Get Familiar with Mutu

Aussie urban act Mutu has gained a steady following with support slots with Flo Rida, Jason Derulo, Akon, Pitbull, and Kelly Rowland. Now this promising young talent is stepping into the spotlight with his debut single “Familiar.”

The tracks been developed by some of the best in the business. Home grown producer Styalz Fuego (Snoop Dogg, Kelis, Sneaky Sound System) and American engineer Brent Kolatolo (Kanye West, Lenny Kravitz) have both put their stamps on the tune.

“Familiar” is at radio now ahead of its digital release on October 4. Mutu will announce his headline tour in the coming weeks, so keep your ears out for that!

New Song Obsession: “Hold On, I’m Coming On” by Dan Kelly

Gee those Kellys are a talented lot. Dan Kelly, nephew of Paul, has stepped away from his Alpha Males band mates to record his new album Dream. The solo disc features the track “Hold On, I’m Coming On” which is a great slice of cruisy summery pop-rock. This is the kind of tune that lodges itself in your brain, but you don’t really mind because it’s so much fun. The film clip is pretty cool too, with its retro Super 8 camera work. Check it out! And if you like what you hear, make sure you see Dan doing his thing live at the following shows.

18 September 2010 – Republic Bar & Café, Hobart
24 September 2010 – Rosemount Hotel, North Perth
25 September 2010 – Wave Rock Weekender, Hyden
26 September 2010 – Mojo’s Bar, Fremantle
1 October 2010 – Edinburgh Castle Hotel, Adelaide
7 October 2010 – The Maram, Canberra
8 October 2010 – Northern Star, Newcastle
9 October 2010 – Annandale Hotel, Sydney
15 October 2010 – Karova Lounge, Ballarat
16 October 2010 – The Loft, Warnambool

City Riots Supporting Smashing Pumpkins

Adelaide’s own City Riots have earned the coveted support slot for the Smashing Pumpkins upcoming Aussie tour.

The indie act were handpicked by lead singer Billy Corgan to support the iconic rock band at dates around the country.

No doubt City Riots will be a well oiled machine by the time the October tour rolls around, having just wrapped up their own national tour. So make sure you turn up early to support the local talent at these Smashing Pumpkins shows!

12 October 2010 – PCEC Riverside Theatre, Perth
13 October 2010 – AEC Theatre, Adelaide
15 October 2010 – Festival Hall, Melbourne
16 October 2010 – Big Top @ Luna Park, Sydney
17 October 2010 – The Tivoli, Brisbane

Image used with permission from Shiny Entertainment

Q & A with Ghostboy with Golden Virtues

Queensland’s Ghostboy with Golden Virtues are preparing to unleash their unique brand of punk cabaret on Sydney audiences for the first time this month.I caught up with the band ahead of these historic performances to chat about their new album, their love of theatre, and pushing musical boundaries.

You’ve got a really interesting band name. Where did it come from?
Ghostboy was first diagnosed by performance art rock influenza in 2005, and this is the name the W.H.O. gave to his disorder (no man/all spirit). Golden Virtues were a band unto themselves when the two met and then became casual then full time lovers in 2006. Are main virtue: let the art fall to see if it can fly.

You’ve recently released your new album Enter. What can you tell me about it?
Enter has been described as having a “calculated savagery”, as “wonderfully malevolent ghoul rock” “cabaret-from-hell” and as “spooky rockabilly.” Our songwriting is very visceral; the music both muscular and heartfelt, the lyrics direct and unsettling. The idea of this album was to explore the different aspects of sex, gender and relationships, including interpreting Iggy Pop’s “Sister Midnight” and Serge Gainsbourg’s “Je t’aime … moi non plus”. We are launching the second single “Love Me” while we are in Sydney @ The Supper Club in Darlinghurst (it is released digitally Sat 18th Sept).

As such a theatrical band, how do you approach capturing your energy in the studio?
We were very keen to replicate the aesthetic and moods of our stage set-up and live show in order to inhabit the songs in the studio, inspired by some of the recording approaches of Tony Visconti with Bowie and Eno with just about everyone he worked with. This included me being handcuffed and surrounded by mannequins and art porn shots while doing the vocal takes for the song “If I Were a Rock”n”Roll Girlfriend,” with a stage mic plugged direct into a guitar amp.

Your band combines elements of punk and cabaret, which is so unusual. Where did your interest in cabaret come from?
I have always been drawn to acts of the 70s like Alice Cooper and David Bowie, whose stages were an invitation to enter a “world” for the duration of the show while they became their “other” e.g. The Thin White Duke. I also love the way Iggy Pop has this performance art element to his work, the drama and narrative arcs of Mikelangelo & the Black Sea Gentlemen, and the live work of cabaret performers such as Taylor Mac. The idea grew of setting all of this in a cabaret context including throwing in trad & non-trad cabaret covers, such as Jaques Brel and Katy Perry, in order to stretch the form and see what can made of cabaret when you approach it with a punk/performance art aesthetic.

You’re going to play Sydney for the first time this month. Are you looking forward to getting in front of the crowds there?

Yes, the whole gang is very excited. It is a chance for us to play to new and unknown audiences as our main following is in Brisbane and Melbourne. As it is our first dates with Sydney audiences, we hope they buy us flowers, be sweet yet demanding, dance with intent, drink to impress, bring their mother and her best friend, and remember our name.
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Glenn Richards Releases Single Ahead of Solo Album

I’ve always been a fan of Glenn Richards work in Augie March, so I was keen to see what his solo music brought.

Solo projects are usually a bit of a departure, allowing musicians to explore genres and techniques they can’t within the constraints of their band, and it seems Glenn’s is no different. So far I’ve only listened to the single “Torpor & Spleen,” but it’s got a lovely organic quality to it which veers dangerously close to bluegrass. Don’t worry; that’s a good thing.

It’s definitely the kind of tune that makes me want to hear more of Glimjack, the solo album Glenn Richards has worked on with his friends Dan Luscombe, Mike Noga, Ben Bourke, and brother Chris. They’re a talented bunch, and no doubt this album, which will hit stores on November 5, is going to be critically acclaimed. That’s high praise indeed coming from just one single, but it’s just that good.

Image source: Jeanie Mackinder @ Wikimedia Commons

“The Murders” – Davey Spicer and the Creatures of Habit

Brisbane band Davey Spicer and the Creatures of Habit deliver groovy organic music with edge with their debut album The Murders.

It’s an ominous sounding title, and one which is perhaps eerier than the album warrants. However, these tunes are a lot darker than your average roots music from Byron Bay. These musicians are no hippies.

The album starts with “Waste of Beautiful,” a groovy tune with biting lyrics. It’s followed up with “Sinner/Saint,” with is so hooky and summery that you almost forget about the sharp words behind it.

Things take a turn for the eerie with “Bad Dream.” It opens to the sound of a sharpening knife, an effective tool for creating that sense of foreboding. Again, the instrumentation is so jaunty that unless you’re listening to the lyrics you might miss the darkness. But it’s there, deliberately underpinning that lightness.

From here the album gets a bit darker and more rock focused until “Love is Insane” brings it back to a less brooding place. The song is playful, despite its harsh truth.

I listened to The Murders a few times on a few different days before it really stuck with me, but when I got it I really got it. This album is full of melodic hooks yet deliciously dark, a wonderful anecdote to so much of the sleepy music around.

Celebrate Halloween in Sydney at The Metro’s Monster Mash

As a woman married to an American, I’ve always felt a wee bit jealous when he’s talked about Halloween. I remember once trying to trick or treat as a child with a couple of school friends, but as no one really expected us we only bagged health food bars and lollies that had sat in cupboards for years.

If you’ve waited all your life to celebrate this ghoulish holiday, you’ll want to get to The Metro in Sydney on October 30 for the Halloween Monster Mash. It’s going to be great fun with a witch cave, vampire bar tenders, and even a graveyard!

And it wouldn’t be The Metro without music. Artists like Dappled Cities, Last Dinosaurs, and SPOD will take the stage dressed as their favourite dead bands. Add some fire breathers, giant spiders, and a human vending machine and you’ve got a night guaranteed to raise the hairs on the back of your neck.

So make sure you dress up in your spookiest costume and embrace this American holiday at The Metro. There are still some early bird tickets available at $25. Otherwise you’ll pay $35 before the event or $40 at the door. Gets yours from the Halloween Monster Mash website.

Image source: Nvadim @ Stock.xchng

“The X Factor” Wash Up

I was waiting until the live shows to write about The X Factor, but after spending last night screaming at my television I figured I’d fast track some posting.

The X Factor has had its critics, especially those who applauded the “resting” of Australian Idol, but I was thrilled to see another musical talent show on Aussie television. I’d watched all the auditions and picked my favourites, and was really enjoying the process. At least I was until last night, when it seemed that the best performers wouldn’t make it to the live shows after all.

With the exception of Natalie Imbruglia, every judge had a few dog acts. I just didn’t expect them to make the final cut.

SYDNEY, AUSTRALIA - JULY 30: (L-R) The cast of 'The X Factor' Guy Sebastian, Natalie Imbruglia, Ronan Keating and Kyle Sandilands pose during a media call on July 30, 2010 in Sydney, Australia. (Photo by Mike Flokis/Getty Images)


My first disappointment came when Guy Sebastian cut Jahmaking it Funky, a band that hadn’t put a foot wrong in the competition thus far. Criticising them for sticking to reggae seems a bit hypocritical to me when bands like Mahogany and Kharizma are sticking to R ‘n’ B. But there were more shocks to come when Guy opted to put Luke and Joel into the finals over Lazy J and Big Guy. I wanted to get behind Luke and Joel as a fellow Novacastrian, but they just haven’t delivered. Lazy J and Big Guy had their flaws too, but at least they showed some originality. As far as I can see it, Guy has one serious contender in Mahogany. Kharizma aren’t bad, but everything they can do Mahogany simply do better.

There were more shocks to come when Ronan Keating decided to give Altiyan Childs yet another chance. I just don’t get it. He hasn’t remembered the lyrics once, and even when he does perform he seems like a bit of a poser. I couldn’t believe he made it through the auditions, so I’m shocked to see him get to the main event. Something tells me he’s going to go pretty early.

But my biggest shocks came when Kyle did the culling. I don’t claim to know everything there is to know about music, but I know what I like. And what I liked was Darcy, TJ, and George. Three of my favourite competitors, now all gone. Kyle has a snowball’s chance in hell of winning this thing.

Which left Natalie, who couldn’t put a foot wrong because her group was so strong. Still, I was thrilled to see her put through the stand-outs, Sarah and Hayley. Any one of the other girls could have easily got that third place, so I’m happy there.

I was excited about The X Factor, but after last night’s show I’m feeling deflated. We were meant to be looking for performers with something special, and there seems to be only a handful left that fit the bill. What do you think of the judges’ decisions?

Funk N Grooves @ Pokolbin, 11 September 2010

On Saturday I made a pilgrimage to the Hunter Valley to attend my third Funk N Grooves Festival. It’s a festival that’s been in a state of flux since I first attended, an event which seems like it’s ever changing in attempts to find its feet. And at its new home next to Tyrell’s Winery, I think it’s getting there.

The new venue gave us all plenty of space to spread out with our picnic lunches and fold-up chairs. It also made it much easier to get a drink. You might remember my complaints last year about the incredible queues, but this time around the organisers got it right. With separate lines for wine and beer/spirits, no one was really left waiting too long. The drink was flowing, but the limits on what we could buy and the ever watchful security staff ensured no one got too obnoxious.

The food too was a marked improvement on last year. I devoured my cumin dusted calamari and the gorgeous chunky chips with rosemary salt. If only all festival food could be this good!

But these kinds of shows are all about the music, and this year the event delivered more than ever before. Bands played on two stages for a good nine hours, several hours longer than in previous years. The kind of music the event hosts is also evolving, perhaps with the involvement of new sponsor Triple J. While earlier festivals focused on blues and roots, now we see more rock and hip hop. I suppose this is what the kids want; there were definitely plenty of enthusiastic fans down by the stage, but I preferred the artists we were served in years gone by.

That’s not to say there wasn’t some brilliant music. I couldn’t wait to see Washington, and she didn’t disappoint. The crowd was attentive when she sang her most poignant of ballads, and rapturous when she treated us with a playful cover of The Divinyls “I Touch Myself.” The singles “Rich Kids” and “Sunday Best” also went down a treat.

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