Covering Brisbane’s Sound
ANDREW MCMILLEN reviews six Brisbane bands playing six Brisbane covers at the launch of local indie music compilation Brisbane Sounds on Saturday (February 27). Photos by ELLENI TOUMPAS.
For Brisbane indie music fans, few dates on the calendar are more highly regarded than the annual Brisbane Sounds launch. What began as a hobby for 25-year-old founder Blair Hughes in 2007 has since evolved into a full-time passion that'll take him to international music industry conferences SxSW and The Great Escape in the coming months. Hughes - the recent recipient of a much-needed Brisbane City Council “microgrant” - otherwise self-funds the not-for-profit project, whose dual goals are to highlight the quality of independent music being produced within the “River City”, and to promote it on the world's stage.
The former schoolteacher has proudly taken on the role of local music ambassador. “People of all ages should be coming out to gigs, purchasing local music and really supporting the artists that are part of their own backyard,” he told me ahead of the launch. “I just feel that in Australia, people view ‘local music’ as being substandard and unprofessional, when in fact our country has thriving local music scenes with artists creating quality music.”
Twenty-four such artists appear on Brisbane Sounds 2010 – a compilation disc sold online - and six of them performed at Saturday’s launch at The Zoo in the Fortitude Valley venue, where Hughes works the door several nights per week. Besides venturing overseas to spruik Brisbane’s diverse range of indie talent, he plans to promote the project throughout the year via a series of spin-off shows, a “pop-up music shop” in conjunction with Brisbane Marketing and a weekly stall at the popular West End markets to foster community awareness.
Between bands, a selection of choice cuts by notable local artists such as Powderfinger, The Go-Betweens, The Grates, An Horse and I Heart Hiroshima were played over the PA, while the hundreds in attendance inspected a portrait series by Brisbane music photography group Underexposed. In the spirit of the event, Hughes asked the bands – whose musical styles range from folk and grunge, to hip-hop and indie-rock - to each cover a song written by a Brisbane act during their set.
Lion Island
‘Birds & Elephants’ by Bigstrongbrute
Australian audiences are more receptive to contemporary folk instrumentation than ever, owing to a recent obsession with the likes of Fleet Foxes, The Middle East and Mumford & Sons. As a result, Lion Island are a surefire crowd-pleaser, and one of the brighter hopes of wider industry recognition to appear on the Brisbane Sounds 2010 compilation. Their robust sound encompasses banjo, trumpet, violin and six-strong sing-a-longs atop acoustic guitars and songwriting smarts. The band tip their hats to indie-pop act Bigstrongbrute - formed by Paul Donoughue as a solo project in 2006 - with a cover of 'Birds & Elephants'. Instrumentally sparse but vocally strong, the band members' appreciation for their friend's creation is evident, as they recreate a song whose original recording gradually devolves into a joyous, off-kilter chorus of voices and clinking bottles.
Dirtybird
‘Notice’ by Pink Services
With an appetite for distortion, grunge and teenage angst, Dirtybird - heir apparents to lauded locals Violent Soho - fulfil the garage rock quotient on tonight's bill. Bassist/singer Dylan Briscoe’s wails are studious replicas of Bleach-era you-know-who, while guitarist Jordan Mengel exhibits an understanding of the instrument that ventures far beyond the genre's stylistic simplicities. Dirtybird continue the trend of covering current-era Brisbane acts. In a reference that flies over the heads of most in attendance - myself included - the trio opt to play 'Notice' by fellow young-grunge purveyors Pink Services. In a final act of slightly-overdone rebellion, Briscoe rugby-tackles Mengel and drummer Harley Brown to end the set.
The Coalition Crew
‘Know Your Product’ by The Saints
The Coalition Crew's inclusion on the bill is a ballsy move by Hughes, whose diverse tastes are seemingly not shared by the majority of tonight’s crowd. Nevertheless, a vocal minority appreciate the band's lively take on Aussie hip-hop with live instrumentation. Their cover choice is the most controversial of the night, and the band know it; the six-piece opt to play it straight down the line, with minimal stylistic embellishments. A trumpeter and saxophonist are drafted in to blow the signature melody, though their unfamiliarity with the source material is evident in their silence during the verses. Chris Bailey's anti-consumerism screed is tonight delivered by bassist Toxic Al, while MC Yuin Huz hesitantly backs up the chorus. They're out of their comfort zone - this much is clear - but they rise to a Brisbane classic with aplomb and respect. A shame that they're met with minimal applause, however.
Grand Atlantic
‘Alone’ by Custard
It's telling that tonight's crowd numbers peak with a performance by Grand Atlantic, the purest rock 'n' roll band on the bill. Telling of their influences, too, that they choose to cover 'Alone' by Brisbane pop geniuses Custard. Built around a killer vocal hook and a surging chord progression during the chorus, the quartet recreates the 1994 Wahooti Fandango cut with style and integrity. Situated among a selection of the band's own creations, their uncomplicated approach to the genre suddenly make a whole lot more sense. In the context of Custard - led by David McCormack, who rates among the city's finest pop songwriters - Grand Atlantic's vision to follow in the footsteps of the greats (not to be mistaken with The Grates) is admirable.
The Cairos
‘Black Bugs’ by Regurgitator
A few shows shy of their 100th performance, The Cairos fly the flag of youthful exuberance alongside Dirtybird (minus the on-stage tackling). Their maturity as performers and songwriters continues to grow, though their songbook is not yet filled with enough reasons to distinguish them from other indie-rock luminaries on the national and world stage. For their cover, they ask a question that's remained unanswered since it was first posed in 1997: “What's at the end of Satan's rainbow?.” The band's suggestion that the Unit-era, Ben Ely-penned song is close to their hearts hints at a video game fascination, to which most in attendance can relate. Like many of the singles from Regurgitator's triple-platinum classic, 'Black Bugs' is a stylish blend of synthesised pop music and alternative rock. The Cairos' absence of a keyboardist prompts some amusing synchronised vocals to mimic the song's final ascending melody.
The Gin Club
‘Sich Öffnen’ by Not From There
It's midnight by the time tonight's headliners appear, and the crowd has thinned considerably - more likely due to their late slot, than any disrespect. It’s well-known that The Gin Club comprise some of the city's finest current songwriters, including Ben Salter, whose 'You, Me And The Sea' was awarded the best folk song/ballad of 2008 at local industry body QMusic's annual awards. The Club's numbers vary from show-to-show. Tonight, they consist of five core members who trade instruments and vocal duties throughout the hour onstage.
All but Salter file off for their cover choice. "I don't usually rely on cheat sheets for lyrics," he warns, "but you'll see why in a moment." Then he launches into Not From There’s ‘Sich Öffnen’, a song written almost entirely in German, but for the bridge ("Watched you laugh/Watched you cry/Watched you fade away"). Once we get past the hilarity, it's an endearing performance of a local classic by Salter, whose only misstep is a temporary inability to hit the required “awoo-woo-ooo-ooo-oohs” in the chorus. It's a beautiful moment, and an apt cover with which to close a memorable night whose soundtrack stretches from the 1970s to today.
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Seem odd that no one tackled the Go Betweens.
stop living in the past maaaaaan....
Exactly what I was going to post, Block.
Kids today, hey?
Live in the now!
I'm glad Grand Atlantic did a Custard song. I really should have gone to this. Sigh
Pfft.
I can't stop here, this is fasterlouder country.
Maybe not so odd, as they do suck. Do they suck more than Bigstrongbrute or Pink Services? My guess is we'll never know.
Ron, we should go to Brisbane and insist on hearing Bigstrongbrute play ''Cattle & Cane'', and Pink Services have a got a ''Spring Rain.''
THAT would resolve both issues. When are you free?
a go at
Who sucks? Grand Atlantic, The Go Betweens, or Brisbane? Or all of the above?
e. The Red Paintings.
They do not, check out my sweet cape!
Ahh Not From There. I loved this band. I still do, just forgot about them.
The Cairos - Brisbane's best 100% Church funded indie band.
Was this written by the same massive gigantic TOOL fan Andrew McMillen who set out to give a dub-step point of view review to Snowman a few years back?
Please don't use the word ''spruik''. It's waaaay more irritating than any Aussie hip-hop act.
I saw heaps of gigs last year! Last year the most popular cover I witnessed was GOD's ''My Pal'' from everyone from Teen Archer to Violent Soho playing it.
So far this year, it is The SAINTS ''Know Your Product'' with King Khan & The Shrines, You Am I and Painters & Dockers (well that was last year) playing it. Give it a rest! It's such an predictable choice. Someone please cover The SAINTS ''This Perfect Day''. At least Johnny Casino did a heartfelt cover of The Saints ''Messin' With The Kid'' on the sad night that Magic Dirt's Dean Turner died.
I do agree with Block, that a lack of Go-Betweens is a startling omission. It could have be worse. Somebody could have done a Powderfinger cover! :P
...or Savage Garden
...or The Veronicas! :(
i,d like to know oort and unvisibles opinion's on this
good o brisbane marketing & city council endorsed gig paving the way to becoming australias live music capital for future generations to come.
what no Hooray Henrys covers?! that was a joke, Joyce (they were a covers band, with a repertoire ranging from the Ink Sppts (do I worry) to Elvis (spinout) to Bing Crosby (old cowhand). Etc.
The Hooray Henrys were good. I especially liked the messy haired guitarist's music stand. Great look.
fyi
MEDIA RELEASE: Brisbane’s indie record labels join forces to celebrate the sound of the city
Brisbane’s proud DIY music scene is being supported and celebrated through a unique initiative that promotes the city’s booming independent record labels – soundslikebrisbane.
Believed to be a world first, soundslikebrisbane (SLB) is bringing together the city’s indie labels under the one banner - already 13 local independent labels are represented with more to join the fold soon.
That first batch includes prominent local labels: Plus One Records, Mere Noise, Dew Process, Turkeyneck, Room 40, Someone Good, Pinnacles Music, SUGARRUSH, Lofly, El Nino El Nino, Red Tape Entertainment, Starving Kids, and Valve Records.
Covering every genre from hip-hop and jazz, to garage rock, country and pop – the labels define the creative melting pot that Brisbane has become. Together these labels work with dozens of artists, promoting close to 100 releases each year.
Among them are some of the country’s most exciting new artists including Last Dinosaurs, The Gin Club, The Optimen, The Medics and Jackie Marshall; alongside veritable music legends like Blowhard and Regurgitator.
Project coordinator Craig Spann said Brisbane’s indie labels were also opening up global networks by representing Brisbane artists overseas, and releasing some of the world’s most exciting new music in Australia.
“There’s no doubting that right now Brisbane’s indie labels are the engine room of the local music scene and the contribution they make should be celebrated and supported,” he explains. “Despite the fact these labels are often a one or two-person operation, they are ensuring the Brisbane builds on its reputation as one of the world’s most exciting music cities.”
More than a collective marketing initiative, the long term initiative will develop and deliver a range of projects aimed at not just supporting current indie labels, but ensuring a new wave of labels emerges to continue supporting the city’s music scene and artists.
The focal point of the new project is the soundslikebrisbane.com website which features label and artist profiles and a range of exclusive content to be rolled out over the coming months. The site will be promoted to music fans and the music industry – both in Australia and abroad – as a one-stop location for those looking for Brisbane’s most exciting artists and labels.
Launch Event
The launch of SLB will be celebrated with a very special free all-ages event to be staged in Brisbane’s CBD on Friday June 18. Presented by Brisbane City Council’s Inhabit Fiesta, more than 10 local acts from the SLB labels rosters will hit two stages housed in CBD laneways Burnett Lane and Island Crt (off Elizabeth St).
The line-up will showcase the diversity of Brisbane labels and feature sets from: Blowhard, Texas Tea, Carry Nation, Fushia, Halfway, My Fiction, Nova Scotia, The Rational Academy, and The Optimen – with more still to be announced.
More details online now at www.ourbrisbane.com/inhabit
SLB is a not-for-profit project being developed with the support of partners Queensland University of Technology (QUT) and state peak music body Q Music.
Professors Julian Knowles and Phil Graham, Co-Leaders of QUT’s Independent Music Project, have been working with the SLB team.
Prof Graham says: “Brisbane has for decades supplied top level talent to Australia’s music industry, and we’ve done it with very little local support. The net result has been a long-term drain of top quality talent. The SLB initiative provides a focused support and infrastructure network for local artists that can be developed over time into a significant industry force.
“Our independent labels are as good as they get. They have gotten that way with very little other than sheer talent and dedication. Commercial music is a massive earner for our economy. But most of the money goes overseas to the parent companies of majors. QUT is determined to be a part of the practical and intellectual movement dedicated to growing the local creative economy and the talent that underwrites that future.”
Q Music Executive Officer Denise Foley added the SLB project was further of the DIY ethos that has driven the Brisbane music scene for decades.
“This project and the labels it supports is just another example of how people in Brisbane just get in and do it,” she says. “It has also been built on the strong sense of community in the city and an understanding that working collectively is crucial to helping grow this cottage industry and the artists it supports.”
Celebrating Brisbane’s Music Heritage
The SLB project also aims to celebrate Brisbane’s proud indie music history with some of the city’s finest writers looking back at why the city has emerged as such an indie music stronghold.
The site goes live this week with a special contribution from Brisbane music historian and Pig City author Andrew Stafford who looks back at the independent path blazed by iconic local artists The Saints and The Go-Betweens. He writes:
“The making of (I’m) Stranded was seminal to the development of music in Brisbane for a number of reasons other than its sheer magnificence. (Playing it right now, the 7” single still roars from the speakers in a way the LP cut doesn’t quite.) It was the fact that it existed AT ALL, and that the band had made it themselves. They owed no one. This, combined with the bone simplicity of punk, represented a democratisation of music-making that horrified the majority of radio programmers and record labels but emboldened anyone with sufficient drive to emulate the Saints’ move. As the Go-Betweens’ Robert Forster told me, “I think we all felt brushed by the Saints’ wings.”
Find out more online now at www.soundslikebrisbane.com
SLB MEDIA INQUIRIES:
Craig Spann: craig.spann@optusnet.com.au or 0423 416 964
Deb Suckling: sugarrush@optusnet.com.au or 0408 747 046