One of the major perks of living in Melbourne for me is the popularity of, and therefore easy access to fringe artists and events. Recently, I experienced both the negatives and benefits of living in a larger city with a greater tolerance for ‘weird’. After playing to a half empty room at Woodland the night before, Dan Deacon’s Melbourne show at The Corner Hotel (as part of Mistletone’s Fright Night) was in contrast played to a full house in a larger venue. The atmosphere of the Brisbane show however far out-trumped that of the Melbourne show: The drink queues were shorter, there was more room to dance, run, and follow whatever bizarre direction Dan Deacon gave us, the ‘famous’ people on stage appeared more accessible. It made me realise in a way how good we have it in Brisbane. Knowing that only 100 or so people would go to shows meant not worrying about pre-sales, no lining up, and a decent view of the band. Even in cases of sell out crowds, the venue is most likely smaller and more intimate than those in Melbourne or Sydney. It sometimes even results in cheaper entry than in neighbouring cities.There’s something nice about all this.

There’s also something pretty awful about them as well though. You worry whether the band will ever come back to Brisbane. That possibly they’ve lost money. In some cases there is no atmosphere at all for the band playing to feed off which perhaps results in lesser quality performances. As the opening local band you feel a sense of guilt for not bringing in more people despite the hefty ticket prices that put off fans and friends who aren’t already fans of the headliner as well. You worry about getting booked again by the promoter and feel guilty for invoicing them for money. It’s really no surprise that international bands seem to be favouring playing festival circuits for agreed fees rather than risk the potential loss of money involved in planning their own tour. Which is a shame.

Then there are events like Sugar Mountain which I suppose is a ‘Festival’ also. Sugar Mountain however takes everything you like about music festivals minus (almost) everything you hate about music festivals.  Sugar Mountain is a music and visual arts event running from 6pm – 1am across three different stages at massive CBD venue ‘The Forum‘. The headliners for this years event were Deerhoof, tUnE-yArDs, Thee Oh Sees, Shabazz Palaces, Prince Rama, Sun Araw, John Maus and Julianna Barwick as well as a decent smattering of local bands. None of these acts receive high rotation on Triple J or mainstream radio, instead this event focuses on bands with cult following built on the back of community radio/ social media/ blogosphere. The closest event we have in brisbane is the incredible Frankly Festival curated by Lawrence English. Now in its second year, Sugar Mountain expanded to incorporate some bigger overseas headliners. I know several friends from Brisbane who flew down to Melbourne specifically for this event; a sign that organisers are tapping into a certain type of audience. At $95 it was also reasonably priced. It was indoor with plenty of room to move and plenty of seating if you needed a break. The only cons were the expensive drinks (no doubt this cost was set by The Forum though) and the lack of food outlets (the previously planned street vendors had to pull out due to melbourne City Council red tape). The highlights for me were tUnE-yArDs, Thee Oh Sees and Prince Rama but the local bands as well were exceptional. The scope of material and courage to take risk by these locals are what most impressed/ inspired me upon first moving to Melbourne. They were not easily able to be placed into a particular genre or scene and seemed to take cues from a broad range of artists. I had seen and/ or recorded footage from all these bands for the blog throughout the past 6 months, and to see them all together playing to large crowds was another shot of inspiration. Here are some videos of these bands along with my brief appraisal of each:

Pets With Pets – Played early and filled the cavernous Forum main room with psychedelic kraut shoegazer bliss. What makes this band stand out to me is that the songs seem to have ‘soul’ or at least ‘emotional weight’. It’s not a case of playing fashionable abstract music to impress hipsters, although I’m sure the band have been accused of this by some people. Frontman Zayd Thring’s primal and at times bizarre vocals may come across as alienating to others but to me they come across as a way of expressing the bizarre and unspoken moments that we gloss over in our everyday life. It seems the perfect antithesis to the safe teenage altpop currently being championed on Triple J. Which is fine, but feels to me to be so temporary and impersonal.

Fox & Sui – Part of a new wave of abstract RnB gaining popularity through acts like Oscar + Martin, Collarbones and the Yes Please crew. Again, this music has ‘soul’ or perhaps more appropriately ‘substance’ or ‘nutrition’. While Top40 style RnB continues to grow more manufactured by the day, these kids know their limits, and channel only selected cues from their influences. Ones that suit their pesonality, upbringing and musical tools and ability. The result is effortless, slightly strange, but always distinct pop music. I’m highly anticipating more recorded output from these guys in 2012.

Absolute Boys – Played a set of lethargic dubby post punk in a dark theatre against a backdrop of projected static video. I want to go to there. I cannot wait until these guys put out something that goes for at least 45 minutes so i can properly absorb the denseness through headphones every day.

World’s End Press – First time I saw these guys i knew they were too good to be playing the tiny half empty venue they found themselves in that night. The fact that they continue to improve every time I see them indicates world domination is surely not far away. Amazing throwback dance-pop tunes with a distinct Madchester/ disco/ house and plastic funk vibe.

The Harpoons – To me are fascinating. They play fairly rudimentary Motown/ Soul/ Garage tunes that are fairly inoffensive and cute. They could for all intents and purposes be a covers band…. they’re not, but their songs/ prgressions are clear homages/ borderline rip-offs of 60s RnB tunes. The big surprise to me is that the few times I have seen them has been to a room FULL of young kids. Young people getting down to motown? It’s awesome, but not something I could have possibly imagined seeing in Brisbane. Having spent the latter days of my teenagehood obsessing over the motown/ stax/ atlantic RnB discography I copied from the University library, this pleases me greatly…. despite the fact they aren’t really bringing anything new to the table.

I was lucky enough to play a show with them in March at The Workers Club (the same venue as this video). At the time i was instantly struck by how precise and personal it seemed to be, while at the same time being so easy to lose yourself in. It reminded me a lot of Durutti Column and Brian Eno at the time. More than six months later, Leigh has really stepped up his production values significantly. Slick mixing, intricate programming and warm washes of sound. It looks as though the next Townhouses release will be out on the Yes Please label, also home to Guerre, and Oliver Tank; two of Australia’s most promising young acts.

This performance was part of the Novevmber “SYN Approved” show which takes place monthly on a Thursday night at The Workers Club. SYN is a volunteer youth based radio station in Melbourne.

Exciting times loom for The Townhouses in 2012:

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For more videos head to loflyTV youtube channel or www.blackburstsounds.tumblr.com

Hi! This is Coops, one of the lofly collective members. I recently moved from Brisbane to Melbourne. Despite not being Brisbane based I’m still contributing to the general label in whatever way I can and one of the positives attached to the move is that we can help push lofly on a more national scale. Initially being overwhelmed with the amazing and immense scene here in Melbourne, I decided to start a blog which features recorded footage of basically every band I have seen since moving down here. I simply choose a random song pull out my phone and press record. It’s a pretty basic concept which is as much a personal diary as it is about documenting the scene. The feedback I have received from the bands and venues so far has been overwhelmingly positive, so I’m gonna keep it going. The blog itself (www.blackburstsounds.tumblr.com) is very basic. It’s just links and youtube embeds with a directory of venues and bands and links to their websites and blogs etc. This is a very deliberate move on my part. I hate clutter, and really the bands speak for themselves.

On the lofly blog, I will be writing in slightly more detail in fortnightly blocks about what I’ve seen. I hope to deliver a brief overview only, I will try not to “review” as such. My aim is merely to create an introduction to each act/ the venue/ the vibe and give everyone a brief insight into the immensely rich pool of talent on display in Melbourne. I post all clips to the loflyTV channel on youtube. You can also follow the action via facebook here.

I will start by highlighting a handful of favourites from my first 3 months. Enjoy!

HARMONY @ Old Bar

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Despite Old Bar being only a few hundred metres from my house, this was the first time I saw a band play there. Old Bar is great. It’s the way a good rock venue should be. The floors are sticky, the beer is cold, the toilet doors are covered in humourous grafitti, there are two pinball machines, an outside smokers area, and the sound is loud. Real loud. I googled Harmony a day or so beforehand and liked what i heard. I wasn’t quite prepared to be this blown away though. There is a timeless quality to this music. It’s sort of a combination of post rock, blues, doowop, and 90s alternative. If June of 44 played a set of Shangri-Las covers it might sound a little bit like this. The three piece female vocal backing singers is a brave and inspired move. It shouldn’t work as well as it does. This song is called “Cacophonous Vibes” and is off their debut  self titled album. I think they are touring brisbane really soon. Keep an eye out!

RAT VS POSSUM @ RAOB GAB Buffalo Club

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The last time I saw Rat Vs Possum was in May when they were on tour with Big A Little a. Despite putting on a pretty amazing show, It was clear at that time the band were going through some fairly significant and exciting changes. The song were more based around groove than their previous material. Fast forward a few months and an album recording and they are back to being one of the tightest bands on the local scene. This was at the single launch for “Fat Monk”. The song is “New Pills” off their latest album “Let Music and Bodies Unite”. There is order amongst the chaos of this song…. something that only comes through hours and hours of constant rehearsal and a group of people on the same wavelength. The sound at the venue was great. Immersive but not too loud (courtesy of the best live sound guy in the game Nick Hoare), the visuals only added to the intoxicating bliss out effect the band had on the crowd.

ABSOLUTE BOYS @ RAOB GAB Buffalo Club

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I saw these guys supporting My Disco in Brisbane a while ago and while I enjoyed it, I wasn’t completely blown away. On this particular night however, they demonstrated a more mature sound. One that was completely their own. Shrill fizzing guitar stabs, dubby post punk bass, and manic yet somehow minimal drums and percussion. In context, I was completely exhausted and pissed off from a week of intense work, pretty drunk, over-caffeinated and dizzy from the smoke machine fumes blowing in my face. The perfect mood.

WINTERCOATS

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The Final Fantasy/ Owen Pallett comparisons come thick and fast with this guy. It’s kind of a shame that Owen Pallet beat him to the punch, because this guy is ridiculously talented. He uses his violin, a loop pedal, an octave pedal to create interwoven basslines, drum beats, textures and melodies. His live show can only improve and the minimal nature of his performance is quite limiting so it will be interesting to see how he continues to grow with such limited tools or whether Wintercoats expands at some point. The songs are deeply affecting though, and that’s the main thing for now.

NO ZU

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I have followed this project pretty closely after meeting No Zu founder/ frontman Nic Oogjes when his previous band TTT played at hangar in May 2010. It turned out we were both interested in pretty similar music, and were channeling a lot of the same influences at the time. I followed the project online through their limited releases which were extremely varied from one another. This was my first chance to check them out live and they were pretty damn brilliant. Depressingly good in that they seemed to be pulling off a kind of music that I loved but had not been able to fully replicate in my own project. This set, along with subsequent sets of theirs I have seen since prove to be a constant source of inspiration and enjoyment. They are currently playing a month long residency at The Grace Darling Hotel. If you’re in Melbourne, I highly recommend checking them out.

2011 has been a ridiculously good year for Australian independant music so far, and Melbourne based label Sensory Projects in particular have had a landmark year.

Their releases include psychkraut freakout “Saturday Aquatic Pixie Acid” by Pets with Pets, the percussive hyperactive no wave of Aa’s “MAate”, the lethargic electrocroon of Lost Animal’s “Ex-Tropical”, and the post rock meets rave pop of Rat Vs Possum’s “Let Music & Bodies Unite”.
2. Never Die by ratvspossum

Thirteen by bigalittlea

Lose The Baby by Lost Animal

All their releases seem to have a timeless feel and an identifiable touch of class that demands repeat listens. You can learn more about the label and purchase their catalogue here.

Music: On Missing the Point and Being Ok

There’s things about the music industry, the music press, and institutionalised music teaching that have always felt just a bit wrong. Sometimes when I think about the way we rate and consume music, and compare that with the way every culture on earth has used music since we stopped being chimpanzees, I wonder if we are missing the point. This post isn’t to point fingers, mind you, because I engage with the modern music industry on a daily basis, and I include myself in those missing the point. I’m just trying to come to terms with it.

I’m gonna juxtapose a bunch of little disconnected stories and then hopefully get to the point at the end.

Story #1. [BAND X] are the downfall of music, they are just soulless ripoffs of [BAND Y] who were criminally under-appreciated, etc.

Go read Collapse Board. Or Pitchfork. Pick any post and read it. Take note of the discourse and value system. I think what you’ll find is the same thing you’ll find in any pillar of indie music press: An expectation of assumed background knowledge necessary to really understand the content; an underlying paradigm where some music is objectively better or worse than other music against a mysterious set of criteria that constitutes “good taste”; and a fierce backing of these judgements that bind the aesthetic with the personal and emotional.

It sounds like I am having a go, but I do like reading these things. The writers are intelligent people, and as a side-dish to the meat of everyday music listening, they can definitely make the meal more delicious. And when you are in on the obscure knowledge required to understand an article, there’s a feeling of being part of a cool exclusive club.

Story #2. This bone flute has an indie sort of tone.

While the Western World has dominated our music culture over the last hundred years, let’s not forget that humans have been making music for about 40,000 years, and that’s way longer than U2 have been around. Research into the 99.9% of music-making in human history that doesn’t involve post 1400AD Western music doesn’t tend to find that cavepeople held band competitions. European peasants in the middle ages used pitchforks, sure, but they didn’t rate their music on a 100-point scale.

Generally what you do find is that many cultures used music as a daily part of life, to strengthen community, create bonds, and have a good old dance. The separation between player and audience is a fairly recent one, and the line between composer and performer is even younger than that.

Story #3. Gee, you’d better not play a wrong note!

I attended a recital of modern classical piano duo a while ago, and it made me angry. I’ve spent the last few months trying to figure out why.

They played a work by an experimental composer, and beforehand they announced they were very proud of the achievement of actually learning the piece. To illustrate this point, they projected some of the score for the audience, who dutifully groaned “aah” or “whoa”, confirming that the score did indeed look totally stupid. It looked like a transcription of corn popping.

They proceeded to play the piece, both players looking very frantic and intense as they did so. I couldn’t help wonder whether or not they could have achieved the exact same effect by simply improvising. I didn’t mind the way the piece sounded, but it seemed silly that they had to spend hours learning note-for-note the very unintuitive scribblings of some lofty composer on high, to create something that could have easily been improvised. It also bothered me that it was necessary for them to show us the score and say “look, it’s really hard! And we learnt it all!” It struck me as symptomatic of a musical paradigm missing the point completely.

Story #4. Musical cramming

Perhaps you or someone you know can relate to this: you buy tickets for a band you really like, but you haven’t really had a chance to listen to their most recent album. The show is in a week, and you know they’re gonna mostly play their new stuff. What do you do? Freaking study. You listen to that new album as much as you can leading up to the show because you know you will enjoy the show more if you can recognise all the songs, perhaps even bleat joyfully along with some of the words.

Anyone who can say in a nutshell why people do this is on the way to understanding what music is about. As for me, I have opinions, but I’m far from totally getting it.

Story #5. Let’s sing together so that I stop hating you so much…

Have you seen almost famous? Go watch this. It’s the scene where they get in the van and back on the road, all grumpy and hating each other. Then one-by-one they start singing along with Elton John’s “Tiny Dancer”, and it turns into a big chorus of love and good cheer.

The point.

So when we consider the history of human music, modern music criticism starts to feel a bit like one of those fashion magazine pages, where they show a celebrity in a perfectly good dress with the caption “WHAT WAS SHE THINKING!” and then next to that, another celebrity in a dress that probably looks pretty similar, with the caption “SO HOT RIGHT NOW.” Arbitrary and stupid is what I am saying here, in case that’s not clear.

Upon reflection, the really important musical experiences in my life have not depended on the music being of a certain quality. They’ve been more like the Almost Famous scene above, where the specific piece of music involved is not as important as the social and cultural conditions around it. Despite my Pitchfork-derived music snobbery at home, if I am in Japan singing karaoke with Japanese friends I will sing Green Day’s Time of Your Life at the top of my lungs, because it’s the only song everyone knows. It’s a beautiful and memorable musical experience, cultural and linguistic barriers are broken, bonds are created. And I really really really hate that goddamn song.

So why is it that how “good” or “bad” a piece of music is seems so central to our musical culture and practice? Even though these days social and cultural factors have earned a place in our analysis of music (thank god), the ultimate aim seems still to be evaluation, justification – deciding how good it is and why. Think about the culture around classical music, conservatoire culture is all about what’s better or purer than other stuff, and the debates can get as nitty gritty as what left-hand technique on the violin is superior, or what interpretation of Chopin’s Études most accurately translates the composer’s intentions (which are of course, of paramount importance).

This is where I feel we are missing the point. From gatekeepers of hipster cool to the classical intelligentsia, we are obsessed with evaluation and the detail of specific compositions. But it seems to me this is all much less important than how we experience music, who with, and what it means.

Being ok with it.

So, being someone whose life consists mainly of studying a composition PhD where I’ll spend 3 or 4 years striving to write better music, running a record label where we select specific music that we think is better than other music and try to sell it to people on the basis of it being good, and playing in a band where we stand up on a stage and play pre-written compositions to a non-participating, silently judging audience… the realisations above knocked the wind out of me a little bit.

But it’s ok. What I realised is that debating about proper bassoon technique is an over-civilised version dancing naked around the fire. Spending your formative years toiling away at learning AMEB’s awfully outdated theory curriculum is just a long and drawn-out version of cramming an album before a concert. Reading Collapseboard or Pitchfork is a snobby version of getting together with your friends and being able to sing together because you all know the words.

So it’s ok, because all this obsession with good music and bad music is just a game. We all take part in the game and express ourselves through it, because dancing naked around a fire is just a bit too raunchy for us, so we have to do it like this (also there are bushfire safety concerns). Critics, musicians, professors, industry people – we all contribute to the dialogue as if it’s really serious, discussing the minor details of little tiny bits of music, when actually the dialogue itself is what we really love. If we truly understand the multiplicity of culture, then surely we realise there’s no justification for calling something good or bad anyway. We still do it because it’s human, social, and fun. Some of us get paid to do it, for the same sort of reason that professional sportspeople get paid.

The problem starts when people get so caught in the game that they actually buy into the discourses within. Thinking that if someone hasn’t heard of Boards of Canada’s Music Has the Right to Children album they are actually not very cool. Or that your family campfire singalong would be so much more enjoyable for everyone if we all sang Radiohead songs instead of Cat Stevens. Or that a certain way of playing the double bass in an orchestra is really going to result in the audience having a better or worse experience, when actually the experience of going to see an orchestra is as much about getting dressed up, having a glass of champagne, and reading the program notes, and later discussing how good or bad it was, as it is about the actual performance of music.

So missing the point is ok, as long as we know it. Don’t forget that it’s a game. Don’t ever actually judge someone on their music taste, even if it’s fun to joke about with friends who like the same stuff. Just enjoy the game.

About a month ago on a trip to the UK, I had the pleasure of meeting the young man at the helm of Big Scary Monsters Recording Company. A great UK indie label which has been around about 10 years, released more than 100 records, and is the home of the likes of This Town Needs Guns, Kevin Devine, Pulled Apart By Horses, Andrew WK, and even a release from Brisbane’s own DZ Deathrays.

Kevin Douch started the label in his late teens and is still flying solo, with the help of interns and trusted distributors, publicists, etc.

On my journey of discovery through the UK I spent a fair chunk of time in Oxford, home of Radiohead, Foals, Supergrass, This Town Needs Guns, a gargantuan university/publisher, and Big Scary Monsters. During my time there I learnt that many of the notable historic sites are pubs where a famous person did something (“here’s where Bill Clinton had a spliff and Bob Hawke broke the yardglass record,, over there is where Radiohead had their first gig, and down the road is where Tolkein and C.S. Lewis played checkers“).

I met up with Kev one afternoon and did a tour of the picturesque academic city. Sipping beers in pubs mostly twice as old as the nation of Australia, we chatted about independent record labels, the digital shift, math-rock, bad TV shows and life in general.

Over its long life BSM has had a bit of a bent towards math-rock and techy hardcore stuff, but the releases are generally pretty diverse. The technical noodlings of This Town Needs guns are probably pretty well known amongst the math lovers out there, but the label also sports the soulful pop of Kevin Devine, the expansive post-rock of Yndi Halda, quirky acoustic tunes from Dad Rocks, the tight, synth-laden rock manoeuvres of Tall Ships, and loads (really, LOADS) more cool stuff.

Labels like BSM are the lifeblood of great music, so keep them alive by buying their stuff. Go drop some cash at the Big Scary Monsters Store and your music will probably be lovingly packed and posted by Kev himself. And you can’t put a price on love, my friends.

Here are a couple of my faves from the BSM tanker of goodness:

Tall Ships – Beautifully Euphoric stuff with a bit of indie edge. I love a band who really think about their arrangements as these guys do. Great stuff.

This Town Needs Guns – I have been a massive fan of these guys for a long time, and was lucky enough to meet them while in Oxford. They are outstanding gentlemen and bloody amazing musicians. Don’t miss them at Harvest festival in November!

lofly podcast 001 july 2011 by lofly recordings

Lofly Podcast 001 – Curated by Greg Cooper (lofly)

1. Pets With Pets – Pixiechild
from the album “Saturday Night Aquatic Pixie Acid” (Sensory Projects)
- Played Hangar July 2nd as part of their album launch tour

2. Oscar + Martin – Oyster
from the album “For You” (Two Bright Lakes)
- Played Hangar July 2nd as part of their album launch tour

3. Jamie XX – Far Nearer
from the single “Far Nearer/ Beat For” (Numbers)
- The XX member’s first solo single after impressive Gil Scott Heron remix album “We’re New Here”

4. Founds – Holograms
Free Download on Bandcamp
- First release from impressive new Brisbane band. Playing Hangar The Beetle 002 July 16th.

5. Battles – Futura
from the album “Gloss Drop” (Warp)
- much debate amongst the lofly crew about the new album. I like it.

6. Ghost Notes – Ripples
from the album “By Cover of Night” (Incremental Records)
- launched this album June 18th at the very first Hangar The Beetle. Were amazing.

7. Mr. Maps – Tennis Party
from the album “Wire Empire” (Lofly)
- playing July 9th at the zoo, also hosting a Tennis Party at New Farm Park July 17th

8. Gang Gang Dance – Romance Layers
from the album “Eye Contact” (4AD)
- my favourite album of 2011 so far… easily.

9. Dream Kit – Cosmic Strut (Faux Pas Remix)
from the EP “Future Tense” (Two Bright Lakes)
- Melbourne electronic artist Declan Kelly. Brilliant EP, this remix by Faux Pas is amazing.

10. Donny Benet – Don’t Hold Back
from the album “Don’t Hold Back” (Rice Is Nice)
- Sweet retro futuristic disco from Sydney.

11. Saskia Sansom – The Silver Ship
from the EP “The Silver Ship” (Self-Released)
- Melbourne singer songwriter launches this EP at Hangar The Beetle 002 July 16th

12. Transcription of Organ Music – Beneath The Salty Sea
from the EP “A Prey To Griff” (Birdtree Recordings)
- Hobart folk minimalist launches EP at Hangar The Beetle 002 July 16th

13. Mountain Static – Valhalla
from the album “Research” (Self-Released)
- launched this album at Hangar the Beetle 001 in June.

14. No Anchor – Wolves Bite and Disappear
from the album “Real Pain Supernova” (Self Released)
- Brisbane legends have a new album out. First run of Vinyl has SOLD OUT! Congrats!

15. Nova Scotia – Don’t Forget Your Lunchbox
from the album “Nova Scotia” (Lofly)
- Album Launch Tour this July in Newcastle, Sydney and Melbourne

16. Big Dead – The Sun Also Rises
from the split EP with Screens
- Playing Hangar The Beetle 02 July 16th

17. Samiyam – Bricks
from the album “Sam Baker’s Album” (Brainfeeder)
- The latest LA beatmaker to blow my mind. On Flying Lotus’ label Brainfeeder.

18. DMA – Dog Drem
from the album “Drem Beb” (Joyful Noise Recording)
- Don’t know much about this guy other than what i can find out from here. Awesome album. Find it and buy it.

19. AXXONN – Let’s Get It Straight (Monster Monster and Saint Surly Remix)
from the album “AXXONN Remixed” (Sonoptik)
- MM & SS played hangar July 2nd and recorded video of it also. Some nice toys on display!

20. Re:Enactment – Higher Duties
from the album “Sport” (Lofly)
- Played hangar July 2nd. Pop perfection right here. National tour to come soon.

Last weekend was our first ever ‘Hangar The Beetle’ show at The Beetle Bar. We are please to report that the whole night was a massive success With around 150 people in attendance. Hats off to the amazing bands who played on the night, in particular Ghost Notes who launched their debut album with a truly memorable live performance.

We have uploaded a video featuring footage from all four acts (Ghost Notes, Mountain Static, McKisko, The Scrapes) on the night.

Our next show will be July 16th and will feature Tasmanian folk artist Transcription of Organ Music, Melbourne’s Saskia Sansom and amazing locals Big Dead and Founds.

Immerse yourself in Ghost Notes this Saturday at our first “Hangar The Beetle”. They graced the hangar stage twice in 2010 including supporting Mick Turner. It will be the Brisbane launch of their amazing debut album “By Cover of Night” We’re utterly stoked to be working together with the Ghost Notes crew to put this show on. The album is available here. It comes highly recommended.