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Showing posts with label Post-Punk. Show all posts
Showing posts with label Post-Punk. Show all posts

Sunday, October 3, 2010

INTERVIEW: Premodernists

We have moved! Our blog is now at www.paper-deer.com


Premoderists. The Premodernists. Premodernist.

There's lots of ways that venues and writers seem to misspell Premodernists, but there's one thing you can't forget - their sound. A blend of just the right amounts of garage, indie, post punk and alternative to please even the biggest hipster in town, Premodernists have been impressing audiences all around Melbourne with their music and their tendency to yell things at awkward times on stage. It seems to be working, and their EP Dance A Little has gone from being a home-made, handwritten production to being in shiny little crystal cases in record shops all around Melbourne (including Polyester as well, which will keep these little hipster kids happy).

Oh, so that's what happens to TVs when you throw them out...
Paper-Deer had a chitty chat to bass extraordinaire and overworked band manager Brad Elphinstone on why he's celebrating his tenth birthday thirteen years too late, and why you should buy their EP.

Describe the band in one word.
Rambunctious.

What’s with the television fetish in your latest photo shoot? Is there any significance or meaning behind it?
It’s actually based off our EP’s cover art. Ashley Ng who designed it asked me for some ideas, and I sent through some images, including that of the TV on the cover. She sort of took a pop art approach and repeated the TV over and over, which we really liked. To me it sort of represents the homogeneity and repetition of commercial media, which as someone who’s certainly been influenced by Marxist theory, is something I’ve incorporated lyrically into some of our songs, like Flicker Little Lights and Modern Man. We decided to keep the TV motif going, and fortunately, at the time hard rubbish collection was going on in my area. Since everyone’s upgraded to plasmas and LCDs, there were heaps of discarded TVs sitting on the side of the road which we nicked and used for the shoot.  

Premodernists’ sound seems to be an amalgamation of alternative, garage, indie and post-punk. What musical artists are the most influential on your sound?
It’s hard to say really, since we’ve all got our own personal influences. There are bands that we all listen to, like Interpol, Radiohead, QOTSA and Nirvana, but there are also bands that we each listen to that no one else does (like how I’m a big Primus fan). It’s actually been really interesting hearing what other people think of us. We played live on PBS a while back and the sound engineer said we reminded him of Gang of Four, who were a band I’d just started listening to at that point. In reviews we’ve also been likened to bands like Sonic Youth, Snowman, the Velvet Underground and even the B-52’s in varying degrees.

Each person is left to their own devices and given enough room sonically to do their bit, and I guess that’s why our sound covers a bit of ground. We just play what sounds good to us rather than trying to emulate any particular sound or genre.

What does each member bring to the mix?
Tyse bring map reading skills. Aswin’s got the technical nous and experience required to record stuff without paying anyone. I book the gigs and organize pretty much everything, and Nick’s responsible for terrible Dad jokes.

Dance A Little is now in stores. If you could go up to everyone who’s ever picked up your EP in JB Hi Fi, what would you say to convince them into giving up $10 of their hard earned cash (or however much it is)?
First of all, I’d tell that they can pick it up for the low, low price of $6.99, and that there’s an unlimited list of amazing things they could buy with that remaining three bucks. Second, I’d probably say that supporting local music is totally ace, and that Beat Magazine seemed to like it, so it can’t possibly be too bad. And even if it is, it’s only $7 for a stylish drink coaster.

The EP was first distributed earlier this year as a home-made EP, and so Premods are doing a second EP launch to celebrate its distribution throughout retail outlets in Australia. Is having two EP launches akin to having two birthday parties for your tenth birthday?
I didn’t actually have a big celebration for my tenth birthday because my family was moving to Victoria at the time, so this EP launch will be a substitute for my tenth birthday. It’s a pretty good deal I reckon, I doubt that my parents would’ve allowed me to get drunk back then.

Premods seem to play lots of gigs all around Melbourne. Favourite venue in town?
I’m immediately going to rule out Ding Dong and Revolver because of those damn stairs. We’ve played at The Tote a few times though, and I’ve always enjoyed it there. It’s obviously got heaps of history and it’s always been fun playing there since the stage is a really good size and the sound (especially since it’s been upgraded) is great. Plus, last time we played there one of the other bands put on a massive barbeque which included some amazing potato salad. I’m not sure if liking a venue by association of potato salad is typical of most people, but it’ll do.

Was Hey Sylvana written for a particular girl?
See, I’d really like to say that it was. But it’s not. The real answer is actually super lame. When we write songs, the music always comes first and the vocals/lyrics second. As the music was coming together we thought it sounded a bit like Silverchair meets Nirvana. You can probably figure out that happened next. It was soon realised that the ensuing portmanteau was actually a girl’s name, and so the lyrical direction of the song was set.

Most embarrassing secret or funniest story about the band?
Isn’t the origin of Hey Sylvana embarrassing enough? Our EP was recorded in the radio lab of a local university after I convinced security to give me the door codes (apparently all you need to do is say you’re a PhD student). There were a few fun nights there, sneaking a drum kit up onto the third floor of the respective building and recording until the wee hours. 

DATES:
  • Saturday October 23: Pony [EP re-launch with 8 Bit Love, The Whole Molko and Villains Lair]
  • Friday November 12: The Espy
LINKS:

Wednesday, September 22, 2010

INTERVIEW: Carnation

We have moved! Our blog is now at www.paper-deer.com


Melburnian psychedelic rocksters Carnation are proud of their newest release 12.21.12 because it's the closest to their true sound that they've ever been. Their fans are squealing in excitement over their recent sonic reinvention, and the band are just unpacking their bags from their recent Singapore tour.

If you're scratching your head trying to find a Carnation record in between your Doors and Banshee vinyls, don't. Carnation may be a rather talented, busy and accomplished (heaven knows how hard it is for a band to organise a door list, let alone a tour overseas) blokes, but they are very much of this generation.


Paper-Deer exchanged words with Carnation's rhythm guitarist Garrett Overend about Singapore, their latest EP and their fondness for Indian shirts.

The band has re-invented itself since its beginnings in 2007. Do you ever cringe or get embarrassed when you listen back at old tracks?
No, never. The songs were always of a high quality, there’s no disputing that. It was just that the overall sound on that first EP didn’t reflect the energy of our live performance.

How would you describe Carnation’s evolution from these early days, to your latest EP 12.21.12?
We’re older, not much wiser, but a bit more experienced nonetheless. This EP was recorded by the band, we didn’t involve anyone else as we had a clear direction sound wise and didn’t want that diluted. We learned from the mistakes of the past with regard to recording.

Explain these mysterious numbers in 12.21.12. Is it some secret code or is it a date in an American format? A girl’s measurements? Password to a safe?
It’s the end date of the Mayan calendar, American style. Those are some decent measurements though, I must say.

Hmmm, she'd have a pretty big waist... Anyway, are you happy with how the EP has turned out?
Yeah, we’re proud of it. It sounds like us, that’s pretty important. That’s honestly the main difference between this and the debut. This one sounds like Carnation, the first one didn’t.

Where can we exchange our hard-earned money for your EP?

You can get it from iTunes, our website/Myspace, from us at a gig, and at all good retailers. Go buy it, there are loads left.

Carnation just did a tour in Singapore, Paper-Deer’s home town. It’s a seriously interesting place because it’s completely different to Australia. What was that like?
We played five shows over there and loved every minute of it. Touring with The Pinholes was a laugh a minute, they’re all great lads. Before we left I was most looking forward to playing as an international touring band. The experience didn’t let us down, I’ll leave it at that.

And what about the country itself? Any funny tales to tell your mates back home?
Well, we all have a penchant for Indian shirts. Whilst in Singapore we passed a market stall selling Indian shirts, so Pete tries one on. Fair enough. The only issue was that with it being 39 degrees and Pete sweating profusely, the shirt stuck to him like it was a wet t-shirt comp! He likes the shirt and decides to buy it, so he takes it off only for the stall owner to chuck it on the ground like a rag, and Pete gets a fresh new shirt in a packet! His custom cost the guy twice what it should’ve. Maybe you had to be there.


Gigging in a different state seems scary and complicated enough. What was shipping all your gear over like?
Packing wasn’t as bad as it might seem. We stripped back the gear we normally use, and the rest of the case was filled with summer clothes. Seriously, we didn’t even need a jacket over there. That pissed me off.

Anything else our Paper-Deer readers should know?
We’re really good and modest too.

DATES:
  • Friday September 24: The Espy
  • Thursday October 21: Revolver
LINKS:

Friday, August 13, 2010

INTERVIEW: These Patterns

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In late 2008, two girls and one guy started experimenting with dark electronic soundscapes, male-female vocals and tribal drums. The very excellent end result was These Patterns, a Melbourne band famous for their sombre brand of electronic music that has plenty of nightmarish textures, Peter Murphy-style vocals and live drums to distinguish them from the slew of electro jam bands out there. It might also help that all three of them are actually classically trained in their instrument of choice...

The trio is also slowly becoming known for its hardcore DIY approach - as part of the new breed of bands on the streets, these smart cookies realise that throwing money at an entourage of "help" isn't going to necessarily work anymore. Perhaps these three talented kids are just control freaks, but everything from management, booking and the artistic direction of their videos are all done within the band. These Patterns are so dedicated to their DIY cause that they have even started up a production house for their music video escapades. Hell, if Paper-Deer had asked them to write this blurb, they probably would have.


These Patterns are currently slaving away at the recording studo to work on their upcoming EP, so things will be a bit quiet on the gig front until the EP launch in November. But there's no need to worry if you're starting to have awesome-band-withdrawals - Paper-Deer was lucky enough to catch all three Patternites on their way to the studio. Paul Satur, Jess Njoo and Samantha Arthur give us the three different sides to the story.

What pattern is your name “These Patterns” referring to?
Paul: One thing that I have found to be really cool about what we are doing is that we all have different interpretations, encounters and reactions of our name. The name for me is about the fact that I have come from an overly developed suburban area and one thing I have struggled with over the years about such an environment is the monotony of everything, and how so many people just seem to accept that. They eat, go out and where the same things, they live in the same looking houses, doing the same things every week. Just like patterns (see what I’ve done there!), so I suppose these patterns is a reflection of my frustrations with that sort of thing.
Sam: Yeah, I guess we didn’t really have a meaning behind the two words, together they just kind of fit. For me it refers to patterns in life, art, music, nature… everything seems to have a pattern.
Jess: But really our name means whatever you want it to be.

These Patterns is an excellent do-it-yourself type of band and has started your own production company Ludwig Van. Why do you guys love doing things yourself as opposed to kicking back and hiring minions to do the dirty work?
Sam: Doing everything ourselves is a major priority for us. We like to be in control of every aspect of our music, from our designs to our music videos. I think for a band to take control of every part of their music reflects how important it is to us and how it gives us a great sense of euphoria.
Jess: I guess we can’t help it. We love being way too involved in everything. I don’t think we ever thought to get someone else to make us a video, or to help with anything else really. It just seemed like that’s what we should do. A lot of the other bands we like and admire are really DIY and I think that it’s a really important aspect of being passionate about something you are a part of.

The Loui video that These Patterns/Ludwig Van made is really excellent. Is it easier (because you have total creative control) or harder (because you have to do everything yourself) to create your own video?
Sam: We had a lot of fun doing Loui because it was challenging to try and make it as good but also as cheap as possible. We used all our sneaky little resources to make it almost a like a family event, everyone knew each other. We were all feeding off each other’s ideas. With areas like costume, make up and hair we let the artists listen to our music and contribute their own creative ideas and influences. Jess was the brains behind the entire piece, having just finished a degree in film and TV. She organised everything, Paul and I just tagged along and helped out where we could.

What do each of you bring to These Patterns in terms of personality, energy and talent?
Jess: Hmm, hopefully all of the above! Although Sam and Paul seem to disagree, I think I have a killer sense of humour, however incredibly lame at times. I like to use a lot of catch phrases that have died out over the years - I think they help with band bonding.
Paul: For a long time we have always compared ourselves to animals. Our animals tend to change on a monthly basis, but right now I’m a baby giraffe, Jess is a gold fish, and Sam is a three toed sloth... make of it what you will.
Sam: I totally disagree with the three toad sloth comment, but musically we all have really absurdly different tastes. I come from a jazz background, Jess likes folk, Paul likes punk, but strangely when we start writing music these influences intertwine and we are left with a morphed music love child which is These Patterns.

You’re about to lock yourselves into the recording studio. If you can bring only three things with you, what will they be?
Sam: Three thousand pairs of drum sticks. I hit too hard, like a giant ape man.
Paul : Honey, green tea, and a can-do attitude....yay!
Jess: Yes, green tea! But also my camera and a pack of muesli bars.

What can we expect from your upcoming studio trip?
Sam: The sound is going to be more current to our new stuff, somewhere between post punk, experimental, electronic, a lot of tribal sounds strange noises and experimental lapses. We really want to explore every inch of our instruments and stay true to our live sound but also add more layers than we can physically do on stage.

Any embarrassing secrets about These Patterns that you’d like to share with Paper-Deer?
Sam: Alright, biggest embarrassing moment of my musical life was when we played at the John Curtin Hotel and I was carrying my bass drum down the stairs, slipped, did a somersault over it and somehow it landed on top of me. I stood up, looked up to see a bunch of people staring at me, dusted off my knees and hobbled to the car.
Jess: I’m generally pretty embarrassing and make a lot of lame comments which has led to me being denied an on stage microphone, so I guess no one will ever hear my hilarious jokes or embarrassing stories.

Any last things to say to your adoring fans before you leave us for the sound booth?
Sam: Paul will miss stage diving on small girls and spraying beer on expensive cameras.
Jess: Please convince Sam and Paul to let me have a microphone.
Paul: Turn off your TV.....cheers, big ears!


Still having withdrawals? Check out These Patterns rad video for Loui.

'LOUI'-These Patterns from LUDWIG VAN on Vimeo.

DATES:
  • Friday September 10: The Tote
  • Friday October 8: 1000 Pound Bend [Gallery opening]
LINKS:

Sunday, August 8, 2010

LIVE REVIEW: Splendour Report

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Dearest Paper-Deer readers, you may have noticed that this blog went eerily quiet from July 28 to August 3, which is the fault of a little festival by the name of Splendour in the Grass.



DAY ONE:
Paper-Deer and entourage rolled up to Splendour's new crib at Woodford, where we were met with mud and thirty-thousand new best mates to get muddy with. The "security" check on a car consisted of an awesomely laid back guy who seemed disappointed when we told him we honestly didn't have any drugs on us, and told us to let him know if we scored any... presumably because he was in desperate need of dope.

Day one proved blistering hot for our delicate Melbourne skin, and Paper-Deer's skinny-leg-wearing travelling companion was heard complaining, "I almost put a pair of shorts in my suitcase when I was packing, but then I told myself to not be so stupid." After nearly passing out from erecting a tent in the scorching Queensland sun, we managed to drag ourselves to the festival grounds but not before getting seriously lost in an endless sea of navy, khaki and silver temporary homes.

Violent Soho was the first aural feast of the festival, and they did not disappoint with their grunge-revival tunes. Hailing from Queensland but now based in the US, they opened Jesus Stole My Girlfriend by explaining that this song got them in trouble with our conservative Yankee cousins. That tends to happen when you call the son of God a "cunt".

British India seemed to please the indie segment of the crowd, and the Little Red crowd were more then content with the syrupy, retro-inspired tunes by the band. Although we should add that there were a few very angry young men dressed in black skinny legs, Doc Martens and Black Rebel Motorcycle Club shirts checking their watches very anxiously during Little Red's performance. A couple of stray girls from Little Red's set decided to stay on and hung tight to the barrier, but the sight of a completely badass leather-clad Peter Hayes doing sound check with a rebellious cigarette dangling from his pouting lips absolutely frightened them. "Um, excuse but are Black Rebel Motorcycle Club heavy? Will we get trampled?" one of them nervously asked another punter. The four girls managed to survive because of a tamer-than-normal mosh pit, most probably because the crowd were absolutely blown away by the phenomenal three piece's grimey, blues-drenched garage rock.

Back at the GW McLennan tent, Lisa Mitchell (aka Audrey Hepburn lookalike) frolicked around a stage decked out with coloured flags and her devoted backing band. But despite all the hype about this gorgeous nymph going from an Australian Idol contestant to Australia's next idol, her performance totally panned out. Weak, Angie Hart-esque vocals sound dainty in the studio, but guess what? Dainty just sounds weak in a live setting. One punter was overheard saying, "Wow, it's like over-processed open mic night" before shaking his head and running out of the tent screaming, thus lowering the male to female ratio in the tent even more. LCD Soundsystem was a loud relief to the ears after that all that soft, whingey folk, and they turned their stage into one big muddy arena of people dancing like drugged up music lovers. Which they probably were.

Perhaps the most memorable part of the day was not watching amazing bands while sun baking on a gorgeously green Queensland hill, but frustratingly trying to find our way back to our tent. Poorly marked out roads, lack of lighting and the fact that the marshals were completely uninterested in even directing us to a map didn't help us in the slightest, but we somehow managed to get to our tent but only after a considerable period of time and picking up a few other lost souls on the way.

DAY TWO:
Despite our greatest efforts to laze about naked in our sleeping bags until at least noon, it turned out that a plastic tent in the northern heat makes quite a good oven. Instead of roasting away, Paper-Deer and co trudged along and watched the very talented Jonathan Boulet and his backing crew hammer out their delicious, percussion-driven indie pop tunes at the main amphitheatre, followed by the also excellent Band of Skulls doing their thing.

Paper-Deer just missed out on Melburnian gems Oh Mercy (damn queues for mini Dutch pancakes!) but got to dance up a storm at the incredibly amazing John Steel Singers, who were accompanied by dancers wearing horse masks. The boogie-trend continued with Philadelphia Grand Jury with their jump-worthy tracks like I'm Going To Kill You and I Don't Want to Party [Party]. The three men ran about stage in their usual haphazard fashion, smashing equipment while pre-recorded banter blared out over the amphitheatre, and previewed a new song for the Splendour crowd.

Next up on the main stage was Operator Please, who have proved that they are most certainly not a one-hit wonder. While they did play Just a Song About Ping Pong, they got the crowd moving with a reworked version to keep it fresh, as well as showcasing their seriously shiny and amazing fashion sense.

We headed down to the GW McLennan Tent (which a friend dubbed "the boring acoustic tent") to watch Laura Marling and to see what Jack White is going on about. She was undoutably charming, and it was quite hilarious and lovely to see completely "blokey" going all mushy and singing their hearts out while clutching to their beers.

Back at the main stage, Wolfmother turned the main amphitheatre into bogan central with their excessively safe and wanky tunes. It must be said that the Led Zeppelin/Black Sabbath cover band did seem to impress most of the fist-pumping crowd, but there were quite a few of us hanging out the back rolling our eyes.

By the time that Florence & the Machine came onto the stage, the summery skies closed up with thick, purple clouds ominously rolling around above us. There was almost an electric quality to the air as Lady Florence started belting her heart out in a floor length lace dress and a white cape with her fiery red hair peeping out of the hood. If Lisa Mitchell disappointed us with her lack of stage presence, Florence was the complete opposite. Tearing across the stage, bouncing along barefoot, the red-haired Briton unleashed her vocal abilities with songs like Kiss With A Fist, sometimes bashing away at a floor tom by the microphone. With her almost mystical persona and waving a drum stick about like a magician's wand, the crowd watched her every move in awe like they were witnessing a goddess.

The Strokes headlined night numero duo, and lead singer Julian Casablancas seemed totally overwhelmed by the crowd every time he addressed the audience in between songs. "Look at this cauldron of humanity!" he proclaimed, in what has probably become the most quoted line from the three-day festival. The New Yorkers planned out an excellent set for their fans, full of crowd favourites like Last Night.


'Flo of the 'Mo

DAY THREE:
Despite the lack of proper showers and incredible amounts of dirt, this reviewer was incredibly jealous of all the beautiful girls strutting around in perfectly clean clothes and immaculate make-up, and was half tempted to sneak back to their tents to see if there was a make-up team on hand. But back to the music...

The day opened with Cloud Control soothing tired festival-goers with their mountain music, followed up by Surfer Blood back at the main amphitheatre. We Are Scientists' banter was definitely the best at the festival, with Keith Murray's incredibly bizarre but hilarious sense of humour. At one stage, he put out a safety announcement, warning the crowd to be careful of the steep slope in case they slid down at landed on the giant spikes at the bottom of the hill. Some of the slower (or perhaps inebriated) punters looked confused, but the rest of us has a quiet chuckle to ourselves. The greying band was followed by Ash, who impressed Paper-Deer until we realised that they had a backing track. Tsk tsk.

Unlike their hilarious David Letterman performance, The Vines' set was rock solid, and packed to the brim with their seriously fucking excellent garage rock. Lead singer Craig Nicholls seems to have put on a few pounds but his signature sexy crazy-man hair and devil may care attitude was more than intact. The Sydney band had the crowd under their thumb as they played songs like TV Pro, Winning Days and Get Free.
Kate Nash was hilariously crude and ladylike at the same time, with a banner in front of her keyboard reading "A CUNT IS A USEFUL THING" (point noted). She did have a several good whinges to the light guy, doing a little girl singsong tantrum routine about the lights "attacking" her, but we weren't sure if she was just playing or was just a legitimate princess.

At the Mix Up Stage, Alison Goldfrapp of Goldfrapp came onstage in a fierce flurry of black streamers, and wowed audiences with her electropop-ness but Paper-Deer had to leave before Goldfrapp had a chance to play any favourites like Strict Machine or Black Cherry to get a good spot for Pixies at the main amphitheatre.

Paper-Deer are not really into Mumford and Sons, but there is no denying how truly amazing they are. Armed with their beautifully crafted acoustic songs and humble onstage personas (repeated thanking Australia for being so good to them), the crowd loved them every bit back. The amphitheatre was completely packed, with not even a patch of dirt to spare. Everyone was jumping around, waving their arms, taking photos, singing along wholeheartedly, and there was even an inflatable zebra in on the action. It was clear: Mumford and Sons should definitely start a cult in Australia.

A large portion of the Mumford crowd stayed to watch grunge gods Pixies, but most did not stay. This writer should probably add that she is a massive fan of the quartet, but was seriously disappointed. Black Francis' dour attitude at their recent sellout show in Melbourne seemed to have gotten worse, and the only bit of banter in the entire set was a delightful little exchange between Francis and Kim Deal at the start of their famous Where Is My Mind. But it was admittedly hilarious when many non-fans (eager to hear at least some sort of interaction) actually replied to Black Francis when he yelled out "HEY! Been trying to meet you!" at the start of Hey. Perhaps they were a bit offended when he didn't reply, or just plain bored, but the human pit that Mumford and Sons commanded turned into a wide open space after a mass exodus about three songs into their set. On the plus side, devoted fans were treated to many non-Doolittle tracks like Bone Machine, Gigantic, Cactus, Caribou, Cecilia Ann and Velouria. It kind of proved that being able to sell out show in a couple of minutes doesn't always mean they should. (Paper-Deer is also readying itself for an onslaught of angry Pixies fans commenting on this post.)

Monday, July 26, 2010

INTERVIEW: East Brunswick All Girls Choir

We have moved! Our blog is now at www.paper-deer.com


If you live in Melbourne, and are a guitar-driven live music enthusiast, we're sure that you already know all about East Brunswick All Girls Choir. If you are but you don't know them, they please weep horrible tears of ignorance, or at least read this interview so you can sound really with it the next time you're trying to impress your fellow gig-going friends at The Workers Club or wherever it is you hang out.

The reason why they're one of Melbourne's best unsigned gems is their music. Here are a bunch of shoegaze, noise kids who don't do pretentious or self-indulgent. They released an EP called Dead Air some time back which left a trail of dropped jaws in their wake (here's what the Mess+Noise crowd had to say), and you should definitely start saving up for round two of jaw surgery because we heard it from a small bird that there'll be a new record in a few months.

The caption for this on their MySpace is "Gullfuck".

Paper-Deer asks main vocalist, guitarist and resident-dead-panned-onstage-banter-person Marcus Hobbs some annoying questions.

Does the name “East Brunswick All Girls Choir” get confusing since there’s only one girl, you’re not really a choir and none of you have ever lived in East Brunswick?
There has been a fair amount of occasions where we have turned up to a venue and explained who we were, probably something to do with trying to get free drinks and they seem astonished that there isn’t actually a girls choir. I used to drive through East Brunswick, I’ve been everywhere.

Do you get asked that a lot?
I expected it.

Why the name change from Smokin Hot Bitch?
It’s just not appropriate really, I don’t actually mind that name as such but for the music that was rolling along with it the title didn’t really work and it was in every sense pretty stupid.

I noticed that all of your Dead Air EP covers are different. Mine has a rat on it. Did you all have to painstakingly make different covers for every copy?
Yeah we do but it’s not actually that much effort. I think for the next release I’ll be sticking with a set cover design though. We poach all the materials from our work spaces though so it turns out to be really really cheap to make CDs up... but that is countered by the fact that you have to sit there and make the CDs up.

Why was Dead Air recorded over just one sitting?
Money.

Was Thanks For the Fucking Job written in response to a particular job?
Ahhh it’s not really about a job at all but I think I had written it perhaps just after starting a new job. I was rolling home on the train and saw two transient looking fuckers drinking Woodstocks and having a blast. They seemed happier than every other dog on the train in a suit. I think the title comes from knowing that you will eventually have to work and be grateful for getting work but generally it’s all a big shit in the mouth.

How would you describe the East Brunswick All Girls Choir sound?
I think we’ve turned into a loud band, somehow. Which is fine but there’s some blues elements with noise and maybe some folk. Perhaps even a stoner rock bass line here and there. They’re just songs, just songs played by us.

There’s the three of you, and then there are a whole lot of drummers. Why the rotating percussionists?
We keep picking drummers who end up in the following months to have a million engagements. The problem is there are a fair few drummers in Melbourne but only a handful who I really want to play with. Basically, good drummers are already taken or too busy. But we want them.

Any embarrassing secrets or funny stories about East Brunswick All Girls Choir that you’d like to share with Paper-Deer?
There is too much disgrace to even get started.




DATES:
  • July 31: Builders Arms
  • August 20: The Empress Hotel
LINKS:

Monday, June 21, 2010

GIGS: Leonard Cohen + Peter Hook

We have moved! Our blog is now at www.paper-deer.com


Lots of music buffs like to bitch about our lovely island country, and how isolated we are from the American and European music scenes. And how few bands can actually be bothered to spend thousands of dollars on getting themselves and their expensive gear halfway across the earth... to tap into an impossibly tiny potential market of a mere 22 million people spread out over a really big distance (as opposed to the 14 million in New York State alone). Which is understandable.

But bitch and moan no more. Leonard Cohen is coming to Australia. If you were writing a list of the most influential musicians of all time, Mister Cohen would be up there giving Bob Dylan and Johnny Cash a hard time. Concert goers have described the Canadian's shows as religious and life-changing... and it's unsurprising that tickets to see the folk troubadour are an astoundingly expensive at $139.50 to $284. And there I was, complaining about Splendour ticket prices (before succumbing, of course). Looks like I'll just have to keep on giving my Leonard Cohen concert DVD some loving.

For those a little more post-punk inclined, Peter Hook will also be gracing our shores later this year. The bassist and founding member of Joy Division will be performing their seminal album Unknown Pleasures from start of finish. And since vocalist Ian Curtis topped himself in 1980, Hook will be joined by various musical friends but no one has been named as of yet. Apparently some people have been criticising the Englishman for milking something that is way past its expiry date, and this is what he had to say: "We had a club full of people tonight who think we should be doing it and the others can just fuck off." If the recent Pixies tour where they played Doolittle from start to finish (which Frank Black unashamedly announced was a money-making machine) is any indication, this is probably one of those situations where you should pull a sickie just so you can snag some tickets.

DATES:
Leonard Cohen - tickets already on sale:
  • November 6: Brisbane Entertainment Centre, Brisbane
  • November 8/9: Acer Arena, Sydney
  • November 12/13: Rod Laver Arena, Melbourne
  • November 15: Derwent Entertainment Centre, Hobart
  • November 18: Adelade Entertainment Centre, Adelaide
  • November 24: ME Bank Stadium, Perth

Peter Hook and Friends - tickets on sale July 2:
  • September 24: Palais Theatre, Melbourne
  • September 25: The Enmore, Sydney
  • September 27: Tivoli, Brisbane
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Wednesday, June 16, 2010

BAND: Clavians

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I went over to Revolver Upstairs last week to check out my mate's new band (The Villains Lair, who apparently sound like Arctic Monkeys but I hear The Strokes and Franz Ferdinand much more), where they were supporting a band called Clavians.

I don't know how Clavians is pronounced, but I do that they are pretty excellent. I have a tender spot for any kind of music that can be described by the word "jungle", and this Melbourne two-piece tick all the boxes. There may only be a four hands and four feet in this band, but they make a hell of a lot of decent noise. Middle Eastern inspired tuning choices, hypnotic post-punk beats and two-step goodness all mixed together in a shy two-piece wonder package.

Clavians are doing another two nights as part of their Revolver June residency on the June 23 and 30, then again on July 9 at Old Bar.


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