Kirin J Callinan - new video and tour news

We first chanced upon Kirin J Callinan in 2006 as as the guitarist of Mercy Arms. He was clearly a very talented musician and soon became a good friend. We turned up unannounced one time at his apartment to find him shirtless and wearing a spectacular pair of high-waisted, tight, purple corduroy pants. When we asked him why he was dressed so utterly brilliantly, he kinda looked puzzled, shrugged and said that he was just cleaning the kitchen. It was at this moment that we knew this was a fellow who did things differently from the norm.

And so it proved to be. Since Mercy Arms split, Callinan has freed himself from the shackles that confined him during that time and has gone on to become one of the most inventive, brave and exciting artists around, as his new single and video clip (above) illustrates.

A synesthetic joyride to the frontline, W II W (Way to War) is the first single from Kirin's forthcoming debut solo album and launches with this amazing, gif-laden video clip from acclaimed film director Kris Moyes. All napalm, machine guns and loneliness, choppers and tracer bullets, W II W (and its accompanying b-side, Thighs) will be digitally released worldwide on 19 June and on 7" vinyl on 31 July.

Kirin will be playing a few Australian dates in June. You'd be an idiot to miss him:

Thursday 21 June Black Bear Lodge, Brisbane
Supported by DCM + Nite Fields + Kangaroo Skull
Tickets available from www.oztix.com.au

Friday 22 June Goodgod Small Club, Sydney
Supported by DCM + Forces + Kangaroo Skull
Tickets available from www.moshtix.com.au

Thursday 28 June The Tote, Melbourne
Supported by DCM + Machine + Kangaroo Skull + Forces DJs
Tickets available from www.moshtix.com.au


* NEW SHOW JUST ANNOUNCED* 
Friday 29 June The Exeter Beer Garden, Adelaide (solo show)
Supported by Lochie Wilson (Steering By Stars)
Free entry

2010 End Of Year Review - Top 10 Gigs

Kicking off four days' worth of posts relating to BobbySix.com's End Of Year Review is the Top 10 live gigs of 2010. Still to come over the next few days, top albums, top movies and top songs:

1. REGINA SPEKTOR, Sydney Opera House 
"Heartbreaking tender ballad Samson remains one of the best songs of the last ten years and commanded hushed awe from the audience but, on this occasion, the highlight was Apres Moi. For someone so softly spoken, Spektor has a massive vocal range and when she ended the song by belting out couplets in Russian, it was jaw-dropping.

Though, on record, her edges seem to have smoothed a little, live, she was as weird and leftfield as ever, using her vocal as an instrument and singing ditties about how “Someone next door’s fucking to one of my songs.”  In taking the step to this next level, Regina Spektor proved that it is possible to make intelligent, beautiful music that is accessible while still remaining daring and oddball." (Full review...)

2. JEFFREY LEWIS & THE JUNKYARD, Oxford Art Factory,Sydney 
"There were punky rock outs and gentler - really wordy - acoustic numbers that showcased his writing talents, as themes of self-doubt, lost love and depression were treated with sincerity and humour. He told fantastical stories about various ways he could commit suicide... while suggesting that Pitchfork would only give his death 3.6 out of 10." (full review...)

3. LAURA MARLING, The Famous Spiegeltent, Sydney
"The use of cello, keys, drums, mandolin, guitar, bass and banjo offered a round sound, yet the set really dazzled when Marling stood alone with just her voice and acoustic guitar... This was a truly enchanting evening from one of the finest young talents around." (full review...)

4. DANIEL JOHNSTON, Monster Children Gallery, Sydney
"Life doesn't often make sense. Plug A rarely fits nicely into Slot B. People conflict and contrast, friction prevails. Sometimes though, very, very occasionally, everything comes together. And, as I stood on the steps, looking over Johnston's shoulder onto a crowd that were hanging on his every word. It was clear that these were my people, and this was my soundtrack. If only life were always like this." (full review...)

5. THE CRIBS, Manning Bar, Sydney
"Even four albums in, The Cribs' raw energy and vivacity hasn't abated, and to combine that with tunes to die for is to be in the presence of one of the most thrilling live bands around." (full review...)

6. KLAXONS, Enmore Theatre, Sydney

"The hour-long set flew by, and, as they wrapped things up with It’s Not Over Yet, Surfing The Void and Atlantis To Interzone, the band seemed genuinely taken aback by the fervent reception they received. “I’m not joking,” said keyboardist/vocalist, James Righton (above) with a look of bewilderment. “You’re the fucking best audience ever.” True, the crowd were going absolutely mental from start to finish, but that’s largely to do with the fact that the Brits practically ripped the roof off from the get-go." (full review...)

7. ANGUS & JULIA STONE, Metro Theatre
"What better way to celebrate your record going gold, than by playing three sold-out shows over two days in your home city? Following Friday night's gig, the siblings played a matinee performance to an under-age audience on Saturday afternoon. Cue a Beatlemania-esque frenzy from the crowd as fourteen-year-old girls took time out from screaming every word of every song to yell requests for impregnation from Angus. If it was all a bit much for the shy, unassuming Mr Stone, then the evening was happily a more chilled-out affair." (full review...)

8. PARADES, Enmore Theatre, Sydney 
"Sydney’s Parades looked like a bunch of high-school misfits who had been rounded up from the loneliest corners of the playground and ushered onto the stage against their will, but, behind their Breakfast Club aesthetic was an awesome, layered soundscape so huge that it’s hard to believe any venue smaller than The Enmore could cope with such epic noise. As is their wont, the quartet bolstered their numbers for their live show and with five boys and one girl offering four vocals and all manner of percussion and effects, their set was diverse and their songs experimental and enormous. This is a band with a really exciting future." (full review...)

9. CABINS AND BRIDEZILLA, Changing Lanes Festival, Sydney

"Cabins' performance drilled its way relentlessly through the audience's bodies. Their bone-shaking set - which included a cheeky cover of Edwin Collins' A Girl Like You - was loud with a capital L.O.U.D. and their catchy indie with alternating vocalists was the highlight of the day...

...Bridezilla (above)  performed a handful of promising new songs in their 30-minute set, the last of which really showed the band's desire to push themselves in new directions. This set-closer, Hey Girl, saw Millie Hall put down the saxophone and take centre stage, playing keys and sharing lead vocals with Holiday Sidewinder. Written by Hall, the poppy number was infectious enough to suggest it will soon be quite the crowd-pleaser, with Hall, Sidewinder and guitarist Pia May delivering some 60s girl-group singalong harmonies." (full review of festival...)

10. FLORENCE & THE MACHINE, Laneway Festival, Sydney
"Florence Welch ripped through the headline slot with gusto. By the time she ended with a winning trio of Dog Days Are Over, You've Got The Love and Rabbit Heart (Raise It Up) - all of which showcased that lung-busting voice - she had the crowd going apeshit (full review of festival...)

HONOURABLE MENTIONS

Ineligible, to be honest (largely because representatives of BobbySix.com made up part of the performance), but still worthy of a shout is David Ford's Milk and Cookies gig in December. Also due a mention are Kate Nash and Lily Allen's performances in Sydney.

Sydney-based artists that are well worth a look the next time they are playing in your neighbourhood are The Laurels, who - with their shoegazey post-grunge wall of noise - are Australia's most underrated band. Elsewhere, The Preachers put in an outstanding performance at Oxford Art Factory - they are fast becoming one of BobbySix.com's favourite bands. Similarly, Cameras played a stunning show at the same venue. Meanwhile, Melbourne's Howl at the Moon played a winning set at King's Cross' World Bar.

One of the most unique and exciting artists in Sydney remains Kirin J Callinan . His boundary-pushing afternoon show at a warehouse in the iconic Hibernian House (above, photo courtesy of Emma Daniels) was the perfect example of how he brings something genuinely different and interesting to the table. Yeah, so it actually took place at the back end of 2009, but we didn't get a chance to mention in last year's review and, anyway, who's counting?

There are probably loads of other really awesome shows that we have overlooked, or that have been lost in a drunken blur, but these are the ones that have jumped to mind. Have we forgotten anything? let us know...

Getting To Know... The Preachers

Sydney's The Preachers are one of the bands to watch in 2012. Vocalist/keyboardist Isabella Manfredi talks to BobbySix.com about the band’s inspirations, the future and their home city:

I would describe The Preachers' sound as blues rocknroll with a dash of country.

We take inspiration from The Band, The Stones, The Patti Smith Group, Nick Cave & The Bad Seeds, Elvis Costello, Bob Dylan, The Clash, Miles Davis, John Coltrane and Jack Dejonette. We like the old school ethos of production and musical process. People like Brain Wilson and Phil Spektor, George Martin and T-Bone Burnett. Individually our tastes are eclectic and we're definitely not a 60’s wannabe band.

Sydney is its own worst enemy. There's no shortage of talent and ideas coming out of the music community at the moment, but Sydney folk are a notoriously competitive and cliquey bunch. We're always looking at the guy next to us thinking "who does he think he is?". It's a lot easier to be resentful of other bands, especially if there’s an ideology clash there, but, at the end of the day, they've got a record deal and you've got a reputation for being an arrogant cock. Support and respect for what other people are doing builds community in the true sense of the word. Here are some Sydney names that have our respect: Danimals, Domeyko/Gonzalez, Arkestra, Sooners, Hero Fisher, Royal Headache, Jack Ladder, Kirin J. Callinan, The Holy Soul, Psychonanny & The Babyshakers, Step-Panther. We could go on…

I wish The Preachers had written Me and My Woman by Roy Harper. One of the first experiments with multi-track and a serious Opus for anyone interested. I'm also hooked on Sweet Surrender by Tim Buckley (in fact the whole album Greetings From LA is genius) and Keys To Your Heart by The 101s at the moment.

It might surprise people to learn that [guitarist] Jak and [bassist] Thomas recorded and mixed our entire EP themselves. We spent six months amassing the gear and moved it all into an orchestral practice hall in Stanmore [inner-west Sydney]. The EP was recorded there over two weeks using 8-track and a lot of ingenuity.

In five years time we won't still be living with our parents... fingers crossed.

Mercy Arms interview

MERCY ARMS GUITARIST KIRIN J. CALLINAN TALKS TO ROB TOWNSEND ABOUT STARTING AGAIN FROM SCRATCH

“It felt like if you played in a band and were half-decent, you’d get wined and dined and you’d sign a record deal.”

Two years ago, Mercy Arms were the words on everyone’s lips. The buzz surrounding the young four-piece was absolutely massive. There was a seemingly unfaltering momentum about the band and, when a major record deal was signed, everything pointed towards them being The Next Big Thing. It was all too easy. “That’s really what it seemed like,” guitarist Kirin J. Callinan (above)admits. “You’re playing showcases to the biggest labels in the world and getting flown around and it’s like, ‘It’s all happening. Well done. Pat on the back.’ I don’t want to sound too naïve, but that’s how it was… Then the shit hit the fan.”

Like so many recent victims of cash-strapped record companies desperately throwing acts overboard in a bid to stay afloat, Mercy Arms found themselves having to negotiate their way out of the newly-signed contract. However, rather than this false start leading to their implosion, they simply got back up, dusted themselves down and came back with a galvanised spirit. Sidestepping the hype that had once propelled them, earlier this year the Sydneysiders released their debut album independently to critical acclaim and have since set about taking it on the road. “It’s back to reality now,” the intelligent and articulate Callinan tells me from the back of his tour bus in London. “We’re paying for everything ourselves, we’re doing things on the cheap and it feels better this way.” Their recent travels have taken them to the UK, LA and New York. “Over here we’re starting from scratch. You walk down the street and no-one knows you.” He stops himself and chuckles at his last sentence. “That’s not to say I walk down the street at home and I’m The Beatles.”While Mercy Arms’ ambition is such that they intend to continue giving plenty of attention to succeeding overseas, their time away from home has left them excited about an imminent return to Sydney for a performance at Homebake and a headline gig at The Gaelic Theatre. “At our opening show at [London’s] Scala, supporting Ladyhawke, there were four people there when we played the opening song. That makes you appreciate the fans back home and how well people have taken to us.”

While they have plenty more runs on the ladder to climb, their time overseas has certainly been a success. Indeed, the band has just finished a UK tour in support of Cut Copy, performing tracks from Mercy Arms, their epic, eponymous debut album to sold-out venues. Following the rollercoaster ride of the last couple of years, the spring is clearly back in Mercy Arms’ step, and the way Callinan already talks about getting into the studio to record a new album suggests the band is excited about the journey that lies ahead. “The first record, while I’m very proud of it, was a learning experience. It is a record of green and brown, and we want to make the next one blue and red. Bolder and more defined.”With bolder intentions come different recording methods, and Callinan explains the way in which they plan to put together their follow-up record early next year. “Going into the studio [to record Mercy Arms], we already had the songs from the rehearsal room and from playing live. When we recorded them, it was just a matter of pulling away the layers. On our next album, rather than working the songs in the rehearsal space and recording them as they are, we want to get a bit more adventurous; maybe go into a studio and record the songs and rearrange them, pull them apart, deconstruct them and put them back together again. Get them down and then work out how to play them live after that. That’s very exciting for me.”

As anyone who heads to The Gaelic Theatre will discover, Mercy Arms is made up of big personalities; most notably guitarist Callinan and frontman Thom Moore (above). Always strikingly-attired, the guitarist stalks the stage, filling the room with imposing guitar noise while Moore belts out classically-structured melodies with a soaring vocal. The fact that Callinan is the Yin to Moore’s Yang leads me to ask whether having two such strong characters in the group ever causes clashes. “Often,” Callinan laughs. “Obviously there are difficulties, but it is also where a lot of our strengths lie. It’s not just me and Thom either; it’s all of our personalities. We spend a lot of time trying to, you know, keep things civilised, but I think a lot of the positives come when we’re at each other’s throats. That’s when the most exciting music is made.”