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WA’S HIGHEST QUALITY STREET PRESS • THURSDAY 8 MARCH 2012 • 278 • FREE

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THE DRUM MEDIA • 3

FOR SALE

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Sail Shades Australia designed and manufactured this unique structure in February 2008. It was used annually in Perth until 2011. The structure is no longer required as the site it was located on has been redeveloped and a new structure installed in an alternate location.

replacement structure would be over $400,000. The structure is stored in two purpose built containers which are included with purchase. We are seeking expressions of interest to purchase this outdoor concert shade structure and give it a new home.

The structure is in excellent condition. The costs associated with the design and construction for a

MORE INFORMATION: perthfestival.com.au/en/for-sale Contact: Julian Donaldson, General Manager (08) 6488 8621 or email jdonaldson@perthfestival.com.au

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In stores now! THE DRUM MEDIA • 5

FOREWORD LINE

NEWS FROM THE FRONT

IN BRIEF

MATT CORBY

Knucklehead Shipping Company is a new Perth clothing company from Perthians Ben Frichot (Day Of The Dead) and Ross Macpherson (Warner), the rock’n’roll flavoured gear will be stocked exclusively at Varga Girl.

THE BRIAN JONESTOWN MASSACRE

BRIAN RAVENTOWN Legendary psychedelic rockers and doco stars The Brian Jonestown Massacre along with Danish indie-rock duo The Raveonettes are headed Aus’-ward, playing The Astor Theatre Tuesday 22 May. The next quiver from TBJM’s musical bow is their forthcoming album Aufheben, recorded in Berlin by main man Anton Newcombe, who’s joined by a seven-piece band this tour, including original member Matt Hollywood. The Raveonettes bring their most recent album over, last year’s Raven In The Grave which came out on Vice Records. Tickets via BOCs.

Local filmmaker Rob Livings is currently shooting The Attic Sessions in Nashville, a web series featuring different artists/bands such as Silverstein, Lacey, Go Radio and more performing acoustic sessions. Check it out at theatticsessions. com.

MORE BROTHERLY LOVE Following the stratospheric success of his single Brother on the Hottest 100 and a recently completed sold-out national tour, it seems we can’t get enough of Matt Corby. The Winter Tour sees Corby play in theatre venues around the country, including The Astor Theatre, Saturday 9 June. Corby has just departed for the US and UK, where he will spend the next few months working on his debut album, as well as playing sold-out shows in Los Angeles, New York and London.

The Perth leg of The Hoodoo Gurus’ invitational Dig It Up has sold out. The Australian World Music Expo is currently accepting applications from local and international artists wishing to perform at the 2012 event, November 15-18 in Melbourne. Head to awme.com.au or sonicbids.com/awme to enter before April 20.

EIFFEL 65

YOU’RE BLUE You’ve probably noticed by now, but the 1990s are back with a vengeance and the re-birth continues when Eiffel 65 and N-Trance join up to play Metropolis Fremantle Friday 28 September. No doubt you remember Eiffel 65’s not-annoying-at-all Blue (Da Ba Dee), which dominated charts around the globe, while N-Trance’s breakthrough track Set You Free and their cover of The Bee Gee’s Staying Alive made them another ‘90s fave. Mr.95 supports both with a special set of classics. Bigtix.com.au for tickets from Monday.

Mandurah sound technician and muso Peter Lovell is looking for funding for his new recording studio in the Perth Hills. Head to pillbox. pozible.com to help him out or check out his site at pillboxrecordingstudio.com. Head to facebook.com/ totemtrance to remix Way Out West’s Nowhere To Go and possibly win a spot on the Creamfields 2012 line-up (May 5, Supreme Court Gardens) or a possible record label release. WA-born filmmaker, composer and TV comedy writer Matt Lovkis (Beauty & The Geek, Balls Of Steel) has released his debut comedy EP, Doing It Live.

CLARK

CLARK KENT Blending bespoke rhythms, colourful synth lines and masses of textured distortion, Clark’s ability to create music that appeals to your head, heart, soul and feet confirms his place as an electro-virtuoso – and one of the best producers on the planet. His latest effort, Iradelphic, is out April 2, and he’s back at The Bakery with a full audio/visual show Friday 27 April, supported by Ben Taaffe, Declan, Zeke, Massiv Trav and Jo Lettenmaier. $26 plus BF via Life Is Noise, Heatseeker, Oztix, Now Baking and the usuals. FRANK TURNER & THE SLEEPING SOULS

FRANK TALK Charismatic British singer/songwriter Frank Turner will be performing here for the first time with his full band, The Sleeping Souls, in support of his heralded new album England Keep My Bones – a stirring work from one of the UK’s best new folk songwriters, previously the lead man for post-hardcore act Million Dead. In another first for our shores, Iowa’s William Elliott Whitmore will join the tour as special guest, plus Melbourne’s The Smith Street Band open, Wednesday 9 May at Amplifier. Tickets via Moshtix, Heatseeker and Oztix. 6 • THE DRUM MEDIA

themusic.com.au

Skateboarding Australia are holding the WA qualifier for the national Nike SbA Am Series this Saturday at Manning Skate Park, registrations close at 10am (juniors) and 12pm (seniors). The final is in Melbourne March 31. Davy Jones of The Monkees passed away in Florida last week after suffering a severe heart attack due to atherosclerosis.

YACHT CLUB DJS

YACHT ROCK King Tito returns to celebrate two huge years of parties with one almighty bash Friday 23 March at East End Bar, and party mash-up kids the Yacht Club DJs are flying in for the fun ahead of their appearance at Sets On The Beach, Scarborough Beach Amphitheatre Sunday 25 March. Joining them will be the Dirty Disco crew including Grubby, Joe Macc, Sparklehaüs, Cooker, FKN Midas, Beryl, Friend and more.

RETURN PLANS After a massive sold-out tour late last year, Cold Chisel have announced their first new studio album in 14 years will be released on Friday 6 April through Warner. No Plans features 13 songs drawn from recording sessions across 2010 and 2011, and features the final recorded performances by drummer Steve Prestwich, and also one of his own compositions in I Got Things To Do. The Aussie rock legends play a special one-off concert at Sandalford Winery in the Swan Valley, Saturday 7 April. Tickets via Ticketek.

BRITISH BITS Indie champions British India were holed up writing/ recording new songs late last year and the band is currently negotiating with record labels and publishers for release of their new album in August 2012. We will be privy to a host of those new songs when they hit The Civic Back Room on Friday 30 March supported by Emperors, Russian Winters and Custom Royal, and The Kalgoorlie Hotel on Saturday 31. Tickets via Moshtix, Heatseeker, Oztix and the usuals. The lads also appear at Joondalup Festival Sunday 1 April, more details TBA.

Adele’s 21 is now the longest-standing number one record on the ARIA charts this century, beating Delta Goodrem’s Innocent Eyes, which held the previous record at 29 weeks. Only Dire Straits’ Brothers In Arms – at 35 weeks on top – stands in its way of being the biggest chart topper in Australian history.

KRAFTY KID

Californian indie-rockers Grandaddy have announced they are reforming after seven years to play a series of shows in 2012. No word on a possible Australian visit as yet.

Already renowned as a raconteur between songs, this year Tim Freedman will link the tunes together with some extended yarns such as How I Learned To Stop Worrying & Hate Triple J in Tim Freedman’s Fireside Chat – an evening of grand piano, sweet melody and pointed opinions from The Whitlams’ frontman. He plays four special shows (early and late) over two nights at the Ellington Jazz Club, Thursday 14 and Friday 15 March. Tickets via ellingtonjazz.com.au.

With his mix of breaks, electro, dubstep, drum’n’bass and hip hop, Krafty Kuts is coming back to the country to blow you away like so many times before with his skillset as one of the world’s best breaks DJs. So if you like A-Skillz, Jack Beats, Plump DJs and The Freestylers, then before he gets here get stuck in to his brand new album Let’s Ride Out, due this month. Perth is the last stop of his massive Australian tour, playing Villa Saturday 12 May with supports TBA.

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THE DRUM MEDIA • 7

FOREWORD LINE LEAVE THE BAGS BEHIND

NEWS FROM THE FRONT

musical style, showcasing their intricate layering and complex arrangements. They celebrate the EP in Perth supporting Bombay Bicycle Club’s ALLAGES, Street Press Australia-presented show at The Astor Theatre, Sunday 18 March.

THE LEAP YEAR

After mixing the fourth of Modular’s Leave Them All Behind compilation CDs, Bag Raiders land at Villa Nightclub on Easter Saturday 7 April to throw down their own breed of electronic goodness, supported by fellow aural pleasers Cassian, The Halo Effect and Mr Of. After a massive 2011, Bag Raiders have been chilling in LA working on the follow-up to their massive self-titled debut. They take a break from that process to spin remixes and Easter beats aplenty. Tickets via Moshtix.

RUBENFUS Indie-dance outfit Rüfüs return with the new track This Summer, from the soon to be released sophomore EP. To celebrate the release, the band will hit the road, including their debut WA show Friday 27 April at Villa for Speakeasy. The combination of live instruments, electronic production and skilled pop sensibilities has hit a note with discerning lovers of electronic music, and they’re joined by fellow rising j-faves The Rubens and more TBA, tickets via Moshtix.

MANIK MAN Young New York City born and bred music producer/DJ MANIK is making huge waves; DJ Mag recently naming him one of their official Hot To Watch 2011 acts. House, nu-disco, funk, deep house, acid, electronica… They’re just the tip of the iceberg for the young gun. Celebrating latest single She Watches Me, he plays the Velvet Lounge Friday 30 March, supported by Aarin Fraser, Dan McNab, Craig Hollywood and Cam Duff. $20 plus BF via Moshtix.

AIN’T NO PARTY It started with Vengaboys, continued with Aqua and the announcement this week of Eiffel 65, and now the unholy ‘90s reunion is complete with UK pop upstarts S Club bringing their special brand of party to Metro City, Friday 25 May, supported by London R’n’B collective Big Brovaz. Dust off that old S Club album and get old ‘favourites’ like Bring It All Back and S Club Party back into your head, along with the Brovas’ Nu Flow. $55 plus BF via oztix.com.au and bigtix.com.au.

GRIZZLY BEARS Adelaide indie-rock trio Sincerely Grizzly are bringing their live show to WA for the first time this March in support of the new double A-Side single, 21/Snakes & Ladders, purveying their brand of Fugazi vs. Pavement-infused rock. Wednesday 21 March they play the Rosemount Hotel with Kill Teen Angst, Zeks, Split Cities and Race To Your Face; Friday 23 Ya Ya’s with Mezzanine and Room At The Reservoir; and Saturday 24 The Civic Den with Grim Fandango, Emperors and Dead Owls.

LEECID DREAMING

LOCAL LOVIN’

Drums and The Tumblers. $5 from 9pm, $10 after.

There’s some mighty fine happenings going down right now in WA, and we don’t just mean a few week’s worth of festival-free sleep catch-ups… The Big Old Bears, The Leap Year, Runner, San Cisco, Sonpsilo Circus and Split Seconds join the likes of The Ghost Hotel, The Love Junkies and Sugar Army at RTRFM’s In The Pines, Sunday 22 April at the Somerville Auditorium, UWA. As mentioned, you’ll be able to catch the Benedict Moletta Band, Drowning Horse, The Ghost Hotel, The Love Junkies, smRts, Sugar Army and The Sunshine Brothers on the bill. Psych-industrial rockers Heytesburg launch their new EP PYR Saturday 24 March at the Rosemount Hotel with The Shallows and The Osiris Corporation; Friday 27 April at Prince Of Wales with The Witness and Misty Mountain; and Saturday 28 at Norfolk Basement with The Witness, Control-Control and Lanark. Rachel & Henry Climb A Hill want you to join them as they shoot a live video at Mojo’s, Thursday 15 March, supported by Sugarpuss, Seams, The Flower

Blackmilk launch their new single Rattle The Cage on Friday 16 March at The Bird, with support from brothers in psychedelic arms Deep River Collective and Stunning In Red. WA producers Dazastah (Downsyde) and Hykus host a showcase of live original beats and sounds on the MPC Saturday 17 March at Fat Shan Records, $5 from 8pm. Local eclectic beatmaker Kučka launches her debut EP of experimental, avant-pop Thursday 22 March at The Bird, supported by Mostarsk and Mei Saraswati. $10 from 8pm, including a copy of the CD. For the second year running, Benedict Moleta plays a special show at Maylands Yacht Club, Saturday 24 March. This year he plays with new collaborators Julian Bolleter, Bill Darby and Andrew Ewing from 7pm, $10, BYO drinks. Timothy Nelson & The Infidels have officially announced their first national tour. They play The Bird Saturday 10 March, Settlers Tavern Sunday 11 (solo) and Norfolk Hotel Courtyard Saturday 24, before jetting off to the east coast. He then returns to play Mojo’s Saturday 14 April and Settlers Tavern Sunday 15 (solo).

THREE’S THE CROWD Traversing their way around the world with an original blend of gypsy-folk-roots, The Rosie Burgess Trio are back on home soil to announce their brand new album, Before I Set Sail. This marks the fourth studio release for Rosie Burgess and will see the dynamic trio set upon a wild voyage across the country. Wednesday 28 March they play Mojo’s; Thursday 29 Ya Ya’s; Friday 30 Prince Of Wales, Bunbury; Saturday 31 Settlers Tavern, Margaret River; and Sunday 1 April Settlers again at 3pm.

LION HEART LEO It was in 1971 when Gerard Sayer made the decision to leave his art career and seriously follow his passion into the world of music. His manager’s wife thought he looked like a lion and it was that moment that Gerard became Leo (the lion) Sayer. Since then he’s sold millions of albums, while at the same time maintaining an affinity for Aus’, and he brings his live show to the Albany Entertainment Centre Tuesday 27 March, and Bunbury Entertainment Centre Wednesday 28. Tickets via venues.

DIGITAL LOVE

M A R L E Y

FESTIVAL NEWS www.houseofmarley.com.au

DIGITALISM

LITTLE SHOWS Having noticed current trends in entertainment, The Little Stevies have decided not to be backward in embracing the futuristic technology quickly spreading through the international entertainment industry. They’re serious about remaining relevant and cutting edge, and so have decided to go 3D, and leaving the drum kit at home they play a very special acoustic trio performance Thursday 29 March at the Little Creatures Loft in Fremantle.

INGLORIOUS BASTID Having rocked the bar many times, Skratch Bastid is now ready to raise it. In 2012, The Bastid has become one of Canada’s most in-demand DJs and respected producers. He is increasingly recognised for his comfort and versatility in different styles – hip hop, funk, disco, club, rock, and just about every other genre that will make you dance – and more and more people are getting hip to his tune. He plays The Manor Friday 9 March, support from Zeke and Klean Kicks, $10.

BORING MAN You’re Boring Us All is the second EP for Melbourne four-piece I, A Man, and it sees the group expand further on their hypnotic rhythms, ambient textures and dreamy melodies, and solidifies the band’s 8 • THE DRUM MEDIA

CREDITS

Having pioneered the electro-punk and indie-dance movement, making rapturous appearances at festivals such as Parklife, Coachella and venues worldwide, German electro duo Digitalism will be throwing down their distorted baselines and thumping rhythms at Villa, Friday 18 May ahead of their Groovin’ The Moo appearance the following day at Hay Park, Bunbury. Supported by fellow moogroover and teenage criminal Adrian Lux and more TBA. $45 plus BF via fuzzy.com.au.

‘DOGS FOG’ The first unsigned band to ever grace the cover of the US Rolling Stone, The Sheepdogs embark on their Australian debut as support to John Fogerty, and while there isn’t a solo John Fogerty show in WA, this means the Canadian rockers join him at West Coast Blues’N’Roots Festival, Sunday 1 April at Fremantle Park. They join recent additions in New Zealand’s Gin Wigmore and local outfit Ruby Boots, who join Crosby Stills & Nash, My Morning Jacket, The Pogues, Blitzen Trapper and many more. $139 plus BF via Moshtix and the usuals, with VIP options.

Bell, Jackson Best, Tom Bragg, Tristan Broomhall, Rob Browne, Rick Bryant, Michael Caves, Travis Collins, Cyclone, Marcia Czerniak, Sebastian DíAlonzo, Kitt Di Camillo, Daniel Cribb, Naomi Dollery, Cameron Duff, Cam Findlay, Tomas Ford, Olivia Gardiner, Rueben Hale, Simon Holland, Craig Hollywood, Christopher H. James, Jason Kenny, Angela King, Mac McNaughton, Nic Owen, Lily Seabrooke, Baron Gutter, Ted Schlechte, Michael Smith, Andy Snelling, Aimee Somerville, Kristy Symonds, Callum Twigger, Anthony Williams, Mitchell Withers

EDITORIAL

Managing Editor Andrew Mast Editor Aarom Wilson Editor’s Assistant Troy Mutton Front Row Editor Daniel Crichton-Rouse

EDITORIAL POLICY

ADVERTISING

Sales & Marketing Director Leigh Treweek Sales Executive Matt McMullen, Aaron Rutter

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After four years of bringing some of Perth’s most talented local DJs, producers, VJs and Graphic Designers, as well as interstate and international artists, Lucid Dreaming are celebrating the best way they know how – a party at the Velvet Lounge. And they’re hosting an artist who will be releasing tracks on Lucid Dreaming Records, the UK’s Lee M Kelsall, supported by James Francis, Richard Lee, Cam Duff, Aarin Fraser, Dan McNab and VJ Martino, this Saturday 10 March.

VIPER ROOM Inhibit presents the first installment of Viper at Villa, Saturday 21 April – a night showcasing one of the hottest imprints in drum’n’bass right now, Viper Recordings. Perth favourite ShockOne, now based in London, returns for a special one-off show accompanied by the UK’s Metrik, and Shock’s frequent partner in crime, Phetsta, supported by Ekko & Sidetrack, Illusiv & Dvise and MCs Xsessiv, Stylee and Bear. $30 plus BF via Moshtix and the usuals.

HETTY JAZZ Melbourne jazz vocalist Hetty Kate is headed to the Ellington Jazz Club Friday 24 March. Recently returned from performing overseas in 2011, this will be her first visit to Perth in 17 years. With her distinctive voice and pure tone, Kate is often compared to a young Peggy Lee, or Doris Day, and present day chanteuses such as Stacey Kent, Jane Monheit and Silje Nergaard, and she’s looking forward to showcasing a variety of her favourites from a number of albums over the years.

GIVEAWAYS The cover and title for Newcastle-Upon Tyne songstress Beth Jeans Houghton’s new release along with her band The Hooves Of Destiny, Yours Truly, Cellophane Nose, might belie the sweet charm contained in her folk-pop tunes. Described as middling somewhere between sample-heavy synth-pop, “anti-folk” and, of course, glam rock, Houghton and co. really knock up the traditional seam of folk with charismatic recording and performance. Get on to Drum Perth’s Facebook page to pick yourself up one of FIVE copies.

Perth’s newest online radio station, and one sure to be highly influential in helping push burgeoning DJs and producers, The Backyard Project is set to host Backyard Knights, a (k)night showcasing the developing trends in Perth’s thriving dance music scenes. Catch Frankie Button, Get More (previously known as Jus Haus?), New Noize, Q-bik & Seeka, ST1, James Francis, Fielong, VANDAN, Grizzly, Barons Red and Darren J Friday 16 March at Villa. Wanna cut the line? Head to facebook.com/ drumperth to win one of THREE DOUBLE PASSES to this epic local show.

Phone (08) 9228 9655 General Editorial music@drumperth.com.au Arts/Film Editorial frontrow@drumperth.com.au Club/Dance Editorial mo@drumperth.com.au Gig Guide gigguide@drumperth.com.au Live Editorial live@drumperth.com.au Advertising Sales sales@drumperth.com.au Accounts/Administration accounts@drumperth.com.au Artroom artwork@drumperth.com.au Distribution distro@drumperth.com.au Office hours 9am to 6pm Mon to Fri.

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THE DRUM MEDIA • 9

JUDGEMENT DAY

BOOSTER SHOT

Hip hop in the 21st Century has taken leaps and bounds further into new fields of exposure. The digital age rolls out masses of independent artists who have found careers through the medium of online access. KRS-One takes the floor and instills a reality check on the new digitally-famous fiends of hip hop online and shares an alternate for international recognition, teaching Australian artists how to fish on their own. “I believe the area of the digital domain is not real. So any time someone puts a record out online, you’re never going to be positively successful, you’re not going to make a mark on the thoughts of people. You might be able to make a mark in the minds of the people but the lasting ability of an artist is to move the soul of the people. The Internet doesn’t do that. The Internet gives you the information coming off of the creativity, but not the creativity itself. This requires real talent. The Internet is good for that too, because if you do have talent, you will be seen. On the other side – ‘You can see me on YouTube, now I’m a star.’ No you’re not. In fact you now have to go out on the road, touch people and create some sort of function to your light. Most of them are just lighting up. There’s no function to their light other than to satisfy their ego and their pride, that’s it. It doesn’t shine because there is no more love for what you’re doing anymore. And you’re not really gettin’ money.

THE TEACHA KRS-ONE INTRODUCES RIP NICHOLSON TO HIS SCHOOL OF HIP HOP.

O

prah Winfrey visited down under, even Queen Elizabeth and her grandson Princes William walked our red carpets last year. Now we wait, firmly held in 2012, for the inaugural visit of hip hop’s leading protagonist, acting strictly for the cause and survival of a culture. KRS-One (born Lawrence Parker) is poised in San Francisco to board a boat and head for our golden shores. Afraid of flying, Parker has taken the month-long trip down under with an agenda to inject knowledge into our our hip hop culture with a “booster shot”. Following some stringent protocol to get him in session, Parker lets loose over 50 minutes with a booming authority over his words. Holding a genuine concern for the upkeep of his culture, Parker lays out an economic model for the survival of Australia’s hip hop scene in today’s new world, which he believes finds the balance of power shifted in favour of its forebearers and creative souls who maintain the culture’s equilibrium behind its commerce. Charting a takeover, Knowledge Reigns Supreme Over Nearly Everyone (KRS-One, yo) sets sail to arm us in readiness for the new world. “I’ve waited a long time for this. There is a couple of places I’m trying to go to over the next three years. And Australia is just one of them that I’ve been trying to get to for a many years,” admits Parker, who explains the trouble he had with promoters not understanding the goals of his touring plans and treating hip hop’s most active ambassador as an artist only. “There has always been challenges, so when I come to a place I don’t just want to come to the place, perform and leave. I don’t like flying into a country, flying over a country. Beyond that, go straight to the hotel from the airport and to the venue and to the hotel and to the airport and then say ‘Okay, I’ve been to Australia.’ That’s not my style at all, so I waited it out.” Since its inception over 30 years back, real hip

hop has been held in the hands of a certain few originators, from Kool Herc to Afrika Bambaataa’s Zulu Nation and into the hands of the philosophical practitioner KRS-One, who has embodied the true elements of hip hop his whole career. Starting as a graf artist and homeless, in and out of shelters in The Bronx during hip hop’s burgeoning years, KRS-One and his Boogie Down Productions outfit invited sharp, young and militant-minded souls to develop new ways of thinking, empowering them with the strength of knowledge. From their seminal 1987 debut Criminal Minded to 1989’s Stop The Violence Movement campaign following the murder of his DJ, Scott La Rock, to his staunch Malcolm X window pose on the cover of their follow-up, KRSOne has always taken the lead on strong-arming hip hop into a set of principles and way of life.

our philosophy from our surroundings. That’s what I plan to teach Australia too, the tool of mastering the magical uses of hip hop around you; how to really alter your reality with this technique in that sense. This takes the art beyond the entertainment value,” hints Parker.

Never shying from setting suckers straight, Parker has earned his highly-influential position as hip hop’s chief spokesman and as such has made it his endeavour to widen the acceptance of hip hop and all its encompassing elements and educate the next generation. “I’m coming to teach hip hop, straight up and down. When I mean hip hop, I mean the culture of hip hop – the breaking, MCing, the graffiti, beat-boxing, street fashion, language, knowledge and trade skills. Not just rap music, we’re bringing a full curriculum to Australia. There is knowledge in hip hop that Australia needs to know going into these next few years and I find it very important to get this survival knowledge out there; knowledge on how to take hip hop beyond the commercial level that’s coming out now.

“There are some creative and brilliant minds coming up on the perimeter of Australia’s hip hop right now, but might become side-tracked by the commercial presentation of hip hop. And if it takes one of us to come forward, then I’m always down,” Parker states as he counts in the importance of hip hop’s forefathers. “When I say one of us, I mean Kool Herc, Afrika Bambaataa, Grandmaster Flash, Crazy Legs, Taki 183, Grandmaster Caz, Busy Bee and The Cold Crush [Brothers]. These are scholars on hip hop straight up and down. These are the people that created the actual culture and these are the ingredients, the secret knowledge to how hip hop was created and this is what Australia needs to know before I leave there.”

“So if we consider that hip hop is not a physical thing – and more a meta-physical principle – then we can learn to adapt to our environment and factually we can derive

THUR MAR 8

ST VINCENT

fri MAR 9

He is keen to address Australian universities for hip hop lectures and “offer them the official curriculum”. “That is our mission professionally – to organise hip hop for real for real in Australia while I’m there. And, hopefully stay there,” Parker states. “Teach hip hop to any nation, any country or any group of people like Australia, like China, or Japan and it’s going to take like three to five years to actually teach the course. And you can see results within the first year to two years. I won’t get into specifics, but you see real progress building in the first year or so and Australia deserves it.

But alas, it won’t be all war talk, the extra curriculum on the itinerary will find KRS-One practising what he is best known for. As his twentieth LP, 2012’s Just Like That, is ready to be added to the text book catalogue spanning over his 26-year career, his shows promise

sat MAR 10

“What Australia needs is a booster shot from somebody like myself. A booster shot where I come and you are the hot Australian MC putting work in for five years in the Melbourne scene. Now here comes KRS-One. I hit that 16 with you and you’re breaking your seal now. Now it’s only a perception. That’s all it really is. I’m an international artist, I come and do a record with a local artist and now he’s perceived to be international. So what I do is I come to inspire. You are just as international as I am. Your talent is equal to my talent. I am not above you, I am standing next to you. That kind of inspiration starts entire industries. So, what Australia is getting is an original start of hip hop culture itself. I know the mechanics to it, the buttons to push and this culture opens up like you couldn’t imagine. It is such a magnificent way to live and to be hip hop. Most people don’t take it that seriously and that’s why they’re suffering.”

to incorporate the new work, the classics and some old fashioned throw downs with some of Australia’s premier MCs. “I’m looking for MCs. I’m the best in the world,” Parker calls out, who has indeed long been heralded as the best freestyle MC in the world. “So when I land, you better be on your A game Australia; I’m not playing. I’m not here to rap for half an hour and record a little video. You’re gonna get two two-hour sets, no doubt. Freestyles all day. I’m there to show Australia what hip hop is. This is judgement day right here. All them DJs that play wack, rap music that you’ callin’ hip hop – I’m callin’ them out! They better not show me their playlist or ask me to be on their radio show. If they keep playing that nonsense that we are so sick of hearing, you’re not gonna get much from KRSOne. You are gonna get a reprimanding, yes you are.”

WHO: KRS-One WHEN & WHERE: Friday 23 March, Metro City, Northbridge

SUN MAR 11

SUPER SUMMER

Tonight! Thurs day November 3rd

(USA)

Something Humble

SUNDAY SESSION

Bears and Dolls Blind Highway & Ichora ENTTRY RY $8. $ . DO $8 DOORS RS 7: 7 30P 30PM 30PM

DJ Sean Pollard (Split Seconds) in theguests beer garden withfree special

+ Oscar andPresented byy Martin (VIC)

DJs in the Beer Garden from 3pm / Breakfast $10 / Cocktails available all day

www.

spacesh ip news. Doors 8pm. Tickets com.au from

$13Schnitzell $13 Selected Cocktails $12TEDD jugs $10 www.rosemounthotel.com.au

WED MAR 14 student

night

free pool

indie djs

outside

in the garden

LIVE BANDS INSIDE CHEAP DRINKS $14 STEAKS Yin + Oak Tree Suite + Saysky + The Optimist $7 entry. Doors 8pm.

Cowboys & Indie Kids DJ Set in the beer garden Wednesdays from 7:30pm www.rosemounthotel.com.au cnr angove & fitzgerald , north perth 10 • THE DRUM MEDIA

themusic.com.au

THE DRUM MEDIA • 11

SANDS OF TIME

PLANET OF THE APES

Drum takes a look at band names and songs dedicated to our primate ancestors. BONOBO: Simon Green’s downtempo and soul inspired alias Bonobo is named after the pigmy chimpanzee popularly known for high levels of sexual behaviour. Hmmm... ARCTIC MONKEYS: The Myspace-famed Sheffield rockers Arctic Monkeys didn’t think long and hard when coming up with their band name. Some sources say the name came about when someone asked guitarist Jamie Cook what he would call his band and he said ‘Arctic Monkeys’. Regardless of where the name came from, even Alex Turner from the band thinks it’s shit and I’m sure the rest of the world agrees.

AUSTRALIA IS FINALLY GETTING TO SEE BONOBO FULLY LIVE AS SIMON GREEN AND NEO-SOUL DIVA ANDREYA TRIANA BRING THE BLACK SANDS TOUR DOWN UNDER. ON HIS WAY TO SOUND CHECK FOR THE BAND’S FIRST AUSTRALIAN SHOW, GREEN SHARES HIS MUSICAL JOURNEY WITH TRAVIS COLLINS.

E

xcitement is in the air as Bonobo mastermind Simon Green picks up the phone for a chat ahead of the band’s debut Australian tour. Having just set down in Sydney and on their way to sound check for the band’s first Australian performance in Sydney, the shitty weather probably made the UK native feel quite at home, although it’s hard to imagine from Green’s perspective just how far he has come to get to this point. Since its release in 2010, Bonobo’s fourth studio album Black Sands has been performed to fans across the world and no doubt the band has picked up plenty of new fans along the way. The conversation starts with Green reflecting on the early days and his initial connection to Ninja Tune. “Well yeah, I guess it’s always been a slow burning family thing, I knew Amon Tobin back in the day, we had a musical connection. We used to do stuff together and then I eventually did a remix for him and that’s what kind of brought my music to their [Ninja Tune’s] attention really. I’ve always been a fan of the label since the early ‘90s and I think they have done great to survive their own hype in a way. Ninja just celebrated their 20th Anniversary last year. It’s been a great run and I feel I’m definitely on the second half of that roster, I still feel like I’m one of the newer acts even though I’ve been on the label for 10 years.” Bonobo’s debut album Animal Magic for Tru Thoughts paid its dues to classic UK beats producers and labels like Wall & Sound, Mo Wax and Ninja Tune. Green further elaborates on his influences for Bonobo. “Back in the day when I was starting out, it was people like DJ Shadow and Portishead, but before that I was into early ‘90s US hip hop and then through that discovered the whole sample culture into rare groove, spiritual jazz, soul and funk. Working back from sample music, that’s how I really got into the sound that I’m into now.” Green has definitely honed his sampling and production skills over the years with Black Sands being his most accomplished and acclaimed album to date. Green modestly reflects on the albums runaway success. “It’s been a steady curve. I’ve been going for 10 years and each record seems to step up. I think more people seem to get into it each time it goes around. But yeah, it’s been a good trip, definitely.” Bonobo collaborator and vocalist Andreya Triana is another talking point for the discussion; the question arises whether he considers Triana

as one of the world’s best new contemporary soul singers. The fact that that she was probably sitting within an earshot of him on the tour bus only comes up later. “Yeah, absolutely of course. I think there’s a really great movement of new vocalists coming out. Especially in the UK, it’s a really interesting time with a different generation of people pushing that original neo-soul sound.” Green goes on to describe his experience as producer of Andreya Triana’s debut solo album Lost Where I Belong. “It’s less of an electronic record and I approached it in a different way with more instrumentation and not so much relying on her beatmaking and programming… I learnt a lot from it. It was a really good experience.” Andreya’s vocal’s feature heavily on Black Sands, including the tracks The Keeper, Stay The Same and Green’s personal favourite track from the album, Eyes Down. “I think Eyes Down is one track that came together really nicely for me. Sometimes you can labour over tracks for weeks but this one came together really quickly. We laid down the beat and then a couple of weeks later the vocal came and it just sounded great. It was slightly out of my comfort zone in terms of production, not an area that I have approached before, in that bpm and that kind of sound, so it was really exciting too.” With so many varied sounds on the album, was it a difficult process adapting Black Sands from the studio

the world tour. “I think Glastonbury in the UK was one of the highlights. It’s such a great festival and a really good crowd. The London shows as well, but it’s all been a blur the last two years touring it.” Green is quite positive about his experiences on tour although you can tell he’s looking forward to wrapping it up after 24 months on the road and to getting back in then studio. Green also mentions the possibility of the band performing some of his latest tracks to Australian audiences. “Yeah, we are actually going to be playing a couple of new ones for the first time on this Australian run.” Forthcoming single Spirit opts for a new direction, as Green explains. “I guess this new one is in a more electronic direction. It’s more of an abstract 120 bpm housey kind of thing but it’s still got a melodic build on it. I’ve been getting into different temps that I have not really messed around with before.” Green’s DJing has also influenced the new Bonobo sound with some of the new tracks he has been working on appearing in his DJ sets. Even before the track listings were revealed, Spirit had attracted the most interest from both his Boiler Room set at the Big Day Out and his Beatport set. “It’s always great when you go in blind without any expectations of what it is, people can listen to it and make up their own minds… Everyone was trying to find out what it was on the message boards, so that was a really great response for the track.” As the band draw closer to their sound check at Sydney’s Metro, the chat finishes up with a few

I STILL FEEL LIKE I’M ONE OF THE NEWER ACTS EVEN THOUGH I’VE BEEN ON THE LABEL FOR 10 YEARS.”

to the stage? “Yeah kind of, but I try not to let the live show dictate the studio process,” Green muses. “I think it’s just a case of making the music first and then trying to sort of deconstruct it and figure out how it’s going to work live rather than letting the idea of the band inform how going to sound. Like, thinking, ‘I can’t make this track because it’s not going to work on stage.’ You get more interesting results that way anyway… The songs develop into another phase once you start touring them for a while so it’s always changing up. You go back to the older tracks from the older records and re-imagine them a little bit.” Another area touched on are some of the highlights from

more hints at what else we can expect from Bonobo in 2012. “This Australian tour is, I guess, the closing chapter on the Black Sands thing before I get back in the studio and finish the next album. This is the last bit of touring we are going to be doing for a while, the rest of the time I will be in the studio back in New York York, finishing the record and hopefully getting back over here by the end of the year with the new one.” WHO: Bonobo WHAT: Black Sands Remixed (Ninja Tune/Inertia) WHEN & WHERE: Friday 9 March, Capitol, Perth

PART MAN, PART MONKEY - BRUCE SPRINGSTEEN: The Boss takes a stand in the intelligent design vs evolution debate. We’re sure Ian Brown is a fan of this track. THE GORILLAZ: Damon Albarn’s band used the MTV music video platform to launch a virtual band of animated monkeys, proving that Damon Albarn is smarter than he looks. THE MONKEES: Davy Jones, RIP. ‘60s American pop group The Monkees were the first pop band to have their own TV show. If Drum was active back then, headline would read: ‘The de-evolution of music as we know it’. SPACE MONKEYS FROM HELL: These guys have a great band name. They may have have a big fan base in Russia because the former Soviets were pioneers of sending monkeys on a one way mission to hell while testing their rockets’ suitability for future manned missions. MONKEY GONE TO HEAVEN - THE PIXIES: This song was probably not an influence for the Space Monkeys From Hell’s band name, but hopefully The Pixies environmental message in the song did save a few monkeys from a fate similar to hell.

THE DRUM MEDIA • 13

CAN YOU FEEL IT? WHEN THE SPIRIT TAKES A HOLD OF CHARLES BRADLEY, THERE’S NOTHIN’ HE CAN DO BUT SCREAM IT. HE SHARES SOME SWEETNESS WITH SAMSON MCDOUGALL.

“M

I’M JUST TRYIN’ TO GIVE THE LOVE OF ME… I GOT THIS OPPORTUNITY TO SHOW LOVE AND GIVE LOVE.”

y mama always told me, ‘You’ve got a sweetness in you, you’re a very gentle human being. Of all my kids, you’re the gentlest and the kindest, but be careful ‘cause they’re gonna eat you up out there, ‘cause you’re just like a lamb,’” says Charles ‘The Screaming Eagle Of Soul’ Bradley down the phone line from a freezing New York City. “And she always told me that ‘cause I could never try to hurt nobody… It’s like if I had a piece of my bread and I see you’re hungry, I give you a piece of my bread.” And to an extent, Bradley’s mother was right – his life has not been easy. Bradley grew up on the tough streets of Brooklyn in the 1960s. Around 1962, his sister took him to see James Brown and, he says, he instantly knew he wanted to be an entertainer. He got off the streets by entering Job Corps (an initiative helping underprivileged youths into employment) and landed in Maine where he learned to cook. It was here that he initially got a band together but his bandmates were drafted into the Vietnam War and Bradley was forced to move to Wassaic, New York to cook for 3,500 people a day in a hospital for the mentally ill. He stayed in this role for nine years before making his way, gradually, to California, where he lived and worked as a chef for 20 years. “Job Corps was the best thing that ever happened to me,” he says. “I was livin’ in the ghettos; I was livin’ in the streets from the age of 14 until I went to Job Corps. If I hadn’t gone to Job Corps, I’d be pushin’ up daisies or in somebody’s jail ‘cause I didn’t have nowhere to go, no one to look up to. They give you a job, they give you training, they give you education and they give you self respect and that’s why it helped me.”

RTR, THE COMMUNITY & BOOMTICK PRESENT

Though Bradley sang and performed in various neighbourhood bands and picked up small gigs throughout his time in California, his ‘break’ wouldn’t come until much later. Laid-off from his job of 17 years, he decided to move back to NYC and took up handyman work to free himself up in the evenings so he could perform. Here, he met with mild success performing a James Brown routine under the moniker Black Velvet, and it was at one of these shows that Bradley, in his 50s, was discovered by Gabriel Roth of soul label Daptone Records. “Now at my age, I was completely shocked,” Bradley says. “It was at my giving up point and things just… I just can’t believe I got to this point, it just kinda happened overnight. I travelled all around the United States searchin’ for my dreams.” But when I offer that maybe he’s finally found that pot of gold, he’s not so sure. “Everybody says that, I’m not really that sure yet, see. I just found my open door and I’m just pushin’ in and tryin’ to show them all the love that I am and the person that I am and keep beggin’ for this opportunity and reachin’ out to the world and let them know that, ‘Hey, I’m for real. I ain’t playing y’all, ladies and gentlemen’, I’m just tryin’ to give the love of me… I got this opportunity to show love and give love.”

DJ KRUSH 20TH ANNIVERSARY WORLD TOUR

In some respects, for Bradley to find success later in his career after working hard all his life, the recognition of his talent must have been all the sweeter. “It’s bittersweet sometimes,” he says. “I’ve been lookin’ for this opportunity my whole life. I been on my own since I was 14 years old. I’ve been searching for my music a long time. It’s just one thing I’m really holdin’ on to it and keepin’ on doin’ the best I know… I just kept my mind and heart and soul clean, y’know? I want this chance and I want to be able to give it with the honesty of myself.”

SATURDAY 10 MARCH VILLA NIGHTCLUB

His impending visit to Australia with band The Extraordinaires will see him take the stage at Golden Plains Festival. When I relate that fellow Daptone Records soul sister Sharon Jones has been responsible for one particular festival-defining performance at the same venue for (Golden Plains’ sister festival) Meredith in 2010, his excitement levels double. “I was shocked by attracting so many young people,” he says of his wide audience. “I thought I was doin’ it for a much older audience. I got young peoples, old peoples, middle-aged peoples comin’ to watch me… anybody who really love music and listen to the music and listen to the lyrics and that’s what they’re comin’ to me for.”

ARMS IN MOTION, DIGER ROKWELL, NAIK

DOORS OPEN AT 10PM. TICKETS: $30+BF FROM MOSHTIX (1300 GET TIX) AND MOSHTIX OUTLETS. LIMITED VIP: $30 FROM THE BOOMTICK SHOP

He goes on to say that he doesn’t necessarily adhere to the thinking that it’s soul music as a ‘genre’ that allows this broad appeal. For Bradley, if the music comes from the soul and is of the soul then that’s all that matters. “When, you know, you got it goin’ down and you go out there and reach people’s soul, they feel it in the love in their heart and they know it and they relate to it. It’s not about any label you can give it – soul music, rock music, country and western music – but if you’re givin’ somethin’ that human souls can share and know it’s for real, it don’t have to have a label. You have to open up to the audience and let the audience know who you are. You’re not talkin’ to a machine on stage, you’re talkin’ to a human being. And the human being is lettin’ you feel the way you feel in your heart and sharing his heart or her heart with everybody. You look inside their heart and say, ‘Wow, that person’s not a bad person’. “I have nothin’ to hide,” he says when asked if he ever feels exposed through the honesty of his music. “It’s nothin’ but the spirit that you feel inside, to tell you the truth.” And how he got labelled The Screaming Eagle Of Soul? “Sometimes when I get on stage and the spirit hit me and I can’t find no words to say and it hurts so bad, so sweet and sad, I don’t know what to say so I just scream it. That’s the truth there, man. When things hit me and it’s so good and it’s so sweet and you just can’t say the words, there’s just no words in my vocabulary that’s strong enough to taste that sweet as what I’m feelin’ in my heart right there, I just scream it.” WHO: Charles Bradley

FACEBOOK.COM/DJKRUSHOFFICIAL | WWW.THECOMMUNITY.COM.AU FACEBOOK.COM/VILLANIGHTCLUB | WWW.BOOMTICK.COM.AU 14 • THE DRUM MEDIA

WHEN & WHERE: Wed 14 March, The Bakery, Perth

themusic.com.au

RULING BRITANNIA THROWN IN THE DEEP END AT A YOUNG AGE, LONDON INDIE-ROCKERS BOMBAY BICYCLE CLUB LEARNT HARD AND FAST ABOUT HOW TO MAKE IT AS MUSICIANS. GUITARIST JAMIE MACCOLL TALKS TO CALLUM TWIGGER ABOUT FINDING NEW SOUNDS IN ONE OF THE WORLD’S OLDEST ROCK SCENES.

E

ntering ‘Lights Out, Words Gone’ into YouTube summons four minutes of garishly dressed elderly Mexicans waltzing to downtempo indie-pop. It’s a charming scene; non-contrived, charismatic, almost philosophical. Yet after a moment’s reflection, it’s clear – from the Vevo banners and the adoring comments – that this eccentric procession is in fact Bombay Bicycle Club’s music video for the track Lights Out, Words Gone. “Why did we choose that one?” Bombay Bicycle Club’s guitarist Jamie MacColl considers. “Well, we’ve had a history of making really bad videos, and like, they’ve all been really bad,” he murmurs sardonically. “There’s this website called Genero, where you can put your song up, and there’s a cash prize. There were like 200 entries or something, and we decided to chose that one because, I dunno, it was quite charming, I think?” A guitar-anchored four-piece, Bombay Bicycle Club emerged after winning Britain’s 2006 ‘Road To V’ competition, earning themselves a spot on a stage at the V Festival. The band’s members (headed by the amiable Jack Steadman) had yet to graduate from high school. The band’s name was borrowed from a popular chain of Indian restaurants they passed on the way to their first gig of the competition. Five years, two EPS, and three albums later, and the Bicycle Club are at the front lines of Britain’s independent music scene, having built a reputation from their live performances and their confidence in shifting the sound of their music. “I guess at this age, whether you’re in a band or not, you’re constantly changing anyways. And I think that’s sort of reflected in our music. People at this age are normally getting out of university and trying to figure out what to do with their lives, and we’re sort of doing that with our music. We’re trying to figure out a sound that sort of defines us,” MacColl explains.

Bicycle Club’s first Australian tour locked in this month, the band have set themselves to packing the entirety of their latest album into a couple of travel bags. “Well, we have a female singer and, um, we have a guy called Louis who does all the odd jobs on stage, plays a bit of keyboard, plays a bit of drums – he’s the mysterious fifth member... And Jack [Steadman] has been learning the piano for the last couple of years. In the UK we were touring with an upright piano, but unfortunately,” he chuckles, “we’re gonna have to leave it behind for Australia.” WHO: Bombay Bicycle Club WHEN & WHERE: Sunday 18 March, The Astor Theatre, Beaufort Street, Mt Lawley

Stylistic diversity seems organic for the London four-piece, whose members average a limber 22 years of age. Accompanying their youth is a willingness to experiment, MacColl readily justifies. “If you’re in a sort of big, successful band, right, there’s definitely going to be a fear both from yourself and from your record label of moving away from what’s made you successful,” he asserts. “With us, it wasn’t really a conscious decision; it was just what sort of came naturally.” This attitude has certainly chafed against the conservatism of the British independent music press; segments of which have harangued the band for their diversity and their alleged lack of loyalty to a particular sound. “Whether this is evidence of musical restlessness and admirable diversity or the sound of a band for whom success came before they developed an identity of their own is an arguable point, although you can see why people like them,” the guardian.com’s Alexis Petridis observed haughtily in regard to the Bicycle Club’s latest album, A Different Kind Of Fix. MacColl doesn’t agree. “I think bands seem to be doing it more and more often these days. If you look at The Maccabees’ album that’s just come out, it’s a really different album, and they’re sort of moving on, they’re doing a similar sort of thing really. “It’s very hard to recreate that magic of the first album,” MacColl reflects on the Bicycle Club’s debut, I Had The Blues But I Shook Them Loose. “A lot of people say that you’ve an entire lifetime to write your first album, and it’s very true. So we figured we needed to do something new immediately.” The Bicycle Club’s third effort A Different Kind Of Fix is a significant departure from both the cosmopolitan Blues and campfire acoustics of second record Flaws. Fix heads in a dozen directions at the same time, but always generates something worth listening to; whether it’s Shuffle’s almost-ska honky-tonk/brass section, Lights Out, Words Gone’s sauntering Latino arc, or Still’s mewling Thome Yorke vocals. It’s a record that wheels from influence to influence, summoning the Libertines’ harmonisation and borrowing from Vampire Weekend’s thrift-store African rhythms and guitar-thumping. “It wasn’t really sort of a conscious decision. I mean, it’s got elements in it that are similar to both the first and second album,” MacColl says of Fix. “The fundamental thing is that songs were being written on the guitar less and less, and we had a lot of songs that were starting with samples and loops. We often started with a computer.” The result is eclectic, and perhaps not coherent in a fundamentalist’s understanding of genre, but there’s no arguing that the Bicycle Club’s third album is a tasty record. “It’s a classic third album, perhaps. We went electronic,” MacColl concludes with a chuckle. The orbit of now-massive independent acts like Radiohead and Bloc Party can be difficult for a British band to escape, and it’s a reality Bombay Bicycle Club have had to confront while establishing their sound. “There was a period in the early 2000s when British independent music really dominated the charts; you had stuff like Franz Ferdinand, the Libertines and Bloc Party; and nobody’s really replaced those bands. It’s difficult to overcome their presence, and you’ve got to be inventive,” MacColl admits. The previous wave of English bands built their songwriting around a core of traditional rock guitar, and it’s left a legacy MacColl believes is difficult to overcome. “It’s not the easiest time to be a British indie band full stop at the moment. Not to sound pessimistic, but people really aren’t buying that kind of music in the UK.” Part of the band’s current eclecticism is the production team behind Fix. The Bicycle Club enlisted the aid of Animal Collective’s enigmatic producer, Ben Allen, an artist renowned for his capacity to imbue alt.rock fundamentals with a resonant mysticism. “We wanted to work with Ben Allen because we were going down a route that was more sample- and loop-based, and he’s obviously very good at that kind of thing,“ MacColl explains. In addition to Allen, Jim Abiss (of Adele and Arctic Monkey extraction) was picked to help orchestrate Fix’s construction. “What I liked about both Allen and Abiss is that they’re committed to making interesting music. It’s music that has hooks, and is accessible to a lot of people. They don’t want to make stuff that’s obscure and un-listenable; they want to make music with a pop sensibility, but with its own identity,” adds MacColl. Bringing the full sound of Fix on tour is no small task, and with Bombay

themusic.com.au

THE DRUM MEDIA • 15

GROUP DYNAMICS SYDNEY ELECTRONICA ACT SEEKAE KNOW WHAT IT’S LIKE TO LIVE IN EACH OTHER’S POCKETS, AND ALEX CAMERON GIVES JAYMES BROWN SOME SAGE ADVICE ON DOING IT WELL.

INVINCIBLE OVER THE PAST 16 YEARS, BORIS HAVE RELEASED 17 ALBUMS ACROSS NEARLY AS MANY GENRES. AHEAD OF THEIR PENDING RETURN TO AUSTRALIAN SHORES, MATT O’NEILL INVESTIGATES THE JAPANESE BAND’S UNASSAILABLE LEGACY.

O

ne often doesn’t fully appreciate how totally industry and economics have permeated popular music until uncovering a band unaffected by their influence. For better or worse, Boris are such a band. The Japanese trio have successfully established a history of warm, human, volatile unpredictability that doesn’t so much defy industry expectations as ignore them altogether.

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istening to Alex Cameron speak about his bandmates, there’s a sense of brotherhood among the Seekae clan. It’s no wonder really – they’ve spent the best part of the last half a decade living in each other’s pockets, and the bond goes back much further than that. “George and I went to primary school together, we’ve known each other for about 20 years now,” Cameron says. “John and I ended up going to high school together and it was at high school that we all really came together, and we taught ourselves all our different electronic instruments, samplers, synths and that kind of thing. That was probably when we were about 16 so I guess the kind of music we made around that time was more digital stuff than what we do now. “Then we started playing shows – I think it was around 2007 we played our first show I think and yeah, released a record and radio started picking it up and before we knew it we were touring around the country. It was kind of a natural progression though, you know?” Having grown up together, both literally and as musicians, the three have developed a surprisingly balanced approach to their heavy touring schedule, despite the many temptations along the way. “We try to stay healthy because you’re getting a rider every night; you’re drinking every night, and there’s often not a lot of good food around when you’re playing shows. “It’s better when we’ve got our management there because they generally try to take care of us, but it can get pretty out of hand. We did about 12 shows in the UK back-to-back last year, and by the end of it it’s like, how many burgers and kebabs can you eat every night?” That focus on health also extends to the personal relationships between bandmates. Arguments are commonplace within touring bands – they’re the natural by-product of people being in each other’s faces for months on end. But in Seekae’s case, the bandmates’ understanding of each other overrules any petty squabbling. “I always say to George, ‘I wonder if our six-year-old selves could see us arguing like this, what would they think?’” Cameron muses. “We do have arguments, but it’s always constructive. I think we’re all so confident in what we do that we don’t have a problem telling each other what we’re thinking about a certain song or a certain approach. We’ve all been wrong so many times when we’re arguing that there’s no problem with it.” Throughout last year the band spent around four months touring Japan, the US and the UK, with the bulk of the time spent in the UK. While their international profile keeps growing, so does the pressure on band members to maintain that impressive sense of balance, both in regards to their own health, and their relationships with friends and loved ones at home. “We all needed a break from touring after that two or three months of constant touring,” Cameron reflects. “Friends are easy – you can have friends wherever you are. It can be hard to maintain relationships though, and it’s always important to get that time at home to maintain those. Otherwise, yeah, it’s hard to do the long distance thing.” The band are currently in writing mode, with a national tour scheduled for this month to test run new material. Their impressive second album, +Dome, was released last year to universal acclaim, confirming them as the vanguard of the growing ambient instrumental hip hop/electronica scene. Understandably, they want to make sure they get it right with their tertiary effort. “We’re hoping to have a release around mid-year. We like to plan shows to coincide with the writing so we can test new things out – that’s sort of what these shows coming up are, a chance to try new material and see if it works.” WHO: Seekae WHEN & WHERE: Saturday 17 March, The Bakery, Northbridge; Sunday 18, Mojo’s, North Fremantle 16 • THE DRUM MEDIA

Boris’ work over the past two decades has been defined almost exclusively through a series of philosophies. Born of Japan’s fertile late-‘80s hardcore scene, Boris have, throughout their ever-evolving music and performances, always maintained a fierce dedication to punk’s fundamental ideals of community, DIY and artistic freedom. “Our hardcore manner is always with us,” drummer Atsuo says of the band’s values. “But it is not limited to the hardcore community in Japan. That should not be expressed particularly musically – everyone should show it as their attitude. Boris won’t ever try to record specific sound or aesthetic on purpose. We didn’t expect anything at first because playing together was just for fun. When I look back on that, it seems like a very long time ago.” The 16 years since the release of Boris’ debut album, 1996’s Absolutego, have seen them continually saddled with ambiguous genre tags like post-metal, nu-gaze and avant-rock. The band has flirted with everything from hardcore punk, doom and drone-metal through to pop, ambient music and psychedelic rock over the years. “Various titles or sub-genre tags will only ever show an outline of our music. It won’t ever be more than that. I will admit it might be helpful to communicate with someone else, though,” Atsuo says diplomatically. “Obviously, what we communicate is through music, not via language. We would like to do whatever we feel fresh and psyched at the moment. Boris won’t be faithful to fans if we neglect that.” The crucial twist in the narrative is that this approach hasn’t impeded Boris’ success in the slightest. The band’s profile

has been gradually expanding ever since their inception. The arrival of breakthrough album Pink in 2005 saw them burst through to non-Japanese audiences in style and they’ve been building upon their success ever since. Having opened for Nine Inch Nails, Boris can count Trent Reznor as a fan. They’ve also received the stamp of approval from legendary filmmaker Jim Jarmusch (who featured the band’s work in the score to 2009’s The Limits Of Control). Over the course of their career, they’ve collaborated with Ian Astbury of The Cult, Stephen O’Malley of Sunn0)) and legendary Japanese sonic experimentalists Merzbow and Keiji Haino. “We have always tried to have two opposite elements counterbalancing each other at the same time in our music,” Atsuo muses. “Like ‘beautiful’ and ‘ugly’, ‘momentary’ and ‘eternal’, or something like that. I think this is the real thing that we say with our music – otherwise it would just be chaos, though I suppose that is entirely possible too. I don’t know. We always work so hard at what we’re doing in the moment that it often feels hard to remember what we’ve actually done.”

– from conducting interviews with the press (“I think presswork and interviewssreis very important and I value it since it would be a door to our show and music,” Atsuo says.) to simply maintaining an unstoppable tour schedule over two decades into their career.

Yet, their work remains driven by the same basic principles as always – a refusal to be pigeonholed, an intense appreciation of the visceral intimacy of performance and an abiding respect and admiration for their audiences across the globe. Fittingly, their entire mantra seems to oscillate around the very sense of contradiction Atsuo pinpoints as the defining aspect of their catalogue – their practice and career an ongoing negotiation between absolute freedom and commitment.

“Yes, Boris loves studio work and, at the same time, we love to have a time for the immediate connection with our fans at shows too,” Atsuo confirms. “It has absolutely become harder for us over the years to keep up the touring. In general, Japan is an easy place to live so, once we go out to tour, it is often quite hard – but we have had great experiences during tours too. I think health management for touring leads to good effects and results to keep going what we do.”

Boris’ longing for artistic freedom is both legendary and obvious. It is, by the band’s own admission, one of the key motivators behind their notoriously prolific work ethic. At the time of interview, Boris were recording – despite 2011 having already seen the release of three albums of new material (New Album, Heavy Rocks and Attention Please). “We’re looking forward to our tour of Australia. It is going to be our second proper tour over there. This time we will also be going to where we haven’t been yet so we feel excited,” Atsuo announces, relieved to be breaking away from the studio temporarily. “We are writing and recording new music these days and we scarcely see anyone else, so it should be great to meet up with many fans and listeners once again.” Their commitment to their audiences, however, is similarly powerful. Everything Boris does seems to revolve around sustaining their unique brand of artistic freedom or connecting with as many people as possible

Neither impulse is particularly unique within popular music – but it’s rare for a band to be defined solely by such a contradictory philosophy. Make no mistake, there is very little else to the world of Boris. There is no grand architecture to their sprawling discography and no strategy to their collaborations. In a world where each and every artist seems to understand the concept of branding, Boris don’t even seem to grasp the concept of planning twenty years into a career. “The more we do, the more we can’t see it,” Atsuo says of Boris’ future. “Surprisingly, there are further more possibilities – one after another. We’re still just trying to do new things, anytime, all the time.” WHO: Boris WHEN & WHERE: Tuesday 20 March, The Bakery, Northbridge

WRITER’S HOTEL IT’S BEEN A PRETTY BIG COUPLE OF YEARS FOR COUNTRY-ROCKERS THE GHOST HOTEL, AND TROY MUTTON REFLECTS WITH GUITARIST JACOB SNELL AHEAD OF THE LAUNCH OF THEIR DEBUT ALBUM, MAIDEN HILL.

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erth’s music scene has a long and rich history that only grows each and every day, and no one knows that better than Jacob Snell, guitarist and songwriter for five-piece pop-rock/country outfit The Ghost Hotel. As well as managing a couple of local acts – including Split Seconds – Snell has taken on a variety of roles in the music industry, including promoter, booking agent and tour manager, not to mention also a part of much-loved local act Capital City. All that aside, you get the sense he’d be content jamming with the lads of Ghost Hotel, also featuring members of other local faves Red Jezebel and Team Jedi. Rather than some kind of Perth ‘supergroup’ though, it’s just been a meeting of like-minded individuals, finally thrown together through circumstance. “Everyone comes from a few different bands but we’ve all known each other throughout that period,” Snell begins. “I guess being in Perth it was one of those things where we all liked each other and we were always like, ‘Oh one day, you know, let’s talk about doing something together’, and then it finally happens and it’s a really nice thing because you talk to each other about music for so long. And then it comes to a point where bands will disintegrate or become less active and it all came together. It was a pretty natural progression, it was never like we all integrated together and become this ‘super group’, it was just friends who’ve known each other for years saying ‘Yeah, I think it’d be really fun to write some songs together’.” And write they do, with Snell, group-founder Aaron Gibson (formerly Team Jedi) and Paul Wood forming the chief songwriting core, with Steven Rea and Matthew Geary rounding out the quintuplet. With so many influences and experiences coming in to The Ghost Hotel, how does it all actually gel together? In the case of their upcoming debut album Maiden Hill, quite easily. “It’s taken quite a while to write all the songs. I can’t actually even begin to work out how long some of them have been around for. I think the earliest probably would have been a year and a half ago,” Snell says.

“I guess what we do, the process behind it is between the five of us… So Aaron Gibson and Paul Wood, they and myself all write songs. Basically we take them in to rehearsal and everyone just kinda plays through it and then it seems to be whatever sticks. So we’ll play something, and then you’ll notice that songs will disappear, so we’ll play one song the next week, and if we all really like it we’ll play it the week after that. And after a while we just end up with a song, whereas some others we might play for a little bit and then a third week in it might disappear. So it’s kind of like this weird process of elimination, which is incredibly diplomatic. So if everyone maintains interest in a song it sticks around.” Sounds simple enough, and the process appears to be working for the group, who had a massive 2011 in which they supported the likes of Aussie legends Cold Chisel, UK rockers Elbow and their compatriots Gomez. And that coming off the back of their triple j Unearthed win in 2009 scoring them the support slot for Powderfinger’s farewell tour in Newcastle. The standout show so far though is pretty clear for Snell. “I really enjoyed playing with Cold Chisel, that was an absolute highlight by a mile… I’ve never been a massive Cold Chisel fan by any respect, but I was really excited to see them in any case. You know, the songwriting is undeniable. They’re consummate performers and really appreciative of crowds… I thought that was really fantastic.” Scoring big support slots also don’t hurt when it comes to garnering a few extra fans. “Yeah, people start engaging more after bigger shows and supports like that. I don’t think it’s massive, I think it’s just piquing people’s interest a little. For instance, Elbow and Gomez were within a period of like a week and-a-half, and that was really noticeable because it was two bands who’s fanbases were very similar, so it kind of translated well because the same people were going along to the shows, and we had more chance to win them over. It definitely picks up some momentum.” Momentum that leads them to now, packing their first full-length release in Maiden Hill, and this scribe was curious to get Snell’s thoughts on just how important an actual physical album release is for a band – particularly local acts – in the current digital world we occupy. “I think there’s no doubt that revenue streams have dropped from actual real sales dramatically, [but] I think the album is still as important as it was. You know, the mode of release has changed with iTunes, Bandcamp and various digital platforms, but the copy is still essential. I think the

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content of an album is still important, even though many are moving over more to singles. I think particularly for a band that has a group of songwriters, I think the album is still the best platform a band like us can have. I think releases are still essential to bands, no doubt about that.” And most importantly, even over physical releases and great support slots, is being able to put on a show of your own, and pack out local venues with fans who are there to see and celebrate your act. And no one is more aware of this than Snell. “You can talk about albums and how important they are in this day and age, but I think the most important thing is doing shows and winning fans at a certain level – whichever way or through whichever mediums you use to do it. Essentially what it comes down to is you can play all the supports in the world, and they can be a lot of fun, but if it doesn’t translate to your own shows then it’s problematic to a certain extent. You want people to see it and experience it and come back, and make that next step forward into becoming your own identity, instead of just being a support band.” After the show there’s a few things on the cards for the group, but as a band of songwriters, they can’t wait to get back into it. “There’s a tour in the works, which will happen to kind of coincide with the release, and then there’s a few other shows. I think we’re just gonna keep on writing and keep doing what we enjoy doing. I think we like just getting together, and finding a song that we all love is a really exciting, fun experience.” WHO: The Ghost Hotel WHAT: Maiden Hill (Walking Horse/MGM) WHEN & WHERE: Saturday 10 March, Rosemount Hotel, North Perth

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Global Beats & Eats Festival Celebrating our diversity through music and cuisine f e a t u r i n g

Saturday 10 March // 5pm-9pm Liddell Reserve, Girrawheen Cnr of Wanneroo and Beach Road wanneroo.wa.gov.au

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THE DRUM MEDIA • 17

SAINTS ALIVE

NAKED PRAYERS

BRINGING HER FULL BAND TO AUSTRALIA FOR THE VERY FIRST TIME, GENRE-BENDING ART POP VISIONARY ST. VINCENT SHARES HER EXCITEMENT WITH BENNY DOYLE.

AHEAD OF HIS DEBUT ALBUM LAUNCH, JAMES TEAGUE SITS DOWN WITH AIMEE SOMERVILLE TO REVEAL HOW PEMBERTON, NUDITY AND INCENSE WERE THE RECIPE THAT PRODUCED LAVENDER PRAYERS.

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ith a yawn and mumbled hello, Annie Clark sleepily acknowledges this early morning phone call. The softly spoken 29-year-old is calling in from the sinful smoke of Amsterdam, and is currently riding the wave of adulation that has picked up her third and most recent long-player, 2011’s Strange Mercy, and propelled it around the world. Not that mass praise is anything new for the guitar virtuoso. Following time playing with The Polyphonic Spree and Sufjan Stevens, her previous two albums – 2007’s grand introduction Marry Me and 2009’s Actor, with its foreboding and abrasively distorted jams – both had critics falling over themselves to devise new genres with which to put barriers around Clark’s tunes. With quality comes pressure. However, if Clark is aware of such a load to carry, she doesn’t show it. She gathers herself and cautiously begins to respond to the idea of acute public and media awareness dictating her most recent musical move. “The only thing you can ever do is make a record that you like and that you believe in,” she reasons. “If you start making comparisons and start going, ‘Well, maybe we could get this one on the radio and maybe 15 percent more people would like this if we did it this way rather than the other way,’ I dunno, that’s just such cynical way to make music. The only thing you can ever do is please yourself and hope that people like it.” Strange Mercy has been noted as a cathartic album, Clark using the songs to lay out her feelings within intricate guitar effects and contorted rhythm structures. She admits that the darker personal subject matter draws stronger emotions, but when you’re staring towards a sea of unfamiliar faces, the songs suddenly depart and transcend. “Yeah, of course they do. But kinda at that point, the point where people are coming to see a show, it sounds sort of counter-intuitive; it’s about you but it’s not about you. Itís about how these songs have gone and reached out to other people,” she says. “I think with art, it’s kinda like emoting without any real music underpinning,” she flows on. “So I think I’m never worried

W about giving too much away. I think sure, things would be going gangbusters if I wrote more traditional love songs or whatever, but there’s enough of those; you can find them anywhere. I don’t need to do it too.” After wrapping up her European tour in Porto, the Brooklyn-based multi-instrumentalist will make the long haul trip to begin her tour of Australia. Pepping up, her voice cracking into a more excited octave, Clark states that she is simply glad to be able to finally offer her music to her fans Down Under the way it deserves to be shown, and she’s called on a crack collective to bring her trio of records as St. Vincent to life. Featuring Japanese-born Toko Yasuda on Minimoog, sound scientist Daniel Mintseris on keyboards and synths and the ever-respectful and reliable Matt Johnson on drums, she admits they could be the nicest band in music. “I just met with Daniel and we talked a lot of technology and I talked a lot about what I wanted to do and what was possible with his knowledge of Ableton Live [loop generating music software]. Then Matt; Matt played with Jeff Buckley, Angus and Julia Stone, Rufus Wainwright and Martha Wainwright, so I didn’t need to audition Matt, y’know? He actually wanted to play with me and I was just like, ‘What? Ok, you’re hired!’ Toko, she lives in LA, so I just talked to her over Skype. She was just so chill so I was like, ‘Y’know what? I bet she can play and she’s just so cool – she’s got the job’. It’s a great band of phenomenal compeers and lovely people.” WHO: St. Vincent WHAT: Strange Mercy (4AD/Remote Control) WHEN & WHERE: Thursday 8 March, Rosemount Hotel, North Perth

ith his long locks pulled into a ponytail and teashade sunglasses hiding the remnants of a Friday night-induced hangover, an anxious but chatty James Teague suggests we start his interview outside the coffee shop where he can have a cigarette to calm his nerves. After a few exhales, together with the assurance that our interview is merely a chat to find out about the happenings in the world of James Teague, a noticeably calmer Teague begins to tell the story of his soon to be released debut album. “Lavender Prayers is about taking flight from reality and embracing your imagination. I feel really proud of it and, you know, I own it and it’s just this baby that I’ve nurtured. It’s my first baby and no one can ever take that away from me.” It began with one week in a recording hall in Pemberton and ended with a complete debut album, an empty packet of incense and a very exposed James Teague, literally. “By the time I got to doing the lead vocals towards the end of the week I was really stressed out because there wasn’t that much time. I was tired and I thought, was my voice going to actually cope? So basically I had to set up a vibe to really get in the mood and try and capture the soul of the songs,” Teague explains. “In the middle of the hall we had set up what we called ‘the hut’. It was mattresses and these wall things, which basically made a cave. Inside and outside were mics to capture the sound and movement. I stood in there by myself, I was completely alone. No one could see me and I could do what I wanted so I set up some incense and turned the lights down…” Lavender incense? “No actually, I don’t know what it was, some kind of spiritual journey or something like that,” Teague replies. “I got completely naked and I just went savage, gesticulating like a crazy person. And I completely got into it and I think that really helped me get past that kind of stagnant stage. It was liberating!” he proclaims. However, when asked if he has plans to replicate the setup at his launch

next week, he laughs, “I think at the very most I’ll take my shoes off and just expose a bit of my feet.” Veering away from the naked recording process, we begin to delve into a discussion about Teague’s distinct vocals and androgynous sound that perhaps draws influence from the likes of Devendra Banhart or Bright Eyes. “I love Devendra Banhart. I don’t know if he is necessarily an influence, I suppose everything I listen to is an influence essentially. With Conor Oburst [Bright Eyes], I’ve never actually got that before, but it’s funny that you say that because he is a huge influence on me lyrically. I think he’s the greatest songwriter of our generation.” Teague adds he’s also influenced by literary figures, poets and authors of great works. Studying vocals at WAAPA for two years, Teague’s style and sound has evolved from experimentation and a drive to produce something remarkably different to anything else that is around at the moment. “When you’re listening to lots of different music and all sorts of singers that have different styles, you absorb a lot of that and start to just kind of take little bits of pieces here and there and just experiment with different sounds and different tones. For me it really is about the song I’m singing. I just sing however I want to sing for the song; I’m always practicing and developing a sound or technique.” Mentioning that he is “slightly schizophrenic” and “shape-shifting” with respect to his vocals, Teague then recalls my earlier statement, “the androgynous comment; I’ve got a high voice, and that’s just me.” WHO: James Teague WHAT: Lavender Prayers (Independent) WHERE & WHEN: Friday 16 March, Mojo’s, North Fremantle

AN OLD-FASHIONED WOMAN GUYS AND DOLL PROBABLY BETTER KNOWN THESE DAYS FOR HER RECORDINGS OF THE SONGS OF FELLOW SCOT, POET ROBBIE BURNS, EDDI READER IS STILL IN LOVE WITH THE WHOLE IDEA OF THE WELL-MADE SONG, AS MICHAEL SMITH DISCOVERS.

BEFORE THEIR EAGERLY AWAITED COMEBACK TOUR HITS OUR SUNNY SHORES, AQUA’S RENE DIF AND CLAUS NORREEN CATCH UP WITH SAM HOBSON TO CHAT ABOUT THEIR NEW ALBUM, AND THE LYNCHPIN FOR THEIR RETURN.

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“I

did [Sings] The Songs Of Robert Burns [in 2003] and it was up for some kind of award here – Best Scottish Song or whatever it was – and somebody wrote in and said, ‘Yeah, but it’s a cover version’,” Eddi Reader begins in reference to an attitude in contemporary music that obviously perplexes her. “This is Ae Fond Kiss by Robert Burns, who died in 1796 and I just had to write in and go, ‘Yeah, because his version was much better…’ As if there was a version by him.” Throughout Reader’s career, which really kicked off on an international level in 1988 – when the band Reader was then fronting, Fairground Attraction, hit number one in the UK with their first single, Perfect – she’s been as much an interpreter of songs as a writer of her own. It’s something that has obviously served a woman who feels she’s a folk singer first and foremost rather well over the past 30-odd years. “My love of songs sort of over-reaches my love of writing, so I write, yeah, but I also fall in love with songs that I meet. For example there’s a guy downstairs” – our conversation had come in a break between rehearsing for a UK tour – “called Declan O’Rourke, who wrote a song called Galileo, which I first heard nine years ago. It was just him and me sittin’ in the pub, everybody else is drunk and he pulled it out of the hat and started playin’ it on his acoustic guitar and I sobered up immediately, because it’s written in a very Bing Crosby-style way, Ink Spots or whatever. He’s, like, 27 at the time, I was 40 or something and I’m like, ‘Who wrote that? I’ve never heard it before and I kind of know all of them?’ [laughs]. He said, ‘Oh, I wrote it.’ And I’m like, ‘What?!’ He says, ‘Yeah, people say it’s derivative…’, and I’m like, ‘Derivative of what? Gershwin? For fuck’s sake, that’s brilliant. If it is derivative of Gershwin, thank God. At last, people are actually focusing on construction of songs and not just going all right, just put a line in there and we’ll try and get some publishing money’. 18 • THE DRUM MEDIA

t was actually a Greatest Hits tour that brought Aqua back to life. And it was a Danish beer company that brought them to the Greatest Hits tour.

“Unbelievably, people have this real snobbery about ‘covers’ now. They’d rather a Spice Girl wrote nonentity words over a mediocre melody than, ‘Go get a good song by that guy that might not have a great singing voice, but can write amazing poetry’. I kind of spend a lot [of time] hoping to meet those people. I never like to hear tapes – I just like to experience it, get in front of somebody who’s singing it. And then there’ll be times when I’ll reach into my own brain and try and pull out ideas – and I have got quite a few. It’s just that I do love meetin’ a song that’s fully formed and ready. There’s more confidence in me when I have to sell it to people.” Reader, who has been touring the past couple of years on the back of 2010’s Live In Japan, isn’t quite ready to cut a new studio album yet. “It’s been weird. I’m in a house with two teenage boys [her sons] – well one’s 20-odd, but we’ve space [she and her partner, Trashcan Sinatras guitarist John Douglas] for the first time because they’re older and stay out of the house and it’s a gift, but we haven’t managed to organise it. I mean we sit down with a guitar, but actually taking it seriously – what we have and what I have – that just takes another further step that I’ve not managed to take yet. There are ideas that I’ve put down in the studio, but I’m just not sure what kind of album I want to make apart from it’s got to be really beautiful. But I have this real desire to have massive orchestrations and I just need to find a way of doin’ that.” WHO: Eddi Reader WHEN & WHERE: Saturday 31 March, Fly By Night, Fremantle

In 2008, Aqua’s singer Lene Nystrøm sat watching TV, when an advertisement for a popular Danish Beer company’s annual music tour came on. The ad was for a landmark celebration for the festival, and in the highlight reel, Lene caught a glimpse of the Aqua of old; a video of them playing the festival from some years ago. Them, younger, full of colour, and at the height of their success, beaming out from her TV screen. “I think she got chills,” guitarist Claus Norreen recounts. It’d been a growing sentiment over the years prior that the band should reunite. They had all felt it, but being separate, and separating as they had, there had been no ideal climate in which their reuniting could be brought up. “Lene called Rene up straight away,” Norreen continues, “and she just said, ‘Shouldn’t we go do that?’” And so, with very little convincing, and a little more calling-around, it was. Aqua had split unexpectedly, back in 2001, after singer Lene, who formerly dated co-singer Rene Dif, began to court bassist Søren Rasted. There had been backlash over some overt sexual inferences they’d made during their Eurovision performance of Barbie Girl that year, and Rene later suffered a bout of exhaustion on that same tour. Like the climax of a great episode of Behind The Music, all that ground against itself, pressure and politics, and, feeling it a turmoil they couldn’t quell, the band split. Flash forward to 2009, and the band release their second Greatest Hits album on the back of some 25-stop tour with the Danish Beer company’s festival. Their first new song in 8 years – Back To The 80s – which was released in cohorts with the album, shot feverishly to the top of the charts. The success of that brought them to the recording of an entirely new album, Megalomania.

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“We’ve always had our own sound, I think,” Dif notes when asked if the band feared that the landscape of pop had changed too much in their absence. “We have our own way of creating a pop song, and our own process. It’s always going to sound like an Aqua song, no matter what.” “I think we at least updated the keyboard patches!” Noreen laughs. “Of course, everybody gets inspired by what they’re listening to, and [from that they] pick up ways to make sounds that are [naturally] contemporary. Personally, I’m quite inspired by the whole electrohouse scene, which is quite analogue, and there’s not that many strings or pianos, [and from that] I think the only conscious thing in the whole process [of making Megalomania] was to give it some more attitude.” “I think music in general is always evolving, and I think the sound is more aggressive and hard these days, and distorted,” Dif adds. “Music has, through the years, and since we did our first album – dance music and pop music in particular – has got a lot more ‘in your face’. You can do a lot more tricks and bits and pieces in the music now that you would have dared to do in the old days. Pop music has a lot more ‘club’ sound, these days, and I think our new album does too. You don’t even need to remix music these days, because the songs already have that attitude!” Hurdles and differences behind them, the Danish dancepop supergroup are back, and, if anything can be told from their current demeanour, it’s that they’re excited as hell. WHO: Aqua WHAT: Megalomania (Universal) WHEN & WHERE: Sunday 18 and Tuesday 20 March, Metropolis Fremantle

THE DRUM MEDIA • 19

SINGLES/EPS WITH CAM FINDLAY

ON THE RECORD

THE BEDROOM PHILOSOPHER

The Shakeys Independent

THE BIBLE BASHERS Cray Bait Independent The Bible Bashers somehow manage to make soaring, ‘90s-inspired rock sound awesome while keeping the tongues firmly planted in their cheeks. Cray Bait brings in distortion, feedback and an overall heavy punk sound to tell the story of… well, at least on the immediate surface, cooking people in a cray pot. B-side Swan Dive urges you to “Get your ass on down/To your favourite fuckin’ bar” through its simple three-chord riffage and belting vocals, tailing it all off with a bit of adroit ‘50s rockabilly.

ANA TIJOUX

CHRISTA HUGHES & THE HONKY TONK SHONKS

La Bala

Vagrant/Inertia

Shock

Poor Claudia Deheza. Ghostory is School Of Seven Bells’ first album following her departure and such is the assured leap forward it represents, historians may well ask what exactly D it was that she did.

Chilean rapper Ana Tijoux is back on the scene again with her follow up album to 2009’s Grammynominated and highly acclaimed album 1977, the title track to which featuring on the hit underworld television series Breaking Bad.

D

V

Ghostory is a concept album loosely based around the story of a young girl Lafaye and the ghosts who surround her life. Rather than a supernatural spook-fest, this work seems to explore ideas such as absence, surrogacy and memory (and with that in mind maybe departed member Claudia Deheza did have a part to play). Certainly anyone who locked onto either of M83’s last two albums should reverently devour Ghostory, as it abounds with good pop sensibilities, crystalline keys and long waves of guitar reverb that could echo on forever. Everything on Ghostory is clear and accessible. There’s no secret handshake needed to enjoy any of the songs here. Certainly there are elements of shoegaze and classic dream pop but, where those genres are prone to lulls and introverted drifting, this album stays focused by way of driving rhythms and dynamic production. Highlights? Well, pretty much all of it, as the individual parts coalesce into a satisfying end-toend listen, but with it’s rippling Giorgio Moroderstyle bass Lafaye excites and the epic When You Sing, which shares a chord or two with My Bloody Valentine’s Soon, makes for a ripping climax. Ghostory may even be credited as the first shoegaze in history that it’s safe to motor to as, after repeated tests, I couldn’t even manage a near miss. CHRISTOPHER H JAMES

Shonky

ABC Music

The lyrics on her new album are practically all in Spanish, but that certainly is not a deterrent, as Tijoux’s album is loaded with some catchy numbers, regardless of whether you can understand the lyrics or not. The title track opener is a definite standout as musically it is richly defiant with percussion and strings, while simultaneously demonstrating the strength of her vocals. VD Her enthusiasm is strikingly obvious and carries this over to the following track, Shock. In this number her rapping ability is audibly succinct and direct which definitely resonates with the political theme of this track, whilst still sounding fresh and instantly appealing. However, she turns down the pace on other tracks, which in some instances isn’t particularly a good thing. Sacar La Voz and El Rey Solo errs dangerously on the corny side, and despite apparent attempts to sound mellow or low-key, Tijoux’s whispery vocals tend to sound a little dull in comparison to previous tracks. But that’s not the death of the good stuff on this album; Las Cosas Por Su Nombre is a hearty track, which offers rich bass and spades of attitude rendering this track clear winner.

Most people’s introduction to Christa Hughes was as the all-stripping, all-dancing wonderwoman who LIVE would hijack Machine Gun Fellatio shows for songs like Motherfucker On A Motorcycle and (Let Me Be Your) Dirty Fucking Whore. She’s since become a cabaret queen, ringleader for Circus Oz and last year joined up with her father Dick Hughes for a well-received album of blues standards. Which brings us to Shonky, a record packed full of radical reinterpretations of a diverse range of modern songs. The material has been re-arranged for tuba, horns and piano to create a sound that’s something like the most riotous Salvation Army band in the world. Opening with a freewheeling Ace Of Spades, the record sashays hilariously through everything from Aerosmith to The White Stripes and La Roux. The standout moment is a recasting of Jessie J’s horrendous Price Tag, complete with barking piano man, which manages to completely recontextualise the original.

D

I remember The Spazzys. I also remember their ignominious implosion on-stage at a certain festival a few years back. Thankfully, any allusions drawn between the Spazzys and the similarly-named Shakeys dissolved when I chucked this EP on. While still plunging head-first into all-girl, three-chord dirty, punky, garage rock, The Shakeys actually make it sound genuine. Bad Habits threatens violence over a Ramones riff, She’s On The Scene plays with bowel-shaking bottom-end guitars in that recently re-popularized style, while Blood On The Cement could almost be a Turbonegro song. Fun stuff.

Ghostory

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THE SHAKEYS

LIVE BELLS SCHOOL OF SEVEN

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Remember Northcote (So Hungover)? Remember how hipster-gratifyingly ironic that song was? Well, get ready for an “irony” overload. The Bedroom Philosopher has recorded an acoustic version of the track, made entirely up of YouTube comments from the original song’s film clip. Replete with such gems as “Is there anything more hipster than making fun of being a hipster?” and “I saw this video before it was even made… wankers”, it really is a worthwhile sequel. Just don’t debate its authenticity; that gets hipsters riled, apparently.

VD

Shock

VD

Northcote (YouTube Comments)

Overall her sound is truly unique and there are many tracks on this album, which are as promising as her last. It certainly is a fine achievement to make an album, which has such strong universal appeal, rendering Tijoux’s new album truly intriguing. NAOMI DOLLERY

Towards the album’s end, Hughes pulls a neat party trick in swapping the lyrics for Mein Herr from the musical Cabaret and Iggy Pop’s Lust For Life over two raucous tracks. It’s exactly the kind of inventive, irreverent fucking about that you hope to hear on this kind of album. The song choices are all very strong to the point where it sounds as though she has created her own modern stable of standards. I can’t heap enough praise on this; Shonky is a fantastic covers record that cements Christa Hughes as Australia’s leading lady of cabaret. TOMAS FORD

STICKY FINGERS Happy Endings Sureshaker The first thing that strikes you about Happy Endings is the cover shot, replete with the band members displaying their moppy haircuts in all their laid-back glory. This might bely Sticky Fingers’ sound a bit, though. While continuing the heavily-accented mandate of the current set of British alternative rock, the band mix up the formula a bit by bringing in some U2-esque delay on opener Freaking Out over its floating melody, while Happy Endings throws in a pinch of dancehall with its electro-R’n’B beat and punchy lyrics – as well as just enough accordion. Simple stuff, but with some pretty catchy and beautiful tunes.

THE HARPOONS Walk Away Remote Control One release that this scribe has been waiting for with slight excitement, the Melbourne pop-R’n’B quartet have delivered simple, effective funk with this taster of their upcoming album. Relying on short-sharp cadences and Bec Rigby’s amazing vocal range, both Walk Away and its b-side Keep You Around bop along with arresting charm, despite the lyrical extremes between the two tracks. Chuck this on, and try not to dance like an idiot, I dare you.

HUSKY The Woods Liberation Husky have received much attention over the last year or so for their affecting take on alternative folkpop. This track, however, shows that their sound may be just getting a little stale. It’s catchy enough, sure, and emotive, but one can’t help draw a straight line between this track and their previous work. That, along with the obvious correlations to Lior and associated acts, leaves it all feeling a bit done. 20 • THE DRUM MEDIA

HERMITUDE

FEEDTIME

DEEP SEA ARCADE

Elefant Traks/Inertia

Sub Pop

Ivy league/Universal

It’s been a long wait with a lot of itching and minimal bitching, but hurrah it’s here, and HyperParadise really is a haven of beats. Speak Of The Devil was first released off this album last year and became a bit of a romper for stompers nation-wide, going on to win the J Award for Australian Music Video of the Year. Leaking this tune first conjured a misleading expectation for the album to come – it’s really the only lyrical song on this release. As opening track Engage drops with heavy drums and a melodic Middle Eastern slew of keys meets finger symbols and guitar, you’re riddled speechless and thoughtless, left drooling for more.

Chances are you’ve either never heard of Feedtime, or you’re already one of their small but devoted cult of fans. Should you fit into the latter category you’ll no doubt be jumping for joy with the news that every single original release by the Sydney noise-rockers’ 1982-89 line-up is set to be re-released in this brilliant compilation. Most of the stuff featured here has become pretty darn obscure over the past 20 or so years, and the thought of having it all on a single CD or LP set will no doubt leave a few mouths watering.

Whilst listening to Sydney five piece Deep Sea Arcade’s debut LP Outlands, one might find themselves yearning to don bell bottoms and wear a headscarf. Before you do, STOP! That’s just the ethereal guitars and psychedelic vocals of Nic Mackenzie that hark back to a bygone era. But it is this ‘60s psychedelic rock sound that DSA have adapted to make uniquely their own.

HyperParadise

The Aberrant Years

Beats in each song aim to blind and there are little touches that make you feel oh-so-gooey. The steel drum with R’n’B vocals on title track HyperParadise hits the spot, while Get In My Life brings the grime with a 16-bit tinny dub attitude, making you want sweatily slip and sway around. All Of You injects soul and synth with electronica snowballing over, and there’s plenty of shuffle reverb on The Hunt with Deerhunter-style Helicopter bubbles, synth and a horny underwater melody, making it a futuristic water world expedition. Hermitude’s cool version of an interlude, Hermilude, tweaks the senses with soul-ridden, husky female vocals marking a halfway point for the 13 tunes. Golden shows some vintage cut with the distorted funkiness of old times brought to current by robotic rhymes. You can feel the love jetting your way as Elefant Traks’ artists evolve with sound. The Elgusto-Dubs duo always fused hip hop and soundscapes well, but this is totally rad. KATIE ROLSTON

Given the weighty nature of this release, a sampler is all that has been provided for review, but it’s a promising taste of what’s scheduled to follow. The 10 tracks chosen successfully encapsulate Feedtime’s wild and bellowing noise-rock, a stripped down hybrid of early SWANS and the sludge-punk of Flipper. That said, it’s not as heavy as the former, nor as psychotic as the latter. Instead Feedtime are more like some sort of pub band from Hell, their bluesy, beer-soaked tracks mutate into a grumbling, shaky menace. Songs such as Motorbike Girl and Rock N Roll are driving and rhythmic enough to get you moving, but with huge, muddy walls of guitar that threaten to completely overtake the listener if played loud enough. It sounds as if feedtime rolled out of bed and into the studio with a bad hangover, chugging their way through an angry garage-rock set-list with the sort of darkly pissed-off attitude usually reserved for hardcore punk.

Outlands

The opening title track is one of the darker moments on an otherwise melodic record. Laden with ‘60s film references it showcases the talents of lead guitarist Tim Chamberlain and drummer Carlos Aduraas as they almost battle for the spotlight of the track. Whilst adhering to a pop structure, the five-piece create enough layers and depth in each track that the stereotypical structure is almost overlooked. Both Mackenzie and long-time friend (and guitarist) Nick Weaver have a penchant for sampling old demos and Seen No Right and Granite City have the same drum recording, with the drums taken from Granite City cut and edited for Seen No Right. Together was also an old demo recorded by the duo, but has the distinct DSA ‘feel’ to it, with the noticeable ‘60s influence. It is this alternative approach to making a record that makes Outlands so unique, and such an interesting listen.

It’s blunt, dense, and at times somewhat Neanderthalic, but undoubtedly a true piece of Australian altrock history worthy of any decent collection.

Outlands is a record that engages from the opening track, and is a reflection of the unique if not slightly protracted recording process. The subtle diversity of each track allows for each to have its own identity, whilst the heavy ‘60s pop influence and sound unites the album as a whole. Outlands is an album that the indie kids will eagerly play on vinyl, likewise your dad.

JACKSON BEST

TOM BRAGG

themusic.com.au

HOWLER

SILVERSTEIN

VARIOUS ARTISTS

Rough Trade/Shock

Hopeless/ADA

Universal

Interscope

Surf rock has gotten a fair amount of coverage recently. Luckily Howler’s debut album manages to ride the euphoric highs of that oft-maligned sound while providing enough variety to keep it from becoming tame.

Silverstein never seem to slow down and their latest release Short Songs (a two part CD featuring 11 originals and 11 covers) shows that it’s probably to do with their influences. You may not pick the members of Silverstein for punk rock lovers, but it’s true, and it would appear that punk rock loves them just the same. Originally performed by The Dead Kennedys, the title track Short Songs has an impressive amount of backing vocals crammed into a chaotic 23 seconds. Tim McIlrath (Rise Against), Chris # 2 (Anti-Flag), Chris Hannah (Propagandhi), Liam Cormier (Cancer Bats) and Nick Diener (The Swellers), amongst others, all manage to squeeze in.

Triple j’s Like A Version: a place where songs you weren’t all that keen on turn into something great and bands that you didn’t previously give a second listen end up in your ‘Most Played’ section on iTunes. Each year the compilation manages to top the efforts of the last and the seventh installment of Like A Version is in no way breaking the tradition.

Tennis racquet guitar solos. They’re more a distant memory than a guilty pleasure, but Van Halen’s dumbas(s) – and, at the same time, virtuoso – pop-metal anthems were once an empowering soundtrack for this writer’s misunderstood angst and testosterone. That said, the band’s previous two albums – Balance (1995) and Van Halen III (1998) – went largely unnoticed by your cassette-tape-dated correspondent, so how would a reunited Van Halen, with original vocalist David Lee Roth back in the fold, fare in 2012?

America Give Up

Short Songs

Opening with the distinctly-named Beach Sluts and a catchy clap-along rhythm, the album gets across its message of full-force musicianship and direct lyrics appropriately. That seems to be Howler’s mandate; violent rhythm, noisy strumming, and an all-around proclivity for cacophonous joy. A heady balance between guitar onslaughts and balanced vocal harmonising brings to mind acts like Television and their ilk. This One’s Different showcases the one-two step post-punk that reverberates through the album, while America and Too Much Blood balance with droning psych workouts. It’s the inspired rock that makes the album, though; Told You Once, Back Of Your Neck and Black Lagoon all revitalize a brand of rock that stretches back to the early days of carefree rock’n’roll. Free Drunk hosts shoegazey staccato beat, and Pythagorean Fearem pays its dues to Danzig-era Misfits, with its noise-driven punk aesthetic.

Triple J: Like A Version 7

From there they tackle Gorilla Biscuit, Descendents, NOFX, Green Day and Good Clean Fun. It’s interesting to hear these songs played with the vocals in tune and all the instruments audible and played in time, and while they sound a lot cleaner and nicer on the ears, the aesthetic punkiness of the original recordings are what makes the songs so great.

The amount of derivation that the album amounts to may, at first, seem like a bad thing. In fact, Howler manage to completely refresh traditional rock idioms, and at the same time shape their sound into something emotively catchy. In this day and age, when rock music is arguably bordered by a certain amount of pretentiousness, what more could you ask for?

If they wanted to create a suitable tribute CD that reflected early punk rock they would have been better off recording in one of their bedrooms and disposing of the auto-tuned melodies and overdone harmonies. It would also be interesting to see how Silverstein would sound stripped back. With any luck, fans of Silverstein will enjoy the covers enough to track down the original artists.

CAMERON FINDLAY

DANIEL CRIBB

It’s amazing how the way a song is performed can drastically change the feelings it conveys. Busby Marou’s performance of Girls Just Want To Have Fun transforms the track from one that you might be embarrassed to have in your collection into something that you would proudly crank in front of friends. Whilst this CD is overflowing with quality, Eskimo Joe covering Goyte’s Somebody That I Used To Know ranks number one out of 23. The reason isn’t simply because they’re seasoned musicians, or had a great song to work with in the first place, but because they threw a spanner into the works. Instead of finding a female vocalist to tackle the second verse like in the original, they decided to get a computer to do the part. Maybe Eskimo Joe was commenting on the auto-tune epidemic… Or, more likely, they thought it would be funny.

VAN HALEN

A Different Kind Of Truth

First single and album opener Tattoo certainly doesn’t set the bar too high, shoe-horning the flimsiest of lyrical matters (even for Van Halen) and the clumsiest of hooks into the band’s formulaic playbook. Surprising, then, that track two, She’s The Woman, begins with the classic wail of Eddie Van Halen’s axe – cue that tennis racquet – and proceeds to hard-rock like the proverbial bastard; as does China Town, Bullethead, As Is and Outta Space. Even better is Stay Frosty, an instant gem that shifts gears from acoustic strum to rockin’ groove and boasts a deliciously cheeky distillation of religion from Roth: “Look beyond the kung-fu fighting/God is love but get it in writing” etc.

This year’s Like a Version is proof that talent in Australia is surfacing faster than it can be consumed. Luckily triple j compilations such as this are lending a helping a hand when it comes to filtering through a sea of acts and mountains of mp3s.

With the band finding the majority of these tracks on demo tapes from the late ‘70s, A Different Kind Of Truth takes the Van Halen sound back to a revitalised future. It’s not hard-rock-et science, or even a new rocket, but it’s way better than we could have ever expected.

DANIEL CRIBB

ANTHONY WILLIAMS

THE MUSIC // THE MOVEMENT // THE CULTURE

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PERTH BEST DJS ON ROTATION PLAYING LOTS OF LOADSTAR / S.P.Y / BREAK / CHASE & STATUS / BROOKES BROTHERS NOISIA / CAMO & KROOKED / LENZMAN / SHOCKONE / CALIBRE APHRODITE / DANNY BYRD / SPECTRASOUL / WILKINSON / NETSKY METRIK / CALYX & TEEBEE / ICICLE / DC BREAKS / STATE OF MIND MATRIX & FUTUREBOUND / DELTA HEAVY / CYANTIFIC / THE UPBEATS TANTRUM DESIRE / SIGMA / LOGISTICS / CULTURE SHOCK / ENEI DRUMSOUND & BASSLINE SMITH / BLOCKHE4D / AUDIO PHETSTA / PHACE + MORE

themusic.com.au

THE DRUM MEDIA • 21

FRONTROW@DRUMPERTH.COM.AU

THIS WEEK IN

ARTS

THURSDAY 8 Animator’s Hour – a showcase of local animators through eight free screenings, happening each Thursday night until 12 April. Northbridge Plaza, 8:30pm. Sin City – Rooftop Movies screening of the cult pulp noir film. Pre-show entertainment: 6pm. Film screening: 8pm. Rooftop Movies, Roe Street Carpark, Northbridge.

FRIDAY 9 Rooftop Movies Weekend Double: Dazed & Confused / Fast Times At Ridgemont High – Texan teenagers in the ’70s trying to get stoned, drunk, and/or laid, followed by California teenagers in the ’70s getting stoned, drunk, and laid. Pre-show entertainment: 6pm. Film screening: 7pm. Rooftop Movies, Roe Street Carpark, Northbridge.

SATURDAY 10 Blackbird – inspired by a true story, Blackbird is a riveting play that raises challenging questions about society, morality and how the past irrevocably affects the present. Written by Scottish playwright David Harrower, Blackbird exposes the story of two people who shared a forbidden relationship fifteen years earlier. Una confronts Ray at his workplace, and the unflinching study of their affair that follows reveals the brutal truth of unconventional love with shattering consequences. Preview night, 8:30pm. Studio Underground, State Theatre of WA until 31 March. Rooftop Movies Weekend Double: Dawn Of The Dead / Zombie Flesh Eaters – Dawn Of The Dead: zombies on shopping centre escalators. Poignant. Romero is the original zombie master. Zombie Flesh Eaters: Fulci was Italy’s Romero. Discover his masterwork. It has a zombie vs shark fight scene! Pre-show entertainment: 6pm. Film screening: 7pm. Rooftop Movies, Roe Street Carpark, Northbridge.

SUNDAY 11 Spaced: Art Out of Place – IASKA’s inaugural biennial event of socially engaged art. Final day. Fremantle Arts Centre. Stella Artois Sunday Classics: Lolita – Stanley Kubrick’s masterpiece adaptation of Nabokov’s novel. Pre-show entertainment: 6pm. Film screening: 7:30pm. Rooftop Movies, Roe Street Carpark, Northbridge.

MONDAY 12 Eternal Sunshine Of The Spotless Mind – the ultimate rom-com date flick for couples of a less predictable bent. Voted the best film of the 2000s in the Front Row writers’ (national) 2010 poll. Pre-show entertainment: 6pm. Film screening: 8pm. Rooftop Movies, Roe Street Carpark, Northbridge.

TUESDAY 13 Luminaire – not your ordinary theatre experience, Luminaire considers light as a performer on stage, using experimental techniques and effects to create lighting sculptures and ‘lumiscapes’

FILMS AND FLAMINGOS

that punctuate a vivid narrative. Luminaire is about seeing the forest for the trees; it tells the tale of two characters reminiscing on times of beauty, destruction and etch-asketch. A world premiere production from Renegade Productions. Opening night, 8:30pm. Blue Room Theatre until 31 March. Red Silk – in the 1960s Pulitzer Prize-winner Anne Sexton was the highest paid poet in the US. To her many friends and lovers she was beautiful, witty and engaging. But there was a dark side to her life, alluded to in her writing. Perthborn stage and screen actor Roz Hammond (Muriel’s Wedding; Best Female Performance, Dublin Fringe; The Librarians) returns to The Blue Room Theatre after twenty years away to play the pivotal role of Anne in a fictional view of what may have happened in that room. World premiere Red Silk production. Opening night, 7pm. Blue Room Theatre until 31 March. George Harrison: Living In The Material World – Scorsese’s inspired biopic. From Liverpool to India, Harrison’s spiritual and artistic journey is memorable. Pre-show entertainment: 6pm. Film screening: 7pm. Rooftop Movies, Roe Street Carpark, Northbridge.

ONGOING Hijacked III: Contemporary Photography from Australia and the UK – more than 24 artists from opposite sides of the globe offer unique photographs ranging from oblique takes on portraiture and collage to snapshots of society at its best and worst. This exhibition presents far reaching photographic practices which question what it means to look, catch or construct images for the 21st Century. PICA until 8 April. Tom Malone Prize 2003-2012 & Translucence: Contemporary Glass – 2012 marks a decade of the Tom Malone Prize. This acquisitive award for Australian glass artists has been the platform for the Gallery to collect some of the best work being made in the country today. The combined exhibitions feature work by 2012’s shortlisted makers, all past winners and a selection of glass works from the State Art Collection. AGWA until 2 April. The unknown by the more unknown – David Egan presents a charismatic constellation of paintings and objects examining pop culture mysteries and vernacular theories – in which established methods of knowing are hijacked and subverted by the incurably curious – investigating the infinite potential of interpretation and understanding in cultural communication. Central to The unknown... is an interactive sculptural book that, when manipulated by the audience, produces a generative soundtrack that fills the gallery with an oscillating musical scale. A mysterious soundtrack is created by which a guided meditation on each painting can take place. OK Gallery until 18 March.

GIVEAWAY It’s hard to believe that Family Guy has been running for 11 seasons...but it has, and we’re celebrating by giving away DVDs! Thanks to 20th Century Fox Home Entertainment we’ve five copies of Family Guy: Season Eleven (DVD) to giveaway. However, for one lucky winner, we’ve also got a copy of Family Guy: The Complete Season 1-11 (DVD) to giveaway – that’s 31 discs, over 150 episodes, and it even comes with a double-sided poster. You’ll never leave your house again! (But if you do, the discs come with clips for your portable players, so you can still watch Family Guy. Phew.) For your chance to win the grand prize, or one of the five runner-up prizes, head to facebook. com/drumperth. 22 • THE DRUM MEDIA

TACKLING THE TABOO

AS PERTH THEATRE COMPANY PEPARES TO OPEN BLACKBIRD, THEIR FIRST PRODUCTION OF THE YEAR, MARCIA CZERNIAK SPEAKS TO ACTOR ANNA HOUSTON ABOUT THE CONFRONTING AND CONTROVERSIAL NATURE OF THE PLAY. Saying that paedophilia is a taboo subject is quite the understatement, but Perth Theatre Company looks beyond the taboo as they head into their season of Blackbird by David Harrower, a play about a female, Una, who confronts Ray, an old lover, 15 years after their relationship ended. Up until then, it all sounds quite normal. But there isn’t anything normal about this relationship; when it occurred, Una was 12. For some, the thought of a play that looks at paedophilia may seem too much, but Anna Houston, who plays Una, says that while it may make some people uncomfortable, feeling that way is a good thing because we need to look beyond the stigma. “It’s uncomfortable because when you see characters in the play they are struggling and in pain, and yes, purely on an empathy basis you will feel for them, or hopefully we’ll have done our job if the audience feels for them and does feel uncomfortable,” says Houston. “The subject matter is very taboo, we don’t talk about it. It’s not an easy play, it’s not an easy play to perform or rehearse and I don’t think it will be an easy play to watch. But by the end of it, if people are thinking about the subject, thinking about it as it exists in our society, I think that’s a really wonderful thing.” Houston, who is no stranger to pointed public reactions to Perth Theatre Company productions (she was the female lead in last year’s Tender Napalm), says that heading in to the play, she had to focus on the work and not any pre-existing judgements. “I think the important thing for me was reading the script without thinking of it as a play about paedophilia or a play about child abuse or seeing it in the greater terms of sexual ascending or anything like that, because I think approaching it as an actor, it is dangerous to think of anything in black and white terms. The playwright wrote without judging either of the characters or the situation, so personally I can’t enter into the world of the play if I am trying to judge or I am trying to see the bigger framework. That said, I did feel a certain responsibility to do as much research as I could around the topic as I don’t think it is very fair for an actor to get up and try

and represent the story of someone who has been through that without having an understanding of the context.” Houston, who is cast alongside Humphrey Bower in the play, which is directed by Perth Theatre Company artistic director Melissa Cantwell, says that as it explores the characters’ relationship the play becomes more about human experiences than a play about paedophilia. “It certainly doesn’t set out to condone paedophilia and it is interesting the use of the word ‘paedophilia’,” Houston explains. “It’s an interesting term. Just based on the reading that I did about paedophilia and the psychology of it, I’m not 100 percent sure that that term applies to this play. The two characters are so fleshed out by the writer that they really defy any categorisation of betrayer and the victim. That said, the play in no way condones paedophilia and in no way says it is acceptable for an adult to have a sexual relationship with a child, it doesn’t say that at all. I think Mel programs really challenging, interesting work. I do find it disappointing that people react to aspects of a production that are really no way concerned to what is at the heart of the play, and it is a shame that those people won’t come and see the work. “There was an article about the play and a lot of people were really reactionary towards it, saying,’This play is bullshit, this play shouldn’t be produced, it is disgusting, it is unethical’. I have no doubt that those people haven’t read the play. It is not black and white, but that doesn’t mean by the same token that it condones pedophilia. The writer has written really fleshed-out, really human characters with no judgement. He has just put them on the stage and said, ‘You listen to these people, you watch them for an hour and half and you, the audience can think and feel anything you like about them; that is your privilege as an audience member.’” WHAT: Blackbird WHERE & WHEN: Studio Underground, State Theatre Centre of WA Wednesday 14 March to Saturday 31

MARCIA CZERNIAK SPEAKS TO ARTRAGE DIRECTOR MARCUS CANNING ABOUT PERTH’S NEWEST CINEMA, ROOFTOP MOVIES, WHICH TAKES THE TRADITIONAL OUTDOOR CINEMA EXPERIENCE AND RAISES IT UP A FEW LEVELS – QUITE LITERALLY UP TO THE ROOF. As Perth’s festival high comes crashing down to an end around us, what better way to get through those long nights than by going to see a movie under the stars with city views as far as the eye can see? What a good idea, you say? Well, it was exactly that idea that Artrage director Marcus Canning came up with and has carried through with the development of Rooftop Movies on the Roe Street Car Park in Northbridge. “I have had this concept ticking away around this site for close to a decade. I discovered this site when we did work up here during a previous festival programme for some contemporary dance work,” says Canning. “It has this extraordinary 360 degree view of the city and surrounds and it presents a unique angle on the city as well, one that people don’t usually get to.” But how does one transform a car park roof into a cinema experience complete with fake lawn, caravans, palm trees, flamingos, live music, comedy, and, of course, the essential movie screen? “It’s quite a novel idea for a partnership with a City parking authority of this kind of nature. Although the head of the business unit at the City of Perth, Doug Foster, when he came to have a chat with us about the whole idea, actually said he had been wanting to do something on this particular car park rooftop for quite a long time but didn’t really know what, so it was quite fortuitous on that front,” explains Canning. With all systems go, it has been a busy time for Canning and his team getting the venue ready for the movies – which were launched last week – especially coming straight off the Fringe World festival. “The more that is going on, the better, but to be honest coming out of Fringe and slamming straight into the production of something new to this scale is kind of a little bit hard

for us. We didn’t get any break at all, but it is certainly worth it now that it is all up. “The plan is that this will run for the next two months as a trial but if it goes as well as it should, we would run it from December through to April every year. Programming-wise we will be able to explore what kind of program will happen during the Fringe and it just becomes another place can people can access.” With the schedule currently up until the beginning of April, the programming is an eclectic mix of films which have got people talking and actually acting, with sessions selling out before screening times, something Canning puts down to the environment of the venue as well as teaming the films with other activities like comedy and live music before and after movies and in between double features. “It is pretty novel. I personally love instant pop-up venues and I think punters really love that too, it just adds to the whole adventure of the experience and the surprise of it. This particular site, I can safely state, is the nicest rooftop cinema in Australia. It is pretty special, largely because it is so spacious and it is kind of luxurious for it. “I have looked long and hard at successful rooftop-style programmes from other places, that kind of mix between cult and classic, pop favourites and all those films which people haven’t had the opportunity to see on the big screen, if not for a long time, then forever. I think there would be two generations now who haven’t seen Gremlins on the big screen, for instance. We have tried to create, especially in the first season, a mix of films from lots of different eras and stuff that people know, but with a few surprises in there as well.” WHAT: Rooftop Movies WHERE & WHEN: Roe Street Car Park, Northbridge until April

FRONTROW@DRUMPERTH.COM.AU

LEADER OF THE PACK

C U LT U R A L

GUY DAVIS TALKS TO ANDREW LINCOLN, STAR OF AMCâ&#x20AC;&#x2122;S NEW ZOMBIE TV SERIES, THE WALKING DEAD. The opening scene of The Walking Dead has small-town sheriff Rick Grimes, played by English actor Andrew Lincoln, shooting a little girl in the head. And things donâ&#x20AC;&#x2122;t really lighten up from there. It should be pointed out, however, that the little girl in question was one of the many, many, many zombies that give this rather grim but completely compelling TV series its title. And like every other zombie on the show, theyâ&#x20AC;&#x2122;ll literally eat you alive if you donâ&#x20AC;&#x2122;t take them down first. Itâ&#x20AC;&#x2122;s a nasty situation, and The Walking Dead drops its audience smack in the middle of it. Developed by Shawshank Redemption writerdirector Frank Darabont, itâ&#x20AC;&#x2122;s a hard-edged series that doesnâ&#x20AC;&#x2122;t shy away from the blood and guts of the zombie genre (the second episode is literally titled â&#x20AC;&#x2DC;Gutsâ&#x20AC;&#x2122;, and with good reason) but also brings a surprising amount of sensitivity and soul to the table. A great deal of the credit must go to Lincoln, perhaps best known for his roles in This Life and Love Actually (he was the chap in love with Keira Knightley, his best mateâ&#x20AC;&#x2122;s wife). Looking every inch the steely allAmerican lawman, heâ&#x20AC;&#x2122;s also deeply affected emotionally by the situation he finds himself in â&#x20AC;&#x201C; itâ&#x20AC;&#x2122;s hard not to be moved when he mutters â&#x20AC;&#x2DC;Iâ&#x20AC;&#x2122;m sorry this happened to youâ&#x20AC;&#x2122; before he dispatches one of the walking dead with a shot to the head. And even though heâ&#x20AC;&#x2122;s thrust into a position of authority by the

CRINGE

WITH MARCIA CZERNIAK

survivors he encounters, itâ&#x20AC;&#x2122;s a role he sometimes struggles to fill. Heâ&#x20AC;&#x2122;s committed to doing the right thing but the normal rules no longer apply. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s an impossible situation,â&#x20AC;? says Lincoln. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s a world that is so extreme and there are no clear-cut answers when it comes to right or wrong decisions. Rick is a reluctant leader â&#x20AC;&#x201C; he only cares about his wife and his child. Thatâ&#x20AC;&#x2122;s what drives him, that they have some semblance of safety.â&#x20AC;? When asked about the appeal of post-apocalyptic sagas like The Walking Dead, Lincoln is quick to note that such tales have long connected with audiences. â&#x20AC;&#x153;Theyâ&#x20AC;&#x2122;ve always been intriguing, havenâ&#x20AC;&#x2122;t they?â&#x20AC;? he says. â&#x20AC;&#x153;But they certainly seem more popular as of late. As far as The Walking Dead goes, there hasnâ&#x20AC;&#x2122;t really been a serialised horror story on TV before, not really an out-and-out horror story. And I think that accounts for the popularity â&#x20AC;&#x201C; there is this global swathe of horror fans, and people like to be scared, like that visceral feeling. â&#x20AC;&#x153;But itâ&#x20AC;&#x2122;s just a good story â&#x20AC;&#x201C; when you strip away the civility and the manners and everything else, when civilisation has been taken away from you, thereâ&#x20AC;&#x2122;s something very honest and raw and dramatic about that. Maybe people respond to the life-or-death stakes of it. And thereâ&#x20AC;&#x2122;s depth and detail in the stories of all the survivors.â&#x20AC;?

The role of Rick Grimes has been Lincolnâ&#x20AC;&#x2122;s entry into the US market, and he admits itâ&#x20AC;&#x2122;s an â&#x20AC;&#x153;extraordinary roleâ&#x20AC;? that he probably never would have been considered for in the UK. â&#x20AC;&#x153;In England, Iâ&#x20AC;&#x2122;d been doing period dramas and romantic comedies, so I guess a lot of casting directors thought â&#x20AC;&#x2DC;Well, Andy does that...â&#x20AC;&#x2122;â&#x20AC;? he says. â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;ve been working for 18 years, and every so often you need to have a bit of a spring clean, even just to say to yourself â&#x20AC;&#x2DC;Well,

itâ&#x20AC;&#x2122;d be interesting to try something like thatâ&#x20AC;&#x2122;. â&#x20AC;&#x153;When this script came to me, I auditioned on tape, doing an approximate southern drawl. I was phoned the next day and I flew out to screen test. The decision was made very quickly. In that regard, itâ&#x20AC;&#x2122;s an extraordinary turn of events â&#x20AC;&#x201C; it feels like Iâ&#x20AC;&#x2122;m starting over.â&#x20AC;? WHAT: The Walking Dead WHERE & WHEN: Tuesdays, 8:30pm, on FX

At the beginning of the year, an internet site that I may or may not have frequented to watch US-screened TV was closed down by the FBI. The impact of this occurrence has been delayed because of the arts goodness going on in Perth that I have had little time keep track of TV shows, but with things winding down, the significance of the closure has hit. The file-sharing website in question was quite popular but was sadly deemed kind of illegal by the US Government, who stated that the people behind Megaupload and sister site Megavideo were â&#x20AC;&#x153;running an international organized criminal enterprise allegedly responsible for massive worldwide online piracy of numerous types of copyrighted worksâ&#x20AC;?. The Mega-conspiracy (the name given to the action by the FBI, which sounds just like a Hollywood movie a lot of people would download) charges happened while the US Congress was debating the Stop Online Piracy Act (SOPA) and its sister bill, Protect Intellectual Property Act (PIPA). While much has been made of the ramifications of the bills, now nearly a month after the Mega-conspiracy went down, it is time to focus on what is actually at the heart of the issue. And that is, Gossip Girl and Game Of Thrones. If you look up Megavideo, you will come across a notice from the US government saying the site has been shut down. Instantly you get thoughts of Big Brother conspiracies, like, â&#x20AC;&#x2DC;Oh crap, now the FBI know I went to the site and they are now tracking my every internet move â&#x20AC;&#x201C;

oh god, are they going to come and find me and lock me up?â&#x20AC;&#x2122; Or is that just me? So yes, with Megaupload/ Megavideo gone forever it is obvious that no one will ever commit the crime of watching or downloading TV shows online again. So this is where my concern comes to a head. How will we Australians ever keep up-to-date with what is happening on Gossip Girl and Game Of Thrones? Could it be that the last I may have seen of Gossip Girl was before they had their mid-season hiatus when Blair and Chuck got run off the road by crazy paparazzi on motorcycles (which was kind of creepy in its Dodi and Princess Diana-ness) and then rushed to hospital? Will the reaffirmation of their love be lost to tragedy? Will Blairâ&#x20AC;&#x2122;s unborn baby to the Prince of Monaco survive the crash? Will Serena and Nate take down Gossip Girl? Will Charlie/Ivy come back and continue to pretend to be a Rhodes? What actually happened to the real Charlie Rhodes? Will Dan get a haircut and grow some balls? All these questions will be doomed to remain unanswered forever (or at least until season five comes out on DVD in Australia, which could seem like forever). And if you thought it was bad with Gossip Girl, what about Game Of Thrones? The second season of the show premieres Sunday 1 April in the United States but doesnâ&#x20AC;&#x2122;t begin in Australia until Tuesday 10?! How... but, what? I mean, it isnâ&#x20AC;&#x2122;t like these shows are available on any other site because, Megaconspiracy people were definitely the only people running a file-sharing website.... Right?

Western Australian Premiere In association with Sally Burton and Onward Productions

CLINCHFIELD Written by award-winning Australian playwright

Caleb Lewis

Roundhouse Theatre ECU, Mount Lawley

16 - 22 March

Order your copy of AMID now!

W NE ION IT ED

  %! %

Directed by Andrew Lewis Performed by 3rd year Acting students

55.00

DECEMBER

2011

ORD ER NOW

VISIT WWW.THEMUSIC.COM.AU/STORE

Tickets $26 / $21  Ph: 9370 6895 waapa.ecu.edu.au THE DRUM MEDIA â&#x20AC;˘ 23

24 • THE DRUM MEDIA

BON IVER PIC BY CALLAN GIBSON -

TOUR GUIDE ST VINCENT

GIG OF THE WEEK:

BON IVER

ST. VINCENT, OSCAR+MARTIN @ ROSEMOUNT HOTEL

RED HILL AUDITORIUM 03/03/12 Red Hill looks awesome when it’s filled to the brim and the sun is setting over the city. The geographical positioning of the venue, as well as the angle of the stage, really puts you in a place of distance from your own life and realities. To add to the excitement was the stage itself, all set and rearing to go. Two drum kits, a small orchestra of different instruments strewn across the stage and drapes hanging randomly from the ceiling, lit in golden light and reminiscent of a small cave full of treasure. Which to be honest, it kind of was. Sally Seltmann snaffled the national support for all Bon Iver shows, which was a slightly underwhelming choice for this reviewer. There is no denying that Seltmann’s airy tones are a great opener for a crowd of such diverse age and taste, but considering it was the end of PIAF, something with a little more ‘wow’ would have gone down a treat. As all nine members of Bon Iver took to the stage, the anticipation could not have hung thicker in the air. Perth, a song inspired by our big country town was first off the ranks, lead singer Justin Vernon explaining after that they started with that song “To appear to be

cool”. It worked. Vernon’s vocals are nothing short of spectacular, and more importantly, true to his recordings. In fact, across the musical board, nothing was lost from recording to live. As each song finished, another seemed to start. There were hardly any gaps. Occasionally the band would stop for Vernon to have a quick chat, but most transitions featured different musicians in the band showing just how diverse their instrument was when applied to effects pedals, or a loop station. The standout was a remarkable saxophone solo delivered only by ways of circular breathing and great technical skill. Moving through some of his more recent releases, Vernon stepped effortlessly towards his hit singles. A solo rendition of Blood Bank brought the house down. Skinny Love and Regarding Stacks were also clear crowd favourites. And an encore was inevitable, ending with The Wolves and (under instruction) 5,000 people singing the words “What might have been lost” over and over. The answer to this, of course, was nothing. It was simply one of the best live performances WA has seen in years and deserving of its standing ovation. BARON GUTTER

FRONTLASH

BACKLASH

In a week where WA’s small business confidence was announced to be the lowest in Australia, most excellent to see Coles’ ”In my house it’s a crime not to buy.....” Tweet campaign being smashed and slapped down, down, down.

While biz confidence might be going down the gurgler, at least most West Aussies can feel much safer with the thought that we’re unlikely to get flooded anytime soon. Our thoughts go out to our east coast brothers and sisters. With natural disasters costing the world a record $355 billion last year, it’s time everyone takes a good long hard look at what we’re doing wrong.

MULTI-NAT SLAPDOWN

ROOFTOP RESCUE No Fringe World… No Perth Festival… Feel like there’s ADALITA all of a sudden a massive artistic black hole left where creative bombs have recently been hailing down and lighting up our skies like never before? Well quit yo’ jibber jabber fools and say hello to Rooftop Cinema!

UNBONIVERABLY AMAZING Though tainted by a few bus issues (fingers crossed they’ll be ironed out by the next big show at Redhill), Bon Iver made it the fourth unarguably incredible performance that’s hit our shores in under two weeks. Even the festivals on the weekend defied expectations, providing some of the best performances we’ve seen for years. Yep, we’re peaking. Let’s just hope we don’t suffer from a hellish winter comedown.

REVENGE OF THE ENVIRO

BADWHO? Erykah Badu’s show in KL has been cancelled after she was deemed an unsuitable role model for young Malaysians. Guess being a spokesperson for standing up for freedom of self-expression and beliefs just doesn’t cut it with some governments.

YUMIGATE Sure, they were stupid comments. But, now the victim of disturbingly aggressive online hate campaigns, you have to wonder how different the reaction to Yumi Stynes would be if it were a male host making fun about a female. Considering the sexist shit that dribbles out of Sunrise egghead Koche’s mouth and LANIE LANE the lack of backlash alone, we’re betting VERY. PIC BY CC HUA

Going from strength to strength since the release of her internationally-acclaimed Strange Mercy album, Annie Clark aka St Vincent brings the album to Australia to give us a taste of it live, playing The Rosemount Hotel Thursday 8 March, tickets through Heatseeker, Mills, Planet and 78’s. The album scored a 9.0 from Pitchfork and has featured in the year-end top 10 lists of the likes of NME, Q, Time and The Sunday Times, thanks to its indelible hooks, ingenious rhythms and some debonair solos. She’s supported by much-loved Australian art-pop duo on the rise Oscar+Martin, with their weird, awkward, intimate and joyous tunes. Their debut album For You, features Oscar’s clear, hesitant falsetto chattering and fluttering over hopscotch beats and feathery samples to create something like the lovechild of James Blake and Architecture In Helsinki, scoring it a place in this very magazine editor’s top ten albums of last year. So really, you can’t go wrong tonight!

DRUM MEDIA IS PROUD TO PRESENT SHOWS INCLUDING: THE BEARDS: MAR 9 Settlers Tavern; MAR 10 Fly By Night; MAR 11 Indi Bar + BOMBAY BICYCLE CLUB, I, A MAN: MAR 18 Astor Theatre RTRFM FULL FREQUENCY PARTY: MAR 23 Shape KRS-ONE: MAR 23 Metro City FAT SHAN FESTIVUS: THE CHEMIST, THE FLOORS, HIGH HORSE, THE NOVOCAINES, THE SEALS, SONPSILO CIRCUS: MAR 24 The Bakery ADAM ANT, GEORGIE GIRL & HER POUSSEZ POSSE: MAR 28 Metro City THE COMMUNITY 8TH B’DAY: MAR 31 The Bakery HOT CROSS BUNS: TONITE ONLY, THE MEDICS, YESYOU, THE BROW HORN ORCHESTRA, STILLWATER GIANTS, SUN CITY and more: APR 5 Amplifier/Capitol PASSENGER: APR 13 Fly By Night SNEAKY SOUND SYSTEM: APR 14 Villa LAST DINOSAURS: APR 14 Amplifier JAY & SILENT BOB: APR 18 The Astor Theatre BLUEJUICE, LOON LAKE, THE CAIROS: APR 19 Settlers Tavern; APR 20 Capitol BIG SCARY: APR 20 Amplifier IN THE PINES: BENEDICT MOLETA, DROWNING HORSE, THE GHOST HOTEL, THE LOVE JUNKIES, SMRTS, SUGAR ARMY, SUNSHINE BROTHERS and more: APR 22 Somerville Auditorium, UWA BLEEDING KNEES CLUB, DUNE RATS: APR 25 Indi Bar; APR 26 Prince Of Wales; APR 27 Amplifier; APR 28 Mojo’s HOODOO GURUS, REDD KROSS, THE FLESHTONES: APR 28 Astor Theatre FU MANCHU, BLACK COBRA, MATT SONIC & THE HIGH TIMES: MAY 5 Rosemount Hotel BOY & BEAR: MAY 10 Albany Entertainment Centre; MAY 11 Bunbury Entertainment Centre; MAY 12 Fremantle Arts Centre

themusic.com.au

DEAD LETTER CIRCUS, FAIR TO MIDLAND, TWELVE FOOT NINJA: MAY 11 Metropolis Fremantle; MAY 12 Capitol ANDREW WK, ALEISTER X: MAY 17 The Bakery GROOVIN’ THE MOO: ANDREW WK, BIG SCARY, BLUEJUICE, CITY & COLOUR, THE GETAWAY PLAN, GOLD FIELDS, KAISER CHIEFS, MATT CORBY, PARKWAY DRIVE, SAN SISCO, WAVVES, 360, ADRIAN LUX, BENI, BALL PARK MUSIC, DIGITALISM, HERMITUDE, HILLTOP HOODS, MUSCLES, MUTEMATH, NAYSAYER & GILSUN, PUBLIC ENEMY, PURPLE SNEAKERS DJS and locals: MAY 19 Hay Park, Bunbury

ONGOING:

GIGNITION: Upcoming band showcases 5-9pm fortnightly on Sundays at Swan Basement CULTURE CLASH: Party tunes every second Thursday at The Newport Hotel

THE BEARDS THE DRUM MEDIA • 25

TURNING TEN

TAYLOR SWIFT

THE MONTH OF MARCH MARKS FREO INSTITUTION THE NORFOLK BASMENT’S TENTH ANNIVERSARY. MANAGER PHIL THOMPSON REMINISCES ON THE PEOPLE AND BANDS WHO’VE MADE THE VENUE ONE OF WA’S MOST LOVED.

MICK THOMAS (FRI 16) THE MORNING NIGHT (SAT 10)

STILLWATER GIANTS (FRI 23) Give us a brief history behind the Norfolk, from the idea through changes to the present. The Norfolk itself has been a pub since the 1880s, and the Basement has been a number of things, including a restaurant called Aardvarks, in the 1980s. During the ‘90s it was a function space and the Norfolk business owner Garry Gosatti substantially renovated it and set it up as a music venue in late 2001. There was a very brief period as a jazz venue before I became involved as the booking agent in early 2002 when it kicked off as an original music venue and Jodie Regan was the bar manager. Over the last 10 years between us we’ve tinkered with it but largely let it evolve based on the bands. You’re now halfway through your birthday month celebrations. Highlights so far? The Pond gig for sure. Amazing. Sold out in 40 minutes. Nick is a great frontman and the sold-out vibe of the show just added to the band’s energy; it was off the hook. Having Jodie Regan there for the night before her and the band flew off to the US for their tour was a bonus too. Such a good night. I’m still buzzing. You’ve had some pretty unique characters on your staff roster over the years, one of Drum’s salespersons being testament to this… Who will go down in history as the most memorable? Yeah, Matt McMullen sure is on the list… but the obvious undisputed standout is Jodie Regan, who was the face of the Basement for so long and went on to manage Tame Impala, Pond, Mink Mussel Creek, The Kill Devil Hills, Slim Pickins, Felicity Groom and The Silents, as well as setting up Spinning Top Music. A pretty impressive progression. She has a big

THE NEW BEARD

For a band that never expected to play more than one show, The Beards have certainly come a long way, and now The Beards are hitting the road again, bringing their third album, Having A Beard Is The New Not Having A Beard. Friday 9 March they play Settlers Tavern, Margaret River; Saturday 10 Fly By Night; and Sunday 11 Indi Bar, presented by Street Press Australia.

TEN YEARS YOUNG

The Norfolk Basement continues their tenth birthday celebrations this weekend with a heap of shows: Thursday 8 March its Dublin Jazz Aunts, Valiant, One Tiger Down and Burn Habit; Friday 9 Mister & Sundbird, Joe Black Trio and Mike DeVelta; Saturday 10 Wolves At The Door and Timothy Nelson (Arvo, courtyard) and The Gypsy Howls, The Yokohomos, The Witness and Lucy Peach; and Sunday 11 Tim Meaco, Jonathon Brain, Geraldine and The James Collins Band. 26 • THE DRUM MEDIA

OKA BLOKES

Bringing their unique blend of folk dance music featuring a didgeridoo, bamboo flutes and more back to western shores, OKA play Mojo’s Thursday 8 March with DJ Swami Adima; Prince Of Wales, Bunbury Friday 9; Settlers Tavern, Margaret River Saturday 10; and Mojo’s Sunday 11 with DJ Simmo T.

STILL EARNEST

Melbourne alt-country group The Stillsons launch their acclaimed album Earnest here next month, playing Clancy’s Fremantle Friday 9 March; Quindanning Hotel Saturday 10; and Fremantle Arts Centre Sunday 11, 2pm. The musical engineers of the ultimate eclectic roots album, they draw deep from country roots, Earnest encompassing a full range of musical colours and styles.

personality and that unique ability to control a situation, take no shit and still manage to make friends along the way. People love her, we love her and her influence is all over the Basement. I think its pretty fair to say that The Basement has had a fair influence on her path too. You’ve always been a massive supporter of local bands and your more breaking touring acts. Who drives this and how would you describe your music policy? I’ve been the venue booker from the beginning. Jodie and I probably shaped the venue style over the early years. It was about stuff we liked, stuff we just wanted to see what would happen. While it is important that we get enough people through the door to survive, it is not at the top of our priority list. When it comes to new bands musically we’ll give anything a go once. If beyond that we like the personalities involved and the attitude, we’ll continue to work together. Over the years we’ve seen pretty much everything. The acts that we build relationships with tend to have talent but also an understanding of us. Over the ten years, what are you most proud of achieving at the venue? Staying afloat for ten years is up there… Aside from that I’m really proud to see staff and bands who we’ve had a relationship with progress in the music industry. Tame Impala are an obvious case, progressing from a band who only ever wanted to play in the Basement to touring the world and playing Glastonbury and Coachella. It’s a pretty good story. Seeing people like Jodie Regan progress in band/label management is really satisfying. There are others too, Drum’s own Matt McMullen, Ben Newby tour managing internationally, Sparkles and his company Bespoke Touring, Sophie Kirov tour managing around Australia… Certainly not claiming credit for careers but I do think the Basement has been a positive influence on their music industry involvement. Some of them were already involved and their influence on us has been really positive. We’ve got a theory that people have a natural tendency to get looser when a few metres underground. Thoughts/basement theories? For sure. People get loose. You could be anywhere in the world. Bands go nuts. It’s close and intimate. Bands and punters are face to face. Everyone’s part of it. I love that. Give us a rundown of highlights left for the birthday month celebrations: Mick Thomas March 16, he’s an absolute Aus’ music legend and top bloke; The official party March 29 will be huge with some very impressive and successful acts playing who I can’t mention… We’ll be releasing door spots via Facebook. No door sales. Ten years from now the Norfolk Basement will…be a bowling alley? Bomb shelter? Hopefully still the hidden gem of a music venue it is now.

PEACHY KEEN BURSWOOD DOME 02/03/12 Nashville’s Taylor Swift opened her Speak Now Tour to 16,000 screaming Perth tweens, and to trivialise what was to follow as pop music for children is nothing short of a travesty. Swift proved that she is the consummate performer with songwriting talents that, if used in a different context, could prove dangerous for many, many artists practicing their trade. With approximately 25 people on stage the majority of the time, the night’s show was simply sensational. Making use of costume and set changes for each themed song, the myriad dancers and performers including banjos, mandolins, three guitars, a ukulele, full rhythm section, keyboards, an occasional string section, ballet dancers, aerial gymnasts, fireworks, confetti guns and a fiddler joined Swift in providing countless moments of reckless abandon of which this scribe makes no apologies for getting lost in. Taking several opportunities to engage the crowd with various anecdotes concerning love gained, lost and her journey to where she is now, she personified the occasion by moving through and performing amongst various parts of the crowd (inducing tears in the process), including a balconette elevated above the crowd on wires for closer Love Story. In reflection Mine, Enchanted, The Story Of Us, Dear John and many others were as perfect as on CD. Modified versions of Fearless, You Belong With Me, and Fifteen proved the versatility of Swift, whilst the piano version of Back To December would’ve held its own amongst the Spektors and Jones’ of the world. If considered with absolute honesty, writing a good, emotive pop song that balances musical integrity with heartfelt lyrics that have a sound of their own and don’t pander to the commercial codswallop surrounding is the hardest task achievable in modern music, and that is exactly what Taylor Swift achieves; perfectly constructed and executed pop music. LUKE BUTCHER & PIC BY BEAU DAVIS

Head to The Bird for Peaches & Seams, Sunday 11 March, from 2pm. There will be local fashion designers, a local Perth baker with her delicious delights and a jewellery/ accessories designer, followed by live performances from electronic/indie/alternative outfit Lilt, Milly James and Lucy Peach. Free entry from 2pm, $5 from 6pm.

DOUBLE DEAL

Friday 9 March will see the Rosemount Hotel erupt in a night of epic, heavily progressive sounds courtesy of headliners Tangled Thoughts Of Leaving and Chaos Divine – two bands who sound very different but share a lot in common. They’re supported by the tech-instrumental stylings of Prescient and post-rock/ hardcore upstars Foxes, $15 from 8pm.

STORMY SEAS

Fresh from standout sets at this years Woodford Folk Festival and his debut album One Thousand Origami Birds being named in a slew of ‘Best Of 2011’ lists, Jack Carty heads out on the Sailboats & Storms Tour, this time strumming new album Break Your Own Heart, due for release early April. He’s joined by Blanche Dubois at The Ellington Thursday 8 March.

HOT LOCAL GIG SPOTLIGHT DARAMAD

WHAT: The Norfolk Basement WHEN & WHERE: 10th Anniversary Month – Now until March 29, Norfolk Basement, Fremantle

LIP SYNC

After supporting The Bad Seeds and The New York Dolls, The Painkillers join Astral Travel in supporting The Black Lips, who are celebrating their killer 2011 album Arabia Mountain, Thursday 8 March. Tickets through Now Baking and Oztix. They’ve sold out a few of their east coast shows, so best be getting into it.

TRACKSUIT RADIO

Following their Fuse Festival showcase in 2011, indie-rock trio Tracksuit joined the prestigious Harbour Agency roster, toured east, and are now armed with new single Beat Up Radio. They launch it Thursday 8 March at Prince Of Wales, Bunbury with Miss Rosie; Friday 9 at The Bird with The Love Junkies; and Saturday 10 at Mojo’s with Stillwater Giants, Palatial Digs and Deep River Collective.

GLOBAL BEATS & EATS FESTIVAL Who’s playing your event and who should punters be most excited about seeing? Tijuana Cartel along with Bolo (West African drumming), Daramad (fusion of Middle Eastern and jazz), Ozmosis, Chinese Lion Dancers and The Sambanistas. What gave you the idea/theme for this show? The City Of Wanneroo is one of the most culturally diverse cities in WA with over 35 per cent of residents born overseas. Music and cuisine is such a large part of every culture in the world, so why not mix the two, get everyone together and celebrate our cultural diversity!

themusic.com.au

What does your gig offer that others don’t? It’s FREE! What made you pick this venue? Liddell Park in Girrawheen is a central location, easy to find just off Wanneroo Road and there’s plenty of parking. What’s next for City Of Wanneroo? Keep up to date with the events run by the City of Wanneroo at wanneroo.wa.gov.au/events. WHEN & WHERE: Saturday 10 March, Liddell Park, Girrawheen

MANNING UP

The always awesome Dave Mann Collective launch their brand-spanking new album Everywhere At Once at Fremantle Arts Centre Friday 9 March. $15 plus BF or $25 door from Heatseeker, Fremantle Arts Centre or usuals. Beautiful three-part harmonies, sweet strings, classic fingerpicking guitar and Mann’s dynamic vocals produce something very special indeed.

TAKING MINUTES

ELKS ALIVE

Breaking out into the early WA scene as frontman of The Elks, Terry Serrio returns to his rock roots after a long career in acting, playing Clancy’s Fremantle Thursday 8 March, supported by Jim Fisher. Incorporating a new line-up, they have quickly gathered a vast popular cult following and have played regularly to capacity rooms all around Perth.

PLAYING DIRTY

Last seen here playing Ocean Songs in its entirety thanks to Perth Festival and the Don’t Look Back series, Dirty Three have now announced a tour to show off all their wares – including their first new album since 2005’s Cinder. Catch Warren Ellis, Mick Turner and Jim White dazzling the Astor Theatre Friday 9 March. Tickets from Bocs and Oztix, supported by The Kill Devil Hills.

Southwest alt-rockers Minute 36 head to Toronto for the prestigious Canadian Music Week festival and conference, but not before saying goodbye Friday 9 March at the White Star Hotel, Albany, with April Maze (Melbourne). Minute 36 recently launched their latest single The Secret with a video clip and national tour, and have a new album due for release later in the year.

DUBLIN THE CHANCES

Fremantle’s Dublin Jazz Aunts will perform their infectious rock at The Norfolk Basement Thursday 8 March with support from locals One Tiger Down, Valiant and Burn Habit. With an electric-cello rock sound, tight rhythm section and uniquely powerful vocals, DJA have developed into a real roots-based rock band with an edge. $10.

FEELING BLUE

This year’s Peel Blues‘N’Roots Special will host artists Mike de Velta, Pete Romano & Mark Constable, Andrew ‘Walter’ Morgan, Sticky Sweet and John Meyer’s Blues Express Sunday 11 March, 11am to 5pm at The Peel Estate Winery. BYO food and drink (excluding spirits or wine), $20 entry for adults, free for children under 12 years old. Bring a picnic rug or deckchair and enjoy an afternoon of outstanding live music.

FUN TIMES

Award-winning acoustic duo Jane Germain & Ian Simpson launch their new LP No Fun Allowed, packed full of raging bluegrass, hard-driving blues and country Friday 9 March at Kulcha. Joining Jane and Ian will be ex-member of Sensitive New Age Cowpersons Adam Gare on mandolin, and Fred Kuhnl on upright bass. CDs are included in the ticket cost.

NO SHAM

The next event in the Sunday Piazza Live series in Northbridge features local chanteuse Shameem and band performing tracks from her self-titled debut album Sunday 11 March from 1 ‘til 3.30pm. Shameem recently travelled to Adelaide’s Fuse Festival, wowing audiences and industry alike with her six-piece band.

METAL MADNESS

Australian Metal Compilation: Volume 1 this Saturday 10 March at the Civic Hotel features Neverborn, Mhorgl and surprise metal guests. If you missed out on getting a CD after the Soundwave festival, then every payer gets one free at the door, so be sure to come down for a copy and get your horns out in support of Aussie metal, $10 from 8pm.

VARIOUS VENUES, ADELAIDE 22-24/02/12 Adelaide’s Fuse Festival, held in conjunction with the Adelaide Fringe Festival, unites for a diverse range of music industry people and musicians over a two-day conference and performance extravaganza. Adelaide Fuse is lit and explodes with an eclectic array of booking agents, radio hosts, music publishers, band managers, label representatives, festival owners, organisers, the artists themselves and anyone and everyone who fits in between. Fuse also gives up-and-coming bands from around Australia a forum through which to showcase their talents. Tuxedo Cat, a pop-up venue that appears in a different industrial space each year, played host to one of the showcases on the opening night. A larger-than-life space constructed of limestone, metal beams and exposed bricks, caravans for bars and the obligatory espresso and chai station. A very wise choice considering the venue remained open until 6am. The night showcased a diverse range of musicians but was crammed onto one stage instead of the two that had been previously arranged. Hence, there were a few scheduling problems but they didn’t bother Adelaide’s Jimmy & The Mirrors, who decided to head to the travel van, grab their own PA system, and set it up in the other bar space during a changeover on the main stage so no one missed their indie/ alt-pop. Kudos. Red Ink were another band that left a lasting impression. Lead singer John J’s energetic Ian Curtis-esque stage antics saw him jumping off the stage and convulsing on the floor whilst singing the opening track of their set. Being from Perth and wanting to ‘big up our Perth massive,’ we stayed around to watch The Brow Horn Orchestra. Due to continual technical and scheduling difficulties they were pushed back to a start time of 1.30am, which for a school night was pretty damn late. However the crowds’ patience was rewarded with an energetic performance that literally almost broke the stage.

POP TOMAS

Wednesday 14 March Tomás Ford returns with Pop Quiz. Do you know your music? Got something to prove? Don’t have anything to prove? Want to have a few drinks and answer a whole pile of stupid questions about pop culture? Whichever of these, book yourself a table at Pop Quiz at Ya Ya’s from 8pm. Bookings: popquiz@tomasford. com.

TEXAS CHAINSAW

Razor-sharp rockers Chainsaw Hookers will be hitting the Rocket Room this Friday 9 March with Vanity, The Bob Gordons and In The Now, followed by an after midnight set from the wild girls of Search & Destroy, $10 from 8pm. Chainsaw Hookers’ Never Sleep Again receives a new video clip this April.

FUSE FESTIVAL

ROSES ARE RED SOUL CLAUDIO

Singer/songwriter/pianist/producer/actor Rachel Claudio draws influence from such soul and nu-soul artists as Chaka Khan, Lauryn Hill, Prince, Dwele, Erykah Badu and Marvin Gaye, and has performed as a professional musician since the age of 14 in WA. She brings works from her album Claudiography to the Ellington Jazz Club Friday 9 and Saturday 10 March, tickets via ellingtonjazz.com.au.

Singer/songwriter Miss Rosie will bring her brand of ‘70s folk-rock to The Prince of Wales, Bunbury Thursday 8 March. Her songs have an interesting, thought-provoking style that can shift from minor blues, melancholy songs to hand-on-heart, uplifting folk tunes. Lending a helping hand on the night is Tracksuit, who are launching their latest single Beat Up Radio. Free entry and music kicks off 8.30pm.

BACK TO SCHOOL

Professional soundman Rik van der Velde has 35 years worth of music knowledge and will be sharing some

themusic.com.au

The second day of the conference sparked a lot of interest and discussions on panels that tackled topics such as ‘Who Is Surviving The Music Industry’ and ‘International Markets’, a keynote interview over Skype being Seth Godin. The sessions were wrapped up with a ‘Music Listener Panel’, where music business personalities such as Dom Alessio (triple j) and Michael Parisi (Michael Parisi Management and Wunderkind) dissected a select amount of musician’s tracks that were played to the observers. The second night of showcases proved once again how strong the Australian music scene truly is. The soulful vocals of Perth songstress Shameem delighted the patrons at Casablabla restaurant with the support of her six-piece band, however the venue choice was a tad small for all of them. NSW six-piece Winter People performed to a packed house at the Nexus stage. Their set was tight with melodic compositions that were asintriguing as they were soothing. Another local act, bro and sis duo Patient Little Sister played to an intimate crowd at The Metropolitan, which was sadly just a tad too far out to draw the masses. Fuse is an interesting beast. It has all the right ingredients; willing industry with open arms and ears, hungry bands and managers quite prepared to push their wares, and a city in festival mode, ready to get out and amongst it. It did however lack a little finesse in the showcasing game. Many of the stages seemed mismanaged or not managed at all, and there was a general sense of chaos and lack of venue promotion. All in all though, a great time to be in Radelaide, which just made us long for One Movement to return. PAUL FLETCHER

tricks of the trade Wednesday 14 March at Fly By Night Musician’s Club. Microphone techniques for live sound are the focus of the evening and the threehour seminar is a complete mini-course in itself. $28.50 plus BF and tickets on night, if available, $30.

ROCKS OFF

The 10th annual Jazz On The Rocks hits The Quarry Amphitheatre Friday 9 March with a special show from Allira Wilson and the 15-piece Mace Francis Orchestra. Tickets through Ticketmaster. Swirling saxophones, brash brass, a driving rhythm section and sensational vocals will make Jazz On The Rocks 2012 a night to remember.

FAT EMPEROR

Fat Fridays at Ya Ya’s continues March 9 with another stellar line-up featuring Emperors, Sugarpuss and Puck, $10 from 8pm. Emperors have returned from their east coast run of shows supporting the reformed Antiskeptic, playing Melbourne, Adelaide and Sydney along with Move To Strike and The Miracle Is Now.

THE DRUM MEDIA • 27

FEEDBACK BARO BANDA

FESTIVAL GARDENS, NORTHBRIDGE 28/02/12 Perth is a-buzz. Between Fringe World and PIAF, we have been lucky enough in the last six weeks to see some of the most diverse national and international line-ups ever to hit our streets. Baro Banda this well-balanced blend of international talent. In true PIAF form, there was delightful mix of regular Perth Festival-goers and a strong contingent from Perth’s Turkish community. There is something very driving and percussive about Baro Banda’s music that leaves even the heaviest feet feeling light as a gypsy feather. Although there were seated tables at the front, the crowd from the back had soon surged forward obeying the requests of the lead singer to get their dance on. And it wasn’t long before there were more people standing than sitting. An array of Turkish and Western instruments played music that had fingers in several musical pies; Latin, jazz, rock and hip hop could all be found in their rhythms. From a musical understanding, the most interesting thing about the music was the intricate array of time signatures that ended up being the only way you could tell the unfamiliar (who looked just a little out of their depth) and the traditional Turkish dancers. All in all, another outstanding evening in the heart of the city. BARON GUTTER

ELLINGTON 3RD BIRTHDAY

ELLINGTON JAZZ CLUB, NORTHBRIDGE 02/03/12 It seems only yesterday that there were rumours flying around about a new late-night jazz bar that was opening in Perth, and The Ellington has in fact just celebrated its third birthday with a weekend of local jazz favourites. James Flynn & The Fly Little Big Band played the early show to a full house of the jazz-enthused. With all the charm and charisma of a world-class musician, he crooned his way through tracks such as Mack The Knife and this reviewer’s personal fave, Ain’t That A Kick In The Head. After an extended break, those who remained (or had just arrived) were treated to a feast of Whitney Houston covers, performed by Amanda Dee, her daughter and a bunch of the usual suspects from the Ellington. With Graham Wood leading the way on synth, the band managed to really pull off some of the early ‘90s synth-pop sounds and disco like grooves. It all lead of course to everyone’s favourite Dolly Parton cover and the thought; Ellington – we “Will always love you.” BARON GUTTER

VOYAGER

AMPLIFIER, PERTH 02/03/12 Metal and technology typically are combined for death and destruction, as evidenced in the acclaimed and historically accurate documentary Terminator 2. What Friday night at Amplifier lacked in shotgun blasts and explosions, it made up for with music mayhem and close-ups of breasts. Newcomers Law Of Attraction and Dead Set Radio filled out the support slots on the night, each performing admirably in their debuts at the venue. Law Of Attraction follow in the footsteps of some grand Australian bands with a heavy melodic approach to hard rock, while Dead Set Radio seamlessly blend genres to create catchy female-fronted, radio-ready tunes. Melodic Death Metallers Empires Laid Waste have demonstrated that solid gigging is the best form of practice for an emerging band. Galvanised from the hard yards, the ELW crew produced a razor sharp set of ‘heavy-as-fuck meets lightning riffs’ to reinvigorate the genre. The lads absolutely killed it. Perth metal titans Voyager have been sailing ahead of the curve for some time now and Friday’s Live Smart Phone Video Shoot was just another innovative chapter in their exceptional career. The focus of the performance was to utilise the crowd to film the show from their perspective using their own smart phones. Despite the more obvious idea of filming one’s own junk from underneath and sending that in, the patrons responded enthusiastically and a ton of relevant content was created. The performance was once again outstanding from a band that seems to consistently move from strength to strength. SIMON HOLLAND

PENGUIN CAFE

PERTH FESTIVAL GARDENS 03/03/12 Emotionally driven and enlightening, the strings and percussion-based compositions of Penguin Café’s founding member, the late Simon Jeffes, live on through his son Arthur and his nine-piece hoard of multiinstrumentalists. They greeted the crowd with excitement with this being their first Australian tour and they did not disappoint with a jam-packed 90-minute set of their trademark irregular time signatures made beautiful. Slide guitar and whistles in opening song Dirt set the pace for fun and Swing The Cat followed the style of a country canon, which continually grew faster driven by the eccentric violinist who sipped casually at a glass of red between songs. Perpetuum Mobile was a recognised highlight from its presence in Aussie claymation film Mary & Max. Telephone and Rubber Band was introduced by the story of Simon Jeffes being cross-lined on the telephone, resulting in a ringing tone mixed with an engaged tone; much to the audience’s amusement, this “double-tone” sound was loop-played using Jeffes’ iPhone as the underscore while instruments layered over it to create an epic and uplifting piece. The true essence of the band’s sound was showcased in Giles Farnaby’s Dream, a mix of classical and Venezuelan music that used cuatros, ukuleles and various hand drums. The whole-heartedness from Arthur Jeffes exposing his father’s music was evident as he played smiling with eyes closed. It was sound you wished was touchable, and as a standing ovation bid these musicians farewell, the euphoria continued to amass as a cheekily prepared encore of Salty Bean Fumble left you wishing Penguin Café could have stayed longer. KATIE ROLSTON

waste to the small stage. This year’s tour was the first to feature Australian acts, and they were determined to prove their worth, the bass player from Sydney’s Heroes For Hire making his way onto the roof of the stage during their last song. Local Perth boys Break Even also put on an impressive set and intense energy. The same cannot be said for In Flames, who stunk. It was if they sat down and carefully planned a way to shit directly on STEEL PANTHER PIC BY JAMES GIFFORD

SLIPKNOT PIC BY JAMES GIFFORD

STAFF BENDA BILILI

FESTIVAL GARDENS, NORTHBRIDGE 02/03/12 On the last Friday night show at the Perth Festival Gardens, a sell-out crowd were treated to a mixture of Cuban and Mambo rhythms infused with funky ‘70s groove, performed by the extraordinary Congolese band Staff Benda Bilili. These eight musicians, four of which are wheelchair-bound Polio sufferers, formerly made a living from busking in the grounds of Kinshasa Zoo in the DRC. Proving that severe mobility impairment is no reason for compromise when it comes to putting on a show and coining themselves as a street orchestra, the five frontmen sang with amazing tonal perfection in their native tongue, while percussion and bass, as well as bizarre guitar-like soloing coming from a tin-can single stringed instrument, gave this ensemble a distinctive yet sometimes repetitive sound. The audience took no more that a few songs to get into the swinging groove and danced for the entirety of the performance, cheering and applauding throughout. MICHAEL CAVES

SOUNDWAVE FESTIVAL

CLAREMONT SHOWGROUNDS 05/03/12 It’s always stinking hot at Soundwave Festival and this year was no different, sweat dripping off partly sunburnt bodies even before doors opened. For those lucky enough to get through the huge line in time, a battleready Turisas charged into the fray with the ferocity you would expect from a Finnish folk metal band dealing with forty degree heat. Saves The Day, performing Weezer’s Pinkerton record in its entirety on the main stage, was a great way to start the day for pop-punk lovers. With a decent turnout for the first few bands, Soundwave was off to a good start. From the size and excitement of Steel Panther’s audience, anyone would think they were one of the headlining acts. You don’t have to like their music to stand there smiling and laughing as they run around stage wearing ridiculous glam-hair rock outfits and sing about sex. French metallers Gojira dropped their downtuned brutality into the equation and crushed a few skulls in the process. A surprise cameo from a reinvigorated Devin Townsend rounded out a killer set. Stage 6 was reduced to a dustbowl early as the killcircle incited by German melodic death machines Heaven Shall Burn laid

the hopes and dreams of their long-term fans. Rubbish song selection, weak vocals and jerk banter ruined the international’s set. Having recently celebrated their 30th anniversary, Bad Religion hit Stage 1 and smashed out a collection of greatest hits, whilst making fun of numerous other acts. 30 years on the road makes for some fine punk-rock music. Their overall sound felt a little weak, but as soon as Limb Bizkit hit Stage 2 it was clear the PA was just turned down for their set. Limb Bizkit had the first decent welcoming chat of the day and had the entire oval jumping in sync. They paid tribute to Jessica who died during their performance at the 2001 Sydney Big Day Out by welcoming her father on stage and revealing a huge pink backdrop with her name across it. Back at the metal stages, Lamb Of God took over with the split-stage system and crushed the competition instantly. Devastating grooves rang loud and clear as the band blitzed anything else this day had offered previously. Black Label Society delivered the performance of a lifetime as the sun dipped below the horizon. Zakk Wylde cemented his spot as a true Guitar God with a blazing eight-minute guitar solo that resounded as one of the life peaks of those lucky enough to witness it. Slipknot performed admirably on a shitty-sounding main stage, and with eight members it was nothing short of mind-blowing chaos. Fireballs,

SUNDAY 11 MAR SUPERSALT @ SWAN BASEMENT 201 Queen Victoria St, North Fremantle 9335 2725

28 • THE DRUM MEDIA

explosions, rotating percussion platforms and an inverting drum stage dazzled as the band delivered an awe-inspiring performance. On the smaller and more intimate Stage 3, Angels & Airwaves put on a tight and flawless performance that was slightly spoilt by a lack of crowd interaction. Only halfway through their set did frontman Tom Delonge say anything to the crowd, and even that was only a short, blunt hello. System Of A Down flat-out sucked. Flaccid and uninspired radio hits wafted into the airwaves sounding like it had been digested and subsequently shat out by an elephant-sized suck-o-pottamus. Lacklustre playing and weak live interpretations of such excellent recordings resulted in ultimate disappointment. Leaving was the best decision ever made since it resulted in catching the almighty Machine Head. Their performance was a flat-out hell-raising adventure from start to finish. Flawless in every aspect, the set is sure to achieve immortality from those that witnessed it. Unto The Locust is a hell of an album, the live interpretation surmounted even that. Be Still and Know left us breathless and Davidian hammered home a set for the ages. Between these and 11 stage-setups worth of constant heavy hammering, Soundwave certainly made a sizeable impression worthy of remembering for many mangled moons to come. DANIEL CRIBB & SIMON HOLLAND

FOAM themusic.com.au

SYSTEM OF A DOWN PIC BY JAMES GIFFORD

SUPPORTED BY 5-9PM, ENTRY $5

IContact: NTERESTED IN PLAYING? luke@sweetmate.com.au

THE GOVERNMENT YARD WHEN WE CAN

THE DRUM MEDIA • 29

KNOW TIM NOW

OT H S T HO

Playing their first show for the year, Timothy Nelson & The Infidels perform a bunch of new tunes, as well as songs off their debut album I Know This Now, before embarking on a national tour. Supported by indie/folk/pop-rockers Our Man In Berlin and instrumental two-piece noodle surprise Race To Your Face. $10 door from 8pm.

HAVE YOU HEARD

THE LONGEST YARD

Sunday 11 March will see The Swan Basement transform into Drum’s Gignition and give a stage for up and coming bands to show off their talent. Recently laying down a new EP, the three brothers that comprise Government Yard will be amongst the fresh talent and plan on making an impact with their politically charged music.

MEMPHIS MADNESS

THE MAGNETS @ PERTH FESTIVAL GARDENS BY GRAHAM CLARK

OBNOXIOUS OWL

SURFIN’ SAFARI

One of Perth’s most genuine tribute outfits, Sea Of Tunes will perform the wonderful melodies and songs of The Beach Boys Thursday 8 March at The Mustang Bar. Formerly known as Murryspawn, the band has evolved over the years into a tribute act not to be missed. DJ James MacArthur will be on ‘til late.

SNEAK PEAK

RAMBLINGS RANTINGS FROM BELOW THE BELT WITH TAMMY CROUCHER. CLOSE THE DOOR ON JIM MORRISON

The death of Jim Morrison really was a double-edged sword. On the absolute upside it saw the demise of quite possibly the most famous art fag who ever lived, but on the downside it secured the little piss-ant a life of immortality survived by teenagers discovering gateway drugs for the first time and fuelled the diddle-fantasies of “misunderstood” pubescent sluts the world over. However, had this man lived to see middle age he would have been exposed for the doped-up sham he really was. Much like Axl Rose, who is at present a fat, bloated, prat version of his former dangerous rocker self, I have no doubt that Mr Morrison too would have settled into a life of mainstream obscurity as the marijuana-soaked haze of the ‘60s dissipated, the hippies all got jobs and his few short years of hyper-concentrated chemical

With a new CD in the works, The Burger Kings will march into Devilles Pad like Elvis in the “Army years” Saturday 10 March to show off some new material. Expect a night of movie madness, Vegas payback and a smattering of originals and ‘80s classics revisited in Memphis style.

substance abuse gave way to the joys of earlyonset senility. Were he alive today he’d be sporting adult nappies and drooling on himself. Be sure to consider the dangerously vast quantities of acid and various other hallucinogens this dirty hippie had coursing through his veins at any given hour of the day when considering the piss poor excuse for the so-called poetry that is widely considered to be some of his most profound lyrics: People are strange when you’re a stranger / Faces look ugly when you’re alone / Women seem wicked when you’re unwanted / Streets are uneven when you’re down. Wooah man! That’s like so deeep! Not quite two-drawers-full-of-acid deep, but most definitely “how much wood would a woodchuck chuck” kind of deep at the very least. In the music industry you’re only as good as your last single, and in the case of old Jimbob here, he’s been riding that wave for, oh I dunno, a good 27 years now. His entire legacy is nothing more than a snapshot in time. The only reason being that he never had time to fade away, just as warmonger eccentric Adolf Hitler never had the chance to right the wrongs of his peccadillos. Given the chance, could the man who gave us the Volkswagen and mass Jewish genocide have gone on to win the Nobel Peace Prize? Maybe so, but that is something we will never know. Anyone can remain a legend (or a monster) when they’re just way too dead to prove it wrong. So I challenge the rotted corpse of this ‘60s rocker fossil to get his fat, lazy has-been ass out of that grave and write us another string of #1 hits, if he can.

With a five-track EP recently let loose into the world, Foxes are ready to unleash an energetic live set of the new material at Ya Ya’s Thursday 8 March. Lending a helping hand and warming up the crowd is heavy rockers Black Bird and Antelope. Entry is $5, first band starts at 8.15pm. Foxes’ EP is available now for free download on their Facebook.

PSYCHO SHOCK

2012 sees local rockers Psychonaut releasing Shock Em Dead!, recorded by Simon Mitchell (Chaos Divine) at Underground Studios and Crank Studios WA. It reveals 14 tracks of of power-speed-thrash-deathrock-metal. They launch the album this Friday 9 March at Amplifier, with Brutus, Cold Fate and Nails Of Imposition supporting.

DOUBLE TROUBLE

Jazzy pop singer-songwriter Minky G has no time for a weekend off, with a duo gig with guitarist buddy Rosco Dwyer Friday 9 March at The Pickled Fig, South Beach, Fremantle. You can also catch her Beatles acoustic side project at the Subiaco Farmers Market Saturday 10. Keep your ears open for the duo’s new EP, due out next month.

FIRST TIMERS

FROM: Melbourne Your sound: On the folky side of alt-country, with a good dash of the blues. Band’s name comes from? It’s a wrench, but that doesn’t mean we’re tools. Around since: Late in the year of 2006. Greatest strength? Our versatility. We can play quiet, or be screamingly loud. We’re pretty eclectic too. Worst gig ever and why? Pacific Hotel in Yamba recently. Rednecks and thieves… Best gig ever and why? Our CD launch in Melbourne back in October. Everything just came together. We played well, had a good crowd, and got drunk. Best achievement? Getting a couple of great reviews in The Age and Sydney Morning Herald. Any gig in history which would it be and why? Bob Dylan going electric at Newport. Just so we could yell out “Judas” too. Fave hangover cure? Toast and vegemite, and hair of the dog. Fave Perth bands? The Kill Devil Hills; Ruby Boots. Fave bands from your state? Rich Davies & The Devils Union; Alex Hallahan; Liz Stringer. Biggest bands you’ve supported? Tin Pan Orange. Our ultimate groupie would be…happy to lug a pedal steel guitar while we attack the rider. Fame for your band would mean…seeing our mugs up on a big billboard in Time Square, NY, instead of up on a dog-eared A3 poster on an empty shop window in Thornbury… Any members play in other bands? Cat plays for Jess McAvoy, Justin plays for Cilla Jane, Ben plays bass with The Waifs, and Ed (our gun slinging bassist) plays with Augie March. Any releases out? Two albums: Circus (2009) and Earnest (2011). Any releases on their way? Maybe later this year, we’re still touring Earnest. More info: Thestillsons.com. WHEN & WHERE: Friday 9 March, Clancy’s Fish Pub, Fremantle; Saturday 10, Quindanning Hotel

MICHE SIDE

Pop-punkers When We Can will make their debut performance at Drum Media’s live local original band night Gignition Sunday 11 March. With a set of energetic tunes and sense of humor to match, the three-piece plan to release their debut EP in the second half of the year, and will play a selection of songs from that release.

Get along to the X-Wray Café Friday 9 March to catch Miche Suite, plus Sarah Clare and Matt Wright from Miche Suite playing in their side projects, gypsy-jazz explosion Belleville featuring Wright on drums and Kathryn Rollins. If you can’t make it, Miche Suite also play Mojo’s Wednesday 14 March, with Jess Gordon and Justin Walsh.

LION HEARTED

HEXX RETURNS

March sees The Hyde Park Hotel play host to the Young Lions Series and Wednesday 14 sees newcomers Cog, taking control of the stage to play a healthy mix of original material and modern arrangements of standard tunes. Supporting them will be Brett Smith’s Derailed Train with imaginative and spontaneous music. Tickets $12 door, $10 for PJS Members.

music 30 • THE DRUM MEDIA

THE STILLSONS WITH BEN FRANZ (GUITAR/VOCALS).

themusic.com.au

Goth/ambient/drone/industrial/experimental night Hexx returns in 2012, resuming a monthly residency at the Velvet Lounge Thursday 22 March. Jessica Kill and Dan provide the soundtrack, with a special live set from Fear Of Comedy, with their rare and intense live show. They’re also raising funds to aid production of their new album.

THE DRUM MEDIA • 31

8 MARCH

2012

FLOORED

PAUL MASTER

APHEX TWIN

SWEDISH HOUSE MAFIA

FUTURE MUSIC FESTIVAL ARENA JOONDALUP 04/03/12 English rapper Professor Green made the most out of the early crowd with his live band in tow. His tweeted weather whinging didn’t stop him from going all out with crowd favourites like Oh My God and I Need You Tonight. Gym Class Heroes’ sound mix proved muddier and muffled. The now massive crowd forgave as arms swayed to Cupid’s Chokehold and recent single Ass Back Home. In the UK, Kiwi DJ Zane Lowe has become an arbiter of cool, championing tracks that become modern classics. Watching him tweak, twiddle and wrestle his decks like a DNA-coded synthesizer created as much enthusiastic jumping as it did stunned gawping at his mixing skills. The Smirnoff Stage played host to the DFA label’s roster where the likes of LCD Soundsystem kingpin James Murphy and his hearty-partiers laid out an encyclopaedic range of disco-fused dance moves. Local boys Naik and Sugar Army’s Pat McLaughlin proved to be a very comfortable fit. The Juan MacLean basked in the setting sun with a DJ set of laid-back, acid-laced chillage. Holy Ghost! apologized profusely for having to resort to another DJ set due to missing equipment, thus rampant sharing of the DJ boxes of their label-mates ensued. Benoit & Sergio then dropped their lush-pop influences before James Murphy & Pat Mahoney (rejoined by the Juan MacLean) dispensed with their LCDisms and focussed on a DJ journey of happy, glam, and soulful historytripping for one of the longest sets of the festival, complete with a few trainwrecks along the way. The Las Venus stage became the dominion of gremlins in the works. Jessie J’s Twitter announcement NEW ORDER

32 • THE DRUM MEDIA

CHASE & STATUS

DIE ANTWOORD

that she’d received doctor’s orders to rest her voice was met with mass disappointment, but allowed for Sydney DJ Anna Lunoe to step up. Encompassing deep house and Talking Heads grooves evoking a female Mylo, she executed a fine substitution. Accidental dubstep superheroes Chase & Status kicked off well with a ravenous crowd…but then the gremlins sank their teeth into the cables, resulting in the bottom end of their tracks being dismally low, leaving no punch for the drops. It hurt to see Blind Faith motivating barely a quarter of the crowd as consequence. The fallout would affect the sound for everyone who followed on the primary stage. Thus, when dubstep’s dark prince Skrillex took to the stage, an uphill battle was valiantly fought and ultimately lost, his massive beats hammered through speakers incapable of handling the frequencies. A crowd safety issue halted proceedings for several minutes adding further woes to a set the former metaller did manage to save in the end with latest hit, Bangarang. Sold short by the line-up, hip hop fans hungrily turned to UK grime spitterturned-pop sensation Tinie Tempah. Fairing a little better on Las Venus but still facing sound issues, his cockney rhymes kicked defiantly through. Elsewhere, Die Antwoord’s reputation for insanity peaked with a rap cover of Kevin “Bloody” Wilson’s Hey Santa Claus!, the controversial group easily providing one of the highlights of the day, the crowd responding with equal parts crazy. Earlier on the Likes Of You stage saw another one of the best moments when Azari & III’s all singing and dancing live acid house sounds impressed, surprising many. This being their third recent WA visit, The Naked & Famous seemed to be running through the motions and one must also ask why Fatboy Slim bothered. His Superstar DJ days now but a halcyonic memory, the former Housemartin bassist fired on half engines, punching way above the

heads of a noticeably younger crowd than he is used to. Conversely, Knife Party had a massive throng dancing to their electro-house party tunes like the ever-popular Internet Friends. The Pendulum connections kept the energy levels high, inciting rampant crowd participation during their genre-mashing set. A mellow looking Sven Väth spun a set of tasteful, propulsive techno with effortless synchronicity, while Hercules & Love Affair seemed oblivious to the fact that only 64 (Drum counted) people were watching them on the out-of-the-way DFA Stage. Three torso-winding divas stoked the loyal few into licentious cavorting whilst kingpin Andy Butler pumped muscular erotic-house, which should have been rewarded with much larger hordes. New York’s The Rapture roused the rabble with their punk-dance set of mainly earlyto-mid career highlights. The jangly guitars cleansed the pallet nicely as the sun set to the sounds of No Sex For Ben and House Of Jealous Lovers. The bizarre choice to perform from backstage left many believing Aphex Twin was not even present, and a set comprising of mostly unheard new material compounded the theory. He may be shy, but he could have achieved the same bewilderment from his Cornish bedroom. Swedish House Mafia finished off Las Venus with lasers and confetti being blasted out into the night sky. Although at times their set lacked focus and veered into predictability, hits like Miami 2 Ibiza and Save The World appeased with some satisfaction. The Wombats continued the ‘bands that dance’ vibe at the Mazda2 stage with their daft-indie popticity. The refrain “We’re so ha-ppy” couldn’t have been more apt as they closed with Let’s Dance To Joy Division, leading serendipitously into headliners, New Order. The Mancunian legends (featuring a returned Gillian Gilbert, but estranged of Peter Hook) whipped through a greatest hits story. A revitalized 5-8-6 was an unexpected groovy treat, and new bassist Tom Chapman respectfully managed to evoke Hooky’s trademark growls as they worked towards inevitable closers Blue Monday and Love Will Tear Us Apart, and they fookin’ delivered! All in all, the strong line-up was worthy of the 38,000 plus record crowd that turned up, and generally the acts delivered, making for one hell a dance festival. MAC MCNAUGHTON & BOBBY JAMES SKRILLEX

RUSTIE & HUDSON MOHAWKE THE BAKERY, NORTHBRIDGE 03/02/12 OniCa$h kicked things off with an impressive set featuring some hypnotic grooves and rhythms until Rok Riley took things in to her own hands, changing it up and putting her own spin on some R’n’B classics, as well some particularly exotic sounding glitch and instrumental hip hop. Martin L didn’t shy away from the pitchshifter, playing an impressive set of all speeds and genres. Rustie was over half an hour late, but Martin did well to keep the crowd on their feet, taking it to another level with some A-grade new age techno including the likes of Objekt and Goldffinch. When Rustie did finally come out, a massive wail of excitement bursted from the audience. After a few minutes of conversing and knob adjusting from Rustie, Hudson Mohawke stepped on stage and was welcomed with an equally impressive round of applause. Clearly Rustie wasn’t ready for some reason or another, so Hudmo was more than happy to step up to the decks and begin the havoc. What was originally thought to be two individual sets changed when Rustie joined his fellow Glasgow buddy on the decks, and the audience came to the realisation that this was going to be a very special night. It wasn’t hard to appreciate the mutual respect that they had for each other, almost exclusively playing each other’s beats instead of their own. Hudmo’s Fuse going into Rustie’s Ultra Thizz was a certain highlight, only adding to the immense atmosphere of the night, which was riddled with unreleased gems including the upcoming collaboration between Hudson and Lunice. The set also hosted an onslaught of Rustie/ Hudmo modified hip hop, which welcomed some seductive and certainly unique dance moves between couples and even a few trios on the dance floor. 2am struck and the boys wrapped up their epic set, but it was clear that the audience hadn’t quite had enough, demanding “One more song!” Rustie was eager to oblige to the request, but due to noise restrictions wasn’t granted even one final song to satisfy the thirsty adrenaline-ridden crowd, which led to hurled abuse to the poor sound guy who was simply trying to avoid a hefty fine. Regardless of the minor finale setback, without hesitation this could easily take the cake for gig of the year for fellow Perthians, and given that it’s only March, testifies to the exceptional magic that emerged from the two lads on the night. JAMES HUNT

themusic.com.au

FAT BOY SLIM

FRIENDLY FIRES

KNIFE PARTY

GIVEAWAY!!! DJ FRESH

One of the originators of drum’n’bass, DJ Fresh began his career as founding member of the supergroup Bad Company. In ’98, when Fresh was still 19, the group released The Nine – a track later voted best d’n’b tune of all time by D&B Arena. He’s bringing his Fresh/live experience to Metro City Friday 30 March, with the precisely rad

MC Messy, Dallas, Texas DJ High Maintenance and Wellington duo The Upbeats. Supported by Johnny Quest, Diamond D & MC Assassin, Voltron & MC Styee and MC Xsessiv, loadeddice.com.au for tickets. Or you can win one of FIVE DOUBLE PASSES simply by jumping on facebook. com.au/drumperth and hitting the Giveaways tab on the left.

BACKYARD BEATS LOCAL INTERNET RADIO STATION THE BACKYARD PROJECT LAUNCH THEIR FIRST BACKYARD KNIGHTS SHOW, AND JOSH SAMUEL GIVES TROY MUTTON THE LOW DOWN. For those who not have heard of The Backyard Project, give us a little history on what youâ&#x20AC;&#x2122;re all about? The Backyard Project launched December 12 2011. There was and still is a lot of preparation and organization involved with the site build, licensing, scheduling etc. We launched The Project to encourage more interaction between the vast talent pool of WA musicians and artists of many forms and attempt to offer them a platform to be heard both domestically and internationally that wasnâ&#x20AC;&#x2122;t otherwise available. Obviously, because we are the new kid on the block, we havenâ&#x20AC;&#x2122;t much history to speak of aside from The Backyardâ&#x20AC;&#x2122;s achievements to date which include broadcasting over 1000 hours of live local DJs to the world, launching the mobile app, and providing a solid live-to-air platform for the dance music community of WA. Whatâ&#x20AC;&#x2122;s in it for you guys, as itâ&#x20AC;&#x2122;s obviously not a massive moneymaking exercise? The Project has until now been entirely self-funded which highlights the level of passion and commitment associated

Q-BIK

SEEKA

NEW NOISE

FEILONG

VANDAN

GRIZZLY

JAMES FRANCIS

with developing and growing the electronic music community of WA. We have however just launched The Backyard Project Prize Draw which in essence takes the concept of a local pub meat raffle online to offer the Internet user population a chance to support the project and perhaps win something of value. The draw offers a supporter a one in 100 chance of winning $120 in cash for a $6 ticket. Our goal is to expand this further to include industryrelated prizes such as event tickets, equipment, artist material etc. Youâ&#x20AC;&#x2122;ve got a lot of local DJs on a constant rotation, how do you maintain the stationâ&#x20AC;&#x2122;s constant output and select DJs to play? This is the role of our scheduling manager who has a finger constantly on the pulse of the deep talent pool that exists in WA. In reality what keeps the schedule running is the passion and eagerness of all the DJs associated with The Backyard Project. All

FRAT HOUSE FRIDAYS @ METROPOLIS FREMANTLE

ST-1

of them are so enthusiastic and stoked to have an opportunity to expose their talents to a domestic and international audience via a live broadcast. For any DJ/musicians wanting to get on the schedule the best way to do this is provide our scheduling manager with concrete availability. How do you think the Perth dance music scene is going in 2012, and what do you guys want to bring to it with The Backyard Project? Like natural resources, WA is also very rich in resource when it comes to natural artistic talents and abilities, so as a result the PDM scene is really developing in many directions and becoming less and less genrespecific, which we think can only be a good thing to support. The Backyard Knights is one thing youâ&#x20AC;&#x2122;re bringing, how did you select the DJs involved, and is it going to be regularly at Villa, or around town? In all honesty there is no magic involved with selecting

the DJs for our launch night at Villa on March 16. It was simply a case of one the DJs approaching us and asking if we should do a regular night. We thought it was a great idea and also saw it as an opportunity to promote the release of the Smartphone app. The reality was it was more of a case of first in, first served. That said, going forward we are very keen to start providing opportunities to lesser known but equally talented DJs who wouldnâ&#x20AC;&#x2122;t normally get a chance to play at a top-notch club in Perth such as Villa. The goal is to develop confidence and stage presence, which is crucial for DJs these days. Also, we are eager to entertain locals with local talent, irrespective if itâ&#x20AC;&#x2122;s at your place or in a venue. And besides those DJs, have there been any guests on the project we should be keeping our eyes/ears out for? The great thing with the shows is that the DJs have complete autonomy over

FUTURE MUSIC FESTIVAL @ ARENA JOONDALUP

the content of their time slot so there are always scenarios where B2B or special guest appearances are happening to keep their shows fresh. As far as anyone specific, all I can say is that the caliber of the DJâ&#x20AC;&#x2122;s has been A-grade, so I donâ&#x20AC;&#x2122;t think I could single out a specific talent; there are simply too many to list! Backyard Knights is a pretty banging affair, but you guys have also hosted a hip hop night too. What other genres are you guys digging? As I mentioned before the development of electronic musicians not only in WA but internationally is going from strength to strength and in many different directions all at the same time. So we dig that and try accommodate as many electronic music genres as possible, not only for the studio slots but also for the live shows we are aiming to put out there. Newly announced Perth favourite Frankie Button will be jumping on board as the final

headliner for the Knights show, joining New Noize, Q-bik & Seeka, ST1, Jus Haus? aka Get More, James Francis, Fielong, VANDAN, Grizzly and Barons Red. Besides the Knightsâ&#x20AC;Ś night, what else do you guys have planned in 2012 and beyond? We have many ideas of what we would like to be doing which range from sending The Backyard Project DJs on international tours to moving to a digital channel broadcast to sponsoring world class events in Perth like Dayglow, and also supporting other artistic expressions. WHAT: www.thebackyardproject. com.au WHEN & WHERE: Friday 16 March, Backyard Knights, Villa, East Perth

WEEKEND @ CONNECTIONS

    

    

 

 

MR B, TEE EL, BLACK & BLUNT VENGEANCE

BEZWUN | MARTY MCFLY MICAH | PHILLY BLUNT

SAT 24 MAR

BOOMTICK.COM.AU

BITROK

FRIDAY 30 MARCH     

                 themusic.com.au

BUDA | MICAH DEAD EASY | TEE EL

SAT 07 APR

BOOMTICK.COM.AU

THE DRUM MEDIA â&#x20AC;˘ 33

1 MAR - 8 MAR

2012

THURSDAY 8/3

DANCEFLOOR OF THE WEEK WEDNESDAY 7/3 GREG PACKER & MC ASSASSIN

PARADISE PAUL

Vengeance. He’s joining Japan 4 at Ambar, supported by Bezwun, Marty McFly, Micah and Philly Blunt, $15 Saturday 24 March.

DJ HYPE, SIGMA @ THE COURT DJ Hype returns to Perth to show us how it’s done, bringing with him fellow countryman Sigma. Saturday 24 March, $35 plus BF.

ROULETTE @ VELVET LOUNGE

BINGAY LAUNCH @ CONNECTIONS Bingo with drag queens moves to Connies from 7 ‘til 9.30pm every Thursday, with a massive launch featuring Val Nourished, Lovers Adult Gift Store giveaways, Paradise Paul on the decks and more.

HIP HOP KARA”YO!”KE @ BIRD Perth’s seminal monthly hip hop karaoke night returns for a night of smooth non-stop rhymes. Free before 8pm, $5 after.

ROSEMOUNT HOTEL Sons Of Rico takes over the decks outside while St Vincent and Oscar+Martin play inside.

MIXTAPE @ NEWPORT Free entry and free BBQ with plenty of hip hop vibes from 8pm.

FRIDAY 9/3 SEANY B

BONOBO @ CAPITOL

Due to an overwhelming demand, Bonobo’s previously east coast-only tour now heads west Friday 9 March at Capitol, complete with his live band. It’s been 12 years since Bonobo’s debut Animal Magic pulled heartstrings across the globe, and since then Simon Green has developed his emotive brand of electronica in to one of the world’s most captivating live electronic bands. Now, for the very first time, he’s bringing the whole six-piece experience, including vocalist Andreya Triana, celebrating the release of Black Sands Remixed. In case you missed it back in the mag we caught up with Green just before the tour, so read up. Community alumni and primo beat twisters in their own right, locals Naik and Diger Rokwell support. Tickets via Moshtix. Cory Gunz plays The Diamond Night, supported by Sydney DJ Mo, MC Roc Amic and Ian Reid, and locals DJ Loxz and Leonard Lewis. Plus the Solace bar sees DJs Slick, Mr Phat, Bounce and Ruthless.

SEARCH & DESTROY @ ROCKET ROOM A late night punk-rock and metal soiree with Holly Doll and Jessica Kill, midnight to beyond.

AMPLIFIER/CAPITOL Jamie Mac and Shannon Fox spin indie/alt classics from midnight at Amps, while Caps serves up a Retro Mash from 10pm.

SMIRNOFF NIGHTLIFE EXCHANGE @ THE DEEN

JUNK @ YA YA’S

A double-header featuring Seany B (Flaunt It) and DJ Helena. Find Smirnoff Australia on FB to RSVP. JAMES LAVELLE

A new free weekly bass night at Velvet Lounge, starting with Greg Packer & MC Assassin, Voltron, Mash b2b Bastian and Nakotic b2b Bewzy.

Party down with DJ Whoa! plus guests from 11pm ‘til 2am.

SATURDAY 10/3 DJ KRUSH

Bill Vs Exocet and Sub Hell (Live). $15 door from 10pm.

BENI @ AMPLIFIER Beni brings his debut album House Of Beni west joined the Death Disco DJs, Lightsteed and Bastian’s Happy Flight. $20 from 8pm.

JAPAN 4 @ AMBAR Buda, Marty McFly, Oli, Wish, Mr Ed bring the right tunes and the right ‘tude, $12 til midnight, $15 after.

DEATH DISCO/PURE POP @ CAPITOL/AMPLIFIER Indie-dance and disco bangers from Death Disco DJs, The Great RV spinning ‘80s classics upstairs and Eddie Electric indie/at classics from midnight in Amps.

ROCKET ROOM Kickstart play live cover tunes and DJ Brett Rowe spins rock, metal and punk between the sets.

METRO FREO DJ Wazz, DJ Dtuck and Darren Brais keep the party tunes rolling in the big house.

SATURDAY SOCIAL @ YA YA’S JAMES LAVELLE @ AMBAR James Lavelle’s career has spanned 18 years, and at 32 he remains as individual a figure in contemporary music as ever. Tickets via Moshtix. RREGULA

DJ KRUSH @ VILLA Krush established himself at the helm of Japan’s hip hop with pieces of psychedelic, dub jazz-rock. Supported by Arms In Motion, Diger Rokwell and Naik, tickets via Moshtix. KERSER

The Kings Of Cheese DJs bring soul, disco and dancing choons, $5 from 11pm, with bands live earlier.

SUNDAY 11/3 DENIM DISASTER @ LUXE

Love Sundays will be embracing double and even triple denim in one glorious night with a denim dancefloor led by Luxe’s resident DJs.

THE LOFT @ GEISHA Calling all indie kids, alternative lovers, Goths and ‘others’, The Loft provides the cool sounds and cheap drinks til midnight. $8 before 9pm, $12 thereafter.

THE CUBE @ SHAPE Drum’n’bass/dubstep destruction with Rregula, Killafoe, Ekko & Sidetrack, J Felix b2b L Wood, Decept and Station, plus MCs Xsessiv, Bear and Seeka, $5 before 11pm, $10 after. BENI

KERSER @ CIVIC HOTEL Sydney’s Kerser plays his own headline tour in support of his new album The Nebulizer, playing The Civic Hotel Friday 9 March. ANTHONY PAPPA

SUNDAY SESSION @ ROSEMOUNT HOTEL DJs in the beer garden from 3pm for the Rosie’s Super Summer Sunday Session.

MONDAY 5/3

INDUSTRY MONS @ NEWPORT

BENI @ METRO FREO Beni brings his debut album House Of Beni west, joined by the Death Disco DJs at Frat House Fridays, $20 door, $10 for students.

HUSSLE HUSSLE @ MOJO’S Pimps Of Sound feat. Milly James headline, plus Mathas, NZ’s Mama Teesh, Bass Culture DJs and DJ Endeva, $10 from 8pm ‘til 1am.

CORY GUNZ @ METRO CITY 34 • THE DRUM MEDIA

ANTHONY PAPPA @ GEISHA Prog legend Anthony Pappa and Darkbeat-ers Rollin Connection, supported by Flex, Darren J and Atif Khan, tickets via Moshtix.

SCOTT SKINNER @ GILKISONS The UK’s Scott Skinner from Space Sentinelz and Twisted Traxx is supported by Grin Vs Solid Sine, Hutcho, Travis Eddy, Josh Cube, Ol

Weekend working warriors get an extra night to party: Free from 8pm, catch DJ Jewel bringing the tunes, plus ping pong and more every Monday.

TUESDAY 6/3

BACKPACKER NIGHT @ HIP-E CLUB Perth’s most famous backpacker night with DJ Roger Smart and DJ E-Funk. Free entry ‘til 10pm.

CHARLES BRADLEY @ THE BAKERY The hardest working man in soul Charles Bradley makes his way over to lay some Brooklyn soul vibes across the country.

FLUXX @ AMPLIFIER Dubstep, grime, wobble, moombathon, d’n’b, indie remixes and party classics courtesy of Death Disco and friends.

STUDENT NIGHT @ ROSEMOUNT Cowboys & Indie Kids brings you post-punk, indie-pop and rock goodies outside in the beer garden for free.

PARTY @ THE BIRD Party down with some hot dance floor action courtesy of DJ Goji and more, ice cold drinks and surprises to boot. Free from 8pm.

UPCOMINGS

360 @ ROSEMOUNT HOTEL Enigmatic, straight-talking 360 is taking his contentious live show to the masses. This one wraps up at the Rosemount Hotel Thursday 15 & Friday 16 March, tickets via Oztix, supported by Vegas Aces and Seven.

BAND ROOM LAUNCH @ BEAT NIGHTCLUB The Beat Nightclub (formerly Bar Open) is celebrating their new band room with The Novocaines, Sam Perry and Foam. Pre sales $12 plus BF with free drink.

BACKYARD KNIGHTS @ VILLA The Backyard Project hosts Backyard Knights at Villa, Friday 16 March, featuring Jus Haus?, Darren J, The Barons Red, New Noize, Vandan and more TBA. $11 plus BF via Moshtix, $15 door.

BOOTLEG @ AMBAR Go underground with The Bootleg Brothers, PDS, Tee El, FTW and The Barons Red, $12 from 10pm, Friday 16 March.

KID TSUNAMI @ THE MANOR Friday 16 March Kid Tsunami launches his debut LP The Chase and, with the help of Nathan J and Royce, will spin the tracks and give a brief rundown of each.

APHRODITE @ VILLA The godfather of jungle Aphordite returns, bringing old skool jungle and dub, with support from Greg Packer & MC Assassin, Rufkut b2b Rintel, Hutcho b2b Rhino and Skinny b2b Rowdy, with MCs Xsessiv, J Rippa and Armee, Friday 23 March.

FULL FREQUENCY @ SHAPE Full Frequency bursts into Shape on Friday 23 March from 10pm ‘til late, featuring Micah & Ben Mac, Massiv Trav, Dart & Sardi, Declan & Ben M, Rok Riley, James A, Miranda Menzies & Jo Lettenmaier, FTW feat. Bezwun & JS, Ari Sistym, Puff and Ru-Kasu. Rtrfm.com.au for presales – $10 for members, $15 general.

VENGEANCE @ AMBAR Expect an explosive delivery of infectious beats, electro bangers and ridiculous synth-pop from Aussie renegade DJ/producer

themusic.com.au

SETS ON THE BEACH @ SCARBOROUGH BEACH AMPHITHEATRE Say goodbye to summer Sunday 25 March with The Aston Shuffle, Yacht Club DJs, Ajax, Sampology, Canyons (live) and New Navy, with locals TBA. Final release $56 plus BF via the usuals.

CHE-FU @ VARIOUS Che-Fu is heading to Australia on the back of his recently compiled best of album, Hi-Score. Wednesday 28 March he plays Burlington Hotel, Bunbury; Thursday 29 Settlers Tavern, Margaret River; Friday 30 Metropolis Fremantle; Saturday 31 Divers Tavern, Broome; and Sunday 1 Karratha Tavern.

DIAFRIX, JOELISTICS @ VARIOUS Diafrix and Joelistics join forces to celebrate new singles Running It and The Shining respectively. They play Prince Of Wales, Bunbury Thursday 29 March; Bar 120, Hillarys Friday 30; Hyde Park Hotel Saturday 31; and Norfolk Basement Sunday 1 April.

HERMITUDE, SIETTA @ VARIOUS Following the success of lead single Speak Of The Devil, Hermitude have announced the release of their fourth album, Hyperparadise, and an ensuing national tour that reaches Mojo’s Friday 30 March and Amplifier Saturday 31, with labelmates Sietta. Tickets through Oztix, Moshtix, 78’s, Mills and Planet.

THE COMMUNITY B’DAY @ THE BAKERY The Community turns eight Saturday 31 March and want you to celebrate at The Bakery with Naik, Diger Rokwell, Mathas, The Empty Cup, Ylem, GDP (USA), Mei Saraswati, Ourobonic Plague, Boost Hero Man, Sibalance, Silence and Arms In Motion. This Drum-presented event also features The Community Market Stall, print exhibition, VJ Lambency, party games and more. Tickets via Now Baking.

MACHINE DRUM, JACQUES GREENE @ THE BAKERY New York’s Machine Drum (Sepalcure) and Montreal’s Jacques Greene bring some down-tempo glitch-hop, jungle, house, hip hop and more., Thuesday 5 April. Supported by Nik Ridikulus Vs Ben Taaffe; Ylem Vs Rachael Dease; Rok Riley; Kit Pop; Solar Barge; Clunk; Modo; Oni Cash; and Sleepyhead. $29 plus BF via Life Is Noise, Oztix, Heatseeker, Now Baking and usuals.

HOT CROSS BUNS @ AMPLIFIER/CAPITOL Amplifier and Capitol host a Hot Cross Buns bonanza this Easter. Headlining Capitol will be Tonite Only, while The Medics and YesYou (making their WA debut) rock in Amplifier, supported by The Brow Horn Orchestra, Mind Electric, The Halo Effect, Death Disco DJs, Scenic, Kno Agents, Sun City, Stillwater Giants, Tapeheads, FTW, Jus Haus? and DJ Cody. Tickets via Moshtix for this Drum-presented show, Thursday 5 April.

SNEAKY SOUND SYSTEM @ VILLA Sneaky Sound System take their banging club show on the road. Saturday 14 April they play Villa. $25 plus BF from next Thursday til March 21, more after via Moshtix and Oztix. Presented by Street Press Australia.

UPCOMINGS + SKRATCH BASTID: MAR 9 The Manor CORY GUNZ: MAR 9 Metro City JAMES LAVELLE (UNKLE): MAR 9 Ambar SEANY B, DJ HELENA: MAR 9 The Deen BONOBO: MAR 9 Capitol KERSER: MAR 9 Civic Hotel BENI: MAR 9 Metropolis Fremantle; MAR 10 Amplifier + LEE M KENSALL: MAR 10 Velvet Lounge SCOTT SKINNER: MAR 10 Gilkisons DJ KRUSH: MAR 10 Villa ANTHONY PAPPA, ROLLIN CONNECTION: MAR 10 Geisha CHARLES BRADLEY: MAR 14 The Bakery 360, SEVEN, VEGAS ACES: MAR 15 & 16 Rosemount Hotel FRAKSHA, SCOTTY HINDS, DIEM, MURKY DEPTHS: MAR 16 Boulevard Tavern RUBY ROSE: MAR 16 Enex100 DJ MINX: MAR 17 Flawless SEEKAE: MAR 17 The Bakery; MAR 18 Mojo’s AQUA, RADIO INK: MAR 18 & 20 Metropolis Fremantle + YACHT CLUB DJS: MAR 23 East End Bar APHRODITE: MAR 23 Villa KRS-ONE: MAR 23 Metro City OPIUO, SUNMONX, RUSS LIQUID, JPS: MAR 24 Capitol VENGEANCE: MAR 24 Ambar DJ HYPE, SIGMA: MAR 24 The Court Overflow THE ASTON SHUFFLE, YACHT CLUB DJS, SAMPOLOGY, AJAX, CANYONS, NEW NAVY: MAR 25 Scarborough Beach Amphitheatre YELAWOLF: MAR 27 Capitol CHE-FU: MAR 28 Burlington Hotel, Bunbury; MAR 29 Settlers Tavern; MAR 30 Metropolis Fremantle; MAR 31 Divers Tavern, Broome; APR 1 Karratha Tavern DIAFRIX, JOELISTICS: MAR 29 Prince Of Wales; MAR 30 Bar 120; MAR 31 Hyde Park Hotel; APR 1 Norfolk Basement + MANIK: MAR 30 Velvet Lounge DJ GEMSTAR, MC LADY LAURYN: MAR 30 Court Hotel ALISON WONDERLAND: MAR 30 Villa PEO DE PITTE: MAR 30 Ambar DJ FRESH, MC MESSY, HIGH MAINTANENCE, THE UPBEATS: MAR 30 Metro City HERMITUDE, SIETTA: MAR 30 Mojo’s; MAR 31 Amplifier DENZAL PARK, DANNY T: MAR 31 Villa DIBIASE, ELECTRIC SEA SPIDER, RORSCHACH: APR 4 Secret Venue TONITE ONLY: APR 5 Capitol M.A.N.D.Y, STACEY PULLEN: APR 5 Shape FREESTYLERS, MARTEN HORGER: APR 5 Villa MACHINE DRUM, JACQUES GREEN: APR 5 The Bakery HAVANA BROWN: APR 5 Metropolis Fremantle + BAG RAIDERS, CASSIAN: APR 7 Villa BITROK: APR 7 Ambar VAN SHE TECH: APR 7 The Aviary THE HERD, THUNDAMENTALS: APR 13 Settlers Tavern; APR 14 Rosemount Hotel SNEAKY SOUND SYSTEM: APR 14 Villa ROGER SANCHEZ: APR 20 Villa + VIPER: SHOCKONE, METRIK: APR 21 Villa

F R I . 1 6 . 0 3 . 1 2

/ /

V I L L A

FEATURING

THE UPBEATS TALI HIGH MAINTAINANCE &

SUPPORTED BY

JOHNNY QUEST DIAMOND D & MC ASSASSIN VOLTRON & MC STYLEE X SESSIV

FRI MARCH 30 METRO CITY TICKETS $50+BF LOADEDDICE.COM.AU OZTIX.COM.AU ALL LIVE CLOTHING STORES & DJ FACTORY THEDJFRESH.COM FACEBOOK.COM/DJFRESH TWITTER.COM/DJFRESHDNB

THE DRUM MEDIA • 35

THU 08 Black Lips, The Painkillers, Astral Travel Bakery Northbridge Chris Gibbs Brook Bar & Bistro The Other Guys Como Htl Blanche DuBois Ellington Jazz Club Howie Morgan FUSE Bar Better Days Gate Chris Murphy High Wycombe Hotel Raw Hyde Open Mic Hyde Park Htl Bex’s Open Mic Indi Bar Dirty Scoundrels Kalamunda Htl Jason Ayres Kingsway S/Centre James Wilson Lucky Shag Oka, Declan Kelly Mojos Nth Fremantle Sea of Tunes, Alex Arpino Mustang Bar Dublin Jazz Aunts, Valiant, One Tiger Down, Burn Habit Norfolk Basement Dr Bogus Paddy Hannans Burswood Open Mic Rigby’s Bar St Vincent, Oscar + Martin Rosemount Htl Clayton Bolger Rosie O’Gradys Fremantle Bill Chidgzey Rosie O’Gradys Northbridge Chris Mallory, Kara Lonergan Settlers Tavern Margaret River Fenton Wilde Sovereign Arms The Brown Study Band, Room At The Reservoir, Fools of April The Shed Off The Record Universal Bar Jazz X-Wray Cafe Foxes, Black Birds, Antelope Ya Ya’s Trapped Under Ice, Relentless, Blkout, The Others, Wild Sense YMCA HQ

FRI 09 Pop Candy 7th Avenue Bar Psychonaut Amplifier Bar Mod Squad Bailey Bar & Bistro Jamie Powers Bally’s Bar The Other Guys Balmoral Everlong Acoustic Belmont Tavern

36 • THE DRUM MEDIA

Sophie Jane Bentley Hotel J Babies Black Bettys Bonobo Capitol The Bluebottles Captain Stirling The Damien Cripps Band Castle Greg Carter Chase Bar & Bistro Tip Top Sound Como Htl Mia & Good Company Craigie Tavern Proof, Timeout Elephant & Wheelbarrow Rachel Claudio, Horizon Art Orchestra Ellington Jazz Club Simon Kelly Fremantle Night Markets Pretty Fly Greenwood Hotel Acoustic Night Herdsman Lake Tavern Travis Caudle (Arvo), One Trick Phonies Hyde Park Htl Vdelli Indi Bar Parker Avenue Kalamunda Htl Passionworks Kardinya Tavern Jane Germain, Ian Simpson Kulcha Neil Adams Last Drop Tavern The Organ Grinders Legends Bar David Hamersley Malaga Markets Kontraband Mighty Quinn Tavern Hussle Hussle Mojos Nth Fremantle Soul Corporation Moon & Sixpence Richard Roberts Mt Henry Adam Hall & The Velvet Playboys, Cheeky Monkeys Mustang Bar Party Rockers Newport Htl Mister & Sunbird, Joe Black Trio, Mike Develta Norfolk Basement Darryn Dodd Novotel Vines Resort Howie Morgan (duo) Osborne Park Htl Stu Harcourt Paddo Flyte Paramount Nightclub Minky G, Rosco Dwyer Pickled Fig OKA, Declan Kelly Prince of Wales Bunbury Chainsaw Hookers, Vanity, The Bob Gordons, In The Now, DJ Brett Rowe, Holly Doll, Jessica Kill Rocket Room

Tangled Thoughts Of Leaving, Chaos Divine, Prescient, Foxes Rosemount Htl Switchback Sail & Anchor The Beards Settlers Tavern Margaret River B.O.B Springs Tavern Christian Thompson Stirling Arms Guildford Cothe, Paltiva, Buzz Kill Vamps, This Other Eden, Carnies with Candy Swan Basement Better Days, Greg Carter (Arvo) Swinging Pig Tracksuit, The Love Junkies The Bird Deuce The Boat Adrian Wilson The Brass Monkey Helen Shanahan The Rose & Crown Kickstart The Shed Jack & Jill The Vic Hotel Nightmoves Universal Bar Mourning The Collector, Burst & Bloom, Neutral Native, Nymph Honey Velvet Lounge Ivan Ribic Victoria Park Htl Clayton Bolger Wanneroo Dr Bogus Woodvale Tavern Miche Suite, Katherine Rollins, Belleville X-Wray Cafe Emperors, Sugarpuss, PUCK Ya Ya’s

SAT 10 Beni, Bastian’s Happy Flight Amplifier Bar Milhouse Bailey Bar & Bistro Stu Harcourt Bally’s Bar The Recliners Balmoral Flyte Bar 120 Chris Murphy Belgian Beer Cafe Redstar Black Bettys Chris Gibbs Brook Bar & Bistro John & Shaun Sandosham Burswood Lobby Lounge Courtney Murphy & Murphy’s Lore Burswood Prize Draw Stage Leighton Keepa Captain Stirling Neverborn, Mhorgl & Guests Civic Htl Backroom Tip Top Sound Como Htl Rachel Claudio Ellington Jazz Club Big Boss & The Axeman Endeavour Tavern The Beards Fly By Night Fremantle Dirty Scoundrels Gate In the Groove Greenwood Hotel Dr Bogus High Road Htl Riverton Andrew Winton Hotel Rottnest The Long March, Arons Crusade, Lynda Smyth & The Borrowed Few Hyde Park Htl Matt Gresham Indi Bar The Other Guys Indian Ocean Brewing Company Sophie Jane Kalamunda Htl Hot Suga Kardinya Tavern Nikki D’Agostino Kingsway S/Centre The Great Nile Band Kulcha Steve Hepple Leopold Htl Bicton Rhythm 22 M On The Point

Gumnut Stompers, Wozzo the Clown Malaga Markets Karma Metropolis Fremantle Kontraband Mighty Quinn Tavern Tracksuit, Stillwater Giants, Palatial Digs, Deep River Collective Mojos Nth Fremantle Blaze Moon & Sixpence The Rusty Pinto Combo, 10 Cent Billionaire Mustang Bar Kizzy, Gravity Newport Htl Wolves At The Door, Timothy Nelson Norfolk Hotel Courtyard The Gypsy Howls, The Yokohomos, The Witness, Lucy Peach Norfolk Basement Carbon Taxi Novotel Vines Resort Adrian Wilson Osborne Park Htl Andrew Drummond Paddington Uniting Church Electrophobia Quarie Bar & Bistro Mourning The Collector, Blank Page Refugees, One Armed Scissor, The Government Yard Railway Hotel Sweet, Almost Slayed Regal Theatre Subiaco Kickstart Rocket Room The Ghost Hotel, Ruby Boots, The Chevelles, Sean Pollard, Luke Bostelman Rosemount Htl Blue Gene Rosie O’Gradys Northbridge Better Days Sail & Anchor OKA Settlers Tavern Margaret River Bernadine Steve’s Bar Minky G Subi Farmers Market Off The Record Subiaco Htl Bob Brisbane Quartet Subiaco Htl Restaurant Greg Carter Swinging Pig Timothy Nelson & The Infidels, Our Man In Berlin, RaceToYourFace The Bird Deuce The Boat Mod Squad The Craftsman No Such Luck, Fucked// Vein, Surprise Sex Attack, Tikdoff The Den Huge The Shed Lush The Whale & Ale Soul Corporation Universal Bar Christian Thompson Wanneroo The Damien Cripps Band Woodvale Tavern Rupert Guenther, Banana Theory X-Wray Cafe Angry Al, Wolveman, Al Fresco, Farmer Karl Ya Ya’s

SUN 11 Good Karma 7th Avenue Bar The Organ Grinders Broken Hill Tavern The Aces Cafe 58, Palmyra David Fyffe Como Htl Laura Bernay Ellington Jazz Club The Beards, The Stiffy’s Indi Bar Ivan Ribic Leisure Inn OKA, Declan Kelly Mojos Nth Fremantle Gerard Maunick, Tina Simone Moon & Sixpence

Peter Busher & The Lone Rangers Mustang Bar Tim Nelson, Polly Medlen Band Newport Htl Tim Meaco, Jonathon Brain, Geraldine, The James Collins Band Norfolk Basement Dizzy Miss Lizzy Northwood Alehouse Clayton Bolger Ocean View Tavern Open Mic Session, Turin Robinson Railway Htl Rosie’s Super Summer Sunday Session Rosemount Htl (outside) Tim Nelson Settlers Tavern Margaret River Ivan Ribic Sovereign Arms SuperSalt, Foam, The Government Yard, When We Can Swan Basement Lilt, Milly James, Lucy Peach The Bird The Healys, Renogade The Shed Meg Mac & the Squeeze, Retrofit Universal Bar Neil Colliss Victoria Park Htl Chris Murphy Wanneroo Mia & Good Company Woodvale Tavern

MON 12 Courtney Murphy Burswood Lobby Lounge Rodrigues Family Fundraiser Ellington Jazz Club Wide Open Mic Mojos Nth Fremantle Marco & The Ally Cats Mustang Bar Everlong Acoustic The Brass Monkey Plastic Max and the Token Gesture The Deen

TUE 13 John Sandosham Burswood Lobby Lounge Freddie Grigson Ellington Jazz Club Seraphim, Kate Ferguson, Daniel Firkin Trio, Bears & Dolls, Rose Parker Mojos Nth Fremantle Danza Loca Salsa Night Mustang Bar Georgia Mooney, Kizzy The Bird Anchor, The Others, Travels, Dyatlov, Amend The Den Open Piano Night w/ Stu Orchard X-Wray Cafe

WED 14 Charles Bradley Bakery Northbridge Courtney Murphy Burswood Lobby Lounge Speak No Evil - Wayne Shorter Tribute, Carl Mackey Quartet Ellington Jazz Club Fenton Wilde Hale Rd Tavern Mason Rack Indi Bar Jess Gordon, Leah Miche Suite, Cat Edmunds Mojos Nth Fremantle Jozef Grech, Luke Dux, Ellen Oosterbaan, Adam Tatana Moon Cafe Yin, Oak Tree Suite, SaySky, Von Hearth Rosemount Htl David Fyffe Rosie O’Gradys Northbridge The Painted Bird X-Wray Cafe

themusic.com.au

TOUR GUIDE

DECLAN KELLY TRAPPED UNDER ICE, RELENTLESS: MAR 8 YMCA HQ JACK CARTY: MAR 8 Ellington Jazz Club ST VINCENT, OSCAR + MARTIN: MAR 8 Rosemount Hotel BLACK LIPS: MAR 8 The Bakery OKA: MAR 8 Mojo’s; MAR 9 Prince Of Wales; MAR 10 Settlers Tavern; MAR 11 Mojo’s DECLAN KELLY: MAR 8 Mojo’s; MAR 9 Prince Of Wales; MAR 10 Settlers Tavern; MAR 11 Mojo’s BONOBO: MAR 9 Capitol DIRTY THREE: MAR 9 Astor Theatre THE STILLSONS: MAR 9 Clancy’s Fremantle; MAR 10 Quindanning Hotel; MAR 11 Fremantle Arts Centre THE BEARDS: MAR 9 Settlers Tavern; MAR 10 Fly By Night; MAR 11 Indi Bar JOHN SCOFIELD: MAR 10 John Inverarity Music & Drama Centre THE SWEET: MAR 10 Regal Theatre JOHNNY CLEGG, NANO STERN: MAR 13 Burswood Theatre UKELELE ORCHESTRA OF GREAT BRITAIN: MAR 13 Perth Concert Hall + ANCHOR: MAR 13 Civic Den; MAR 15 Villa CHARLES BRADLEY: MAR 14 The Bakery + TIM FREEDMAN’S FIRESIDE CHAT: MAR 14 & 15 Ellington Jazz Club THE GO SET: MAR 15 Clancy’s Fremantle; MAR 16 Indi Bar; MAR 17 Nukara Festival, Geraldton TANIA DOKO (BACHELOR GIRL): MAR 16 BamBOO TENORS UNLIMITED: MAR 16 Octagon Theatre DIESEL: MAR 16-18 The Quarry Amphitheatre BELINDA CARLISLE: MAR 16 Mandurah Performing Arts Centre; MAR 17 Astor Theatre MICK THOMAS: MAR 16 Friends Restaurant; MAR 17 Norfolk Basement; MAR 18 Nukara Music Festival, Geraldtonl MAR 19 Oxford Hotel JOHN BUTLER: MAR 17 Fremantle Arts Centre; MAR 29 Astor Theatre NUKURA MUSIC FESTIVAL: THE GO SET, MICK THOMAS, BLIND LEMON, MINNIE MARKS, SHELLEY SHORT and more: MAR 17 Chapman Valley, Geraldton CHERRY GRIND: MAR 17 Charles Hotel; MAR 18 Rosemount Hotel (Scorcher Fest)

COLD CHISEL BOMBAY BICYCLE CLUB, I, A MAN: MAR 18 Astor Theatre AQUA, RADIO INK: MAR 18 & 20 Metropolis Fremantle BORIS: MAR 20 The Bakery + SINCERELY GRIZZLY: MAR 21 Rosemount Hotel; MAR 23 Ya Ya’s; MAR 24 Civic Den CLOSURE IN MOSCOW: MAR 22 Prince Of Wales; MAR 23 Amplifier BABY ANIMALS: MAR 23 Charles Hotel; MAR 24 Endeavour Hotel, Lancelin WOLFPACK: MAR 23 Civic Den; MAR 24 Prince Of Wales; MAR 25 Newport Hotel + HETTY KATE: MAR 24 Ellington Jazz Club BRIAN SETZER ROCKABILLY RIOT, LANIE LANE: MAR 24 Fremantle Arts Centre DARRYL BRAITHWAITE: MAR 24 Bunbury Entertainment Centre NICK LOWE: MAR 24 Astor Theatre DANIEL O’DONNELL: MAR 24 Riverside Theatre DURAN DURAN: MAR 25 Sandalford Estate, Swan THE NECKS: MAR 26 The Bakery FRANKIE VALLI & THE FOUR SEASONS: MAR 27 Pioneer Women’s Memorial, Kings Park & Botanic Gardens + LEO SAYER: MAR 27 Albany Entertainment Centre; MAR 28 Bunbury Entertainment Centre WAYJO FEAT. ED PARTYKA: MAR 28 John Inverarity Music & Drama Centre ADAM ANT, GEORGIE GIRL & HER POUSSEZ POSSE: MAR 28 Metro City + THE ROSIE BURGESS TRIO: MAR 28 Mojo’s; MAR 29 Ya Ya’s; MAR 30 Prince Of Wales; MAR 31 Settlers Tavern; APR 1 Settlers Tavern GOSPEL ACCORDING TO ELVIS: MAR 28 Mandurah Performing Arts Centre; MAR 30 Astor Theatre + THE LITTLE STEVIES: MAR 29 Little Creatures Loft GRACE KNIGHT: MAR 29 Fremantle Arts Centre; MAR 30 Ellington Jazz Club SNAKADAKTAL: MAR 30 Villa WOODEN SHJIPS: MAR 30 The Bakery + BRITISH INDIA: MAR 30 Civic Back Room; MAR 31 Kalgoorlie Hotel; APR 1 Joondalup Festival CHILDREN COLLIDE, DEEP SEA ARCADE, PALMS: MAR 30 Capitol; MAR 31 Players Bar; APR 1 Mojo’s

AN EVENING ON THE GREEN: NOISEWORKS, DARYL BRAITHWAITE, RICHARD CLAPTON, 1927, CHOIRBOYS: MAR 31 Kings Park & Botanic Gardens HOLLY THROSBY: MAR 31 Norfolk Basement EDDI READER: MAR 31 Fly By Night GEORGE MICHAEL: MAR 31 Sandalford Estate, Swan Valley PETULA CLARK: MAR 31 Mundairing Weir Hotel; APR 1 Albany Entertainment Centre WEST COAST BLUES’N’ROOTS: JOHN FOGERTY, CROSBY STILLS & NASH, THE POGUES, THE SPECIALS, MY MORNING JACKET, BUDDY GUY, KEB MO, STEVE EARLE, TROMBONE SHORT & ORLEANS AVENUE, HUSKY, BLITZEN TRAPPER, GIN WIGMORE, THE SHEEPDOGS and more: APR 1 Fremantle Park YES: APR 5 Riverside Theatre THE MEDICS, YESYOU: APR 5 Amplifier XAVIER RUDD: APR 5 Astor Theatre; APR 7 Palandri Winery, Margaret River DEAD MEADOW, PINK MOUNTAINTOPS: APR 7 The Bakery + COLD CHISEL: APR 7 Sandalford Winery, Swan Valley BALL PARK MUSIC, CUB SCOUTS: APR 7 Amplifier; APR 8 Newport Hotel VEIL OF MAYA, THE STORM PICTURESQUE, STORIES: APR 8 Capitol; APR 9 YMCA HQ VUSI MAHLASELA: APR 11 Fly By Night SUBLIME WITH ROME, MAT MCHUGH: APR 11 Metropolis Fremantle HI-5: APR 11 & 12 His Majesty’s Theatre; APR 13 Bunbury Entertainment Centre SETH LAKEMAN, CARUS THOMPSON: APR 12 Clancy’s Fremantle; APR 13 Hyde Park Hotel PASSENGER: APR 13 Fly By Night LAST DINOSAURS: APR 14 Amplifier THE HERD: APR 13 Settlers Tavern; APR 14 Rosemount Hotel SEAL: APR 14 Sandalford Estate, Swan Valley JUSTIN TOWNES EARLE: APR 14 Fly By Night; APR 15 Rosemount Hotel FAIRBRIDGE FESTIVAL: PAUL BRADY, SHANE HOWARD, SETH LAKEMAN, CHIPOLATAS, SHOOGLENIFTY, CHIRIS WHILE and more: APR 13-15 Fairbridge Village

THE DRUM MEDIA • 37

EMPLOYMENT

FOR SALE

OTHER

ADMINISTRATION

AMPS

WE BUY VINYL RECORDS If you have second hand vinyl records lying around we buy for good $ pick up from Perth metro area contact admin@fatshanrecords.com. ANY GENRE!

At STRINGS ‘N’ SKINS: You will find tuition for- Guitar, Bass, Drums, 5 String Banjo. Rock, Blues, Country, Jazz, Slide, Finger Picking, Music Theory. Sutherland Shire

Peavey Bandit 80watt 12” guitar combo 2 channel. Footswitchable. Great fat tone. Reverb/saturation etc. USA made. VGC.$350. Ph.0428744963. Cooroy iFlogID: 13019

Contact Terry 0402 993 268 iFlogID: 17400

DJ AVAILABLE- ANYTIME www.djzokithefab.com -0416306340 for any dj service club or home or birthday call anytime-GET A REAL DJ NOT MP3 PLAYER OR CRAPPY DOWNLOAD.......VINYL DJ ROCKS iFlogID: 16089

SALES & MARKETING People needed to send eMails offering a new music Book for sale. Must have own computer - payment by commission via Paypal. Contact Bill on (02) 9807-3137 or eMail: nadipa1@yahoo.com.au

CD / DVD Attention Musicians, Record Collectors, Universities, Libraries - new Book (print/cdROM/direct download) compiling 100 years of popular music. GO TO www.plattersaurus.com web-site on how to buy. Enquiries: (02) 9807-3137 eMail: nadipa1@yahoo.com.au

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MUSIC SERVICES MASTERING AMAZING MASTERING OFFER Fantastic world-standard Mastering doesn’t need to cost the earth. Have your next project immaculately crafted by legendary British engineer Paul Gomersall for just $69 a song!...why?! See gomersall.com for answers.

iFlogID: 13287

DRUMS WANTED VINTAGE DRUM KIT, old Ludwig, Gretsch etc. Also want vintage snare drums etc. Sydney based but will pay top $ and arrange courier. Ph 0419760940

iFlogID: 17602

OTHER ++ play more chinese music love, tenzenmen ++ www.tenzenmen.com iFlogID: 14468

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FILM & STAGE OTHER Darphi images is a film studio and requires help with finance. Each donation receives something in return, with investments starting at $5 for a credit in the film http://igg.me/p/59834?a=222791 iFlogID: 16914

iFlogID: 13234

GUITARS Fender Pink Paisley Strat. Genuine 1980’s. All original. in case. Great tone/action/condition. Very rare. $1500 ono.Ph. 0428744963. Cooroy

Get your Band or Business Online Cost effectively and PROFESSIONALLY - from $299 including Hosting and email addresses! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au

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PA / AUDIO / ENGINEERING Sydney PA Hire: Best quality equipment, small to large 2, 3 and 4 way systems, packages for all occasions, competitive prices servicing Sydney and environs. Details; http://www.sydneypa.biz, Chris 0432 513 479 iFlogID: 13943

POSTERS GOLD COAST BYRON BAY NORTHERN NSW Poster distribution for touring artists & bands. Fast, efficient & reliable service at a competitive price www.thatposterguy. com.au iFlogID: 17120

TUITION ATTENTION: MUSIC CREATORS Contact me for your free chapter of my book “ Chord Voicing for Composers, Arrangers, Songwriters and Pianists”. The complete guide to advance harmony. jdmuspub@gmail.com iFlogID: 16950

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WWW.BLISTMEDIA.COM Sick of seeing bands shittier than yours get all the media attention?

Music publicity. Do you want to get noticed? Affordable exposure for your band by someone that actually cares! www.perfectlywrite.com.au Drop me a line! iFlogID: 15737

Eastern Suburbs guitar/ukulele/ bass/slide lessons with APRA award winning composer. Highly experienced, great references, unique individually designed lessons from Vaucluse studio. Learn to play exactly what YOU want to play! www.matttoms.com iFlogID: 16690

MUSICIANS AVAILABLE BASS PLAYER Electric & upright bass. Good gear. Comfortable in most styles. Experience performing live and in the studio. Check out my website if you wanna hear more. http:// www.wix.com/steelechabau/ steelechabau iFlogID: 16159

DJ

MUSICIANS WANTED BANDS ORIGINAL BAND SEEKS DRUMMER Experienced and motivated drummer required for Perth based band. Must have professional commitment and drive. Demo music available to successful applicants. Influences- The Butterfly Effect, Karnivool, Alter Bridge applesource@live.com.au 0488060684 or 0404289 245 iFlogID: 17433

DRUMMER Experienced drummer with a commitment to practice and regular rehearsals required for Melbourne-based alternative rock band. Influences QOTSA, Foo Fighters, Nirvana…

Dj available Dubstep to Drum&bass. Willing & able to adapt to your event. Low hourly rates. Everything negotiable. Easygoing, flexible entertainment. Call for a quote today. KN!VZ Entertainment Group Ph:0415680575 iFlogID: 16661

DRUMMER A1 PRO DRUMMER AVAILABLE for freelance gigs, tours etc. Extensive touring experience, gret time/ tempo/groove, great drum gear and pro attitude. Sydney based but will travel. More info, ph 0419760940. www.mikehague.com

www.myspace.com/mollydredd 0411 372 469

SERVICES GRAPHIC DESIGN Get your Band or Business Online Cost effectively and PROFESSIONALLY from $299 including Hosting and email addresses! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au

Get Hypnotised! Matthew Hale’s Comedy Hypnosis Show FIRST WEDNESDAY of every month upstairs @ The Brisbane Hotel, Highgate, Perth. Doors 7pm. Show 7.30pm Tickets $12 advance from www. MatthewHale.com.au / $15 at door iFlogID: 15224

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Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $399 including UNLIMITED pages, Logos, Hosting and 5xemail addresses and much more! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au iFlogID: 13864

Limited Edition mens tees and hoodies with a sense of humour. All hand-screened and numbered. monstrositystore.com

Get your Band or Business Online Cost effectively and PROFESSIONALLY - from $299 including Hosting and email addresses! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au. iFlogID: 15454

Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $399 including UNLIMITED pages, Hosting and 5xemail addresses and much more! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au. iFlogID: 13862

iFlogID: 13611 iFlogID: 16936

SINGER GOSPEL SINGERS WANTED for non-denominational music ministry to record triple-CD in Perth. World-class, passionate and devotional vocalists sought. View www. THE001Music.com for details. Jesus is KIng! Reverend Eslam. God Bless You!

OTHER 2 positions available for females 20 - 30 years. For rock music video shot in Brisbane. Must be attractive, sexy & alluring. Experience prefered but not essential. Send bio/pics to info@earthgoat.com iFlogID: 17621

TUITION STAND-UP COMEDY WORKSHOP Have fun learning invaluable communication, presentation and humour skills from ARIA nominated Robert Grayson. 15 years experience. “Amazing! Fantastic! Liberating!” Jess Capolupo, HotTomato FM. www.youstandup.com / Robert@youstandup.com / 0401 834 361.

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Drum Media Perth Issue #278