Wolfmother’s ascension to international fame was relatively quick compared to the years of slogging out the majority of bands encounter before even gaining a sliver of recognition. Was it being in the right place at the right time, knowing the right people, having a product that stood above the rest? Maybe a mix of all?

The rapid journey was clearly not without its price and strain. Stating plainly that “in spite of their best efforts over a long period of time, they just could not find a harmonious way to work together”, one has to wonder if things were harmonious at one point and the pressure of success cracked it, or were frictions always part of the band chemistry and success exacerbated the rifts?

It’s not a new story and Wolfmother is not the first (nor will be the last) band to implode in the limelight. The press loves a good catfight, but what I find more intriguing are the bands that do endure, successfully, peacefully, and continue to make relevant amazing music. Bands like U2 and Rush are anomalies in the rock music industry, have been together for decades, with no line up changes since early days, no break-ups and comebacks, and having remained productive in touring and recording since their formations. What these two bands in particular have in common is first and foremost the members of the bands are friends. Not just band friends, but life friends.

Being in a band is a marriage. Look at your band mates. Are they people you are prepare to commit the rest of your life to? Do you all have common goals? Who is in the band as a hobby and who is in it become a touring/recording musician professional? How much success is enough? Do you just want to clear a livable wage from your music or do you want to be on the cover of Rolling Stone (in Australia, the UK, AND the US)?

Success in a band is no accident - it is the result having your shit together, which means you have common goals and a plan, and in time, bringing the right people into your team to support you in those goals and plans. Failure is also not an accident - when band mates make assumptions about each other or situations, don’t communicate, or “put up” with contentious matters hoping they will go away or change for the better. Guess what, they don’t.

When is the last time you sat down with your band mates and really got on the level about what you are doing and reflected on how you communicate with each other? Does someone dominate the group? Does everyone air their opinions, or do some bottle them up? If someone is difficult to work with now, do you really think they will be easier to work with if you some how do manage to attract success?

Finding that musical chemistry with others can be elusive enough, but without the personal chemistry, at best expect a short, bumpy ride that may be over before it really starts.

I find indie a terribly confusing term - is it a state, an attitude, a disposition, a situation, a genre, a badge of honour, a phase one passes through, or a style?? What do you think?

The single “Hey Hey” is from Transit-Inc’s self-titled debut CD. The band is currently distributing the album independently through CDOnline (www.CDOnline.com), Fish Records and So Music, as well as at the gig. Transit-Inc’s Lansdowne residency will resume its regular schedule on the 3^rd of October with Happenstance and the Great Dividing Range.

Visit www.transit-inc.net for more information.

Every week I make a valiant effort to pick up and read our local street press from cover to cover. I pick up Brag to see if my face has made it to the social pages (their articles are a bit too ‘hip’ and regularly lack in actual quality content); I occasionally grab D-World to feel as though I’m somewhat up-to-date with the local dance and electronica scene (though secretly I just skip straight to their horoscopes section for a light-hearted witty chuckle); and of course I read The Drum Media to hear about new music, work out what bands I’m seeing that week and to generally feel ‘informed’.

Though for a long time whilst reading the Drum, the paper cuts induced from having to flip through so many advertisements and unappealing articles on international (or sold out ‘Aussies’) rather than true blue local ones has been getting me down (note: novelty bandaids help). Besides, who doesn’t just jump straight to the ‘gig guide’ section and if I wanted to read about Radiohead’s latest droning record or Amy Winehouse’s (ass)crack addiction, I’d spend my hard earned cash on a fricking Rolling Stone!

I can’t remember the last time I’ve read a whole feature article on real local bands, eg. Mz Ann Thropik, The Blush Foundation or Art vs. Science (yeah, I’m mentioning my favourite Scout bands… objectivity has never been my forte!). But bands, never fear!! No longer shall bands with pr managers and record companies take preference over you!!

A new music street press has graced our shores. It’s called MUSIC FEEDS. By the looks of things, music actually does feed this publication, LOCAL music at that. As their manifesto describes, “Music Feeds [is] the new support vehicle for the independent music/arts scene, of Sydney and beyond”. (Sounds frighteningly similar to the manifesto of some music show screen on TVS?!?) Not only is their focus on independent  music and arts, it is also an INDEPENDENT PUBLICATION! Independent media and music? I’m so excited it’s a bit too much to take in really.

They claim to be “trying to encourage a culture of co-operation, originating in our industry of music, and then ideally spilling over into broader society”. Whilst this aspect of their manifesto is a bit of hippy bull crap for me to really believe, their intentions are so inspiring that I can’t help but give them the highest props for effort.

So, if you are a promoter, in a band or in the industry and want a bit of help? Contact Music Feeds at contact@musicfeeds.com.au. This is not a spelling mistake from what I can gather. Also, pick one up! Let me know what you think about it! If you can’t find a copy (maybe because I’ve stolen them all to hold close to me whilst I sleep- I’m not homeless, just in love) check out their website www.musicfeeds.com.au

P.S. Don’t get me wrong, I actually do love The Drum, The Brag and D-World… they have brought me up to be the music lover that I am. They are like those reliable best buddies you’ve known for years. Music Feeds is more like your ‘bad boy’ crush; new, exciting, independent and different from the rest.

-Jess

It’s all part of the hard knocks school of live performing, especially in pubs where the drink and jabbering jaws flow aplenty - from being an unknown band that no one pays attention to and everyone talks right through your set, to the other end of the gamut of gaining unwanted attention from the failed comedians who some how think they should be on the stage with you and baiting you to respond. How you respond to these situations will be one mark of your professionalism (or lack there of).

Do you play on and ignore, do you respond, and if so, with humour, with anger, with nonchalance? Personally, I love stealing other people’s material, so if I hear a good comeback, I like to stow it away in case of future need. Another Rogers classic to a heckler: “Yeah, well your girlfriend thinks I’m better looking than you”. Comedian Colin Quinn to a heckler at a stand up comedy gig: “I would come down there and kick your ass but I don’t want to hurt the gerbil.” It’s a good thing my mates in Kang have a song called “Wish You Were Dead” which came in handy at the Annandale one night when they dedicated it to a heckler who was soon driven from the room by the faithful.

So what has been your best comeback? How do you handle “live audience” situations that are potentially distracting to your performance and the enjoyment of the other audience members? How have you prevailed in moments which tested your mettle and potentially affected (for better or worse) your reputation as a live act?

While I think I understand the intent to shock and create a moniker that will get noticed above others, I wonder just how long bands such as these will endure under such novelty names. Firstly, a band name is a brand, a way to sell your produce (you and your music). A band name says who you are. When the name consists of graphic violence or profanity, I wonder what the band is trying to say about itself and its music and what crowd they wish to attract.

Secondly, what is the staying power of such a “branding”…will this be a band we’ll see on the cover of Drum Media, Rolling Stone, or reviewed in Sydney Morning Herald? Will such a name limit opportunities for coverage and exposure in wider media? Methinks it will.

We see lots of bands come and go in the Sydney scene…many with the same musos reforming or creating new collectives with new names. For more established bands, trivial stories of how they came up with their band name often become the stuff of rock lore (such as Keith Moon telling Jimmy Page his new band would go over like a lead balloon, birthing the name…..well, you should really know by now).

Picking a band name is no easy task, though some bands have treated the exercise with frippery (Canadian group Max Webster took their name by randomly flipping open a phone book and one of the members dropping their finger on a name on the page). Others deliberately try to think of a name to convey an image (think The Polyphonic Spree) . Or to not convey an image but rather to be ambiguous (think U2 or REM, names chosen for not bringing anything into mind in particular).

So what is in a name to you? How has your band gone about choosing a name and what are you trying to say or not say with that name? Which bands in the scene right now have great names and why?

EDIT: PS - Ha, I just stumbled across this amusing article about pretty much the same topic - worth a laugh

http://www.cracked.com/article_15118_25-most-ridiculous-band-names-in-rock-history.html

Firstly, obviously not all venues are created equal, nor do they uniformly share target markets - so maybe the statement really means “there’s nowhere to play my kind of music in Sydney!”

Secondly, a quick squiz of street press shows the venue ads busting with live music, but the same bands, most with some sort of label or major booker support, seem to be playing in all of them. Maybe the battle cry is really “there’s nowhere for new independent bands who need a break to play in Sydney!” This I have a hard time fully believing though as there are many indie band nights or open mics at numerous venues, including some Sydney icons like the Hopetoun and the Annandale.

I have been intrigued by a recent spate of letters to one particular street press mag about the fragmentation of the Sydney music scene - one argument was well presented about the transport situation in Sydney in which makes it difficult to reach some venues (the fact there is no direct way to get from Newtown to Rozelle/Balmain on public transport gets my goat). I can understand why someone may be reluctant to venture too far out of their suburb for a local band when it is difficult to find parking at the venue, catching a cab raises the price of an evening out considerably, and late night bus/train service home is infrequent and spotty.

The other argument, often mentioned when comparing Sydney to the scene in Melbourne, is about the liquor licensing laws which have until recently made opening more intimate venues cost prohibitive. As I have expressed before though, I am uncomfortable with the close alliance of alcohol and live music - we should not have to depend on one to see the other thrive.

The final aspect I would like to put up for consideration is the sheer number of bands and musos in Sydney taking a punt. This I cannot put a number on, but from venue bookers I know, the numbers of requests they get from bands is astronomical. And there is no way to make everyone happy. So maybe the lament is “there is nowhere for MY BAND to play, because no one is letting us in!”

In the end, it is the music business and when all things are equal, I wouldn’t blame a booker who goes with the safer bet (a band who has proven they can pull punters) than an unknown quantity. This is a bit of a chicken- egg dilemma, as doesn’t a band have to be placed in front of people initially so their music can be heard and punters ‘discover’ them? Perhaps this is where festivals play a role?

What do you think? Is there literally NOWHERE TO PLAY in Sydney?

The showcase will feature single releases from Transit-Inc., The Numinus, Sandel, Chris Rutherford, Outlier, 2nd, Mani Baker and Juddric and will feauture special guest performances from The Jefferson, Kublah Khan, The Black Lights and The Next Step.

Dj Massive will be spinning an awesome set of the latest tracks from around the world and Vj Spook will be providing a visual spectacular  on the night.

There is a real buzz around the industry about the amazing talent coming through the ranks at Veracity Music and the Showcase promises to be a who’s who of industry representatives who are coming to check out the live performances of these ultra talented new acts.

With prizes, give aways, product launches and a brilliant evening of live entertainment, come along and check out some of the finest up and coming talent in the Australian Music Industry.  Your support of these independent artists will be greatly appreciated and we promise you a night to remember!

Despite all the hype and the practical functional use of having a MySpace profile, I do question many aspects of its marketing power for indie bands. Firstly, I am finding it hard to see how to rise above the “noise” of MySpace, in that EVERYONE is on it, so it takes that much more effort to stick out and be noticed. Having kick-ass songs is not enough, as the internet airwaves are drowning in music, some if it amazing, more if it of questionable quality and merit. Secondly, the big boys on majors are on there too - how many individuals’ profiles are filled with indie bands as “friends” - isn’t more fun to say you are friends with Daniel Johns and Coldplay? Are people really seeking out new music or just seeking the music they already know from name acts they already love?
And speaking of friends, how many people ask to be your friend so they can spam your profile with “come see our band at the gasworks this Friday!” (The approve comments feature is useful for minimising this abuse).

I certainly would not recommend anyone abandon MySpace from their amory of online marketing tools. But I would like to know how other bands are using it and where they see MySpace’s role in their over all marketing strategy. Is it your flagship profile or just one of many you have in cyberspace across a landscape of social networking sites? Is is a good measurement tool of your true fanbase or do you compliment it with other fan reach programs, such as Facebook and Reverbnation? How cruicial is your having your own website in addition to MySpace, or is MySpace all you need?

And most importantly, how often have you discovered new music solely through MySpace? Was it enough to get you to go out to see a gig by the unknown indie band? Be honest……

2. Entry fee for punters, door person asks who they have come to see, the band is paid by the number of heads they bring in - The upside is if you have a loyal fanbase, you can make some good change out of this. It can also be good when bands with established fan bases play on bills with new bands who can take advantage of playing in front of a new crowd and hopefully convert some people. Of course, the downside is newer bands without a fanbase stand to get paid pretty much zilch! So you must balance playing some of the gigs with the target of growing your fanbase and swallow the finanical loss.

3. Entry fee for punters, after all tech support and such are paid, headliners get the biggest chunk, and other bands get less - Upside, some dosh for everyone, downside is income depends on crowd size again, and if you’re not pulling them, you may not get to play that venue again (which I guess can be said most all the scenarios). Also, it seems most people will only want to pay to hear bands they already know and like - a hard spot to be in if you are a band just trying to get heard.

4. Flat fee agreed payment upfront - great deal if you can get it through a booker or agent. This prolly is really only available to acts who are proving they can pull the heads through the doors. If there is a downside, I suppose it may be you could be pulling in more money for the venue and bookers than you are getting a share of.

It’s hard to know what is really fair for everyone involved - not that the issue is about money grubbers, but rather we all want to do this full time and be able to pay our rents and mortages off it. And venue managers, bookers, agents, sound guys, technicians, managers - we all deserve our fair share. What are the best ways to give a new band live gig exposure when punters will rarely be willing to pay to give it a chance?

Personally, I also think it would be great if all the venues were consistent on their payment scheme, but I would love to hear differing opinions.

We stated that the video we were screening was their film clip for “Bats Bats Bats” when it was in fact their clip for the song “Tragedy”.

We express our sincerest apologises for the mistake and confusion and will endeavour to screen the clip for “Bats Bats Bats” in an episode very soon.

Thanks.

-Scout Team

Punk rockers the Scare are renowned for their raucous, dirty and energetic live shows and electric punk music. If you are a fan of the Birthday Party or of down and dirty rock n roll, these boys are just the thing for you.

Originally from Brisbane these boys have recently been trying their luck in Birmingham in the UK with successful shows throughout Europe. Luckily for us they are back in Sydney recording their new album and playing a few shows so we can all get our The Scare fix. Their debut album ‘Chilvary’ is out now but we’re all waiting in anticipation for their next release and by the sounds of things, it’s going to be AMAZING!

Check out their <a href=”http://www.myspace.com/thescare”>myspace</a> or their <a href=”http://www.thescarethescare.com”>website</a>. Their website contains fantastic blogs by all the band members about their journey so ch-ch-check it out! And come rock out with us this Friday the 13th of June!

Punk rockers the Scare are renowned for their raucous, dirty and energetic live shows and electric punk music. If you are a fan of the Birthday Party or of down and dirty rock n roll, these boys are just the thing for you.

Originally from Brisbane these boys have recently been trying their luck in Birmingham in the UK with successful shows throughout Europe. Luckily for us they are back in Sydney recording their new album and playing a few shows so we can all get our The Scare fix. Their debut album ‘Chilvary’ is out now but we’re all waiting in anticipation for their next release and by the sounds of things, it’s going to be AMAZING!

Their next gig is on Friday the 13th at Q-Bar and the Scout Team is going to be there to capture it and to chat to the boys so if you’re there- come say hi!

Check out their myspace or their website. Their website contains fantastic blogs by all the band members about their journey so ch-ch-check it out! And come rock out with us this Friday the 13th of June!

Solo is the kind of MC that wears his heart on his sleeve and then has the nerve to rap about it. Less concerned with battle raps than with the battle of the day-to-day, he seems much more at ease analysing and even celebrating his flaws than trying to convince you he doesn’t have any. Solo is a close affiliate of up-and-coming wonderkids Spit Syndicate (Obese Records); having toured NSW and VIC with the group, and features extensively on their forthcoming LP Towards The Light. Adit’s production is predominantly sample-based; drawn from a variety of sources and styles but tied together by a strong sense of musicianship. Combining samples with a number of different live instruments, his beats have a rich and distinctive flavour which affords Horrorshow a real depth in sound.

Music is so disposable in today’s landscape that it is a rarity for artists to hone their craft and develop their skills before releasing material – yet this is exactly the approach that Horrorshow have taken. After meeting in high school in 2000, the pair wound up working on a few drama projects together. Fuelled by a common interest in beats and rhymes, they began working on tracks in secret before finally accepting their pipe dreams of rap stardom and forming the Horrorshow crew in 2007.

Amongst many other things, Horrorshow is inspired by a mutual love of music, and although their tracks are firmly rooted in the tradition of underground hip hop, they are influenced by a range of different musical styles. At just under an hour in length, The Grey Space is a cohesive musical project, with tracks ranging in mood from up-beat and punchy to dark and introspective. Featuring verses from Nick Lupi and Just Enuf of Spit Syndicate as well as Sydney stalwart Fame, who oversaw the mixing and mastering of the album, The Grey Space is an exciting taste of what’s to come from this up-and-coming pair from Sydney’s inner west.

Sometimes sad and sometimes fun, some times proud and some times humble, some times black and some times white, The Grey Space is music that is, above all, heartfelt and honest. So keep your ear to the ground and/or your local radio station, cos in 2008 – grey is the new black.

Check out his myspace

For the last 3 years they’ve been rocking out around Adelaide and Australia, from the Thebarton Theatre in Adelaide to the Wollongong Entertainment Centre and every where else in between! They rock harder at each new show and love doing what they do best.
Since their first gig in early 2004 they’ve had the privilege to play with the likes of Killing Heidi, The Angels, COG, Blue King Brown, Lior and many more… They thrive on their live performances.

At the present they are based in Adelaide, South Australia. They have traveled interstate many times and will continue to do so.

• 
• I was listening to My Ninja Lover’s EP last night. I really can not rave

enough about the quality of this album. To think, Brisbane has such

incredibly talented musicians hidden in its recesses.. wow. This world is

incredibly fortunate, let alone Brisbane. 

Just listening through the glorious tracks, one can hear the produced

drumming rhythms. They are perfect; on time with never a flaw. Thanks to an

excellent training, these musicians truly understand what depth in sound

actually means. These beats are breathtakingly profound and brimming with

depth in their flawlessness.

Q: Why are these beats so flawless? 

A: Because they are reproduced from a machine. 

Quite a thought really. As a trained musician, it is a severe kick to the

ego that a machine can produce such sounds. Oh, and yes: you really do need

to hear this album and pay particular attention to the beats. I strongly

suggest you do so.

And thus the thought has occurred to me: could a live drummer produce the

same beats? Can our drummers evolve to the point where they can churn out

the amazing beats that we currently rely on from a drum machine? 

Surely we can. 

Grant Collins (one fine Brisbane based drummer!) is such a monster on his

kit - he can do any meter, any pace, any rhythm, any beat. Try clapping 7

beats in your left hand and clapping 11 beats in your right with all of

them eventually coming out on 1 at exactly the same time. That is Grant

Collins - an organic drum machine. Granted, Grant is an extraoardinarily

talent on kit. 

So perhaps the drumming technique requires a reformation. I don’t know

enough about drums to even being speaking technically about this. But

surely the technique can be developed to allow a drummer’s sticks to hit

the drums faster? Its not necessarily about the drummer playing faster -

hell.. he or she produces an incredible amount of energy already! Perhaps,

it’s more about the sticks hitting the skins quicker and in a different way

that enables them to produce 160BPMs. 

I do have to ask: Why use a machine - simply because it is convenient? 

Certainly, a machine can and do enhance or compliment and make life better

and easier in this world. But why cant humans try a different technique in

order to achieve the same sound? 

I personally don’t believe in Stockhausen’s attitude that human error

shames a composer’s fine work. It is the produced human “imperfections

– or, as I like to refer to as “gaffe” - that makes the musical piece

a great deal more interesting. (Why is this world so intent on achieving

perfection anyway? Why place such pressure upon one self?). 

I recall the performance of a band. Funky Miracle was an excellent band

made up of some of the most masterly musicians to grace this east coast .

And during a performance, they collectively made a mistake. The sort where

you are all meant to go to the C Section but a main instrument continues

with the Chorus instead, which means you have to follow his lead or sound

really stupid. The only issue if you do continue with the chorus is that

you have to repeat the bars another eight times. – and this can lead to

immediate boredom if one is not very careful. Well, on this occasion, Funky

Miracle were very careful. At the time, the crowd had also suspected the

band may have made a gaffe. 

However, thanks to their amazing musicality, this gaffe was turned around

into an incredible piece of improvisation I’ve ever heard outside of a

Chick Corea/Herbie Hancock/ Weather Report/ Miles Davis recording.  Indeed,

the gem they turned this gaffe into was breathtaking. As long as every muso

came out on one, the timing and ensuing melodies could be whatever they

wanted – regardless of how far the boundaries of basic music principle

were pushed. Gaffed precision.

So. To return to point. If drum machines and computers are taking over from

a drummer, is it time for the drummer’s technique to evolve? Or the kit?

crowd back but it was a great ‘get up and move’ show.  How can you not? 

With Jon bringing in 60% female crowd, Ian brought in the males which

balanced the audience with passion and electricity. I have been going to

gigs for many years now and there’s not enough rock till you drop music out

there.  People are craving good old rock and roll.  They want to not only

feel the music but want to live the music!

I’m going to Powderfinger and Chaka Khan next week and then Jimmy Barnes

next month.  Will keep you posted on how a real crowd feel the love and

know  how to rock!  

SCQ (Randwick) P.S love and support Scout and all that it does for up and

coming Aussie bands.

been perplexed by the combinations of bands that bookers put on the same

night. I mean, I like most styles of music, but I don’t think a tone-deaf

screamo band opening the night followed by an acoustic duo who are in turn

followed by the headline act; a doom metal band, really works. Call me

crazy, but can’t we musicians start to get organised so bands can call

venues with 2 or 3 other bands prepared to play together on the one night?

At least this way we’re more likely to get a solid night of

rock/country/metal/whatever music you want, instead of punters being

subjected to a variety of music styles even commercial radio would be proud

of.

There are a bunch more prizes coming inluding

• Video clips
• Recording time
• A critically acclaimed producer to use that recording time…. with you… recording your internet hit.
• A big push from us here at Scout
• Time with a publicist
• And a whole bunch more stuff, yet to be locked in.

So what you have to do is email us your bands myspace at producer@scouttv.com.au. We’ll make you a page and get voting organised, so the winner can be named…

DUKE features tongue in cheek celebrity spoofs, thrift fashion and anti-lifestyle features, interviews with local and international artists and even a sexy centerfold.

Every issue DUKE Magazine holds a bi-annual DANCE-OFF- a chance for supporters and fans to trip the light fantastic and celebrate how good we are…
Scout will be taking their camera and leg warmers to participate and cover this highly anticipated event! Shannon, Mz Ann Thropik and our assistant producer Jess have been dusting off their leotards and are ready to get KRUMP!

So come along, support Duke, watch us make fools out of ourselves and come have a chat to our camera!

Oxford Arts Factory
12th of June, 8pm

Happenstance have been playing the Sydney scene for less than a year and have wasted no time producing their first EP along side ARIA award winning producer/engineer Anton Hagop (Silverchair, Powderfinger, the Dissociatives). This stylistically varied debut serves as an entree to Happenstance’s extensive repertoire. Two of the EP tracks recently made into the top 30 in the national New Artists 2 Radio (2007) competition and in September ‘If I’m Not Mistaken’ debuted in the newly launched mp3.com.au charts at number 1.

Happenstance have received airplay as well as being interviewed and playing live, on community radio in Sydney (including FBI), Newcastle, Hawkesbury & the Southern Highlands.

Happenstance have played at venues such as the Annandale, the Hopetoun, the Excelsior, the Cat & Fiddle, HQ, Mandarin Club, Orange Grove Hotel and Vic on the Park and Windsor’s infamous Jolly Frog Hotel and recently took their show on the road to Newcastle.

Like any other modern genre, Le Kingste’s dark pop is an amalgam of other musics, and there is something in it for everyone. Musos appreciate its ‘intricate simplicity’, and all listeners agree that there’s something compelling about it, a certain something that they haven’t quite heard before. With their intense stage presence, impassioned performance, and burgeoning repertoire of memorable originals, Le Kingste are a band that belongs on your “must-see” list for 2008.

Le Kingste have just released their debut self title EP with their EP launch happening at Spectrum on the 19th of June supported by bands ‘The Butcher’ and ‘Snobscrilla’.

The band was formed in 2005 by singer, actor and contemporary tribal dancer Malina Hamilton-Smith and drummer & programmer Glenn Abbott (best known for his work in popular Australian band Machine Gun Fellatio).

In November 2007 the pair were awarded the prestigious Best Alternative Artist Award at the 2007 MusicOz Awards (Australia’s premier national music awards for unsigned and independent bands), for evocative, synth-rock song “Fists In My Pocket”, which you can hear on this page. Not bad for an act that hadn’t yet had a CD release and hadn’t received a scrap of airplay. The band was the cover feature on indie music zine LoopOz 5, and Malina managed the front cover of Drum Media that month too. Talented young guitarist Marc Malouf began playing with the duo in 2007, and the equally as talented and super funky bassist Tak Tanimoto joined the band at the beginning of the year.

Super Massive’s debut EP (which includes the award-winning song “Fists In My Pocket”), is out now in stores through MGM Distribution.

See to check out their sweet sounds!

Copies of the EP ‘Pressing Sound’ available for sale at the show but don’t forget you can order it now in stores through MGM Green or buy online from the links onThe Third Cycle’s official MySpace page.

Support comes from Tokyo Blonde and Day Of The Meer Kat. Local fashion store Faster Pussycat is also putting on a show of the latest rockabilly, psychobilly and punk wares on the night too, so come along and prepare for a night of rockin’ good times.

Plus! *Shannon talks to a band who’s collective age is just 39!  *U.S Skating legend, Steve Caballero show’s us why he’s a Pro-Skating superstar, as we caught up with him earlier in the year @ Bondi Beach.

What an episode!

WHAT A NIGHT!

This is an 18+ event

“The album covers serious experiences, but does it in a very playful way musically,” says Sarah. The Hunter Valley native launched her professional career in Sydney and then broadened her repertoire in New York. “It’s serious fun because I wanted it to be musically light-hearted, even though some of the topics were quite painful for me at the time. The songs cover difficult topics that anyone can relate to, especially love and loss, but there’s always humour that comes out of the carnage.”

Sarah’s self-penned lyrics are matched with the serious chops and composing skills of jazz guitarist David Longo. Together they have produced a collection of songs that blend honest lyrics with the serious sounds of Sarah’s jazz quintet, including bassist Jonathan Brown, drummer Nic Cecire and keyboard virtuoso Gary Daley, who performs on piano, Rhodes, Hammond and accordion.

Both Sarah and David have had diverse musical careers, performing a range of styles with numerous artists. “We’ve paid the bills by doing lots of different types of gigs for other people, from pop to rock and dance,” says Sarah. “David and I have a strong love of jazz, but our eclectic backgrounds give our jazz sound an extra dimension of colour.” Sarah has sung with Vanessa Amarosi, Richard Clapton and Joe Camillieri, and performed at such notable venues as New York’s Bitter End and at Sydney’s Basement and Will &. Toby’s Supper Club. David formerly played with the Australian Idol studio band for the show’s first two seasons, recorded with Paulini for her debut album and performed with Doug Parkinson.

This is set to be an amazing event, with proceeds going to Mz Ann’s Debut album recording fund. From the little tit-bits of info the band have let slip to us, it is set to be a very engaging listen. Anyone who’s been to a Mz Ann show in the past few months will know the new songs are nothing short of amazing.

 Friday night, 9th May, kicking off from 8pm, Foghorn Records are leading the way with helping young artists get established on the live scene by showcasing four of the bands off the latest Grow You Own compilation series. We were at the album launch last night and the caliber of the artists is off the wall.  The event will be at Balmain’s Cat & Fiddle (456 Darling St, Balmain) and the cost is $10. 

 Kicking off the night is Roymackonkey, followed by Not Quite Velvet, Reflector and Transit Inc

Check out the Grow Your Own myspace for all the bands, and also on how you can get involved! 

We look forward to a wonderful future with Gibson, and are happy to be allied with such a prestigious and iconic organization.

With Thanks Gibson Guitars.

And to top it all off, it is also our beautiful hostess and producer, Shannon Parisi’s birthday! So a big happy birthday to Shan.

Tune in tonight RIGHT HERE @ scouttv.com.au or on TVS @ 9pm

Download THE BLOOD PACK now
get it here:
www. angelspit. net/bloodpack

Keep checking Angelspit. net in the coming weeks for more digital gifts, competitions and the latest news as it will be coming thick and fast.

Blood Death Ivory cover.

We’ll hopefully be catching up with Angelspit soon for info on their upcoming album and more, so stay tuned.

Head over to Angelspit’s website and check them out.

Down In The Park at Cronulla, Youth X Festival at Canterbury and Bring It On! Festival in Fairfield will all be attended by the Scout team.

The Burbs Festival in Blacktown will be hosting a killer set of bands, including Acid Eyeliner, IAlone and many more.
So get out tomorrow and check out the coolest youth festivals in town, and if you’re in Cronulla, look for us coz you’ll get featured on the show!!

Scout: First of all, tell me how the band came together.

Kitty: The band came together in 2 parts. Janine and I had been working on
musical projects for a while with other people and had decided we
wanted to go our own direction. At the same time she was working on
sound design for Vincent’s Mypetskeleton productions website so
eventually Vincent entered as a our design guru from that direction.
Steve our guitar player just joined the Hollow army about a year and a
half ago.

Scout: Tell us some interesting things which have been going on for the band.

Kitty: Well we’ve just released our first label album so there are lots of
exciting things going on these days. We’ve been working up our live
show playing as often as we can. We are currently in the process of
booking several small mini tours around Canada for the summer. We’ve
been gaining steady airplay around the country but have just been
played on the big rock station here in Toronto 102.1 The Edge. We are
about to be included in a new book by Mick Mercer due out this summer
and we’re working on our first music video. These are exciting times
for the band which up until now was a rather slow moving affair.

Scout: What are some goals for the band over the next 12 months?

Kitty: Well for us getting the live show is top priority. For many years we
were mostly an internet band since most of our fans were overseas.
Bringing our songs to a live audience is so exciting and we hope to be
able to expand this geographically very soon.

Scout: Let’s talk about the creative process. Is it collaborative, or does one
person come in with a skeletal outline for a track, and build from
there?

Kitty: For us the creative process changes for each song. Some songs are more
personal for a particular member so they end up being penned mostly by
one person, while other songs are created through collaboration. I
think it is our varied writing styles that allows the music to change
from song to song so easily.

Scout: What is the most enjoyable part of being in a band? Tell us about
gigging, writing, recording…what’s the best?

Kitty: I can only speak for myself but my favourite part is gigging. With
recordings the final mix is the final mix. If there is something you
don’t like you are stuck with it. While playing live, you can change
anything you want to and keep reinventing the songs over and over. Add
to that the energy from the audience and you can’t top it for me.

Scout: Can you tell me about the name Johnny Hollow? What does it mean?

Kitty: The band meaning has no particular meaning although if we went into
the whole process which is too long there is a reason for it. We like
to think of Johnny as a character that is all that is the very best
and the very worst of the four of us.

Scout: What are some common themes in the band’s mucic?

Kitty: I wouldn’t say we’re terribly overt about any one particular subject
but throughout the album there are touches of politics, personal
demons, failure, deception, hurt, protection, religion .. you know..
really happy stuff. smile.

Scout: How about inspiration? Where do you find it?

Kitty: I think we all find our inspiration in different places. For me I find
it in the people I meet, the things in life I don’t understand and the
parts of me I’m still discovering.

Scout: Tell us some of your career highlights…

Kitty: My career highlights are the moments when I get to meet someone young
that is inspired by the music I create. I remember being them and
thinking that my idols were these unreachable people. It is nice to
give someone a hug, be real to them and hope they pass it on.

Johnny Hollow’s new album, Dirty Hand is available now through Red Eye Records, and online via the band’s website.