Young Bloods Blood New Initiatives

Hola! I'm back from the cold heart of Melbourne and semi-refreshed for the second half of 2010. I have much writing to do and little time to do it considering I'm a) need to catch up on work and b) looking for a new job. Argh. Anyway, heaps of great looking local gigs coming up. If you're not doing anything this Vendredi you might be interested in checking out a new initiative occuring at the Legions Club this Friday.

It's presented by Brisbane Sounds and Starving Kids and the first instance features Teenage Wolves [pssst, I interviewed them last week], Dirty Bird, Bixby Canyon and Calais. Cost is $10 and drinks are allegedly at '1985 prices' plus it is all-ages. Woah, what more can you ask for?

Young Adult Canines: Interview with Teenage Wolves

I came across Teenage Wolves due to an extremely positive review I read on the Brisbane Sounds website. They're a relatively new band and, from what I can hear, should cause a bit of a freakin' ruckus in this fair town. Before the end of winter, they'll be cooreographing Clint-Eastwoord style gun duels in the Brunswick Street Mall. Doubt me? Well go have a listen and you'll soon understand.

Anyway, Jasmine from the band graced me with a few minutes of her attention via the ol' email, enough to answer a series of fairly innocuous questions courtesy of yours truly.

Do I detect elements of PJ Harvey and Ennio Morricone in your sound? Where do your influences come from?

We both have very different musical backgrounds but our tastes are slowly merging together as we influence each other with our own musical preferences. The Ennio Morricone influence rings very true, there’s something timeless about spaghetti westerns, in particular Sergio Leone’s films and the soundtracks Morricone adds to them are hauntingly brilliant. But spaghetti westerns aside my main influences are the Delta blues, psychobilly, early 60’s garage rock and 50‘s rock ‘n’ roll.  

I love the way the songs are recorded. Was this a conscious choice?

Lane studies audio engineering so we’re lucky enough to have access to a studio every now and then. I’m really glad people dig the reverb on the recordings, I fought hard to keep that in there! Lane told me I use ‘too much reverb’ I told him there’s no such thing. He let me do a vocal take in his bathroom recently so I think he’s warming up to it.

How did Teenage Wolves come to be?

We’ve known each other for fourteen years now but we’ve only started playing music together as a two-piece very recently. We would try out other people for different roles but no-one could really understand what we were about, so we just kept it as the two of us, it felt right.  

Any favourite records or artists?

Lanes pick of record is Rated R by Queens of the Stone Age which is also his favourite band. I can’t bring it down to just a single record but I’m mad for The Cramps.  

Any local bands you think we should be paying attention to?

For personal safety reasons people should be aware of a group who creep around Brisbane and call themselves The Chokes. They’re some of the nastiest, low brow - low fi misfits playing instruments I’ve ever met. We’ll be arranging shows with them soon. 



I note a number of forthcoming gigs. What, when, how, why?

We’re lucky enough to be playing a handful of  local shows over the next month which is great, we get a real kick out of playing live. We have all the details for any upcoming shows on our site, with some more being added in the next week or so.  

What are the future plans for Teenage Wolves? Headline gigs, major festivals, the trashing of hotel rooms?

We’ll be recording as soon as we get the chance. We have a lot of new songs that have been written recently that I’m wanting to hear recorded, but until then playing around town and just focusing on writing and rehearsals. It’s such early days for Teenage Wolves that it’s still at this really exciting stage for us.  


Excellent. I suggest you check them out. Teenage Wolves play the Legions Club on the 2nd of July, Lambda on the 15th, The Troub on the 23rd (supporting Bonfire Nights at their EP Launch), and the Step Inn on the 24th. Holey Moley.

You can listen to their stuff on myspace and download some tracks from the Triple J Unearthed Website (I encourage you to have listen - it's great stuff].

Cabs off Ranks: BigSound Announces Initial Lineup

Music conferences are the flavour of the week! For those who don't know, BigSound is the Q Music endorsed music business event that is usually held in Brisbane each September. This year line-up includes a whole bunch of people from overseas including Brian Ritchie of the Violent Femmes. There are also a bunch of bands playing including Children Collide, Boy and Bear, and the Vasco Era. You can read all the info at the BigSound website.

What in the Hell is Going On?

Perhaps I'm too easily annoyed at things that are really not that important. Yesterday, it was my sloppy guitar playing at band rehearsal. Today, it’s the fact that the city is putting on a concert to celebrate the opening of a confusingly named "Go Between Bridge" on the 25th of June.

One could claim that I'm evolving into a some kind of elitist grouch, nonetheless I’m still rankled. It could be my underlying resentment of the infrastructure plan that Can-Do Campbell has inflicted on the city (it’s not all bad, Campbell, I’m a big fan of the busway). The expansion of unneeded car-based transport options, particularly into an area of Brisbane which is increasingly becoming overly gentrified, makes me more inclined to rail against a concert to support of an expensive and inevitably underutilised toll bridge (prove me wrong, Brisbane)*.

Town planning concerns aside, you will note that this concert will cost the punter approximately $50 to see a mix of interstate and local bands (including Robert Forster). The line-up doesn’t exactly show any diversity now does it? Are not Bob Evans and Josh Pyke like the very same person? I mean, they look different but they peddle the same singer-songwriter stuff that often seems tiresome. Bob, go back to Jebediah, they miss you.

It seems the same types of acts always get trundled out at these community events. I guess with a target audience of bridge aficionados, the government and organisers have assumed that there is little or no chance that sludge rock covers of songs from 16 Lovers Lane by more esoteric local acts, such as No Anchor, will not generate the necessary coverage from a city seemingly obsessed with Powderfinger.

I guess why I am annoyed revolves around the fact that the organisers are flying in bands from other states to open a misguided piece of infrastructure that happens to be named in honour of a Brisbane musical institution. Sure the John Steel Singers, Yves Klien Blue and Robert are all from here, but is the musical landscape so sparse that all the artists couldn't be local? Furthermore, is it me or does the ticket price seem slightly expensive? Perhaps a bill with local talent would have reduced overhead costs. While I don't begrudge the artists or the charities involved from making a living, but surely this event could have been subsidised by the government. I guess with the relative non-use of the Clem7, the government has to make its money back somehow.

Well, if you're interested, go along, and see some people from Sydney play your favourite 'Go Between' song. I think I might sit this one out.

* Andrew Stafford might just agree with me.

Idle Thoughts on UnConvention Brisbane

Yesterday I attended the second day of UnConvention Brisbane, a conference dedicating to exploring the various dimensions of the Brisbane independent music scene. While I only managed to make the second day due to the acquisition of life-threatening hangover the day prior, given the quality of the conference, I wish I had reconsidered drinking all those beverages on Friday night.

The first session featured a panel discussion on Music and the Media. Generally this session revolved around how and why people might get involved in music journalism (both in written form and over the wireless) and some tips and tricks about how to get your stuff published. Considering that I have spent many hours idly bashing away on this blog, this discussion was of particular interest to myself.

The insights provided by the panel members were very valuable. I particularly liked what Steve Bell of Timeoff and Chris Harms of Rave Magazine had to say about what makes the ideal street press writer. Matt Hickey from WhoTheHell.net also had some very interesting things to say on the roles of weblogs in unearthering new sources of music and the trials and tribulations of doing so. Paul Curtis, manager of the likes of Regurgitator and founder of Valve Records, provided some humorous interludes. He almost seemed amazed at the changed nature in which music media is now delivered as well as how the industry has had to struggle with the behemoth of the Internet. While I've never seriously considered ever making a 'career' out of what I do here as a hobby, it was also interesting to hear what options one can create for themselves.

The Music as Culture session was similarly informative but more in a reflective manner. Featuring the likes of Everett True, Andrew Stafford, and Kellie Lloyd of Screamfeeder, this session devoted itself to talking about the place and importance of music within the culture of the city. Everett was at his inflammatory best, giving a great insight into how he perceives the Brisbane music scene as a relatively newcomer to the city. I particularly liked his point regarding the late-night midweek gigs and how they may contribute to undermining the scene. Andrew Stafford provided some interesting points on haircuts as well as jaded music criticism while Cam Smith relayed the cultural aspects of recording Brisbane's musicians. The panel's discussion on the comparative dimensions between scenes such as Melbourne and Brisbane was also extremely interesting, acknowledging that it might be a misnomer to believe Melbourne's scene is any better than our local one. Just as the music and the media session was educational, the music as cultural session was both humorous and informative.

You can tell that I really enjoyed it. I had suspicions at first that it would be simply a congratulatory circle jerk but I was wrong. Having a panel discussion allowed for an array of often divergent views to focus attention on what may be good and what may be not so good about the local music scenic. Furthermore, I also got to say 'hey' to some fellow bloggers, including Bianca from Music For the Laundromat and Jodi from Plus One. It's always great to put faces to names. Congratulations to Andrew McMillen and Dave Carter for organising what was a great and badly needed conference that I hope returns next year.

Album Review: Tame Impala - Innerspeaker [2010, Modular]

You know what? I really disliked Tame Impala's 2008 debut EP. Other than the opening track, “Desire Be, Desire Go”, I didn't feel much inclined to what seemed derivative wankery. I wasn't convinced, instead, I was bored. At the time, I thought Tame Impala would be more suited to domesticating african antelopes rather than subjecting the public to Wolfmother 2.0.

Well, put the fish in the kettle, things have changed. Innerspeaker is so accomplished that even our musical overlords felt kind enough to give it a review that didn't feature a monkey urinating into its own mouth. What has changed? Well, the songs got better.

I can't really fault the record. In particular, "Alter Ego" is a bollucking journey through psychedelia-land that makes me feel like driving out west, over the Great Dividing Range and finding a field to dance around in. It is the first song in a triad of consecutive greatness. "Lucidity" shows us all the things that Wolfmother seemingly can't do, playing music without their heads getting stuck up their own arses. "Make Up Your Mind" is hypnotic while instrumental track "Jeremy's Storm" is determined, much like the storm it is allegedly named after. The jewel in the crown comes near the end, "Expectations" with its great chorus phrasing shows us that the land of the flange has finally reopened. Maybe my poor flange pedal can finally show its face around town now that Tame Impala have made it socially acceptable again.

Much of Innerspeaker's appeal lies in the way it’s recorded. Deliberately lower fidelity and flatter than the usual 'slickness' that comes out of modern day recording studios, makes this record a lot more interesting than a lot of the stuff that gets shoved on the airways these days. It’s very listenable, much more so than their previous EP. Some have criticised the record for being so deliberately derivative that it may lead to questions over the band's ability to sustain their current appeal. I think this 'derivative' assessment a bit harsh. How can any band hope to escape the weight of their influences? I believe a better approach is to appreciate Innerspeaker for what it is, and that is, a great debut record.

Sounds Like Brisbane and the Inhabit Fiesta

Ohh! Free local music alert. You may have heard about Sounds Like Brisbane, the product of the work of several prominent local record labels including Plus One records, Dew Process and Valve (full list here). It is a very interesting little project that aims promoting and supporting the local music scene. In many ways, its a 'co-op'. Much like Proposition Joe's co-op in The Wire, except involving music instead of heroin. Yes, I've been watching a little too much of this seriously awesome show, so much that I've begun to compare friends/institutions/situations to the ones so realistically portrayed in the Wire.

Anywhoo. Their website has a load of information on future plans and ventures and includes a number of free tracks from local bands including Carry Nation and the Optimen. Check out an interesting article on the history of local music labels compiled by Andrew Stafford.

But...there is more. Next Friday, the 18th of June, Sounds Like Brisbane will be curated a miniture festival in conjuction with the Inhabit Fiesta that is happening in the city. What is the deal with this? Well I'm glad you asked. Basically, a bunch of local bands are set up in stages in laneways around the CBD (Burnett Lane between Adelaide and Queen) and Island Court (between George and Elizabeth Arcade). Artists include Last Dinosaurs, The Blowhards, Halfway, Butcher Birds and a load of other great acts. And all it will cost you is a few hours of your time.