WA’ S H I G H E S T Q U A L I T Y S T R E E T P R E S S • T H U R S DAY 1 1 A U G U S T 2 0 1 1 • 2 5 0 • F R E E
A BAND THE PAND
I N S I D E :
ARS LING ALL C
T R I V I U M
H U N T E R
- JAME RONT ROW
P I N B A C K
S H O C K O N E
ALBANY • BUNBURY • BUSSELTON • DUNSBOROUGH • GERALDTON • MANDURAH • MARGARET RIVER • PERTH
4 • THE DRUM MEDIA 11 AUGUST 2011
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THE DRUM MEDIA 11 AUGUST 2011 • 5
FOREWORD LINE IN BRIEF THE PANICS
237 QUEEN VICTORIA AVE, NORTH FREMANTLE
FANTINE (NSW) with tania walker & trent williams
Following on from their sold out national tour and stand out Splendour In The Grass performance, The Panics hit the road again for their official Rain On The Hummingwire tour. Proudly presented by Drum Media, catch them Wednesday 14 September at Settlers Tavern, Margaret River; Thursday 15 at Prince Of Wales, Bunbury; Friday 16 at The Astor Theatre; and Saturday 17 at Fly By Night, Fremantle. Tickets through Heatseeker, Oztix, BOCs or flybynight.org depending on the venue.
Tix $15 from heatseeker / $20 at door 8pm.
HU$$LE HU$$LE milly james & band, knoe fm, boy prince, the weapon is sound, dj kung fu $10. 8pm. OSCAR + MARTIN
CIRCUS EP LAUNCH tusk, ten mountains, lady velvet cabaret 8pm. $10 / $15 with EP. First 20 = EP free!
OSCAR THE GROUSE
The last edition saw free op-shop clothes, huge stuffed animals and crazy finger rave lights, so who knows what’s gonna happen Friday 26 August when Speakeasy hits Villa once again for more indie-dance madness. Round three features hot young things Stonefield, Oscar + Martin, San Cisco and Nina Las Vegas – we were going to split their descriptions up, but let’s be honest, they’re all hot young things. If you missed the cheaper presale price, tickets are now $30 from Billie & Rose, Father Claremont and Moshtix, presented by Drum Media.
the caballeros dux & downtown thomy and the tanks (vic) Entry $8 from 6pm.
OPEN MIC wanna play? call bruno booth on 0424 606 437 early: freo buskers in the beer garden.
HUNTING HUXLEY the freiteners, calectasia, zorba’s milk, josh troon $6.8pm. Big Ear Chad 6-8pm.
KINGS OF DEENS
Mega local beats festival Kings Of Sound is back with a vengeful Spring edition, Sunday 2 October at new home The Deen, over four arenas from midday til 10pm. They’ve invited a few out-of-town guests in Funkoars, Culture Shock, SPL, The Qemists, M-Phazes, Noah D, Tantrum Desire and Droid Sector. Plus there’s Optamus, Killafoe & J.Nitrous, Greg Packer & MC Assassin, Layla & Dazastah, Jus Haus?, Rregula, Hunter & Mortar, Ekko & Sidetrack, Broken English, Mamma Says Yes, Sempy & Concept, Stiltz, Deadvents, The Stoops, Illusive & Dvise, Monkee, J Switch, Slackjaw, Dnbassador, Rekab, Dr Space, Joust, Frantik 7 Dub Z, Pauly P & Rocksteady, Nyquist Freqs, Muller, Vishnu & Johnny Quinn, King Leonidas, MC Webbz & Armee, Gracie & Sistym, Pacemaker & Vu, ST1 & DYP, Narkotik & Havoc and Stoitzy. Yep, massive. Tickets through Moshtix and Heatseeker, $55 plus BF until August 31, $65 plus BF thereafter.
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FOR THE DIARY bonjah aug 18 / dilip and the davs album re-issue party aug 19 / felicity groom aug 20 /speekeasy aug 20 / eagle & the worm aug 26 / leader cheetah + bells will ring aug 27 6 • THE DRUM MEDIA 11 AUGUST 2011
Homegrown Freqs – The National D’n’B Mix Comp is on again, with WA’s heat happening Friday 9 September at Shape; twistedaudio.com for all the details.
Stereosonic tickets are now on sale, while Southbound goes on sale next Wednesday from 9am or you can get cheaper presales by heading to sunsetevents. com.au/sign-up. Big Boi was arrested over the weekend for possession of a controlled substance and possession of drug paraphernalia after being busted with ecstasy, MDMA and Viagra while leaving a cruise ship. The promoter has assured Drum he’ll still be performing at Metro City, Saturday 3 September.
Head to alturl.com/f62tf to get your free copy of last week’s Drum Media CD Of The Week, The Dada Tapes, packed with fine local acts’ live recordings in Dada Records’ garage.
with special guests company of men and kim mcdonald $10/$5. Doors 8pm.
International DJ contest Red Bull Thre3Style, an invitation-only competition, will feature qualifiers held AugustSeptember, with the winner getting plenty of cash, plus trips over east and to Vancouver to compete in finals. Visit redbullthreestyle.com for more info.
Post-hardcore titans Alexisonfire have announced they have broken up. They admit it was “not really amicable”.
WED THE WHITE
Triple j has announced the first nominees for 2011’s j Award Australian Album Of The Year: Moment Bends (Architecture In Helsinki), The Experiment (Art Vs. Science) and The Life Of Riley (Drapht).
While Andrew Haug takes a break from triple j’s The Racket, Bloodduster, Trivium and none other than Metallica guitarist Kirk Hammett will take guest host duties.
SCALPHUNTER MON WIDE
Soundwave Revolution has officially been cancelled. Organisers received news their un-announced second headliner pulled out, and decided they didn’t want to go ahead with an “inferior product”, but will be organising minifestivals and a heap of tour shows off the back of the planned line-up.
Direct from China, the legendary Shaolin Warriors will return punching, kicking and tumbling in a spectacular, dynamic new production. Featuring rarely seen Buddhist meditation alongside deadly martial-arts prowess, this breathtaking extravaganza follows the journey from a young child’s initiation into the monastery, to achieving fully fledged warrior status. Catch it Wednesday 5 October at Bunbury Regional Entertainment Centre; Thursday 6 at Mandurah Boardwalk Theatre or Friday 7 August at Burswood Theatre, tickets through Ticketek.
Head to whymusicmatters. org to watch some inspiring animated short films about why Music Matters to such quintessential Aussie acts as Eskimo Joe, Gotye, Oh Mercy, Nick Cave and more.
BOY & BEAR
After blowing away Splendour In The Crowds last week, Boy & Bear look set to continue their domination of our great southern land with the Moonfire tour, celebrating their debut album of the same name. Encapsulating all the elements that have them dominating airwaves of late – aching harmonies, booming drums, delicate acoustic textures and of course, roaring sing-alongs – they play Settlers Tavern in Margaret River Friday 18 November, and The Astor Theatre Saturday 19. Head to boyandbear. com from next Monday for tickets.
October approaches, which we all know means Oktoberfest, and there’s a brand new event in town, Oktoberfest In The Gardens, naturally going down in the Supreme Court Gardens, Friday 7 and Sunday 9 October. It features massive beer halls, two stages, a two storey platinum VIP area, and of course, music. Along with German-themed shenanigans, The Potbelleez headline, with locals Sons Of Rico, The Brow Horn Orchestra and Rainy Day Women, plus DJs Black & Blunt, Jus Haus?, Darren J and Craig Hollywood, with more TBA. Tickets through Moshtix from next Monday, with $55 generals or $130 VIP passes available.
Like your four-four with an ample serving of bass? London star Sinden is a proven sure-thing. If you missed Sinden alongside Fake Blood back when Villa opened up a couple years back, here’s your chance to atone, when he returns to the haunt Thursday 27 October for some big-time afro-beat-tech sounds and serious tropical bass. If you’re worried about it being a school night – fear not, it’s the Thursday of the CHOGM long weekend, so you’ll have nothing to do Friday but reminisce about the amazing night previous.
WAY OUT WISTERNOFF
It’s not every day that a club night reaches seven years in existence – especially not around these parts – so it’s no surprise that Habitat is planning something very special to celebrate their upcoming birthday, inviting one of the most influential men in dance music today… Jody Wisternoff, from legendary UK outfit Way Out West. Wisternoff brings his tripped-out melodic grooves to Geisha Friday 30 September, with proud support from Habitat faves Flex, Aarin Fraser, Darren J, Richard Lee, Kyran Smith, El Dario and Cam Duff. Tickets through Moshtix.
RACK ‘EM UP
Plenty of young bass-nuts made the face a couple of weeks ago, and they’ll get the chance to ‘Make The Face’ again Friday 16 September with one of London’s most exciting DJ/producers in RackNRuin, carving his way through haunting electro-organs and dramatic synth-stabs like a knife. Bezwun, Black & Blunt and Marko Paulo will be on hand to get your face warmed up for the madness that will no doubt follow. Tickets $20 on the door, or $15 presale from the Boomtick iPhone app.
CHILDREN OF BODOM
CHILDREN OF THE CORN
With an enthralling mix of modern heavy metal, melodic hooks, and the guitar acrobatics of front man Alexi Laiho, Finnish group Children Of Bodom have solidified themselves as one of the leading and largest voices of metal’s new generation. The flamboyant quintet return as part of The Ugly World Tour, on the back of their latest release, Relentless Reckless Forever. Supporting them will be local melodic maestros Voyager, for their show Sunday 6 November at Capitol, tickets from Moshtix or 78’s.
Toasty Thursday featuring Oh You Pretty Things plus guests Hayley Beth and more… Doors 8pm.
Oz Hip Hop On Tour: PEZ and 360 + special guests. Doors 8pm. Be early! Tix Thru Heatseeker.
The Volcanics Live!!!… with very special guests The Dirty South and Richard Lane. Doors 8pm.
Sat 20th Aug > Jordie Lane
The Laramie Project On October 6 1998, an openly gay university student was killed in a sickening homophobic attack that shocked the world! The Tectonic Theatre Project visited Laramie and conducted hundreds of interviews with residents, forming the narrative of this poignant and absorbing play. A chronicle of the life of the town in the year after the murder.
Written by Moises Kaufman Directed by Craig Ilott Performed by 3rd Year Acting students
Roundhouse Theatre (ECU, Mount Lawley)
Fri 26 Aug - 1 Sept, 7.30pm Sat 27 Aug, 2.00pm WAAPA Box Ofﬁce, Ph: 9370 6895
46 LAKE ST, NORTHBRIGE 9328 2350 LIVE MUSIC EVERY NIGHT OF THE WEEK ENQUIRIES firstname.lastname@example.org www.mustangbar.com.au THE DRUM MEDIA 11 AUGUST 2011 • 7
T H E
There’s some mighty fine happenings going down right now in WA, and we don’t just mean Northbridge looking like a kindergarten compared to the streets of London.
H O T E L
Bass kids unite, Deadweight!’s 1st B’day will be a ‘wake’ featuring BoostHeroMan, Mathas, Ben Taaffe, ST1, DYP, Clunk, AllState, Modo, Nebula, Kit Pop, Zeke, Saxon, BoyP, KnoeFm, Pickles, Kamashed and more TBA at The Bakery Friday 26 August. $5 entry.
After the successful release of new single Crying Rhymes at Mojo’s last month, The Love Junkies head to the Prince Of Wales, Bunbury with Deep River Collective to take the tune to the south. Hurricane Fighter Plane release their debut EP Saturday 20 August at Ya Ya’s, with support from Goodnight Tiger, as well as resident DJs Steed and Agent 85. All attendees receive a free EP on entry. Midvale Speed Dome plays host to Pivot Of Oz, a WA Roller Derby showdown between Sonic Doom and Electric Scream, featuring all your fave ladies from 6pm Saturday 20 August. Tickets $11 from roller usuals. New-wave kids Place Of Indigo are back with some new tracks and a new line-up, playing The Bird Friday 19 August. Bastian’s Happy Flight and The Shallows support, $10 from 8pm. Up-and-coming alt-rockers Enfilade are releasing their debut five-track EP The Sky Is Falling Friday 26 August at the Civic Den. They’ll be supported by Heytesburg, Hostile Little Face and The Origin Of, $10 door incl. free EP. The next instalment of Friday I’m In Love is down in the Fat Shan Records basement, Friday 26 August. Cam Avery (The Growl), Alanna Eileen and The Silent World jump on the acoustic intimate moments, $10 from 8pm. Members of Perth rock bands Diamond Eye, Babyjane and Stone Circle have formed new supergroup The Expendables, debuting on Saturday 27 August at The Civic. Support from…Diamond Eye, Babyjane and Beyond Never. Sunday 28 August the newly re-opened Hyde Park Hotel plays host to Hyde & Chic, an afternoon/evening of art, fashion, film and live acoustic music from Morgan Bain and Timothy Nelson, with DJ Shannon Fox taking over the decks from 7pm. Free from 3pm. Following their show at the Shed’s Uncovered tonight, and supporting Enfilade’s EP launch August 26, alternative rockers The Origin Of launch their own EP Animus Saturday 15 October at Ya Ya’s alongside Hi Helo and more. Ambar keeps the Fresh Produce coming Friday 19 August with up-and-coming DJs Lost Boy, Panda, Lady L, Fusion Six and New Noize taking to the wheels of steel from 10pm, $12.
LEWOOD THE CIVIC HOTEL 981 BEAUFORT STREET, ING mail.com 9272 1011 BOOKINGS: civichotelbookings@g
For the first time ever, the Parklife Perth local line-up hits the road: Wednesday 24 August at The Newport (Micah, The Pearly Whites & Tom Drummond); Saturday 27 Breakers Bar, Geraldton (Micah & Strawn); Friday 9 September Royal Palms Resort, Busselton (Micah & The Pearly Whites); Friday 16 Evolution, Karratha (The Pearly Whites, Werewolf & Mat Meldrum); and Saturday 17 The Pier Hotel, Port Hedland (The Pearly Whites, Werewolf & Damian John). The already announced Hyde Parklife show also goes ahead on Friday 26 August, with free entry and practically the entire cast of Parklife locals assembled at the newly refurbished Hyde Park Hotel. available from all over the country. With that in mind they’ve invited Adelaide’s The Lucky Seven for some shows starting tomorrow. Friday 12 August they play Devilles Pad; Saturday 13 the Italian Club Northbridge; and Sunday 14 the Mad Hatter’s Tea Dance at the Court Hotel.
DON’T RESIST THE DRONES
SEND IN THE DRONES
We’ve had a couple of members our way recently doing the solo thang, but now we get the full shebang with one of Australia’s most acclaimed and revered bands of modern music, The Drones. Famous for their brutal live shows, lyrical honesty and uncompromising approach to their music, the group is supporting their new live DVD A Thousand Mistakes, out September 16. Good friend and Magic Dirt first lady Adalita joins them Friday 21 October at The Bakery. $35 plus BF through nowbaking. com.au and thedrones.com.au.
FUNK IT UP
What words can describe the one and only DJ Funk? Pioneer? Party Rocker? House Icon? He grew up on the musically rich West Side of Chicago. Mixing house, techno and hip-hop, DJ Funk pioneered the ghetto-house genre, giving him mass appeal to people across various music scenes. In recent years, Funk has been bringing his unique style of music to a whole new generation, and it continues Friday 23 September at Ambar.
Harry Deluxe, a stalwart of the Perth ‘retro’ music scene, and her team are working with a range of Perth and interstate bands to make sure that local audiences are exposed to the brilliant variety and high calibre of music
Managing Editor Andrew Mast Editor Aarom Wilson Editor’s Assistant Troy Mutton Front Row Editor Daniel Crichton-Rouse Fashion Contributor Meghan Hosie
Sales & Marketing Director Leigh Treweek Sales Executive Matt McMullen, Aaron Rutter
DESIGN & LAYOUT Dave Harvey
8 • THE DRUM MEDIA 11 AUGUST 2011
ADMINISTRATION Accounts Loretta Carlone
lle Borgward, Shane Butler, Graham Clark, Beau Davis, Penny Lane, Jacqueline Jane, Cybele Malinowski, Anthony Tran
Chris Archibald, Marisa Aveling, Paul Barbieri, Aleksia Barron, Zoe Barron, Steve Bell, Nina Bertok, Jackson Best, Tristan Broomhall, Rob Browne, Rick Bryant, Danica Caccamo, Anthony Carew, Travis Collins, Cyclone, Marcia
Finding common ground with bands such as Whitechapel, The Black Dahlia Murder and As I Lay Dying, Sydney’s Resist The Thought formed with the intention to break the shackles of genre restrictions, and simply brutalize audiences around the globe. WA’s next in their sites, bringing with them Feed Her To The Sharks to Amplifier Friday 2 September, with Sensory Amusia, Against The Tide and Upon The Shores; and the following day for an ALL-AGES show at YMCA HQ with Paradise In Exile, Anchored and Dropbears.
MASTER BEAT CHEF
Sunday 21 August SAE Perth plays host to the first ever Beat Summit – a unique opportunity for bedroom producers to get out there and learn the necessary skills to get their break. Top dubstep producer Hykus, hip hop kid Dazastah and turntable champion Zeke will run three master classes on all the tricks of their given trade. Tickets $65 (SAE Quantm Students & Alumni get 30% off) through thebeatsummit-perth.eventbrite.com.
Jamaican reggae singer Jah Mason made his debut in 1991 and has since risen to prominence around the world as one of the leading artists in the new-roots Rasta reggae movement. Balancing a hardcore DJ style with a melodic singing voice, Jah Mason has built a big reputation on his explosive stage performances, and now it’s WA’s turn to feel his fire at The Railway Hotel Friday 16 September. Local support from The Empressions, General Justice, Tutomath, Simba, DJ Ray and Kriti-Cal. $35 on the door.
Czerniak, Sebastian D’Alonzo, Kitt Di Camillo, Sam Fell, Kim Fisher, Tomas Ford, Shannon Fox, Rueben Hale, Stu Harvey, Simon Holland, Craig Hollywood, Jason Kenny, Angela King, Jo Lettenmaier, Ted Schlechte, Michael Smith, Andy Snelling, Aimee Somerville, Kate Stephens, Scarlett Stevens, Kristy Symonds, Nic Toupee, Chris Wheeldon, Anthony Williams
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Thursday 27 October sees world renowned producer Onra travel from France to perform an intimate show at The Manor. Mostly from a hip hop background, Onra’s (Arnaud Bernard) inspirations vary from genres such as soul, funk, jazz, reggae, boogie, modern soul, R’n’B, dub, world and prog-rock, to name a few. His latest LP Long Distance – released in May 2010 – is heavily influenced by ‘80s electrofunk, modern soul and boogie genres. He’s supported by Ben M, Kit Pop, Sour and MT-5000, tickets $20 on the door.
Things are going swimmingly for Architecture In Helsinki – they just killed it at Splendour, and their new album Moment Bends has been nominated for the J Award. They’re playing Hyperfest at Midland City Workshops Sunday 28 August, but the night before catch them at The Astor Theatre, with NZ’s frantic romantics Cut Off Your Hands, Felicity Groom & Scenic. They’re also running a remix comp for new single Escapee, head to modularpeople.com for more info.
To mark the release of their long-awaited sophomore effort Yearlings out August 26, Dead Letter Chorus are hitting a road that sees them rolling in to Villa, Friday 16 September. Yearlings is a complex yet ultimately approachable offering from the Sydney five-piece. A raw song cycle detailing the highs and lows of a love affair, the album explores familiar territory with profound insight.
First dubstep legend Jakes, then electro killer Toxic Avenger, the Big Ape keeps the big parties coming with the heir to Borgore’s throne, Tomba. He’s already sold out shows over east and has left many people with ringing ears for days. Get some hard-hitting beats Saturday 20 August at Shape. There are limited $10 presales, otherwise it’s $10 before 11pm, $15 after, but don’t be late.
The final round of Drum-presented Jammin! tonight will feature The Midnight Mules, Seams, The Pistoleiros and Robbie Jalapeno & The Bureaucrats, battling it out for their spot in the Thursday 25 August semi-final featuring The Tumblers, Hurricane Fighter Plane and Crooks. Semi-final one goes down Thursday 18 and features Clean Living, Dark Rooms, Moontribe and Ermine Coat, with the eventual winner going on to claim first prize of 200 copies of their very own 7” vinyl record pressed by Beatroute Records.
We’re getting spoiled by a band who’s been on hiatus for ages, with Kele rocking a packed Villa, and now Bloc’s lead guitarist, songwriter and avid vegetarian Russell Lissack will be donning touring duties for a Bloc Party DJ Set, being hugely accomplished behind the decks and filling dancefloors since 2005. Epect a mix of dance anthems with special indie classics, edits and remixes at Villa Wednesday 5 October.
BIRDS IN A BOX
Touring acts can’t get enough of pop-rock outfit Boy In A Box. Having just supported Funeral Party and already been announced as the Calling All Cars support act (Saturday 10 September, Amplifier; Sunday 11, Indi Bar), the Glitter, Gold, Ruin star will also be joining perennial faves Birds Of Tokyo for their Astor Theatre show Thursday 29 September; plus Studio 146, Albany Friday 30; and Metropolis Fremantle Saturday 1 October.
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Midnight Boulevard August 18th Caprycon Evolution Machine Engine of Reason
THURSDAY, 11TH AUGUST UN Women Fundraiser 6:00 pm
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Fiona Lawe Davies 8:00 pm FRIDAY, 12TH AUGUST The Russell Holmes Trio 6:00 pm Sarah Mcleod 8:00 pm Late Night Groove Series with Odette Mercy 11:30 pm SATURDAY, 13TH AUGUST Sarah Mcleod 8:00 pm Empire 11:30 pm SUNDAY, 14TH AUGUST Random Act 6:00 pm MONDAY, 15TH AUGUST JTC Jazz 6:30 pm TUESDAY, 16TH AUGUST James Flynn with the Graham Wood trio - Members free tonight 8:00 pm WEDNESDAY, 17TH AUGUST James Ben and Dane’s latin bonanza 8:00 pm THURSDAY, 18TH AUGUST The rise and fall of little voice WAAPA Music Theatre show 8:00 pm
Check our Show Schedule and book your table seat online at TheEllington.com.au
BOOKINGS ESSENTIAL SEE WEBSITE TO BOOK YOUR TICKETS www.TheEllington.com.au 191 BEAUFORT STREET PERTH (08) 9228 1088 MON - THUR 7pm -1am, FRI 6pm - 3am, SAT 7pm - 3am, SUN 6 pm - 12am THE DRUM MEDIA 11 AUGUST 2011 • 9
FOREWORD LINE BEER O’CLOCK
BEER AND LIVE MUSIC HAVE BEEN IN LOVE SINCE DAY DOT AND THEIR RELATIONSHIP CONTINUES TO BLOSSOM IN NEW DIRECTIONS. AARON RUTTER CATCHES UP WITH MUSIC STALWART AND BRAND AMBASSADOR ASH GRUNWALD TO TALK ABOUT THE NEW GUINNESS THURSDAYS COMP.
here is a delicious appropriateness to holding an interview about Guinness on a cold, rainy Sydney night. Whilst people gravitate towards heaters or the bar, roots-rocker Ash Grunwald explains his ambassador role with Guinness Thursdays. “Guinness approached me to be a part of this thing where people go in a competition to show their musical wares and get sent over to Dublin to play in a massive festival if they win.” His reaction to being invited on such a ride was one of obvious elation: “I was like, ‘Sick… don’t want to sound too much like Charlie Sheen but, winning!’” After admitting over a lengthy explanation that he has taken to Charlie Sheen in a big way, he eventually gets back on track and explains in a bit more detail exactly what Thursdays With Guinness entails and what his role is. “I’m going to be playing tonight [the launch]
10 • THE DRUM MEDIA 11 AUGUST 2011
but mainly I’ll be involved in the judging of the bands”. Whilst on his upcoming tour he will be checking out entrants of the competition, and will have a big say on who will be competing in each state. Once the bands are decided, there will be state-based heats that will culminate in a national final back in Sydney. “The competition is quite diverse and we aren’t really looking for a particular genre,” he explains. “We’re just looking for a really good quality act. There’s a bit of a criteria to enter. It’s best if you are an established act, as in you’re out there and already amongst it and have recorded something. It’s probably not the ultimate comp for bands who have never entered a comp and have just recorded a demo in their bedroom. I’m sure there are some very cool acts out there like that, but this comp is more about the band that are already pretty together, have been on the path of making things happen but haven’t quite broken yet.” With the prize being a trip to Ireland to play in the internationally renowned Arthur’s Day Festival alongside the likes of
Scissor Sisters and Calvin Harris, the band will obviously have to pull out a great live, festival worthy show to be in the mix. The press release that came from the team at Guinness was full of fun facts including the astounding statistic that over two billion pints of Guinness are poured around the world each year. This number has Grunwald quite excited, as he pulls out another great Guinness-ism. “I didn’t really realise, until I Googled him, just how epic [Guinness founder] Arthur Guinness was. I mean he was a really good dude. The smartest thing he ever did business-wise, ‘cause he was quite business savvy, was that he stitched up his landlords when he first started. He signed a 9000-year lease for the property that Guinness is founded on for 54 pounds per month, so that is literally what they are still paying to this day for their land. They started exporting their beer about 200 years ago, so there’s a long tradition behind it.” Guinness, in fact beer in general, obviously goes hand in hand with live music. This is true of the punter listening but also most definitely for the musician playing. Grunwald admits, “I do have the gift, I’ve been known to be able to smash anything before, during and after the show.” But when asked whether this can sometimes be a hindrance, he takes on a slightly more serious tone. “It’s a double-edged sword. “There’s definitely a line. I mean we play in pubs, it can be your friend or your foe. It’s always fun but you’ve always got to try and be a little bit restrained. However, I’m reading the Keith Richards bio at the moment which makes you feel like an angel no matter what you’re into. “The good thing about being the Guinness ambassador, I suppose, is that it’s not a cheesy label, it’s got a lot of credibility and that’s how I’ve always seen it. I’m really stoked. It’s a feather in my cap and it’s good to know that after being in this industry and working really hard, you get to be involved in a process like this one.” Guinness Thursdays entries have opened and any band that is keen can head to the Guinness Australia Facebook page and upload their mp3s. Heats will be announced shortly but no matter who plays, the Thursday heats are bound to be right ‘craic’. To be sure. Head to facebook.com/GuinnessAustralia for more info on how to enter your band before August 18 or get voting.
Catherine Traicos & The Starry Night are launching their sublime new album Gloriosa at Settlers Tavern in Margaret River on Friday 12 August, The Bakery with Kill Devil Hills on Saturday 13 and The Bird Sunday 14 August with support from The Ghost Hotel. Falling somewhere between the edgy blues of PJ Harvey and the deep bluegrass sonnets of Gillian Welch, Traicos’ emotive ballads have swept up many fans in the local scene. The Bird show is free, so no tickets to this one, but you can win one of THREE prize packs (made up of a vinyl copy of Gloriosa, a “fancy” bag, a sticker and a collectors magnet) simply by getting on to Drum Perth’s Facebook page. It’s time for that band that everyone’s been talking about to finally break out. Yes, Bonjah are gearing up to roll over the country in the wake of their debut album, Go Go Chaos. The Kiwis-come-Melbournians have spent years perfecting their sound, and have attracted a devoted and deserved fanbase. Find out more by reading the interview in this week’s issue. They have a veritable swag of shows in WA: Wed 17 August, Indi Bar; Thursday 18 Mojos; Friday 19 Rock Inne Tavern, Karragullen; Saturday 20, Settlers Tavern, Margaret River; and Sunday 21 August, Redcliffe On The Murray, Pinjarra. You can grab one of TWO prize packs, featuring a copy of Go Go Chaos and a double pass to the Mojo’s OR Indi Bar shows respectively, via facebook.com/drumperth. Even though the fabled event isn’t happening this year, you can still celebrate the influence of the Next Big Thing competition through the Next Big Thing 2010 compilation CD. Celebrating all that is new and shiny in local music, the CD swings between entrants including James Teague, The Brown Study Band, The Gypsy Howls and heaps more, plus winners The Brow Horn Orchestra and their award-winning video for Don’t You Wanna Sing Forever. Win one of THREE prize packs (really, each is two copies of the CD – give the spare to a friend, or use it as a fancy coaster to earn the cred of other local band lover) from Drum Perth’s Facebook page.
PLEASE NOTE: All entries for giveaways are now via our Facebook, so head to facebook.com/drumperth for details.
THE DRUM MEDIA 11 AUGUST 2011 • 11
KEEPING IT SIMPLE BUCKINGHAM PALACE Architecture In Helsinki took inspiration to a whole new level when it came to recording Moment Bends. The studio that Cameron Bird organised in Melbourne was christened â€œBuckingham Palaceâ€? by the band, for one very specific reason; the oversized poster of Lindsay Buckingham plastered to the wall. Go on the Architecture website and have a look for yourself. Asked what they got out of having the Fleetwood Mac songwriter perpetually gazing down on them while recording, Bird tells that it was a communal idea. â€œI think we wanted to put an image of an artist who we were all into on the wall,â€? Bird says. â€œWe were just flicking through records and that image really spoke to us. There was a lot below the surface and we kinda liked that. Heâ€™s a very inspirational character and songwriter, so we went with Lindsay.â€? Whilst a line can be drawn between the music of Fleetwood Mac and Architecture in Helsinki, Bird prefersto think of the band as a sum of smaller parts. â€œWe listen to anything,â€? Bird muses. â€œWe might be getting inspiration from Roy Orbison or Katy Perry or any number of things from any number of times. I think our inspiration comes from really â€˜micro-thingsâ€™, rather than a whole scene or genre. Itâ€™s like we might be inspired by a drum sound here and the spirit of a vocal harmony here and a guitar sound there. Those are the things that inspire us. Itâ€™s like a patchwork.â€?
INDIE-POP FAVOURITES ARCHITECTURE IN HELSINKI RECENTLY DROPPED THEIR LATEST ALBUM AFTER A LONG BREAK BETWEEN RECORDING. CAM FINDLAY CHATS TO SINGER AND SONGWRITER CAMERON BIRD ABOUT WRITING FROM A NEW ANGLE.
our years after the release of the hugely successful Places Like This, one of Australiaâ€™s favourite festival acts is back. Moment Bends is the recently-released fourth album from Architecture In Helsinki, and itâ€™s a ripper. While keeping the cool, funky synth-pop stylings that have enamoured them with fans the world over, the new LP bursts with a fresh, bright sound that emphasizes the bandâ€™s approach to organic, unorthodox production. Contact High and Escapee have notched out spots in the charts, and the bandâ€™s brand is bigger than ever. Is it something that fazes Cameron Bird at all? Not really. It would be easy to assume that, after almost four years between albums, a new record and its public reception might be foremost in Birdâ€™s mind. â€œAt the end of the day, we just want to make good records,â€? Bird enthuses. â€œWe want to make records that will stand the test of time. So itâ€™s probably more pressure we created on ourselves, rather than any external pressure.â€? Bird is completely happy, by the sounds of it, to let the music speak for itself. Writing and tracking for Moment Bends began in 2009 in a studio that Bird organized in inner-city Melbourne. The now five-piece band got together and worked tirelessly on the new tracks. Itâ€™s an entirely different process to the previous album, which was recorded and mastered by Bird in his Brooklyn studio, with the band members sharing ideas through email. After its release, he made the move back to Melbourne, effectively guaranteeing that Moment Bends would sound completely different, if only through its development process. â€œPlaces Like This was written apart and recorded together,â€? Bird explains. â€œIt was recorded in four weeks. Moment Bends was written and recorded in the same room over a two-year period. It felt completely different. And the energy was completely different because weâ€™re all in the one place.â€? Moment Bends immediately channels that sense of difference, compared to Architecture In Helsinkiâ€™s previous releases. This isnâ€™t the big festival sound you might be used to from the band; albeit with a few jivinâ€™ dance tracks, the bulk of Moment Bends is made up of some very intricate and precise pop songs. Tracks like
W.O.W and Sleep Talkinâ€™ ride on a very subtle new-wave beat â€“ thereâ€™s no extraneous material in the way of these tight, stripped back songs. Itâ€™s an element that Bird deliberately distilled. â€œI guess in this case it was a lot more refined, rather than just about adding a whole lot of things,â€? Bird says. â€œIt was more about putting a
IF YOUâ€™RE WORKING WITH A GROUP AND THEREâ€™S DIFFERENT PEOPLEâ€™S EGOS INVOLVED, THEREâ€™S ALWAYS GOING TO BE A SACRIFICE.â€?
whole lot of stuff down and then subtracting it, so it could be the most minimal it could be.â€? In that process, thereâ€™s always a lot of giving and taking when it comes to agreeing universally on an idea. â€œThatâ€™s what itâ€™s like working with a band,â€? Bird continues. â€œIf youâ€™re a solo artist, itâ€™s not really much of an issue, but if youâ€™re working with a group and thereâ€™s different peopleâ€™s egos involved, thereâ€™s always going to be a sacrifice. Someone might play something that everyone else thinks sucks. Thatâ€™s just part of being in a band, I think. I think thatâ€™s the difference between a good album and a great album â€“ the ability to tell when itâ€™s finished.â€? And it works perfectly, even with the same DIY aesthetic that Architecture has subscribed to on previous releases. Known for their varied and eclectic approach to instrumentation, Architecture In Helsinki took the opportunity of a new album to experiment â€“ slightly. â€œItâ€™s usually just a case of whateverâ€™s lying around in the working space that weâ€™re in,â€? Bird says of the instruments used on Moment Bends. â€œItâ€™s not a case of â€˜we need this, we need this, we need this,â€™ itâ€™s pretty much who weâ€™re hanging out with at that time of our life, what our friends might
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play, what keyboard we can afford to buy at the time... Itâ€™s always just been a case of making do with what we have.â€? Itâ€™s a method that Bird has become used to over the life of Architecture In Helsinki, but heâ€™s quick to point out that itâ€™s not simply a gimmick. â€œWe never really think about it, itâ€™s just what happens organically when weâ€™re in the studio,â€? he says. â€œIt was never a pre-conceived idea. But we all play a large array of instruments, so when it comes to playing live, we just do whateverâ€™s most convenient, really. If it was going to be impossible, we would have never done it.â€? Despite the clear ability of self-dependence that Bird and his bandmates have when it comes to making music, they decided to enlist the services of the oft-mentioned Modular label in the distribution of the album. Itâ€™s an interesting decision, especially considering the fact that Architecture In Helsinki have been releasing on their own Tailem Blend label since 2005â€™s In Case We Die. Modular have been slowly but gradually rostering a prestigious line-up of bands over the past few years, and thereâ€™s a lot of correlation between Architecture and those signed to the label. The band still own full possession of their work, but it seems to be a great opportunity to expand their connections. â€œI guess for us, working with Modular represents a chance to work with a really great label and a really creative and stylistic company,â€? Bird explains. â€œTheir way of promoting records as opposed to other labels was important in my mind. To work with them has been great for us because we havenâ€™t really worked with a label in the past with that kind of vision or taste. A lot of [Modular bands], weâ€™ve been friends with for a long time. In that way it makes a lot of sense and itâ€™s why I was interested in the label. Theyâ€™re kind of our peers. Thatâ€™s a nice thing to have.â€? Of course, the more minimal approach to the songs on Moment Bends brings up a very important question; what about their festival shows? After so many years of establishing themselves at big outdoor events, is there enough new material for Architecture In Helsinki to
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â€œItâ€™s not really our background. We have found that if youâ€™re going to play to five or ten thousand people in a tent at a festival, youâ€™re going to want to make yourself heard. I think that we kind of evolved in that direction as a live band, but I think as a studio band, weâ€™ve always had an element of seriousness to what we do. I think weâ€™re all very serious about production and sound and that side of working. I would like to think that our music isnâ€™t superficial, but rather thereâ€™s something below the surface. But yeah, itâ€™s all about having a history to what you do, you donâ€™t want to be too obvious.â€? From the perspective of being one of Australiaâ€™s favourite live acts, and with a new album being lauded on the airways, Bird maintains a level-headedness that seems a bit surprising. But itâ€™s at least clear that Bird, and Architecture In Helsinki as a whole, are passionate about the different thing they do. For those of you whoâ€™ve seen the film clip to Absentee, thereâ€™s a pretty cool arty angle that translates well to screen. Set in a sleepy Belgian hamlet, the clip follows a boy on a stolen bike-fuelled adventure. It could be taken as some kind of profound message about humanity, but Bird sees the story much more simply: â€œI guess the context of it is: Dad steals a bike, gives it to the kid, kid goes writing, dude who had the bike stolen then says â€˜hey, give me back my bikeâ€™, kid gets pissed off, steals the bike back off the guy and goes riding.â€? That simplicity frames Architecture In Helsinki beautifully. WHO: Architecture In Helsinki WHAT: Moment Bends (Modular/Universal) WHERE & WHEN: Saturday 27 August, Astor Theatre, Mt Lawley; Hyperfest â€“ Sunday 28 August, Midland City Workshops
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still make that kind of impact? Well, in Cameron Birdâ€™s opinion, thatâ€™s secondary to their love of making natural music. â€œI think we, by default, became a festival band from being thrust onto dance stages at festivals, for some reason,â€? Bird remarks with some complexity.
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THE DRUM MEDIA 11 AUGUST 2011 • 13
BANDED TOGETHER TIP PLEASE? The relatively healthy functioning of our music scene in Australia is just one more reason to appreciate the good life in this wide brown land of ours, particularly when comparing it to America. Though Australian bands are not without struggles, the sheer size and density of America means you’ve got to be a pretty big fish to warrant a notice, while cementing a place in it can prove confusing, as well as difficult. “The way the touring circuit’s set up – it’s crazy,” says Crosbie. “Here [in Australia] you’ll have the regular indie hangouts and a regular jazz hangout and the pop venues in each city. Whereas it just seems to be so blurred over there. And you’ve gotta really just tour your bums off and play hundreds of shows a year just to get your face in the scene.”
AFTER LARGELY GOING UNDER THE RADAR FOR A FEW YEARS, THE PANDA BAND HAVE RETURNED TRIUMPHANT, COMPLETE WITH A BRAND NEW ALBUM, A NATIONAL TOUR AND A NEW AND INTERESTING PERSPECTIVE ON WHAT AMERICA IS REALLY LIKE. FRONTMAN DAMIAN CROSBIE TELLS ZOE BARRON ALL ABOUT IT.
ack around the mid-noughties, Perth locals The Panda Band were everywhere. Their 2004 single Sleepy Little Deathtoll Town was all over the radio and made that year’s triple j Hottest 100. By the time they independently released their first full-length album This Vital Chapter in 2006, they had toured all over Australia and internationally, played a huge run of festivals including Big Day Out and Southbound, won several WAMi awards and scored a touring and publicity deal with American company Filter. And then everything went quiet. The band disappeared into their US tour and slipped from the Australian spotlight. When they did return, they did so with minimal fuss. “We just kind of came home and quietly got about working on the next album. It’s all a bit of a blur, really,” says Damian Crosbie, lead vocalist and guitarist of the band. “It’s such an intense thing, going over to America and driving all over the place and kind of soaking in that culture and then coming back to Australia… “You’ve gotta get out of Perth to kind of appreciate how beautiful and relaxing it is,” he continues. “Because it really is a place where you can kind of shut out the outside world for a while, and knuckle down and do an album.” Charisma Weapon, the band’s second LP, has finally been released. As may be attested to by the delay and the silence over the last few years, the process was not without its difficulties. Between touring their first album in Australia and then in America, to when they started recording their second around the end of 2009, they lost a manager to babies and uni, a drummer to a world tour and then to Italy, while their keyboard player left to go play different kinds of music elsewhere. With three of them left, the remaining members focused on getting themselves a record deal. Though, despite their earlier popularity, this too proved more difficult than expected. “We were shopping the demos around and had some interest from labels, but it just never really eventuated into a contract to pay for the thing,” Crosbie says. “So we had to save up money and all that stuff, and we didn’t really have a band formed together because it had just kind of lost bits and pieces here and there. So we just tried to concentrate on the recording. We’d save up for the mixing, so that takes another few months, and then for the mastering, which takes another few months…So it just kinda stretched the whole process out.” In the end, the members of The Panda Band decided to release their second album as they had their first; independently, on their own label Bam*Boo. Although this does give them more control over their own music, it can be a lot to juggle. “Because we’re independent and kind of running it ourselves, it’s a bit of a challenge to play, and then do business during the day, and then drive around on a national tour. But we’re chipping away.”
For their first album back in 2006, the band managed to win the support of Filter Records in the US, who took care of the publicity and marketing for the American part of their tour, making sure the right people heard the album and putting them on really good shows. “They do marketing and things for the majors, so they know what they’re doing, and they knew how to work with the little budget we had,” Crosbie says. The actual experience of touring the US was something else entirely, however. Living in Australia, we’re so saturated in American culture, it seems as though we have a detailed, if assumedly obscured, perception and idea of the US. The reality of it however, according to Crosbie, is often quite different. “It’s a really, really strange country,” he emphasizes. “You have these ideas of what American people are like, but there’s all sorts. And it depends what city you’re in. Like, New York is kind of – people come from everywhere to live there so it’s very diverse and people are really friendly and everything. LA’s just…yeah. You’ve gotta go there a few times to really understand that place because it’s just…very strange atmosphere there. And then obviously there’s everything in-between. So you go through these towns that are just ghost towns. So, there’s a lot to take in. Going there really made us appreciate how safe and warm our little home is.” Back in that safe little home now, the band are busy touring the new album. When Drum catches up with Crosbie, they were on the Gold Coast about to drive up to play a show in Byron Bay. With the album released and out there, it’s back to work garnering the attention they need to keep playing music. And without a record company to take care of that side of things for them, it can be a lot of work. “Publicity’s everything,” Crosbie insists. “It’s kind of the necessary evil. You know, you don’t get into music to do loads of interviews and take photos and hang on the Internet posting blogs or anything. But you just realise that if you’re going to make it and get people to actually hear it and appreciate the effort you’ve put into the music then it’s part of doing it. Otherwise, well, there’s so many albums released, and you need to get noticed. Or, you know, you just end up going back to an office job.” Radio makes up an important part of getting noticed and, as Crosbie points out, there’s a big difference between a single being on rotation and not. When they first started out, for example, it was triple j that got The Panda Band the majority of their attention. It was triple j that playlisted their first single Eyelashes in 2004, and triple j that did the same for Sleepy Little Deathtoll Town, which then went on to make number 73 in that year’s Hottest 100. Crosbie credits the radio station for a much of their initial rise to fame.
“[Being on triple j] made up such a big part of us getting noticed in the first place,” he says. This time around, however, getting triple j’s support has proved more difficult. “They seem to be all about unearthing new bands and supporting massive bands. I’m not really sure where we stand with them at the moment. It’s kinda strange. It’s a real battle getting on the playlists.” This is a bit of a big deal, according to Crosbie, considering the integral role the radio station plays in the Australian music scene. “You know, triple j are really powerful,” he continues. “They’re Australia-wide, and they’ve got the Hottest 100 and things like that, which are kind of Australian institutions now. I think they’re in this weird position where they’ve got a lot of responsibility and a lot of power and I think they’re kind of torn between the commercial way of thinking about radio and music and, kind of, what they started off as. I think a lot of people aren’t really sure where they stand with triple j at the moment, a lot of bands I talk to.”
YOU HAVE THESE IDEAS OF WHAT AMERICAN PEOPLE ARE LIKE, BUT THERE’S ALL SORTS.”
But, after being away for so long and out of the Australian spotlight, Crosbie’s very aware of how much catching up the band has to do. “It’s a bit of a surprise to a lot of people that we’re still around so I think we’ll know in three or four months time if the love is there, as it was on the first one, and get a good indication of how much work we need to do to get back in people’s faces.” So for now, they’re knuckling down into the tour, happy to be home and very much engaged in carving back out their place in the Australian music scene. They’ve got a couple of Perth shows planned for the end of this month and the beginning of the next one and, luckily for us, are thinking about sticking around for a while. “We’re going to stay in Australia I think,” Crosbie says, and mentions a show Filter had lined up for them in America that they’ve decided to pass up. “I think we need to put the effort in to Australia. Just tour as much as we can and kind of build it up here again.” WHO: The Panda Band WHAT: Charisma Weapon (Bam*Boo/MGM) WHEN & WHERE: Friday 26 August, Rosemount Hotel, North Perth; Friday 2 September, Players Bar, Mandurah
On top of that, things can get expensive. Often, if a band manages to get on a tour, they are actually expected to pay a fee for the privilege of coming along. “We were talking about doing this Standby Weekend tour when we were there. And it would literally have cost us $20,000 in a fees to get on the tour, on top of all the costs of actually touring around America,” Crosbie explains. In Australia, things work differently. Here, the headliner band brings in the numbers and then gets paid more – no-one expects a fee from the support. But in America a tour like that, with lots of dates and a ready-made audience, is considered an opportunity, a privilege, and one to be paid for. “Tipping culture,” concedes Crosbie. “Who understands tipping culture?”
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Murdoch University wants to open your mind to what’s possible through a series of Course Info Evenings for anyone to attend and Experience Days for school students in years 10 to 12 to explore Uni life.
The Course Info Evenings run from 6:30pm till 8:30pm, and will be held on the following dates:
Experience Days let you immerse yourself in what you love, with hands on activities at the Murdoch campus. These days give you a great insight into how your dream career plays out in the real world.
6 September - Murdoch (South Street) campus
Course Info Evenings give you the opportunity to gain invaluable insights on all Murdoch courses. These evenings introduce you to our open learning environment, ﬂexible degrees and practical teaching.
4 September - Be an engineer and science student for a day
- Rockingham campus
- Peel campus, Mandurah
To RSVP or for more information on either our Course Info Evenings or Experience Days, head to Murdoch.edu.au/Experience Or call 1300 MURDOCH (1300 687 3624).
- Murdoch (South Street) campus
Check the website for more information on the following Experience Day:
THE DRUM MEDIA 11 AUGUST 2011 • 15
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ur goal was to pretty much blow the last one out of the water,” says Calling All Cars frontman Haydn Ing, talking about his band’s new album, Dancing With A Dead Man. And this is no small feat when one considers that the record he is talking about surpassing is the Melbourne trio’s hit debut, Hold Hold Fire. It hasn’t been all that long between drinks either – Hold Hold Fire only came out last year – and this momentum, combined with the unmistakable quality and energy of record number two, puts Calling All Cars right at the forefront of young bands set for superstardom. It’s obvious from note one that these guys love what they do and that they are seriously dedicated musicians. And there is a palpable sense of a band truly stepping up in all aspects of Dancing With A Dead Man. Ing goes on to say that one of the driving forces behind the record was that the band really wanted to avoid the most dreaded of all rock’n’roll clichés. “Every band tries to make their new record better than their last, don’t they? As soon as we finished the last album, we were really aware of the whole ‘second album syndrome’ thing, so we just booked out a bunch of rehearsal times, just for demo-ing, as soon as we could. By the time we went into pre-production, we had forty-something songs to choose from. It was a lot of hard work.” Even though cutting 40-plus songs down to 11 sounds like choosing between your children, Ing says it was apparent right from the start which tracks would make the grade. “We kind of based the album on some of the songs that stood out more than others. Then again, some of the songs that made it onto the record were nothing more than ideas at the time. It was definitely tough making those decisions.”
If you didn’t complete your Census form there’s still time.
And it seems that, should Calling All Cars break up tomorrow, there will be plenty of material around for a bootleg or two. Not that this is likely, of course, evidenced by the fact Ing is more concerned with getting out and playing the songs from …Dead Man. “You never know. We’ve actually got a whole bunch that we did record, so they might work as B-sides or something. I mean, at the moment, we’re really keen to get out and start playing these new songs from the album.” Lead single, Reptile, has been around for a while now. Interestingly, Ing says that the motivation to release this song in particular had nothing to do with it being representative of what we might hear on the rest of the album. In fact, the band was being a little more pragmatic than that. “We recorded that one first and, at the time, we were like, ‘We’ve got it done, let’s just release it’. It’s definitely one of the heavier songs on the album so we just wanted to release something that was different to the first album, just to show people that we were capable of doing other things. But, yeah, it was just one of those things of wanting to get something out; keep the momentum going.” Shihad drummer Tom Larkin produced Dancing With A Dead Man, as he did for Calling All Cars’ last album. But this time, according to Ing, it wasn’t just the bloke behind the desk who knew what he was doing. “With the first album, we really learned a lot as we were doing that. We’d be doing parts that we thought we had down and then it was like, ‘Oh, hang on a second, I’m really shit at this.’ This time around, we kind of knew what to expect more. It was kind of like we had our parts down and we knew what to do and so we had the freedom to play with the songs a bit more and change them up. “A lot of the songs, we actually didn’t have them completely written. We worked on them as they were being recorded and that meant we could capture that initial magic of the songs as they were happening. And we really stepped it up this time because we really focused on tone. We spent ages getting really nice bits of guitar sounds and things like that.” There is a particularly persistent rumour floating around that Larkin deliberately overheated the recording studio while Ing was laying down his vocals, causing him to lose dramatic amounts of weight. Various sources have the temperature of poor old Ing’s working environment ranging from 46-56 degrees, with reports of vomiting and fainting, apparently something to do with getting a vocal take to die for (quite literally, it seems). This is something that Ing has both confirmed and denied during various interviews, so Drum gives him the opportunity to once and for all set the record straight. “I better not say too much, otherwise I’ll give away Tom’s unorthodox recording techniques. That could just be somebody starting rumours. It could be. I’ll leave it at that,” he says. In February last year, Calling All Cars managed to grab the support of one of the biggest tours of 2010, warming up the stage for AC/DC. Since that time, the band has also hooked other big name supports in the likes of Grinspoon and Queens Of The Stone Age. By the sounds of it, Ing is a huge fanboy of all the aforementioned. “It was amazing man,” Ing reminisces of those two later tours. “Grinspoon kicked off right after AC/DC. It was kind of like, we’d finished up with AC/DC, so we could let our hair down a little bit and party with the Grinspoon boys. That was a bit of a wild tour. And then Queens Of The Stone Age was just insane. We all grew up listening to them; we were all just huge fanboys with those guys. That was just like a dream come true kind of thing. Watching them from the side of the stage was hot shit. I remember getting asked to step back off stage because I kept trying to see what sort of pedals they were using. The first thing Josh [Homme, Queens Of The Stone Age frontman] said to us when he walked into the dressing room was, ‘You boys drinking?’ It was awesome.”
Thank you to everyone around Australia who ﬁlled out their Census forms. We’ll start returning to your homes to collect paper forms on August 10, so please have your completed form ready. If you completed the eCensus for your whole household, we don’t need to return. It is compulsory, so please join the rest of Australia to shed some light on who we are – and light the way forward for your community. Fill out your form and wait for us to collect it, or complete your form online at census.gov.au
WHO Calling All Cars
If you didn’t receive a form, please call the Census Inquiry Service on 1300 338 776.
WHAT Dancing With A Dead Man (Shock) WHEN & WHERE: Thursday 8 September, Prince Of Wales, Bunbury; Friday 9, Studio 146, Albany; Saturday 10, Amplifier, Perth; Sunday 11, Indi Bar, Scarborough
16 • THE DRUM MEDIA 11 AUGUST 2011
TRIVIAL PURSUIT THERE’S NOTHING TRIVIAL ABOUT THESE FLORIDIANS’ MAMMOTH RISE TO THE FORE OF METAL. TRIVIUM ARE LETTING LOOSE THEIR NEW ALBUM AND TRISTAN BROOMHALL CAUGHT UP WITH SINGER AND GUITARIST MATT HEAFY AHEAD OF ITS RELEASE.
rivium have risen from the band that singer/guitarist Matt Heafy joined in high school at the age of just 12 to become one of the hot-ticket heavy acts and most talked about metal bands of the past decade. Over their history they’ve ridden the swell of metalcore and thrash crossover, and In Waves marks a high point in the career of the band. It’s studio album number five and even a line-up change isn’t slowing the group down as they embark on more touring.
Matt Heafy has fronted the band from the get go. He’s taken the reins as the lead songwriter, lead guitarist and lead vocalist, but it’s more than a one-man show. The 2006 Metal Hammer Golden God winner was 17 when their debut, Embers To Inferno, was recorded and released, and something that immediately struck listeners was his skill as the sole songwriter for that album. For fans, it’s been the longest wait between albums from the band (three years since Shogun), but writing and perfecting the material has taken that long necessarily. “The mental ideas were popping up about three years before the recording,” says Heafy. “We started writing it amongst ourselves, rehearsing as a band. There was a point where we had about three months worth of rehearsal and pre-production demoing just amongst ourselves, and about a year before starting the recording process we were working on the visuals for the record.” He’s quick to point out that the album is wholly open to each fan’s individual interpretation, and isn’t heavy on the mythology and storytelling like Shogun. We’re quick to move on to the studio process which he’s explicitly positive about. In the studio they worked with Colin Richardson, who’s worked with everyone from Napalm Death to Cradle Of Filth, in the producer chair. The role of a producer is often either overlooked or given far too much credit for what they actually do, but Heafy doesn’t discount the impact Richardson had on the whole recording and release process. “The new school way of recording is a pretty unfortunate way of recording and it happens for metal, for metalcore, for deathcore, for death metal, for black metal,” he explains. “But Colin doesn’t work like that. We spent about five days getting guitar tones, trying twenty heads and cabs, guitars and pedals, before winding up on a song, so there was a lot of effort before anything even went down. He was up for the challenge and I really do believe that he did it. When people hear this thing, hear the finished product... ‘cause most people go to Colin just to fix the record, but I think Colin’s just really made the difference. He can really work from the beginning to end, rather than just the last quarter, and make the whole thing sound great.”
WE WANTED TO SHOW PEOPLE THAT WE COULD SOMETHING DIFFERENT AGAIN.”
THE VINES PA PA PRETTY Supported by triple j & Channel [V] & Drum Media
BLEEDING KNEES CLUB
Pinning Trivium with any of the oft-quoted label tags is more than a little difficult. The group’s developed over their history and while In Waves features some stylistic continuity from their previous and acclaimed 2008 Shogun release, it’s an entirely different beast. The band even stated that it’s sound is closer their sophomore release and Kerrang! Album Of The Year winner, Ascendency. “We wanted to show people that we could do something different again and that we’re not sticking to the normal formulas about what’s metal that have been around for the past thirty years.” The band split with original drummer Travis Smith last year after some eleven years in the band, so they faced becoming accustomed to a new skinsman during the recording process. Nick Augusto, the latest addition to the band, is another Florida native and had been friends with the band before joining in February 2010. “One of the most amazing things about having him was that he was up for anything. He was up for anything conceptually that we were doing with the record, but we also knew that he could play anything from technical death metal, [and with his] grindcore background we knew he’d be capable of any kind of drum patterns we wanted to work in to the album,” explains Heafy. “I really do believe that the split was better for Travis, and for him to get away from the band, and that’s really been better for the three of us.” The release of In Waves has seen the band and Roadrunner Records capitalise on it being one of the most eagerly awaited metal releases of the year. For months now there have been studio videos, interviews, cover art reveals and single and video clip releases that have kept fans guessing about the exact path that Trivium are taking. It’s more than just careful release orchestration for the band, as Heafy explains. “We really want to control the flow of information with this album and really do it differently. We wanted to do basically everything with this record. “We knew that with all of that going on we wanted to carefully release everything in a way that’s exciting for fans in terms of having to wait for things. Nowadays everything is so instant that people have made up their minds before listening to the entire record, so we wanted to stagger everything. So when we released In Waves, first thing was just shock. We knew that people would be very surprised. “I guess that’s why we’ve released the songs in that order, so we released In Waves and that’s the turning point for the album, that’s where every thing’s taking shape.” Continuing with the release schedule the band have unveiled Dusk Dismantled, Inception Of The End and Built To Fail, which all still only scratch at the surface of the album, but at least the wait for fans is over. WHO: Trivium
SAT 10 SEPTEMBER CA P I T O L , P E R T H TH
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NEW ALBUM “FUTURE
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WHAT: In Waves (Roadrunner)
THE DRUM MEDIA 11 AUGUST 2011 • 17
ALL TOGETHER NOW “Our first album was very much a collection of music that we had. There were a few from way back in the day when we were 14! Obviously the songs have evolved since then and we’ve focused much more on just actually writing songs for Go Go Chaos as an album. I guess we’ve matured a bit as songwriters and wanted to write songs that had a bit more meaning and a bit more depth to them, so that’s what we strived to achieve with this album. “So around about twelve months ago we decided to stop touring as much as we were at the time and start focusing on writing some new material for this [second] album. So that’s what we did, we just started writing and demo-ing tunes, and then we’d started to get a bit more serious doing some pre-production with the songs. We just narrowed it down to the particular bunch of songs for the album and jumped into Sing Sing [studios] in Melbourne and recorded, pretty much.”
THERE’S NO HINT OF ‘SECOND ALBUM SYNDROME’ IN THE LATEST ALBUM, GO GO CHAOS, FROM EXPAT KIWIS-NOW-MELBURNIANS BONJAH. IN FACT, MICHAEL SMITH DISCOVERS THE BAND IS MORE CONFIDENT THAN EVER.
hile early on Bonjah might have relied on their more groove/reggae-based sounds to create the initial buzz of the band, with their second album, Go Go Chaos, the five-piece are even more committed to allowing the muse to take them where it will than on their debut, Until Dawn. “We just didn’t want to stick to the one sort of vibe I guess,” Bonjah bass player Dave Morgan explains. “We have a lot of different influences and we like to let them come out.” The core of Bonjah, singer and guitarist Glenn Mossop and lead guitarist Regan Lethbridge, met some 22
years ago growing up in Tauranga in New Zealand. Morgan and drummer Dan Chisholm joined them in 2006, not long before they relocated to Melbourne, with percussionist James Majernik later making Bonjah a five-piece. In the two years before they released that 2009 debut album, they’d already sold more than 15,000 independently self-produced EPs and played over 550 shows, predominantly from busking to begin with, making them popular enough to get away with launching Until Dawn on the streets of Melbourne during peak hour traffic. The City of Melbourne even closed off a lane to allow them to perform in front of the GPO Building.
Not that the debut album didn’t attract some serious attention for the quality of its songwriting. Until Dawn was nominated for a Best Blues & Roots Album award for both the 2009 Air and 2010 APRA Awards, while both the first and second singles, Bring Back The Fire and Fly, scored APRA nominations. Bring Back The Fire was re-released last year when it was included on the soundtrack of feature film Matching Jack, with the band donating the proceeds to the Leukaemia Foundation. Rolling Stone named Bonjah one of their “Artists to Watch in 2011”, and the band certainly hasn’t been backward in ensuring they’re just that, leaping straight back into gigging even as recording picked up, releasing two singles, Something We Should Know and White Lines, along the way. “Basically Glenn and Regan are the principle songwriters but for this album we got together as much as we could as a five-piece and just threw ideas out there. Whoever had ideas for any sort of guitar progression or maybe just a riff or even drum beats and stuff like that; any ideas we had we’d just present to the group and work on them, and if they worked they worked, if they didn’t we put them aside and came back to them later. But quite a few of them were songs that were written by Glenn already and we didn’t really tweak them too much at all, we just let them be, they were such strong songs. But it was very much a collaborative effort.”
As it happens, Morgan himself actually contributed significantly to what became the first two songs on the album, Lady Listen and the title track. “Lady Listen is a bass riff I couldn’t stop playing to myself in my bedroom,” he admits with a laugh, “and then I showed it to our drummer who put this amazing beat to it. It was repetitive and I felt we had something here. “Then the second song, Go Go Chaos, started up with this really cruisy, groovy sort of rock tune that I’d sort of come up with and we laid it down a bunch of times in pre-production – it was with us for quite a few months – and when we got into the studio and listened back to it, we made a conscious decision to flip it on its head completely and try and take it on a completely different direction and new sort of style, which we did. So as a band we evolved that track to what it is now. I’d say it was the most collaborative track of all.” Nonetheless, singer Glenn Mossop remained responsible for all the lyrics across the album. “I was particularly surprised with the lyrics he came up with for Lady Listen,” Morgan admits. “Everything musically was heading in the right direction as far as I was concerned and what I had in my head, everyone sort of fell into their parts musically quite effortlessly, but it took Glenn a little while to come up with the lyrics. He had the melody pretty early on and sort of hummed and mumbled away to that – it was a really cool melody. “Then, when he actually wrote the lyrics and had them down in the studio, I remember reading them and thinking, ‘Far out, these are great lyrics for the attitude of the music that I’d envisioned,’ and then when he actually laid down the vocal tracks in the studio I was absolutely stoked, because it was as if he’d just sort of read my mind as to what the attitude of the song was; he really hit the nail on the head.”
WHO: Bonjah WHAT: Go Go Chaos (Shock) WHEN & WHERE: Wednesday 17 August, Indi Bar, Scarborough; Thursday 18, Mojo’s, North Fremantle; Friday 19, Rock Inne Tavern, Karragullen; Saturday 20, Settlers Tavern, Margaret River; Sunday 21, Redcliffe On The Murray, Pinjarra
FEAR ITSELF uncompromising lyrics. There’s considerable buzz around Hell & Back, recorded with Dazastah and Optamus, in which Hunter raps with unflinching honesty about his oncology treatments. Complimented on the track, he seems genuinely pleased. “I appreciate that,” he says warmly. “That’s the exact sort of message we were trying to get across. That was a pretty hard song, and a hard verse to write.” Similarly, he’s not afraid of letting loose on social media. Known for his prolific Twitter account (@HunterSBX), Hunter has regularly shared the details of his illness, treatments, and in many particularly poignant moments, his fears and hopes. While it doesn’t make easy reading in the notoriously glib Twitterverse, Hunter is candid about the strength he finds by keeping in touch with his friends and fans. “When I do have a bad day, and I do mention it on Twitter, and I get all these people coming back to me and telling me that they love me – it does help,” he says, adding thoughtfully, “I guess I am looking for sympathy, but I’m going through some pretty upsetting shit, and I really do appreciate these people messaging me and telling me that they love me. It makes a lot of difference.”
ONE OF PERTH’S MOST PROMINENT MCS, HUNTER HAS JUST RELEASED A NEW COLLABORATION, IS THE SUBJECT OF AN UPCOMING DOCUMENTARY, AND THE PROUD FATHER OF A YOUNG SON. HE’S ALSO BATTLING CANCER. HE SPOKE ABOUT LIFE, HIP HOP AND HIS HOPES FOR THE FUTURE WITH ALEKSIA BARRON.
f you’re aware of Australian hip hop at all, you’ll know the name Robert Hunter. True aficionados will know him as one of the founding members of Syllabolix crew, alongside the likes of Downsyde and Drapht. Of course, if you do know the name Robert Hunter, you’ll also most likely know that he is battling cancer. When he was diagnosed in 2009, aged just 34, the notoriously up-front artist continued to record and perform, rather than fade quietly into the background. He released a number of albums, some of which had been in the works for a few years. Most intriguingly, he took to social media to share his experiences of both his music and his illness, speaking plainly about his experiences. 18 • THE DRUM MEDIA 11 AUGUST 2011
Fear & Loathing, a collaboration with Mortar, is the latest album from the man with one of the highest work rates in Australian music. “We actually started working on that album in 2005, but we were working on other albums between then,” explains Hunter. “We’d do a little bit of work on that, and then go and work on other projects.” Finally, the time came when Hunter decided to shift his focus. “About a year ago, we said it was about time we finished this album off, so we put it all together, wrote the last couple of songs, and ‘bang’ – put it out.” The album’s only been on the shelves a short while, but it’s already being snapped up by eager Aussie hip hop fans, and is gaining notoriety for its utterly
Indeed, there’s been no shortage of people in the Australian hip hop community eager to help Hunter any way they can. In 2010, artists and fans from across the country banded together for ‘Heat For Huntz’, an eBay auction campaign featuring an array of rare, signed albums and memorabilia from the scene. A total of $11,769.11 was raised for Hunter and his young son, Marley. July 2011 saw the emergence of ‘A Month For Huntz’, a Dry July team instigated by Drapht and including the likes of The Tongue, Briggs, and a slew of artists and fans. Raising money for cancer awareness and research, the team raised $10,572.53 and achieved the Number 9 team ranking for the whole of Australia. There’s even a documentary in the works, produced by Periscope Pictures. Hunter: The Documentary will chronicle the artist’s journey following his cancer diagnosis, and is currently in submission with the ABC. “It surprised me, you know?” Hunter says when asked about the support shown to him. “I just hope that one day I can repay the faith and do something nice for someone else, I suppose.” Hunter credits music with keeping his spirits up,
and even with bolstering his health. His Twitter posts frequently feature his self-styled hashtag, #HipHopCuresCancer, and he’s adamant that there’s truth in the sentiment. “I write that because every time I go to a really good gig, or do something, I feel so awesome afterwards,” he explains. “I don’t even feel like I’ve got cancer any more – it’s brilliant.” He also draws comfort from seeing so many of his collaborators and friends find success in the music industry. From Downsyde being nominated for a J Award back in 2005, to Drapht debuting at Number 1 on the ARIA charts this year, Hunter’s work and support has been integral to the growth of WA hip hop – although he’s adamant that Syllabolix have given him more than he could ever reciprocate. “I can’t begin to explain the strength that it’s given me, and I don’t think I’d be here without them,” he says warmly. While Hunter may not have experienced the same level of commercial success as some of his crew members, he’s glad he stayed true to the music he wanted to make. “If I chosen to write my lyrics a different way, maybe I could have gotten a little bit more airplay, but I’m just not that type of rapper,” he says thoughtfully. He’s toned it down in recent years, though, “...not because of the radio, but because of my own beliefs. I’ve got a five-year-old son now, I don’t want him to hear me swearing.” Talking to Hunter, it’s easy to forget, for a moment, that he has been diagnosed with terminal cancer. His enthusiasm for music, his respect for his fellow artists and his passion for hip hop shine through, but it’s his hopes for the future that lay bare the brutality of his situation. “I’d just like one more summer, to tell you the truth,” he says. “If I have to go, I’ve got to go, but if I could have a couple more years... the doctors are saying I don’t have a couple more years, but I’d love to prove them wrong.” We can only hope. WHO: Hunter & Mortar WHAT: Fear & Loathing (Obese) WHEN & WHERE: With Vents - Friday 12 August, Rosemount Hotel, North Perth; Saturday 13, Prince Of Wales, Bunbury; Sunday 14, The Railway Hotel, North Fremantle
FIRST TIME’S A CHARM
TECHNO DJ/PRODUCER PAUL KALKBRENNER HAS BECOME SOMETHING OF A CULT FIGURE AFTER HIS STAR TURN AS A FICTIONAL DJ IN BERLIN CALLING. CYCLONE FINDS OUT IT’S NOT A JOB HE’S PARTICULARLY KEEN TO CONTINUE.
erlin-based techno producer Paul Kalkbrenner did a Sam Riley when he apparently went from musician to feted actor overnight. Riley channeled Ian Curtis in Control, while Kalkbrenner played the fictional DJ Ikarus in Hannes Stöhr’s 2008 satire Berlin Calling. Initially, Kalkbrenner was merely meant to compose Berlin Calling’s soundtrack but, on bonding, Stöhr had some casting inspiration. The film – accompanied by Kalkbrenner’s music – became a cult hit. He even enjoyed a pop smash in Belgium with the song Sky & Sand, which his brother Fritz actually sang. Was this underground stalwart surprised? “It was a steadily growing success, so it was not like I woke one morning and everything had changed,” the media-shy Kalkbrenner maintains. “[But] I never expected it to reach this level – although I hoped for it.” Nevertheless, Kalkbrenner isn’t about to follow Riley and pursue acting full-time. “It was fun for the time being, but getting up at five in the morning [for filming] is not my thing. At this stage there is definitely no further acting for me!”
Kalkbrenner has now released a new album, Icke Wieder (‘Me Again’) – and he’s re-embracing his underground roots. “There was no great plan behind the album. I sat down to work and it just came to me. The only aim was to not follow up on the sound of Berlin Calling and make it more commercial – which a lot of people expected.” Indeed, Kalkbrenner, who in 2010 remixed Moby’s Wait For Me, has shed the vocals. He knows how to create an instrumental album that has subtle variation and drama. And Kalkbrenner isn’t among those electronic producers who question the relevance of the album format, instead favouring single or EP issues exclusively. “I don’t agree on this at all. The album for me is still the format that shapes an artist and his profile. All artists who are known throughout time for one track are known as one hit wonders now.”
ON THE EVE OF PINBACK’S FIRST EVER TOUR TO AUSTRALIA, MULTIINSTRUMENTALIST AND FOUNDING MEMBER ROB CROW TALKS TO STEVE BELL ABOUT KEEPING BUSY AND INDULGING YOUR INSPIRATIONS.
Kalkbrenner was born in the former East German city of Leipzig in 1977. When the Iron Curtain fell, he was a preteen. Kalkbrenner immersed himself in Germany’s rave scene. Electronic music was new – and exciting. “When I was young, there was no such thing in the East. I only discovered it later – when the wall was already down.” Kalkbrenner’s production took off belatedly as he furthered a career as a TV editor. But, from the outset, he was determined to produce and perform live, rather than DJ. He aligned himself with Ellen Allien’s BPitch Control stable in the late ‘90s, coming into his own with a third album, 2004’s Self. Icke Wieder is materialising on Kalkbrenner’s fledgling label, Paul Kalkbrenner Musik, the German splitting from the BPitch Control family. ”It was time for me to move on. There is no beef or trouble, but I felt I have to make this next step by myself.” Kalkbrenner hasn’t wholly abandoned film. Last year, after a sell-out European tour, he aired a live documentary – perhaps his way of separating himself from that decadent Berlin Calling character. ”It was a spontaneous idea that came after filming three shows in Germany. We decided it would be cool to film more shows and put it on a DVD – so we did it. Even if no one wanted it, I would still have use for it one day for my grandchildren as proof that Grandpa is not talking nonsense [about his life].” Kalkbrenner was lately in Australia for the first time, but is non-committal about a return. ”It was a great experience with a great reception from the fans. It was nice to see so many fellow Germans as well.” We can hope. WHO: Paul Kalkbrenner WHAT: Icke Wieder (Fuse)
he core duo of San Diegan indie maestros Pinback – multi-instrumentalists Rob Crow and Zach Smith – are firmly ensconced in their studio working away on what will become their fifth album (working title Information Retrieved, which may or may not allude to some form of computer-related mishap) when the calls come through signalling their promo responsibilities for the band’s inaugural Australian tour. The timing for this tour seems strange, not so much because the band is working on a new record, but, well, because they just haven’t really been doing much for a while. Their last album was 2007’s Autumn Of The Seraphs, but it was even earlier back in 2004 upon the released of the epic Summer In Abaddon when their irons seemed at their hottest and a tour to these parts seemed most likely. But nothing ever eventuated, so it seemed odd when an Australian tour was announced earlier this year seemingly apropos of nothing. “Somebody asked – somebody wanted to do it so we went, ‘Okay!’” Crow shrugs when asked of their impending visit. “It should be fun, hopefully we’ll be able to do more of them once we break the ice. I don’t know what to expect. I know I’m going to love being there, I’m just afraid of planes.” Crow is somewhat of a prolific musician. Some people often have multiple projects on the boil, but Crow takes this to extremes – as well as Pinback, he’s released solo material and albums under a myriad of guises such as Thingy, Heavy Vegetable, Goblin Cock, Optiganally Yours and Physics, to literally name but just a few. Yet it’s the dulcet indie stylings of Pinback – easily the most accessible of his many bands – for which he’s the most known. “They definitely all have a different feeling,” he offers. “This one seems to be the most accessible. I have no idea why - I don’t know how anybody else thinks. That’s just what comes out when Zach and I are together. I like it – I like it a lot. I have lots of fun. We never had a trajectory for it, it was just getting together
and playing stuff and seeing how other people’s attitude towards it defined it for us.” While to date the beautifully textured and somewhat complex pop that Pinback produce in the studio is all that Australian fans are familiar with, the band have also built up a considerable reputation for their live shows, which – according to Crow – only until recently had a reputation of being quite loose with material. “Lately we’ve figured out a ‘fix all’ for our tempo problems – it makes us play better and people seem to enjoy it more,” he chuckles. “The last couple of tours have been the best received of anything that we’ve ever done, even though we’re not supporting a record or anything. “It’s too difficult to explain, although it’s definitely more fun. It’s nothing so simple as playing with backing tracks, it’s like having the whole of every part of our record being mixed live around with us, as well as drummers and keyboard dudes and guitar dudes and all of the regular stuff, so it just makes this huge thing. And there’s a whole visual element that’s all synched up with everything, so it turns into a whole production.” Aside from the new Pinback, album Crow has a plethora of works in progress (“I have a completely finished solo record that will probably be out pretty soon. I’m working on an Optiganally Yours record, two new Goblin Cock records, I’m trying to finish the third Thingy record – it’s just sitting on the computer. There’s tons of stuff.”) yet he seems surprised when asked whether he’s drawn to the act of creation. “I imagine that’s what anybody would be like,” he puzzles. “Theoretically that’s just what a musician-type dude would be. It’s weird that people think it’s weird.” WHO: Pinback WHEN & WHERE: Wednesday 17 August, The Bakery, Northbridge
REAL WORLD MUSIC ELECTRONIC POPSTRESS FANTINE IS ONLY JUST RELEASING HER SECOND SINGLE AND EMBARKING ON HER FIRST NATIONAL TOUR, BUT HER QUIRKY TUNES HAVE ALREADY TAKEN HER TO CUBA, LONDON AND NEW ZEALAND. SHE SHARES SOME TRAVEL STORIES WITH CHRIS FAMILTON.
antine Pritoula may be a new name on the local music scene but in the last two years she has gained some healthy attention and been pegged by many as an emerging talent. At a fleeting glance one might think she is just another R’n’B flavoured pop act, but listen to her singles closely and better yet, experience her live, and you’ll understand the range and maturity she already possesses only two singles into her career. Born to a Russian father and Dominican mother in
Moscow she was raised in both countries before settling in Perth. That rich cultural diversity in her upbringing no doubt influenced the similarly eclectic approach Fantine takes to her songwriting. Her first single Rubberoom was an upbeat pop song while the new single Eleven is a much darker electro-soul track, still firmly rooted in pop melodies. Live, she plays with a full band who comfortably play anything from funk to indie styles making it tricky to tie Fantine down to any one genre, a predicament she is more than happy to be in. “I don’t think I’m part of any scene at the moment but I don’t feel isolated in any way. Her natural predilection for travel and new experiences led her to visit London this year to test the waters and to work on her new single Perfect Strangers with Jason Cox, who has worked with Damon Albarn for the last twenty years. “That was a little bit exciting as I’m a big Gorillaz fan and especially the earlier stuff that he was involved with – as well as being a fan of Blur so I had the double whammy of not just working with Jason Cox
to try and create a new angle on her songs. “I went to Cuba in July to have talks with a Cuban producer over there who worked with the original members of the Buena Vista Social Club to see if he could work on some Latin mixes of my songs. I’m trying to see what things are out there and I’m keeping my options open to working with people of all different styles, but at the same time I’m mindful that people don’t want too many different styles and I need to keep some kind of unified sound that reaches different areas.
but also working in Damon Albarn’s studio which was a great experience. I’d written the song with different people during my previous trip to the UK and Jason has gone and re-arranged it and it is sounding really good. Perfect Strangers splits the difference between the first two singles and lands somewhere in the middle between those two extremes,” enthuses Fantine. Not content to work with the cream of UK producers, she has also cast her net towards the shores of Cuba
“On the writing tour that I did last year I wrote with Ben Lee, who is traditionally a pop writer, but we wrote music that is completely different to stuff you would expect Ben Lee to write. It is good to not pigeonhole people and see what they come up with, and most of the time you are pleasantly surprised.” WHO: Fantine WHEN & WHERE: Thursday 11 August, Mojo’s, North Fremantle
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THE DRUM MEDIA 11 AUGUST 2011 • 19
PSYCHEDELIC SELECTION LOCAL PSYCH-ROCKERS SONPSILO CIRCUS ARE GETTING READY TO LAUNCH THEIR DEBUT EP, AND TROY MUTTON LEARNS FROM BASSIST BEN MCDONALD THAT IT’S JUST THE BEGINNING.
ith one of those band names that’s kind of genius in its design in that it forces you to wonder if you’re saying it right, Sonpsilo Circus have been on the up-and-up around Perth for a couple of years now. Their psych-rock tunes slide in perfectly alongside some other (for now) more famous acts, and over two shows they’re launching their debut EP, one that has been about a year in the making. “We had been lucky enough to be offered free recording opportunities at Blackbird, Sumo, Crank and Fremantle Recording Studios,” begins bassist Ben McDonald. “The Blackbird recordings were what we released as a single, and then we thought we should do a follow up EP so it was just a matter of sourcing out all the recordings, getting them mixed by Parko [Dave Parkin], finishing some bits off here and there. The last thing we did was to record two songs with Brian Mitra at Freo Recording Studios. So I guess from the first to last recording it’s been about a year in the making, but from the time we knew we were making an EP, only a few months.” McDonald, who joined vocalist/guitarist Peter Gower to form the nucleus of Sonpsilo Circus, before the replacement of Jamie Turner on drums by Mitch McDonald, says the band are enjoying some collaborative writing now the band is settled. “We’re always bringing new ideas to each other and lots of the newer stuff is quite collaborative. Some of the older songs are ideas that Pete has worked on. Now with Mitch in the band though I think it will be quite an ‘all hands on deck’ sort of process; we’ve already started working on a few things and its going well!” Things are going so well in fact, that plans are already laid for some album recording later in the year. “We’re planning to go over to a family friend’s place in Kangaroo Valley (NSW) towards the end of the year to record an album. It’s in a beautiful house in a rainforest so we’re pretty looking forward to that!”
NOVEL IDEA SITTING BELOW GROUND IN FAT SHAN’S, SEBASTIAN D’ALONZO SPOKE WITH COREY JOHN RIST OF LOCAL ROCK OUTFIT MEZZANINE, DISMISSING ANY NOTIONS THEY ARE A MASSIVE ATTACK COVER BAND.
A beautiful house in a rainforest sounds like the perfect environment for Sonpsilo Circus’ psych-rock jams to flourish, with a musical style that seems to be hitting its stride around our isolated little corner of the world. McDonald – well his uncle actually – sums up the scene rather succinctly. “My Greek uncle was recently visiting from London and after coming along to a few gigs, by the last one at Mojo’s his observation and summary on the whole scene was, ‘Everyone in Perth is in the ‘70’s…’ – points to hippy-chicks dancing to Tusk – ‘they’re all in the ‘70s here, it’s amazing!’ So I think Perth is psychedelic and maybe its musicians are just feeding that lust by natural selection. I’m not sure where or if we fit in, maybe we’ve come at the tail end of the main explosion but we’re by no means attempting to pick up the pieces, we just like to jam and the way we jam is influenced by our musical tastes, it just so happens our musical tastes are shared by many.” And just like many other local bands, getting exposure outside of this sleepy little deathtoll town is fickle, but definitely not impossible: “As far as getting exposure outside of Perth goes, for us I think the main avenue has been triple j – they’ve given us some great reviews, a few spins and a little feature thing a few weeks back... But it is hard, it’s really who you know a lot of the time. Sometimes you get great responses from outside of Perth but then no-one here really cares... it’s funny. We’re planning to play a few shows, a bit of a tour if you will, over east to tie in with our recording trip.” And so, it seems, the wheels are definitely in motion. WHO: Sonpsilo Circus WHAT: Sonpsilo Circus (Independent) WHEN & WHERE: Saturday 13 August, Mojo’s, North Fremantle; Saturday 20, The Bird, Northbridge
loating through a range of cover bands in high school and soon after branching out into original acts, local four-piece Mezzanine have long been hindered by a recurring on-off status over their three years together. What began as a two-piece collaboration between frontman Corey John Rist and bassist Jago has settled down, with guitarist Andrew Bartlett and drummer Scott Young filling up the empty spaces. “I just sort of forgot about it and let it happen on its own,” says Rist, thankful that a chance encounter at US rockers Midlake’s concert continued the ball rolling. “We all saw each other randomly at the Midlake gig last year and we said ‘fucking hell, we’ve just got to get this going again,’ and it’s been pretty steady since then.” The band’s debut EP Novella, recorded over seven days at Bergerk studios with Al Smith, was a process Rist describes as exhausting and at times jovial but one he was determined to get right. “There’s this period where you walk into a studio and if you don’t click with them it’s going to be a shit of a week. And I sort of sat back watching how Al was going about things and talking and I said, ‘Look, let’s get this all out of the way now. As far as what I want, what you want, what we want. Let’s talk about it right now so we don’t get halfway through it and have an argument or something,’ and we all laid our cards on the table and everything from that point was amazing.“ Not to mention, “If someone can keep up with me and Jago on Seinfeld quotes, then they’re good.” Made up of two new tracks and two oldies, the band were after simplicity and “more hooks than a bait shop”, admitting the song writing process is a slow one, with only a handful making the cut since the band’s inception. “I’ve always said to the guys, if you’re going to write a new song that’s going to be in the set, it has to be as good as the last song,” says Rist. “That could lead to longer jams, weeks of not coming up
with anything or like in the past it will just come straight away. It’s either one of the two. I’d say 80 per cent of our songs we’ve ever written have been within the first ten minutes of rehearsal.” With some lyrics not entirely finished by the time recording had begun, improvisation then became a source for Rist’s Kim Gordon-like vocals. “Writing some lyrics in a fevered sort of drunken state a week before you’re going into the studio and only rehearsing it a few times before you actually do it, I like that. Flying by the seat of your pants kind of style,” Rist tells. “For Apologise, I was in the other room and I re-wrote the chorus and went back in and recorded it within ten minutes…it was the best thing for that song.” Next for the band comes a DIY video clip, more writing and looking to the future to expand their straight-up rock with an intrigue for more cohesive noise: “We wanted to go in and do what we knew we could do well and experiment because we hadn’t done it before. Now we’ve done it, we can take that lesson and go forward.” WHO: Mezzanine WHAT: Novella (Gun Fever/Firestarter) WHEN & WHERE: Saturday 13 August, The Bird, Northbridge
PLAY TO YOUR HEART’S CONTENT The VCA is launching its new Bachelor of Fine Arts in 2012 that has majors in both Contemporary Music Performance and Interactive Composition. So if you’re thinking of studying contemporary music, then think about the Bachelor of Fine Arts at the VCA and play to your heart’s content full time. Find out how to study Contemporary Music at the VCA: www.vca.unimelb.edu.au/bfamusic
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THE DRUM MEDIA 11 AUGUST 2011 • 21
ON THE RECORD
LITTLE DRAGON Ritual Union
BILL WELLS & AIDAN MOFFAT
Everything’s Getting Older
Due later this year for Parklife, Little Dragon have broadened more than just geographical horizons with the release of their bold third effort Ritual Union. Fluxing between genres of new wave, nu-soul and electronic pop, the Swedish foursome has always harbored a distinctively futuristic sound, separating themselves from other Swedish-pop counterparts like The Knife.
Chemikal Underground/Other Tongues
Their latest effort sees them coming even more into their own; with the titular opening track introducing Yukimi Nagano’s cool R’n’B falsetto, casually weaving itself among dreamy synthesizers. Dry and metronomic rhythms trace a common thread throughout nearly every track on the album, including the understated and cyclical percussion in Brush The Heat and Crystalfilm, with Nagano’s organic vocals contrasting nicely against more futuristic beats. Once again showing off high vocal registers in the track Please Turn, you may recognize these same vocal cries in the catchy dubstep tune Wildfire, the product of recent collaboration with London producer SBTRKT.
CD OF THE WEEK
DEPECHE MODE Remixes 2:81-11
Long strands of ear hair, collapsed facial muscles, cracked skin and eyes sunk below crumpling sockets, the artwork for Aidan Moffat (ex-Arab Strap) and Bill Wells’ (occasional Arab Strap ivory tinkler) Everything’s Getting Older pictures what the artists might resemble in thirty years time, an image that must rank as one of the most confrontational album covers since the Dead Kennedy’s employment of HR Giger’s Penis Landscape. The aging process will be inflicted on everyone, yet in our shiny, shallow, youth obsessed pop market, this subject is taboo. Moffat’s unabashed storytelling shows no signs of fading, as with healthy doses of sly humour and sneaky voyeurism, he explores adult topics in courageous, almost masochistic depth. Fatherhood, fiscal responsibilities and family trips to the supermarket are all encompassed within the summary that “freedom’s over-rated anyway”. Marital infidelity promises some kind of escape, but reaps little more than cheap thrills and disappointing revelations of harsh reality.
Legend has it when Richard ‘Aphex Twin’ James was asked to remix Jesus Jones single Zeroes & Ones in the early ‘90s, he totally forgot so hastily gave the courier a DAT of one of his own unfinished tracks. He still got paid handsomely. Thus, one should always approach a remix album with extreme caution. Have you ever bought one that’s since been regarded as a ‘classic’? Please Facebook me if you have.
The ‘Gurge have always had an impeccable sense of timing, and the release of SuperHappyFunTimesFriends is no exception. Coming just a few weeks after the band scored mountains of free publicity when Unit and Tu-Plang polled highly in the triple j Hottest 100 Australian Albums Of All Time count, the band have popped up with their best and certainly most consistent album in 10 years. It’s an album that may never have been, as Regurgitator originally meant to drip feed songs onto the net before touring. But when the tour was suddenly booked and they had no songs, the band hit the home studio hard for an intense threeweek burst. They thrive under pressure, with this release a definite return to their genre-mashing best after 2007’s inconsistent Love & Paranoia.
For a back-catalogue that has been rampantly remixed over the years, Depeche Mode have dodged more than their share of bullets. Their first compilation from 2004 yielded several delights so this sequel was inevitable. UNKLE are a logical choice to turn John The Revellator into a post-industrial dance stomper that would wet the pants of the Loft Sundays crowd. Norwegians Stargate perform the miraculous by turning the hallowed Personal Jesus into a ‘Dubstep for beginners’ masterclass. Trentemøller’s stonking revamp of 2009’s Wrong actually manages to add magic missing from the original. Mostly, one doesn’t merely breathe a sigh of relief with this remixathon, there is much to actively relish.
One-Day opens the album with a thrilling pop-rock blast, but the curveballs soon come as the band delve into guitar-heavy hip hop on All Fake Everything before following this with the English folk ballad Super Happy Funtime. Over the course of just over half an hour, the band also detours through the ‘80s on Into The Night before veering offcourse to Sepultura-style Brazilian drumming on D.M.T42. However the real highlights are the sheer catchiness of rock numbers like Be Still My Noisy Mind and No Show, which sound more like a band having a blast on their first album, rather than 20-year veterans in the game. And, although it’s a big call coming so long after their ‘90s heyday, SuperHappyFunTimesFriends may even give Unit a run for its money as their best release.
Ritual Union marks a more confident and experimental progression from their previous efforts and as a result Little Dragon have separated opinion between fulfillment and frustration. Some may view its minimalism as pleasant and discerning, while others might feel that they’ve fallen into the paradox of choice by dabbling in too many genres without completely fulfilling their potential in any particular one. Either way, it is said that good art is subjective and supposed to spark debate, and Little Dragon certainly hasn’t failed to do so.
A sympathetic accompaniment, Wells’ piano work resounds expressively, often as a touching contrast to Moffat’s deadpan delivery. Frequently mournful, but occasionally sweet, his best work resides on the album’s emotional centrepiece The Copper Top; a devastating first person account of preparing for a friend’s funeral, before retreating to the pub to reflect that “birth, love and death, the only reasons to get dressed up”. No matter how tarnished his exterior, Moffat’s insight remains as brutally sharp as ever on this unflinchingly human statement.
CHRISTOPHER H JAMES
TEX PERKINS & THE DARK HORSES
Dejected, burnt out and unsure of their future following the commercial failure of their previous album See You On The Other Side, Mercury Rev’s epic, rural retreat album Deserter’s Songs was conjured and crafted amidst the rugged beauty of upstate New York. An unexpected triumph, it also marked an irreversible change in direction; slamming the door shut on the psychedelic, barely organised chaos of yore to embark on a picturesque journey into baroque dream-pop.
First noticed as a guest performer on David Sitek’s Maximum Balloon album as well as with his celebrated mixtapes, which incorporated a kaleidoscopic array of styles, Theophilus London’s debut demands immediate and full attention. The electro-Peter Gunn twang fired Last Name London will answer questions of how to pronounce his first name, while taking residence in your brain long after the album has been put to rest. It’s an old-skool MC boasting that, with lines like “She getting naked on Skype”, gives false indication to the smart rhymes that duly follow.
Two and a half years since his debut Where Were U in ‘92?, Zomby is back with Dedication. Its overall haziness and minimalistic tones have the effect of blurring genres, treading the tenuous ground of what could possibly be defined as post-dubstep. Arguably ambient, particularly with the deceptively quiet introduction of Witch Hunt, the album is somewhat disorientating with its choppy switches in mood. Take for example the brooding darkness of Black Orchid being shortly followed by the infinitely more snappy Riding With Death. Second track Natalia’s Song brings to mind a perhaps inevitable comparison with Burial, yet the final impression is a distinct flavour that is unique to Zomby.
Tex Perkin & The Dark Horses Dark Horse/Inertia This second deliverance from Tex Perkins and his five talented horsemen trots you down break-up road in an intimate and lyrical story that depicts the harsh reality of lost love. Upon entry, a warning sign should read: ‘Heartbreak tears WILL appear’. It doesn’t, however it’s not such a bad thing to reflect on heartbreak, and when it’s done with such poetic genius you almost don’t seem to mind. The warm strumming and husky tones of Tex Perkins’ voice turns on your vulnerability and immediately draws you in to the journey. The first song What Do You Want Now? instantly reminds you of the sadness that you may have stumbled across before or presently still are. Lyrics such as “I changed everything about me that you didn’t like” may make you squirm and cringe at the true reality of it. The road deepens and starts to take shape with the song You Haunt Me. The howling harmonies beautifully connect you lyrically to Tex Perkins, making you feel like you’re to blame. This is how music should be written.
Deserter’s Songs: Deluxe Edition
With every effort made to capture a sense of cinematic grandeur – the original masters were even recorded on 35mm magnetic film – the results remain exquisite. The glacial strings that introduce the opening Holes are astonishing; affecting enough to induce a dropeverything-and-listen sense of wonder so overpowering it could stop birds in mid-flight. This fairytale quality continues through the gorgeously tragic Opus 40, to the pure drama of Goddess On A Highway.
Even though it’s a sad reflection, your spirits are lifted with the saving song, Everything Is Gonna Be Alright. Hopeful lyrics like “Just keep crawling into the light” give you the reassurance you’ve been looking for throughout the whole album. Tex Perkins & The Dark Horses slowly draws you in with the group’s soft harmonies, poignant lyrics and brassy instrumental goodness throughout this 14-track album. A diversion from the Beasts Of Bourbon rock’n’roll dude we’re used to, and one worth taking. Bring on sensitive Tex!
On this deluxe edition, original producer Dave Fridmann, Flaming Lips’ celebrated sonic director, dusts off the masters, although it would take a discerning ear to notice any substantial differences. The bonus disc, Deserted Songs, offers a handful of unreleased remixes in amongst a slew of demos, which for hardcore fans may be the biggest draw, as it presents a rare chance to hear the Rev deprived of their immense production values. Donahue’s voice in particular sounds practically naked, yet with all the veneer and studio trickery stripped away, many of these lo-fi versions virtually glow with a quirky charm that’s impossible to resist, providing nascent glimpses of Deserter’s Songs extraordinary character.
CHRISTOPHER H JAMES
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Elsewhere, there are inevitable disappointments and ‘in it for the money’ half-arsed efforts, such as M83‘s tremendously dull Suffer Well and Hunemann & Bozin’s Everything Counts. Then there is Eric Prydz, who has made a career out of brow-beating four second samples into dancefloor ordeals. His seven-minute take on Never Let Me Down is the equivalent of watching three hours of porn without seeing a single dangly bit or money shot. Cherry-pick the best bits of this album and savour when your iLung shuffles them out for you.
Timez Are Weird These Days
The thrill of Timez Are Weird These Days is akin to careering down a water-slide tunnel at high speed, swooping round and round into TV On the Radio, Groove Armada and Kanye West territories. London revels in keeping both feet on the dancefloor at all times. In Love Is Real, the sense of dewy-eyed hip hop nostalgia evokes LL Cool J at the height of his powers, while One Last Time is an entry point for modern hip hop fans who champion the current top 40 roster of daft-party rappers. The key difference between London and the likes of LMFAO is London’s reliance on a well played-with studio, rather than lazy samples by some teenage Euro DJ to carry his deep-funk informed hip hop and grooves. Elsewhere, Sara Quinn (Tegan & Sara) guests on the boudoir-lamenting Why Even Try and London signs off with I Stand Alone, carried by a jangly guitar riff that suggests The Smiths. It’s a rip-roaring sendoff to accompany that last drink in the bar…before moving on to the after-party! Let’s just hope by the sequel he’s not calling himself ‘T-Lo’. MAC MCNAUGHTON
Things Fall Apart is somewhat of a gun shot of an introduction and the lyrics of Noah ‘Panda Bear’ Lennox. It’s definitely a highlight of the album, the repetitions being oddly catchy. Then there’s the aptly named Digital Rain, which sounds exactly what one would imagine a shower would sound like inside a computer mainframe. The gentle, smooth bass and toy keyboard rhythms of A Devil Lay Here is rapidly followed by echoes of drum’n’bass in Florence. Basquiat is the embodiment of melancholy, a plodding piano solo that effectively stalls in-between the more upbeat electronic tracks. The album is rounded off by Mozaik, which, while considerably more invigorating than its predecessors, nevertheless retains that element of heaviness. Dedication is a mixed collection of disorientated beats and eerie synths. While it may not suit everyone’s taste buds, Zomby’s certainly created a work that engages emotion. LILY SEABROOKE
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THE DRUM MEDIA 11 AUGUST 2011 • 23
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11 - 17 AUGUST 2011 email@example.com
GIG OF THE WEEK :
ABBE MAY @ VARIOUS
GOMEZ BY GRAHAM CLARK
With her album Design Desire now out in the wilderness, Perth’s favourite daughter Abbe May is hitting the road to rock it around the country. Of course she kicks it all off in her home town this weekend, going full steam ahead with new single Taurus Chorus smashing radiowaves all over the place. An enigmatic artist, Abbe May has been brewing her captivating live show and unique rock’n’roll over the past four years, which has seen her accumulate numerous accolades – she even featured on this mag’s very cover a couple of weeks back. She’s also an intense and primal live performer, capable of slaying an audience with her electric guitar and then stripping it back to a disarmingly intimate delivery. Thursday 11 August the she plays Prince Of Wales in Bunbury, with Tomas Ford emceeing proceedings plus special guests; Saturday 13 she plays a massive show at the Astor Theatre, Mt Lawley, with support from The Silents, Mathas, DJ Rex Monsoon and Mr Ford; and finally she’s back down south at Settlers Tavern, Margaret River on Friday 19 August with Polly Medlin on support duties. Tickets through Heatseeker, Oztix, Star Surf, 78’s, Mills, Planet and the venues.
WORLD’S END, 2012?
We should have organised some kind of celebration to mark the 250th edition of Drum, but we’ve been too busy continuing to put together what we aspire to be the most credible, entertaining, informative and cutting-edge streetpress in WA. Besides, some of the industry’s heads are still struggling to recover from our launch nearly five years ago…
London’s burning, share markets are crashing, America’s economy is self-imploding, the world’s banks are getting richer while their customers get poorer, genocide’s running rife in Sudan, Norway’s now home to a mass murderer, the Dockers are going down in a blaze of worry… While we don’t subscribe to Mayan calendars, things better pick up soon or else there’s going to be some nervous people out there. And self-fulfilling prophecies are most certainly real.
WU-TANG CONTROL We’ve never seen such a large group of unemployable, stab-happy looking people assembled in one place. Instead of turning bad though, the Clan crowd was too busy feeling the Wu-love to be violent. Well done gangsters!
SOUNDWAVE REVOLUTION It’s canning is more evidence to support end of days theories.
Be sure to see Wim Wender’s truly breathtaking ode to the choreographer if you felt uninspired about humanity after seeing Rise Of The Planet Of The Apes.
The true Masterchefs of annoyance.
DRUM MEDIA PRESENTS : UK GARAGE REUNION: AUG 12 Shape Bar CATHERINE TRAICOS & THE STARRY NIGHT: AUG 12 Settlers Tavern; AUG 13 The Bakery; AUG 14 The Bird MEZZANINE EP LAUNCH: AUG 13 The Bird BONJAH: AUG 17 Indi Bar; AUG 18 Mojo’s; AUG 19 Rock Inne Tav; AUG 20 Settlers Tavern; AUG 21 Redcliffe On The Murray JAMMIN’ SEMI FINAL 1: AUG 18 Ya Ya’s RTRFM RADIOTHON OPENING PARTY: AUG 20 The Bakery EAGLE & THE WORM, THE FROWNING CLOUDS: AUG 24 Prince Of Wales; AUG 25 The Bakery; AUG 26 Mojo’s JAMMIN’ SEMI FINAL 2: AUG 18 Ya Ya’s SPEAKEASY: STONEFIELD, NINA LAS VEGAS, OSCAR+MARTIN: AUG 26 Villa
Joondalup; AUG 25 Prince Of Wales; AUG 26 Amplifier; AUG 27 Mojo’s THE PANDA BAND: AUG 26 Rosemount Hotel; SEP 2 Players Bar RTRFM RADIOTHON CLOSING PARTY: AUG 27 The Bakery HYPERFEST: ARCHITECTURE IN HELSINKI, ILLY, CHILDREN COLLIDE, STONEFIELD, PAPA VS. PRETTY and locals: AUG 28 Midland City Workshops AMPFEST: AUG/SEPT Various BEN SALTER: SEP 1 The Bird; SEP 2 Norfolk Basement ROTTOFEST: SEP 3 & 4 Rottnest Island CALLING ALL CARS, BOY IN A BOX, REDCOATS: SEP 8 Prince Of Wales; SEP 9 Studio 146; SEP 10 Amplifier; SEP 11 Indi Bar
HYDE-PARKLIFE: AUG 26 Hyde Park Hotel
THE BROW HORN ORCHESTRA EP LAUNCH: SEP 9 The Court Hotel
LEADER CHEETAH, BELLES WILL RING: AUG 24 Boulevard Tavern,
THE HERD, SIETTA: SEP 9 Metropolis Fremantle; SEP 10 Settlers Tavern
THE VINES, PAPA VS. PRETTY, BLEEDING KNEES CLUB: SEP 10 Capitol + THE PANICS: SEP 14 Settlers Tavern; SEP 15 Prince Of Wales; SEP 17 Fly By Night SEBADOH: SEP 16 Rosemount Hotel JACK LADDER & THE DREAMLANDERS, GHOUL: SEP 23 Prince Of Wales; SEP 24 Rosemount Hotel BASTARDFEST: PSYCROPTIC, BLOOD DUSTER and locals: SEP 24 Civic Hotel PARKLIFE: ADRIAN LUX, CRYSTAL FIGHTERS, DEATH FROM ABOVE 1979, DIGITALISM (LIVE), DIPLO, DUCK SAUCE, EXAMPLE, FEED ME, FLUX PAVILION, GOLD FIELDS, GOSSIP, KATY B, KIMBRA, LITTLE DRAGON, LYKKE LI, MAGNETIC MAN, MYLO, NERO, SANTIGOLD and more: SEP 25 Wellington Square GODSKITCHEN 3D: MARCO V, RICHARD DURAND, JOHN ASKEW, BEN GOLD, BINARY FINARY (LIVE): SEP 30 Metro City
OKKERVIL RIVER: OCT 12 Capitol WAM SONG OF THE YEAR: OCT 12 Venue TBA ESKIMO JOE: OCT 14 Astor Theatre THE TALLEST MAN ON EARTH, OLD MAN RIVER: OCT 27 Rosemount Hotel; OCT 29 Wave Rock KILLPOP RECORDS FEAT. ELI SMITH, LUCKY DATE: OCT 28 The Bakery HEIRS, ALCEST: OCT 29 The Bakery THE JEZABELS, HEY ROSETTA!, WOLVES AT THE DOOR: NOV 4 Astor Theatre ARCTIC MONKEYS: JAN 6 Belvoir Amphitheatre SOUTHBOUND: ARCTIC MONKEYS, ARJ BARKER, FLEET FOXES, THE JEZABELS, TIM FINN, CRYSTAL CASTLES, JOSH PYKE, PAPA VS. PRETTY, DJ YODA and more TBA: JAN 7 & 8 Sir Stewart Bovell Park ONGOING: GIGNITION: Upcoming band showcases 5-9pm each Sunday at Swan Basement
Astor Theatre, Mt Lawley 07/09/11 When the Astor Theatre is only half full, it’s a little bit haunting. So when The Ghost Hotel sauntered on stage for a really early Sunday support slot, their namesake became almost a little too appropriate. ‘How good is the smell of popcorn in this room?’ one of them remarked as they kicked off. Crowd numbers soon swelled though and the local super group began to hit their straps. The only hindrance was some sound issues with not all of the singers having an even mix – always difficult in such a room. The band’s rolling melodies and alt-folk-ness was certainly appropriate musical foreplay for the headlining romp to come. Standing amongst a bunch of Gomez fans is not dissimilar to queuing up to get into a Star Wars convention. The band have always had a passionate and somewhat obsessive fan base, and seem to attract the kind of audience who will head to the Moon Café for a late night game of Dungeons & Dragons. This passionate following is nothing to be balked at however as the theatre was quickly filled to the
brim. Considering the nature of their music, the opening track was a bit of a surprise, flashing lights and a synthy backing track got everybody’s attention and singer Ben Ottwell’s vocals are instantly recognisable. As the set progressed, the wandering surf rock washed over the crowd and it became instantly noticeable that the band, or a version of it, have been playing together for over 15 years. The instrumentation was tight, harmonies rich and the melodies themselves have more hook than any modern day pop song. The band shared the vocals evenly amongst the three singers, each with their own style of voice and song. About half way through the set, Get Myself Arrested brought the house down, showing the age of most of the fans. There were also massive Kumbaya sing-along moments during Sweet Virginia and Here Comes The Breeze. As the show drew to an end, there was a feeling of warmth and appreciation this reviewer had not yet experienced at an Astor gig. Credit should be given to any band that makes a venue as large as that seem intimate and inviting, and after a much cheered-for encore the band was seen off stage by a well-deserved standing ovation. BARON GUTTER THE DRUM MEDIA 11 AUGUST 2011 • 25
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FEAR IN YOU
FEEDBACK Villa, East Perth 06/08/11
BEATLES BACK2BACK Regal Theatre, Subiaco 07/08/11 You may have heard of The Beatles. They invented pop music, ‘the boy band’ and the auto-cat feeder. Now, whilst everyone from Janet Jackson to Meat Loaf are engaging monumentally lucrative retro tours, it’s a no brainer for six Aussie rock stalwarts to milk the canon of The Greatest Band Ever™. Mark Seymour (formerly of Hunters & Collectors), Irwin Thomas (Southern Sons), Jon Toogood (Shihad), Rai Thistlethwaite (Thirsty Merc), Dean McGrath (Hungry Kids Of Hungary) and Tim Morrison (Trial Kennedy) played The Beatles Sgt. Pepper’s Lonely Hearts Club Band and Abbey Road albums back to back, in their entirety supported by a whopping 17 piece band. Being met by the whole ensemble for a rapturous Sgt. Pepper’s opener, it’s obvious we’re not witnessing a desperate Beatles tribute, more a celebration of some great songs (and Octopus’s Garden). How revellous that celebration is lies in whomever takes the vocals, which chops and changes with the revolving door aesthetic of an X-Factor showcase. Surprisingly, it is elder statesman Seymour who looks the most wooden and uncomfortable, like an angry father about to bust the kids’ party when singing Within You, Without You. Rai Thistlethwaite also looks and sounds out of place, all but phoning in his performance of the likes of Oh Darling with the disconnected gait of someone sleepwalking onto the Sunrise set. Just when one thinks the evening is destined to be a large scale touring of a SingStar game, both Jon Toogood (possessor of the most iconic black denim clad legs in Kiwi rock history) and Irwin Thomas completely nail their marks. Never trying to ape Lennon or McCartney, Irwin’s take on She’s Leaving Home is breathtaking, his falsetto candescent with the string section. Likewise, Toogood lives up to his name, bouncing around the stage, visibly taking great privilege in singing songs like Mr. Kite. It made me realise how much I miss Shihad. The focus falls to the varying egos and charm of the frontmen who, whilst may have had good intentions with the concept, could have worked on their own execution. Tonight proves a bloated indulgence for both participants and audience alike. MAC MCNAUGHTON
26 • THE DRUM MEDIA 11 AUGUST 2011
NEXT BIG THING CD LAUNCH
every song flowed, every track seemed to compliment the next, it was an absolute bender of a set layout and a fantastic atmosphere to match.
KELE BY STEREO VELVET
Performing this Thursday 11 August at The Velvet Lounge will be last week’s Darkwave headliners Fear Of Comedy, with special guests The Frighteners, Ron Pollard Quintet and Nagy. Entry is free and doors open at 8pm. Head to fearofcomedy.bandcamp.com to preview some recently mastered recordings of some new tracks.
Another dark and stormy night in Perth did little to deter the punters as a full house huddled together inside Villa to enjoy Kele Okereke and his now well-established solo project. First up Melbournian indie-electronica outfit Strange Talk were warmly received by a sizeable crowd as they bounded on to the tightly packed Villa stage. The lads wasted no time through racy opener We Can Pretend, and delved into contagious new single Eskimo Boy. The set saw them cover all material from their self-titled debut EP release this year as well as a bassdriven cover of No Doubt’s Hella Good, which delighted the crowd. An eruption of shrieks signalled the arrival of Kele to the stage with his more than accomplished supporting band, hitting the ground running with Walk Tall, the opener to his 2010 album The Boxer. This was followed with On The Lam and heartfelt single Everything You Wanted, which saw a sea of hands clapping along frantically. The casual statement “I have another band, this is by them” was followed with a medley of Bloc Party songs including tweaked versions of Bluest Light, The Prayer and One More Chance. His debut single Tenderoni was also well-received, prompting Okereke to fling his person, playfully adorned in a fluorescent security vest, into the midst of his enamoured fans, clearly enjoying the final set of his Australian tour which finished up with the uplifting Stronger. After the obligatory break, Kele’s anticipated return saw more energetically delivered songs from the album, as well as new tracks Stress and Martin Solveig-collab Ready 2 Go, before finally reaching back into the Bloc Party vault for a lively rendition of Flux. Kele, unlike numerous musicians who make the leap to solo songsmith, embraces his past creations that have made him the accomplished artist he is today. The incorporation is expectedly entertaining and should see him welcomed back time and time again, no matter what musical forms his future holds. CHRIS HEALING
FLOATINGME Rosemount Hotel, North Perth 06/08/11 The crowd was definitely eager for the entire line-up this night gauging by the early turnout at The Rosemount Hotel. Sleeping Giant brought the place a-blazing with a blistering opener, great vocals and a clear, crisp backline that really got the attention of the audience straight away. By halfway through the follow-up band Further Earth, the sound had cleared up due to some bad levels early on in their performance, but this aside, the versatility of this group coupled with an epic final song made them a treat to hear. Before the final act was Wolves, a five-piece dynamic surprise. This band had a lot to offer, from the mood being set by solid percussion, to the enchanting yet driven melodies of the electric violinist, there was difference in every track. By now the venue tight for space… Yep, Floating Me (featuring members of COG and Karnivool) were about to take the stage. A clean, depressed vocal melody started the show accompanied by a build that ran straight through you. Not a lot of movement from the audience would make you think the band was crap, but the looks on their faces said it all, still and amazed, until the song Spirals. For the hour these rockers owned the stage,
05/08/2011 Amplifier Bar, Perth
First to the stage to celebrate the release of the NBT CD, Jonny Taylor and his drummer started things off with a pretty chilled acoustic set. Things picked up after that when The Brown Study Band took the stage. They have a pretty rad psychotropic rock opera thing going on. The audience was small at this point but really enjoyed the band’s stabs of dramatic chords and power ballads. Up next were The Love Junkies, with a combination of heavy post rock with soulful interludes. They played a good set before James Teague (with band) took the stage and mixed things up. These guys were spilling buckets of weird and awesome all over the stage. Teague’s lyricism was captivating and the diversity of the band and the genres made for a real treat complete with banjo and ukulele. 2010 competition winners The Brow Horn Orchestra ended the night in their usual big way, with heaps of energy that had everybody dancing. This group has a stage presence like no other, and they proved why they earned their title. The Next Big Thing 2010 was a great way of showcasing WA’s local talent, and everything you can find on the CD is worth giving a listen to. Here’s hoping the competition’s break will see it coming back bigger and better in 2012. OLIVIA GARDNER
RAINY DAY WOMEN Norfolk Basement 05/08/11
Kicking off with a fantastically fabricated anecdote, the vocal dynamics and reserved yet assured instrumentation of Michael Swann & The Fox Fantasy made for a charismatic opening set. Located somewhere around your upbeat folk-pop, the four-piece blended harmonies with swagger to elicit a confident and charming set. As the boogie-bustin’ Bastian’s Happy Flight took over, the vibe in the room had no choice but to pick up. Whether darkening the mood with a splash of Vodka Ginger, or displaying a dancing disposition with Dancing, the extra prominence afforded to the bass and guitar made for an assertive set. Whilst the bluesy Black Board Minds dedicated a song to “the tambourine”, the shared vocal duties, resonator guitar, harmonica, extra percussion and plenty of wah-infused solos provided a real smorgasbord of sounds. Taking to the stage to launch their newest single If, Rainy Day Women treated the full basement to some slow grooves and danceable ditties early. Channeling the stronger moments of The Kooks or Goo Goo Dolls, the haunting organs and bustling stage energy could have drawn away from the songs themselves, however the professionalism and craftsmanship of the band ensured the contrary. Prepared to bring the big grooves or rock it out when necessary, some elaborated bridges and burly crescendos pleased the crowd before a cover of George Michael’s Faith led to the launch of If and a closing track that had the whole room grooving. LUKE BUTCHER
The Ellington Jazz Club features a very special guest Friday 12 August with former Superjesus frontwoman Sarah McLeod playing a very special, intimate solo acoustic show from 8pm. She’s supported by 2010 WAM Song Of The Year winner Georgi Kay, and they’re both followed by Odette Mercy & Her Soul Atomics for the Late Night Groove series.
NIGHTMARE SEQUENCE A nightmare on James street is the metal theme this Friday 12 August the Rocket Room. Vespers Descent headline the night with some brutal metal acts supporting in the thunderous Befallen, the blinding Ill Vision and ball tearing Reflections Of Ruin. DJ Brett Rowe and a special guest Ormsby Guitars DJ spin their favourite tunes all night long.
DOUBLE BECKER Totaling more than 150 live shows last year, Mitch Becker has graced the stage with many artists including Paul Greene, Jarrah Thompson, The Brow Horn Orchestra, Craig Sinclair and Mister & Sunbird. In a genre that exceeds classification his music features again tonight at The Mustang Bar, with support from Simon Marks.
AMP IT UP The 2011 Ampfest band competition continues Friday 12 August, for the opportunity to play in the final Saturday 3 September at the Octagon Theatre alongside Tim & Jean, along with over $10,000 worth of prizes. Heat Two at CMIT Leederville features The King & The Club, Mezzanine, Morgan Bain & Co., The Bedward Smiths and Sisters Doll. All events are free and ALL-AGES.
HILLS HAVE EYES Those unruly yet just men of dirge rock, The Kill Devil Hills, are back on The Bakery stage for the first time since their last show at the venue alongside Kim Salmon. They’re supported by some special guests from different spots around the world, including Thomy & The Tanks (VIC), Catherine Traicos & The Starry Night (VIC), Destination Cervo (France) and The Seals.
SHINBONERS The West Coast Blues Club celebrates another year Saturday 13 August at the Pace Road Tavern in Madina with The Shinkickers and Rockingham band Superficial. The Shinkickers have celebrated their 15th year in existence, and show no signs of slowing down.
WASH IT AWAY After selling out The Bird in July, Wash take over YaYa’s Friday 12 August, the band’s final show before they knuckle down to mix and master their debut EP. Support from Lionel, The Autumn Isles and The Prevues, $7 from 8.30pm til 2am.
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HOOK IT UP
HAVE YOU HE ARD
Those local bastards of punk rock Chainsaw Hookers return to the Rosemount Hotel – a scene of many previous crimes – this Thursday 11 August with a fistful of new songs from their recently recorded debut album. The Kuillotines, Wizard Sleeve and Victorians Thomy & The Tanks will also be rocking the show.
THRONE ROOM ALAN BOYLE
ALAN BOYLE FROM: Brisbane Next gig/s: Friday 12 August, X-Wray Café, Fremantle; Sunday 14, Redcliffe On The Murray, Pinjarra. Your sound: Raw, powerful, honest, broken love, whiskey and blood. Performing solo since: Most of my life, but in Australia since 2007. What instruments do you play? Guitar. Acts that have inspired your sound the most? Glen Hansard, Kris Kristofferson, Billie Holiday, Bruce Springsteen, Rufus Wainwright, Ray La Montagne, Howlin’ Wolf, Leadbelly, Janis Joplin… Your worst gig ever and why? I once played a Corporate Christmas party with a mate. It was a very high-flying party, hundreds of people and we were just two lads in the corner playing the same four Beatles songs over and over – after a couple of hours the owner of the company (who was my friend’s uncle) sent his PA over with a check for double our fee and told us to piss off. Funny in retrospect, but we were mortified at the time.
Ale-guzzling folk-metal warriors Claim The Throne head around the country to celebrate their new album Triumph & Beyond. Friday 12 August they play Amplifier before heading around the country, back just in time for Bastardfest, Saturday 24 September at The Civic. Putting the ‘fun’ in funnels since 2005, Claim The Throne have built a reputation for outrageous live performances and a unique take on the folk-metal genre.
Russian Winters’ first single Pacific is a thick slab of dark-indie pop goodness that indicates the bold sound the band has achieved over the last 12 months of writing. Get that and more Sunday 14 August at The Newport Hotel, free from 6pm.
Your best gig ever and why? I was back to Ireland for a tour a few years ago, and played a show in my hometown Killybegs for the first time ever. It was mental – the pints were flying, the place was totally packed and they were with me all night.
Five years ago a story started that would spread like fire across a generation, a story called To Write Love on Her Arms. This August Chad Moses, a speaker from TWLOHA, will be visiting Perth as a part of the Under18’s Gravity Tour, and will be appearing at the Fly By Night alongside We Are The Emergency, In League, The Calling Of Levi and Queensland’s For This Cause.
Best achievement? Winning the Billy Thorpe Scholarship Award in 2009.
Any show in history? Elvis’ ’68 Comeback Special. Dude was on fire. Fave acts playing at the moment in your home state? Silent Feature Era, Ben Salter and Jackie Marshall. Best 3 acts EVER to come out of Perth? John Butler, Abbe May and Pendulum. Any releases out? Shallow Heart (EP, 2005); Oxygen (EP, 2009); Highway Of Dreams (Single, 2011) Any releases on their way? I’m recording a new album with producer Magoo for release in early 2012 – Highway Of Dreams is the first single from it, with another to follow later this year. More info: alanboylemusic.com.
Fresh after supporting Elbow, Isobel Campbell & Mark Lanegan and Gomez, The Ghost Hotel have a free Sunday arvo residency at The Bird from 2 til 5pm, this week featuring Catherine Traicos. The bands also pair up this Friday 12 August when they hit Settlers Tavern, Margaret River, where they’ll be joined by Billie Rogers.
METAL MAYHEM Headbang your way to the Civic Hotel Saturday 13 August from 7pm for an epic night of metal and rock. Over two stages catch Sleepfreak, Legacy Of Supremacy, Hyte, Paltiva, Thirty3Victims, Beyond Never and Prisoners Of Faith.
The votes are now in for the 2011 Public Choice award, as publicly voted on Facebook. Congratulations to William Buck, who’s photograph of WA band French Rockets titled ‘Modern Psychedelia’ has won a Lomo camera and film, courtesy of pigeonhole.com.au. Kiss My Camera is a free photographic competition and exhibition of WA music industry images, presented by the West Australian Music Association (WAM) and The Western Australian Museum as part of the annual WAMi Festival. For more information about the exhibition, and to see the grand prize & public choice winning images, head to wam.asn.au/ kissmycamera.
WAM LAUNCHPAD WAM LaunchPad is WA’s premier source for release information, dedicated to new, original West Australian music. Artists, managers, promoters, distributors, venues, studios – get your confirmed launch details in for free inclusion on the WAMi website. Launch items submitted by the last Monday each month are also distributed the following month in WAM eNews. Head to wam. asn.au/launchpad for full details on how to use this free yet invaluable promotional service – or email firstname.lastname@example.org for more info!
‘Lady Songbirds’ combines the beautiful voices of Sian Brown, Minky G and Tiaryn Griggs, and all three perform solo sets at the Paddo in Mt Hawthorn, Wednesday 17 August 2011. Free from 7.45pm. Warm your soul and clear away the winter blues with awesome music by these three supreme female artists.
CONTEMPORARY MUSIC INDUSTRY NEWS WITH JUSTINE THORNLEY
KISS MY CAMERA WRAP-UP
GHOST N STUFF CLAIM THE THRONE
MELTING MELODIES From the muddy depths of where a song begins to the light of day where it ends, most of us as an audience only get to see the end product of a song and never really know where it started or came from. The Melting Pot at Fat Shan Records Friday 12 August features Lucy Peach, Mama Boots, Tim Gordon, Hugh Jennings, KT Rumble and The Sun Orchestra sharing their stories through song.
WHAT CAN WAM DO FOR YOU? “…this thing we call ‘failure’ is not the falling down, but the staying down.” - Mary Pickford. Helping artists right across WA of all ages and all genres get their music played or heard is WAM – your not for profit music association, existing to develop the WA contemporary music industry. Visit wam.asn.au or call 9227 7962 and join today.
Devilles Pad has another big weekend of vintage rock and good time fun coming up with ‘Showboat Bordello’, Friday 13 August featuring Lucky Seven (ADEL) and Harry Deluxe, plus Kitty Letteur gets the tassles spinning. Saturday 14 it’s a Fab ‘60s Party featuring The Little White Lines and The Sweet Janes, plus DJs Barbara Blaze and Karl Smart, and of course Les Sataniques GoGo. $10 after 8pm, free before.
WOMEN UNITED The newly-formed 2011-12 Young UN Women Australia Perth Committee is holding its first fundraising event of the year at The Ellington Jazz Club, Thursday 11 August wit talented local jazz singer Nicola Milan. The current fundraising campaign is focused on the UN Women Pacific Facility Fund, which helps fund small organisations throughout the Asia-Pacific region.
FUNERAL PARTY @ AMPLIFIER BY STEREO VELVET
THE AMID 46 IPHONE APP HAS ARRIVED HEAD TO THE APP STORE NOW AND FOR JUST $24.99 HAVE ALL THE INDUSTRY CONTACTS YOU NEED ONE TOUCH AWAY
THE DRUM MEDIA 11 AUGUST 2011 •27
11 - 17 AUGUST 2011 email@example.com
GLASS HALF FULL
Victorian punk-rockers The Half Pints are headed our way this weekend to cause a ruckus. Having already destroyed the south on Tuesday night, catch them at the Civic Den Friday 12 August, supported by Surprise Sex Attack and Mattress Security, then Sunday 14 at the Swan Basement with Ten Points For Glenroy, Montage Of Jesus, Ants At A Picnic and Dan Decline.
RED SHED REDEMPTION SOLAR BARGE
SOLAR BARGE Give a brief rundown of the history of your band from day one to now: Solar Barge was conceived two years ago, the product of two separate but somehow compatible interests at the time: heavy, repetitive, warped hypnotic music and ancient Egyptian mythology. First gig was at Spectrum Project Space for Craig McElhinneyâ€™s first album launch, I (Lyndon Blue) made a costume using a patterned bedsheet and a cheap pharaoh mask; the getup has been a staple of shows ever since. Itâ€™s essentially a solo project but there have always been collaborations â€“ Richard Ingham (Water Temple, Mink Mussel Creek, Taco Leg) played drum kit and synth for a bunch of shows and I often team up for jam sets with Salamander. Itâ€™s a music act but itâ€™s also a visual act, a portable theatre thing almost. For whatever reason thereâ€™s been few shows at normal venues â€“ itâ€™s mostly been art galleries, warehouses, house parties, garage sales â€“ that sort of thing. Tell us about your release: The release is selftitled and comprises a CD of 14 tracks, and a picture book containing 14 illustrations. I wanted to continue the strong visual aspect with the physical release, so I got in touch with some Perth and Perth-expatriate artists and they kindly donated their time and skills to each illustrate one of the scenes from the Solar Barge narrative. The myth goes that Ra, the sun god, traveled in a celestial boat, guiding the â€˜solar diskâ€™ through the sky and â€“ at night â€“ the underworld, where fearsome monsters would attack the ship. Musically, people have likened the sound to My Disco, Sun Araw, Pocahaunted, Grails and Animal Collective. Tell us about your launch party: Itâ€™s going to be a cool night I think. Itâ€™s taking place this Friday from 7pm at 214 William St, the Old Bank Building next to New Edition Bookshop. The space is perfect, the rooms are just blank canvases for us to turn into Ancient tombs and psychedelic chambers. Salamanderâ€™s playing, they have an amazing audiovisual show which is quite an experience. Erasers will also be playing, itâ€™ll be their last show before they head off to Europe for a while. And Apricot Rail will be there too, fresh off the back of a sweet single launch. Folks who come will be able to see the 14 artworks that accompany the album for the first time. WHAT: Solar Barge (Independent) WHEN & WHERE: Friday 12 August 12, The Old Bank, Northbridge
follow your noise WZLWWHUFRPOLIHLVQRLVH IDFHERRNFRPOLIHLVQRLVH ZZZOLIHLVQRLVHFRP
Queensland singer-songwriter Tobias Moldenhauer is touring to WA to promote his latest album, Live At The Red Shed. His solo performances feature acoustic guitar, bottleneck slide resonator guitar, Hawaiian lap steel and explores different genres, with their roots in the blues. Heâ€™ll be joined by Mitch Beckerâ€™s unnerving abilities on acoustic guitar at Kulcha, Friday 12 August.
TRUE STORY Itâ€™s True is the title track from local songstress Fifi Mondelloâ€™s forthcoming mini-album. Not just your typical singer/songwriter, she isa fresh, new voice from a lost age, reminiscent of a bygone era, while rooted firmly in the present day. Mondello is celebrating with an afternoon of free fun, frivolity and fabulousness from 4pm Sunday 14 August at Double Lucky, Leederville.
MIDNIGHT MASSACRE After a lengthy Perth hiatus local punk rockâ€™nâ€™roll rascals Project Mayhem bring Rock Up Fucked to the local stage along with speed-punkers Scalphunter, and punk provocateurs Bob Gordons. Itâ€™s the second Ballroom Massacre show at Yayaâ€™s in Northbridge and if the firstâ€™s anything to go by itâ€™s gonna be huge, Saturday 13 August, $10 with tunes between sets from Dazz*K.
MIDNIGHT MEN To promote their debut release PoP CoC, The Midnight Mules throw a single launch party at The Bird Friday 12 August. $5 on the door, CDs $5. Tired Lion and Room At The Reservoir support. The bandâ€™s thrashy anthem has been captured in delicious audio format is the bandâ€™s for you to crank while heading down to the beach with friends or inhaling beverages at any time at all.
HUNDRED ACRE WOOD @ ROSEMOUNT BY EBONY FROST OLD SOUTH After string of great metro shows, Big Old Bears are playing two massive shows down south. Thursday 11 August they play the lovely venue that is the Albany Entertainment Centre with Skipjacks, and Friday 12 the Denmark Civic Centre with Cathy Fotios, James Gentle and Mark Tupman, returning to the town where they first played with The Waifs some time ago.
SCI-TECH SOUNDS Sunday 14 August sees another late night Scitech sound series going with down, with experimental acts Gulls, Cardboard Lamb, Deadgeek, Craig McElhinney and Brules Rules. $10 from 7.30pm, exhibitions open. Analogue To Digital is a sound art and experimental music event for adults, highlighting sound artists working in the fields of music that intersect with science and technology.
UNCOVER THIS The Shed is continuing its run of free local original music on a Thursday night with Uncovered, this week featuring a line-up of punk, rock and grunge. Opening the night is Midnight Boulevard with their hard hitting progrock, and second on the bill is young punk band New Erotic with their open plan sonic texture and distinct vocals. Finishing the night The Origin Of bring their effects-laden and experimental grunge rock.
SALVATION ARMY At the Indi Bar Friday 12 August, drummer-cum-solo bluesman Salv launches his long-awaited debut release Dark Gonna Catch Me Here. The intense six-track acoustic release was recorded by Pete Renzullo earlier this year and takes a step back in time to that blues guitar we all grew up with. Supporting him on the night are Gombo and The Midnight Collective. Doors 8pm, $10 entry.
Crusaders of forest-rock Jinja Safari have begun The Mermaids & Other Sirens Tour. The Sydney group are promising to share the explosive live show on what will be their first headline tour for 2011. Theyâ€™re joined by Melbourne four-piece Husky, whose new single Historyâ€™s Door is gaining traction on radio waves around the country. Get forest-freaky at Amplifier Saturday 13 August, tickets through Moshtix.
Iâ€™M GOING TO PARKLIFE!
Proudly supporting the local music scene
CD LAUNCHES and PRIVATE HIRE We are always looking for new up and coming bands and DJâ€™s send your demoâ€™s or requests to: firstname.lastname@example.org â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘â€˘
147 James St. Northbridge (Cnr of Lake & James St )
28â€˘ THE DRUM MEDIA 11 AUGUST 2011
STILLWATER GIANTS Give a brief rundown of the history of your band from day one to now: Stillwater Giants started with Tom and Henry. â€˜The Shack Jamâ€™ is what they used to call it because literally jammed in a shack in Margaret River. So thatâ€™s where it all began. Angus joined later and was good friends with Kyle, so he brought him into the band as a bassist. Tom and Henry have been playing since they were both very young and yes, we were all a part of other projects once upon a time, all of which were apart of the Southwest music scene. Our current genre follows surf-rock-pop, but we canâ€™t limit it there. It does have the flavour of old jazz, funk and reggae. It keeps the diversity going, you know, this super hot metal jazz funk! We got pretty lucky too as our song Ingredients was picked up for a Rip Curl surf video and also by Homegrown Maniacs. And this year we won Gozzy Rock which gave us a boost in confidence, and we showcased for WAMi too. How did you go about recording it? Recorded at different parts at different times. Quite disjointedly, actually. It is self-titled; itâ€™s not a concept album, itâ€™s a collection of songs that describe our writing over the last year and a half. Started recording demos with Rory Watts at Milkshake records, and then recorded, mixed and produced with Laurie McCallum from Sumo Sound and Dave Parkin from Black Bird Studios. Dave did a bit of producing as well. Tell us about your launch party: We are jointheadlining with Tracksuit with support from Aztech Suns and Sugarpuss. Our launch party is pretty strong. We have our sponsors from down south, Sticky Feet Wax, who had a listen to our music and they really liked it. Our management, Phoenix Tour & Band Management, are working their socks off to promote the EP launch, and Soundofthestage.com are throwing their help in too. Whatâ€™s next for your band? Well, we donâ€™t really know at the moment. Our management have booked us on a regional tour hitting Mandurah, Dunsborough and an EP launch down at home in Margs on Saturday 13 August with The Happy Endings so we are really excited about that â€“ to play to our home crowd. Our manager is also trying to get us on a national tour at the end of the year, and some festival/record label showcase opportunities. WHAT: Stillwater Giants (Independent) WHEN & WHERE: Friday 12 August, The Bakery, Northbridge
Walk This Way presents
V O L T A I R E
T W I N S
single & music video launch
Sat 20 August 8pm . Amplifier Bar $15 with free Single With special guests
USURPER OF MODERN MEDICINE . SEAMS LILY ROSSEN . REX MONSOON www.voltairetwins.com
THE DRUM MEDIA 11 AUGUST 2011 â€˘ 29
SHOCKONE YOUR STYLE? I like to think of my style as Lamestream ironic indiehypster fashionista sheek, and I make some bass music too. WHAT EQUIPMENT DO YOU USE? I make most of my sounds with a musical saw and I use a stick with bottle tops tied to it for all of the drum sounds. Most of my basslines come from my custom made wobble board I picked up in Bristol routed through a speaker that plays into the deep end of the Beatty Park Leisure Centre pool, which is then recorded by a team of Taiwanese scuba engineers and then transmitted back to my studio via bats. BEST DJ IN PERTH: Rekab, because I like the way I can get lost in those deep brown eyes. WHAT DO YOU DO IN REAL LIFE? ‘Real life’ is merely a subjective concept dependent on the perception of the individual experiencing the said ‘real life’. What is real life to me may not be what is real life to you. Is reality merely the state of things as they actually exist, or rather as they may appear or might be imagined? Which reality takes precedence as the true reality? Are we awake or in a dream? Am I a character in your dream or are you a character in mine? And if so, who’s dream is the real dream, and who’s reality is the real reality? ANYONE IN THE WORLD TO BE YOUR BESTIE? The Situation
from Jersey Shore because he would constantly make me feel really, really good about myself by comparison. MUSICAL INSPIRATIONS? LMFAO, because they constantly make me feel really, really good about the music I write by comparison. WHAT DO YOUR FOLKS THINK ABOUT WHAT YOU DO: They think I work as a Philippino lady boy escort on cruise ships across the pacific, that’s how I explain all the travel. They are really proud. Not sure how I’m going to break the news to them… FAVE SET YOU’VE EVER PLAYED? Fave show was probably when I was playing drums for Bon Jovi back in ‘92. We did this low-key gig at the Viper room in Hollywood in the summer that year, really great vibe in there that night. Everyone was there. I remember Axl Rose and Slash got up and did a cameo during our encore performance of Living On A Prayer, good times… and ol’ Jon Candy BonBon (That’s what we called him) was such a great lead man to play with, a true visionary. Also I was going out with Heather Locklear at the time. Man that girl knew how to party, in fact the whole Melrose Place crew were just crazy fun chill bros. WHAT CREWS DO YOU BELONG TO? I belong to the North Perth Model Rocket Society, presided over by Jimmy Nitrous. His vision is to
PHOTO BY ELLE BORGWARD make a dildo rocket and shoot it into the lower orbit of the earth. ANY RELEASES IN THE PIPELINE? I’m currently working on my debut album. It consists mainly of Romantic Christian sea shanty ballads. It’s going to be a concept album that tells the story of a lone fisherman who gets stranded on a deserted island, which happens to be Jesus’ secret hideout where he has been working on his comeback album for the last 2000 years. His album will be mainly romantic Christian sea shanty ballads and is a concept album that tells the story of a lone fisherman who gets stranded on a deserted island. Anyway, of course, they fall in love, but their love is one of a doomed fate; they are from two different worlds. Jesus is the son of a wealthy Jewish aristocrat and the fisherman is but a simple poor boy from Jersey; society would never accept their relationship. Then all the characters from the book Lord Of The Flies rock up and things really get interesting… but you’ll have to buy the album to find out the rest. GIGS YOU HAVE COMING UP? Dubstep Invasion Tour (launching the new mix compilation mixed by Glovecats and myself) – Friday 12 August, Shape, East Perth; Stereosonic – Sunday 27 November, Claremont Showgrounds.
CLUB NIGHT LAUNCH SLOWED & SCREWED @ THE BIRD
Music/genres to be played and vibe: Southern hip hop, classic party jams, crunk anthems, glitch booty and dirty bass. Definitely a night to get down to if you wanna start your weekend early. DJ Names: Ohh!! Dub – Ain’t a thug but his tune selection bangs hard. Karl Blue – Heavyweight on the club scene; expect something a little different from his usual flavour. We suspect the OG is gonna come out to play and slay ‘em. SimmoTee vs.
Drank Costanza – A double dose of trouble, The South & Screw will be repped strong along with a whole lot of dirty hyphy! Stylz Ali – With his versatile ‘Stylz’, Mr Ali will set the party mood proper, playing nothing but the jams & bangers to get the dancefloor crowded and loose. Finally Mr Starks vs. Ta-ku will team up to blast some booty glitch, future crunk and panty-droppin’ tunes to end the night on a high. Doors open: 7pm til late. Door Fee: None! Free Entry. WHEN & WHERE: Thursday 18 August, The Bird, Northbridge
FLOORED TOMAS FORD BY DREW METTHAM
TOMAS FORD SINGLE LAUNCH
DOES IT OFFEND YOU, YEAH?
Ya Ya’s, Northbridge
As isn’t particularly surprising for most things Tomas Ford is involved in, the launch of his new single I Feel Dirty under the forever spinning disco balls of Ya-Ya’s was a slow but steady descent into madness. Ford kicked off the karaoke around 9pm and it was all downhill from there. “If you’re a reviewer, say I did something more credible,” he said over the first midi-generated strains of the Black Eyed Peas song, My Humps. “I dunno. Morrison or something.” The next couple of hours were taken up by a steady stream of minor celebrities of the Perth music scene, clutching at the wireless mic and singing everything from I Will Survive to Ring Of Fire. Dosh Luckwell stripped down to his bra and stockings, Hayley Beth sang so well it almost wasn’t karaoke, and the three members of Injured Ninja all got up at once. Even the editor of this very magazine had a go [Apologies to all ears concerned, Ed]. By the time 11pm rolled around and the video clip for I Feel Dirty came up on the multitude of screens set up around the room, most of us already did. And then up burst Ford as Perth knows him best. Working his way through a multitude of costume changes, he jumped up and over tables, posed on the bar, ripped hands from pockets and rubbed himself against audience members. No-one was safe. Everyone was involved. Although badly plagued by technical problems, the show was quite the spectacle. And certainly an experience. ZOE BARRON
On a cold, wet and dreary Wednesday night it could be understood if all that was desired was a warm cup of tea and a quiet night in – if you chose this option you seriously missed out! If Cut Copy, INXS and David Bowie had a ménage a trois, the love child of this disco-pop orgy would be Bastian’s Happy Flight. Vocalist Will Slade, in hitting notes much higher than the temperature, led the Perth five-piece through a set that warded off the impending chill as BHF, in an almost snake-charmer like fashion, lured the crowd to move in time with DOES IT OFFEND YOU, YEAH? BY JAMES GIFFORD
their disco-funk beats. Next up were Sydney’s renowned party-starters Purple Sneaker DJs. The duo ripped out some of the most popular indie tunes of the moment, with Foster The People being mashed together with Yeasayer, and ‘80s hits such as Fresh Prince Of Bel Air sharing the same minute of the set. The patronage of the dance floor proved that staying true to your indie roots does not preclude you from being neither crowd favourites nor quality DJs. By the time Does It Offend You, Yeah? stumbled out onto the stage to It’s Time To Say Goodbye and the words of synth specialist Dan Coop, “Just fucking with you!”, the tone of DIOFYY’s set was evident. From the opening track The Wrestler through to the closing of their encore, The Monkeys Are Coming, DIOFYY had the entire venue writhing to their occasionally brutal dance-punksynth infused electro. Despite lead vocalist James Rushent’s inability to navigate the stage, and constant need to towel off his sweat-laden body, DIOFFY stayed true to their devil may care attitude and lived up to their reputation – and delivered a ferocious set to their adoring crowd. The closing song of the evening The Monkey’s Are Coming was evident of all that DIOFYY are renowned for, with Rushent smashing his synth on its stand, and drummer Rob Bloomfield standing and kicking his kit. In the bands own words, We Are Rockstars. TOM BRAGG
WU-TANG CLAN BY ELLE BORGWARD
WU-TANG CLAN Metro City, Northbridge 07/08/11 While Masterchef was keeping many at home for the final showdown, the four-wide line that snaked from the ‘City battlefield right around to Rosie O’Grady’s demonstrated this crowd was only interested in one battle tonight; one of Shaolin warrior-like flexings of lyrical prowess. While most of this epic line of Wu-obsessives missed out Vents (this scribe included), it was only really ever about the Clan. Armee took to the warm-up DJing duties with vigor, the crowd quickly reaching fever pitch in anticipation of the Wuments to come. Disregarding the no-cap policy at the venue, Wu-Tang Clan came out in a blaze of bad-assness. Looking like a green, mean, beekillin’ machine while asking us to “Bring Da (Mother Fuckin’) Ruckus”, the Clan filled the stage with more rap talent than Perth had ever seen assembled. While difficult to tell with so many on stage, it looked like the promoters had kept their end of the bargain, miraculously managing to bring all the Clan to Australia, apart from RZA and perhaps Method Man. The set spanned the Clan’s discography well (including C.R.E.A.M., Gravel Pit and You Can’t
Stop Me Now) but also focused on a few individual marks (including Raekwon’s Ice Cream). While it was amazing to witness the likes of Ghostface Killah, Inspector Deck, GZA, Master Killah and more all criss-crossing like crazy, it did result in some rather messy moments and sound issues, with the constant Wu-calls to “turn the fuckin’ sound up!” only making things worse. Highlights were many: ODB’s son, Young Dirty Bastard, pulling off his late dad’s I Like It Raw with energy and uncanny resemblance; Mathematics DJing in handcuffs and feet; an angry ode to Australian
HOT SHOT BIG APE @ SHAPE BY JAMES GIFFORD
LIMELITE - THE ONLY @ METROPOLIS FREMANTLE
BIG APE - TOXIC AVENGER @ SHAPE
Customs with Wu-Tang Clan Ain’t Nuthin’ To Fuck With; and every time the crowd went berserk (constantly). Before we knew it, the show was over, the Clan sauntering off stage with no finale fireworks, rather just some mumbling from YDB about getting dirty with some of the stage ‘dancers’. It was weird. But probably necessary, the move calming the hyped mood of the crowd before someone did something stupid to celebrate what was undoubtedly to some the most important day of their life thus far. Raise that ‘W’. AAROM WILSON
UP-AND-COMING BASS-HEAVY DJ AND PRODUCER PORTER ROBINSON MAKES HIS PERTH DEBUT AT AMBAR THIS WEEKEND. ANDY SNELLING GETS THE LOW DOWN ON THE TIESTO AND ARMAND VAN HELDENCHAMPIONED YOUNG GUN. What’s been the highlight so far in your career? I can’t offer just one highlight – it would be doing a disservice to the memories of all the amazing things I’ve experienced. The highlight that I like to point to most, while perhaps not the most significant, is meeting and befriending Sergio Flores, the Sexy Sax Man. Does it seem strange to you to be in the position you are now given your rapid rise at a relatively young age? I’ve been so immersed in the daily stuff of being a touring musician that it couldn’t feel strange for long. That doesn’t mean it’s become any less thrilling and worthwhile, but it no longer feels strange. That said, I do recognize that my circumstances are pretty unusual. I feel fortunate to be where I am! Do you have any advice for any yyoung aspiring musicians and producers like yourself who are looking to get recognised similarly quickly? Working hard is integral to success, clearly. But the musicians who succeed aren’t necessarily going to be the ones who want success and fame the most. Success is more likely to reach tthose who are most interested in creating amazing music for the sake of creating amazing music. You have to take a bottom-up approach: music first, promotion second.
You’ve said that you’ve been inspired by acts like Dirtyloud and Noisia and their aggressive approach to bass music, what is it about ballsy, grit-your-teeth dub that does it for you? Dirtyloud and Noisia are inspiration because their music showcases an incredible detail. And I prefer bass-music because it’s what’s most exciting. The music that’s most energetic in the context of a DJ set is what I’m digging right now. I think, for now, bass music is the best means to that end. What’s been getting your rocks off lately? Midgets and amputees. Also, the 16-Bit remix of Surge by Amon Tobin. Is there a line for you when creating genre-smooshing hybrids; things you wouldn’t touch? The more I reflect on being known for “smooshing genres together”, the less I think that
description nails it. I think merely combining genres is gimmicky and not inherently good or interesting. I’ll only do it if it works. I dunno if I’ll ever use a banjo in a tune! What do you have in store for your Aus’ audiences? I’m going to be playing heavy, but I’ve got some shock-drops in there too. I’m playing on a Traktor Kontrol S4. I don’t want to spoil anything else! Whats next for you? I’ve got a fivesong EP called Spitfire coming out on Skrillex’s record label, OWSLA. I’m massively excited for it to come out. I just put some finishing touches on a couple of the masters and I’m feeling confident about the release! WHO: Porter Robinson WHEN & WHERE: Destination? – Friday 12 August, Ambar, Perth
WU-TANG CLAN @ METRO CITY
TOMAS FORD @ YAYA’S
DEATH DISCO @ CAPITOL
THE DRUM MEDIA 11 AUGUST 2011 • 31
11 - 17 AUGUST
2011 THURSDAY 11/8 MIXTAPE @ NEWPORT
DANCEFLOOR OF THE WEEK WINTERBEATZ @ CHALLENGE STADIUM
Catch international guest Snipershot (USA), Trooth, Alonzo, Dismay, Sos Solo and Orig Fortune, more hip hop DJs and MC battles, free from 8pm.
VEE @ REPUBLIC
With Supafest gaining worldwide press and being touted as the biggest urban music festival in the world, the promoters responsible are once again staging Winterbeatz 2011, featuring a classic urban artist line-up to warm your wintery bones. It will feature one of the most powerful artists in hip hop 50 Cent with G-Unit (including Lloyd Banks and Tony Yayo), the legendary Fabolous, Grammy Award-winning rapper Lil Kim and Billboard Award-winning R’n’B crooner Mario. Tickets through Ticketmaster. Challenge Stadium, Mt Claremont, Wednesday 17 August.
After a recent tour of the US, 18-year-old Perth singer/songwriter Vee returns to perform her Party Girls Party at Republic.
DJ COMP @ CLAREMONT HOTEL The grand final of the Claremont’s search for a new resident DJ goes down tonight, with four contestants battling it out for DJ Lordness. DJ Double Dee takes over after comp.
THURSDAYS @ ROSEMOUNT Each week new kids take over the wheels of steel, and electro-popsters Boys Boys Boys! are first up in the beer garden, while bands play inside. LIL KIM
OLDSCHOOL @ FLYING SCOTSMAN Resident DJ Danny-Boy brings golden era hip hop, funk and groovy dance tunes for free.
electro. Supported by Sydney’s Slappin’ Plastic, Beatsmack, Josh Grapes, Marko Paul and Mr Ed.
R’N’R KARAOKE @ DEVILLES
Famous Fridays get hotter with the arrival of Sarah McLeod making the transition into dance music, collaborating with the likes of Steve Aoki and TV Rock. Free before 11pm, $10 before 1am and $15 after. Wearing hot rock chick gear gets you in free before midnight.
DUBSTEP INVASION @ SHAPE Limelite get their trance on with one of Australia’s most successful DJs in the realm, tyDi. Support from GeRmAn and Illuminor.
The new Dubstep Invasion CD is mixed by our own ShockOne, plus Sydney kids Glovecats, and both invade Shape with support from Jus Haus?, Killafoe and Pacemaker. $15 from 10pm.
ALY & FILA @ METRO CITY
PORTER ROBINSON @ AMBAR
TYDI @ METRO FREO
Super trance duo Aly & Fila are set to rock the stage on their Future Sound Of Egypt tour. $20 plus BF through Moshtix, with Piet L, Josh Cube, JT and Jason Creek supporting.
Porter Robinson is a new breed of super producer who has so far received mad love from the likes of Tiesto and Armand Van Helden for his uplifting style of dubstep-infused
Milly James, Deadweight! kids Knoe FM & Boy Prince, dub/reggae outfit The Weapon Is Sound, plus DJ Kung Fu mashing classics with breaks. $10 from 8pm.
LORNE PADMAN @ THE CARINE Special guest from Melbourne this week is Vicious Recordings big wig DJ Lorne Padman, spinning in for a special DJ set.
SATURDAY 13/8 VENTS, H&M @PRINCEOFWALES South Australian Vents launches his debut album Marked For Death alongside local duo Hunter & Mortar, launching an album of their own in Fear & Loathing. Support from the Syllabolix crew in Dazastah (Downsyde), Layla, DJs Armee and LStreet.
FORE @ DEFECTORS The coolest pre-party in Perth continues with DJs Aarin Fraser, Cam Duff, Nathan Francis and Milanov, free from 9pm.
SPEEKEASY @ MANHATTAN’S
WINTER WONDER @ CONNIES
SARAH MCLEOD @ CONNIES
HUSSLE HUSSLE @ MOJO’S
Sophisticated and exploratory beat, groove and message makers Speekeasy, Diger Rokwell, The Stoops and The Empty Cup keep it real in Vic Park, $10 from 8pm.
Jon Madd’s Rock’n’roll Karaoke with DJs and you, singing for free – one hell of a night for your vocal cords.
electro and amps up the hip hop. Support by 6.9 Krew, Emcee Red and Emcee Dzurv.
UK GARAGE REUNION @ SHAPE It’s A London Thing - A UK Garage Reunion will feature Trent C, Duane A, Rhys D and MC J Rippa plus special guests Greg Packer and Ru-Kasu, downstairs10pm til late, proudly presented by Drum Media.
VENTS & MORE @ ROSEMOUNT SA’s Vents launches his debut album Marked For Death alongside local duo Hunter & Mortar, launching their own, Fear & Loathing. Support from the Syllabolix crew in Dazastah, Layla, DJs Armee and LStreet. Presales from Oztix for $20, $25 door.
KRAZIE KRAZE @ PLAYERS Krazie Kraze takes a break for a special solo set that strips back the
Every Saturday brought to you by ice queens, BarbieQ, Val Nourished, Hannah Conda, Swish and Sandy Beaches. Free before 11pm, $15 before 1am, $20 after. Free before midnight in fur.
JAPAN 4 @ AMBAR Buda, Dead Easy, Wish, Ben Mac, Tee EL bring the right tunes, the right ‘tude and the perfect night to the home of the underground, $12 til midnight, $15 after.
DEATH DISCO @ CAPITOL Indie-dance and disco bangers from Death Disco DJs and DJ Ryan. $10 entry fee.
SUNDAY 14/8 VENTS, H&M @ RAILWAY HOTEL South Australian Vents launches
his debut album Marked For Death alongside local duo Hunter & Mortar, launching an album of their own in Fear & Loathing. Support from the Syllabolix: Dazastah (Downsyde), Layla, DJs Armee and LStreet.
WEDNESDAY 17/8 CRUNCH @ BAR OPEN Crunch looks after your dubstep & bass needs, with help this edition from Jus Haus?, Gran Calavera, Clunk, DYP and ST1 bringing the bass from 9pm. $5 after 10pm.
SNAKES @ DOUBLE LUCKY A new free mid-week party featuring twisted pop, alien r’n’b, wonky club and hip hop music from DJs Prodje, Modo, DYP, Oni Ca$h, Clunk, Allstate and Sleepyhead.
STUDENT NIGHT @ ROSEMOUNT With bands inside, The Hong Kong Palace DJs brings you post-punk, indie-pop and rock goodies outside in the beer garden for free.
LMW @ CONNECTIONS Lesbian Mud Wrestling with tunes from Connections DJs all night. Free entry from 10pm.
BINGAY @ QUEENS HOTEL Free upstairs at the Queens Hotel every Wednesday night. Hosts include Val Nourished, Barbie Q Coals and Sandy Beaches, with DJ Samuel Spencer spinning tunes, and possibly men in G-Strings…
UPCOMINGS PARKLIFE @ WELL. SQUARE It’s the festival that kicks them all off, going down at Wellington Square, East Perth Sunday 25 September. Take a deep breath because there is: teenage criminal Adrian Luxe; Spanish speedsters Crystal Fighters; reformed Death From Above 1979, German duo Digitalism (live); booty-shakin beatsmen Ducksauce and Diplo; Brit rapper Example; Spor’s electro side Feed Me; brostepping beast Flux Pavillion; indie-kids Gold Fields; Beth Ditto’s The Gossip; house hero Harvard Bass; plus heaps more, and a whole heaping bag of local acts. Tickets through Parklife.com.au.
UPCOMINGS AUGUST FANTINE: AUG 11 Mojo’s PORTER ROBINSON, SLAPPIN’ PLASTIC: AUG 12 Ambar SARAH MCLEOD: AUG 12 Connections ALY & FILA: AUG 12 Metro City TYDI: AUG 12 Metropolis Fremantle VENTS: AUG 12 Rosemount Hotel; AUG 13 Prince Of Wales; AUG 14 Railway Hotel SHOCKONE, GLOVECATS: AUG 12 Shape WINTERBEATZ: 50 CENT, FABOLOUS, LIL KIM, MARIO: AUG 17 Challenge Stadium DUBCENTRAL: AUG 19 Railway Hotel OPIUO: AUG 19 Shape HOUSE OF SHEM: AUG 19 Metropolis Fremantle; AUG 20 Elliot Street Bar MICKY FINN, MC SHABBA D: AUG 20 Rosemount Hotel + TOMBA: AUG 20 Shape + BEAT SUMMIT: AUG 21 SAE Perth SPEAKEASY: NINA LAS VEGAS: AUG 26 Villa DIRTYLOUD: AUG 26 Ambar HELENA: AUG 27 Gilkisons SEEKAE: AUG 27 The Bakery ZOE BADWI: AUG 28 Mullaloo Beach Hotel HYPERFEST: ILLY and more: AUG 28 Midland City Workshops ANTISERUM: AUG 31 Bar Open
SEPTEMBER EVOL INTENT: SEP 2 Shape MICKY SLIM: SEP 2 Ambar NICK WARREN: SEP 2 Geisha BIG BOI, THEOPHILUS LONDON: SEP 3 Metro City LA VAMPIRES, RITES WILD: SEP 6 The Bakery ABOVE & BEYOND, JAYTECH, MAT ZO: SEP 9 Metro City THE HERD, SIETTA: SEP 9 Metropolis Fremantle; SEP 10 Settlers Tavern
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BEZWUN, BLACK & BLUNT, MARKO PAULO FRIDAY SEPTEMBER 16 / DOORS OPEN 10PM FIND US ON
32 • THE DRUM MEDIA 11 AUGUST 2011
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FILMED AT THEMUSIC HQ
EXCLUSIVE ACOUSTIC PERFORMANCE OF
ESKIMO S JOE’S
LOVE IS A DRUG
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GIG GUIDE THU 11 Big Old Bears Albany Entertainment Ctr Ben Pettit Belgian Beer Cafe For This Cause, Mattersville, Artillery Road Black Bettys The Other Guys Como Htl Rock n Roll Karaoke Devilles Pad UN Women Fundraiser, Fiona Lawe Davies Ellington Jazz Club Nathan Gaunt FUSE Bar Chris Gibbs Trio Gate Bex’s Open Mic Night Indi Bar James Wilson Lucky Shag Madhattan’s Manhattan’s Fantine, Tania Walker, Trent Williams Mojos Nth Fremantle Mitch Becker, Simon Marks Mustang Bar Oh You Pretty Things, Hayley Beth Norfolk Basement Dr Bogus Paddy Hannans Burswood Thomy & The Tanks, Chainsaw Hookers, The Kuillotines, Wizard Sleeve Rosemount Htl Kevin Conway Rosie O’Gradys Fremantle Bill Chidgzey Rosie O’Gradys NB Jay Grafton Settlers Tavern Margs David Fyffe Sovereign Arms Sticky Sweet, TV Snow Swan Lounge Hip Hop Karaoke The Bird The Origin Of, New Erotic, Midnight Boulevard The Shed Off the Record Universal Bar Jack Doepel Jazz Quartet X-Wray Cafe The Midnight Mules, Seams, The Pistoleiros, Robbie Jalapeno, The Bureaucrats Ya Ya’s
FRI 12 Midnight Rambler 7th Avenue Bar Claim the Throne, Double Dragon, Psychonaut, Devour The Martyr Amplifier Bar Still Water Giants, Tracksuit, Aztech Suns, Sugarpuss Bakery Northbridge
Tip Top Sound Bally’s Bar Dual Airbag Balmoral Rhyme & Reason Bar Orient Fremantle Billy & the Broken Lines Belmont Htl J Babies Black Bettys Tod Johnston Burswood Casino Bluebottles Captain Stirling Kontraband Castle Happy Endings, Emerald City, Crash Compass Civic Htl Backroom Libby Hammer Trio, Nick Sheppard Claremont Hotel The King and the Club, Mezzanine, Morgan Bain & Company, The Bedward Smiths, Sisters Doll CMIT Leederville Tip Top Sound Como Htl Adrian Wilson Deen Big Old Bears Denmark Civic Ctr Lucky Seven, Harry Deluxe Devilles Pad Sarah Mcleod, Odette Mercy (late) Ellington Jazz Travis Caudle Enex100 Podium Level Smoking Section Gate Copycat Harbour Terrace Ben Pettit Duo Herdsman Lake Tavern Gombo, Midnight Coll. Indi Bar Dr Bogus Kingsway Bar & Bistro Tobias Moldenhauer, Mitch Becker Kulcha Neil Colliss Leisure Inn Fat Jackal, Hand Stands For Ants, Bulls & Bears, String Birds Manhattan’s Everlong Acoustic Market City Tavern Dexter Merriwa Tavern Oz Big Band, Cheeky Monkeys Mustang Bar Milhouse Newport Htl Pez, 360 Norfolk Basement Flyte Paramount Nightclub Pockets of Resistance, Jelly Bred, Seer Cya, The Hum Railway Htl Vespers Descent, Befallen, Ill Vision, Reflections of Ruin Rocket Room
34• THE DRUM MEDIA 11 AUGUST 2011
11 - 17 AUGUST 2011
Switchback Sail & Anchor Threeplay Saint Catherine Traicos & The Starry Night, The Ghost Hotel, Billie Rogers Settlers Tavern Margs Ragdoll Shed Greg Carter Springs Tavern Melma, Magic Cactus, Kyle Bonser Swan Lounge The Midnight Mules, Tired Lion, Room At The Reservoir The Bird Mod Squad The Boat Half Pints, Chilling Winston, Surprise Sex Attack, Mattress Security The Den Karin Page Duo The Vic Hotel Nightmoves Universal Bar Our Man In Berlin, Trav&Jay, ReverseEngineEar, Turin Robinson, Run Fox Run Velvet Lounge Ivan Ribic Victoria Park Htl Clayton Bolger Wanneroo Hi NRG Woodvale Tavern Alan Boyle, Simon Kelly, Dilip Parekh X-Wray Cafe The Prevues, Lionel, The Autumn Isles, Wash Ya Ya’s
SAT 13 Jinja Safari, Husky, Split Seconds Amplifier Bar Kill Devil Hills, Thomy & The Tanks, Catherine Traicos & The Starry Night, The Seals, Destination Cervo Bakery Northbridge The Recliners Balmoral Flyte Bar 120 Chris Murphy Belgian Beer Cafe Redstar Black Bettys Rhyme & Reason Broken Hill The Bluebottles Brook Bar & Bistro Bernadine Grigson Brooklands Hi NRG Burswood Casino Legacy Of Supremacy, Paltiva, Thirty3Victims, Prisoners of Faith Civic Htl Backroom Zydecats Claremont Hotel Tip Top Sound Como Htl The Little White Lies, Sweet Janes Devilles Pad Sarah Mcleod, Empire Ellington Jazz Club Switchback Gate Rod Stewart Tribute Show Herdsman Lake Tavern The Crux Hyde Park Htl Matt Gresham Indi Bar The Other Guys Indian Ocean Brewing Co. Zhukuta & Mahamudo, Kwachala Kulcha Rhythm 22 M On The Point Dr Bogus Metropolis Fremantle Sonpsilo Circus, Tusk Mojos Nth Fremantle Blaze Moon & Sixpence Sophie Jane Mt Henry The Continentals, Milhouse Mustang Bar
Kizzy, Gravity Newport Htl The Volcanics, The Dirty South, Richard Lane Norfolk Basement One Thousand Years, Calectasia, The Crooked Cats Railway Htl Kickstart Rocket Room Pez, 360 Rosemount Htl Blue Gene Rosie O’Gradys NB Karin Page Rottnest Hotel Happy Endings, Stillwater Giants Settlers Tavern Margs Huge Shed Nat Ripepi Springs Tavern Off the Record Subiaco Htl Bob Brisbane Quartet Subiaco Htl Restaurant At Fault, We Build Pyramids, Blackwater Station, The Stand Ins Swan Basement Damien Thornber & The Orphans, The Mong, Dave Robertson Swan Lounge Mezzanine, Stereoflower, Kill Teen Angst, HiHelo The Bird Hyte, Sleepfreak, Beyond Never The Den Kate Gilbertson Principle Micro Brewery James Wilson The Vic Hotel Soul Corporation Universal Bar Slim Jim & the Phatts Woodvale Tavern Stevie Goodlooks, Project Mayhem, Scalphunter, The Bob Gordons Ya Ya’s
SUN 14 Reckless Kelly 7th Avenue Bar Steve Hepple Belmont Htl Tod Johnston Burswood Casino Adrian Wilson Captain Stirling Wesley Goodlet Jamboree Scout Carine Glades Tavern Sunday Driver Claremont Hotel Jonathan Dempsey Como Htl Fifi Mondello Double Lucky, Leederville Random Act Ellington Jazz Club Chords for Angels Fly By Night Fremantle Mike Nayar Gate Chris Gibbs Duo Greenwood Hotel Mike Nayar High Road Htl Riverton Pez, 360 Indi Bar Retriofit Indian Ocean Brewing Co. Dom Zurzolo Kalamunda Htl Ivan Ribic Leisure Inn Scalp Hunters, The Caballeros, Dux & Downtown, Thomy and the Tanks Mojos Nth Fremantle Everlong Acoustic Moon & Sixpence Peter Busher & The Lone Rangers Mustang Bar Russian Winters, High Horse Newport Htl Fenton Wilde Ocean View Tavern Neil Colliss Pink Duck Lounge Grace Barbe & Band Queens Tavern, Highgate Rosie’s Open Mic Rosemount htl - 459 Bar
Shawne & Luc Sail & Anchor Howie Morgan Project Saint Graeme Dickson Settlers Tavern Margs Blackheart & Strangelove South st Ale House Ivan Ribic Sovereign Arms Chris Murphy Springs Tavern Fun Razor, Half Pints, Montage Of Jesus, Ants At A Picnic, Dan Decline Swan Basement Christian Thompson Swinging Pig Catherine Traicos & The Starry Night, The Ghost Hotel, Hootenanny, Will Stoker, Destination Cervo The Bird Chris Murphy The Boat David Fyffe The Craftsman Stella Donnelly The Rose & Crown Retriofit Universal Bar Nat Ripepi Victoria Park Htl
MON 15 Courtney Murphy Burswood Lobby Lounge JTC Jazz Ellington Jazz Club Wide Open Mic Mojos Nth Fremantle Johnny Law & The Pistol Packin’ Daddies Mustang Bar Plastic Max & The Token Gestures The Deen Fat Shan’s Open Mic Ya Ya’s
TUE 16 James Flynn, Graham Wood Trio Ellington Jazz Club The Crooked Cats, The Freiteners, Calectasia, Zorba’s Milk, Josh Troon Mojos Nth Fremantle Danza Loca Salsa night Mustang Bar Open Piano Night X-Wray Cafe
WED 17 Pinback Bakery Northbridge Nathan Gaunt Balmoral Everlong Black Bettys James Ben & Dane’s Latin Bonanza Ellington Jazz Club Bonjah Indi Bar Howie Morgan Lucky Shag The White Lanterns, Company of Men, Kim McDonald Mojos Nth Fremantle Ash Hendriks, Peter Milligan, Little Ships Moon Cafe Sian Brown, Minky G, Tiaryn Griggs Paddo Hype!: Vanity, Dyatlov, Resistance Rocket Room The Silence In Between, The Clock Strikes, The Corner, Hyte Rosemount Htl David Fyffe Rosie O’Gradys NB Dove Sail & Anchor Jade, Elk Bell, Julz, Sirens Of Sound, Danni Swan Lounge Who-What Wednesdays: Foxes, The Irrationals, Zeks, Hell Money UK The Bird Ivan Ribic The Craftsman Tobias Moldenhauer, Brandon & Nathan, Steve Andrews X-Wray Cafe
RESIST THE THOUGHT FANTINE: AUG 11 Mojo’s Bar ABBE MAY: AUG 11 Prince Of Wales; AUG 13 Astor Theatre; AUG 19 Settlers Tavern + THE LUCKY SEVEN: AUG 12 Devilles Pad; AUG 13 Italian Club; AUG 14 Court Hotel CATHERINE TRAICOS & THE STARRY NIGHT: AUG 12 Settlers Tavern; AUG 13 The Bakery; AUG 14 The Bird ALAN BOYLE: AUG 12 X-Wray Café; AUG 14 Redcliffe On The Murray JINJA SAFARI, HUSKY: AUG 13 Amplifier Bar PINBACK: AUG 17 The Bakery BONJAH: AUG 17 Indi Bar; AUG 18 Mojo’s; AUG 19 Rock Inne Tav; AUG 20 Settlers Tavern; AUG 21 Redcliffe On The Murray NATHAN KAYE: AUG 17 Prince Of Wales; AUG 19 Cape Wine Bar; AUG 20 Quinninup Tavern; AUG 24 Indi Bar; AUG 25 Kalbarri Motor Inn; AUG 26 Gascoyne Hotel; AUG 27 Kalbarri Motor Inn; AUG 28 L’Attitude 28 Bar KEVIN BORICH EXPRESS: AUG 19 Charles Hotel; AUG 20 Fly By Night JORDIE LANE, MIKE NOGA: AUG 19 Indi Bar; AUG 20 Norfolk Basement; AUG 21 Settlers Tavern TOBIAS MOLDENHAUER: AUG 24 Mojo’s Bar EAGLE & THE WORM, THE FROWNING CLOUDS: AUG 24 Prince Of Wales; AUG 25 The Bakery; AUG 26 Mojo’s CHILDREN COLLIDE: AUG 25 Studio 146; AUG 26 Prince Of Wales; AUG 28 Capitol SPEAKEASY: STONEFIELD, OSCAR + MARTIN: AUG 26 Villa ANBERLIN, TONIGHT ALIVE: AUG 26 Capitol GURRUMUL, DEWAYNE EVERTTSMITH: AUG 26 Riverside Theatre LEADER CHEETAH, BELLES WILL RING: AUG 24 Boulevard Tavern, Joondalup; AUG 25 Prince Of Wales; AUG 26 Amplifier; AUG 27 Mojo’s ADAM HOLE & MARJI CURRAN BAND: AUG 26 Esperance Motor Hotel; AUG 27 Settlers Tavern; AUG 28 Redcliffe On The Murray; AUG 31 Mojo’s; SEP 2 The Rock Inne, Karragullen; SEP 3 Mt Helena Tavern; SEP 6 Gascoyne Hotel, Canaravon; SEP 8 Ningaloo Reef Resort; SEP 9 Dampier Mermaid Hotel; SEP 10 The Icon, Karratha
CUT OFF YOUR HANDS FELIX REIBL (CAT EMPIRE), BEN SALTER: AUG 27 Fly By Night ARCHITECTURE IN HELSINKI, CUT OFF YOUR HANDS: AUG 27 Astor Theatre HYPERFEST: ARCHITECTURE IN HELSINKI, CHILDREN COLLIDE, STONEFIELD, PAPA VS. PRETTY and locals: AUG 28 Midland City Workshops FOR THE FALLEN DREAMS, SIENNA SKIES, HAND OF MERCY: AUG 30 YMCA HQ; AUG 31 Rocket Room BEN SALTER: SEP 1 The Bird; SEP 2 Norfolk Basement SPARKADIA: SEP 1 Settlers Tavern; SEP 2 Prince Of Wales REGURGITATOR, DISASTERADIO: SEP 1 Prince Of Wales; SEP 2 Studio 146; SEP 3 Amplifier; SEP 4 Newport Hotel ABSOLUTELY ‘80S REUNION: SEP 2 Metropolis Fremantle + RESIST THE THOUGHT, FEED HER TO THE SHARKS: SEP 2 Amplifier; SEP 3 YMCA HQ
+ THE PANICS: SEP 14 Settlers Tavern; SEP 15 Prince Of Wales; SEP 16 Astor Theatre; SEP 17 Fly By Night THIRSTY MERC: SEP 14 High Road Hotel; SEP 15 Grand Boulevard Tavern; SEP 16 Charles Hotel; SEP 17 Latitude 28; SEP 18 The Ravenswood + DEAD LETTER CHORUS: SEP 16 Villa BATRIDER: SEP 16 The Bakery WEDDINGS, PARTIES, ANYTHING: SEP 16 Metropolis Fremantle THE LIVING END, HUNTING GROUNDS, KING CANNONS: SEP 16 Metro City SEBADOH: SEP 16 Rosemount Hotel THE BEARDS: SEP 16 Settlers Tavern; SEP 17 Mojo’s IN THE MOOD: SEP 16 Mandurah Performing Arts Centre; SEP 17 Burswood Theatre OWL EYES: SEP 16 Villa; SEP 17 Malt Market Bar; SEP 18 Norfolk Basement KIMBRA, HUSKY: SEP 17 Astor Theatre RUSSIAN CIRCLES: SEP 17 The Bakery
SPARKADIA, IMAGINARY CITIES: SEP 3 Astor Theatre
THE BEDROOM PHILOSOPHER, CATBOY: SEP 18 Mojo’s
KIM SALMON: SEP 2 Velvet Lounge; SEP 3 Mojo’s; SEP 4 Norfolk Basement
TEX PERKINS & THE DARK HORSES: SEP 23 Rosemount Hotel
ROTTOFEST: SEP 3-4 Rottnest Island LA VAMPIRES, RITES WILD: SEP 6 The Bakery BUDDY: THE CONCERT: SEP 7 Albany Ent. Centre; SEP 8 Bunbury Regional Ent. Centre; SEP 9 Mandurah Performing Arts Centre; SEP 10 Astor Theatre; SEP 11 Queens Park Theatre, Bunbury CALLING ALL CARS, BOY IN A BOX, REDCOATS: SEP 8 Prince Of Wales; SEP 9 Studio 146; SEP 10 Amplifier; SEP 11 Indi Bar REBECCA O’CONNOR SIMPLY THE BEST: SEP 9 Charles Hotel; SEP 10 Bunbury Theatre FRENZAL RHOMB, TEENAGE BOTTLEROCKET: SEP 10 Civic Hotel THE VINES, PAPA VS. PRETTY, BLEEDING KNEES CLUB: SEP 10 Capitol … AND YOU WILL KNOW US BY THE TRAIL OF DEAD: SEP 11 Rosemount Hotel MONSTER MAGNET: SEP 11 Capitol TITLE FIGHT, TOUCHE AMORE: SEP 13 Capitol
JACK LADDER & THE DREAMLANDERS, GHOUL: SEP 23 Prince Of Wales; SEP 24 Rosemount Hotel WHOLE LOTTA LOVE: SEP 24 Burswood Theatre BASTARDFEST: PSYCROPTIC, BLOOD DUSTER and locals: SEP 24 Civic Hotel RINGWORM, MINDSNARE: SEP 25 Amplifier HERMAN’S HERMITS: SEP 25 Fly By Night + BIRDS OF TOKYO, BOY IN A BOX: SEP 29 Astor Theatre; SEP 30 Studio 146, Albany; OCT 1 Metropolis Fremantle BOOKER T JONES: SEP 30 The Bakery JOSH PYKE, THE PAPER KITES, EMMA LOUISE: SEP 30 Fly By Night; OCT 1 Astor Theatre AKRON/FAMILY: OCT 4 Mojo’s JOHN WATERS: OCT 5 Queens Park Theatre; OCT 6 Bunbury Regional Ent. Centre; OCT 7 Mandurah Performing Arts Centre; OCT 8 Astor Theatre THE CAT EMPIRE: OCT 6 Fly By Night NEW YORK DOLLS: OCT 7 Capitol
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THURSDAY 11th August 8pm - 12pm
5)& .*%/*()5 .6-&4 t 5)& 1*450-&*304 4&".4 t 30##*& +"-"1&/0 5)& #63&"6$3"54 .................................................................................. FRIDAY 12th August 8pm - 2am $7 461&340/$ 5)& 13&76&4 t -*0/&- t 5)& "656./ *4-&4 t 8"4) .................................................................................
SATURDAY 13th August 8PM - 2am $10
130+&$5.":)&.t4$"-1)6/5&3t5)�#(03%0/4 ................................................................................. +6.1$-*.#8)&3&*4.:.*/%
.0/%": 15th August 8pm - 11pm FREE
'"54)"/401&/.*$ EMAILOPENMIC@FATSHANRECORDS.COM ................................................................................. .*%8&&,."(*$
8&%/&4%": 17th August 7pm - 11pm
."(*$$"$564t5)&(*;;"3%4t45"3$-&"/&3t$"1&508/ 147 James St. Northbridge
(Cnr of Lake & James St )
Tobias Moldenhauer Tracey Barnett Wednesday August 24th - 8pm Mojo's Bar North Fremantle - Fremantle Blues and Roots Club Door sales $15 or $10 for members of the fremantle blues and roots club
THE DRUM MEDIA 11 AUGUST 2011 â€˘ 35
THIS WEEK IN
Adelaide Fringe Festival Info Session – the Adelaide Fringe team is hitting the road to spread the word about Australia’s largest arts festival and to say a little ‘hello’ to their friends interstate. RSVP: artists@ adelaidefringe.com.au. The Bakery, 5:30pm. Dirty Pictures – Alexander ‘Sasha’ Shulgin is the scientist behind more than 200 psychedelic compounds including MDMA, more commonly known as Ecstasy. This is his story. 1Up Microcinema at 312B William St, Northbridge, 7:45pm. (Repeats 13 August, 4:15pm, 7:15pm, and 9:15pm.) MADhattan’s – a night of experimental comedy MCed by John Conway. Manhattan’s Bar, Victoria Park, 8pm.
In These Shoes – Julia Jenkins (Taking Liberties!, A Divine Bette Midler Experience, Among Friends) returns to the DownStairs at the Maj stage with her latest offering, In These Shoes. From Liza and Bassey, to Bowie and Bob Dylan. From Weimar to Mississippi, each number gets an electrifying treatment from this gifted interpreter of narrative song. Cheeky and charming, In These Shoes is an intimate glimpse into the influences that have shaped this formidable artist. Opening night, 7:30pm. His Majesty’s Theatre until 20 August.
FRIDAY 12 Dead Hooker In A Trunk – four friends set out on an everyday errand and end up in a fight for their lives when they discover the body of a dead hooker left in their trunk. 1Up Microcinema at 312B William St, Northbridge, 8:15pm and 10:15pm.
SATURDAY 13 Scitech Comedy Debate – nature versus nurture is the topic under question as two teams debate whether our upbringing is to blame or if it’s simply what we are programmed to do. Debaters will include stand-up comedians, media personalities and Scitech science communicators. Octagon Theatre, 7:30pm.
SUNDAY 14 Future Shorts – monthly global short film festival. Acclaimed as the most innovative film label, each month FS programmes a fresh bunch of award winning shorts which stun audiences world wide. Future Shorts is a community of passionate people everywhere and we want you to be a part of it. Check FS website for this month’s short film programme. 1Up Microcinema at 312B William St, Northbridge, 5:15pm. Nightmares In Red, White, And Blue – an exploration of the appeal of horror films, with interviews of many legendary directors in the genre. 1Up Microcinema at 312B William St, Northbridge, 2:15pm and 7:15pm.
TUESDAY 16 The Yellow Wallpaper – Movementworks brings to life Charlotte Perkins Gilman’s gothic tale of a troubled writer, wife and mother who is prescribed a “rest cure” – cutting edge medicine in 1892. Charlotte is to spend her time in the nursery at the top of the stairs. She is not to touch pen, brush or paper. She is alone except for her imagination, her illicit journal and the yellow wallpaper. Opening night, 7pm. Blue Room Theatre until 3 September. 36 • THE DRUM MEDIA 11 AUGUST 2011
Stake Land – Martin was a normal teenage boy before the country collapsed in an empty pit of economic and political disaster. A vampire epidemic has swept across what is left of the nation’s abandoned towns and cities, and it’s up to Mister, a death dealing, rogue vampire hunter, to get Martin safely north to Canada, the continent’s New Eden. 1Up Microcinema at 312B William St, Northbridge, 7:45pm.
ONGOING Hijacked 2: Australia/Germany — presenting a diverse and provocative selection of new photography from Australia and Germany, the exhibition erases traditional boundaries between artists, professionals and emerging talent and points towards the future of contemporary photography. The photographs exhibit a fascination with international subcultures, fragmented trends, alternative life styles and urban landscapes. Curated by Mark McPherson (WA), Ute Noll (Germany) and Markus Schaden (Germany). John Curtin Gallery until 9 September. Primavera 2010 — debut WA hanging of Primavera, Sydney’s Museum of Contemporary Art’s annual exhibition showcasing the work of Australian artists aged 35 years and under. Highly recommended. Fremantle Arts Centre until 18 September. Recent Photography — through active acquisition and gifts from artists, the City of Fremantle Art Collection has acquired more than 140 contemporary and historical photographs. This exhibition of recent acquisitions features works by Fremantle-based artists Tania Ferrier, Brad Rimmer, Max Pam, and Graham Miller. Fremantle Arts Centre until 18 September. Wicked — Long before Dorothy dropped in, two other girls meet in the Land of Oz. One, born with emerald green skin, is smart, fiery and misunderstood. The other is beautiful, ambitious and very popular. Wicked tells the story of how these two unlikely friends grow to become the Wicked Witch of the West and Glinda the Good. Burswood Theatre until 11 September.
THE ARM THAT HOLDS THE KNIFE AS BELL SHAKESPEARE MAKE THEIR WAY AROUND AUSTRALIA TOURING JULIUS CAESAR, MARCIA CZERNIAK SPEAKS TO ACTORS KATE MULVANY AND GARETH REEVES ABOUT TAKING ON ONE OF SHAKESPEARE’S GREAT TRAGEDIES.
he timeless nature of William Shakespeare’s work is all the more apparent in Bell Shakespeare’s latest touring play, Julius Caesar. Already underway, the national tour takes in shows in 27 locations over five months, finishing up at the Sydney Opera House in late November. Directed by Bell’s associate artistic director Peter Evans, this adaptation brings backroom politics to the forefront and deviates away from Shakespeare’s male-dominated plays by giving us a female Cassius, played by Kate Mulvany. For those unfamiliar with Julius Caesar, Cassius is the character that is overrun with jealousy at Caesar’s power and manipulates Brutus into joining him in a plot to kill Caesar. While inevitably the casting of a female Cassius will draw some comparisons to a certain redheaded Australian prime minister, both Mulvany and fellow cast member Gareth Reeves (who plays Casca) are quick to dismiss the link. “It is inevitable that people will be thinking about recent events in politics when they watch the play, but hopefully a whole lot more will occur to them when they watch it,” says Reeves. “We made the choice to absolutely not follow that because we have done that, it’s boring, it’s over and I think the whole country needs to get over that now and act like adults and that is what this script does. It is an adult script; we are not going to reference what will probably be pop culture one day. We are going to look on it at a much grander scale, not so much a historic scale, but something we can recognise over and over as it happens over and over through time.” “We don’t need to pick on Julia [Gillard], I think she has had enough of that,” adds Mulvany.
C U LT U R A L
For Mulvany, who confesses coming into the production not being too familiar with Julius Caesar, work on the play started earlier than rehearsals as she worked with Evans in the development of the script. “It was great, Pete and I have never worked together before so it was a really fresh relationship. He came at it as a really experienced director who loved this play and I came at it from a totally layman’s position, so we met really well in the middle. We didn’t over-intellectualise and didn’t dumb it down, it was just a nice middle ground. It is probably the easiest writing period I have ever had. It is usually quite tough to write or adapt with someone else but with Pete it was really easy, we both had such clarity in our ideas, we weren’t afraid to ask questions from each other. He has directed so clearly and cleanly and swiftly, there is no fat in the production. It is just a really entertaining show… ‘visceral’ is probably the word. It always makes it easier to write when you know you have that punch behind it,” Mulvany explains. It was during this period that the core of the play started to take form, where Mulvany says it was decided that instead of looking at the play from the war elements, it was decided to look at it from the human element, focusing on the heart of the politicians and not just their motives. “I thought it was going to be much harder than it was. I thought we were going to have to change heaps of the script, but it doesn’t matter whose mouth those words come out of, for any of the characters. We deliberately made it not about sexual politics,
to again move our society on from that. We are bigger than that. This is actually about personal ambition and drive, not making anyone a good or a bad character and making the audience see that characters make good or bad decisions. And that is what makes them interesting, whether they are a villain or a hero. In Julius Caesar the great thing about it is when you really look at the heart of it, no-one is a hero and no-one is a villain. They all say each other are, but each night the audience comes out with a different opinion on who was right and who was wrong. It does not matter whether it is a male or a female hanging on to the knife, it is all about the shove behind the arm that’s holding the knife,” Mulvany says. For Reeves, who has performed quite a bit of Shakespeare in his time but never Julius Caesar, the reactions of the audiences to the play have been a highlight. “It is an exciting play to perform, especially considering everyone knows Julius Caesar is going to die, they all know how it ends,” he says. “It amazes me when people come to see it... It happened when I did Romeo And Juliet last year, everyone knows that these two are going to kill themselves but you get to the end of that play and Juliet picks that dagger up and you can see the whole audience going, ‘Don’t do it, don’t do it.’ It is the same with Caesar as well, the building up to the assassination. You can feel it from the audience, people are on the edge of their seat. A good story is a good story, we’ll always buy into it and we know what’s going to happen but we are always intrigued to see how it will
unfold and how it will be presented. I think we have managed to make it surprising and exciting.”
too common for animals in films to be done via CGI and obviously there are positives in not stressing animals out in the filming process, but there is something about Koko’s expressions that just make it seem like doing it the old-fashioned way was the only way… it kind of takes you back to the days of watching Lassie and Timmy running around together on the farm.
a tee, almost making you feel like you could reach out and touch the red dirt.
With the tour set to continue for another few months, both Reeves and Mulvany are enjoying life on the road. For both of them, Julius Caesar is the first Bell Shakespeare tour they have undertaken and being involved with such an iconic company has been a highlight for them both. With Reeves heralding from New Zealand, seeing parts of Australia for the first time has been a definite plus to being on tour, especially when they come across someone’s family. For Mulvany, the shows in Geraldton and Perth will be especially important. “I am from Geraldton, and Bell were one of the few companies that came to us there. It was very rare for anyone to come to us and it was usually Bell so it is really nice to be able to return the favour and go on tour with them. To go to places like Perth and Geraldton where my family is and I can fall into my bed, my real bed, and be surrounded by my family is a bonus. It is rare that I get to come to them so hopefully they like it. It is a dying art to be the touring artist, and to do it in Australia is a rarity because we don’t have much funding, so when you get the chance to do it as an actor it is really exciting.” WHAT: Julius Caesar WHERE & WHEN: Heath Ledger Theatre, Wednesday 17 to Saturday 20 August
WITH MARCIA CZERNIAK You know those movies that pull on the heartstrings? The ones that we all seem to love for one reason or another? Whether it is Once, Into The Wild, Eternal Sunshine Of The Spotless Mind, or Stand By Me, if a movie makes you cry it always seems to make it just that little bit better. Well, let’s add another one to the list – the new Australian movie Red Dog. This film is more than just your typical movie about man’s best friend. When you think of movies about dogs you may think White Fang, Benji, or even some animated pooches like in Lady And The Tramp. Well, Red Dog trumps all of these. The film is set in the 1970s and looks at the real-life kelpie cross who was known by the people of Dampier and beyond and loved by everyone he came across on his travels. It is said the independent dog, named Tally Ho
RED DOG but nicknamed Red Dog due to the red dirt, travelled all around the Pilbara, hitching rides with people. While in real life it is said Red Dog had two owners throughout his life, the movie has him linked to only one person, John Grant, who is played by American actor Josh Lucas. The relationship between John and Red Dog is one that is portrayed to perfection, and a large part of that is credited to the Koko, the dog who plays Red Dog. These days it is all
There are so many special things about this film. Director Kriv Stenders (Boxing Day, Lucky Country) has done a remarkable job on it and is getting some well-deserved recognition for his skill as a director. Another standout feature of the film is the cinematography of Geoffrey Hall (Chopper). Some may say it’s hard to make the Australian outback look good considering its mix of harshness and utter beauty in one, but Hall has just the right camera placements and has captured the magnificent landscape to
Not to reveal too much about the film, the moving storyline is one that captures the hearts of the audience but also catches the heart of Australia. Australian movies can cop a lot of flack for many reasons, and it has been a long while since we had an Australian film that doesn’t make you cringe or just shake your head wondering what went wrong. But like The Castle and Strictly Ballroom, Red Dog is a mainstream Australian film that deserves all the accolades it gets. There is a simplicity to the storyline that just works and as the film finishes and you wipe the last tear away, you walk out of the cinema with a sense of pride that this piece of Australian folklore and history has been told with the sincerity and respect that it deserves. Oh, and you may also walk out really wanting a kelpie cross as well.
TOM HAWKING BRAVES THE MADNESS OF PRESS DAY TO SPEAK TO LEADING MAN JAMES FRANCO AND DIRECTOR RUPERT WYATT ABOUT THE LATEST FILM FRANCHISE TO GET THE RE-BOOT TREATMENT, RISE OF THE PLANET OF THE APES.
UNFINISHED MONKEY BUSINESS I
t’s a Sunday afternoon in New York City, and Front Row is sitting with eight dictaphone-wielding ‘proper’ journalists at a large round table, feeling a little like part of some strange film industry job interview panel. We’re here as part of press day for the new Planet Of The Apes film, which is called Rise Of The Planet Of The Apes and serves as a kind of Dark Knightstyle re-boot of one of cinema’s most venerable franchises. The film’s star power is provided by one James Franco, who’s currently sitting at our table sipping strong black coffee and gamely fielding questions like “James, do you see yourself as a Renaissance man like Leonardo Da Vinci?” and “Are you a bigger Tolkien nerd than Andy Serkis?” Franco’s character in the film is the man who unwitting catalyses humanity’s destruction, a scientist who’s looking for a cure to Alzheimer’s but ends up with a drug that causes the lab chimpanzees it’s tested on to become hyper-intelligent. He takes one of said apes home with him to live, naming it Caesar. Without spoiling too much of the plot, while everything is hunky-dory for a while, Franco’s character pushes his experiments with the drug to an extreme (motivated largely by the fact that his own father has Alzheimer’s), with predictably disastrous results. As such, Rise Of The Planet Of The Apes is the latest in a long line of scientific-hubris-comes-back-to-
haunt-us plotlines that reach back to classics like The Fly and Frankenstein – so when Front Row gets a word in edgeways, we take the opportunity to ask Franco just what it is that he thinks audiences (and screenwriters) find so compelling about these storylines. “Well,” he says. “First I’ll say that it is a summer movie [in the USA, he means], and [the idea’s] in this film because it’s a great, great plot device. Things get out of control… It’s pretty common because it’s great for superhero movies, too, you know: ‘How do they get their powers? Oh, something happened, it was a mistake in the experiments or whatever.’” He pauses to take a breath. “But you asked why it’s so prevalent, and I think another reason is that our world is changing so much – there are so many developments all the time now, and it’s always a scary thing when something new comes along. So by creating plots that tap into fears of those things – ‘What if we go too far with something? Where are we going?’ – those are always questions that will interest people.” Playing devil’s advocate, though, there’s an argument to be made that there’s also an inherent conservatism about such ideas – after all, it’s our science and our technology that have allowed us to create the society we enjoy today. This isn’t an idea we get a chance to discuss with Franco, but it is a thread we take up with the film’s soft-spoken and amiable director
Rupert Wyatt, who’s next in front of the panel. “It’s a good question,” he says. “I mean, I hate films that have that be-careful-what-you-wish-for scenario. It’s a very simplistic idea, whereas the beauty of who we are as a species is that we are constantly evolving. Modern science is actually in so many ways an embodiment of the best qualities in us. The answer, I guess, lies in the hands of the individual. In many ways this is a classic Frankenstein story, where mankind’s own hubris and greed can play a part in decisions that are made.” Perversely enough, technology is also very much at the forefront of this film – it’s another triumph for the motion capture technology that created the crazy visual effects you see in Avatar and The Lord Of The Rings, amongst others. The apes look fantastic – more hyper-real than photo-real – making the film, if nothing else, a visual feast. Franco raves about both the technology and his co-star Andy “Gollum” Serkis, who plays Caesar: “I really enjoyed the motion capture process. It was great because it showed me that the technology has come full circle. In previous CG-heavy films that I’ve done, I’ve had to act opposite tennis balls, or opposite nothing at all. “[In the past],” he continues, “it was actors subject to the technology, whereas now the technology is coming to the actors. And we’re once again
GLEE: THE 3D CONCERT MOVIE
back to the basics of acting, which is two performers opposite one another, creating the scene with the interaction between them. It’s a true performance underneath [the effects] – it’s not animators creating the performance, it’s Andy, a wonderful actor, creating the performance from the inside.” For his part, Wyatt is similarly enthusiastic about the technology, noting that being able to have Serkis acting in every scene (with the CG being added afterwards) made it far easier for him to get to grips with what was a fairly large step up in budget and production values. (This film cost $90 million, while Wyatt’s only other feature – 2008 prison break drama The Escapist – cost $1.5 million.) If anything, he says, the most intimidating aspect of the film was its heritage. “I think we’d have been massacred if we tried to replicate or better the original film,” he says. “Going into this, what was heartening was that it was a fresh, original story. It certainly has echoes of Conquest Of The Planet Of The Apes, but it’s a totally different take on it. I’ve always wanted to tell the story of Che Guevara, and the fact that I can do that with apes…” He chuckles. “That’s even better.” WHAT: Rise Of The Planet Of The Apes WHERE & WHEN: Screening in cinemas now
Jane Eyre is a gorgeous looking film; it’s sumptuously shot and for the most part, wonderfully acted – but it’s let down by some pacing issues towards its end, and feels, on the whole, a little thinly stretched across the bones of Brontë’s classic tale. The film reminded me a lot of Refn’s visceral Valhalla Rising in its opening shots; moors besieged by watercolour storm-clouds, everything sodden, and harsh – rain tumbling from the raw terrain like the sanity washing from Eyre’s weathered psyche. It’s an engrossing and smartly expressionistic kick-start to the story, boding well for the film’s tone and the tale’s umpteenth cinematic translation. From here, as it moves into the stifling inner world of its subjects, you can feel it straining for that Breillat look and feel; that Campion grasp of the dense, politicised, deeply feminine romance. It’s lovely to look at, but lacks the ingenuity and tonal cohesion of character, theme, and image that the stormy sections (and those directors) have. The film, also, doesn’t at all sell its mystery element. There’s something undersold (or oversold?) to the film’s supernatural subplot. Meant, in the larger scope of the tale, as a red-herring to a critical plot point, it’s instead here so casually set up, it kind of unthinkingly rests in your mind as unrelated, much less spooky and strange. Mia Wasikowska is the film’s saving grace, brilliant as the detached titular character. Judi Dench is in firm superfluous mode, and Fassbender’s his usual scrappy greatness, but has woefully little to do. A disappointment. WHERE & WHEN: Screening in cinemas from 11 August SAM HOBSON
GLEE: THE 3D CONCERT MOVIE I’ll admit to having conflicting expectations about this movie. Clearly intended to indulge fans of the eponymous television show, Glee 3D could easily have been another polished vehicle for Hollywood to cash in on an established phenomenon. It could also have been genuinely entertaining, shamelessly camp, an extension of the show’s ethos of exuberance and inclusiveness. I’m happy to say it was the best of both. The performers are good-looking, wholesome and talented, and the real-life vignettes interwoven into the concert footage show how inspiring many genuine underdogs have found the show and its message. An Australian audience will probably find it a little saccharine and hysterical at times, but there’s a genuine strength of heart in the Glee experience. Yes, they sing covers for the most part and none of them are really the downtrodden losers they claim to be, but they bring an energy that’s infectious. Even the elderly couple sitting next to me were clapping and cheering. The latest in a raft of 3D movies (many of them poorly executed), Glee 3D was surprisingly well-suited to the format. Suspiciously so. I was left wondering how live the performances really were, but even if tweaked post-production, the movie never loses that ‘concert’ feeling. Glee 3D’s not going to please everyone. If you’re cynical about the show, you won’t enjoy it. If you’ve had a shit week and you need an injection of positivity, it’s recommended. WHERE & WHEN: Screening in cinemas from 11 August EUAN BLACK
TRASH HUMPERS CURIOUS/GRYPHON It’s fascinating what Trash Humpers does to you. It’s almost plotless, just a crap VHS camera following three aged delinquents on a trail of random destruction and stupidity. They also dry hump rubbish and perform fellatio on branches. It’s totally exploitative, highly manipulative, and very very wrong. Yet if it was only kids bashing dolls with hammers or old people drinking wine
and destroying TVs then it would get tired very quickly. Director and actor Harmony Korine (Kids/Gummo) has his faults – his unquenchable desire to shock, his precocious artiness, and willingness to exploit his subjects for his own amusement – yet it’s precisely these qualities that make this film so great. And he also imbues Trash Humpers with a certain unexpected gravitas, where in spite of the ridiculousness of its premise, the acts of stupidity take on an almost hypnotic quality, and strangely enough it becomes quite touching. It’s the worst looking film you’ve ever seen.
Things you’ve recorded off your phone look better. It’s definitely a sign of our times, it’s Jackass made by people without any conceivable talents, an exercise in seedy suburban wrongness, where Korine picks out some neighbourhood randoms to visit. So we get racist homophobic rednecks, randoms with extra long toenails, nonsensical monologues in maid outfits, firecrackers, and whenever Korine runs out of ideas someone roots some rubbish. There’s no music, just the singing over and over by camera operator (Korine in old-persons makeup), bastardised
folk songs where the humour comes from the oppressive repetition. Much like the rest of the film. It’s an annoying, painful, and difficult film to watch, but it’s also incredibly bold in its refusal to comply with cinema’s expectations. Korine is a singular voice; it’s probably the funniest film you will ever see, though to be fair, its humour borne from pain. Your pain, because ultimately it’s difficult to shake the notion that it’s not his subject, but the viewer, that is the butt of Korine’s joke. BOB BAKER FISH
THE DRUM MEDIA 11 AUGUST 2011 • 37
NEW KIDS IN TOWN
A FEW NIGHT’S MISCHIEF AWAY FROM ITS PREMIERE EPISODE, LOCALLY SHOT AND PRODUCED TEEN DRAMADY SLIDE IS SET TO HIT FOX8 SCREENS, CAPTIVATING A NEW GENERATION OF AUDIENCE. CO-PRODUCER NATHAN MAYFIELD FROM HOODLUM, AND CAST MEMBER ADELE PEROVIC CHAT WITH SAM HOBSON ABOUT THE SERIES’ IMPETUS, ITS UNIQUE FORMAT, AND THEIR HOPES.
38 • THE DRUM MEDIA 11 AUGUST 2011
he history of Australian original content youth programming is a strong one. With television shows like Ship to Shore, Heartbreak High, Head Start, and The Secret Life Of Us in the ’90s and early ’00s nursing us from ginger-haired beach-combing tween into libidinous college roommate, we, of middle Gen Y, have grown up alongside a bevy of idealised D&Ms, pretty people, and rampant transgression. Broadening their reach across popular media to echo the changes in the way we access modern entertainment comes, from the joint production houses Hoodlum and Playmaker, hopefully the latest entry into that prestigious canon; that culture of nostalgia. Ladies and gentlemen of Gen Y2K, meet SLiDE. Part love-letter to Brisbane, part ‘Skins In The Sun’, and youth television just as exquisitely time-and-place as the aforementioned list of series, SLiDE is about a group of friends – Eva, Ed, Luke, Scarlett, and Tammy – running around the river city together as they “smash their way into adulthood.” The head of (co-production partner) Hoodlum, Nathan Mayfield explains how this history of great youth programming is about to be reborn, and modernised for the new transmedia generation. “We don’t actually use [the term] transmedia,” Mayfield clarifies, “– it’s multiplatform. “There’s a movement around calling it transmedia, but every time I’ve ever tried to use it, no one understands,
[or further] they don’t want to know. Multiplatform simply means – and especially in terms of SLiDE – it means it’s about just telling a story, or creating this world, and just having many platforms which we tell this story on. For example, SLiDE has a ten-by-one-hour series schedule, but it was really important for us to create a show that didn’t just rely on the [adage of] ‘building it, and they will come,’ – rather, we would find ways to take the story out to where people were. “So, the story and the way that we engage with the audience had to change. Through Facebook, we’ve got a fantastic graphic novel that reveals itself chapter by chapter, every week – we’ve got games, we’ve got Tumblr, we’ve got Twitter, we’ve got these scenes [webisodes] that play out online that pay off on air. And so for us, it’s about ‘how do we give viewers as many ways as possible to enter the world of SLiDE?’” And here’s where it gets legitimately interesting. SLiDE was actually a series devised from the ground-up by a company that specialised in multiplatform storytelling. Having worked on mammoth properties like LOST and Emmerdale, Hoodlum have brought their immense working history to the first, feature-length equivalent in the medium. “The easiest way to do that,” Mayfield continues, “is to do it from the outset. “Most multiplatform stuff we’ve done has always been after the TV series has been picked up, and we’re moving
into the next seasons. Almost like an afterthought,” he explains. “You just can’t do as much, whereas, because we created this show ourselves, it’s from the outset been [planned] with a multiplatform approach. So, when we were coming up with the concept, [we] were plotting stories that would start online, and then migrate to on-air, and then set something up on-air that would then pay off by sending people back online to the SLiDE site.” Which, all sounding particularly mechanical at the moment, begs the question: is today’s youth more likely to respond most to a particular narrative, the reality of their lives reflected in popular programming, or just the social media angle? “I think it’s all of the above, and I think that’s the real opportunity here,” Mayfield informs us. “People want to get their entertainment fix in different ways. We’ve given them [different] ways they can engage with SLiDE. If they engage across all of those platforms, they really get a rich narrative experience; they can see how it all plays in together.” Giddily excited, and often affectionately referring to the series characters as ‘our kids,’ Nathan continues, explaining why the narrative, foremost, so excited them. “This is about that time in your life when there are no real consequences,” he enthuses. “All of our characters [are at this turning point]. They turn 18, and [learn that] when you get caught by the cops, there’s very little you can do. You
can’t get away with as much as could when you were 17.” And, to its merit, the show doesn’t feel contrived at all; nothing ‘saccharine,’ nor speaking untruthfully about the state of youth today. It feels genuine, and the characters are believable and serendipitously cast. One such member of the collective who sell this so earnestly is first-time actress and USQ Toowoomba graduate, Adele Perovic. In SLiDE, she plays Eva. “There was a lot of working on our dynamic as a group,” she says of the two week ‘immersion process,’ leading up to the series’ primary days of shooting in her old stomping ground of Brisbane. On playing a 17-year-old as someone who’s in real life four years older, she’s rather philosophical. “When you’re in [that age], you can’t really see where you are,” she starts, insisting it’s not strange. “– you’re too caught up in it.” “It’d be like me playing a 21-year-old now; you could do it, but you don’t have the distance to be able to look at it objectively, whereas I think having a little bit of time, and looking back at your teenage years, you kind’ve see the forest for the trees a little bit more.” Perhaps a reason for we middle-era Gen Ys to check in too. WHAT: SLiDE WHERE & WHEN: Premiering on FOX8 Tuesday 16 August, 7:30pm
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Published on Aug 10, 2011
The Drum Media entered the Perth landscape with a view to bring the ethos of its iconic East Coast brothers to the vibrant music scene that...