Heavy and Weird Presents: Collapse Into Now – Volume One – Artist Announcement – Jackalpac


Heavy and Weird Presents: Collapse Into Now – Volume One

A night of new Progressive, Experimental, Psychedelic and Pop music from Brisbane and Beyond – true future music

Thursday 8th December 2016 – 6:00pm at the Bearded Lady – $10.00 entry fee

Artist Announcement:



Jackalpac has an eclectic sound, featuring melancholic vocals over atmospheric guitars, synths and heavy grooves. This production-focused group draws influence from artists such as Kashmir, Radiohead, Jeff Buckley and The Smiths.

After a hiatus, Dan Huey has recruited a new line up in the current members. Jackalpac re-emerged and the group is currently working together on producing new music in their project studio, to be released in 2016 and beyond.

Jackalpac’s live shows are raw and powerfully energetic with a cohesive sound reflecting the driven group dynamic in the band. They’ve supported the likes of John Steel Singers, Sherlock’s Daughter, The Big Dead, Skinny Jean and been played on a variety of radio stations, including Triple J and 4zzz.

Useful Links:

Facebook – https://www.facebook.com/jackalpac/
Bandcamp – https://jackalpacmusic.bandcamp.com/


Heavy and Weird Presents: Collapse Into Now – Volume One – Artist Announcement – Captain Cake


Heavy and Weird Presents: Collapse Into Now – Volume One

A night of new Progressive, Experimental, Psychedelic and Pop music from Brisbane and Beyond – true future music

Thursday 8th December 2016 – 6:00pm at the Bearded Lady – $10.00 entry fee

Artist Announcement:


Captain Cake

Captain Cake is a Comedy laptop musician from Brisbane in the tradition of anti-Comedian Neil Hamburger. Captain Cake’s unique brand of comedy has thrilled and repulsed audiences but due to it’s surrealist nature it always guarantees hardcore happiness to erupt after his set has concluded. Imagine Freddy Got Fingered via Tim and Eric with the pop sensibilities of TISM and you’ll get close to the unique must see entertainment extravaganza that is Captain Cake aka Brisbane’s Greatest Living Comedian and Australia’s first ever Psychedelic Comedian.

Check It Out His Total Godhead New Single “Good Father”


Useful Links:

Facebook – https://www.facebook.com/captaincakeyohoho/

Heavy and Weird Presents: Collapse Into Now – Volume One – Artist Announcement – Papperbok


Heavy and Weird Presents: Collapse Into Now – Volume One

A night of new Progressive, Experimental, Psychedelic and Pop music from Brisbane and Beyond – true future music

Thursday 8th December 2016 – 6:00pm at the Bearded Lady – $10.00 entry fee

Artist Announcement:



Ever since the mid-2000’s Brisbane has been promising to produce a pop band capable of taking over the world and since about 2010 we’ve watched them all fade away, break up or attempt to pathetically move onto the next trend. We’re confident in saying that finally Brisbane has the band capable and it is Papperbok and on their debut album “Girlk” they don’t waste anytime proving why they will ascend to become the new pop music elite.

Imagine Pink Floyd only with more shoegaze aesthetics and post-rock drama then mix it with all of the great British mood bands of the 60’s, 70’s, 80’s and 90’s then you’ll get close to what makes Papperbok special. For every pop hook there is a moody interlude swaying in and out allowing there music to move along like one big track. All of the players in the band are masters of their craft and know the perfect time to be silent but also attack. This makes their proggier moments more interesting and the pop songs a more direct punch. It’s nice to hear a band lean on their influences but not get too nostalgic about it. You can certainly hear that Papperbok are disciples of The Flaming Lips, Blur, Radiohead and The Beatles but they don’t steal or replicate, they re-invent these established dynamics to help create their own unique sonic dialogue.

Useful Links:

Facebook – https://www.facebook.com/Papperbok
Bandcamp – https://papperbok.bandcamp.com/
MySpace – https://myspace.com/papperbok
Triple J Unearthed – https://www.triplejunearthed.com/artist/papperbok

Heavy and Weird Presents: Collapse Into Now – Volume One – Artist Announcement – Galapogos


Heavy and Weird Presents: Collapse Into Now – Volume One

A night of new Progressive, Experimental, Psychedelic and Pop music from Brisbane and Beyond – true future music

Thursday 8th December 2016 – 6:00pm at the Bearded Lady – $10.00 entry fee

Artist Announcement:



Galapogos are purveyors of everything and nothing favouring the sweet release of pop skills soaked in the energy of the moment in order to birth an explosion of hushed harshness dripping with cinematic nonsense that is in debt to all of the vibrations that connect with humans on an emotional level.

Established in 2010, Galapogos have managed to become one the most prolific and best kept musical secrets in the country. In the past five years the Galapogos live shows and album releases (Established Ghosts (2011), Feel Or Suffer (2013), Strange Species (2014) and An Emptiness (2015)) have become legendary with a heavy focus on improvisation, pop skills and a lot of noise nonsense experimentation. It has the capacity to be quite an intense journey that travels the full gauntlet of emotions both known and unknown.

The uneducated have labeled Galapogos many things but the band simply refers to their intense noise meditations as Progressive, Psychedelic and Experimental – a beautifully rapturous sound designed to summon the true aliens among us. Despite their funny coloured feet people seem to like what Galapogos do and in return they love them back. Galapogos are always happy to wear the claws if you’d like that.

Dadaism – Surrealism – Noise – Pop Art – Sprechgesang – Free Atonality

Yoko Ono and Kim Gordon

Useful Links:

Facebook – https://www.facebook.com/galapogosbrisbane
Bandcamp – http://galapogos2.bandcamp.com/

Heavy and Weird Presents: Collapse Into Now – Volume One – Artist Announcement – VOIID


Heavy and Weird Presents: Collapse Into Now – Volume One

A night of new Progressive, Experimental, Psychedelic and Pop music from Brisbane and Beyond – true future music

Thursday 8th December 2016 – 6:00pm at the Bearded Lady – $10.00 entry fee

Artist Announcement:



There was a quote from Kurt Cobain at some point during his life where he said that the next great rock revolution would be lead by a woman or something like that. Whilst we don’t want to get too political we think it’s a relevant stance because in this godforsaken local music scene known as Brisbane, the only relevant music being made and the only music that resonates is the stuff driven by Female Human Beings. Make of that what you will but you know, there is only so much “hell fuck yeah” we can fucking take and we feel like VOIID might be the antidote to all that white middle class macho rock bullshit that is swelling both above and below ground at the moment.

VOIID make smart music and we’re big fans of what VOIID is communicating. We get the feeling that in 12 months time they’ll also be everyone else’s favourite band as well but for now, keep them as your own little secret before you have to share them with the rest of the world.

Facebook – https://www.facebook.com/voiidtheband/

Heavy and Weird Presents: Collapse Into Now – Volume One – Artist Announcement – Quintessential Doll


Heavy and Weird Presents: Collapse Into Now – Volume One

A night of new Progressive, Experimental, Psychedelic and Pop music from Brisbane and Beyond – true future music

Thursday 8th December 2016 – 6:00pm at the Bearded Lady – $10.00 entry fee

Artist Announcement:


Quintessential Doll

Quintessential Doll is one of the first real 21st Century artists to light a path to the new sound of now. As an Artist, she is fiercely original, mysterious, a master communicator and the true evolution of psychedelic music. Existing somewhere between pop music structures and hip hop dynamics, Quintessential Doll presents her music as art and uses every inch of the creative dialogue – the audio and the visual – to showcase her fearlessness. Everything she creates moves in a hypnotic unison hooking you in, taking you deep beneath the drama beating at the centre of her music’s turmoiled shining light. It flattens you to the point of being totally breathless and haunts long after the experience has finished. There is an exhaustion and real high that comes on once the music finishes, almost like an endorphin release. It’s a fucking soul drenched experience that rips open your heart, makes you want to weep but at the same time you want to just fucking run and get the fuck out of what ever bad situation you find yourself in. In 2016 and beyond Quintessential Doll’s music deserves to be the new national anthem for those human beings who have graduated from teenage angst to adult pain and who still seek the emotional rush of a good pop song when it comes to finding a remedy for trying to feel some kind of “I’m not alone” resolve.

Pure Fractured Perfection – Quintessential Doll is an intoxicating experience that combines the exotic search for understanding in a world that continues to function within the boundaries of rules and regulations.

Useful Links:

Official Website – http://quintessentialdollmusic.com/
Facebook – https://www.facebook.com/quintessentialdoll



INTERVIEW: James Lees of Silver Sircus

James Lees has been hitting drums in a slew of Brisbane bands since the early 90’s, starting out in bands like Milch and Krud, which also featured a pre-Screamfeeder Kellie Lloyd.  If you’re a semi-regular live music goer, you’ve probably seen him behind the kit at some point in time.  These days his main focus is the genre-defying dark cabaret act Silver Sircus, which he formed with vocalist Lucinda Shaw.


My own history with James only goes back a few years, but in that short time we have been in three bands together and lived as housemates for two years.  I would class him as one of the nicest and hardest working people in Brisbane music.  I recently caught up with James over a few drinks to find out more about his career as a musician, and what’s next for Silver Sircus:

Tell us a bit about your musical history.  What bands have you been a part of?

Hmm, let me cast my mind back….  I’ve been in ISIS with Lucinda Shaw, and I’ve been in Chalk in the 90’s, and I played with Tylea for about 3 or 4 years.  Am I missing anyone?…  I’ve also been in The Good Ship and I’ve also been in Thirteen Seventy, and I’ve been in Bertie Page Clinic.  When you asked me that I immediately thought 20 years ago! *laughs*

Well you could go back even further probably, couldn’t you?

I could, but how relevant that would be is another question.

It was more about getting an insight into your history in Brisbane music and how far back that goes.

Well it does go back a fair way, back to the early 90’s.  You know I could list all those names and talk about those bands, but if you looked at all those bands broadly there’s a really great diversity of style across them.   I think that reflects my diverse listening habits and my diverse musical interests.  I listen to everything from strange jazz music to Swans, to Cindy Lauper, to Eurythmics, to Talking Heads, to Lou Reed and back again.  It wasn’t really by design, but all the bands I’ve played with have been very, very different.  So I guess if I look back I would say there’s a huge amount of diversity there, and there continues to be.

So, you’ve worked with a lot of musicians over the years.  Are there any moments that stand out or are particularly special to you?

I think the very first rehearsal I had with ISIS stands out to me, because – and I don’t want to put anybody else’s singing down that came before that – but I went to that rehearsal, and for readers with shorter memories ISIS contained three fantastic female singers.  When I rehearsed with them the first time, which was actually a pre-production rehearsal for a recording, when they all sang it was a revelation to me.  And I just went “OH, they’re really good *laughs* They can all sing!”  That rehearsal occurred in The Zoo, on The Zoo stage fully mic’d up with Magoo in attendance, and that was creating drum parts for the ‘Ooze’ EP which came out in 1995.  And that was my first rehearsal.  So that was a moment for me.  I was also a real fan of the band, so it was actually sort of a fan moment – ‘I get to be in this band!’  I’d say that would be the moment I’d nominate.

Tell us about your history with Lucinda Shaw.  How did Silver Sircus form?

All these stories go back such a long way.  I was a fan of the band and I was writing for Rave Magazine.  I interviewed the band, but I didn’t interview Lucinda, and I was interested in her because I knew at that time she was the main writer of music on that first record.  The way that I got to meet her was by booking the band for a gig that I produced that was Tidus, Rob Clarkson and ISIS at The Capitol, which was at Wooloogabba.  So by booking the band I got to meet Lucinda.  I met her that night and we had a brief conversation.  That was about a year before I joined the band.  So we were friends for a year, and then obviously we did the work with ISIS, and that went for a few years, and when that finished a project called Sugafix emerged out of that and I ended up becoming part of that.  Then that changed its name to Silver Circus (with a ‘C’) and that existed for about 2 to 3 years, ’til about 2002.  Then we worked on a few things together that I musically directed.  Lucinda did a show for the Cabaret Festival and then we did two big Ziggy Stardust shows that I produced and she was a big part of that as a vocalist.  That show featured a range of lead singers, but she was also sort of my confidant through that process of putting those shows together.  There was a lot of discussion that she and I had that extended beyond her being just a lead singer on a few songs.  That recording’s going to be released this year by the way, because Mr Jeff Lovejoy’s mixed it, but that’s another story.

I think the way that the current version of the band started was by me being driven slightly crazy by the body of work that Silver Circus mark 1 had done that had had been played a little bit in embryonic form, but in the intervening years had grown in my mind into being something that I thought could be quite good but had no means to be expressed.  Quite a lot of songs that had no life at all.  So it took two or three years.

‘Sweet Amnesia’ from the Sovereignty EP

So it was your creative desire to finish those songs off?

Yeah, it was very much unfinished business and a lack of closure I guess that really drove me to go, “Why don’t we just do it?”  You know?  I think that came with getting a little bit older as well.  Maybe I was about 34, 35, something like that.  I think when you’re that age you start having a lot of thoughts about ‘you only get to be here once’, and I sort of thought how am I going to feel if I don’t see this project through or if I don’t breathe life into this work in 10 years?  And I imagined myself regretting not doing it.  As soon as I had that thought I picked up the phone and I rang Lucinda and I said to her for the first time in about 5 years, ‘Would you like to be in a band with me?’  And she was slightly taken aback and then she went ‘Oh, yeah, of course, of course.  What are we going to do?’  And I said ‘We’re going to do Silver Sircus, and we’re going to do these songs, and we’re going to make them really good, and then we’re going to release them.  And she went ‘Right!  Okay…’  *laughs*  And about a year after that the Soveriegnty EP came out, and then we did the Dark Back Garden EP shortly after that.  That was only 5 years ago.


A lot’s happened in that short space of time.
Yeah, we’ve made even more music since then *laughs* which is pretty good for a band that moves at the speed of a glacier!  But we did manage to produce an album eventually.

So you’ve just last year released your first full album, which is ‘To The Place That Is Home’.  Tell us a bit about that, the songs were all mostly older?  And then there was some new stuff that you-

From the beginning it was this whole idea of a whole lot of material that was kind of in a queue from oldest to most recent that we had to kind of swat away.  So the Sovereignty EP was the four oldest songs.  DarkBackGarden was kind of an extension of that.  That material was all from a certain period of time.  So what happened after that was that once we had those recordings out of the way in late 2008 we wrote ‘Come Back As You’ and that was the first song that Lucinda and I made, just the two of us.

‘Come Back As You’ from the album To The Place That Is Home

So that’s almost the birth of Silver Sircus now, as we know it?

That’s the beginning song, yeah.  So that started out as a very, very simple little song with the guitar being played on the verandah and turned into the seven minute monolith that’s on the album now.  That song does date back to then, but that was the beginning of the first step of, you know, the way the band is now, and our current way of working.  What we planned to do was record that song fairly quickly and release it as a single.

And what year was that?

That was in 2009.  But life had other plans and what ended up happening was that Lucinda and I both went through fairly cataclysmic life events that took quite a long time to resolve.  So what happened was that that turned into a series of delays.  Actually about 4 or 5 delays.  Now we’re gonna record it, and then this happened.  Now we’re gonna record it, and then that happened.  And then just on and on it went.  What ended up happening is that we ended up writing more songs.  So if we had gone through with our first plan that song would have come out on its own.  In the second instance it would have come out with a B side.  In the third instance it would have come out as a 4 track EP, and the instance after that it would have been a 5 track EP.  For a long time that was a 5 track EP and it sat that way for a while.

Even up to the time where we meet I think you were still talking about putting out an EP next?

Yeah, there was a period of about 6 months where we took the accelerator off the band.  I use the term ‘accelerator’ very generously.

Was that the time when you started playing in every single band in Brisbane?

Yes!  That was in 2010.  The band kept playing, but I guess there was a feeling of frustration as to ‘why is this so hard to make this music?’  And I know why that was, and oddly the reason for that completely informed and fed the final form that that record ended up taking.  It grew up to be a full album, it grew up to be about the reason it took 4 years to come out.

I actually can’t imagine those tracks sitting together any other way.

No, no, it ended up all landing pretty well.  But I think people do look at the band and go: there was this flurry of activity at the beginning, and then a lot of performances, and then a little break, and then all of a sudden this big record and 3 releases in one year, and both EPs re-released in one year.  So 5 releases in one year.  But then I look at Kate Bush and I go, well she took 12 years off, and then she took 6 years off and then released 2 albums in a year.  If she can do it we can do it. *laughs*

But it was a really interesting moment when we kind of realised….when we took what was stopping us and we turned it into the fuel, rather than the obstruction.  As soon as we did that it surged forward and it found its very strong voice.  And then from that point the project took over and we just followed it, and it told us what it wanted to be and what it wanted to do and what it wanted to look like and everything.  And that was very satisfying for finally that body of work to live and to tell us what it wanted to do.  Because we were pushing shit uphill for a couple of years.

So the songs kind of became their own muse?

Yeah, I guess so.  It just became a lot easier.  It was not 100 questions running around in your mind, it became very, very simple.  This is what we do.  It’s going to look like this, it’s going to come out like this, it’s going to sound like this, these are the songs.  It all just slotted into place.  I know that’s a rarefied sort of situation to be in as an artist and I enjoyed allowing that to happen.  It was good to get it out because when we released it, it also felt like I was able to let go of a lot of the content and emotion that was woven into that record.

‘What Is A Witch’

One of the more interesting parts of that song cycle isn’t actually on the record, and it’s a B-side called Sleepwalker-

Oh THAT thing! *laughs*

…and it’s a little bit different to everything else, both sonically and in the way it was written…

That is a track that’s largely instrumental that I wrote and it comes from a very simple piece of music that I wrote when I was 20, and that I plucked out of the past and completely reshaped and completely recast.

When we were living together I heard different iterations of that song for months and months and months before it became what it is now.

I had a strong vision of that piece and I knew that if I gave certain musicians in the band certain instructions they would respond in certain ways and deliver what the song required.  And I knew that the song, being very abstract, was going to be a lot harder for me to convey to them ‘this is what we’re doing.’  It was actually easier for me to go ‘play it like this, play it like this.’

It sounds almost like Jimi Hendrix talking to his band in colours.

Yeah.  Well I totally directed that, and I know particularly with Mark Angel’s guitars, which are very beautiful and very dominant on that track, Mark put his faith in me.  He didn’t know what was going on.  He didn’t understand the piece until he heard the final mix, and then he told me ‘Ah, I get it now!’ *laughs* And I said to him ‘I don’t think there’s any way I could have explained this to you.’  But he put his faith in me and in the song, and in Magoo too, you know.  Even though I wrote it, when we came to record it, it was very much a team effort.  Especially when it came to the strings, just saying to Wayne and Sally, ‘There are 3 chords, there are 12 minutes.  Go.’  And that’s it.  And they’re such open and interesting artists that that’s enough for them.  They just played all this stuff over the top and then Magoo chopped it all up and then I went out and shaped it.  I had this big fear that Magoo was going to really baulk at the length of it, but he didn’t.  He really loved it.  It made me remember that he and Tylea made an 11 minute track that had not a lot going on, so I thought ‘he’s the man for the job!’

‘To The Place That Is Home’ has beautiful dynamics, is this something you put a lot of focus on during the recording & mixing process?

Absolutely!  Yes, every note was agonised over, probably by me more than anybody else.

It would have been just a day’s work for Magoo.

Well that’s the good thing about Magoo, is that he has got a very calming influence and when I take my very complex and overwrought thoughts to him, and my confusion, he has this fantastic ability to simplify and straighten out, and to bring everything down to one sentence and just go ‘Ah…how ’bout we do this?’  And he just does it and then it answers 40 questions in my mind.

I noticed that when we worked together as well, you were really good with pointing out how the song dynamics shifted and working with a producer other than Magoo on similar things.

Yeah, well I think that maybe it’s the drummer’s job to do that, because in my experience there’s this great relationship between the drummer and the bass player that’s very traditional, but there’s actually a very, very, very important relationship between the drummer and the lead singer.  A lot of times the lead singer is also the lead guitarist or the rhythm guitarist as well, and in Thirteen Seventy that’s the case, in Silver Sircus that’s the case.  So if you could imagine, a lot of people talk about your formulaic band being set up with your drummer is at the bottom, then the bass player, then keys or strings, or guitars or whatever.  Then at the top of that is your singer, and so it’s like this pyramid.  This is something that I was taught by my father as a teenager when I started learning drums.  He is also a drummer and he told me this is how a band works.  So I took that on, and I’ve seen that to be true in a variety of situations.  But what it ends up doing is rather than thinking of it like a pyramid, if you think of it like a circle the lead singer and the drummer end up being next to each other, on opposite ends.

Like a big loop?

Yeah!  So it’s almost like the drummer and the lead singer are on a playing field at the opposite ends and you’ve got to connect that, and that’s your real job.  I definitely think since probably the third band I was in, which was Chalk, I saw that as a real responsibility of mine.  Also because James Kliemt, the lead singer of that band, had been a great friend of mine for years, even when we were that young.  By that point we had that connection, that relationship.  I guess I’ve always seen the band with the drummer at the bottom.   If you make all the right choices there, that’s setting you out on the right foot.  Everything else kind of follows on.  I think there’s actually a great responsibility with the drummer.  I’ve applied that in lots of situations.  I applied that with the work that we did.  And certainly I’m in a band with a lead singer.  Lucinda and I are the core duo of the band, a drummer and a lead singer.  So obviously the dynamics are a massive part of that.

How will the writing process for your next album differ from the way you’ve approached your previous recordings?  “To The Place That Is Home” is an incredibly dark and beautiful record.  Will the next one lead us further into the abyss, or pull us back towards the light?

I don’t know, it’s not written yet!  That’s not true…  Okay, so the first bit of that question was is the writing process going to be different?  The writing process is going to be absolutely different.  Absolutely different.  We are a fair way into the writing of the record.  I guess the main difference, right from the outset, is that for the very first time we’re working on a body of work that is all being made before our eyes and ears, right in front of us.  So I’m not having to straddle – here’s a song that’s brand new, here’s a song from 3 years ago, here’s a song from a year ago, here’s a song from 10 years ago and mix them all together.  Which I didn’t mind doing, you know, we wanted to do that, but we have truly cleared the shelf.

So you wanted to start from square one and write a record?

Yeah, we’ve never done that before.  So that meant, in the past we were writing music, but we were also corralling older stuff and assimilating it with now.  That process is completely not happening now.

Some of that would have involved other writers as well, wouldn’t it?  People who have since left the band?

In one instance it did, in all the others, no.  So I guess none of these songs have existed before 2012, which is a really refreshing feeling.  It’s just cast this whole other tone, this whole other feeling over working over a whole lot of music, that we’re working on stuff and none of it actually exists yet.  This is a difference.  The other major difference, and this follows on from that process, is that we are involving some of the other members in the band a lot more intimately with song writing.  We’re asking the people who have something to offer in that way to contribute if they want to, and several of them are.  The point we’re at now is that that is about to happen.  What we’re working on at the moment is a whole lot of words and a whole lot of music that has been music largely written by me, words all written by Lucinda.  So we’ve got quite a few sketches, but we’re going to introduce what I hope will be all these major spanners into the works from the other people, but I want that.  I wanted something really challenging and strange to happen, and given who we have in this band, I have every confidence in them!

And who do we have in the band in 2013?  It’s a completely different line-up to Silver Circus mark 1, and even Silver Sircus mark 1.1, really.

Oh, it’s completely different, yeah.  The main line-up of the band is unchanged over the last few years, so it’s a really nice connection.  Having made this record together, now, that has really unified us quite a lot.  We’ve made this record and we’ve all gone away and listened to it and everybody’s had their own little process of listening to that record later on.  Even though all their roles have been very, very different, that’s sort of….yeah, I guess that’s the right word to use, we’ve kind of aesthetically unified a lot more than we ever have been.  So over the next week I’m going to hear music from 3 other people.  So I’m hoping that’ll be…unexpected.  *Laughs*

The current line-up of Silver Sircus is (l-r) Parmis Rose on piano, Terry Dixon on bass, Lucinda Shaw on vocals, Wayne Jennings on cello, James Lees on drums & percussion, Sally Campbell on violin, and Mark Angel (not pictured) on guitar.  Fi Ellwood also regularly contributes percussion.

So the material that has been written so far, is it going to continue to be quite dark, or is it going to be a little lighter now that those really big life things have moved on a little, and you’ve kind of cleared the decks?

Hmmm…I’ve got a feeling that it will be less dark.  I know there were certainly 2 or 3 moments on the album that we tried to go for something very, very dark indeed, which I think we achieved.  And that was very deliberate.  Tracks like ‘I Am Going To Find You’, and ‘Hold Them Close, Mama’, and probably the little instrumentals that are on the record.  We definitely tried to convey the feeling of an incredible amount of grief and loss and death and you know, all the great things in life. *laughs* I really wanted to express that.  I think there’s less of a drive to express those things so strongly this time.

There are other things informing the new work that are very, very different from that, like polarizingly different from that.  To give you an example, I’ve been looking for lots and lots of things that can provide inspiration from non-musical sources.  I’ve wondered how they can feed into music, how they can feed into lyrics, how they can feed into the atmosphere of a song or a record.  I’ve introduced those things to Lucinda, and she has taken them on quite strongly as well.  So to give you a couple of examples, one of the things that we’ve kind of tried to feed into this record is the story of the female pilot Amelia Earhart, who died in mysterious circumstances.  She was a celebrity female pilot in the early 20th century, and she disappeared somewhere in the ocean.  Her plane was never found.  She was a huge celebrity, and she was a big, early feminist, without actually being a feminist.  She was a very strong female in a man’s world, and she was almost this swashbuckling female pilot with no fear, and she got into these, you know, jalopy old ratbag planes in the 1920’s and 30’s and she flew around the world.  And one day she just vanished.  Of course, you know, there’s 80 years of conspiracy theories about her, but in all likelihood her plane had a fault and she crashed into the sea never to be found again.  So we’ve taken her story as an inspiration, and we’ve made a song called ‘Aviatrics’, which I suppose is going to be about her.

Another really, totally different sort of feed to us is the children’s nursery rhyme drawings of two women from the 1930’s and 40’s who were twins, and became massively famous.  They never took husbands and they lived with their mother.  They became very, very successful.  In the late 70’s when they were around their 50’s, one of the died in a freak household accident from smoke inhalation from a kitchen fire, and the other one, devastated, had to continue with all of the work that they had commissioned at that time, and she could barely do it.  Once she had done all that, she retired because she couldn’t draw without her sister.  They would work on two drawings at once, with their backs to each other, and they would swap drawings halfway through and then they would just keep going.  And so the actual authorship of all of their drawings is genuinely to them both.  They’re incredible.  In the 90’s, the surviving twin went back to illustrating, and for the first time in her life, in her 70’s, started illustrating solo.  So, she died in the early 2000’s.  Their story is incredible.  What’s also incredible is the beauty of the work, and they created all these images that a couple of generations grew up with in children’s, ah, they’re called something like ‘Dean’s: A Child’s Book Of Verse’, all these wonderful old books with these very beautiful, at times very creepy, quite sinister, almost adult kind of cartoon images.  They’re a big part of my childhood, and I rediscovered some books recently.  I researched them and I shared them with Lucinda, who just gasped when she saw them – at their quality and how sinister and strange they were, and how much you could get away with that in the 40’s and 50’s.  Children’s illustrations don’t look like that now.  We love them.  So we’ve written a song about them too.

What plans do you have for Silver Sircus over the next 12 months or so?  You’ve been a little quiet since the record came out.

As per the statement, which is still on our website, we are in the midst of a hiatus from performing.  The reason for this is because life moves very, very slowly in this band, and if we want to make a record, I felt that we could deliver that more quickly if we relaxed the incredible pressure on us to deliver one gig every couple of months. *Laughs*  That’s one thing.  Another thing was, for the same reason, what was happening is that we were doing show after show of the same music.  Some of those songs, even though we love them, are a few years old now, and I personally really needed to give them a rest.  I just think one of the really good things about Silver Sircus is that it’s an incredibly flexible artistic entity.  It can be whatever we want it to be, and if we want to temporarily retire from playing live and completely change the way the band sounds, we can do that!  Really any band can do that.  I think it’s a fairly brave choice, I think there are a lot of bands who would be really frightened by doing that.  They would feel like everybody would forget about them, or that if they did that the whole band would just fall apart.  But having been around the block a few times, I know that those things are not necessarily true.  I feel like it’s more important to be true to myself as a musician than it is to conform to what I think a band ‘should’ do, because I’ve done that and I don’t need to do it again.  So wouldn’t it be good to have a little break and reconsider everything, and actually stop thinking about it for a while?  I think I exhausted myself making that bloody record.

Well you weren’t just devoting brain power to that record.  You were doing so many other things at the same time.

Yeah, I was, I was, but most of my artistic energy was going towards that because I’ve got a much bigger role as a composer/musical director in that band than any other stuff I’ve done in the last couple years.

So, In terms of what’s happening, we have indeed been the very grateful recipient of an Australia Council grant to make a new record.  So this is the first time ever that I have worked with funding.  Every single thing I’ve done has been funded out of my pocket, or partially out of my pocket, or out of the pockets of the people who are leading the projects, like yourself.  So this is quite a different ball game, knowing that we’ve just got money to go and record.  So we’re very happy about that.  What’s going to happen is that there’s going to be two releases.  There’s going to be an EP, and all things going very well, it will be released by the end of the year.  Then the new album will follow in 2014.  The EP’s going to have four tracks.  It’s going to have very full, very rhythmic, very…it’s going to have a lot of heat, where the album had a lot of cold.  So it’s going to have faster songs, it’s going to have much denser arrangements.

Are these all going to be new songs as well?  Because I know there were maybe one or two leftovers from before.

Two of them are new.  One of them is an old song that we’ve hijacked from ISIS, and another song is an even older song that we’ve hijacked – from the sixties!  And that’s ‘Venus In Furs’ by The Velvet Underground, which we’re going to record.  And we performed that in our Velvet Underground show last year.  So that’s an EP that’s going to come out, and then the new album, which will be completely different in tone again, will follow that.  And it’s the album that has the arts funding.  The EP’s a little bit separate from that.  So we’re gonna go hot, then we’re probably gonna go cold again. *Laughs*

‘Venus In Furs’

How do you think Silver Sircus fits into Brisbane’s musical landscape/history?

I don’t think that it does, and I don’t mind.

Well, we have a pretty diverse music scene at the moment.  Are there any particular artists you feel are on the same wavelength?

No.  No, I find it hard to think like that.  I don’t really know what people think about the band.  I know that if we play and if we promote a show properly a decent sized audience turns up.  We did our album launch at The Old Museum, we sold it out.  That was nice.  I just don’t think like that.  For somebody that spends their daytime hours working in publicity and production, I just can’t think like that with the band.  It’s sort of my sanctuary away from all that.  The band was conceived purely as a vehicle for Lucinda and I to, firstly, publish ourselves as composers and songwriters, and secondly for us to further ourselves as artists and makers of music.  They are the only two requirements I have of Silver Sircus.  The intention from even before we played, to today and into the future, is that.  If we recruit audience along the way, and people come and see us and people enjoy us, people buy our record, all of those things are bonuses.  That’s how I regard it.  That’s kind of the key to it as well.

Do you have any musical recommendations?

Do I have any musical recommendations?  At the moment?  Well I think that in the absence of a Silver Sircus record *laughs* coming out any time soon I think that people should listen to the ‘Breathe’ EP…

Shameless plug! *laughter*

…where they’ll hear Lucinda doing a great vocal on the band’s namesake track, and on ‘Breathe’, which I play on too.  Recommended listening?  Do you mean in Brisbane?

What’s turning you on at the moment?

Okay, well I’m really enjoying the most recent NickCave album, Push The Sky Away.  It’s just stunning.  The title track is unbelievably, horribly good.  I’m enjoying the new album by Low.  It’s a really beautiful record, I love that band.  I’m also still listening to the new My Bloody Valentine album, and why wouldn’t you?  And I’m also listening to The Seer by Swans.  But when you come to make a record I often struggle with listening to other music, and I feel like I definitely don’t want to listen to music that I feel might be an influence, or music that I feel I might get really obsessive about or really passionate about, or really love.  So, yeah, I’ve been listening to the new NickCave record, but not for the last month.  I’ve deliberately put it aside.  The beautiful deluxe book is sitting on top of my piano, but I’m not listening to it, because I don’t want to accidentally get too close, or copy something.  These are all the artists that we look up to, like, what are they doing now?  So I’m actually listening to less music at the moment, and that’s deliberate, to try and clear musical bandwidth in my head.

Do you look at music as a business, a love, or something you’re compelled to do?

Something I’m compelled to do.  And the reason that I say that is because about ten years ago I stopped playing music, because I found myself in a situation where I’d put about a decade into several bands, all of which in their own ways had been quite successful.  I found myself not in that situation anymore, and I was a bit confused as to why that was.  And having turned thirty, one voice in my head was sort of saying ‘this is something that you did in your twenties, like a lot of other people, and now you have a career, and now you have a house, and now you have this, and now you have that’ and all these other awfully grownup things.  So I ended up having a break and doing a whole lot of other things.  It took four or five years, and it was sort of the birth of Silver Sircus that made me realise how unhappy I would be if I didn’t continue to be a musician.  I think a mixture of only having expectations for producing work that is to a very high standard and having very low expectations about how much money I might make, and also of being extremely persistent and never giving up, might be a good recipe for having a sustainable career as a musician for the rest of my life.  I think I worked out in my mid thirties that if I didn’t have music in my life in some way, that I would be deeply unhappy, and I would not be able to make sense of the world if I didn’t have that.  So I blame my father.  Again. *Laughs*

So James, tell us about your mother…

Ooooh!  Never again! *Laughs*

In an ideal world, how would Silver Sircus run?  Or is this the ideal world now?  Live work verses recording, digital verses physical distribution…

There’s no ideal world.  There’s no ideal.  There’s just how it is.  There’s just ‘this is what we’re doing today, this is what we’re doing now’.  That’s all there is.  Ideal to me is a ten year old idea, and there is no ‘ideal’.

I know you and Lucinda are supporters of gay and lesbian rights.  Has the recent public focus on the ‘gay marriage’ debate had an influence on any of yours or Lucinda’s new material?

Interesting question.  I will say that we have both been involved in the gay & lesbian community in various ways for quite a long time.  When we were in ISIS we stood for a lot of social and political values very strongly, and this was a big part of the audience that the band attracted as well.  We wrote music about those themes back in those days.  It was really nice back in December 2012, when the very last ISIS performance happened, but for the grace of God *laughs* for The Zoo’s 20th birthday, where we performed our song ‘Messiah’, which has got a very, very, very strong gay and lesbian and human rights message.  So it was really nice to perform that song again, 17 years after we made it, to find that it was as relevant as ever.  That’s not a song that will find it’s way into a Silver Sircus set, but to do that again with ISIS at the end of last year was kind of sobering, but full of joy and really fun as well.  It felt kind of really invigorating to go back into that really strong voice.

‘Pleasing You’ by ISIS

There was a lot of emotion at that show.  I saw Rosie cry on stage.

Did she?  Oh, she had her back to me, I didn’t see!

Yeah, there was a lot of emotion in that show, and you also looked like you were having a lot of fun.

Yeah, well I guess there was, there’s always been a lot of emotion attached to ISIS.  I guess that’s why people, you know, from a certain era love the band so much, including us.  I don’t know what else to say about that… *Laughs*

So is it informing any of your newer stuff, or is it something that’s now kind of an ISIS thing and Silver Sircus isn’t visiting that?

It’s an interesting question because you know, obviously Lucinda has written a lot of political works.  But really the Silver Sircus stuff, the universe that we inhabit is a lot more internal and introspective.  Although having said that I think now would be a really good time to write lots of political songs.  If ISIS were making a record now there would be so much to write about, but I don’t think we’re really doing that.  But we might!  I don’t know…  I’d say we’re about 20% into this record, so who knows? *Laughs*

I only have one last question for you, James: Can you see Silver Sircus growing old disgracefully with you?

Hmm…no.  I don’t think, or see like that.  I think in the past I’ve felt pressure to invest in the longevity of things, especially when you’re in your twenties, bands are so much fun.  You never want it to end, but they do end.  Look at the statistics!

You don’t need to tell me that

Yeah!  So all that’s here is today.  All that’s here is what’s in front of us right now.  We made ‘To The Place That Is Home’ and it was a massive full stop on a body of work, on a way of working, on an era in the band’s life, and I didn’t know what was next.  And I think one thing I’ve learned is to not be stressed or to put pressure on myself about not knowing what’s going to be next – in all aspects of my life.  Particularly with music and with that band, and obviously I hold the band very close to my heart, but at the same time I know it’s not something I’m going to do forever.  And it is quite, sort of, agonising hard work *laughs* in a lot of ways.  Silver Sircus is not a party band.

Well, I won’t invite you to play at my birthday this year then.

Well, if you want lots of songs about death and grief and loss…

That sounds right up my alley.

Great! *laughs*  So I…you want wonderful things to go forever.  But they just don’t.  They just don’t.  And that’s fine, that’s okay.  So instead of worrying about something lasting, or never ending, I think it’s a lot better to worry about what you’re doing right now.  And what we’re doing right now is making a new record, with this great financial assistance, and putting all these new energies in, and new ways of working, and new inspirations into it, and it’s just starting to grow legs, and it’s just starting to work out who it wants to be, and just getting past that toddler stage, which is very satisfying.  But it might be the last thing we ever do.  Or it might not.  I don’t know.  Either way’s good for me. *laughs*

 Silver Sircus_Live

Silver Sircus will be emerging from hibernation this Saturday, 25th May to support Underground Lovers at The Zoo.

By: Clint Morrow


INTERVIEW Q&A: Georgia Potter


By Bec Wolfers

Smart, witty and talented Brisbane musician Georgia Potter stands out from the herd. With her well-crafted lyrics, experimental-yet-catchy songs and wealth of life experience, she’s been kicking butt on Triple J and 4ZZZ with her latest singles, ‘XO’ and ‘Reckless’. From keeping up with Georgia’s regular newsletters (which are a joy to read), I know that she has been traveling the world for the past couple of years, but is now back on Australian shores. She recently graced me with the following Q&A.

Bec: I know you’ve been holed up overseas for a good chunk of time now. Can you give us an overview of which countries you’ve lived, played and spent time in over the last couple of years? What motivated you to explore living/working outside Australia, and how did you support yourself while you were away from ‘home’?

Georgia: I worked & saved long & hard to get overseas, working as a social worker. I wanted a year away. So I had a bunch of money to travel with, and make a record. But I just blew the whole lot on travelling for a lot longer than I initially planned – definitely the right decision! I’ve been to Turkey, Egypt, The UK, France, Spain, Germany, Italy, Malta, Cyprus, California, New York City, travelling on my own and generally changing countries about every month. Sometimes I stayed a little less or a lot more, some places I revisited, and then I spent a Winter & Spring living between London & Berlin. Lots of one way tickets to random places & friend hopping across the globe, riding my every whim. I focussed on writing & recording demo material every week and I tried to get as remote as possible in the places that I went to – to get out of the tourist trail and to get out of myself.

Bec: What was your favourite destination, or did they all have their individual charms?

Georgia: There is nothing more thrilling than investigating a new place – nowhere disappointed me though I was often surprised. But by far, Egypt was my favourite. From the first time I went, it completely enchanted me. It’s full of contrast – the chaos of Cairo, the serenity of the Sahara, the darkness of the Sinai. Arabic is truly a poet’s language too & I took to learning it quickly and have continued studying it and returning to Egypt. I arrived just after the first uprising there in 2011 so that was a unique introduction – seeing a country in a state of revolution. It wasn’t how it seemed in foreign media. There was a lot of joy & celebration, a lot of open discussion. And new freedoms – check out the Cairo Street Art album on my facebook page for an example. [facebook.com/pottergeorgia] Then I went back exactly a year later, when a lot of that hope had lead to very little, and I saw much more desperation & hardship. Mostly though, I raced off into the desert oasis’ in the Sahara & picked fresh dates off trees, starred at the stars, swam in fresh water springs, patted donkeys & met some of my dearest friends. Egypt has my heart.

Bec: What/who did you miss most from Australia in your travels?

Georgia: My sweet dog Joy – she’s the apple of my eye.

Bec: Are you ready to settle back into Australia, or would you like to live overseas again in the future?

Georgia: It’s certainly been delightful being home for the summer, but I plan to keep moving. I have dual citizenship you see, so it seems madness not to make the most of the opportunity to live in Australia & Europe. Plus I’m not friends with cold weather, so I chase the summers between the hemispheres – writing, recording & touring as I move. I have a strong bond to ‘home’ in Brisbane with my family, but it nice to stay uprooted too.

Bec: How have gigs been going now that you are back and ready to embark on your ‘Reckless’ tour? What are Australian audiences like, versus overseas audiences?

Georgia: I’ve played a couple of shows with this new band, but we’ve mostly been in rehearsal, so the fun has only just started. As I type, I’m in a van with 12 other musicians headed to Sydney for our first performance of the ‘PINK DOVE’ tour – a Brisbane All-Star soul-review style show featuring my band, Laneous & The Family-Yah, MKO, Superfeather, The Well Alrights & The Melotonins. Hella excited to take this show down the East Coast. Audiences all over are awesome – I get such a kick out of singing for people & sharing music.

Bec: Your vocals are smooth, accomplished and extremely versatile. I also love how emotive and expressive it is. Do you find you need to get into a particular ‘zone’ to sing your best, or does it all come out very naturally?

Georgia: Lately I’ve begun seeing my voice as an instrument, and to treat it as such – I’ve been learning to understand it more. Singing had forever been like water from a tap for me, but now I’m interested it pushing my own boundaries. Certainly in a performance or a recording session, the best performance comes from being connected to the lyric, but that doesn’t require me being in a ‘zone’ as such, but rather shifting my attention to the words.

Bec: I hear some Lauryn Hill and Ani Di Franco in your style; who has been an influence on you vocally?

Georgia: Both those influences are accurate, I listened to both of them when I was a lot younger and certainly Lauryn taught me to belt and Ani is such a supreme lyricist. I’ve listened to a lot of jazz & more recently I would say Frank Ocean, Yukimi Nagano & Emily King have inspired me vocally. When I find another singer that I strongly identify with, it feels like they awaken another facet of my voice that I previously hadn’t accessed. And even without outside influence, I always feel like I’m re-meeting my voice every few months, as it changes.

Bec: With your new tracks, there is a definite experimental shift from your last studio release, Living the Grey, to using more electronic sounds, samples and song writing concepts. XO and Reckless, for example, border on trip hop to me. Can you tell us about the motivations behind your shift in sound? The songs are fantastic, but did you worry about how people were going to receive it, given your quite rootsy previous works?

Georgia: Wondered, yes but worried, no. To me these last singles, XO & Reckless, feel like the beginning. Living the Grey was a little EP I made as a uni assignment, but the new music I’m working on sounds how it sounds because that’s what’s in my head.

Bec: In your music, I’ve always heard a whole bunch of different genres melding together, and now even more with your new album. Which artists have been an influence on you musically? Did any new influences get added to the mix with your latest album?

Georgia: I confess, I actually don’t listen to as much music as most musicians do. But my heroes, who definitely have influenced me, are Portishead, Thom Yorke & Radiohead, Bjork, Nina Simone, Georgia Anne Muldrow, James Blake, Rodriguez, Frank Ocean, Little Dragon and a healthy diet of RnB . There’s so many more that I love, but these are the artists that probably show themselves most obviously in the music I’ll be releasing this year.

Bec: As a solo artist, I know you have had a shifting group around you over the years, to help bring forth aspects of your music. How do you approach performing these days; is there a permanent ‘Georgia Potter’ band? How do you achieve your new, more electronic sound live?

Georgia: Nope not permanent, it shifts according to what material is being played. But at the moment, we are a four piece. I’m up front playing the voicebox & synths, Peet plays synths & triggers samples, Myka is on kit and Jack on lead guitar.

Bec: How do you go about recording a song – do you map out a lot of aspects of the music on your own, beforehand, or get the general idea of a song and take it to others to write their parts?

Georgia: I mostly write alone. Then I work on what I’ve written one on one with the producers & not with this band. It’s mostly programmed & played by myself and Yukon Snakes, with the occasional sessions muso brought in.
For the live set at the moment, I wrote everything on my own and made demo recordings. Then Peet and I made those demo’s into Live Ableton sessions, tweaked & reprogrammed as needed and used Myka, Jack & our synths to recreate as much of it as possible or trigger the samples live. Of course it’s a bit different to the recordings, but that point of difference is a good thing.

Bec: I’ve always loved your incisive lyrical observations and commentary about life, the human condition and where we are heading in the world. Are you an activist on any social or world issues, or do you feel that your art is activism in itself?

Georgia: Well thank you. I hope that all those things you said are true of my work. The making of art is very revealing for me, so I hope that when it’s received it’s revealing for its audience too. If I can have affected someone, with a melody, a lyric or a beat, then I’m on the right path. And I think it is a kind of activism in itself. Besides art though, I’ve been a part of the Indigenous rights movement in Brisbane for a long time. I was born in an Aboriginal community called Aurukun in Cape York, which has meant that I’ve had Aboriginal people & culture in my life on the daily – and it would be great if we could all say the same thing. Up in the Cape, it’s as wild & different as visiting a foreign country, but Australia is still riddled with cultural ignorance and racism. We’re missing out on something extraordinary.

Bec: What is ‘crappy music’ to you?

Georgia: Music with crappy lyrics – I don’t need lyrics to be necessarily heavy or intricate, but why be lazy & uninteresting? Melody provides an opportunity to spotlight words, so give me something! Don’t just cram any old word in there to fill the space & follow it up with endlessly stacked perfect rhymes. That’s crappy.

Bec: What can we expect from Georgia Potter in 2013?

Georgia: More releases! I have so much new material written that needs my focus in the studio.

Finish these sentences –

I can’t live without: solitude
I’m afraid of: drowning in big waves
I get really pissed off by: #hashtaggingreallylongsentencesunnecessarily #it’snotactuallycreatingausablehashtagesowhynotjustwriteitasacorrect
When I was a kid, I wanted to be a: singer!

Many thanks to the lovely Georgia for this in-depth interview. Keep up with her news at the following links:

Facebook: www.facebook.com/pottergeorgia
Twitter: http://twitter.com/GeorgiaPotter
Youtube: http://www.youtube.com/GeorgiaPotter
: www.triplejunearthed.com/GeorgiaPotter

LIVE REVIEW: The Mark of Cain at The Hifi

Image credit: collapseboard.com

By Bec Wolfers

When I get to The Hifi the evening of March 21, the audience is a sea of black t-shirts. Rollins Band, Helmet, Black Flag, Cog and of course, The Mark of Cain, are heavily represented. The room is already pretty full, and we’re still two bands away from the headliner: this is some serious fan dedication.

First up is two-piece Theseashallnothavethem, an instrumental band from the Gold Coast. Their tiny membership and sunny home base belie their epic, profound sound. As the duo take to the stage, swirling guitar noise emanates from Curt Emerton’s Epiphone, a bass loop drones from somewhere, and swirls of mysterious, 80s darkwave sounds ensnare the sizable crowd into a web of entranced silence.

Mat Wilton’s live drums sound so tight, they could be looped. Granted, this probably has something to do with playing to a click, in order to complement the percussion samples used. Even so, his Yamaha kit has one epic sound – the toms solo in one song lulls me into spasms of delight (I’m a sucker for the deep throb of a tom drum).

Theseashallnothavethem choose a stellar playing order with their tracks; the lack of vocals isn’t noticed, as the band build up a wonderful rise, swell, momentum and crescendo throughout the set. One of their slowest songs is a highlight for me. The music is so expressive I can almost see it – with mallets used on the tom-heavy drums, I see large, bold, shapes, and the shimmering highlights of ambient feedback and cymbals are like flecks of silver and gold. This is movie-soundtrack stuff.

It’s really amazing to watch how Theseashallnothavethem navigate their live performance. With only two people, they manage to fill every inch of airspace in the sizable cavern that is The Hifi. There is a depth to this band’s sound that leaves me spellbound. They truly raise the vibration of the room, setting up a heady expectation of what is to come.

Unfortunately, Melbournites Blacklevel Embassy, to me, do not build upon that energy. From their weird, unprofessional-seeming sound check, I’m already getting a bad vibe from this three-piece of guitar, bass and drums. When they begin playing, all I can hear is heavy dissonance that never quite seems to come together properly. Perhaps the sound at The Hifi is the issue; everything seems muddy and indistinct, and vocals are often off-key. It can be tough to get a crystal clear sound with a band this heavy and loud. I have to buy earplugs from the bar to deal. As Blacklevel Embassy are the national supports for Mark Of Cain (following them to all of their tour dates), I’m wondering if there’s something I’m missing about them – but no matter how I look at it, I just can’t seem to like this set much. There are a few exciting moments; a few guitar riffs that make me go “fuck, yeah”, and some mad basslines from Brett O’Riley. The band has a lot of energy onstage, and singer Adam Cooper has a prowling, confident stage presence that’s engaging to watch. I like drummer Dan McKay’s laser cat-eyes shirt. But I want more to love.

As much as they obviously have a rather brutal, punk-tinged, New York heavy hardcore sound, I can’t help but detect something close to cock rock beneath the layers of other genres. Adam seems to have a bit of a ‘tude, and I’m not sure if even the crowd digs it. I see many people nodding their heads, but in a sea of 200+ people, only about five take to the dance floor sporadically throughout the set.

With a strong final song, the band somewhat redeem themselves, with Brett’s driving, distorted bassline a winner in the track. All in all, I find myself underwhelmed by Blacklevel Embassy – they had some good moments, but didn’t seem able to follow through with any wholly engaging songs. Their sound got very same-y by the end of their set, and I found myself wanting another dose of Theseashallnothavethem, to get rid of the cloying heaviness that had just clogged my ears.

If nothing else, at least Blacklevel Embassy have brought the heavy, waking the crowd from their chilled slumber. Excited anticipation builds for The Mark of Cain, as people swarm to the dance floor. The trio appears suddenly with a minimum of fanfare, and the crowd goes nuts. “Brisbane, it’s been a long time,” singer John booms, with a smile. This is The Mark of Cain’s first national tour in 6 years.

Brothers John and Kim Scott are getting on in age (understandably, as the band was formed in 1984!). But they play as competently as ever, John’s Rickenbacker and Kim’s heavy, distorted bass sound locking in with each other immediately to bring ‘First Time’ (a fitting opener!) to life. John Stainer is currently on tour with Tomahawk, so in the grand tradition of The Mark of Cain’s ever-revolving door of drummers, 22-year-old Eli Green is standing in for these shows. His youth is immediately forgotten as he holds his own, banging out a hard, tight foundation for the songs.

The sound is great for The Mark of Cain – everything, even John’s voice, is crystal clear. The heaviness comes across just fine, and I don’t even need my earplugs anymore. Kim’s signature driving, cement-mixer bass plays beautifully off of Jon’s sprawling, evolving riffs.

Set-wise, it’s a good mix of old favourites and tracks from the band’s latest 2012 album, Songs of the Third and Fifth. Mid-set, the band break out the heavy jams, with Eli’s brutal drums accentuating the progressive breakdowns and off-beat timing in Tell Me. The energy grows from there. A small pit forms in the audience, but this is not a hedonistic, reckless mosh – everyone still seems respectful of their neighbours.

The band bulldozes through the set with no fuss between songs. I get the sense of a very professional and efficient group of guys; there’s not a lot of ego flying around in their attitude or clothing. They’re a no-frills band that just want to play great music. John switches his Rickenbacker to a Fender Tele during Avenger. In The Contender, as John talk-sings, “I could’ve been a contender/I could’ve been almost anything/If not for you”, a touched punter whispers into my ear, “That song is so true”.

Interloper’s blasting heaviness is a crowd favourite. The driving riffs, downtuned chainsaw bass and mad-preacher vocals of 1000 Days are a highlight for me.

Too soon, the band break out an abrupt ending, to thunderous applause. The lights come on, but the crouching guitar tech in the wings isn’t fooling anyone. The Mark of Cain inevitably come back for a three-song encore, finishing with the song everyone’s been wanting to hear, Point Man.

“If you listen to me, I’ll save your life/ Are you listening to me?!”

It’s been a great night. As we filter out of The Hifi, sweaty, exhausted, but smiling, I think about the impact this band has had on these people. Having been around for over two decades, there will be people who have grown up to this music – gone through school, taken to the road, had babies, settled down, perhaps retired. They may not be household names to everyone, but Mark of Cain are the soundtrack to lives. May they go on making music forever.


LIVE REVIEW: Thirteen Seventy and Slow Riots at RICS Thursday 14th March 2013

Words: Bec Wolfers
Photos: Thomas Oliver

Last week, for the third time in a row, I found myself at the hot mess Ric’s Bar has become on a Thursday night. It’s safe to say, the evening’s offer of three dollar basic spirits has transformed what used to be a fairly standard turnout into the event of the week in The Valley. Getting in and out of the bar with ease by the end of the night would have required some kind of magic tazer. And with bouncers at Ric’s now patting everyone down on the way in, violent weapons are sadly no longer an option. (Just kidding…sort of. There’s only so many times you can avoid getting shoved by someone in an ironic hat, without getting a little ragey).

Now, everybody Vogue.

But I digress. I dragged my tired ass out to see Thirteen Seventy, supported by Slow Riots, last week, and I’m happy I did.

Slow Riots
“Come in from outside!”, Slow Riots’ singer and guitarist, James, urged the scattered Ric’s crowd, as the alternative trio took to the stage. Their first track, Smoke Signals, began with an addictive riff and a long, instrumental intro. It’s immediately clear that this is a band with a sound so big, Ric’s can barely contain it. The band’s combination of shoegaze, post-90s alternative rock and elements of prog is pretty delicious. James effortlessly switches between rhythm and lead guitar moments, holding his own against Slow Riots’ crazytight rhythm section (with Shannon on bass and Jacob on drums).

Shannon vs James

Slow Riots’ entrancing musaks and confident stage-straddling helped the crowd fill out, with a small group gathering to sit on the floor in front of them by their next song. I really dug the vocals in the second track, and the way that the creeping, mysterious, quieter moments of the music opened up to satisfyingly heavy grungegasms. Slow Riots know how to construct a piece of music to keep it engaging for the listener, while mostly eschewing traditional song structures.

Jacob + sticks

I’m taking a wild guess that James was kind of drunk…perhaps he shouldn’t have joked about bashing up Rics’ security guards…but, hey, that’s rock ‘n’ roll. (Well, according to Axl Rose). However, as mentioned earlier, the new policy of security pat-downs at Ric’s gets kind of tiresome when you’re walking in and out a lot.

Paddy’s Place was a standout track to me, an instrumental the band has recently released as a single. I genuinely like this piece of music, but question whether it was too early in the set to play such a chill song. The track following it was the vocal highlight of the set for me, with a very 70s, Black Sabbath/Zeppelin feel.


Slow Riots tinker with different guitar effects really well. James has an expansive pedal board, but Shannon’s is nearly as large (which is unusual for a bassist). My favourite track of the night was the band’s newest song, North Korea. With tons of dynamics, it had me alternating between moments of emotional resonance, and the urge to headbang wildly.

The only criticism I can make is that James’ voice seems to have trouble cutting through Slow Riots’ epic music, except when he’s cranked up to a yell. He uses a lot of drony vocal melodies that often get a little lost. Then again, this may have had something to do with the venue. Ric’s is notoriously hit and miss with sound (it’s just the nature of its space, though I love the joint dearly).

The next song put the ‘slow’ in Slow Riots – a very leisurely jam indeed, and the most emotive of the night. Taking the audience on an epic journey, it created a wonderfully spaced-out atmosphere. This is a band happy in their own world, that isn’t hung up on pandering to crowds or trends.

I must commend James on mentioning Slow Riots’ name a bunch of times and pointing out the merch desk – so many bands forget to do this, running the risk of being forgotten (you can get the limited Paddy’s Place EP for only $2 at a show).

Pussy and box – The Paddy’s Place EP

Longitude Latitude was the last song of the set, and one I really loved. It featured a phasy, plucked intro, engaging chord changes, and some pretty exciting, heavy moments where all the band members synced up. Jacob is a skilled drummer, able to complement the quieter moments of the set, while also knowing when to crank it up to 11.

I think there is a great deal of passion beneath the slacker, stoner-ish veneer of Slow Riots. Sure, the band is maybe a bit silly between songs at times, but music is about having fun – and there is true depth and maturity in the music they’re making. When the band’s heavier moments explode, they really get into it, with Shannon’s sways and James’ hyperactive spasms making it hard for the audience not to move along. Towards the end of the set, James jumped into the crowd with his guitar and thrashed around, to the approval of the fray.


By the end, it was clear that Slow Riots had gained some new fans, with several gig-goers swarming the band as they packed up. Apart from the vocal issues, and a few overdrawn ‘rock and roll’ endings (these always annoy me, for some reason), I genuinely enjoyed this set. This is a fucking great live band, and they’re getting better all the time. You should go check them out, so you can be all, “I knew about them before their infamous bouncer-bashing jail debacle”. (Yeah, I called it first.)

Slow Riots’ next show is Thursday 21st March at The Elephant Arms, with Trip Sinister and The Androgyny.

Slow Riots links
Listen/buy (Bandcamp)

Thirteen Seventy
Only two-thirds of Thirteen Seventy were able to play Ric’s on Thursday (Maybe I should re-christen them Nine Thirteen for this review?…sorry. Math joke.) With the band’s bassist, Tony, calling in at the last minute with a violent sick-attack, singer/guitarist Clint and drummer Fi bravely took to the stage as a two-piece to play their show.

Fi + Clint collide

Despite this setback, they did a damn good job. The band began with a great opening riff, showcasing their post-90s alt, and slight 80s Aust-garage rock, sound. Fi is a very able drummer, and compensated well for the lack of bass guitar. I can only imagine how tight her drumming would sound with a bass to lock onto. The missing piece of this trio was only occasionally noticed in the songs’ choruses, where some bottom end could have helped fill out the sound. In any three-piece, you are going to notice a missing member pretty strongly – so, really, these two did a commendable job. Clint has some fantastic vocal hooks, and is a charming frontman. His personable, calm, confident-but-not-cocky stage presence is lovely to behold.

Taylor Hanso…sorry, that’s Clint

After Thirteen Seventy’s first song, Clint explained Tony’s absence to the attentive Ric’s crowd, quipping, “But, as Freddie Mercury said, the show must go on…”. Thirteen Seventy’s second track, Rubble, featured a strong grunge influence in the guitar sound, and a slow, steady build in the song’s dynamics. For some reason, I couldn’t get the idea of a heavier Hanson out of my head for this track – but I think maybe I was just mesmerized by Clint’s magnificent blond mane, and something in the song’s melody. Transitioning next into a ripping, fast-paced track, Thirteen Seventy flipped the coin and showed their range, as echoes of Motorhead and Guns N Roses flicked at my ears.

Thirteen Seventy know how to combine catchy, but atypical, chords together with solid dynamic structures. I get the sense that this is a band who enjoy the art of writing ‘a song’. I could identify which parts of their tracks were verses, and which parts were choruses, pretty clearly, and that’s becoming rarer and rarer these days, with many alternative bands’ broad experimentations becoming the default. Audiences and radio have always enjoyed music they can grab onto, so I think this quality could prove a strong point of Thirteen Seventy’s.

When drummers sing: Episode One

Mid-set, Fi took to the mic, her vulnerable vocals beautifully accompanying Clint’s phasy guitar licks. The ethereal melody of this song carried through, entrancing the crowd – I was reminded of The Cranberries – until an unexpectedly heavy riff erupted. I actually saw someone near me jump at this moment; hooray for surprising the crowd!

Clint clearly knows his way around gear; another frontman with an impressive pedal collection. Shifting adeptly between sparkling clean tones, reverbs, phasers and chunky distortions, he kept the guitar sounding interesting throughout the band’s set.

I enjoyed Thirteen Seventy’s fifth song a lot. With an engaging vocal hook, and the verse’s picked guitar riff, I was reminded of Alice in Chains – particularly during the epic, passion-filled chorus. Clint has an impressive vocal range, proving able to hit hoarse, heavier moments, as well as clear, soulful melodies, with conviction and ease.


This set was a good mix of mid-tempo, ballads and heavier numbers. Fi was hitting hard in every heavy moment, truly working overtime to drive things home. I really dug Thirteen Seventy’s seventh song, though of course bass would have added more dimension. There was this catchy vocal hook in it that grabbed me; a magic moment that was repeated only a couple more times. I love sparse highlights like these in songs. It’s the kind of phenomenon where you’d listen to a record for that one part again and again, until suddenly you know the track off by heart, and love the whole thing.

In Medusa, I found another highlight; an epic rock ‘n’ roll mid-section that sounded like an ending (though I’m not sure if this was because there was no bass). Guitar fuzz crackled and seemed to be dying, hanging in the air for a superlong pause – until the band unexpectedly launched back into the song’s chorus. This bait-and-switch is the kind of moment that works really well live, playing with the crowd’s expectations and turning them on their heads.

Clint thanked the crowd before the band’s last track, Exit – a stripped back track that tumbled into some lushly heavy moments. All in all, I enjoyed Thirteen Seventy. It was cool to experience what must have been a unique show for the band. This was the first time I’ve seen them play, and I’m eager to experience them again as a three-piece. It’s difficult to review a band that you know is missing an important component, but I truly applaud them for playing a tight set. If a band still sounds good missing a third of its membership, and commits to playing a show even in the face of that, then it’s a band that cares about what it’s doing.

Thirteen Seventy’s next show is also Thursday 21st March, at the Beetle Bar, with Dameena and Trash Queen.

Thirteen Seventy Links

Interview with Marrlin Othman from LadyFest Brisbane


On Thursday I spoke to the main organiser of LadyFest Brisbane Marrlin Othman. It was a beautiful and inspiring conversation. I left the conversation changed and as I’ve already outlined, very inspired.

LadyFest Brisbane is a celebration and empowerment of women in the arts, and of the women who appreciate them. LadyFest Brisbane is a part of an international movement that commenced in the United States in 2000. Essentially, LadyFest is a non-profit, community-based event designed by and for women to showcase, celebrate and encourage the artistic, organizational and political work and talents of women, and it features performances by bands, artists, authors, and more! Whilst the organisation and events are run by women, all are welcome to attend.

The Brisbane arm has made a few additions to the core LadyFest movement. The events being organised will include live music, art exhibitions, speaking events, film nights, craft workshops, bake sales and anything else you can think of. It’s about ladies and the people they love and the things they create, in every form you can imagine.

When I asked Marrlin about what inspired her to get involved in organising the LadyFest Brisbane movement, she talks highly of the original LadyFest gig she saw back in 2005 / 2006:

Back in 2005 / 2006 I saw the first LadyFest gig in Brisbane which at that point was just purely about the music. In the six years since then there really hasn’t been anything like it happening in Brisbane so me and a friend decided to be pro-active and organise it.”

Tonight sees launch of LadyFest at the Beetle Bar. The gig will feature the amazing talent of The Boys, Love Like Hate, Tiny Spiders and Emma Bosworth along with DJ Ally Cakes spinning some fantastic lady tunes. Marrlin says tonight is only the beginning of what is sounding like a very busy six months for the LadyFest organisation:

We love all the bands playing on the bill tonight. I’ve known both Tiny Spiders and Emma Bosworth for a while, they are such great bands. The Boys are one of the newer bands on the bill and they are one of the best bands going around at the moment. They came highly recommended as a band we must include. Love Like Hate were recommended to us by a friend. I haven’t seen them live yet but I’m really looking forward to finally seeing them live. I’ve heard from a lot of people how amazing they are. Moving forward we are planning more gigs of this nature that will be very collaborative and will expand to include lots of different genres. That was one thing we wanted to do, to open people’s minds to all the different genres of music out there that have strong female performers at the centre of them. We are looking to hold events over the next six months that encapsulate other lots of different forms of art. Since we launched LadyFest we’ve had such an overwhelming response from people. This includes everything from Bollywood Dancing to Yoga to even cake decorating. We want to be incredibly inclusive and include all the different areas of the community where women are making their mark.  The Brisbane arm has made a few additions to the core LadyFest movement. LadyFest Brisbane is a celebration and empowerment of women in the arts, and of the women who appreciates them. We felt it is important for the latter group to be included as well, and some of these women are active members of the LadyFest organising team, myself included. The events we are organising will include live music, art exhibitions, speaking events, film nights, craft workshops, bake sales and anything else we think of between now and then. It’s about ladies and the people we love and the things we create, in every form you can imagine. So many different people have approached us and the support has been very diverse, it is amazing to see that across all levels of the community people want to get involved. We’ve already started talking about next year and we want this to be an ongoing thing and to pass the reins on to the younger generations.

Marrlin is also quite open about who inspires her when it comes to what she does with LadyFest:

I really love Joan Jett; she is amazing and someone who I really admire. There are also so many female artists in the local Brisbane scene who inspire me. Someone like Rachel Jacobs who is a local member of the Greens, she inspires me. Bands like An Horse inspire me to continue to grow. Tamara from HITS has always been someone I admire. She has such a beautiful charisma as a performer but beyond that she is incredibly intelligent with all of her non-musical pursuits. Heather Anderson is another inspirational person to me. She is very active at Triple Z and the music scene of Brisbane but she also has a PHD in social issues. She is a very strong and amazing woman. Stacey Coleman is another example of someone who inspires me. I think it is important for people to look locally in their own community because there are so many intelligent women making a big difference.

Marrlin Othman is an amazing individual and after speaking with her I can’t help but feel that the power of the LadyFest movement will only grow into a bigger organisation. On International Women’s Day I can say that she is one of my heroes. LadyFest is a vital movement that is plugged into the very important issue of gender equality and putting a massive spotlight on all of the amazing female artists in Brisbane. If you care about your local Brisbane arts scene you need to get involved with LadyFest. I think that this is the best thing happening in our scene at the moment and I can’t wait to be a part of it moving forward.

Tonight sees the launch of their organisation at one of the best venues in town, The Beetle Bar. It all kicks off at 8pm and feature The Boys, Love Like Hate, Tiny Spiders and Emma Bosworth. $10 entry and some very pretty merchandise are also available for you to take home.

By: Dan Newton

Useful Links:

Official Website – http://www.LadyFestbrisbane.com.au/
Facebook – http://www.facebook.com/LadyFestBrisbane

Interview with Tasha D from Smoking Martha

Smoking Martha

By Bec Wolfers

Tasha D from Brisbane band Smoking Martha is one of the most talented vocalists I’ve ever had the buzz of seeing perform live.  As someone particularly interested in powerful female musicians, Tasha was an exciting discovery for me. When I first came across Smoking Martha at a mutual gig, I had the sense of watching something big in the making. Here was a bona fide star, the kind that I could see taking not only local, but international, audiences by storm. (And the kind I can imagine would impress even the most critical of vocal reality shows floating around TV, and deservedly so).

Tasha immediately struck me as a vocal melange of Gwen Stefani, Janis Joplin and Robert Plant…with the stage presence of Cassandra from Wayne’s World. Her tight, polished band has chosen an apt name in ‘Smoking Martha’…their vintage-tinged rock’n’soul performance is a fire that smoulders, warping your senses with waves of heat…sparking, hissing, teasing, and occasionally igniting into a full-blown blaze.

Tasha D

I sat down for a phone interview with Tasha, eager to get more insight into her amazing vocals, and hear Smoking Martha’s story.

Tasha’s passion for what she does is immediately palpable. For her, music is an important source of self-expression, and a necessary creative outlet. When I saw Tasha perform, I got the mental image of a shaken-up bottle of cola. If you hold back that kind of talent, she’s gonna pop! I have to admit, though, I was surprised to hear her tell me,

“I actually used to have a high, kind of mousey speaking voice as a kid. Even now, my own mother sometimes gets surprised with what I come out with when I sing. I learned to sing by ear, joining in with the records playing in my house growing up. My parents are big music fans, which I’m grateful for, because I got into a lot of bands through them (especially Led Zeppelin, Deep Purple, Black Sabbath and Metallica). My sister’s R&B collection was also a big influence for a while. Some of my biggest vocal influences are Melanie – who I first experienced that full on shiver of emotional connection to when I heard her song ‘Candles in the Rain’ – as well as Chrissie Amphlett, Gwen Stefani and Jewel.

“I like a huge variety of musical genres, ranging from pop to metal. I don’t like to discount anything, and I judge music only on whether it makes me feel something emotionally – because that’s what I feel music is all about. Technique-wise, I learned a lot through simply experimenting at home: learning songs and singing them over and over again until I could imitate what I heard.”

It’s not surprising to hear a variety of influences have helped to shape Tasha’s exceptional voice. I was around a corner, unable to actually see the stage, when I heard Smoking Martha for the first time. I found myself genuinely surprised to see that Tasha, a slender and attractive young female, was the source of the deep, raspy, soulful voice I’d been hearing against the band’s driving rock anthems. Tasha luckily wasn’t offended by this, and said,

“The shock factor is definitely one of the things I most enjoy about performing. Your reaction isn’t unique! A lot of people seem taken aback when they first hear me sing. That sound is something I’ve deliberately cultivated as a singer. And playing with people’s expectations seems to make us stand out as a band, which is always nice.”

Smoking Martha, as it exists now, has only been around for about 6 months. In that short space of time, the band has achieved some impressive accolades, including playing shows in Melbourne, and a support slot at The Hifi for 90s veterans Everclear! I asked Tasha how the band came together, what influences have shaped their sound, and what it was like to support a big international act.

“Smoking Martha’s journey definitely has had its ups and downs. I began performing vocally in high school, but it wasn’t serious, and I soon put all that on the backburner when I began my job in fashion. I didn’t perform or write any music for a long time, though I was an avid gig-goer. But then I met (lead guitarist) Mick, who has a long background in punk bands, and he encouraged me to get out there. He could see I was really struggling mentally with not having a creative outlet in my life. I wasn’t coping very well, even though I loved my day job. So Mick and I began writing some songs and performing together acoustically.

“We soon decided we wanted a full band sound, and enlisted more people to make that happen. We knew of Pabz (Smoking Martha’s drummer) through mutual friends – he’s fantastic at what he does, and luckily he liked our demos. We began jamming with him at the beginning of 2012, and also enlisted Aaron (rhythm guitarist) at that time. Then we found Chris (bassist), and felt we’d found a group that all gelled well together, musically, and as people.

“The guys are all incredibly talented, and bring a range of different influences to the table. Mick brings the punk and some metal energy – some of my and his favourites are AFI, Rise Against, Stone Sour and Maylene and the Sons of Disaster. Chris is originally from Melbourne and is a bit of a chilled out hippie, very into 60s bands like The Who, and underground/garage bands from that era. He also has big love for Sonic Youth. Aaron is big on rock like Led Zeppelin, Billy Talent and Midnight Oil. He loves to support the local scene, and get out to shows. Pabz is more into ballsy, heavy rock, like Stone Sour and Maylene and the Songs of Disaster. And Led Zeppelin and Queens of the Stone Age are big influences overall for the whole band.

“We’ve been gigging regularly around Brisbane since mid-last year. The Everclear support came up pretty early in our career and was a huge surprise, but a massive boost for the band’s confidence. It was crazy performing for a packed-out crowd, and very exciting for me to meet (Everclear singer) Art Alexakis and Everclear. I genuinely like the band, and think Art is a great songwriter. We did our best to put on an energetic performance on the night, and got a lot of new fans from the exposure.”

“You’re Jekyll, you’re Mr Hyde
It all depends what side faces the moon
At the ebb of the tide”

I was interested to see how Tasha crafts her lyrics, as I really like the images present in Smoking Martha’s song ‘Ebb of the Tide’. Tasha is a lady after my own heart, as she says,

“I feel like there are enough love songs in the world, and although love is one of the best things in life, I really have no interest in writing love song after love song. I actually just wrote my first song about the happy side of love, which I think came out successfully. But apart from that, the only love songs I’ve written tend to probe at the darker side of love; the catastrophes and craziness. In ‘Ebb of the Tide’, I explored the idea of changing into someone else, whether it be through drug/alcohol use, or just the different sides of our personalities that can emerge and be at war. Sometimes people can change into something almost evil. Hence the line about Jekyll and Hyde.

“I get a lot of lyrical inspiration from reading books and watching films…I feel like I absorb a lot from the stories I consume, and either a phrase or a whole theme will come out afterwards. I’d definitely call myself a storyteller…I’ve always been really interested in sharing my stories, and swapping stories with people. That’s a big part of why I love writing music. And more than anything, I guess I write about passion. That seems to be the biggest theme throughout all of our songs.”

Smoking Martha will be recording their first EP around March/April this year, and taking some time off gigging to record. I prodded Tasha about what the band is hoping to achieve with their first release.

“At the moment, we’re trying to decide where to record it, as that’s an important decision. We’re also really interested in the idea of recording to analogue tape…which helps give that full, ‘real’, warm sound we’re looking for. A lot of studios don’t record to analogue anymore.

“Once the EP is done, we’ll have a launch gig for that and then tour with it on the east coast of Australia!”

My last question for Tasha was what she thinks of the Brisbane music scene, and what local bands have been inspirations to her.

“I love going and seeing live music as much as possible. I love the Brisbane scene…I feel like we don’t entirely fit in any of the current popular genres as a band, but I also like the fact that we’re doing our own thing.

“Some local bands we love are F1-11, Ironbird, Kill the Apprentice, Trust and Fall, and Zeus Baby. I think it’s incredibly important to support the local scene! There are lots of amazing bands overseas, but there are also so many gems in your own backyard.”

Smoking Martha is definitely a gem of this nature, and I look forward to seeing what Tasha and the boys achieve in 2013. And trust me, you’ve gotta see this band perform live…

Catch Smoking Martha’s smoking live show at an upcoming gig:
25th January,
Prince of Wales Hotel (Brisbane), with Dirty Liars, Here’s to Neverland & The Black Catapult
10th February,
The Tempo (Brisbane), with Dave’s Pawn Shop and Tusk
1st March, Prince of Wales Hotel (Brisbane)
15th March, Miami Shark Bar (Gold Coast)

Smoking Martha links
Facebook: http://www.facebook.com/smokingmartha
Myspace: http://www.myspace.com/smokingmartharock
Unearthed: http://www.triplejunearthed.com/SmokingMartha
Soundcloud: https://soundcloud.com/smokingmartha
Youtube: http://www.youtube.com/user/smokingmartha