Archive for May, 2012

  • Brisbane Times story: ‘Tools of fine wine: Maynard James Keenan’s wine hits Australia’, May 2012

    A story for Brisbane Times, which is republished below in its entirety.

    Tools of fine wine

    It sounds like a set-up to a bad joke. What happens when you combine Californian progressive metal band Tool, a couple of entrepreneurial Brisbane men in their mid-30s, and wine made high in the Arizona desert?

    While the punchline mightn’t make you laugh, the fruit of their labour is likely to prick your tastebuds. This weekend, Brisbane locals Matt Irwin and Trent Allen will conduct the first public tasting event for their wine import company, sip&listen. The pair has imported more than 5000 bottles directly from Tool singer Maynard James Keenan’s Arizona Stronghold Vineyards.

    Keenan’s deal with sip&listen marks the first time these wines have been exported outside of North America. The germ of the idea came about when Irwin, who has worked in the Canadian wine industry for the last five years, played host to his long-time friend Allen on an annual ski trip to Alberta in early 2011.

    “I’d saved this one bottle of [2006 red wine] Chupacabra for Trent, because I knew he was a massive music guy,” Irwin says.

    “We put [the Tool album] Salival on the stereo, downed the bottle together, and the ideas just started flowing. Trent said to me, ‘there’s no reason why this isn’t in Australia. This is amazing wine, there’s a great story – why don’t we do it?’ I said, ‘you’re out of your mind! There’s got to be a reason why this wine hasn’t come to Australia yet. Why is it going to come through two dudes like us?’.”

    A couple of days before Allen flew to Canada, Irwin set his friend some homework.

    “Matt told me to track down this documentary called Blood Into Wine,” Allen says.

    “It hasn’t been released in Australia yet, so I found a really terrible internet stream, which was buffering every 30 seconds, and watched it. It’s an amazing story, and a fantastic film.”

    The 2010 documentary follows the tumultuous first years of Keenan’s venture into the vineyard alongside his winemaking mentor, Eric Glomski [both pictured above].

    “We’re doing everything we can to try and secure an Australian release, because after anyone watches it, the first thing they want to do is grab a bottle of the wine,” Allen says.

    The day after consuming that life-changing bottle of Chupacabra, the two friends sat down and soberly nutted out a business plan. Irwin made the initial approach to Arizona Stronghold; national sales manager Paula Woolsey received his email. Her first priority was to ascertain that the two Australians weren’t simply Tool fanboys trying to sneak a meeting with the notoriously private Keenan.

    “That kind of thing comes with the territory,” Woolsey tells brisbanetimes.com.au. “It’s my job to whittle out the extreme ‘stalker fans’. The point is to sell wine from Arizona, not ‘Tool wine’. Maynard does not mix wine with Tool; he is a member of Tool, but it is not his band.”

    (Woolsey points out that, when Keenan is touring with his side project band Puscifer, “we do the wine thing all over the place: on stage, before the show, during the show!”)

    Woolsey had a three-month dialogue with Irwin before she allowed sip&listen to take the first shipment of 5000 bottles.

    “Having been in the wine business for over 20 years, I can honestly say that Australia has always held a special place in my wine heart,” Woolsey says.

    “We are all up [to date] on the trials and tribulations of the Aussie wine market; from too many vines in the ground and animal labels, to droughts and lost market share. All wine markets run in cycles.”

    Keenan, who has performed with the multi-platinum selling Tool since 1990 and last toured here in January 2011 as Big Day Out headliner, has been quietly working away at winemaking in Arizona since the mid-2000s.

    The region isn’t exactly renowned for its grape fertility; the Stronghold’s business motto reads, “Redefining the desert with high elevation wine”.

    True to his evasive reputation, the sip&listen pair have had little direct contact with the singer.

    “He’s so busy with all of his other projects,” Irwin says.

    “He signed off on it around a month into the process. We got an email from him saying, ‘Let’s do it. I love Australia, let’s move ahead with this’. But from that point onwards, he’s left it with his team in Arizona to manage his business.”

    Allen is by far the bigger fan, having seen Tool perform live 10 times throughout the world, including at a bullring in Madrid in 2006.

    Irwin is less enthusiastic: “I am a fan, but it really was the wine that spoke to me,” he says.

    “It’s really, really good juice.”

    Their VIP tasting event will take place at Wine Experience in Rosalie on Sunday 27 May 2012.

    The $170 cost includes four Arizona Stronghold wines: Tazi (white), Dayden (rosé), Nachise (red), and the 2006 Chupacabra which set the wheels in motion last year.

    As the business name indicates, sip&listen are intent on marrying the wine-tasting experience with music, Tool or otherwise.

    “We’ve always seen that beer and music goes together; all the beer and spirit companies promote concerts, festivals or clubs,” Irwin says.

    “Wine’s never been taken to that degree, because so many people have made it into an ‘exclusive’ drink. ‘Oh, you don’t like that wine? You mustn’t understand it.’ Wine’s been taken to a level that isn’t inclusive of people.”

    “We’re hoping to turn that around,” he says, “so that it’s not a bad thing to stand in front of a live band with a glass of wine in your hand.”

    For more on sip&listen, visit their website. The trailer for the Blood Into Wine documentary is embedded below.

    Elsewhere: I interviewed Maynard James Keenan in late 2010 ahead of Tool headlining the national Big Day Out tour.

  • Mess+Noise Storytellers interview: Shihad – ‘Deb’s Night Out’ and ‘Home Again’, May 2012

    An interview for the Mess+Noise ‘Storytellers’ series. Excerpt below.

    Storytellers: Shihad’s Jon Toogood

    As part of our occasional Storytellers series and to coincide with the release of a new career-spanning documentary, ANDREW MCMILLEN talks to Shihad’s Jon Toogood about two tracks from their back catalogue: an unheralded gem from the mid-1990s and the most popular song they’ve written to date.

    Shihad, one of New Zealand’s longest-running bands, have enjoyed a healthy career marked by experimentation. Now based in Melbourne, they’ve moved from industrial metal (1993 debut Churn) to include elements of pop and electronica (1996’s Shihad, 2008’s Beautiful Machine) while maintaining a central obsession with guitar-heavy rock music, as best exemplified on 1999’s The General Electric.

    I met with singer Jon Toogood [pictured above, far right] upstairs at Brisbane venue Black Bear Lodge – he was in town playing shows with new outfit The Adults – to discuss two Shihad songs in-depth: ‘Deb’s Night Out’ from 1995’s nine-song Killjoy; and ‘Home Again’, the first track from the self-titled album that followed a year later. Much has been written about how much energy Toogood exhibits when fronting Shihad on stage, and the same remains true when he’s engaged in conversation.

    ‘Deb’s Night Out’

    Andrew: I want to start with ‘Deb’s Night Out’. This song sticks out like a bit of a sore thumb, not only on that record but across your whole catalogue.

    Jon: Musically, it was very, very heavily influenced by Skeptics, who we were listening to a lot at the time. They’re a New Zealand Flying Nun band, who were quite different again from the Flying Nun crew in the fact that they weren’t using guitars. It was a lot of sample-based shit, a lot of keyboards. They used Euphonics, or E-Sonics … Some fucking early sampler. They just sounded fucking unusual but they also had this edge … [that was] quite majestic, melodically. Hard to explain. Really beautiful, but really weird.

    Anyway, we were listening to them a lot at that point. Phil [Knight, guitarist] wrote the loop the whole song’s based around, that thing that starts the whole song. That’s Phil on a sampler doing that. When he played it to me I was like, “Whoa, it’s really beautiful.” Then we wrote a bass line and then it was like, “Wow, that’s cool,” and then I just wrote a little poem over the top which was about a friend of my ex-wife’s who was a heroin addict. She came around to our house one night, in Wellington. At that point our daughter was one-year-old. She was asleep in the bedroom and her friend came around and was asking for money. We sort of chilled her out and then we ended up playing games, like Monopoly, but she was cheating. She also tried to steal some money so I actually said, “You – get the fuck out!” And it was pissing down with rain. So that’s where that song began.

    It’s a pretty relaxed instrumental, paired with lyrics that describe a dark tale of a relationship dissolving.

    It’s a song about disappointment, and a friend, really. She was more a friend of my ex-wife’s rather than mine. Oh, it was just the classic junkie thing. She was high; just never trust a junkie, really. She didn’t do anything to dispel that myth, or that cliche. She lived up to it. It was like, “Oh, that’s really disappointing”. I was a bit younger, so I learned, “Right, that’s actually how that drug works.” It was one of my earlier experiences with it. It was before Gerald [Dwyer], our manager, ended up dying of a morphine overdose.

    I didn’t know that.

    That happened after Killjoy [1995] and before the fish album [Shihad, 1996], which is probably a reason why the fish album is all over the place. Our heads were all over the place because we’d lost our manager.

    Was that in New Zealand?

    It was at the Big Day Out in Auckland. He managed us and another band called Head Like A Hole and we both had really blinding sets. We had seen him in the day; he was backstage and he’d rubbed his nose raw … because when he was on heroin, he’d scratch … The last thing I remember, it was really tragic, us all going [at the BDO], “You look a fucking mess, man. Get the fuck out of here! What the fuck are you doing?” He’s like, “There’s nothing wrong with me.” He went back to the hotel between our sets: we were on the main stage earlier, and Head Like A Hole were on the third stage later. He went back and had a hit, and it was really strong and he died. There was no one there at the hotel to help wake him up. By the time we’d got back to the hotel, someone knocked on his door, and then got it open, and he was dead on the floor. We thought it might have just happened, or something like that. But, yeah, he’d been dead for hours.

    Did you know that he had a problem like that?

    We knew that he used recreationally. But he had cleaned himself up for a while, and I think that’s what fucking killed him. Because he’d cleaned himself up for a while and then got some really pure morphine and basically decided to hit up what he used to do when he was using it more regularly – which kills a lot of people, anyway. There was no one there go to, “Hey, wake up.”

    So, ‘Deb’s Night Out’; how soon after that night did you write that song?

    Pretty much straight away, the day after. It was like – bam. [Guitarist] Phil [Knight] had given me that bit of music … It sounded like the feeling that I had, sort of bittersweet. Just sad, you know? And it was good timing. “Here you go Jon, I’ve got this music.” Great … We recorded it at York Street [Studios, Auckland], and we’d wanted it to be a loop rather than a live drum track. At that stage, as well, the studio was still new to us so everything was recorded to a two-inch tape. Before we were using ProTools properly, we went, “Oh fuck it, we’ll just cut a loop of Tom [Larkin] drumming.” So we actually cut it, had the splice going and we had to hold a drum stick in place [so that it could loop continuously] because there was only a small bit of tape. That’s why it’s got this weird skip in it, because it’s not quite perfect.

    That’s another cute thing I remember about that track. I remember laying down those keyboards right at the end, because it was always just one loop. I thought after that last line, “Pray for the rain/To wash you far away”, it needed to “rain”, musically. That’s the most Skeptics-y part, that whole [sings descending chord progression aloud]. It’s that sort of anthemic thing that the Skeptics did, but with keyboards.

    Did you ever see Deb again?

    Actually, I probably did see her once or twice, but nothing too deep. She probably was a little bit scared of me once we kicked her out.

    Does she know you wrote a song about her?

    I don’t care! [Laughs] I don’t even know if she’s still alive.

    At what point did you show your partner the song?

    At what point did I show my ex-wife? I remember her being around while we were recording it in Auckland. She would have known what it was about. [Pause] I’m always a bit cagey with lyrics, even with the people who are close to me – even with guys in the band. They’re real personal and I was always real … I don’t want people to not like them, so I keep them to myself until the very moment where I can’t hide them anymore, because we’re releasing the fucking record. Which is probably why I’m so fucking overly sensitive to bad reviews! [Laughs] Because I live in denial all the time! [Laughs] I am getting better at it. I am getting better at going, “Oh, fuck it. I’ve been doing it 22 years, this is the idea I’ve got, boom.” But around that, I was, what, 26 when I wrote that? Still very, very uptight.

    For the full interview, including questions about the classic Shihad track ‘Home Again’, visit Mess+Noise.

    Speaking with Jon about these tracks in September 2011 was a huge thrill for me, as I’ve long loved Shihad; my overall Last.FM charts show that I’ve listened to that band more than any other since I joined Last.FM in October 2004.

    The music video for ‘Deb’s Night Out‘ is embedded below.

  • The Weekend Australian album review: Death Grips – ‘The Money Store’, May 2012

    An album review for The Weekend Australian, originally published on May 12.

    Death Grips – The Money Store

    By combining the ethos and aesthetics of punk-rock and electronica with hip-hop, Californian trio Death Grips have established an entirely unique sound.

    On this debut album, producer Andy Morin, percussionist Zach Hill and vocalist MC Ride work largely with dark, abrasive tones which imbue the act with a menacing edge.

    Much of this can be attributed to Ride, whose combative style of rapping sits high in the mix amid rolling waves of electronic percussion and a galaxy of fleeting samples, including muscle car engines (‘Hustle Bones’) and Venus Williams’s impassioned scream (‘System Blower’). Rarely is Ride’s voice unadorned: most of the time, it’s run through distortion and delay filters or looped on-the-fly to create a consistent wall of sound.

    Death Grips’ experimental style sits so far outside mainstream hip-hop that they’ll be easily dismissed by most. The rewards for those with patience are significant, though: The Money Store is the musical equivalent of randomly surfing the internet while wired on caffeine.

    The three discover interesting sounds, stretch them out of shape, mash them into three-minute shocks of beautiful dissonance, then discard them. The album’s 13 songs each contain distinctive moods and themes.

    From the sinister lyrics of album closer ‘Hacker’ (“I’m in your area / I know the first three numbers”) to the overdriven guitars in ‘I’ve Seen Footage’, there’s never a dull moment. Highly recommended.

    LABEL: Epic Records
    RATING: 4 stars

    The music video for the track ‘The Fever (Aye Aye)‘ is embedded below.