The Folkcore Bunny has moved!

Hey readers!

A few things have changed:

We're now on Wordpress
We're now called The Fruitbowl
We're updating more regularly
We're all posting on the same page
We have a new blogger - Jo
We lost an old blogger - Emilie

A few things haven't:

We're still in Brisbane
We're still writing about music
We're still awesome

Check it out:

http://themusicfruitbowl.wordpress.com/

Everything was true

With probably the best stage presence I’ve ever witnessed from a solo performer, Paul Dempsey is a talent to be admired. The comfortable, love-worn space of the Troubadour offers intimate seating, which I took full advantage of at the absolute front, knees scraping against the edge of the stage.

Support act, Dan Parsons, although perhaps a bit too Pop-rock for the patient Something for Kate fans, provided some appealing originals on both acoustic and electric guitar. His cover of I Will Follow You into the Dark catered for Death Cab for Cutie listeners, who also contributed vocals, despite an accidental rearrangement of verses, and a mistaken lyric for which my friend almost decked him.

Casually surfacing from behind the bright red theater curtains, musical giant, Paul Dempsey, appeared in tailored pants and jacket, collared orange shirt and scruffy leather shoes. Wielding his trusty acoustic and hand-written set list, he welcomed the field of onlookers. Take Us To Your Leader, a track from the soon-to-be-released record, immediately wooed the crowd, who appeared gushing and enthusiastic with wide smiles like newly-smitten lovers. Dempsey previewed almost every song from the album, with current singles Out the Airlock and Ramona was a Waitress, along with unheard tracks such as Bats, Theme from Nice Guy, and Safety in Numbness.

Of course, he obliged SFK followers, who reveled in the nostalgia of Beautiful Sharks, The Astronaut, Say Something, and personal favourite, Reverse Soundtrack. A plastered and persistent punter was also granted his request for You Only Hide after Paul returned for the encore. During the night, the mellow rocker also paid tribute to his predecessors, covering Elvis Costello’s So Like Candy and Kim Carne’s Bette Davis Eyes. He even threw in an unexpected acoustic take on MGMT’s Time to Pretend, a dark cowlick rolling across his forehead during the final chorus.

In an impressive feat, Paul managed to cater for every type of audience member present at the show. Exiting through the same curtains from which he entered, it was clear that his performance conquered all expectations and fed all curiosities. I left the venue utterly fulfilled and in joyful possession of the night’s set list.

As well as joining the lineup for next month’s Splendour in the Grass festival, Dempsey will be returning to Brisbane later in the year with a so-called “band of brothers” to accompany his solo set. So, make sure you get on board!

Everything is True

I own every album from Elsewhere for 8 Minutes to Desert Lights.
I say, let the fan-girldom ensue.

Even Paul Dempsey got tired of waiting.
Finally, I'll get to check out his solo stuff for the new album next Wednesday night. After all the fuss over recent single, Out the Airlock, and promptly sold-out tickets for his Australian tour, at last I'll get a slice of the pie.

There's just something in the effortless-ness of his vocals, the meticulously-refined thought process behind his lyrics, and the certain 'fruit' present in all of his work. Although I'm not one to usually believe hype, recent coverage of the soon-to-be-released Dempsey project, paired with my aforementioned loyalty to Something for Kate, provides a sense of total certainty.

Islands, Mountains, and Love Musicals

It's not very often that lions and rabbits get to partake in casual conversation, but today, The Folkcore Bunny brings to you a very special interview with Matthew Vale, the mind behind Brisbane's rising folk-pop-gypsy ensemble, Lion Island.

Let's start with an ice-breaker.
How would you define ‘folk music’?
‘Folk music’ to me is an honest kind of genre where it’s more about a general feel you're trying to put out with the music, rather than being too technically refined, or clinical with the sound. Of course, other people would have a completely different definition of ‘folk music’, I guess I can only talk about what I make and call ‘folk’.

Describe the style of your music. Which artists usually influence your sound?
My style changes a lot. I picked up the trumpet when I was ten and have been playing pretty much ever since. I have learned a lot of instruments in that time that have influenced my song writing, so I guess that’s where I start when trying to describe it. It’s very rhythmical, with a bit of a focus on intertwining polyrhythms between the instruments and riffs.
Zach Condon from Beirut is probably my big influence at the moment. For the past three years or so I’ve been heavily into Romanian folk and gypsy music, and I think he’s one of the only artists around right now making the bridge between gypsy and pop effectively.

How did Lion Island start up?
Well, I started writing the particular songs about six months ago with a big band in mind. I had recorded all the basic instrumental parts on my own in my studio, with the intent on showing them to musicians, and hopefully get a few on board. I started calling around and it just exploded… before I knew it we had nine members and gigs in the pipeline.

Just out of curiosity, where’d you come up with the name?
Well me and my partner’s family went on this little holiday to Byron Bay while I was just starting to get solid on the idea of starting a band. I was asking people to join the project, but I didn’t have a name for it yet. I wanted something that would express my passion and drive for getting serious about song writing, as well as something solid and earthy. I’m a Leo, as is my partner, and I guess that has something to do with it. We were all kicking a few ideas around on this holiday, and I guess Lion Island just seemed to have a nice flow to it. A friend of mine (and others in the band) passed away shortly after our holiday to Byron. That he was part of the naming is very important to me, and I think has only strengthened us along the way.

As well as contributing lead vocals, you also play the accordion, organ, ukulele, and trumpet. How did you become acquainted with all these different instruments?
Well I started with the trumpet 16 years ago, playing in local brass bands with my brother in WA. The piano-accordion came about pretty recently when I ran into one in a music store after deciding that I wanted to pick up a new instrument.

Why not just the guitar or piano like everyone else?
Well I have a guitar, and used to own an electric, but I guess I just began to discover new sounds that aren’t as common. The ukulele for me is far more rhythmical that a guitar, and I enjoy the challenge of the piano-accordion.

Which instrument is your favourite to play?
Right now it’s the tenor-ukulele, with the trumpet as an all-time favourite close second.

How do you feel about the general Brisbane music scene? Is it flourishing or floundering?
Hmmm, that’s a tough one. I think it goes up and down pretty steadily. I would say it’s on a bit of a downer at the moment. But then again, I’m not going out as much as I used to.

A lot of local unsigned bands have adopted a diy approach to getting their music noticed. What are you thoughts on musical independence?
I think it’s important not to rely on other people to get yourself noticed. I think it’s very important for there to be bands that are getting themselves out there, playing live shows and doing a bit of their own distribution at gigs. I’m so over the rock-star dream, and I find it wins my heart more if I can walk up to a band I see play wonderful music live, shake their hands, and buy a CD.

Lion Island recently gained a feature artist spotlight on the Triple J Unearthed home page for “I’ll Take You Down”. Congratulations!
Thanks :)

What was the inspiration or meaning behind the song?
Hmmm, I guess the song has a lot to do with where I’m at right now in my life and my relationship with my partner. I’m very lucky, but I’ve had a lot of problems (like everyone), and in a way the song talks about that dark force below the surface of the everyday that seems to rise up every now and then to shift us out of the comfort zone. Depression, sadness, addiction, need… all that stuff.

I understand that Lion Island will be doing a gig with Mt. Augustus soon, which I may add are an awesome band also on Unearthed. How did that come about?
Well I’ve known Cam from Mt. Augustus for a while. I used to be the sound guy at Ric’s in the Valley where they played on a number of occasions, and Cam, who also runs Incremental Records, is the recording engineer for our first EP. They needed a support for a gig at Blackstar Café, and we were just at the right place at the right time. We’re also doing another gig with Mt Augustus, Big Strong Brute and Joel Saunders at Browning street studios on the 27th of June.

How valuable do you feel Triple J Unearthed is to the emerging music community?
I think Triple J Unearthed is a great resource for emerging bands. It’s free and a good link to get your music heard by a wider community.

Could Unearthed be just another commercial marketing product of ‘the man’?
Well I guess Triple J is a bit ambiguous like that… I think there are a lot of radio stations out there that are far more commercial.

Just to give the readers a bit of background, you’re contributing a handful of songs to a QUT original musical-theatre production called Little Worlds of Love, written by Sam Green. What are your plans for the music?
Yeah. Well there’s going to be about five songs that have (so far) been loosely composed. My plan is to get all the musicians to contribute to the songs as we rehearse up to the play, adding their own touch but keeping a basic structure in mind. The songs are about love, and the story line behind the play.

What instruments are we going to see on stage during these pieces?
Piano-accordion, violin, trumpet, ukulele, 12 string guitar, bass, drums and a bit of harmonizing vocal melodies.

As the title suggests, all elements surrounding the plot of the production focus on the theme of ‘love’. Is this a topic you usually write about? How do you aim to translate the concept into song for Little Worlds of Love?
Hmmm, I think these days in my lyrics, I’m trying to create a visual atmosphere that can be likened to the whimsical, passionate, and love. Rather than just communicating an emotion… I think there’s going to be an interesting cross-over.

Finally, where do you see yourself musically in five years time?
If I’m still making music that makes people feel good, and I can still pay the rent, I’ll be happy...


Lion Island will be playing alongside Mt Augustus on May 29th at the Blackstar Café on Vulture Street, West End. If you miss the gig, or find yourself craving more, you can also catch the two bands, as well as Big Strong Brute and Joel Saunders serenading the masses at Browning Street Studios on the 27th of June.

Little Worlds of Love will be touring as part of the Our Handful of Fragments showcase on July 31st at Visible Ink (6pm) and August 8th at the Redcliffe Cultural Centre (6pm)

http://www.myspace.com/lionisland
http://www.triplejunearthed.com/lionisland

Dear Bob Evans' haircut,

It’s been a while since you were last paraded in front of the nation. How are you? I listened to Bob’s Triple J interview for Goodnight, Bull Creek yesterday morning and realized I’d left a few things unsaid since last time.

Firstly, words cannot express how much I wish to end your terrible existence. It is a cruel reality that none should have to endure. Secondly, you’ve been suffering at the hands of a narcissistic and slightly androgynous cretin. God only knows why he keeps you in a constant state of self-crafted mullet-ness and unnecessary effeminacy. I’m sure it’s been a very rough year.

After your last letter, I thought something was going to change, but now I fear it’s worse than we ever expected. He’s on the radio, the music video shows, the internet, the street press, and now he’s going on tour! He’ll just spread the same ridiculousness he forced onto you those many years ago.

Also, does he really believe that this ‘Bob’ pseudonym projects something more scene than the likes of ‘Kevin Mitchell’? Quote, unquote: “It’s such a dorky name. When I think of Kevin I just think of like, a nerd.”

Now everyone is utterly perplexed! People think he’s Bob Evans, lead singer from Jebediah, gone solo. Barely anyone gets who this Mitchell character is. I see you constantly putting up this lustrous, curly front, but I’m sure you can’t be happy with the cards life has dealt you. Where do you find the will to go on?

All I can say is, this needs to come to an abrupt halt, and soon. Act fast my friend. I suggest lice or severe dandruff, but the rest is up to your own capabilities.

Sincerely,
Your distressed companion,

F. C. Bunny

P.S. I have included a number of clippings that I found throughout cyber space and thought they might aid in bringing to your attention this grave situation you are in.

Proposed New Music Law

I know the guitar is the instrument of the 21st century and it’s highly accessible, but please don’t quit your day job.

Yes you, the one who keeps uploading You Tube videos of yourself doing a cover of what was a really good song! To people jamming in the street, clumsily serenading passengers on public transport, trying out for Australian Idol, and making the public lose further respect for open mic nights, this is my proposed new music law:

Investigating the 'Folk' Stereotype

We all share similar conceptions about folk musicians and 'folkies' but how true are these labels? I did a quick brainstorm on the topic and came up with the following:

...dreadlocks, facial hair, veganism, vegetarianism, starving artists, tree-huggers, activists, philanthropists, people who care about shit, smoke a lot o’ weed, no ‘real’ job, hippies...

In order to deal with these concepts in further detail, I've decided to examine the 'folk' stereotype through 4 major characteristics that may be true, untrue, or yet to be proven:


1. They're hairy
beards, dreads, and overall unkemptness

Whether it’s a ducktail, a French fork, or just a luscious goatee, the folk beard is by no means a misconception. Cat Stevens, Bon Iver, Devendra Banhart, William Fitzsimmons and Iron & Wine’s Samuel Beam are all fans of the fuzzy chin.

I'm by no means adverse to facial hair, but I find it fascinating that the feature is being used as a calling card for fans. An example of this was an online article by The Independent entitled Fleet Foxes: Are a hairy bunch of young folk-rockers inventing a new sound of Seattle?
Maybe there are more people out there who share this interest than I originally thought?

Dreadlocks, despite having implicit spiritual and religious connotations at some point, have been utilized by the majority as fashionable homage to either Bob Marley or the 60s. Fans of the hairstyle include the previously-reviewed Dallas Frasca, and until recently, Ani DiFranco, and John Butler. Personally, I’m a bit skeptical about this craze since watching a fellow student get her hair formed into dreadlocks for the price of $400.

2. Vegan/Vegetarian
you better learn how to cook for yourself!

I'm sure I'm not the only one being constantly guilt-tripped by Peta.org during my online escapades. Common statements include, "meat is murder", "fish are friends, not food", "I am not a nugget" and the like. I'm anaemic. I'm not going to sustain myself on spinach and iron folate tablets. I need my meat.

Overall, this craze of animal libertarianism has become implicit in the folk musician community.

• Ringo Starr = vego
  
• John Lennon = vego
  
• Joan Baez (folk singer and musician) = vego
  
• Zooey Deschanel (collaborated with M. Ward as She & Him) = vego
• Eddie Vedder (frontman for Pearl Jam who recorded a recent folk-influenced soundtrack for Into the Wild) = vego
  
• Pretty much all the members of The Levellers are vegetarians, and the band has long been seen as 'archetypal vegan crusties'
• Axella Johanesson (American-born folk musician) = vego
  
• James Yorkston (Scottish folk musician) = vegan
• Michael Franti (from Spearhead) = vegan
  

P.S. John Butler is not a vegetarian.
P.P.S. tofu tastes like shaving foam mixed with solidified gelatin. Without the flavour.

3. Activists/philanthropists/tree-huggers/people who care about shit
charity today is what product endorsement was in the 90s

• John Butler or the ‘million dollar hippie’ as they call him in Freemantle has raised money for a number of causes
• Joan Baez has had her say on the social or political progress of everything
• Michael Franti is known for his opinions on peace and social justice issues
• Jewel Kilcher is a renowned singer-songwriter and philanthropist since 1995

4. Smoke a lot o' weed
puff the magic dragon

So I was intrigued by an article I found mainly due to the title: The content and validity of music-genre stereotypes among college students. In evaluating and reflecting on the statistics gathered, the authors maintained that,

“for the folk-music stereotype, agreement was
lowest for personality but highest for drug preferences”
(Rentfrow, P and Gosling, S 2007: 9).

So with these investigations in mind, maybe it’s true what they say? Are these some of the various conceptions or misconceptions of the folk musician?

As constantly reiterated by many who debate the issues and origins of stereotypes - they had to come from somewhere. Breaking away from the predetermined constructions of stereotypes seems to unacceptable for some, and that's where socio-cultural systems become negative constructs.