is out now.

          By Josh Butler

          KIMBRA        Worth The Wait

          If good things come to those who wait, Kimbra
          Johnson’s got plenty coming her way. The sassy soul-
          pop singer spent four years painstakingly crafting her
          debut album Vows, which finally sees the light of day
          this month.
          “It’s taken ages,” she says on the phone from her adopted
                                  there were
          home. “I feel at peace with it now, but
          definitely times when I was on
          my phone to my manager going
          ‘c’mon man!’ It’s just a balancing
          act of taking the excitement [of
          making music] and matching it
          with patience and a bigger picture,
          because we wanted to achieve something with longevity
          and layers.”

          After signing with her Australian manager in 2008, the New
          Zealand native moved to Melbourne at the tender age of 17.
          Shacked up in a one-bedroom apartment with just a Pro Tools
          rig for company, she started writing Vows the day she arrived.
          Not surprisingly, it’s seen some serious evolution since then.

          Initially, Kimbra took a batch of fifty songs to producer/screen
          composer Francois Tetaz (Gotye, Sally Seltmann), only to cull
          many and rework the remainder. After honing her Pro Tools
          skills, she started producing herself before hooking up with
          Melbourne hip hop producer M-Phazes, who lent the tracks
          a tougher rhythmic punch.
          Thankfully, her patience has paid off. Delivering on the
          promise of initial singles Settle Down and Cameo Lover, Vows
          is a dazzling blast of fresh air that elegantly skips between
                               At a time when
          playful jazz pop and cinematic soul.
          most female pop stars are crowing
          about clubs and single entendres
          over cheesy euro-pop, Kimbra
          delivers a far sweeter alternative,
          proving sexiness and substance
          aren’t mutually exclusive.
          And after all the rewrites and rescheduled release dates, her
          game-plan is finally paying off. In June, she signed a lucrative
          worldwide deal with Warner Bros, which will see Vows hit
          the US early next year. A month later, Cameo Lover won the
          annual Vanda and Young songwriting competition at the
          same time she coincidentally cameoed on a little song by
          Gotye called Somebody That I Used To Know that’s since
          topped the charts and clocked up just under three million
          views on YouTube.

          It’s taken four long years, but suddenly everything seems to
          be falling into place for the talented 21-year-old. “You don’t
          want to get caught up in the hype, because you might
          lose perspective of where things are at right now and it’s
          still such early days for me,” she says modestly. “The best
          part of it is feeling that people are responding to that hard
          work. I’m really flattered and humbled by it.”

          Vows is out now.

          By Jason Treuen


        The 90s were a time for change. The          the birth place for grunge, where tans
        general bubble-gum pop feel of the           were shunned and music was changed
        80s was getting tiresome. In music, the      forever.
        revolt against the saturated glam-rock
        scene came in the form of three guys         Released on September 24, 1991
        from the bleak industrial city of Seattle,   and recorded in Sound City Studios
        Washington who barely looked washed          in Van Nuys, Los Angeles, California,
        much less make up’d to the eyeballs          Nevermind was produced by Butch
        in arseless chaps. The music was lo          Vig and mixed by Andy Wallace and
        fi, reverby, alternative rock mixed with     was originally going to be called Sheep
        the apathetic vocals of lead singer Kurt     until Cobain thought Nevermind better
        Cobain, Dave Grohl was on the skins,         reflected his attitude to life. The album
        Krist Novoselic was on bass, and they        has subsequently been labeled as being
        were called Nirvana.                         responsible for bringing alternative
                                                     rock to the mainstream, and is wildly
        It was their second album Nevermind,         regarded as one of the best rock albums
        lead by the single Smells Like Teen          of all time.
        Spirit, which catapulted the band
        to become unofficial ‘voices of a            This month sees the 20th anniversary
        generation’. The music was christened        of the this seminal release, so we asked
        ‘grunge’ and the kids who fell in love       fellow Nirvana devotees, EMI Australia’s
        with it called ‘Generation X’. The album     Chairman Mark Poston, Channel [V]
        brought about a pop cultural shift where     Presenter Billy Russell, Gibson Guitar’s
        disaffected youth ditched the big hair       Clayton Doughty and Ash Moss of Dark
        and saccharine pastels for dirty ripped      Bells (ex Mercy Arms) on their memories
        jeans and long, dank hair, and all of a      of when Nevermind was released, and
        sudden Seattle was romanticised as           the impact it had on music culture.

        MARK POSTON                         Smells Like Teen Spirit was
                                            just inescapable. Like all the
                                                                                  Kurt hated; ‘grunge’. Always
                                                                                  closely followed by ‘Seattle’ (I
                                            best records, it felt like IT WAS     even remember people all of a
                                            TALKING TO YOU (it got right          sudden taking holidays there!).
        ICONIC,             DANGEROUS,
                                            inside your head). It felt like the   It became the mainstream
                                            anthem for young people trying        soundtrack, when we all felt it
        what I think when I hear or
                                            to find and understand their way      was ‘our song,’ not theirs.
        see anything about Nirvana’s
                                            in the world... and that everyone
        Nevermind. I had long hair, wore
                                            else was just jumping on the          If you weren’t there, it’s hard to
        Stussy and Vision Street Wear,
                                            bandwagon (but what a fine            put into words how Nevermind
        lived in the western suburbs of
                                            bandwagon to jump aboard).            changed things and was a
        Melbourne and pulled bongs
                                            The sound, the video, the guitar      catalyst for much future change.
        on the weekend for kicks.
                                            riff and the mystery around Kurt      Now I am older, I can also
        This would normally be with a
                                            and the band... I remember            appreciate how it also led to a
        bunch of guys on long summer
                                            being fascinated at how much          whole new era in pop culture as
        weekend evenings; the oldest
                                            it connected with people. I just      the mid 90’s came and dance
        (who would always drive) had a
                                            remember it blowing up so fast.       culture exploded. It’s well
        red commodore station wagon
                                            It was EVERYWHERE. It was the         documented that people were
        with a personalised number
                                            girls as much as the guys too. It     sick and tired of the grunge
        plate of ‘CURE’. True Fact! I
                                            was the misfits, the cool kids,       rock days after the mainstream
        probably thought I was pretty
                                            the surfers and the skaters, the      latched onto it. Everything runs
        cool... ha. Nirvana was often the
                                            stoners and the shoegazers.           in cycles. One thing is for sure
        soundtrack to those times and
                                            The suburbs and the city all at       – I’d love to see a shift in pop
        always at parties. You could
                                            once. You could see it change         culture like the one Nevermind
        always count on someone to put
                                            the way people dressed, their         made again.
        it on, or for someone to request
                                            energy, their attitude, and
        it. You could set your watch by
                                            see its influence on the whole
        it in fact. It was OMNIPRESENT.
                                            aesthetic of the time. And then
                                            of course came the words

        BILLY RUSSELL                            last thing you want to do is endorse
                                                 the music your old man listens to
                                                                                           hesitation, I relented.
                                                                                           my reaction upon listening to

        (Presenter Channel [V])
                                                 while he shaves his back.                 Nevermind, really listening to
        Like the moon landing or the
                                                                                           it, was pretty bloody clichéd. I
        Who Shot Mr Burns episode of
                                                 I was 17 when I finally caved. At         can’t remember what my exact
        The Simpsons, Nevermind often
                                                 the time, I was a first year literature   words were, no doubt something
        inspires an “I remember where I
                                                 student (which is just as well,           embarrassingly earnest (for the
        was...” kind of story. The problem,
                                                 because how could I possibly              sake of my memory, let’s just say
        of course, with being five years
                                                 write such awful poetry without           I lisped, “IT’S LIKE HE WROTE
        old at the time of the album’s
                                                 the fake angst that I manufactured        THISSSS FOR ME”), but all I
        release is that I remember shit all
                                                 and romanticised while listening          know is that I had back-flipped,
        about it. It’s safe to say, then, that
                                                 to songs like Lithium?) As a              crumbled. T-shirts were bought,
        I was introduced to Nirvana after
                                                 professional loner, I was looking to      hair was grown, cardigans were
        the fact. But even so, I still can’t
                                                 cling to someone in my class, and         stolen from Mum’s wardrobe. I
        pinpoint the exact moment when
                                                 my target was this dude named             felt connected and angry and
        that happened. Nirvana were
                                                 Luke. Luke looked like Nick Cave,         empowered. I felt inspired by
        always just... there.
                                                 read William Blake, and was pretty        the aggression and ferocious
                                                 much the cat’s pyjamas. I was a           passion. I felt tough, dammit! And
        As I do with all of life’s little
                                                 mega virgin with pimples, braces          while, contrary to Luke’s promise,
        problems, I personally blame my
                                                 and a learner’s permit, who used          Nirvana didn’t change my life, I felt
        father for this. Most likely the
                                                 expressions like the ‘the cat’s           like I had found a band that spoke
        result of some sort of premature
                                                 pyjamas’. We hit it off right away.       to me right at a time when my life
        mid-life crisis, Kurt and the boys
                                                                                           was changing on its own accord.
        had somehow found themselves
                                                 It was Luke who insisted I give           (And with what would become
        rubbing shoulders with Dwight
                                                 the band a second chance (with            my pretentious stinger, “I like In
        Yoakam and Europe on the
                                                 the kind of guarantee that can be         Utero better than Nevermind,” I
        shelf next to Dad’s stereo. And
                                                 uttered only by an undergraduate          still found a way to piss off Dad.)
        when you’re a teenager trying to
                                                 Arts student: “They will change
        establish your own identity as you
                                                 your life”). After some initial
        deal with the pubes and stuff, the

        CLAYTON                               where white guys were playing
                                              Bootsy Collins style afro-funk
                                                                                    many still talk about that (now
                                                                                    mythical) show at Sydney’s
        DOUGHTY                               (Red Hot Chili Peppers, Faith         Hordern Pavilion.
        (Gibson Guitar)                       No More) and the black guys
        The early nineties were a thrilling   were playing their own brand of       I was being swept up in a
        time for me. I was working at         white boy metal (Living Colour,       musical tipping point. Like
        the Sydney Morning Herald             Bad Brains).                          so many of my friends, I
        during the day and catching as                                              purchased the Nevermind
        many bands as I could at night.       Then in 1991 I heard Nirvana’s        album. As it soared up the
        I was meeting new people and          Smells Like Teen Spirit for the       charts, it became a staple
        soaking up life. I wouldn’t have      first time and music as I knew        at house parties and clubs.
        changed a thing, although             it, shifted like a seismic wave.      Other bands seemed shallow
        part of me wishes I’d been old        I was driving my beaten up            and one-dimensional. Triple
        enough to have seen Radio             Toyota Corolla and literally had      J rode that wave of cultural
        Birdman or The Saints in their        to pull over and turn the radio       change like a pro surfer. Every
        prime. Those bands were part          up. Metallica’s breakthrough          song on that album, whether
        of a tribal movement and it           Black album had been released         it was In Bloom, Come As You
        would’ve been incredible to           earlier that year and Enter           Are or Lithium sounded better
        have been a part of it. Looking       Sandman was everywhere. My            and more intense every time
        back now, it felt like Nirvana did    first reaction was ‘is that the       you heard it. The videos that
        that, but on a global scale. No       new Metallica single?’, it was        accompanied those songs
        one saw it coming and that’s          that heavy, angry and guttural.       were like nothing I’d ever seen.
        what made it so electrifying!         I didn’t think any more of it until   No fancy pants pyrotechnics,
                                              I was in Red Eye Records a            tight jeans and spandex. They
        At the time, average US hair          week later and heard it again.        were replaced with an exposed
        metal and homegrown pub-              It stopped me in my tracks.           and confronting energy that
        rock was still the order of the       Nirvana toured Australia not          made everything else look like
        day. That gradually morphed           long after that, just as the album    it was from Sesame Street.
        into genre hopping prog-rock,         was exploding worldwide and

        ASH MOSS                           Kurt Cobain was always
                                           known as a big fan of the
                                                                             been the perfect conclusion
                                                                             to Nevermind had it not been
        (Dark Bells, ex Mercy Arms)
                                           Beatles, which shows in the       for Something In The Way.
        For most people, Nirvana’s
                                           simplicity and depth of his
        Nevermind is the album that
                                           writing and Butch Vig utilized    I remember being young
        pretty much summed up
                                           this as one of his production     when Nevermind was so big,
        the whole of the 90’s. And
                                           techniques to get Kurt to         it seemed to be all you would
        at such an early time in the
                                           do things that he did not         hear when you would turn
        decade too, being released
                                           particularly want to do during    on the radio. Yet nowadays,
        in America at the turn of the
                                           the recording process. For        any car trip or building site
        1990’s on the 24th September
                                           instance, doubling his vocal      you may walk by with the
        1991. Basically, it was a truly
                                           tracks was to simply say          radio blaring always seems
        down-to-earth record put
                                           ‘John Lennon did it’ then off     to be at the same time as
        together by a group of down-
                                           Kurt would go into the live       those famous four chords of
        to-earth striving musicians
                                           room to double his vocals!        Smells Like Teen Spirit strum
        trying to get out of the small
                                                                             in, or the loud screeching
        logging town of Aberdeen.
                                           One of the main things about      guitar solo mimicking the
                                           Nevermind is that it shows        vocal melody of each verse
        A lot of people see The Smiths
                                           a raw, loud rock band made        bringing the song to a climax,
        and Morrisey’s lyrics similar in
                                           sound cleaner and more            until Cobain ends the track
        the way they talked to you as
                                           radio-viable. The record really   by repeating the words ‘a
        an individual, although I think
                                           has its lighter moments with      denial’.
        Nirvana where more so one of
                                           songs like Come As You Are
        us, with their ragged clothing,
                                           and Something In The Way.         It was always a truly ugly
        ripped jeans and worn out
                                           Then it’s loud, fast, harder      and beautiful album to me,
        Converse, which in a way
                                           hitting tracks like Territorial   and will always be a part of
        contrasted the somewhat
                                           Pissings with thicker, slower     modern culture even 20 years
        polished production by Butch
                                           moments On A Plain, which         later.
        Vig on Nevermind.
                                           I always thought would have


               As a homage to Nirvana, in celebration of the 20th
               anniversary of their seminal release Nevermind, this
               month’s Groupie shoot recreates some of the iconic
               Nirvana images from the 90s. With the help of the
               perfectly hirsute stylings of Dark Bells front woman
               Teneil Trossell who captures some of Kurt Cobain’s
               quieter moments in front of the lens.

        Guitar courtesy of Gibson Guitar
          Cardigan from Zoo Emporium

Teneil wears glasses from Zoo Emporium
jacket and t-shirt models own
Nathaniel wears cap from Zoo Emporium

Teneil wears own jumper

                          BACK NEXT

Guitar courtesy of Gibson Guitar
Flannelette Shirt from Zoo Emporium
Jeans models own

                                      BACK NEXT

                                          Photographer: Angelo Kehagias
                                      (Kurt) Teneil Throssell from Dark Bells
                                             (Dave) Nathaniel @ Pricillas
                                               (Kris) Gadir @ Pricillas
                                      Stylist advice: Lucinda Rose Constable
                                              Guitars courtesy of Gibson
                                               Shot at Debaser Studio

        Glasses from Zoo Emporium
        Hat, jacket and t-shirt models own

 ARCTIC                        Ah the Arctic Monkeys. Soundtrackers of countless nights of drinking,
                               amid youthful angst about guys, girls, and not getting laid. The
                               Sheffield heroes are bringing their pithy lyrics and pitch-perfect good

                               times to our shores this summer. We chat with Monkeys bassist Nick
                               O’Malley about their first Christmas away from home, and triumphant
                               latest album.

  There’s No Place Like Home

          On the eve of their appearance at Japan’s
          Fuji Rock festival (at the time of this interview),
          O’Malley is excited by a delivery of good news.
          “We’re going on before Coldplay!” he says in his
          thick Sheffield accent. It calls to mind their recent
          V Festival bluster, where they were promised a
          spot after Rihanna, only to have organisers switch
          set times around last minute. “If you can’t go
          after someone good, it’s always good to go
          after someone really bad,” jokes O’Malley.

          The Arctic Monkeys are heading to Australia this
          summer for their first headline tour since 2009 as
          well as appearances at The Falls and Southbound
          Festivals. “The first time we came to Australia,
          we were still young enough to stay up all night,
          then get up the next day and not even feel
                     “Our hangovers
          it,” he remembers.
          are becoming far more
          discouraging these days.”

          For their fourth album, the fearlessly titled Suck
          It And See, the band knew exactly what they
          wanted, unlike Humbug, which O’Malley admits
          was the product of an experimental jam session in
          the Mojave Desert with Josh Homme. This time,
          it was breezier because they already had most of
          the material, and the watchful eye of their “big
          brother,” James Ford. “You get to above 25 and
          start realising it might not last forever, so you
          should make the most of it,” he tells us. “James
          brought his childhood enthusiasm along… it
          made the 16 days in the studio so much more

          The good news for Monkeys fans is, simply,
          that Suck It And See is as tasty a mouthful as
          the title teases. It’s intimate, bluesy, and grittier
          than previous records, which have relished in
          more lighthearted, provincial dissections of youth
          culture; not surprising when you consider the lads
          were barely pushing twenty at the time.
          The upcoming tour also marks the band’s first
          Christmas away from home; how do they feel
          about swapping in a refined English spread for
          cold prawns, pavlova, and a game of cricket in
          thirty-degree heat? “We welcome it with open,
          heavily sun-screened arms!”

          I shouldn’t be so stunned that this is their first
          Christmas sojourn; O’Malley makes no point of
          hiding the Monkey’s strong Sheffield roots, and
          the importance of hometown shows. “They’re the
          most nervy ones, because all your friends and
          grandparents are there,” he tells. “And I don’t
          know why, but I always feel I’m more likely to
          fall over on stage at home… the last thing you
          want to do is make a twat of yourself in the
          place you come from.”

          Catch the Arctic Monkeys touring this Summer;
          3 January – Festival Hall, Melbourne, 6 January –
          Belvoir Amphitheatre, Perth, 10 January – Adelaide
          Entertainment Centre, 12 January – Hordern
          Pavilion Sydney, and 14 January – Riverstage,
          Brisbane. Proudly presented by Groupie Magazine.

          By Mariam Digges

                     Beni From The Block

          The Amalfi coast laces its way down the notorious ‘boot’
          of Italy, precipitous cliffs jut out into the sea lauding a
          bright blanket of ancient Byzantine buildings over the
          deep blue water, alive with a ubiquitous mix of rickety
          fishing boats and pompous super yachts. This glorious
          European paradise seems like the perfect place to escape
          social incumbency and lose yourself in a timeless and
          burden free utopia, but it isn’t so for Sydney producer
          Beni, who seems to suffer the misfortune of a long
          awaited album release coinciding with a rather important
          personal milestone. “I’m on honeymoon with my wife!”
          he says, possibly with a mouthful of fresh Limoncello
          “We are currently in Positano, we‘ve been away for
          2 months so when I get back I have a lot to catch up

          The process in completing his long awaited artist
          album House Of Beni has absorbed over two years
          of his life, the long-player serving as a diverse
          audio-biography of his journeys across the globe.
          “The album was initiated whilst I was touring a
          lot, I was working the whole time I was on tour
          in different countries, studios, working with
          different people” says Beni.

          Now signed to Modular recordings he remembers,
          “I didn’t have a deal in place
          then so I had the luxury to
          change things when I felt
          like it without being locked
          into a timeline. I really feel I got the
          best result and that wouldn’t have happened if
          it was rushed or didn’t have time to percolate”

          It would be easy for fans to pigeon-hole the young
          artist based on his well known affiliation with the
          Riot In Belgium brand, something which Beni has
          been careful to distance himself from artistically
          with House Of Beni “I wanted to make an album
          that is diverse but still flows nicely” he says “I
          feel the album shows my varied inspirations
          which include everything from within dance
          music from house, disco and techno influences
          through to less obvious inspirations such as

          When the final recording process began, Beni
          managed to secure studio time with some of the
          most hermetic niche collaborators on the planet,
          including Super Discount demigod Etienne De
          Crecy. “(That) was another chance meeting
          where the timing was right for me to hang out
          in his Paris studio for a week and play around
                          “It was quite
          making music” says Beni
          surreal sitting in the studio
          where all the Super Discount
          music was created. It was an
          incredible experience. I feel really lucky to have
          had the opportunity to work with every one of
          the artists that collaborated on the album. It’s
          like the extended family that makes the House
          of Beni.’

          House Of Beni is out September 23

          By Tim Galvin

   THE                     If you were wandering around Splendour In The Grass this year,
                           chances are you would have come across a serious crowd of people
                           around the GW McLennan tent on Saturday afternoon. If you were

                           inconvenienced, blame The Jezabels. So many people tried cramming
                           in to watch the indie-rock group, that paths leading to the stage where
                           The Jezabels were playing, were actually closed off.

       Future Starts Now

          “That was pretty crazy,” laughs lead singer
          Hayley Mary as she recounts the story.
          hoped that there would be
          some people there… but
          obviously there was a bit
          more than that.”
          To say the Sydney-based group has exploded
          in popularity over the past year, would be
          something of an understatement. The Jezabels
          catapulted themselves into the hearts and minds
          of Australians via their stunning 2010 EP, Dark
          Storm, which spawned the epic, brooding Mace
          Spray. A #16 ranking in Triple J’s Hottest 100 was
          a testament to the rise of this young band, and a
          run of sold-out tour dates cemented The Jezabels’
          credentials as the ‘next big thing.’
          Now with their debut album, the soon-to-be-
          released Prisoner, that hype is only set to escalate
          further. “It’s definitely a breakaway from the
          EP,” Hayley muses. “The first half is very poppy,
          upbeat and straight; the second half is darker,
          more experimental… then there’s a light at the
          end of the tunnel. It’s sort of a fantasy. It’s a
          letter to a prisoner. The lyrics read like a stream
          of thought.”

          Hayley’s ‘stream of thought’ comment isn’t a
          throwaway line. She says for the album, the
          band took a new approach of writing; instead
          of working on songs progressively, they jumped
          straight into the studio to write and record almost
          simultaneously. Working with producer Lachlan
          Mitchell, it was a process Hayley confesses was
          “initially daunting,” but one she says brings a
          raw, honest feel to the record. “We didn’t have
          any ideas,” she confesses. “But Lachlan
          wanted us to come up with ideas in the studio,
          then just demo record it.”
          “I was particularly struggling,” she continues.
          “Most of the lyrics came in the last month,
          which was scary for me. But it was a way for
          us to be quick, to not throw any ideas away;
          we could listen to them straight away, rather
          than thinking too much and changing it, which
          we normally would.”

          They launch the album with a massive national
          tour in October, supported by Hey Rosetta! and
          Alpine. The band are itching to play the new
          songs live, however, Hayley confides, “it’s the
          scariest bit! We wrote the album in the studio,
          we didn’t have a chance to play it live. We’re
          looking forward to working the songs out live,
          but it’s a really big challenge. We’re just three
          people playing instruments, and one person
          squawking in the front.”

          Prisoner is out September 16.

          By Josh Butler

                              THE GOOCH PALMS
LIMELIGHT     We shine the limelight on two new
              acts to take notice of this month

‘Shit-pop’ is how Sydney duo The Gooch Palms classify their music; but     rock’n’roll, mixed with equal portions of 60s-style lo-fi punk. In concert,
if you get past that unwelcoming description, and their ungainly name,     their live guitar and keys are complemented by a backing track of drums
you’ll find one of the true gems of the harbour city’s burgeoning retro-   and second guitar to recreate their lo-fi, DIY studio recordings. Honestly,
punk scene.                                                                it’s not the most musically ground-breaking thing you’ll ever hear; but this
                                                                           duo aren’t setting out to achieve that sound. The Gooch Palms recreate
Along with acts like Straight Arrows, Circle Pit and Mother & Son, The     classic, tried-and-tested rock’n’roll, but infuse it with a new, darker, punk
Gooch Palms are bringing rock’n’roll back into vogue in Sydney. Just       energy. It’s Chuck Berry meets The Ramones, The Rolling Stones meets
two members, it’s a girlfriend-boyfriend duo that play scuzzy, fuzzy       The Cramps. It’s fun, silly, dumb and simple… and sure to get you dancing
garage-rock. It’s simple, loud, brash and bold, taking big chunks of 50s   like a lunatic.

                                                                            THE GOOCH PALMS
Tame Impala may have put Aussie psych-rock on the map, but Sydney          guitars that variously alternate between jangling and heavily distorted,
act The Laurels seem destined to join the Perth boys at the summit of      booming percussion and looped effects make for a powerful, swirling,
homegrown retro-rock.                                                      almost hypnotic end result. Listening to Mesozoic, you can glean the
                                                                           influences of acts like My Bloody Valentine, Black Rebel Motorcycle
Gigging since 2006, the band only released their debut EP, Mesozoic, in    Club, Sonic Youth and The Doors. It’s a sonic mix-and-match, a pastiche
July; nonetheless, The Laurels have established themselves as one of       of sounds, that each work together to produce what is surely Sydney’s
Sydney’s most impressive live acts, and are regarded by many as one        best psychedelic outfit since Wolfmother. Out on an extensive national
of the city’s best-kept secrets. Showcasing a driving, groovy, distorted   tour right now supporting Richard In Your Mind, and with the EP slowly
psychedelic rock reminiscent of Led Zeppelin at their zenith, songs        filtering around the Aussie rock scene, it surely won’t be too long until
from the four-piece rarely clock in under five minutes. Droning vocals,    The Laurels gain the wider attention and praise they deserve.

                                                                                                    THE LAURELS
          ART                                                                           ART

                                                                             “I never intended to make any money out of it,” says Gudinski, “It
                                                                             was more for a historic purpose. We’ve been offered lots of money
                                                                             to write a book or that sort of thing, but I’m a firm believer in what
                                                                             happens on the road, stays on the road.”

                                                                             Every Poster Tells A Story celebrates three decades of Frontier Tours
With over 500 concert tours under their belt since forming in 1979, The      across Australia and New Zealand, through a beautiful hardcover coffee
Frontier Touring Company has released a visual recount of their incredible   table book filled with its entire archive of tour posters. From the smaller,
30-year journey. We chat with Frontier’s co-founder and co-owner, CEO        more intimate acoustic shows, to the large-scale arena tours and rock
Michael Gudinski on the motives behind the ambitious self-published          stadium events, Frontier have represented the touring interests of some
release, and the year-long process behind it.                                of the most famous artists in the world, like Madonna, Elton John, Bob
                                                                             Dylan, Justin Timberlake, Faith No More, Radiohead, the Sex Pistols,
                                                                             The Kills, Green Day and so many more.

Tracking down 30 years worth of tour posters, as you can imagine, was
no mean feat, but Gudinski and his team were up for the challenge.

“It was a lot more difficult than we originally thought,” says Gudinski,
“We didn’t really keep everything we should have. We had to go to
a couple of big poster collectors... they actually tried to sell us our
own posters back!”

The result of all their efforts (and negotiations with some rather hardcore
poster hoarders) is a beautiful, inspiring, and nostalgic trip down memory
lane. As well as a foreword by Gudinski, you’ll find essays from some
of the country’s leading music journalists, offering their thoughts on
what has influenced Australia’s evolving music tastes and concert ticket
purchases over the years.

Featuring 286 full colour pages, boasting 536 tour posters and a listing
of every Frontier Touring concert date up until the end of 2010, Every
Poster Tells A Story is on sale now via Frontier Touring’s website and
selected book and music stores. Head here for more details.

By Mariam Digges

              GIG PICS
           OF THE MONTH
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           GIG PICS

Images courtesy of Setlist Photography
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           GIG PICS

Images courtesy of Life Without Andy
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Images courtesy of Setlist Photography
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