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 7 M A R C H 2 0 1 1 • 2 2 9 • F R E E
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HEIRS • DOES IT OFFEND YOU, YEAH? • BOW WOW • PETER BJORN & JOHN ALBANY • BUNBURY • BUSSELTON • DUNSBOROUGH • GERALDTON • MANDURAH • MARGARET RIVER • PERTH
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SXSW Keep up with all the latest from the annual international music event SxSW as it takes place this week in Austin, Texas. Street Press Australia and themusic.com.au are there so that you don’t have to be.
296 OFFICIAL BANDS OVER 50 AUSTRALIAN BANDS 4 DAYS NON-STOP GIGS This year’s SxSW promises the usual mix of arena names, underground blog faves, comebacks and chancer buskers. SxSW 2011 is where Duran Duran, The Strokes, Gayngs, Yuck, The Fleshtones and Yoko Ono can all be found gigging in the one city in the same week. Be ﬁrst to ﬁnd out how it unfolds through themusic.com.au.
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LAUNCHING 2011 2 • THE DRUM MEDIA 17 MARCH 2011
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VenuesWest would like to congratulate Future Entertainment and Mellen Events for their sold out Future Music Festival at Arena Joondalup on Sunday 6 March
“41,000 music fans rocking out in Joondalup”
MADE USING DRAIN CLEANER, BATTERY ACID OR EVEN HAIR BLEACH. THEN POPPED IN YOUR MOUTH.
ECSTASY. FACE FACTS. For more information call 1800 250 015 or visit australia.gov.au/drugs
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6 • THE DRUM MEDIA 17 MARCH 2011
THE DRUM MEDIA 17 MARCH 2011 • 7
FOREWORD LINE IN BRIEF GOOD CHARLOTTE’S BENJI & JOEL
DROP THE MADDENS
237 QUEEN VICTORIA AVE, NORTH FREMANTLE
(USA) with lanie lane & joe pug. tickets heatseeker.com.au
While Limelite is forever prowling for buzz acts and fresh talent, they don’t mind being a little starstruck every now and then. Join them with stars in your eyes when Good Charlotte brothers Joel and Benji Madden drop in to Metropolis Fremantle for a massive DJ set Friday 15 April. Joining them will be a name perhaps more synonymous with the ‘art’ of DJing, NYC bass-heavy bad man Drop The Lime, who rocked the Limelite crew last year following the release of hit single Sex Sax, and he’s bringing a whole new bag of tunes including his latest Trouble & Bass release, Hot As Hell. Support from Jus Haus? and Zelimir, tickets through Heatseeker.
ltd presale tickets $25+bf avai thru heatseeker.com.au or $30 at door
ltd presale tickets $25+bf avai thru heatseeker.com.au or $30 at door
PEGZ LEG PETE
Australian hip hop MC and CEO of Obese Records Pegz returns to the solo live scene with his first national tour in over three years. Celebrating the release of his new album, Drama (due out April), Pegz will hit the road and bounce into the Prince Of Wales, Bunbury Friday 10 June, followed by a show at the Civic Hotel Saturday 11 June. Blue Mountains MC Dialectrix will also be supporting on all dates promoting his recent release Audio Projectile. It’s all a part pf the ‘Bombs Away Tour’, proudly supported by Street Press Australia. Drama marks the return of Pegz following his acclaimed 2007 effort, Burn City and no doubt he’ll be showcasing plenty of tunes from both.
THE OWLS (NSW) OPEN MIC
fremantle’s biggest monday night contact bruno booth on 0424 606 437
TUE NAOMI &
BANG GANG OF FOUR
The fact Perth doesn’t really have any bona fide beach rave parties was cemented over summer with two sell-out Sets On The Beach shows so far, and they’re going out with a bang Sunday 27 March at the Scarborough Beach Amphitheatre. The End Of Summer and final edition features party gang bangers the Bang Gang Deejays, one man machine Muscles, electro energiser Hook N Sling and tropicool kids The Holidays, with local support from Mama Says Yes!, Death Disco DJs and Adam Wytka vs. Warren 10. It’s your last chance for fun in the sandy sun, so get your tickets from Moshtix outlets.
HUMMINGBIRDS THEMUSIC GROWS with simon kelly band & IN TEXAS
julius lutero trio
WED BLUES &
COMP with murder mouse blues band, james teague and more
MOJOS INFO AVAILABLE FOR FUNCTIONS CALL ANDREW 0408 934 256
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DRINK OF THE WEEK: STASSEN APPLE CIDER
FOR THE DIARY siren tower single launch mar 26 / james willing mar 27 / kid mac + carl fox band mar 31 / ﬁshy style april 1 / the fags LP launch apr 2 / sunshine bros apr 3 / hussle hussle apr 8 / the words apr 9 / ben (gomez) apr 14 / injured ninja apr 15 / alex lloyd with the pigrim brothers may 27 & 28 8 • THE DRUM MEDIA 17 MARCH 2011
The awesomely kooky Jack White has developed a Rolling Record Store for his Third Man Records imprint. Basically, it’s like those book buses that used to come to your primary school, just stacked with records and turntables. Taylor Guitars is readying its fan-favourite Road Show for its firstever tour in Australia, bringing together guitar enthusiasts and Taylor experts straight from the company’s factory in El Cajon, California for lively, in-store events on Monday 4 April at Music Park in Vic Park and Tuesday 5 April at The Rock Inn in Mt. Lawley. Are you local heroes Jebediah’s biggest fan? Prove it, and you could win yourself a private Jebs gig for you and 100 of your closest mates via jebediah.net ahead of their Kosciuszko tour that rolls into Astor Theatre on Friday 10 June. Lady Gaga has reneged on her deal to sell an expanded version of her Born This Way record exclusively at Target stores in the US after the company was found to have donated to anti-gay politicians.
from 6pm w/ the tumblers, the yokohomos & the loose lips
The use of Gary Glitter’s hit Do You Want To Touch Me? (Oh Yeah) on Glee last week has enraged child welfare campaigners, saying its use on the show will result in a windfall for the convicted paedophile.
Got Texas fever? It’s that time of the year when Austin becomes the centre of the music world thanks to the annual South by South West gathering. This year, Street Press Australia (publishers of The Drum Media Perth, Inpress, Time Off etc.) is going to be on ground and keeping those of us back home up to date via themusic.com.au. Here will be daily blogs, live Twitter feeds and Facebook updates keeping us informed of the latest buzz bands, the backroom deals and most importantly, the local talent representing Australia. This year, over 50 Australian artists are showcasing at SxSW, including Art Vs. Science, Bliss N Eso, Washington, Wagons, Wolf & Cub, The Jezabels, Hungry Kids From Hungary, The Holidays and truckloads more, including many WA bands. This year’s SxSW promises the usual mix of arena names, underground blog faves, comebacks and chancer buskers. This week in Austin is where Duran Duran, The Strokes, TV On The Radio, Gayngs, Yuck, Grimes, The Fleshtones, Wise Blood, Wu Tang Clan and Yoko Ono can all be found gigging in the one city in the same week. For daily updates and breaking news, subscribe to the Your Daily SPA newsletter (sign up via WASHINGTON themusic.com.au).
Former Iron Maiden vocalist Paul Di’Anno has been jailed for nine months on fraud charges. The singer claimed over £45,000 in government income assistance, claiming he couldn’t work due to a back injury.
JEFF MARTIN 777
Tea Party mastermind and travelling guitarsmith Jeff Martin is releasing his next album, The Ground Cries Out on April 8, and after a quick tour of Canada he’s coming back to celebrate with some blistering shows with his new band of broody brothers, JM777. You can catch the trio in action Saturday 21 May at the Rosemount Hotel. On becoming a three-piece with bassist J Cortez and drummer Malcolm Clarke, Martin said: “We can establish signposts in the live context, and how we get to those different signposts on any given night will change, and that’s what will make it fresh and fun every single night.” Expect a whole new dawning of JM.
Saturday 2 April sees recent album launchers and live beats act Paper Plane Project playing at a new mystery venue in Perth. PPP’s new album Pacific Connection is going gangbusters and features guest artists such as Aloe Blacc and Raashan Ahmad. It’s all very hush hush, with the venue not being announced til 7.30pm the night of the show out the front of The Bird. SpeakEasy and DJs Rok Riley, Jason Burton and Muma Cass are also in on the fun. Presale $10 from heatseeker.com.au as of Monday 21 March. Or limited tix on the door for $20 from 9pm.
While it may seem a little weird to announce a Perth band playing a gig in their hometown with such excitement, the crazy couple of years Karnivool have had means it’s a slight rarity to see them live’n’local. Friday 15 April they play Metro City and then Saturday 16 April folks down south can catch them at Studio 146 in Albany. Tickets through Heatseeker, Oztix, Mills, Planet, 78s and Star Surf Perth & Mandurah, Southern Sound and Vibes. You can also catch them at the previously announced Margies fest in Margaret River on Saturday 9 April.
ALL A STATE OF MIND
Friday 25 March sees the Rosemount hosting another cracking All Black drum’n’bass show featuring New Zealand favourite sons State Of Mind and MC DBS. The duo that is State Of Mind’s 2009 album Faster Than Light was released to both critical and commercial acclaim, while DBS isn’t afraid to add live guitar elements to his unique style of MCing. Local support from N1, Q-Bik, Echo vs. Sidetrack, Jazza vs. Gracie, Defflo vs. Render, Concept vs. Traction and Mr Twist vs. Kash. $25 plus BF from all Moshtix outlets and DJ Factory.
Bob Dylan has officially been given permission to perform in China after concerns he wouldn’t be allowed due to his political ideals and protest songs. Tickets to see him at West Coast Blues ‘N’ Roots are still available. Thom Yorke, Burial and Four Tet are teaming up for a dream split 12” release dropping now. It’s been confirmed that a $2.45million arts and culture festival, funded by Lotterywest and the State gov, will be staged in conjunction with the Commonwealth Heads of Government Meeting (with the unfortunate acronym CHOGM) in Perth this October. It’s not yet known whether this will affect the One Movement For Music Festival (also in October), who are reportedly having their own funding reassessed.
JOHN BUTLER TRIO BY ELLE BORGWARD
HUMP BUTLER WHALE
In the efforts to continue the work of the Sea Shepherd Conversation Society in Australia, there will be a fundraiser: Art For The Ocean. Featuring the work of artists Russell James, Sally Aurisch, Danny Khoo and Ian Young, there will be a silent and live auction on the night, along with entertainment from the one and only John Butler. It all pulls into harbour on Saturday 30 April at the East Workshops at Fremantle Prison. Tickets from seashepherd.org.
Breakthrough to Blues & Roots: Heat 2 - Jake and The Cowboys, Minute 36, Empire Blues Band, Moondog J. Doors 8pm.
The long awaited Mink Mussel Creek album launch + special guests. Tix essential (thru moshtix). Doors 8pm.
Roots rock with Matt Gresham and friends. Doors 8pm. Be early!
Mink Mussel Creek album launch encore show + special guests. Tix essential (thru moshtix). 6 - 10pm.
+BLAZIN ENTRAILS +SUPER SWEET MYSTERY SKA BAND
6*745&#;/#4%* WESTERN AUSTRALIAN ACADEMY OF PERFORMING ARTS MARCH 2011
16 - 17 MARCH WAAPA ALL STAR BIG BAND A night of swinging jazz from this 18-piece powerhouse 18 - 24 MARCH NANA Emile Zola’s decadent portrayal of 19th century Parisian society 18 - 24 MARCH GRIMM TALES Journey into the world of Grimm’s fairtales with 2nd Yr Music Theatre 19 - 24 MARCH EPSOM DOWNS A delightfully modern British comedy set on Derby Day 1977 19 - 26 MARCH THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE A comic ﬁrecracker of a wish-fulﬁllment story and bloody hilarious 24 MARCH SERENADE FOR STRINGS WAAPA Camerata play Tchaikovsky and Brahms 25 MARCH GEOFFREY SABA PLAYS SCHUBERT One of the world’s ﬁnest concert pianists 26 MARCH WAAPA IN THE PARK Free concert in Ron Stone Park, Mt Lawley with WAAPA Big Band and the Soul Revue
*Please note all concerts start at 7.30pm. Please check website for theatre performance times and venue information.
WAAPA Box Ofﬁce: (08) 9370 6895
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BOOM! BAP! POW! +SEAN POLLARD +GUESTS
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There’s some mighty fine happenings going down right now in WA, and we’re not just talking about this week’s Foreword Line being full of local stars...
BEN FRICHOT’S ARTWORK
A world of Low Brow and Pop Fiction characters await you at luckyamour.com – a website showcasing the original rock poster art of Perth’s favourite son and Day Of The Dead guitarist Ben Frichot. The website is being launched Thursday 24 March at the Bird with performances from Day Of The Dead, The Bad Piper and Luke Dux, plus The Devil In Miss Ashlee burlesque. $10 from 7.30pm.
The 2011 Crustacean Cup will feature four teams made up of musicians from prominent local taking to the soccer pitch for a fun arvo in the sun. Players are drawn from local favourites Split Seconds, Sugar Army, Red Jezebel, Russian Winters, Cal Peck, Will Stoker, Astral Travel, Bamodi and more. The knock-out rounds start from 1.30pm with the RTRFM-broadcast final kicking off at 3.30pm Sunday 27 March. Tomas Ford calls the action from Russell Square in Northbridge. Visit foodchainperth.com for more. Saturday 26 March at the Quarry Amphitheatre in City Beach Sarah Macliver combines forces with Libby Hammer & The Hip Mo’ Toast Big Band to get MAD – Make A Difference – with a night of swing jazz, crazy Australian covers and good fun. Dancers from Swing It! also feature. $50 through Ticketmaster, with proceeds to MAD. World Aware migrant youth are joining forces with Perth talent in a drama and hip hop mega-show. A group of youth leaders will dance, sing and act up a storm with local performers including MC Dazastah, Megalight Multicultural Corporation and MC Rythm Infinit. ‘Lets Move It Move It By Youth 4 Youth’ is going down Sunday 27 March from 3 til 6pm at the Herb Graham Recreation Centre in Mirrabooka. Dynamic and melodic four-piece Babyjane recorded their debut album Are You Listening in 2010 then took it to Nashville, USA to be mixed and mastered by some legendary producers including Michael Wagener (Motley Crue, Metallica) and George Marino (Guns’N’Roses, Kiss). They celebrate the album’s release Saturday 26 March at Rocket Room with Hailmary and The Sure Fire Midnights. Just weeks before the national release of his debut album Insights, hard working solo performer Jonny Taylor has been awarded ‘Best Male Artist’ at the WA Country Music Awards. Catch him tonight at the Oxford Hotel; Friday 18 March at M On The Point; Saturday 19 at Bootleg Brewery in Dunsborough; Sunday 20 at Caves House, Yallingup; and Tuesday 22 March at Murphy’s Irish Pub back in Mandurah. Check jonnytaylormuisc.com for the rest of his busy touring schedule. BoomBox Old Skool Boat Parties are casting off for their third journey with a night of hard trance/NRG on the mighty 150 Capacity AHS Boat. DJs for the Friday 25 March boat cruise departing from Barrack St. Jetty at 8pm are Bam Bam, Freestyle, Hutcho, Clint Scott, Kenny L and Beni C. With industry tickets available from the DJs for $35, or $39 plus BF from moshtix.com.au. Combining dreamy lo-fi folk and bedroom pop, Rabbit Island has been creating her own unique tunes and turning ears around town for a few seasons now. She releases her debut album O God, Come Quick, at the Bakery on Friday 25 March. $10 presale tickets from nowbaking.com.au include the album. No one quite does dirty neo-classical swamp-folk like Bureaucrats, and if that sentence confuses you then you’d best get along to their double A-side single launch. In proper Sunday session tradition, doors open 4pm at Manhattans, Sunday 27 March.
SONS OF RICO
THRICE THE PINES
After two already cracking announcements for RTRFM’s favourite local music festival In The Pines, to be held Sunday 24 April at UWA’s Somerville Auditorium, including Abbe May, The Scotch Of Saint James, The Silent World, The Devil Rides Out, Hootenanny, Seams and many more, the third and final round has landed and is no less impressive: Atolah, The Growl, 6s & 7s, Sons Of Rico, Tangled Thoughts Of Leaving and Usurper Of Modern Medicine join the gang for some fun in the Sunday sun. Presales from rtrfm.com.au/ events, $15 for RTRFM subscribers, or $20 for generals.
A name synonymous with beats, breaks and bass, the UK’s HeavyFeet are rolling in to Ambar Saturday 16 April for a night of dancefloor devastation. Their steady stream of singles via their 12x12 project (12 different tipped singles released over 12 months, each featuring a different vocalist and remixer) have reached a massive band of supporters including DJ Craze, Diplo, Steve Aoki and Drop The Lime. They’re supported by DNGRFLD, Blend and Black & Blunt, door sales and pre sales $15 from Boomtick.
TURN THE PAGE
Returning to Perth with his highly energetic and always surprising solo performance, Adam Page pays Ellington Jazz Club Monday 4 April. Primarily a saxophone player, the instruments Page loops are as diverse as bass, keys, percussion, vocals, Tuvan throat singing, beat-boxing, guitar, flute, clarinet, Mbira (African Thumb Piano), Didgeridoo and Nose Flute in styles ranging from funk, tango and Punjabi to classical, jazz and metal. Perth band, Sir Thomas will be joining Page for the show which starts at 7pm, tickets $15/$12 (table) or $10/$7 (bar) from ellingtonjazzclub.com.au.
MISSIONARY MOTION KRAZY KARI
On Friday 25 and Sunday 27 March the Settlers Tavern in Margaret River and the Rosemount Hotel in North Perth respectively will be treated to A Night Of Reggae featuring Sista Kari and King Krazy of Blaze Fire Sound from Byron Bay. As a singer Kari represents the perfect blend of traditional reggae roots with a contemporary perspective and has collaborated with the likes of Mad Professor, while DJ King Krazy keeps the vibes rolling. The show is part of the new Pre-Loved Sunday sessions, featuring Phat Shan’s record store, live acoustic acts and DJs spinning tunes from 4 til 10pm.
It’s a dubstep vs. drum’n’bass extravaganza Friday 8 April at Shape, featuring special guest from the UK, Crissy Criss. After beginning DJing at the early age of nine (thanks to step dad and recent visitor to our shores Kenny Ken’s turntables), Crissy Criss has been making waves in the UK d’n’b scene for over a decade now. Embarking on his first Australian Tour, he brings an infectious brand of energetic, genre-mashing dancefloor bangers. Support from Q-Bik & Seeka MC, Sempy & Dvise and DYP, along with MCs Bear, Xsessiv and Tenacity. $25 plus BF from shapebar.com.au, Planet, Mills and The DJ Factory.
With a shared love for mechanical Olivetti DORAs and Hermes Baby Swiss-mades (see: typewriters), sometimes-drummer for The Waifs turned tunesmith David Ross Macdonald and the lyrically erudite and captivating Heath Cullen have announced a
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
10 • THE DRUM MEDIA 17 MARCH 2011
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Elle 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
co-conspiratorial national road trip: the Two Writer Types Tour. Macdonald is celebrating his latest solo effort Thorns To Sleep, while Cullen expands upon his acclaimed band album, A Storm Was Coming But I Didn’t Feel Nothing. They play Settlers Tavern Wednesday 6 April (free); Matilda’s Estate in Denmark Thursday 7 ($20); Red Mill Store in Bunbury Friday 8 ($25); and Fremantle Arts Centre Saturday 9 April (ALL-AGES, $15).
LIESL AS A FEATHER
After completing the album only days before hitting the road on their fourth adventure-filled European Tour, Swedish/Australian duo Nick & Liesl bring it home with their long-awaited debut album release, Feather, and a national tour kicking off right here in WA. They play Jetty Café Tea Rooms in Esperance Friday 1 April; Nelson’s Of Bridgetown Saturday 2; Redcliffe On The Murray Sunday 3 (3pm); Mojo’s Wednesday 6; Nannup Hotel Friday 8; Quindanning Tavern Saturday 9; Indi Bar Sunday 10; and Settlers Tavern Thursday 14 April.
FEEL THE VIBRATIONS
The WA Youth Jazz Orchestra has landed another coup for the Perth jazz scene – securing the sensational French vibraphone player Franck Tortiller in his only Australian performance. In hot demand by festivals, orchestras and ensembles around the world, Tortiller will visit Australia for the very first time to perform with the WAYJO Wednesday 6 April at the John Inverarity Music & Drama Centre in Wembley Downs. A member of the legendary Vienna Art Orchestra and conductor of France’s Orchestre Nationale de Jazz, see him for $50/40 through 9347 9726.
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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DEADLINES Editorial Friday 5pm Advertising Bookings Monday 12pm Advertising Artwork Tuesday 12pm Gig Guide Monday 5pm
Fresh from playing the Sydney Big Day Out and a quick run of shows along the east coast The Mission In Motion are headed west in support of their new single What Do You Do – the third single to be released from the band’s debut release Somewhere Safe, which has already spawned a couple of high rotation singles on triple j. The track, featuring vocals from Sydney singer/songwriter Caitlin Harnett, is also available for free download via themissioninmotion.bandcamp.com. Catch them Saturday 21 May at Amplifier and Sunday 22 May at Mojo’s.
Once a door bitch, student and model and now the face, voice and disc-spinning hands of a generation, catch Ruby Rose at Limelite, Metropolis Fremantle Friday 1 April. When not planning world domination, Rose is dropping tunes at some of Australia’s hottest clubs, parties and festivals. She’s bringing her partner in crime, acclaimed producer, radio host and record label owner Grant Smillie tour along for the ride. That’s not all as big room, progressive and tech-house producer/DJ Michael Woods joins the line-up along with locals Zelimir and Props Box.
The last time Washington announced a headline Australian tour she achieved the record for the greatest number of consecutive sold-out gigs at Melbourne’s famous Corner Hotel (five, for when they ask on RocKwiz). Her upcoming Tour Of Laughter And Forgetting, with special guest and good friend US songwriter Lissie, is looking to do the same, with most east coast shows sold out or close to. Perth fans best get onto their tickets through BOCs for her show Friday 13 May at the Astor Theatre.
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FOREWORD LINE WINNING DEVELOPMENTS
APRA WINNERS ALEX POZNIAK, CATHERINE KELLEHER (CATCALL), BRENDON BONEY, HARMONY JAMES, ROHIN JONES, TIMOTHY STEVENS AND CAITLIN YEO
THE APRA PROFESSIONAL DEVELOPMENT AWARDS ARE HANDED OUT EVERY TWO YEARS TO ASSIST EMERGING AUSTRALIAN SONGWRITERS AND COMPOSERS IN GETTING THEMSELVES HEARD. DAVE DRI SPEAKS TO SOME OF THIS YEAR’S WINNERS.
he winners of the 2011 APRA Professional Development Awards have been announced, with the eight winners of the bi-annual awards selected in the categories of Popular Contemporary, Film & Television, Classical, Jazz, Indigenous and Country. The awards are a great opportunity for the recipients, who will get a massive leg-up as they each receive career-boosting prizes worth $25,000. Winners include Harmony James, recipient of the award for the Country category, who was excited at the timing of the competition. “I won a MacBook as part of the package which is so timely – my old MacBook was dying and there’s no letter ‘O’. I was typing emails and copying and pasting until the sentence made sense,” she says. For James, the significant cash prize element, complete with Studio 301 studio time, will unlock career opportunities. “We’re looking to do another album soon and the studio time will come in great for that, and there’s a heap of Sydney artists that I want to write with as well, so there’s certainly not going to be any problem using up that part of the prize. “I guess the cash element is extremely important because it means that I can fast-track things I’ve wanted to do that I’ve needed to save up for, like travelling to do co-writes. Part of the pitch to try and win this was saying that I want to do some co-writes in
Sydney – I’m based in Brisbane – and also to go to the States, both of which I’m in a position to do now, which will really help me consolidate my networks and get out there more.”
such esteemed company, Boyd was extremely positive on the implications of the win. “We don’t really see it as any kind of pressure of anything on us,” he says. “We put a lot of pressure on ourselves anyway to try and come up with the best performances and music that we can every time we do anything, so getting an award like this isn’t really any kind of pressure. It’s actually a bit of a relief and a nice feeling to get that kind of recognition.”
The access to industry resources is something that is equally appreciated by Brendon Boney, taking out the indigenous category as part of the genre-blending duo Microwave Jenny. “We’ve been actually trying to figure out what to do with that. It’s kind of like somebody saying you can have more time then you need, and then trying to figure out what to do with it,” says Boyd. “Probably the biggest, most exciting part for us is trying to figure out what to do with that day [in the studio], because we do need a lot of mixing and recording to finish off some touches for an album we’ve been putting together.”
Harmony James shares the excitement, speaking to Drum while rushing through an airport. “It’s good,” she says. “You put yourself out there and just try and get as many breaks as you can. You’ve got to cop your knockbacks as well, so when you get a really good win like this it’s just so encouraging.”
This year’s round of the PDAs was one of the most popular yet, starting out with a talented pool of 2,500 music artists to whittle down to a group of 250 songwriters and composers. Of this shortlist, only eight winners were possible, providing great recognition for the recipients. Speaking of the honour of being in
The other recipients of 2011 PDAs include Sydney’s Caitlin Yeo for the Film & Television category, composer Alex Pozniak for the Classical category, and Melbourne’s Timothy Stevens in the Jazz category. The Popular Contemporary category awards three prizes, the winners being Rohin Jones (of The Middle East), Catherine Kelleher (performing as Catcall) and Zoe Randall (one half of the duo Luluc). Speaking after the announcement Jones said, “The APRA PDA will do so much – I’ve been trying to get a studio together to do some more home recordings and I think I have most of what I need for the studio now because of the award. And I can kinda pay myself to record for the rest of the year. It’s a really sweet prize and will allow me to keep writing music.” Each APRA PDA winner receives prizes that will substantially support their burgeoning careers as songwriters and composers, including a cash prize of $10,000, a full day of studio time at Studio 301, and an Apple Macbook pre-loaded with Logic Studio. Additional category-specific prizes and industry development resources ensure that the 2011 recipients are afforded every opportunity to develop their respective projects on a national and international level. As Brendon Boney puts it, “It’s such a hard thing to actually get perspective on that you’re just as likely to be able to produce something that’s recognised nationally as anybody else in the country. There’s no reason why anybody from anywhere shouldn’t be able to do it.” With the 2011 APRA Professional Development Awards under their belts, this year’s winners have every opportunity to do exactly that.
British electro punks Does It Offend You, Yeah? have returned with their long-awaited second album, Don’t Say We Didn’t Warn You, out now through Pod via Inertia. With lead track The Monkeys Are Coming already proving an instant hit at triple j, the group have unleashed their most relentless and energetic album yet. The British band broke onto the world’s stage in 2008 with their debut You Have No Idea What You’re Getting Yourself Into, which saw the band become the ninth most-listenedto new band of 2008 on last.fm and led to them being crowned as Rolling Stone’s ‘Breaking Artist’ in the same year. Thanks to Inertia and SPA we have an amazing Ultimate DIOYY? Prize Pack up for grabs that includes a keyboard, a drum skin, a signed T-shirt and a copy of the new album. To be in the running to win this awesome prize pack DO NOT email us, simply head over to the new Drum Perth Facebook page and go to the giveaways section to enter. Entries close 5pm Friday 25 March. Think of an Australian superhero and you might come up with the image of Matt Shirvington trying to outrun speeding bullets, or – worse, much worse – the image of our opposition leader’s underwear on the outside. But with Griff The Invisible there is a street patrolling, tight wearing DIY vigilante in our midst. Written and directed by the ever-present Leon Ford and starring True Blood’s Ryan Kwanten, Griff The Invisible has been getting some great talk since last year’s Toronto International Film Festival. To pick up one of TEN double passes, email email@example.com with “WIN THE INVISIBLE” in the subjectline. *All giveaway prizes must be claimed within two months and a max of one prize can be won by each entrant every two months.
QUAKE RELIEF UK Technique // Mix & Blen // BBC 1XTRA
DUB DRUM VS.
Friday April 8th @ Shape Bar Support:
ENTRY: $10 ON THE DOOR
Sempy & Dvise // DJ Xsessiv // DYP MCs: Bear // Xsessiv // Tenacity Tickets: $25+bf from www.shapebar.com.au, Planet Video, Mills Records, The DJ Factory & industry sellers.
12 • THE DRUM MEDIA 17 MARCH 2011
THE DRUM MEDIA 17 MARCH 2011 • 13
FANCY PANTS GIVES YOU WINGS While itâ€™s a full show Pants is playing on the Thursday, the night before heâ€™ll be the special guest at a free Red Bull Music Academy info session. Here is a mere peek at some of the graduates:
WHETHER ITâ€™S DOOM METAL OR PSYCHEDELIA INFLUENCING HIM AT THE TIME, JAMES PANTSâ€™ AURAL GEAR IS NOT MEANT TO BE PIGEONHOLED. TED SCHLECHTE CHATS TO HIM FROM HIS NEW STUDIO IN THE FATHERLAND AHEAD OF HIS SHOW AND LECTURE AS PART OF THE RED BULL MUSIC ACADEMY TOUR TRAIN.
Aloe Blacc â€“ this 2006 partaker is no stranger to Perth, recently playing a solo show and the Good Vibrations Festival. Dorian Concept â€“ Mr. Concept is a purveyor of uniquely sporadic beats, often with a splash of dubstep thrown in for good measure. Flying Lotus â€“ Steven Ellisonâ€™s music is as hard to pin down as Lindsay Lohanâ€™s skirt. His latest album, Cosmogramma, is a beautifully ambitious take on experimental hip hop and electronica. Jneiro Jarel â€“ also known as Dr. Who Dat?, Jarel succinctly blends elements of electronica, electropop, bass music, Brazilian funk and much more into his material. Muhsinah â€“ this independent singer/songwriter, producer, composer and arranger fuses electronic beats with jazz and unconventional song structures. Ta-ku â€“ with this Perth beat maker it is more of a question of what he hasnâ€™t done. His infectious rhythms, chopped up samples and extraordinary amalgamation of modern and vintage sounds is propelling this RBMA 2008 grad to high places.
merican multi-instrumentalist James Pants (real name James Singleton) has certainly come a long way since he left his high school prom with his date to meet one of his idols, Peanut Butter Wolf, at a show in Austin, Texas. He took the Stones Throw Records head honcho vinyl shopping around town, became an intern at the label, put out several singles and various other bits and bobs and has dropped his first two albums on the imprint, with his third to follow soon. The first single from the forthcoming self-titled release is Darlinâ€™, a bizarrely hectic slice of deleterious bass amalgamated with echo-charged vocals, somehow creating a doo-wop pop track that is practically beyond any sort of concise description. Imagine Buddy Holly teaming up with The Go! Team and youâ€™ve most likely just scratched the surface. â€œJust before you called, a co-worker of mine put a promo copy of the whole CD into my hands. It comes out in early May and I like to call it adult contemporary,â€? Pants semi-jests about the long-player from his studio in Cologne, Germany. â€œThere are short instrumentals, but Iâ€™ve included more singing on it than anything else Iâ€™ve concocted over the years. I just wanted to have a different sound. Itâ€™s not as â€˜80s as what Iâ€™ve done before, itâ€™s more psych influenced. Early Prince, Frankie Avalon and Frankie Lymon also inspired it. Itâ€™s a rock record with digital saxophones and light drum machines â€“ smooth grooves,â€? he adds, putting on a husky, Barry Whiteesque voice. â€œI try to make like 50 or 60 songs for every record. Some obviously donâ€™t fit, but I try to do whatever Iâ€™m feeling at the moment. Building up a stockpile is always handy.â€? Pants is happy to concede that his corralling of keyboards is just one of his fixations and that he â€œretiresâ€? them after they go through their run of fame. â€œBecause I generally perform alone â€“ not to sound deserted or anything â€“ I inescapably use lots of drums and keys. When I want to alter something, itâ€™s off to buy
a new toy. It is incredible how much of a difference a particular component can make.â€? Although Pants moved to Europe because of his position at the Red Bull Music Academy, he laughs when queried as to how the involvement came to fruition. â€œI donâ€™t
ITâ€™S ONE PART DJING, ONE PART DRUM MACHINE AND ONE PART KARAOKE. I TRY TO MAKE IT SOMETHING DIFFERENT FROM THE TYPICAL DJ SET. THEREâ€™S A LOT OF DRUMMING, YELLING, SINGING AND DANCING. ITâ€™S QUITE TACKY, TO BE HONEST.â€?
know, actually. They asked me to give an informal lecture a couple of years ago in Barcelona and I did that and quite a few more shows. I was also a studio deckhand, helping the participants record. Now I have a three-year-old daughter, so I wanted to tour less. I wrote to the Academy over the [American] summer about what I could do and they asked me to come over here.â€? It is probably safe to say that Pantsâ€™ cassette singles (a.k.a cassingles) collection would put yours to shame â€“ if you still have one, that is. Living in a multitude of American cities has helped this collection of influences grow, embracing the various sounds that have come his way on his enlightened path through the realms of the music industry. â€œI grew up listening to a lot of rock,â€? he
claims. â€œI did spend a lot of time in the not-so-culturallyadvanced town of Spokane, Washington. I was listening to a lot of Black Sabbath, Led Zeppelin and Nirvana while playing in garage bands â€“ that kind of stuff. Then I got into hip hop and DJing, and I was in a jazz band for a decent amount of time too. It was when I was heavily into the hip hop that I started finding samples, which has transformed the way I look at music. I ended up liking the source more than the rap most of the time.â€? He bashfully admits that singing has taken him a while to feel comfortable with and is quick to respond to how his parents (former musicians-meet-Presbyterian ministers â€“ seriously) feel about the direction his life has taken. â€œThey like it. My mum is a big fan, thatâ€™s for sure,â€? Pants chuckles. â€œI donâ€™t think my dad listens to my stuff much, though. Saying that, theyâ€™ve been super supportive all along, especially when I started making money from everything. I was buying a lot of records back in the day and my dad would say things like, â€˜Youâ€™re spending a lot of money and Iâ€™m not seeing much coming in.â€™ But over the last four or five years, theyâ€™ve become much happier with it all.â€? Surprisingly unsurprising, Pants reveals that he has always had a fascination with what he calls â€œhellish music,â€? which explains his current obsession with doom metal. â€œIâ€™ve been checking out groups like Thorrâ€™s Hammer, who play the slowest metal possible. 40 bpm is where itâ€™s at.â€? Robert Frost once quoted, â€œEducation is the ability to listen to almost anything without losing your temper or your self-confidence.â€? This is epitomised on Pantsâ€™ blog, an in-depth glimpse into the mind of one of modern musicâ€™s more intriguing artists. Posting sound effects, haunting organ anthems, obscure funk and soul, ghetto remixes, Czech psych-out soundtracks, mixes and much more, it is a good way to spend a lazy afternoon â€“ or week for that matter. Bearing that in mind, his upcoming performance on his first tour of Australia should also fulfil the urge to hear material youâ€™re guaranteed to have never lent an ear to before.
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â€œMy mix-tapes are a good introduction to what may be had. I try to see how out there I can go, sometimes even sneaking in a bit of gluttonous doom and things like that, but without losing everyone. I have so much fun performing live because it can go one of two ways, depending on the crowd. Itâ€™s a real love it or hate it kind of thing. If things go wrong, Iâ€™ll just spin some Golden Era hip hop.â€? Choose your adjective: quirky, idiosyncratic, unorthodox or whatever else you see fit. Regardless, James Pants is undoubtedly on a mission to break down categories and have fun while doing so. â€œIâ€™ve been listening to lots of â€˜80s library records and New Age relaxation stuff,â€? Pants conveys. â€œIâ€™m also getting more into folk, which Iâ€™d never really felt before.â€? They played at one anotherâ€™s weddings and Pants has nothing but kudos for Peanut Butter Wolfâ€™s upcoming AV/DJ showcase that is going down after his own extravaganza. While his self-deprecating about his own shows, Pants is more open about his own excitement for Wolfâ€™s impending assault of the senses accompany â€œThese shows of his are nuts. Theyâ€™re tremendously fun, all over the place and very unique.â€? WHO: James Pants WHAT: James Pants (Stones Throw Records) Out in May WHEN & WHERE: Red Bull Music Academy Info Session â€“ Wednesday 23 March, Flying Scotsman; Red Bull Music Academy showcase â€“ Thursday 24 March, The Bakery, Northbridge
6810$5 FEAT. ANDREW NEWMAN, APPLEBITE THE BEGGARS ON ACID, DAY OF THE DEAD, TUNGXSTEN, BORN ON THE BAYOU, CAPRYCON, MIDNIGHT BOULEVARD, THE OTHER WOMAN, WING-IT, LIQUID KRYSTAL, ENDORA, HAILMARY, HOSTILE LITTLE FACE, AMBERDOWN, THE DARK ROOMS, KHARIOT, OAK TREE SUITE, WAITING 4 ANDY, PAPER LIKE HOUSE, DAVID LAZARUS, MUDGUTS, NYMPH HONEY, ONE ARMED SCISSOR, PALTIVA, THE WILKIES, REFLECTIONS OF RUIN, REQUIEM FOR RESISTANCE, ROCHELLE Oâ€™REILLY, WHEN SUMMER ENDS, SOCIAL INERTIA, BELTANE FIRE, HIGGS BOSON, SUN CITY, BYP, PRISONERS OF FAITH, THE SILENCE IN-BETWEEN, THE WHITENOISE PROJECT, TIARYN, RUKUS NAPALM, WORLD A FUZZY + SCREENING OF â€œTHE SCORCHER FEST STORYâ€? 3 STAGES. DOORS OPEN 12 NOON TIL LATE. TIX $20 / $30 AT DOOR.
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â€œIâ€™m doing what I like to call a variety show,â€? Pants divulges in a humorous tone. â€œItâ€™s one part DJing, one part drum machine and one part karaoke. I try to make it something different from the typical DJ set. Thereâ€™s a lot of drumming, yelling, singing and dancing. Itâ€™s quite tacky, to be honest.
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TAKING CONTROL SHE MADE NOISE AROUND THE WORLD WITH HER PUNK GROUP, THE GOSSIP, BUT NOW BETH DITTO IS GOING SOLO WITH THE HELP OF SIMIAN MOBILE DISCO. SASHA PERERA FINDS OUT THE STORY BEHIND HER NEW EP, AND WHO SHE’S GOT HER SIGHTS ON FOR A COLLABORATION.
s an unlikely rock‘n’roll femme fatale and frontwoman for The Gossip, Beth Ditto has become one of the most talked-about music and fashion icons in recent years. Her bluesy howling fittingly guided the post-punk indie sound of The Gossip, but it was Beth’s personality and couldn’t-give-a-fuck attitude that really helped the band rise from indie band rooms to global stages, via trendy magazine photoshoots and fashion’s leading catwalks. In between albums from The Gossip, Beth has taken a significant detour to release a solo EP, guided by the deft touches of UK dance outfit Simian Mobile Disco (who previously featured Beth on their excellent Cruel Intentions single). The result is a genius four-song collection of sexy, sleazy-sounding late-night/early-morning house tunes, which introduce audiences to Beth’s equally vibrant, but more restrained purring vocal style.
the option of looking at any other producers that might work well in this style. My dream collaboration would be with Cee-Lo Green and it would be produced by Timbaland. It’s not because, ‘Oh I wanna make a pop song that everybody loves’, but I just think that both Timbaland and Cee-Lo are amazing. “I met Cee-Lo once, and he was like, ‘I just saw you in a magazine’, and that’s how we met actually. I never speak to famous people first – I’m always way too intimidated. Anyway he’s so good that I’d love to work with him. Do you know that song of his, Bass
Head Jazz? That is a sexy song. He’s just so chubby and cute.” With Beth’s bluesy voice and notoriety, I would’ve assumed that the likes of Timbaland and Kanye West would have already approached the singer to collaborate with… if not, only just to prove how liberal and genre-bending they are these days (!!!). “Are you kidding me? No way, no way – I feel like I’m too gay,” she says dismissively. “I’m a fat dyke – I don’t really feel like that’s on their radar, ya know? I feel like it’s all about the music for me, but I really don’t think that everyone else feels that way.”
In person, Beth Ditto is the best-friend you’ve never met; talking a 100mph, self-deprecating, punctuating most conversations with an infectious laugh, and telling stories that often start in one place and end up somewhere totally unrelated. In fact more often than not, it takes some reminding Beth that she’s got a solo EP to plug. Whilst most assume that Beth is currently taking on a solo agenda because of her headlining star-power, she reveals that this isn’t her first foray into the solo spotlight. “When I was a younger I started doing a record for K Records. I wanted it to use a side of my voice which I hadn’t used before, which was actually the side of my voice which I used to sing in naturally. The funny thing about getting into a punk band was that I was listening to all these really rad bands in the ‘90s – like the whole Riot Grrrl movement which I was really into to, and which I still love. Their voices weren’t like mine, and I always felt that I had the wrong voice to be in a punk band. Then I started listening to more things like X-Ray Spex and stuff like that, and I just started to accept it all and realised that this was the voice that I had and adapted my voice to it.
The electronic dance music ranks have long been plundered by the pop world for tactical assistance – Drum Media opens the vault to some past masters and looks towards the great hype of the (hopefully) very near future. KYLIE MINOGUE/ BROTHERS IN RHYTHM Confide In Me (Decontruction), 1994 When our Kylie was looking to distance herself from her sugar-coated Stock, Aitken & Waterman past after signing to cred-heavy dance label Deconstruction in 1993, she chose wisely in UK production duo Brothers In Rhythm. Comprised of progressive house stalwart Dave Seaman and cohort Steve Anderson, the duo wrote, produced and remixed Kylie’s 1994 musical coming of age Confide In Me before contributing heavily to her 1997 longplayer Impossible Princess (including the single Did It Again). *NSYNC/BT Pop (Jive), 2001 Before Justin Timberlake was cool, invented Napster or voiced Yogi Bear, he was desperately seeking cred as part of boy band *NSYNC – and before they went to that great glossy music video in the sky, they found themselves (almost) wading knee deep in the stuff courtesy of so-hot-right-then production wizard BT. Brian Transeau’s signature studio moves – stutter edits, squelchy synth bass, generally over-zealous widescreen production trickery – are all over Pop like a rash. Unfortunately BT seemed to want to become a pop star himself soon after and it’s been (mostly) downhill since.
“I kinda miss having that choir-girl thing, or anything melodic in my voice. I missed not having to use a lot of power. That was the best thing about working with SMD was that they were really encouraging – they really wanted me to not use power. They were like, ‘Stand back from the microphone’, ‘Don’t hit the note so hard’, and ‘Make it light’. At first I was like, ‘I’m not sure if I know how to do that anymore.’” Both loved and derided for her banshee-style wailing, the new EP really hears Beth take her vocals into a newer territory, one surprisingly inspired by late R’n’B singer Aaliyah, who was known for her soulful cooing. “SMD were thinking that this EP was gonna be like this Grace Jones kinda thing, but I was thinking more Aaliyah. My favourite genre of music is Top 40 hip-hop/ R’n’B music. I worship Usher – I think he is amazing. I love Lil’ Wayne too. I mean, punk and hip hop are the best things to me in the world. When you put those two together you kinda get dance music, don’t you? That’s all that Rapture by Blondie was – a fusion of punk and hip hop… The thing about Aaliyah when you listen to her is that she’s not lyrically strong – I mean, it’s not that you’re feeling her lyrics. The way her vocals just glided over a groove was what made her so special.”
DIDDY/GUY GERBER Untitled Album Project 2011
It’s definitely a more seductive and sexier approach to Beth’s work – one inspired by her new girlfriend. “I didn’t really feel sexy,” she says initially of the recording sessions. “I mean, there was a lot of sex going on because I had broken up with my partner of eight years, and I had just started dating somebody else, and at that time it was new and romantic, and really interesting. There was a lot of sexual tension between us for years so I finally got to act on that. I think it did fuel it actually,” she reconsiders. In addition to the brilliant, heavy-handed, bubbling house-music production and Beth’s beguiling understated vocals, the four songs on offer also showcase dazzling pop songs with great melodies and arrangements, reminiscent of Madonna’s ‘80s debut album work with Reggie Lucas and Jellybean Benitez. “Like Borderline?” Beth asks, to which I agree. “Well, I appreciate the compliment. I don’t write songs any other way – the thing is I don’t try to write songs. I’m not a songwriter. When I hear a compliment about my songwriter I find it hard to believe really,” she says modestly, with her Arkansas drawl. So the obvious question is whether this EP will be followed up by a full length-album. “I don’t know… I think it would be really fun to turn it into an album. There’s talk about doing an album. I think I would do all with SMD – I mean, if it ain’t broke, don’t fix it, ya know? There’s people at the label who have suggested
HIRED GUN THEORY
I’M A FAT DYKE – I DON’T REALLY FEEL LIKE THAT’S ON [KANYE’S, TIMBALAND’S] RADAR, YA KNOW? I FEEL LIKE IT’S ALL ABOUT THE MUSIC FOR ME, BUT I REALLY DON’T THINK THAT EVERYONE ELSE FEELS THAT WAY.”
“ WHO: Beth Ditto WHAT: Beth Ditto EP (Sony)
Sean “Puff Daddy/Puffy/P Diddy/Diddy” Combs’ early noughties collaborative electronic long-player with Felix Da Housecat might be something of an urban myth, but a mooted album project with Israeli techno weapon Guy Gerber seems much closer to realisation. Gerber contributed Intro to Diddy’s December 2010 Last Train To Paris release under the DiddyDirty Money moniker, and told UK website Data Transmission that the album collab was slated for a (northern) spring 2011 release and to expect “psychedelic sketches of electronic music, framed by downtempo beats with very warm vocals”. And when 3D World ran into Seth Troxler at Singapore’s ZoukOut festival in December, the word “K-Hole” was bandied about with reckless abandon in reference to the Diddy/Gerber project. Hopefully the album doesn’t disappear up one.
THE DRUM MEDIA 17 MARCH 2011 •17
IN A PERFECT WORLD SIX FULL-LENGTHS IN, POLITICALLY MOTIVATED PUNK-ROCK BAND RISE AGAINST ARE STILL TACKLING SOCIETY’S PRESSING ISSUES HEADON. GUITARIST ZACH BLAIR TALKS ABOUT THE NEW ALBUM’S CREATION AND THEIR UTOPIAN FANTASY WITH LOCHLAN WATT.
e played two shows in Brazil, and a show in Argentina, and they went great, man. They went really, really good,” says Blair through the commotion of a crowded South American airport. His band has just completed a run of shows through the continent, their first venture in that part of the world since forming all the way back in 1999. He isn’t hesitant to compare the audience reactions to those received on more familiar territories, commenting that “you know honestly for being our first time here, the shows were still packed and sold-out, and there was two-to-three thousand kids at some of the shows. We expected lower turnouts. It was actually really great.” In the days leading up to the release of the reportedly darker, faster but nonetheless still-radio friendly Endgame, lead guitarist Blair is quite clearly glowing with positive anticipation for the release. Having joined the band alongside its mainstay members – drummer Brandon Barnes, bassist Joe Principe, and singer/guitarist Tim McIlrath – in only 2007, it’s the second album he’s been a part of. “It felt exactly the same,” he responds when asked if his creative contributions differed between said album and prior effort Appeal To Reason. “These guys are all inclusive. They wanted me in the band and I felt like I’d been in the band for a long time, even from day one. It was just a real natural feeling when we all got in there together, everybody sharing our ideas. It felt like I’d been in there since the first record. So it was really just a continuation of that – just us four and Bill, making the record.” The Bill he is referring to – last name Stevenson – is described as being “pretty much the fifth member, and a personal mentor”, and having been behind the boards also for their two prior albums, someone that the band wouldn’t envisage recording without. “I’ve been making records with Bill since I was a kid, in various other bands, I even played in a band with Bill. It’s pretty much how I happened to get into Rise Against, through the connection. I was playing in a band with Bill called Only Crime, on Fat Wreck Chords, and we toured with Rise Against and I met those guys that way. He’s just integral in every form and fashion in the band. He’s got a hand in pretty much everything. He really hears our music in a unique, cool way, and basically just brings out the best of us.” But enough of that typical chatter. It’s time to narrow things down to much more interesting reasons to get a member from Rise Against talking – the messages that motivate and appear to often stand as the reason their music exists. It’s got nothing to do with Megadeth’s latest album of the same name, so what exactly is Endgame in reference to? “The concept behind it is you know, let’s say this was a postapocalyptic time, and human civilization, we had to pull together to create a new society – a new civilization so to speak. With what we know now, would that actually be so bad? If we could restart, where we’ve gotten with capitalism, our political systems, the way things are for us in America and all of that, if we could really do that all over again, it might not be so bad. It could be some kind of Utopian society where we all come together and build from the ground up. If you really had to live in a commune out in the country with a bunch of people, and live off the land and things like that, you didn’t have cell phones, technology, Twitter, and all of that, would you really be that bad off?” In such a world, would it even be possible for Rise Against to still function as a band? “I think we’d try. We’d make our own guitars,” responds Blair with a slight chuckle. With that concept explained, it’s important to note that the album’s writings are not solely dedicated solely to that one idea. The track Make It Stop tackles the issue of homophobia – it’s the first song from the band to make their stance on the issue definitive, having never written specifically on it before. “Over here in the States you see it more and more over the years: the kid that killed himself because he was gay, and he got tortured and abused and made fun of, or there are kids that have gotten beaten to death because they were homosexual. You hear about it more and more and it’s just unbelievable that we live in America, and this is happening. This sounds like something that should have happened unfortunately in the 1800s, even the 1950s in America, when intolerance and bigotry and racism and homophobia were rampant. But it’s still happening now, and we as a band felt we had to take a stance about that.” Speaking further on the topic, Blair ponders why it took them so long, and why it’s not something written about by many punk rock bands. “I don’t think that it’s a topic that’s addressed enough. I think it definitely should be addressed more. I don’t really feel like our peers or whatever do address it much, and I think that’s awful. I think there’s just as many other valid political things to talk about, but if you talk about something enough, it becomes not so taboo, it becomes not such a bad thing, and not a topic of bad interest or whatever. So if you give it more of a voice, then it becomes normal, and maybe it’ll give some kid the courage speak out and speak up, and go ‘this band’s talking about it so we will’, so I would encourage anybody that feels this way to do something about it, to write a song about it, make some art about it, whatever it may be.” If the album’s 12 anthems were, by unfortunate twist of fate, to stand as the actual end game to Rise Against’s already impressive discography, Blair sounds assured in that he would “be okay with signing off on that,” pausing a moment before adding: “I mean, if I had to. Otherwise I wouldn’t ever want to put a period on that. I always want to put out Rise Against records.” WHO: Rise Against WHAT: Endgame (Universal) WHEN & WHERE: Saturday 23 July, Challenge Stadium
18 • THE DRUM MEDIA 17 MARCH 2011
LITTLE TROLLS IN ANCIENT TIMES, WHEN TROLLS ROAMED THE FROZEN FORESTS OF FINLAND… SO BEGINS THE TALE OF FINNTROLL. TRISTAN BROOMHALL SHARES TALES OF LORE AROUND THE CAMPFIRE WITH GUITARIST MIKAEL “ROUTA” KARLBORN.
n the world of metal you encounter a steady stream of thick accents over lousy phone lines, so it wasn’t a surprise when the barely audible voice of Mikael “Routa” Karlborn came through over the crackly VOIP line. Besides, it was the third time this interview was lined up. “Our bus broke down and we couldn’t get to anywhere with the Internet,” says Routa. “We had two shows we had to cancel because of bad weather. There was so much snow and ice on the roads that the whole state was fucking chaos and they closed the highways, we couldn’t do anything, the drivers refused to drive anymore.” That wouldn’t happen in Finland. Finntroll’s journey up to this point is an unlikely tale of mythical proportions. A Finnish folk/black-metal band, singing in Swedish about trolls and other beasties from the Finnish folklore, that’s shot up into the charts in their homeland and done equally handsomely in the metal markets around the world. Since Routa joined Vreth, Skrymer, Tundra, Trollhorn, Beast Dominator and Virta in 2003, he’s seen the band through the recording of the acclaimed Trollhammaren (English: The Trollhammer) EP and the band’s 2004 foray towards more acoustic and folk elements on Nattfödd (Nightborn). “I’d known all the guys in Finntroll since we were toddlers. I played with them as stand in guitar, when the other guitarist couldn’t make the show. It was quite easy decision to join the band, when Teemu died, they asked me to come and play, so it was really easy decision.”
THERE’S A LOT OF GREAT STORIES IN FINNISH MYTHOLOGY AND FOLKLORE, MORE LIKE ADVICES FOR THE LIFE.”
The band’s exploratory nature developed further with the return to a more black metal aesthetic on Ur Jordens Djup (From The Depths Of The Earth) in 2007, but throughout their career, one point to draw from their diverse repertoire is that Finntroll are so much more than just a flash in the pan of heavy metal and early last year, when their sixth album, Nifelvind (Wind Of Hell), dropped, it was met with terrific sales and some equally high praise from critics. “I know there was some problems with the release of the album, every store didn’t get it when they wanted it, but overall, I think, and I hope I’m not lying when I say this, but in Germany, I think number 16 or something like that. In Finland there’s kind of two charts, one that’s actual sales and one that’s what the stores have ordered from the label. On the actual sales chart we were number one, on the other we were number seven, maybe. It’s been going quite well for us Swedish singing metal music,” laughs a bemused Routa. The band’s musical ethnicity traces itself to the folk music of Finland, specifically the curiously named Humppa (that’s a little bit of onomatopoeia drawn from the sound of the bass in the fast twostep), in equal parts to the music of their Nordic metal forebears, although Finntroll look towards the endemic Finnish folklore which is refreshingly distinct from the Viking-fare of their neighbours. They even work in an over-arching self-concocted tale of a Troll-king, Rivfader. “There’s a lot of great stories in Finnish mythology and folklore, more like advices for the life, in the way of ‘don’t go into the forest when it’s dark ‘cause there is wolves’ and blah blah blah, but told in the story mould,” he says, explaining something in Finnish lore akin to Aesop’s fables of the Ancient Greeks. “Actually, we’re taking more influences from Finnish folklore,” he continues, “but we’re not singing straight about it. It’s more like, for example, in the last album the lyrics are more like the urban legends that go around, the same stories, but made in our Finntroll way, in a folkloristic way. We never take straight from it – it’s more taking influences from there, general ideas about mythology, and creating our own mythology in a way. Sometimes there are stories that are all made up in the lyrics, and sometimes more like taking from the mythology, but kind of mix of real mythology, made-up things and little life wisdoms and what not.” With the release of Nifelvind last year, they unleashed an album that covered new territory for the band and added another layer of depth and complexity to the already crowded Finntroll sound with some interesting instrumentation. “When we did Nifelvind we wanted to make it a long lasting album,” says Routa. “That’s something we always try to do, so that whenever you listen to it there might be something you haven’t heard before or noticed before. This time there’s actually all these weird acoustic instruments on the album in the background and that’s partly because when we were in the studio there was all these instruments lying around. “It was kind of like, ‘Woah, fuck, this has good sound, let’s use this one and put that one there’,” says Routa. “It was kind of like an impulsive thing. When you go into the studio you have the demo ready, but then it’s going to turn out completely different because there’s other options and other instruments to be used.” The album sales and demand for performances has kept the band on the road for most of the last year. “We’ve been to Mexico and Japan, everywhere, and it seems that people are even more into our music because we come from Finland, I don’t know if there’s some sort of ‘exotic’ factor, or something like that.” The ‘exotic’ factor brings the band to Australia for the first time in their 14 year history and following Australia, then South America next month. “Last year and this year we’ve done so many shows that we need to take some time off from the shows. Usually when you’re at home, not doing anything means that you’re going to start writing new material.” WHO: Finntroll WHEN & WHERE: Monday 28 March, Capitol, Perth
THE DRUM MEDIA 17 MARCH 2011 • 19
SMILE MORE WANT TO KNOW WHAT MAKES AMERICAN TROUBADOUR/POET/ HUMANITARIAN MICHAEL FRANTI TICK? YOU COULD START BY PLUGGING YOUR HEADPHONES INTO HIS HEART, MITCH KNOX DISCOVERS.
ichael Franti might have been doing this for a long time, but the novelty of having an album that’s actually registered on a respectable population’s radars has clearly far from worn off. “It’s really great. We’ve never had a record that’s got this much attention before we put it out and I just got a call that we spent eight weeks at number one on Triple A radio, which is kind of like adult rock radio in America, which is shocking for us. We’ve never had a number one song anywhere, so... yeah,” he excitedly details.
That might come as a surprise to some of you; especially those who hang around in the ‘earthier’ of music circles and who are undoubtedly already familiar with the work of Franti and Spearhead. Memorable for his deeds as well as his talents and appearance, Franti has gained attention in the past for resolving to not wear shoes (unless required), his humanitarian and social justice pursuits, being a vegan – that is, nearly everything but his music. “We used to have to beg people to play our songs or to have us on TV programs or whatever,” he recounts, without an ounce of bitterness in his voice. “And now all the late night TV shows in America are calling us and radio stations all want us to play their parties; it’s just a different atmosphere than it was for the other 22 or 23 years I was making records. It’s funny how one song will do that.” The “one song” to which Franti is referring is last year’s Say Hey (I Love You), which did wonders for the band’s international image, in that it gave it one amongst an entirely new demographic of people. The song’s effectiveness in its simplicity was key, evoking a sense of purity – of innocence – decreasingly found in contemporary mainstream music. The death of poptimism, so to speak. “I don’t know if it’s disappearing,” Franti counters. “I hear so much great dance music and there’s a lot of optimism in songs. But I think my songs are ones that talk about more universal relationships; like, most pop music today is talking about boy/girl relationships and I’ve always been intrigued by artists like Bill Withers, who’d write a song like Lean On Me – that’s not about a boy and a girl, it’s about two friends; or it could be a father and a son – or anybody, you know? And those are the kinds of songs I like to write. Maybe that’s why my songs are different.” Or maybe it’s because Franti draws on the experiences that life hands him – good and bad – and channels them into his music, as he did for many of the tracks on this year’s The Sound Of Sunshine. “On this record, especially songs like Headphones – the chorus is ‘Plug your headphones into my heart’ – and although I’m saying it to somebody else, to just listen to what’s in my heart, it’s really about plugging in and listening to my own conscience at times and listening to what my body needs and what I feel in my heart I need to do next in my life,” Franti reflects. “Last year my appendix ruptured in the middle of the tour… Leading up to it, I had been in Europe for six weeks and I had this pain in my side and the doctors that I wanted to see, they told me that it was my gall bladder – that I had gall stones. Then the same thing happened, I went to America and went and saw a doctor and they said the same thing: ‘It’s your gall bladder.’ Eventually, I got so sick and my belly had become so distended with all infection after my appendix had ruptured that they finally did a CAT scan and at that point they realised it was my appendix that had ruptured. “When I was in the hospital, I was watching a lot of DVDs and one night we were watching Charlie & The Chocolate Factory and just every one of those songs in that movie brought me to tears; I just felt so alive. I guess the feeling was like I had a deeper sense of purpose and I wanted to make music that did that same thing for people and help people get through difficult times,” Franti continues. “And so I asked a friend of mine to bring a guitar. My girlfriend was peeling the sticker off the guitar – it was like, a brand new guitar – and in the middle of it I said, ‘Stop!’ and she said ‘What?’ and I said, ‘There’s an angel coming up out of the guitar!’ and she said, ‘Uh, okay…’ I was on some pretty good drugs at the time, but sure enough where she’d stopped there was an outline of like a snow angel that was there. From that I wrote this song, Gloria, which is on there, which is all about the presence of angels in my life… the doctors and nurses, my friends, my girlfriend, my kids; all those people who were there for me when I needed them the most. That’s what that song’s about.” Even the depressing subject matter on the album – like, for example, Franti’s own funeral, as on Headphones – is tackled in a way that suggests he’s made it through some dark times and he’ll always be able to find the silver lining among cloudy skies. “[Headphones] was written as a celebration, you know?” Franti explains. “As I was thinking, ‘What would I want my funeral to be like?’ I kind of imagined like a public cremation. The idea of being put in a box and cremated scares me and the idea of being put in a box and buried is even more atrocious, so I thought, ‘I’ll have a public cremation and just have a DJ spin records and have my bandmates sit around and play while I burn ten-foot-high flames. And I thought, before I died, if everybody could plug their headphones into my heart, they could listen one last time to the things that I wanted them to remember as I left. That would be a great way to go.” WHO: Michael Franti & Spearhead WHAT: The Sound Of Sunshine (Liberator) WHEN & WHERE: West Coast Blues ‘N’ Roots Festival – Sunday 17 April, Fremantle Park
20 • THE DRUM MEDIA 17 MARCH 2011
SPLITTING HEIRS AFTER A HIGHLY PROMISING DEBUT LP, MELBOURNE FOUR-PIECE HEIRS ARE BACK WITH THE CRITICALLY ADORED FOWL. GUITARIST DAMIAN COWARD TELLS TROY MUTTON THAT FOWL’S SUCCESS IS REFLECTIVE OF A FULLY REALISED PROCESS IN PRODUCING THE ALBUM.
n the case of Melbourne industrial/noise group Heirs, the release of their second album is the perfect example of a band at the peak of their powers, producing an album that is exactly what they wanted it to be, and garnering plenty of critical praise in accordance. The point isn’t lost on guitarist and founding member Damian Coward who, rather hungover from big birthday celebrations the night before, explains Fowl is the culmination of setting out goals and a concept for the album, and fully achieving them. “For us the whole concept of the album was completely and utterly realised, from the point of the artwork being exactly like we planned it, to songs coming out exactly as we planned it,” says Coward, clearly proud of the group’s achievement. “It’s an absolute direct representation of what we sound like, we just couldn’t be happier with the procedure, how it all went, and how it sounds. We can look back on that as being one of our finest recording moments.” How well it all turned out becomes even more surprising when Coward reveals that unlike previous album Alchera, Fowl was written with all four members having an input in what was a somewhat strange recording process. “This was kind of the first foray into us, as a band, writing an album together, but the process of the album writing was a lot different to any other thing we’ve done. Basically the songs were written by our guitarist Brent [Stegeman], and they were all written as electronic versions to start with.
I THINK THAT’S THE EXCITING THING ABOUT THE ALBUM – IT CAUSES A LOT OF CONFUSION.”
TIKIDUB PRODUCTIONS AND STOP START PRESENT
“So the skeletons of each song were electronic and, instead of just jamming on things and seeing what worked, this time we took the electronic songs and tried to work them into a live band context, which was actually an awesome way to write.” A different approach, but ultimately a winning one. “It gave us the freedom to move around and do whatever we wanted within the context of the song, and try and keep everything as close to the electronic version as possible without losing that live band element, which I think we did really well.” Of course, the fact that all four members of the group have been good friends for over a decade (Coward and bassist Laura Bradfield are also partners), makes the process even better, with Coward very grateful for how well the group gels and the lack of trouble involved. “So the key for us was resigning it to a fun thing, and a hobby, and the more that attitude prevailed, it seemed, the more successful we became. There’s just no pressure from any side, there’s no pressure to play shows, there’s no pressure to do anything, and in turn what’s happened with that is, without that pressure, we’ve done more shows than I could possibly imagine over the last two years. So it’s been a really good way of looking at it I think.” Another important part of Fowl, besides a group of friends having fun, was the album artwork. Guitarist Stegeman took a major role in the design of the album artwork that is disorienting, while at the same time making perfect sense. “Brent designed the whole concept before the photos were taken. There is a very long, in depth, concept behind the whole album, which is loosely based on the Greek mythology of Gilgamesh and Enkidu…which is a very detailed story that would take way too long for me to explain,” laughs Coward. “But the idea was to create something completely and utterly different to anything that bands that play our style of music would go for. And the idea was not to put a bunch of wolves and ghosts and whatever else on a cover that kind of attracts those people – it was more for us to attract people interested in a concept really, instead of a sound.” Of course with artwork, featuring a mostly naked, slightly overweight man standing on a nest covered in some oily black and white substance that is spewing from his mouth, was always going to get people talking – favourably or unfavourably. “We’ve had a huge positive response from the artwork. We’ve also received a huge negative response from the artwork but, in saying that, the negative response is a huge positive. “If people are going to go out of their way and write on forums about how terrible they think it looks; there’s effort, they’ve gone out of their way to say something, and if we can achieve that with things, then I think that’s the goal. Whether it’s a positive or a negative, if it’s a focal point and a topic, it seems that we’ve succeeded.” Heirs are definitely a group just doing what they’re doing, and being totally invested in their own works and whatever success comes way their way, while appreciated, is completely incidental. While the industrial scene one has to lump them in isn’t exactly exploding around the country, Coward qualifies success for the band as a very internal component, leading to a live show that challenges people – something he wouldn’t have any other way. “The only real term of success that we find from shows is how we feel about how we play. I mean the idea of the way we play is pretty much – not to sound like a complete dickhead or anything – the idea is to kind of fall into a semi-conscious state while we’re playing, and that’s the reason behind the repetition of our songs and the absolute pure volume. “It’s so encompassing that you don’t have a choice but to fall inside it. A lot of people get it, and a lot of people find it too loud, too harrowing, too heavy, which is fine, because some people get it and some people don’t. Those reactions, for us, are pretty cool really.” WHO: Heirs WHAT: Fowl (Denovali Records)
supported by 3D World
WHEN & WHERE: Saturday 26 March, The Bakery, Northbridge
THE DRUM MEDIA 17 MARCH 2011 • 21
CHILD’S PLAY SOMEWHAT APPROPRIATELY, SHAD MOSS – A.K.A BOW WOW – INFORMS CYCLONE HE’S GOT NO BEEF WITH BEING AN UNDERDOG.
ow Wow, a.k.a Shad Moss, is one child star who didn’t fall into a dissolute lifestyle once he reached his 20s. The ambitious rapper is undergoing a rebirth, having signed to Cash Money, home of Lil Wayne, Drake and Nicki Minaj. But, before an album drops, he’ll join his mentor Snoop Dogg (and ex-girlfriend Ciara) at Supafest 2011. Many hip hop stars blow out of phone interviews. They often have multiple projects on the go – albums, collabs, movies, fashion lines and scents – which take precedence. Nevertheless Moss, well briefed on his inaugural Australian tour, is on standby. And it’s not like he has nothing better to do. “I’m actually in New York right now filming a movie called Recalled – it’s an army movie,” he reveals. “I’ll be starting on this soon – [I’m] looking forward to it.” The Columbus, Ohio native was only five-years-old when he cameoed on Snoop’s Doggystyle – and it was Snoop, his “big bro”, who christened him ‘Lil’ Bow Wow’. In his early teens, Moss aligned himself with Kris Kross producer Jermaine Dupri and his So So Def stable. He debuted with 2000’s Beware Of Dog, Snoop featuring on Bow Wow (That’s My Name). Moss evoked a young LL Cool J on songs like Puppy Love – he was similarly street yet girls adored him. He consolidated his crossover success with Doggy Bag. Prior to his third LP, Moss ditched the ‘’Lil’. He sparked minor controversy with Unleashed – it was his first outing sans Dupri. In 2007 Moss teamed with another teen idol, R’n’B singer Omarion, for Face Off – presumably their answer to Jay-Z’s collabs with R Kelly.
THAT’S WHAT I’M DETERMINED TO DO – TO MAKE EVERY NONBELIEVER A BELIEVER.”
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Moss, who turned 24 last week, maintains that even as a rapper, he hasn’t found the transition into adulthood trying. “Nah, it really wasn’t. I think just with hard work and determination you can pretty much pull through anything – that’s the philosophy that I follow. So, for myself, nah – and I really can speak on it truthfully because I’m like a walking billboard of it. I’m still here... I’ve crossed that hump that a lotta young artists struggle to get over.” Moss’ eighth album – and his Cash Money premiere – is tentatively entitled Underrated. Word is that he’s reunited with Dupri. Moss has already aired the single Ain’t Thinkin’ ‘Bout You with Chris Brown, his “best friend”. In fact, he’s secured a host of big-name guests. Surprisingly, there’s a “classic” song with Boyz II Men that Moss touts as “like an Andy Warhol piece”. Above all, the album will be a statement. “I’m still fiddling around with the title. As of right now, it’s Underrated, but I’m thinking about changing it. But just expect my heart, my pain, my soul, my everything, to be bundled up in this album. I’m really letting loose, I’m really letting go, I’m really talking about a lotta things that I’ve shied away from sharing with my fans – and sharing with the public.” Moss holds that it’ll be his counterpart to an Illmatic or Blueprint – a personal “pinnacle”. Moss may be in the Guinness World Records as the youngest-ever solo MC to top the charts, but he feels undervalued. Last year he candidly tweeted his frustrations – some fans worried that he might be depressed, the rapper subsequently compelled to allay their concerns. “I feel like I never really get the recognition that a lot of other artists get,” he explains. “But it’s cool – I like being an underdog. I like working for my art. Being underrated really is like a self-motivational term for me to get out here and go get it – and that’s what I’m determined to do, to make every non-believer a believer.” Moss attributes any hating to his background as a child prodigy, but it’s also surely to do with his commanding a largely female following in a macho subculture – and on this he tactfully won’t comment. Regardless, in addition to an album, Moss will proffer an “in-depth” movie documentary – and this will be entitled Underrated. In the meantime, Moss now has an impressive profile on imdb.com, his role model? Will Smith. He’s acted in Like Mike, The Fast And The Furious: Tokyo Drift and, lately, Ice Cube’s Lottery Ticket. Moss even popped up in Entourage. “The experience was dope!” he enthuses. “I had a lotta fun being on Entourage. It was an experience – and the main reason why was because it was one of my favourite shows. At the time I was addicted to Entourage. So when I had got the call, and the opportunity was there for me to actually have a role in it, I definitely took full advantage. I went out and auditioned and I got the call back that they wanted me to do it – and then the rest was history!” If Moss had to choose between acting and music however, the latter would win. Certainly, Moss is a networker – among his pals is Justin Bieber. He’s qualified to give The Bieb career advice. “I know Justin. My advice for him would be to enjoy every moment of it and know that in the blink of an eye it can all be taken away from you – it’s a ‘build you up, knock you back down’ game – and just stay focused. I think that, if he stays focused on what he does for a living, which is why kids love him and why he has so many fans, then he’ll be okay. That’s probably what I would tell him. And he knows that – like I say, I know him on a personal level. But, so far, so good – I think he’s handling everything well.” Some years ago Moss was in a widely publicised romance with Ciara, the pair dueting on Like You. Their break-up was by all accounts messy, with Outta My System Moss’ mea culpa. Will the Princess of Crunk & B be throwing her stilettos at him backstage in Oz? “Nah, nah, nah,” Moss cackles. “She loves me – it’s all good.”
WHO: Bow Wow WHEN & WHERE: Supafest – Sunday 10 April, Arena Joondalup
22 • THE DRUM MEDIA 17 MARCH 2011
THE DRUM MEDIA 17 MARCH 2011 • 23
BACK TO BASICS
BRIGGSIN’ DA HOUSE DOWN
AFTER THE BREAK OUT SUCCESS OF YOUNG FOLKS PETER BJORN & JOHN HAVE GONE ON TO ESTABLISH A FRUITFUL CAREER LASTING MORE THAN A DECADE. ON THE EVE OF THE RELEASE OF THEIR SIXTH STUDIO ALBUM, LEAD SINGER PETER MOREN SPEAKS WITH KITT DI CAMILLO.
ith its addictively catchy whistling refrain Peter Bjorn & John’s 2006 single Young Folks quickly became one of the most played tracks of the year, casually implanting itself in the brains of listeners all over the world. Taken from the trio’s third album Writer’s Block, the song turned the band from virtual unknowns into the irresistible soundtrack to commercials and hit TV shows the world over. The Swedish indie-popsters saw their profile explode but also felt the double-edged sword of instant fame. “We were not known at all before it, so it opened all the doors,” suggests lead singer Peter Morén from his home in Stockholm. “But then of course it might be that some people hear that song and they grow tired of it and they don’t bother to actually listen to the rest of the stuff and that’s a shame if that happens ‘cause it’s not very representative of our catalogue. “It’s kinda different from a lot of the other things. So I think some people would prefer the other songs, but maybe they haven’t even heard them. So that might be a problem, but it’s a minor problem ‘cause I mean Young Folks pays the rent – so I’m happy for that!” The band followed Writer’s Block with the mostly instrumental Seaside Rock, a divisive album dripping with waves of dreamy pop that was a noticeable step away from the mainstream. It was a strange but necessary move for Morén and his bandmates: bassist/ keyboardist Björn Yttling and drummer John Eriksson. “When we decided to make this instrumental record, our manager and the record label weren’t so excited about that,” laughs Morén. “And maybe it was stupid, I mean I love that record, but coming on the back of a hit we might have lost some fans there, I don’t know. But I think it was really important for us to make, just to
AUSTRALIAN HIP HOP’S LATEST BAD MAN BRIGGS HAS BEEN TOURING LIKE A MANIAC LATELY. HE TAKES TIME OUT OF HIS BUSY SCHEDULE TO TALK TO ROB BROWNE ABOUT BEING DAVID WIRRPANDA’S COUSIN AND WHAT IT TAKES TO GET SIGNED TO A LABEL IN THIS DAY AND AGE. have fun in the studio and not feel the pressure to make another single at that point. So in the long run when people look back on our career I think they’re gonna see that that record is really important.” 2009’s Living Thing was a return to the pop dynamics of their earlier work, albeit one with continued experimental leanings. “Our shows have always been more energetic and more rock and roll then the actual records,” explains Morén of the back to basics approach. “So we just wanted to capture that on an album and use the stuff that we were able to recreate easily live, like the basic fundamentals of the band – which is drums, bass, guitar, and vocals. For this thing we definitely tried more live and more about getting the right tempo, the right take, arrangements between the three instruments.” With Peter Bjorn & John as their day job, the three members continue to enjoy impressive careers outside of the band too. Morén has released two solo albums and a set with Tutankamon, the Swedish supergroup also comprising members of The Shout Out Louds and The Concretes. Eriksson is a member of indie-rock outfit Holiday For Strings and has released three EPs under his solo project Hortlax Cobra, while Yttling has made a name for himself as a producer in his own right, seeing over albums by such acts as Lykke Li and Primal Scream. They’re one of the most prolific groups in Sweden. “I actually find we have a lot of relaxed time. I used to work as a substitute teacher, nine to five every day with a lot of screaming kids, so I would say that playing music is much more relaxing.” WHO: Peter Bjorn & John WHAT: Gimme Some (Cooking Vinyl/Shock)
YOU’VE BEEN WARNED
Coop and his bandmates have had their share of sleepless nights recently. It’s been three years between albums and not for lack of trying; constant battles with their record label on creative direction led to them parting ways. “Basically we did finish our album a good year ago, and we were signed to two major record labels, one in America and one for the rest of Europe,” explains Coop. “They heard our record and said, ‘This isn’t very commercial, can you write some pop tracks to put on there?’ and we were like, ‘You know what? Go fuck yourself.’ “We didn’t want to be told what sort of band we should be, so we told ‘em to fuck off…we’re in a band, we make the music, we have to play in it every night. If you want to be in a band, get yourself signed to your own fucking label, because I really don’t give a shit. So we just dragged our feet for a year and a bit til we managed to get lawyers involved and managed to get ourselves off the major record labels we were on and onto some indies that really liked the record we already made.” It’s soured the experience of making the record, Coop recalling it as a fairly difficult period for the Reading 24 • THE DRUM MEDIA 17 MARCH 2011
Briggs’ hard work ethic and continual motivation inevitably paid off with his signing to Golden Era – an emerging hip hop label run by The Hilltop Hoods. “That’s pretty much the only way you can do it, you know what I mean? Like that’s the way it has to be done; you can’t sit around. It’s not like the ‘80s or ‘90s where you could send demo tapes to record labels and they’d listen to it and think that you were it, and you’re the ‘next biggest thing’, nah… People look for the buzz, man, they wanna see a buzz, and they wanna see you working already, and you already building your fan base,” he says wisely.
For a man that comes across very self-assured, dominant and authoritative on his album, it’s surprising to hear such a calm and collected guy down the other end of the phone line. “You know, my style is a bit more hardcore, it’s got a bit more of an edge to it. But that’s the type of music I like to listen to as well, man, that’s the type of music I like to make. You know, it’s raw but it’s intelligent at the same time, and it’s fun too.” WHO: Briggs WHAT: The Blacklist (Golden Era) WHEN & WHERE: Thursday 24 March, Prince Of Wales, Bunbury; Friday 25 March, Metro City, Northbridge (supporting MF Doom); Sunday 26 March, Railway Hotel, North Fremantle
IRISH SINGER/SONGWRITER MUNDY HAS A FONDNESS FOR ALL THINGS AUSTRALIAN, WHICH IS WHY HE’S PLEASED HIS NEW ALBUM IS TO BE RELEASED HERE FIRST, AND AS MICHAEL SMITH DISCOVERS, IT’S ALL DOWN TO A FILM.
“Annoyingly the album got leaked a couple of days ago,” says Coop. “It’s been nice to see people picking it up on the blogs and going ‘Oh I thought this album was gonna be shit but it’s pretty good.’ That’s good for my heart, I can do a vanity search, type into Google ‘Does It Offend You’ and there’s not a hundred people saying it’s shit, there’s quite a few people saying it’s good. I can rest easy at night.”
Lame jokes aside, everything started to come together for Briggs after the release of Home Made Bombs – a solely independent and self-funded EP which garnered him a national buzz and the attention of Suffa and co. “You know, the boys liked what I was doing with the EP, and that’s the thing, man. A lot of the music I was making was the fact of the work I was putting into it you know what I mean? I toured that with The Funkoars off my own back. And I did everything for that album. I financed the film clip for Bad Move, for that and everything; the posters, all the promo and getting it out, you know? That was me in my room with a laptop and a box of CDs pretty much, man.”
It seems Briggs has a few influential friends in Perth as well, and is set to spend a little more time here at the end of the month when he supports MF Doom. “I was actually at Dazastah’s [Downsyde MC/producer] place last time I was there checking some beats, man, and I’m definitely going back to his place for some more joints. He doesn’t know that yet, but if he reads this, I’m coming back to your house Daz, ‘cause I need some more beats,” he chuckles.
DAN COOP, THE MAN BEHIND THE SYNTHS IN DOES IT OFFEND YOU, YEAH? TELLS SEVANA OHANDJANIAN THAT THE BAND HAS AUSTRALIA TO BLAME IF THEIR NEW LP DOESN’T GO SO WELL. an Coop is, by his own admission, a little drunk when he gets on the phone with Drum, post-gig in Leeds. They showcased songs from their new record Don’t Say We Didn’t Warn You to rapturous response, including a few audience members sporting nosebleeds. Yet the record’s imminent release is somewhat dampened by recent revelations.
riggs rhymes with ‘bigs’. And in a nutshell, ‘big’ is a word that accurately depicts Victorian rapper Briggs in every possible sense. For starters, he’s a hard hitting, hardcore rapper with an extremely ‘big’ attitude that’s just released a ‘big’ album called Blacklist. Secondly, he’s a physically ‘big’ and intimidating looking character who’s signed to the label of The Hilltop Hoods, Australia’s ‘biggest’ hip hop group. Top this off with the ‘big’ support tours he’s been doing all over the country lately for the likes of Ice Cube and Drapht, and it’s safe to say that Briggs is currently doing it ‘big’.
Briggs is steadily gaining more fans and exposure nationwide, and cites a recent show at The Villa as one of his favourite gigs. “When I did the Drapht show in Perth, that was nuts. And I brought my cousin down, David Wirrpanda, and he jumped up when Drapht did Jimmy Recard,” he recalls. For the record, Drapht’s triple j hit Jimmy Recard has a line about the West Coast Eagles player being on the ball. “Dave has been a real help with me as well, especially on this last tour…this tour now. He’s been a real help… Him and the David Wirrpanda foundation have given me a hand to help me get around.”
electro band. “It was very hard and I wish it was a lot easier but it wasn’t. It was fun at points, but there was just too much heartbreak involved in it,” he admits. “It was like, ‘Why don’t you get the sort of band that we are, not the band you want us to be?’” Yet they trusted their instincts and the band owes it to their fans down under for reinstalling their faith in making their unique brand of music. “On our last tour of Australia, we basically roadtested songs, because as far as we were concerned the record was done, but the record label said, ‘Can you put more of these pop songs in?’” tells Coop. “We thought maybe they might be right so we’ll put a few of them in our set to see how they go down. All the pop songs we played were just shit, there was no crowd reaction. But all the other stuff we were writing was really good crowd reaction [sic]. We used the Australian people as a barometer, all the ones they liked ended up on the album.” So is it our fault if the album doesn’t do well? “Yeah, it’s all you guys’ fault!” laughs Coop. “You’ve got to put a smiley face in there, I’m saying that sarcastically!” Regardless of label struggles and the long road to this record, Coop is feeling optimistic about DIOYY’s future. “We’re in this game just to have a laugh, go on tour, write what we think is good music and play sold-out shows and then hopefully people come to see us. We’re not a very commercial band I would say, we’re in it for just ourselves really.” WHO: Does It Offend You, Yeah? WHAT: Don’t Say We Didn’t Warn You (Cooking Vinyl/ Shock)
undy, born Edmund Enright in the rural Irish town of Birr where he’s now on the line talking to Drum, has just finished mixing his new album, Shuffle – a collection of his favourite American songs. “I kind of did this as a side project and it took a little bit longer than I thought because I just got really into it. So it’s kind of an Americana album. Initially, when I finished the last album, I thought I was going to do it in a day or two and I started recording songs I knew off by heart, songs like Buckets Of Rain by Bob Dylan, and Kathy’s Song by Art Garfunkel. It’s just something I wanted to do.” Opting to stick with the nickname he gained at school, Mundy was busking in the streets of Dublin and doing open mic nights when he was spotted and, just shy of 20, got himself signed to Epic. Soon after he released his debut album Jellylegs in 1996, selling a respectable 50,000 copies worldwide, and opened for Alanis Morissette. Unfortunately, major label world and Mundy proved an uncomfortable fit and by 2000, they’d parted.. Mundy setting up his own label, Camcor, named after the river that flows near his home in Birr, and releasing his second album 24 Star Hotel, two years later. He still managed to shift 45,000+ copies in Ireland alone. Raining Down Arrows followed in 2004, Live & Confusion in 2007 and Strawberry Blood in 2009. Now he’s got the Shuffle album out of his system, Mundy is working up a new set of original material for the next album. Ironically enough, it was a cover of the Steve Earle song, Galway Girl, featured on the Live & Confusion album and thrown in as an encore at the gig in Dublin Street in 2005 where the album was recorded, that proved a winner, becoming the biggest download single in Ireland that year and topping the Irish charts in 2008. It paid for the posh studio in which he recorded Strawberry Blood.
“I’m kind of lucky in that when I’m not going out with my band or on my own, I play with [accordionist] Sharon Shannon, who is kind of more on the traditional side of things. Irish music is thriving but with the singer/ songwriters, we’re finding that in the last couple of years we’ve had to play twice as many gigs to half the people. But since I was last in Australia I’ve played the Royal Festival Hall in London opening for Lisa Hannigan and did a Christmas tour with Sharon, so it’s been pretty busy.” Last here in 2009, Mundy is returning to Australia as part of the Shenanigans Irish Music Festival, this time bringing his full band and supporting one of the world’s longest surviving and best known Irish ballad groups The Wolfe Tones (“a very political Irish band,” Mundy reckons) and Irish Australian five, Celtic Fire. Almost inevitably, when an Irish artist performs outside Ireland, the majority of the audience that turns up to the gigs, unless you’re U2 – and there’s bound be to a big contingent there too – are Irish expats. “It’s usually for me two thirds Irish and a third other,” Mundy admits. “That’s probably a bit closer to half and half in Australia. The one big connection actually I have with Australia is the Romeo & Juliet soundtrack, that film by Baz Luhrmann. [The soundtrack included Mundy’s To You I Bestow, his debut single from the Jellylegs album, and that soundtrack sold more than 11 million copies worldwide.] I still get a nice surprise every year or so when a cheque comes through and it’s not from my own albums but that soundtrack!” WHO: Mundy WHEN & WHERE: Irish Music Festival – Friday 25 March, Burswood Theatre
SATURDAY 26 MARCH
ECU BOWLS CLUB MT LAWLEY TIX VIA MOSHTIX: 1300 GET TIX WWW.MOSHTIX.XOM.AU PLANET VIDEO DIRT CHEAP CDS MILLS RECORDS ROCKEBY RECORDS
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THE DRUM MEDIA 17 MARCH 2011 • 25
WITH TOMÁS FORD
ON THE RECORD
CD OF THE WEEK
EP OF THE WEEK SPLIT SECONDS Split Seconds Shock Records Usually when I grab my stack of singles from the Drum office, it’s a case of finding a couple of okay tracks in a pile of uninspiring garbage. Not so in this case. On other weeks, any of the top three of these singles would be the highlight. Single Of The Week goes to locals Split Seconds by a hair, as the songcraft and spacious production on this EP is undeniable. Appealing to the Mumford & Sons alt-folk crowd, the band construct atmospheric arrangements in the league of The Triffids and The Panics with lyrics presenting a series of exceptionally well-drawn characters in kitchen sink vignettes. Nothing to fault here.
SAM PERRY I Hear Voices
Fat Shan Records Sam Perry constructs epic beatbox soundscapes as though he’s dubstep’s answer to Jamie Lidell, and then vocalises over them in a way that sounds a lot like Ian Brown. Similarly to Brown, his songs are less about lyricism than the sounds of words. Ordinarily this might put the material in danger of falling into the kind of dribbling mess Brown’s solo records long ago dissolved into, but Perry has the advantage of having a very distinctive sound and DIY production that makes for addictive listening and an absolutely killer debut.
WAGONS Downlow Spunk/EMI This should be awful. Wagons have concocted a track that sounds like The Hoodoo Gurus jamming with the bass player from Sherbet, sidled with ‘80s commercial rock synth work. Singer Henry Wagons then swaggers in to lay down a vocal that sits somewhere between Bernard Fanning and Jon Bon Jovi… These are not the kind of musical touchstones that guarantee glowing reviews. Luckily the end result is a pubdisco party jam blowout of epic proportions. If I had a jukebox and this was available on 7”, I would have worn my way through three copies of it already.
Apparently Alexander Ebert recorded his debut solo album in the nude. Maybe it’s a sign of the creative freedom he feels when he steps away from a band scenario, in this case Edward Sharpe & The Magnetic Zeroes. He says his creative process involves yelling, dancing and nakedness. Nude or not, when Ebert unleashes his creativity in solo mode the results are joyous.
Some scenes change pretty fast – you don’t stop and look around once in a while, you could miss ‘em. In the early ‘00s when drum’n’bass was labouring through its darkest, most masculine phase, the unexpected appearance of a clutch of progressive, samba-influenced producer/DJs from Brazil reinvigorated the genre with a light touch and some much needed fun. Foremost among those was DJ Marky, whose Carolina Carol Bela soundtracked his country’s 2002 World Cup soccer success. Just as all looked rosy however, the emergence of dubstep, with its easy-to-dance-to kicksnare beats, pushed d’n’b back underground.
Of course most of us know Adalita Srsen as the badass front-woman for hard rocking group Magic Dirt – one of those quintessential Aussie rock groups, responsible for classic tracks like Dirty Jeans and Girl, and understandably, with the tragic passing of that group’s bassist Dean Turner, the ‘Dirt have been on hiatus since 2009. It was just before that time Turner got in Adalita’s ear and nudged her towards a solo career, even producing part of this release.
As expected with a character like Ebert, there is a hippie vibe to this LP. Acoustic guitars and hand clapping, heard in Let’s Win, mingle with tambourine and sky high harmonies, transporting you back to some sort of ‘70s folk festival. Yet, all these folky elements manage to pull together to become easily digested pop songs, such as Awake My Body. You’re probably already familiar with the tune Truth, which has been getting loads of airplay lately. The track juxtaposes fast lyrics over slow music, creating a strange groove only enhanced by the western film style whistling and the looping on the vocals. This track presents a new sound, and it’s beautiful. Ebert performs every single sound on this album and as such experiments with ‘mouth sounds’. He builds and layers each track until it’s really lush, with yelling akin to The Beatle’s Yellow Submarine or sighs from Mungo Jerry’s In The Summertime. He also experiments with different instruments, like violins or even a kazoo. And in many songs it’s easy to pick up his influences; Paul Simon in In The Twilight or Bob Dylan in Bad Bad Love, but if like me, you like these artists, that can only be a good thing.
Refusing to lay down however, Fabriclive.55 not only reveals drum’n’bass to be a genre still breathing, but developing too. Tracks such as Die & Interface’s Bright Lights incorporate vocals with a skill and attention to detail that early d’n’b productions lacked. The soulful vibes are virtually inescapable, particularly on long-time veteran Calibre’s string laden Even If. The airier material is neatly counterbalanced by muscle-bound kickers such as Fierce & Vicious Circle’s Section and Siren’s Control. Add to that some sublime liquid bass courtesy of Klute and the overall result is an effervescent package that makes you wonder why those crazy London folks at Fabric released this during the colder months there. The absolute show stealer is saved for the end, namely Marky’s own Mystic Sunset. Floating on an achingly gorgeous melody and dripping with sunshine, if such a thing is possible, it’s a farewell that will send any set of party-goers on their way and surely get a few phone numbers exchanged.
And as far as Australian releases go for 2011, Adalita slides right towards the top – a wonderful collection full of the heart and soul you would expect from the girl who put herself out the front of Magic Dirt for neigh on 20 years. While it could be easily dismissed as just a stripped-back version of Magic Dirt, when you look a little deeper and let the album dig into your skin, it’s clear Srsen’s a very talented singer/ songwriter. With the circumstance surrounding the genesis of her solo career references to Turner are quite-rightly littered throughout – “I am the grim repairer/I come to you door/I’ve arranged to pull out your pins/I’m your man to end all things”, on Grim Repairer for instance. However it’s anything but depressing. Srsen has opted for fuzzy electric guitars on most tracks, which gives songs like Jewel Thief and Goin’ Down a terrific rock edge, while lead single Hot Air and album-highlight Invite Me simply grab you and don’t let go. At once both beautiful and haunting, Adalita stamps Srsen as one of Australia’s rock’n’roll treasures. PATRICK GLYNN
CHRISTOPHER H JAMES
Some foreign words are almost impossible to accurately translate into English. The Portuguese word “saudade” describes a yearning, far stronger than nostalgia, for something or someone irrevocably lost. I can’t vouch for Elbow’s command of Iberian languages, but Build A Rocket Boys! is inextricably sodden with it.
So it’s come to this. The debut album from The Streets, Original Pirate Material arrived nine years ago – an incendiary, groundbreaking hybrid of hip hop and garage. Four albums later, Mike Skinner admits to being tired of his moniker, hence this fifth (and allegedly final) album. His mates seem to have deserted him too, which makes for a very lonely listen.
Luke Vibert has had plenty of monikers, from Plug and Amen Andrews to Spac Hand Luke and Kerrier District, though Wagon Christ is his most recognised. On Toomorrow, his third album under this alias, Vibert unleashes a bewildering fusion of quirkiness that befits a Ninja Tune release. Once you get through the pleasantly asinine Introfunktion, the sounds of a female reaching orgasm melds with erratic synthesizer flourishes to create Toomorrow. This is followed by the manic Manalyze This!, a fairly repetitive ditty with an old school hip hop vibe attached to it.
Mine Smell Like Honey Warner Records I think it’s fair to pin this rather lacklustre single on Jacknife Lee. Coming from a background in making big beat dance music so dumb even Fatboy Slim would call it cheesy, the man has gone on to encourage seriously boring records out of generally consistent bands. Examples include U2’s How To Dismantle An Atomic Bomb, Weezer’s Raditude...he seems like the go-to man for bands who want to lay down underwritten, overly self-referential dadrock. There is no logical reason why R.E.M. should suck this hard in 2011. File it where you keep your copy of Around The Sun; in the bin.
JOE FORRESTER Jesus Christ Independent Melbourne folkie Joe Forrester matches his single’s difficult title with a pleasantly difficult arrangement. Building from a sparse folky intro to a noisy guitar peak, this is a story about a man considering religion as a last option when he has run out of options. With an unpredictable array of textures and a winding structure that keeps you intrigued until the end, while this is unlikely to find a wide audience, it’s refreshingly uncompromising and a promising sign of things to come from this performer.
Gap Year Blues Shock Records Pot smoking records don’t get much better than this. I wish this had been around when I was a first year arts student; you can practically smell the lingering smoke, lived in clothes and spilt pizza topping all over this track. The problem is it’s more a vibe that I want to get inside for a whole album than a single. Which isn’t really a negative thing – but it’s just too much of a mental shift to happen in three minutes. 26 • THE DRUM MEDIA 17 MARCH 2011
Computers And Blues
Build A Rocket Boys!
An album filled with meditations on adolescence, the likes of Lippy Kids and Jesus Is A Rochdale Girl are especially blunt in their longing for those “golden days”. Pondering such memories allows Garvey to hand down yet another master class in lyrical resourcefulness, the often sparse backings render his aching confessions virtually naked. Only the careful observance of minutia prevents his sometimes saccharine view of one life’s most physically and psychologically stressful phases from over-romanticised blindness. As Johnny Thunders once sang, “you can’t put your arms round a memory, don’t try, don’t try”. But gracefully maturing is something Elbow do well, suiting their extraordinary ability to meld subtle orchestration and proggy arrangements into radio friendly songs. Every Elbow album has a few stately moments – High Ideals rides a grandiose orchestral sweep, while the chiming piano of Neat Little Rows slides like icicles down the back. With such a keen eye on the past, much of Build A Rocket Boys! uncannily resembles parts of their first album, particularly Dear Friends, which could pass for Scattered Black & Whites 2.0. ‘Boys! is the sound of a mature band maturing still further with every prolonged stare backwards. In an overtly youth-driven market place, maybe that’s something to be grateful for. CHRISTOPHER H JAMES
Computers And Blues is simple enough in concept. It’s a bloke in his flat, toiling over his Macbook, pouring through musical MySpace friends, delivering his beat-poetry to whoever might still be listening. Had this been six or eight years ago, it would have been daring but too much of Computers And Blues sounds lazy in execution; Skinner’s mockney rhymes (admittedly toned down compared to previous efforts) forced to fit over his own Pro-Toolisms. What’s frustrating here is that Skinner is a great storyteller with an enviable track record. Here though, the classic songwriting is rather contained. The first real highlight is Without Thinking, which sounds like Skinner rallying his farewell show and it’s a party you want to be at, but this arrives at the end of the first half. It’s the song you should say goodbye with from the album you shouldn’t. It’s followed by Blip On A Screen, a tenderly intended ode to pending fatherhood that ultimately stumbles. Trust Me’s Playstation-funk briefly redeems again, but by the time Soldiers march into the second half, it’s hard not to be craving something fresh.
Ain’t He Heavy, He’s My Brother is a clear standout. Envisage A Tribe Called Quest jamming with James Brown and Squarepusher and you are on the right track. Accordian McShame cleverly utilises the sound of the timpani – an instrument that is far too often forgotten about nowadays – while My Lonely Scene is a slice of psychedelica that could somehow be the result of a Kraftwerk and Aphex Twin studio session. The hornridden Respectrum will be the favourite for funk lovers.
The liner notes extensively credit Skinner with doing “Everything else”. If he’d used a few more actual friends, Computers And Blues could have been a celebration, not an obituary.
Oh, I’m Tired is trip-hop focused, Wake Up utilises warbly Arabic melodies and Lazer Dick is reminiscent of Vibert’s Tally Ho! days. Sentimental Hardcore freakishly (and one might say in an untimely fashion) samples a man talking about a disastrous earthquake, Chunkothy is Fourtet-esque and Harmoney is redolent of the Smiley Smile era of The Beach Boys. Finishing off with Mr Mukatsuku, a track with one of the most astonishing filtered synth lines imaginable, Toomorrow is a delightfully clever hour of kooky music that ultimately ridicules classification.
CHILDREN OF BODOM
HERCULES & LOVE AFFAIR
Watching the tattered remnants of a once mighty band disintegrate into the wind is never an easy task. If you thought Children Of Bodom were the latest Scando band had joined this club, you were right. Bodom slid faster than M. Night Shyamalan. The last two albums were mostly rubbish – terrible names, terrible albums. Relentless, Reckless Forever carries an equally shit-tastic name and the weight of previous failures. However, Bodom are back, baby. Back like vertebrae. Ok, maybe not that much, but at least they are on the road to recovery.
Talk about discarding your aces… In an obvious bid to no longer be overshadowed by more famous faces, producer/DJ Andrew Butler has bravely dismissed the services of Antony Hegarty (Antony & the Johnsons’ main light and collaborator on H&LA’s breakout hit Blind), LCD Soundsytem cohort Tim Goldsworthy and !!! bassist Tyler Pope, whilst switching from uberhip DFA Records to the lesser known Moshi Moshi. Not as drastic as commercial suicide, but certainly a commercial maiming, as many of H&LA’s best features are unceremoniously lopped off.
Salt, Sulfur, Mercury is These Shipwrecks’ first fulllength album, following the limited release of EP Leda in 2009. It was released on Heartless Robot, a Perth label who support similar experimentally inclined Perth acts of note including French Rockets and Injured Ninja.
While not quite capturing the neo-classical shredding that made Hatebreeder or Follow The Reaper truly amazing, they’ve cleaned up their act plenty. Gone are the muddy guitars and ramped up bass. They’ve done away with the plodding riffs that clumsily attempted to provide heaviness on the more recent albums in favour of some serious guitar chops. The twin attack is still complimented with synth, but in less of the ‘trading blows’ sequences and in more of a compositional sense. Alexi Laiho still provides incredibly catchy riffs to anchor his tunes as evidenced on Roundtrip To Hell & Back. This is lucky because if you were into lyrics, forget about it. Still, credit where credit is due – Laiho has attempted to graft his ‘80s thrash influences into a package that is relevant today and RRF is the admirable result. Not My Funeral is a highlight, however if you plan to be listening to Bodom for the first time with this record, don’t. Start at the beginning and never leave.
Butler is evidently enforcing and promoting his creative control. To emphasise the point, there is a distinctive shift in the band’s sound, from early ‘80s inspired NY disco to late ‘80s Chicago house. Despite this stylistic diversion, Blue Songs retains much of the character of H&LA’s debut. Indeed, Butler’s bold gamble may have succeeded. Blue Songs may not quite scale the heights of H&LA’s maiden effort, but it reveals Butler to be a versatile writer and at the very last competent musical director. The one concession to star power comes with the recruitment of Kele “Bloc Party” Okereke for Step Up – a fairly average clunker with some insipid lyrics. Blue Songs is a solid all round effort, slightly marred by occasional over-wrought diva warbling, but redeemed by instantly gratifying charmers such as My House. It might not equal their greatest success, but Blue Songs at least proves that Butler has enough talent to sustain an attractive career.
Lane Ferguson a.k.a Lanu has released his first solo album since 2007, featuring as a core element the haunting vocals of Megan Washington. With five numbers featuring Washington, the album is bound with a coherent sonic chemistry that gives the rest of the tracks a platform of grace on which to stand on. Washington is a vocalist who displays an intuitive self-awareness of her range, and it’s used skillfully by Ferguson. With clever and self reflective lyrics sitting on top of the single and opening track Beautiful Trash, the release proclaims itself instantly as quirky, playful and free.
CHRISTOPHER H JAMES
Relentless, Reckless Forever
Her 12 Faces
Maturity of production and arrangement shines on Der Hotel Blume and 1988, where many influences are measured in their release. Both tracks suggest a rhythmic relationship with The Stone Roses and The Happy Mondays but ultimately borrow from neither. Rather they are updated arrangements with a thoroughly modern ethos, which is also exemplified in the dubstep backbeat of Portrait In 50HZ. On the other hand The Coral Route is a dreamy landscape rounded out with a perfectly placed string arrangement composed by Ross Irwin.
THESE SHIPWRECKS Salt, Sulfur, Mercury
It’s the sort of minimal packaging obscurity that’s intriguing, and very appropriate to the music contained within. Salt, Sulfur Mercury gives very little away at first. It’s distant and difficult to distinguish on the first few listens, with layers and intricacies that are only really divulged after close examination. If there are vocals, there is no understanding what they are saying – they are another instrument. There’s Allierose Clarke’s cello in there somewhere, ducking and weaving its way around Nathan Savage’s guitar, but who knew a cello could make noises like that. There’s one startling moment when the fifth track, aptly named Concrete Birds, comes hurtling out of the droning soundscape very much like a flung concrete bird, but otherwise the album is a long stretch of sound exploration, each track blending into the next, each instrument falling over the others.
A guest appearance by Alexandra Jensen on the title track is another highlight with the subtley spoken French lyrics warming themselves around a well-executed jazz groove. Finish with a French language cover version of Roxy Music’s More Than This and you have an album that is as refreshing as it is unique.
Salt, Sulfur, Mercury is an album of its genre. It’s shoegaze flavoured post-rock for people who like and appreciate that sort of thing. And in many ways, this is an advancement – These Shipwrecks are a band that have travelled past entry level and are now willing to explore the darker, more complex areas of their genre. Salt, Sulfur, Mercury i is certainly worth the effort.
THE DRUM MEDIA 17 MARCH 2011 • 27
AN RTRFM EVENT
Full Frequency FRI. 18 MARCH CONNECTIONS NIGHTCLUB (10PM – LATE)
WITH FULL FREQ DJS:
DECLAN & BEN ELLIOTT ROK RILEY DART & SARDI MASSIV TRAV MICAH & BEN MAC TERRACE BAR:
LEN BONES RUDY / PHILLY BLUNT DEVO / AARIN F / BEZWUN
CONNECTO I NSNG I HTCLUB
28 • THE DRUM MEDIA 17 MARCH 2011
PRESALE TICKETS: $10 SUBSCRIBERS, $15 GENERAL. AVAILABLE FROM RTRFM.COM.AU/EVENTS. MORE ON THE DOOR ON THE NIGHT. 18+ ID REQUIRED
17 - 23 MARCH 2011 firstname.lastname@example.org
GIG OF THE WEEK :
RIHANNA BY BEAU DAVIS
RIHANNA BURSWOOD DOME 12/03/11
BELLE & SEBASTIAN
BELLE & SEBASTIAN @ ASTOR THEATRE & YA YA’S
After the group initially only announced a run of east coast shows, fans of Glaswegian indie-pop champions Belle & Sebastian breathed a collective sigh of relief when they added a west coast show at the Astor Theatre in Mt. Lawley for Friday 18 March. Those who missed out on tickets the first time around got their second chance with another show, again at the Astor, happening Saturday 19 March, and on last check there were still a few left. Since forming in an all-night Glaswegian café, Belle & Sebastian have delivered so many fan favourites over the years it’s hard to know where to start. Tracks like Boy With An Arab Strap, Fold Your Hands Child, You Walk Like A Peasant and White Collar Boy barely scratch the surface. After a brief hiatus, their latest studio album Write About Love also saw a return to vintage B&S. Head to bocsticketing.com.au for your chance to catch them over the weekend. To add to the tweetasticness, you can also catch them in DJ mode at Ya Ya’s in Northbridge after the Friday show for a measly $10. It goes til 2am but be there before the midnight lockout and get a wriggle on before the post-show rush.
Whether it’s Charlie Sheen speaking shite, a bully taking revenge or a dancing dog, it seems you can pretty much soundtrack anything with dubstep at the moment to make it humorous, helping make the mainstream’s increasing obsession with the genre more bareable. Winning.
Holy nuclear-powered shit, what a week. Our hearts go out to all involved. And may an earthquake strike apart the brainless heads of those racist bigots out there (just do a search of ‘Pearl harbor’ on openbook. org to see what we mean).
FOO FIGHTING SPIRIT
Julia G’s giving Obama an iPod full of Aussie music was a cool gesture, but who picked the tunes, fucking Kevin Rudd? It sure as hell wasn’t Peter Garrett otherwise there would have been more Oils and a shitload less Barnesy…
While his personal beliefs may frequently be abominable, Kudos to Dave Grohl and co. this time around for donating their time with FF shows in NZ and Brissie to help raise funds for those effected by the Queensland floods and Christchurch earthquakes.
While some venues may be stripping down their live band operations to make way for ‘all-women’ nights, the prospect of mystery promo crew Under & Above starting a new venue purported to be similar in style to the ol’ Greenwich Bar is rather exciting indeed.
Brendan, Brendan, Brendan, we’re sure it’s part of the healing process and we wish you all the best, but it’s not a smart move to do extended in-depth TV interviews if you’re not very smart.
DRUM MEDIA PRESENTS : DOOR, THE BROW HORN ORCHESTRA, THE DEVIL RIDES OUT, HOOTENANNY, MENTAL POWERS, RED JEZEBEL, SEAMS, TIMOTHY NELSON & THE INFIDELS, ATOLAH, THE GROWL, 6S & 7S, SONS OF RICO, TANGLED THOUGHTS OF LEAVING, USURPER OF MODERN MEDICINE and more: APR 24 Somerville Auditorium, UWA
CHAOS DIVINE, TANGLED THOUGHTS OF LEAVING, BRUTUS & STATUES: APR 15 Rosemount Hotel
THE HOLIDAYS, GOLD FIELDS: APR 28 Amplifier
Of Wales; JUN 11 Civic
HUGH CORNELL (STRANGLERS): MAY 8 Charles Hotel
+ BASTARDFEST: Line-
DISTURBED: APR 20 Burswood Dome
KYUSS, FORT: MAY 11 Capitol
+ IN THE PINES: ABBE MAY, FALL ELECTRIC, THE SCOTCH OF ST. JAMES, THE SILENT WORLD, SIMONE & GIRLFUNKLE, UMPIRE, WOLVES AT THE
UNKLE: MAY 11 The Bakery
HOUSE OF PAIN: MAY 12 Capitol
each Sunday at Swan
COOPERS BAREFOOT BOWLS: GLENN RICHARDS, DAN LUSCOMBE: MAR 26 ECU Bowls Club
REKAB, JAZZA, DR SPACE; GENERAL JUSTICE, SAXON, BOY PRINCE, NATHAN J, DART, DEVO, ARIEN, A-STEP and many more: APR 3 Leederville (upstairs, downstairs & courtyard)
+ KILL TEEN ANGST ALBUM LAUNCH: APR 1 Rocket Room
+ TIM & JEAN: APR 8 East End Bar; APR 9 Amplifier
COOPERS BAREFOOT BOWLS: ADALITA, AMAYA LAUCIRICA: APR 2 ECU Bowls Club
+ THE GROWL EP LAUNCH: APR 8 Bakery
TIN CAN RADIO: MAR 17 Indi Bar; MAR 18 Prince Of Wales; MAR 19 Dunsborough Hotel
KINGS OF SOUND FESTIVAL: DAZASTAH, LAYLA, SHOCKONE, PHETSTA, HUNTER, MORTAR, Q-BIK, BITTER BELIEF, GREG PACKER, MC ASSASSIN, MICAH, PHILLY BLUNT, THE BROW HORN ORCHESTRA, CHARLIE BUCKET, DIGER ROKWELL, ARMEE, SELEKT, YLEM, DAIR,
DARWIN DEEZ: MAY 12 The Bakery
SUPER VISUAL MONSTER MASH: MAY 13 Metropolis Fremantle BOY & BEAR, JINJA SAFARI, EMMA LOUISE: MAY 19 Capitol BLUE KING BROWN, DIAFRIX: JUN 2 Metropolis Fremantle + PEGZ: JUN 10 Prince Hotel up TBA: SEP 24 Civic Hotel ONGOING: band showcases 5-9pm Basement
You’ve got to wonder how it comes to be that a pop artist can grow in experience and success yet diminish in their actual singing of their songs as time goes by. Really, shouldn’t it be the other way around? And why then does no one seem to care? Fittingly, Calvin Harris warmed up for Rihanna, the Scottish charmer now professing to have given up his live singing career. Of course he was only a warm-up for the R-Rated gal and undoubtedly had a nasty enforced tracklist to get through but, if you were to judge his move from entertaining singer to glorified disk jock upon this performance, the world has just got a little bit less interesting. Averagely mixing his own You Used To Hold Me into the horrendous Sexy Bitch by David Guetta and Akon then Dizzee and van Helden’s Bonkers was about as inventive as getting up in the morning - something which obviously Harris has no problem doing when he realises he can get away with such clichéd turdage and make a heap of cash off it. The fan frenzy struck 8.4 on the Squeal Seismograph as Rihanna began her show with a recorded intro about entering the Caribbean hottie’s dream world, her sexual fantasies and nightmares being offered up to share amongst the eight year olds and above (go mums). The gal with one of the most misspelt names in the biz then kicked into Only Girl (In The World) off most recent album Loud. Although lapped up by the Ri-starved crowd, the less star struck observers couldn’t help but be appalled by the extent of lip-synching going on (or not for that matter). Pop shows are these days expected to be fairly reliant on backing tracks, but Rihanna was a combination of not even bothering and being so far off lip-synching in time that she even appeared to be somewhat out of it. The anger at this began
to fall away almost as quickly as her clothing did though, leading instead to amusement as her sparkly leotarded figure straddled a tank canon until it popped during Hard. Speaking of such things, for many the band backing her was a little too rocking, many expecting more danced-up versions of her hits. Instead they got a number of bogan guitar solos and song versions that had many even raising their devil horns amongst the constant sea of mobile phones. This rock fever was particularly suited to many moments though, especially as she tried to smash an on-stage car with a baseball bat during Shut Up And Drive, and of course Rockstar saw some particularly dubious air-guitar action from the Caribbean hottie. As naff as these bits sound, they were of course what made this show so entertaining. From monster stilt walkers chasing her bondage-clad figure around in Rude Boy (creating scenes reminiscent of the Wheelers in Return To Oz), to dazzling Matrix-styled visuals during Don’t Stop The Music, you needed to suspend your reality and enter Rihanna’s fantasy world to get the best out of this ‘movie’. Final song of her encore, Umbrella, saw the adoring shouts of ‘ella-ella-ella’ echoing through the again-average-sounding Dome as canons filled its sweetened air with confetti. As the lights turned on and (very unexpectedly) Lou Armstrong’s What A Wonderful World soothed the departing youngsters, one couldn’t help but smile. Sure, sadly few people cared that she put on such a poor demonstration of singing (or even lip synching) talent but, as far as entertaining shows go, this was up their with a Charlie Sheen stand-up set. Who cares if it was also about as soulless and superficial. AAROM WILSON THE DRUM MEDIA 17 MARCH 2011 • 29
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FEEDBACK WAVVES The Bakery 11/03/11 With his recent ascent to indie celebrity, the shortcomings of Nathan Williams have been well and truly picked over by many a critic within the past few years, and perhaps rightly so. Aside from the infamous Primavera crash and burn, a whole host of lazy, apathetic live appearances in Wavves’ formative years made it easy to justify any sceptical preconceptions that might have surrounded their performance at The Bakery. Such cynicism was swiftly ejected, however, with one of the year’s best shows so far. The steadily growing crowd was first entertained by the stripped down, surfy jangle of Bermuda, whose performance marked a pleasantly chilled beginning to an otherwise raucous evening. Obviously taking more than a little inspiration from the headlining act, Bleeding Knees Club followed with a set of unnervingly familiar sounding garage pop. Trying a bit too hard to channel the hackneyed ‘summer ennui’ vibe of recent years, the duo came across as a derivative attempt to recreate a trend that’s already on its last legs. Yet all that fell by the wayside once Wavves took to the stage. Kicking off with So Bored, things sounded a bit shaky with the vocals lost six feet deep in the mix, but it was quickly corrected in time for a stream of tracks from King Of The Beach. If anyone worried that the first two albums’ brash lo-fi sound was lost on their more commercial antecedent, they really have nothing to fear. Songs such as Idiot and Super Soaker still take on a sufficiently noisy feel when played in a small room full of sweaty fans, slotting in perfectly beside dirty classics such as No Hope Kids and To The Dregs. Hell, there was even a fuzzed out cover of Black Flag’s Depression in there somewhere. The band didn’t say much, but there wasn’t really any need to ‘connect’ with the crowd when half the audience were on the stage by the time Post Acid rolled out to cap off the set. Once their equipment fell victim to trampling feet and the band disappeared
HAVE YOU HE ARD..?
into the mosh, it must have been a good feeling for Williams to know that several hundred kids from the world’s most isolated city could sing his songs with undeniable fervour. A set by local DJ Rex Monsoon then entertained those who had the energy to carry on into the early hours; a great finish to a gig that undoubtedly set the standard for the others destined to follow this year. Love it or hate it, you can’t deny that Wavves speaks to no-hope-kids in a way that few bands, parents, or teachers could ever manage. JACKSON BEST
SPLIT SECONDS EP LAUNCH Amplifier Bar, Perth 12/03/11 As a handful of people rocked up early enough to see Tash Parker, the solo performer held her own on the stage despite there not being too many people to play to. Goodnight Tiger were up next and played a solid set while Andy Bull entertained the growing crowd with his unique performance style. A little long-winded in his song introductions, the east coast artist put on a good show, which featured his hit Dog. With little introduction, Split Seconds hit the stage for their long-awaited EP release show. The band’s growing popularity was demonstrated by the lack of EPs on sale – the six-piece selling out of all pressings through pre-sale and the walk ups from their support slot at the Tim Minchin shows last week. So while this may have been one of the only EP launches with no physical EPs to ‘launch’, it is good to see the band in such a position. Since seeing them for the first time back at the Velvet Lounge what seems eons ago, the group has not only grown in members and upped their penchant for checked shirts, but have developed a stage chemistry that belies their short time together. Opening with Compass and closely followed by With All Yr Might it is clear that while this band may be lead by vocalist Sean Pollard, each member significantly contributes to making these songs come to life. As the six of them looked quite cozy on the small Amps stage the audience watched on contently mesmerised by these tracks that pull you in with their honesty and strong storytelling. If there is one thing that makes this band standout it is their ability to harmonise and tonight they could do no wrong. The vocals on the upbeat What A Week were spot on and Bed Down was even better. As they thanked manager Jacob Snell, telling him they love him more than they love their children and how lucky it was they didn’t have any children, they launched into Paper Boy, closing off the night in spectacular fashion as the crowd clapped and cheered. Now, when will these EPs be back in stock? MARCIA CZERNIAK
GIGNITION @ SWAN BASEMENT North Fremantle 13/03/11
DROP MACUMBA Next gig: Tolstoy’s Plight single launch – Saturday 19 March @ The Bakery w/ Cosmo Getts, DJ Douche Unit, Boozey Hugh, Kate Chip and Navajo Gravy. Ticskets through nowbaking.com.au. Your sound: R’n’B, soul, room to breathe. Band’s name comes from? South America/Africa Around since: August 27, 2010. Band’s greatest strength? Jelinek (drummer). Band’s worst gig ever and why? The last one at Capitol because Territ wasn’t there. Band’s best gig ever and why? The first one, because it was the first one, and it was Bobby’s bday. Best achievement? Existing. Fave hangover cure? Head to the pub. Our ultimate groupie would be… Tera Patrick. Fame for your band would mean… getting invited to everything. Any members play in other bands? Yeah, but they don’t need a mention. Any releases out? Debut Single Tolstoy’s Plight March 19 (digital only) and LP in June (vinyl and digital). More info: facebook.com/DropMacumba
Another Gignition, another showing of some great up and coming talent in our fine state. First up, Mala Gold entranced the audience with a fine performance; one made more amazing upon discovering it was their first ever. Their tight, intelligent pop showcased singer Adri’s voice, an instrument as versatile as the keys she played so deftly. A driving drum beat which featured so strongly in a majority of the songs, coupled with some boppy bass gave their sound a fantastic edge, whilst the guitar was nicely understated, fleshing out the strong melodies which the band seem very adept at creating. The White Page were up next with their bluesy rock. Tasty guitar licks, combined with a great pub voice, solid drums, and some thumping bass made for a great rock‘n’roll show. A cover of The Sonics Have Love Will Travel saw some great energy and the addition of a saxophone, showing off their musical chops and an appreciation for the former greats of the genre. The boys showed some more recent influences too, playing the sort of driving rock tunes that will get a more modern crowd moving and generating a great response. Last to hit the stage were the outlandish Tales From Space. A range of brightcoloured amps donned with a stuffed toy, sparkly guitars and an odd drum arrangement made the name seem appropriate. Zany front man Ryan Sweeny dedicated the first song (based around the Super Mario theme) to the tsunami victims in Japan before launching into a fast paced, power chord-driven punk set. In between songs the crowd was treated to some dry wit, nicely covering the breaks needed for tuning. Not even a broken bass string (how often do you see that?) could slow these boys down as they ripped through their set, in turn capping off another excellent night of Gignition. ANDY SNELLING
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NEW HALL WAYS Returning to the Ellington Jazz Club this Saturday 19 March, Adam Hall is bringing a new band featuring members from The Velvet Playboys and the Charlie Brown Brass Band, plus the vocal stylings of Jessie Gordon. The versatile band will be able to cover Halls’ old repertoire and a lot of new material as well. It kicks off at 8pm, tickets through ellingtonjazz.com.
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SA URDAY 19 h march LIOR 1. Kicked out of primary school choir for singing “too off key”. 2. Received a congratulations letter for being nominated for Best Male Artist at the ARIAs… by the same teacher who kicked him out of the primary school choir. 3. Has just released his third album – Tumbling Into The Dawn. 4. First band name – HAT.
DAY OF THE DEAD
SCORCHING The third Scorcher Fest is on again at Rosemount Hotel Sunday 20 March, where three-stages will host a musical heaven from midday til late featuring Andrew Newman, Applebite The Beggars On Acid, Day Of The Dead, TungXsten, Born On The Bayou, Caprycon, Midnight Boulevard, The Other Woman, Wing-It, Liquid Krystal, Endora, Hailmary, Hostile Little Face, Amberdown, The Dark Rooms, Split Image, Khariot, Oak Tree Suite, Waiting 4 Andy, Paper Like House, David Lazarus, Mudguts, Nymph Honey, Rising Tide, One Armed Scissor, Paltiva, The Wilkies, Reflections Of Ruin, Requiem For Resistance, Rochelle O’Reilly, When Summer Ends, Social Inertia, Beltane Fire, Higgs Boson, Sun City, BYP, Prisoners Of Faith, The Silence In-Between, The Whitenoise Project, Tiaryn, Rukus Napalm and World A Fuzzy! Tickets just $20 from scorcherfest.com.au.
5. Recently performed with the Adelaide Symphony Orchestra in Carnegie Hall.
RELEASING THEIR LATEST SINGLE ROCK UP FUCKED THIS WEEKEND, PROJECT MAYHEM’S BENNY MAYHEM GIVES US THE LOWDOWN ON THE TRACK.
6. Had the entire Miss Universe contestants recently walk in on a show of his in South Africa… why isn’t anyone in the audience looking at me anymore? Helllooo.
Rock Up Fucked was a no-brainer to write. It’s happened to all of us at some point: “We’ve been out for a helluva time/and now we’ve got something to do!” Whatever that might mean, and however it might have gone down, I think there’s something in this song that punters and pundits can relate to. Personally I was smack bang in the middle of an Iggy Pop biography when I wrote the lyrics, and I think his tales of balls-out debauchery inspired me to throw caution to the wind again and just write exactly about who my mates and I are, and the shenanigans we put ourselves through. Back to the known, as it were.
7. Broke his thumb just before opening for James Taylor only to learn that James had broken his in exactly the same place when he was the same age (bonding to follow).
So, it’s a fun record with a stomping riff that will throw you around the dancefloor – and this is the vibe that we tried to capture in the recording. We worked for the first time with a third party producer in Mike Wafer, whose aim was to capture our live show on record. Thanks to him, and engineer Laurie McCallum, we’ve finally come as close to capturing the real deal as we ever have. We just wanted this single to sound as huge as possible without being bombastic. This is a fucking punk rock record, and that’s a wonderful thing for a band like us to be able to say again. It’s easily our best work since our early EPs. I remember Mike saying one day during the bass tracking: “Jesus! It’s louder than an airport runway in there!” and he certainly wasn’t fucking around. All four of our dudes laid down the performances of their lives on this record. Most of it was done in one take! As for our current trajectory, let’s not beat around the bush. Project Mayhem want everyone in the fucking country to hear this single. In the five years since we consolidated our current line-up, this is the moment we’ve been working towards. It’s time to stand up and say: “We are Project Mayhem and we’re from fucking Perth and Perth people are bat-shit crazy and the best fun you’ll ever meet so let’s turn the amps up and take our pants off.” That’s the vibe I’m taking in to album number 2 as we write it, and into our national tour later this year. Ladies and gentlemen, this is Rock Up Fucked. Hope you dig!
ROCKMOUNT HOTEL Come down to The Rosemount on next Wednesday 23 March to listen to the sonic delights of Enfilade, Hostile Little Face, The Crossbars and The Silent World. To sweeten their deal there’s cheap beer on tap – what a combo. Young alt-rocking three-piece The Crossbars kick proceedings off from 8pm for the mid-week special of just $5.
WHAT: Rock Up Fucked (Independent/ Firestarter) WHEN & WHERE: Saturday 19 March, Manhattans, Victoria Park
monday 21s march
8. Took time off between his latest two albums to do a season at the Sydney Theatre Company with his ‘Shadows & Light’ tour – a shadow art narration created to his songs and performed live alongside his musical performance. 9. Is set to release and tour a compilation album titled 3-2-1 across Europe later this year. 10. Has a national tour coming up where fans get to request which Lior songs they want to hear, as well as a cover they would like to hear interpreted.
wednesday 23rd march
WHAT: Tumbling Into The Dawn (Independent) WHEN & WHERE: By Request Tour – Friday 25 March, Fly By Night, Fremantle; Monday 25 April, Red Hill Auditorium with Neil Finn, Paul Kelly and Ben Merito
hursday 24 h MARCH TIN CAN RADIO
DO THE TIN-CAN Celebrating the release of Brisbane five-piece Tin Can Radio’s debut album Chase The Sun, Hold The Night, the band are playing their first-ever run of shows along the Western Australian coast to showcase their engaging live format, presented by Street Press Australia. They’ll be joined by singer/songwriter and muliti-instrumentalist Saritah, performing her playfully powerful roots/reggae songs. The group heads south to play Prince Of Wales Friday 18 and The Dunsborough Hotel Saturday 19 March. Metro shows $10, regional ones are free.
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HAYLEY BETH THE DRUM MEDIA 17 MARCH 2011 • 31
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HAVE YOU HE ARD..?
New band on the Perth scene We Build Pyramids bring some seriously smoking indie-rock tunes with a touch of southern blues to the Swan Basement for Drumâ€™s Gignition series this Sunday 20 March. Adam, Kev, Vez and Jo have an energy on stage that is bound to get you on your feet. Keep an ear out in early April for their first recordings, and your eye out around Perth for more shows, $5 from 5pm.
THE OWLS MINK MUSSEL CREEK SAN CISCO
CHILLI MUSSELS Three long years after Mink Mussel Creek set out to record their debut album it is done and ready to be released. Mink Mussel Manticore features the six best tracks from the bandâ€™s career recorded live and raw. They release the album this weekend at the Norfolk Basement on Friday 18 and Sunday 20 March. Come and see how the songs turned out after all these years and watch as the burdens are lifted and the demons are exorcised before your very eyes. Tickets through Moshtix, Mills and Planet.
SCARED STIFF Drawing on the likes of Bowie and The Cure for inspiration, local fresh faced five-piece Frighteners launch their debut single Forgive My Memory. Itâ€™s ahead of their EP set for release in mid-2011. Further Earth, The Mysterons and The Swines support the launch at The Rosemount on Friday 18 March.
follow your noise WZLWWHUFRPOLIHLVQRLVH IDFHERRNFRPOLIHLVQRLVH ZZZOLIHLVQRLVHFRP
SIR WILLIAM STREETING THE MIGHTY SCRAPE Give a brief rundown of the history of your band from day to now: The Mighty Scrape exploded onto the scene in 2007 when a collaboration of handsome, ball-tearingly shredding musicians from the Perth metal scene decided to get together and dazzle the masses with their special blend of grind/death/thrash and rock. In that time the band has released three acclaimed CDs, toured the country, played festivals, and has been postered on thousands of teenagers walls around the country. Tell us about your release: Our next chart topper is entitled Split My Bitch Up. It is a four way split with sickeningly brilliant bands from Malaysia, Indonesia and Japan. It contains 16 new tracks in all, with five new tracks for us in which we have definitely reached new levels of awesomeness. With pure precision and expertise at scraping out the bottom of the barrel, we are so proud to present to you these five tracks of whallopping, trolloping, good times. How did you go about recording it? The entire album was recorded in Depravia Majoriaâ€™s (drummer) splendid Full Power Studio. Once we got used to our collective aroma, each member laid down their parts in a precise and professional manner. It was produced, engineered and tracked by us because we are so talented. Tell us about your launch party: Joining the celebrations are Rezume who are coming all the way from Bali and are also part of the split CD. Plus local metal acts Entrails Eradicated and Nails Of Imposition. The night is also a celebration for Dysieâ€™s birthday so if you know this clown, come down and make this the party of the year. WHAT: Split My Bitch Up (Prime Cuts Music) WHEN & WHERE: Friday 18 March, Amplifier, Perth
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The inaugural William Street Festival, a free event hosted by the Town Of Vincent, is happening this Sunday 20 March from 10am to 4pm. The road will be closed between Brisbane and Newcastle Streets to make way for two stages showcasing original bands. Acts include San Cisco, Georgi Kay, The Sneaky Weasel Gang, The Groovesmiths, Jason Ayres, Natalie Gillespie & Dave Brewer, Tara Spackman and Shameem Taheri-Lee. Theyâ€™ll be joined by comedian MC Bonnie Davies who will keep the day rolling, along with the Kurbist Gong and Salvation Army bands. In addition there will be food and market stalls, live art, free activities for kids, a fashion parade and dance and martial arts displays happening throughout the day.
SUN SALUTE The inaugural Salute The Sun family concert will take full advantage of The Quarry Amphitheatreâ€™s atmosphere to bid farewell to summer, and with it hopefully this heat wave. The community driven event will features performances from Andrew Winton, Paul Gioia Trio and Kris Arnott. Local choirs will also take to the stage with a host of other acts, all from 2pm on Sunday 20 March.
Iâ€™M THE SPACK MAN Singer/songwriter Tara Spackman invites you into her musical world. A self-professed indie/alternative/ ambient artist, her lyrics are personal yet universal. In writing them she hopes she can inspire and touch the lives of others by simply keeping it real, to the core and truthful. She will be next performing at The William St Arts Festival and Drumâ€™s Gignition at Swan Basement on Sunday 20 March.
MANNING UP Fresh from the studio and the cleansing climate of Margaret River the exceptionally tall Dave Mann is back in town this weekend with new songs and arrangements but the same inimitable style. Heâ€™s at the Indi Bar on Friday 18 March and Clancyâ€™s on Saturday 19 March, both shows $10 with support from Joe Taylor. On Sunday 20 March, heâ€™s playing Courtyard Music at the Fremantle Arts Centre from 2pm.
Next gigs: Friday 18 March, The Rocket Room, Northbridge; Saturday 19, Indi Bar, Scarborough; Sunday 20 March, Mojoâ€™s, North Fremantle. Your sound: Blues/psychedelic rock. Bandâ€™s name comes from? An owl that used live outside my window. Around since: Late 2009. Bandâ€™s worst gig ever and why? We played an acoustic gig and broke a string first song, which would have been okay but we had no spare strings left so we had to basically play with just the bass and vocals... horrible. Bandâ€™s best gig ever and why? We have had a few festivals and good supports but probably at Rottnest Island when we played The JD Set with The Living End and Gyroscope. Best achievement? Making a solid EP that won us a triple j Unearthed comp. Fave Perth bands? The Silents, Novocaines and Gyroscope. Fave bands from your state? Regular John, The Holidays and The Preachers. Biggest bands youâ€™ve supported? The Jezabels, Cloud Control, The Living End and Gyroscope. Our ultimate groupie would beâ€Ś femaleâ€Ś? Fame for your band would meanâ€Ś Not much considering we really are not striving for it, we just want to play. Any releases out? Self-titled EP and we have a new single out now called Sugarcane, which is available for free download from 16-23 March. More info: theowlsonline.com.
BREAK ON THROUGH As some of you would know Empire Blues are very keen to get on the bill for the West Coast Bluesâ€™nâ€™Roots festival. The only way for the group to achieve this (for this year at least), is to participate in the Breakthrough Bluesâ€™nâ€™Roots competition and theyâ€™re competing tonight at the Norfolk Basement in Fremantle. The best/most popular act gets through to the next stage so fans of the group need to get down and cheer casually from 8.30pm, and much louder when they play at 9.50.
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FLOODS OF APRIL Sound Pro 3000 presents the Floods Benefit Show featuring local rockin’ talents, The Other Woman, Fools Of April and Crawlspace this Friday at the Railway Hotel in North Fremantle from 6pm. These groups are keen to get a local crew together to help our fellow countrymen doing it tough in Queensland. Proceeds go to the QLD Government to aid the Flood Relief, entry is $8 at the door.
GOTTA HAVE FAITH Based in Dublin, Ireland, singer-songwriter Rory Faithfield is Australian born and bred. With Celtic songlines in his head and grains of sand between his toes, he returns to WA after playing Nannup Festival a couple of weeks back. Catch him playing tunes from his latest LP Songs For Sooner Sunday 20 March at Jackadder’s Music Club, Woodlands Reserve Hall ($8 from 3pm); Wednesday 23 at Indi Bar, Scarborough ($5 from 8pm) with Them Little Secrets support; and Thursday 24 March at JB O’Reilly’s, Leederville (free from 8.30pm).
CAPRYCON Give a brief rundown of the history of your band from day one to now: Caprycon began in October 2009 as a collaboration between singer Gina Bafile and composer Matthew Young. It was initially mean to be a recording project and by June 2010 Caprycon was almost a complete band. Shortly after, the introduction of award winning keyboard player/composer Sean Bernard (winner of 2008 Revel8 Perth International Short Film Festival – Best Soundtrack) sealed the group as a five piece and saw a shift in musical direction with new and advanced compositions taking shape. Tell us about your release: The seven-track Dark Earth EP has the underlining purpose to create a collection of progressively inspired songs all completely different. Although there is no underlining theme, Gina Bafile’s powerful display of raw vocal talent and George Garofallou’s freakish bass playing are key elements throughout Dark Earth. The trancing sound of the moog, catchy riffage and heavy Byzantinian and European influences are a clever example of Caprycon’s appealing and eccentric musicianship. Tell us about your launch party: It’s happening at the Charles Hotel with special guests Mudguts and Applebite The Beggars On Acid. What’s next for your band? We have already started working on Sean Bernard’s concept album which is a little more technical. Recording will start pretty well straight after our launch. WHAT: Dark Earth EP (Firestarter Distribution) WHEN & WHERE: Saturday 19 March, The Charles Hotel, North Perth; Scorcherfest – Sunday 20 March, Rosemount Hotel, North Perth
PEACE & HARMONY In conjunction with Harmony Day, Kulcha is proud to present its annual Harmony concert – a free family event celebrating cultural diversity. From 6pm Saturday 19 March the Northbridge Piazza is headlined by the Alegrias Spanish Dance Ensemble – capturing the excitement and diversity of Spanish music and dance through the classical, regional and flamenco styles. The concert also features Hassan Youssef’s Dervish Dancers, Korean Uniting Church Choir, Chung Wah Dancers, Burundi Peace Choir, Madjitil Moorna and Huaira.
TRAMP IT UP Putting on their cowboy boots and hats when they support Project Mayhem at their Western Single Launch this weekend are Cal Peck & The Tramps. It all takes place at Manhattans, Vic Park on Saturday 19 March. Mongrel Country and The Kuillotines also support with prizes for best dressed from 8pm. The ‘Tramps then play the first of two Sunday shows on March 20 at the Newport Hotel. The band will be showcasing their rock’n’roll, country and rhythm’n’blues by playing over an hour’s worth of new and old material. Doors 6pm, free entry.
BACK TO BEDLAM JARRAH THOMPSON
BLAME IT ON RIO With the announcement of his second album Rio Claro written and recorded in Brazil, blues/rock troubadour Jarrah Thompson brings his fuzzed out wah-rock and epic guitar/flute jams to WA. Thompson and his new band line-up headline two huge shows in Perth Thursday 24 March at Mojo’s North Fremantle, and Saturday 26 March the Indi Bar in Scarborough.
FLY WHITE GUY Local Perth pop-rockers Paperfly celebrate the launch of their new EP Observatory Saturday 19 March at Rosemount Hotel. Support from local heroes Burgers Of Beef and Art In Algebra. $10 through Heatseeker or $15 with EP. If you’ve never seen Paperfly live, there’s never been a better opportunity than this to come along and witness the dynamic and energetic performance of this talented five-piece rock outfit.
The youngest ever winner of the WAM Song of the Year (2010) with Breakfast In Bedlam, and one of only a handful of Australian artists recently nominated for the Independent Music Awards for her soulful Back To Back, Georgi Kay brings her infectious indie-pop sound to Drum’s Gigntion at the Swan Basement, Sunday 20 March. It’s the perfect chance to catch this up’n’coming singer/songwriter in intimate surrounds.
DUBLIN UP The juggernaut that is The Dublin Jazz Aunts rolls on after a string of cracking shows in the native Fremantle and up around the Perth city. They’ve now scored themselves a residency at X-Wray Café in Fremantle. You can catch them Friday 18 March with Valiant, Wednesday 23 with The Dirty Western and Wednesday 30 March with Tanglewood & The Taylor.
Tell us about your launch party: Diamond Eye will kick off the night in a rare acoustic format, followed by The Chris Gibbs Trio. We’ll hit the stage playing the new album in its entirety and then some. Presale tickets available now through stonecircleband.com.au or grab them at the door for $15. Doors open 8pm.
STILL FRAME MIND
LUCHA LIBRE Mixing Mexican masked wrestling, comedic circus and burlesque will be Lucha Royale at Perth Town Hall Saturday 19 March. Highlights will include a mix of Lucha Libre (Mexican masked wrestlers), burlesque dancers, circus performers, drag and comedy. The explosive professional wrestlers (EPW) will take the stage alongside Ginger La Minge (Miss Burlesque Perth 2010), Layla Brulee and Lady Velvet Cabaret for an theatrical feast of the senses.
Give a brief rundown of the history of your band from day one to now: After a long and arduous labour, Stone Circle came kicking and screaming into the world in July 2008. Our first steps included playing the Def Leppard After Party with The Galvatrons in Oct ‘08. We spent much of ‘09 focused on writing and pre-production for the new album. The first half of 2010 was spent recording. Since then we’ve made gigging our priority. In late 2010 we came second out of 170+ bands in a comp to support Bon Jovi, and represented WA in the Australasian final of the Global Battle Of The Bands. Right now our priority is staging one seriously kick arse album launch. Tell us about your release: Living For The Sunshine is a full-length album – 11 tracks, nearly 60 minutes all up. It’ll be available from Monday 21 March on iTunes, through our website, 78‘s, Mills, Dada Records and all good independent record stores.
DOUBLE JINCS A fresh fusion of funk-driven slap bass, smooth jazzy guitars, soulful vocals and dynamically tight drum beats, Jincs hail form the northern suburbs of Perth and blend old school and new into groovy lines and catchy hooks. They’ve recorded a five-track EP and with the the prospect of a release this year hitting the live scene, beginning this Sunday 20 March as part of Drum Media’s Gigntion at the Swan Basement, $5 from 5pm.
STILL FRAME LIVE At the Rocket Room this Saturday 19 March Still Frame Mind launch their live DVD in style with support from Thursday’s Page, Ol’ Bouginvillea, James Hall and Crunge Inc. Fans can expect an excellent night of diverse, homegrown alternative rock, with Still Frame Mind to bring home the night with their characteristic no-holds-barred live set. After 11.30pm DJ Brett Rowe and Kickstart keep the good times flowing.
What’s next for your band? In support of the new album, we’ll be doing a heap of touring and promoting here in the west, on the east coast and overseas. We’re actively seeking new management and distribution, and aim to be back into the studio next year. Our jams are producing some really interesting new material so stay tuned. WHAT: Living For The Sunshine (Independent) WHEN & WHERE: Saturday 19 March, The Civic, Inglewood
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PINT O’ THE GOOD STUFF It’s St Patrick’s Day from 8pm at Ellington Jazz Club tonight and they’re celebrating with cold Guinness and traditional Irish Jazz Fusion music with an encore performance of the legendary jazz fusion band, Manteca, led by Uwe Stengel and featuring St. Patrick Reale on guitar. In the ‘70s many young people had their first taste of live jazz through this award-winning fusion band.
OVERDRIVE ALL THINGS PUNK AND HARDCORE WITH LUKE BUTCHER. Soundwave has come and gone for another year and whilst this year’s lineup may have been debatable on paper for some, no doubt all who went will confirm that it was one of the best yet, with every act on the bill proving why they had been selected. A couple of standouts for this scribe included Coheed & Cambria, This Town Needs Guns, Polar Bear Club, Foxy Shazam and Gaslight Anthem. Locally, several bands have achieved some considerable accomplishments as of late: All Eyes On Saturn have completed recording their debut EP to be released some time later this year, as well as Black Birds (ex-members of Atvena’s Wake and Arturo Chaos) playing their first show at Oh Snap recently, and judging by that one, expect some big things in the future. Likewise In League have secured an American release of their recently launched debut album, signing with States-based label In Vogue Records. As well as of plenty of local shows happening, a huge selection of international acts have announced Australian tours for later in the year including A Day To Remember, who are bringing Underoath with them and hitting the Astor Theatre Saturday 8 May, and Rise Against who have announced an Australian tour with Sick Of It All and our very own Break Even ahead of their March 11 release of their newest album Endgame. The trio hit Challenge Stadium Saturday 23 July. On the Australian front, Newcastle’s The Storm Picturesque have announced the Crossing Borders tour finishing in Perth in late May; Make Them Suffer will be touring the nation throughout April and into early May with some local shows bookending the tour; I, Said the Sparrow have announced an east coast tour; and after launching their Vs. Skylazer album at The Bakery a fortnight ago, Injured Ninja will be taking their debut album over east and seas.
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Internationally, recent announcements from both Gallows and Simple Plan have revealed both are preparing to enter the studio (not together obviously); Maylene & The Sons Of Disaster have completed recording their new album; Gaslight Anthem will be releasing a split EP with Florida punk band Fake Problems; Touche Amore have announced they have finished the recording of their newest album (completed live, in five days); and after 12 years together UK prog-rock band Oceansize have called it quits. In his best attempt to outdo Charlie Sheen, Jonny Craig has “checked himself” into rehab for drug addiction, following his “MacBook scam”, his label Rise Records are faced with reimbursing all those he ripped off. Fortunately Emarosa’s tour will be finished off by ex-Tides Of Man and Jonny Craig backing-band member Tillian Pearson. In more nostalgia-drenched news, Deftones will be releasing a covers album limited to 5000 LPs covering tracks from The Smiths, Lynyrd Skynyrd and Duran Duran. Sum 41 have released new song Blood In My Eyes from their forthcoming album, but the biggest news of all is that Limp Bizkit have entered the studio and are working on a new album entitled Gold Cobra. Keep on rollin’ boys, we can’t wait!
Perth’s salute to AC/DC Hells Bells are marching into a month of Friday mayhem after rocking Langsford Alehouse last week. This Friday 18 March you can catch them at the Pace Road Tavern in Medina, and then the Rock Inne, Karragullen next week (25 Mar). The boys have taken some time off to add some classic songs from the original problem child, Bon Scott. Tickets $15 from the venues. THE KUILLOTINES
KUILLING TIME How does 12 bands for $12 sound to you? The easy math says that’s only a buck a band, and you can get this great deal at the Railway Hotel in Fremantle this Sunday 20 March. Perth’s favourite punk-rockin’ four-piece The Kuillotines headline the day over two massive stages, which also features The Brow Horn Orchestra, Chainsaw Hookers, High Horse (debut show!), Grim FanBanjo, Goodnight Tiger, Zeks, Silver Lizard, Burning Fiction, Liz Wreck, Mala Gold and Tired Lion. You can also catch the Kuillotines tonight at the Mustang Bar in Northbridge, with support from Blazin’ Entrails and The Super Sweet Mystery Ska Band.
TIJUANA TOURS Gold Coast trip-tronica group Tijuana Cartel bring a new sound that marries rockier grooves and electronica along with their trademark mix of sub‐continent, funk, dub and world music. They continue their western sojourn playing Manhattans tonight; Mojo’s Saturday 19 March; and Indi Bar Sunday 20 March.
OWLIN’ GOOD TIME If the rumours are true that rock is dead, The Owls from NSW will be playing at its funeral. Formed in 2008 the group create a sound which lacks the derivative monotony which had long blighted a plethora of artists unwilling to take the musical plunge into the unknown. They play the Rocket Room Friday 18 March with The Words, Deep River Collective and The TNs. They’re also playing the Indi Bar Saturday 19 March with Hunting Huxley and Boston & Chevy, and Mojo’s Sunday 20 March with The Tumblers, The Yokohomos and The Loose Lips.
SILENT STREAM Tonight The Stream at Ya Ya’s is hosting the last show from The Silents for the time being as members of the band are heading off on open-ended travels. Electric Toad will be playing their first show followed by the rather popular Tusk. Mardi Gras Finn (a.k.a Nick Albrook) will be on the decks sharing funkified classics and cool new jams to accompany all your best buttbouncing.
FRIDAY 18TH MARCH
ROCKET ROOM, NORTH BRIDGE SATURDAY 19TH MARCH
INDI BAR, SCARBOROUGH SUNDAY 20TH MARCH
MOJO’S BAR, FREMANTLE
[www.theowlsonline.com][www.facebook.com/theowlsonline][www.myspace.com/theowlsonline] THE DRUM MEDIA 17 MARCH 2011 • 35
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I SAID THE SPARROW
VILLANOUS The best music always combines raw emotion with energy and a left-of-centre perspective. It should be full of hooks, pop sensibilities, and be just a little bit dirty at the same time. I, Said The Sparrow combine all these elements in their brand of electro/pop-rock, marrying huge choruses to electronic breakdowns with a rock edge. The band will be ripping up Mermaid Hotel in Dampier Friday 18 March and Amplifier Saturday 19 March in support of their double-A side single I’m A Villain & I’m Online.
BIG BAY OUT
Over the last year The Shallows have been jamming together in what they call symphonic pop – strings and harp adorning the more traditional rock band. It’s an ensemble made up of WAAPA students, and the 12-piece launch their debut EP on Friday 18 March at Manhattans.
Mounts Bay Sailing Club annual fundraising event The Bays Big Night Out is on again, featuring some Perth’s top bands playing on a waterfront outdoor stage. Headlining the show this Saturday 19 March are Tracksuit, with support from Boom! Bap! Pow!, Heath Marshall, Connonells and Kismet. There will also be a silent auction and kids big screen cinema, from 5.30pm til midnight. Tickets $25 available at the door, Australia II Drive in Crawley.
Dada Records is hosting another free ALL-AGES event this Saturday 19 March from 5 to 8pm. The Tigers, Ghost Drums and Rabbit Island will be playing music to celebrate the launch of the Human Xerox compilation. The CD features twelve different cover versions of Beautiful Florist – orgigally by The Tigers, compiled by Matt Aitken over 18 months.
After plenty of festival vibes, now is the time to unite under one roof and go nuts for some old school party values. King Tito’s Dirty Disco has you covered with live sets from indie wonders San Cisco, one man vocal band Sam Perry and DJs including Joe Macc, Odim, Friend, Sparklehaus, Cooker and Kes. East End Bar Friday 18 March. Sam Perry also plays Ya Ya’s Saturday 19.
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THE WAIFS @ FREMANTLE ARTS CENTRE BY DREW METTAM
THE DRUM MEDIA 17 MARCH 2011 • 37
SUPPORT YOUR LOCAL KINGS RREGULA
RAISING FUN YLEM GIVES THE LOWDOWN ON THIS WEEKEND’S BLACK SUNDAY FUNDRAISER
Featuring one of of, if not the biggest local line-ups ever witnessed at the Leederville Hotel, the Drum Mediapresented Kings Of Sound Festival plonks its royal arse down in a few Sunday’s time with a simply massive line-up celebrating Perth hip hop, drum’n’bass, breaks, dubstep, funk, soul, reggae and all manner of beats under the pumping WA sun. There’s over 40 artists, three stages, three arenas (indoor and out), live shows, MCs and DJs representing Aussie beats big time. So who are these Kings Of Sound? Well, take a deep breath because it’s a long list that includes: Dazastah (Downsyde) and bad gal Layla; constant PDMA winners and international movers and shakers ShockOne & Phetsta; SBX crew’s Hunter & Mortar; NZ ex-pat and d’n’b maestro Q-Bik & Seeka; mixtape master
Bitter Belief; f; D elta Force; PDMA Delta winning combo Greg Packer & MC Assassin; Perth’s ITM50 national dominator Micah; MC Knowledge Bones; Grits’n’Gravy records man Philly Blunt; Bad Robot original Rregula; RTRFM’s legendary Sardi; PDMA Best Live & Hip Hop Act The Brow Horn Orchestra; Think Twice’s hip hop, funk and soul DJ extraordinaire Charlie Bucket; the reuniting Ambar faves Nyquist Freaks; breaks and funk afficianado Ben Mac; RTRFM and Community worldly beats maestro Diger Rokwell; Downsyde’s DJ and Base101 King Armee; scratch master Selekt; deadly duo Killswitch; Inhibit’s most trusted Sempy & Stiltz; The Community’s Ylem & Vishnu; Broken English; Complete; old skool junglist and nu-skooled assassin Dair; PDMA
best du ubstepper Rekab; exciting dubstepper drum’n’bass duos Ekko & Sidetrack and Concept & Traction; d’n’b good guy Jazza; bass-heavy bad man Dr. Space; RTRFM reggae man about town General Justice; reggae mistress Mamma Trees; Carla & Gracie; Deadweight demons Saxon & Boy Prince; funk/pop/soul men Accumulated Gestures; raw beatmasters Pan Theon Vanguard; hip hop DJ Nathan J; Roller hitmen Dart & Devo; up’n’coming dubstepper D.Y.P; J Felix & L Wood; Narkotik & Havoc and Arien & A-step. Phew, that’s a whole lotta talent, and you can expect to hear even more about it in next weeks special feature on the different beat scenes in Perth! WHAT: Kings Of Sound WHEN & WHERE: Sunday 3 April, Leederville Hotel (three arenas)
GIVEAWAY It’s only $40 plus-BF from Moshtix and Heatseeker for this unmissable showcase of the Wild West’s best in Kings Of Sound, but we have TWO DOUBLE PASSES to giveaway to some lucky beat lovers. Just email giveaways@ drumperth.com.au with “SOUND KINGS” in the subjectline and tell us in 30 words or less which relevant local beats scene (drum’n’bass, hip hop, dubstep, breaks, funk/soul or reggae) is the best in Perth and why?
FLOORED USHER BY ANTHONY TRAN
USHER @ BURSWOOD DOME 15/03/11 With half the crowd due to pack Burswood Dome still waiting outside in a queue the length of the car park, The Potbelleez took to the stage. In the 15 minutes it took to play their hits, their impressive vocals and enthusiasm got the audience they did have off the floor and onto their feet. Sunglasses and no shirt did no favours for Trey Songz in his attempt to seduce the females in the growing audience. Unfortunately his Kings Of Leon and Rihanna covers also hindered his success. Admittedly his entertainment level increased with Say Aah and he eventually did Usher a favour and pumped the crowd up with his finale Bottoms Up. Red crystal-covered Nikes, matching leather jacket, fireworks and an amazing crew of back up dancers were some of the promising signs displayed as Usher entered his underwhelming stage setup. Between his incredible dancing and subsequent sweat showers, his impressive vocals were rare with his many exits off stage becoming a test of patience rather than a teaser. What didn’t disappoint was Usher’s sweaty torso, especially well received by a girl who most wanted to be that joined Usher on stage for some grinding and motor-boating during Trading Places. The crowd was surprisingly tame though, but whether that was due to their awe or boredom from his stint of slow paced songs is hard to say. A Michael Jackson tribute and old-school Usher medley including U-turn and Confessions finally created enthusiasm and, keeping with this, high Burn and More scored the biggest reactions of the night with the screens, lighting effects and dance routines to match. His OMG encore and his dancing abilities throughout may have been enough for some to forget the boredom felt at the beginning of the show, but this reviewer expected more throughout the entire concert. DANICA CACCAMO
What cause are you raising funds for: The Black Sunday Fundraiser is to show support and financially assist family and friends who were directly affected by the recent bushfires in Roleystone/Kelmscott. My parents’ and aunt’s houses were destroyed by the fire, leaving them both without a roof over their heads, amongst countless sentimental possessions. This gig is an opportunity for the Perth music community to provide moral and financial support to those who are close friends of The Community. How did this show come about? The fire was such a fast and devastating event that it left people feeling helpless. That feeling of helplessness quickly turned into motivation to do what The Community does best...which is organise events. Diger Rokwell quickly jumped on the reigns for this and has coordinated the efforts of all those involved including Cut & Paste and The Bakery. Who’s playing and why did you select those acts? A line-up of epic proportions has been assembled for this event which includes The Stoops, The Co-Lab Jam Band featuring Mathas & Empty Cup,
Diger Rokwell & Felicity Groom, Speak Easy, Vishnu, Ylem, Boost Hero Man, Sibalance, Cut & Paste Soundsystem and more. All the acts have performed with or for The Community on many occasions and have raised their hand to get involved in the cause. How do people get tickets? Tickets are available for $10 from nowbaking.com.au or via the door on the night.
Is there anything people can do post-gig to support the cause? People can still assist in many ways whether it’s financial, clothes or food – some people are still without any of the basics. For more information please call the City Of Armadale on 9399 0111. WHEN & WHERE: Friday 18 March, The Bakery, Northbridge
OF THE WEEK FACEBOOK STATUS UPDAKATESE, CR IME, OVERALL “INCREASE IN FLOODS, QU S- WHO WORDEVASTATION AND NON BELIEVERL STOP BEING SHIP SUCH EVIL. SERIOUSLY PPE END IS DRAWSO IGNORANT. IT’S OBVIOUS TH VER MADE TO ING NEAR. THIS WORLD WAS NE NO-ONE KNOWS LAST FOREVER, IT’S DECAYING. RETURN, REPENT THE DAY OR HOUR. JESUS WILL HIS LOVE.” WHILE YOU CAN N GET TO KNOW ex-local e chill pills to urban artist and Things might be bad, but can Jazlyn Gabriel?
someone please give some rath
HOT SHOT STEVE AOKI @ VILLA BY STEREO VELVET
FLOORED TIJUANA CARTEL @ FLY BY NIGHT
10/03/11 Strolling into the Fly By Night in Fremantle last Thursday night and one couldn’t help but feel they’d wandered into a high school dance with punters forming a large semicircle, too afraid to step inside the dancefloor. Perhaps it was too early, or perhaps the Freo crowd were a little wary of ShockOne’s reputation as Perth’s d’n’b/dubstep go-to guy. They needn’t have been as the ever-energetic man shelved his usual bone-crunching beats for more rolling, funky-garage style beats and lots of female vocal tracks, the heaviest moment coming in Chase & Status newy Blind Faith. By the end of his set the floor had filled in preparation for Gold Coast group Tijuana Cartel. Opening with the very aptly titled Persian, filled with ominous middle-eastern flutes and a dark beat, the dancing began almost immediately as they headed straight into Rise Up from their forthcoming White Dove EP. The Tijuana formula is fairly set in stone – thumping backing beats plus plenty of fast acoustic guitar work, some conga drumming and splashes of horns, and the reasonably busy Fly By crowd ate it up. At times the guitar work could have been lifted straight from a Sergio Leone western, and the fast conga work kept it interesting alongside the occasional MC work. One of the set highlights came when they diverged from the norm with the house/minimal-ish Letting It Go, but unfortunately the formula began to wear thin by set’s end. A one-song encore (that wasn’t asked for) ultimately felt very
SEPALCURE Fleur EP Hotflush Recordings
pointless – why not just play it in the set? The Freo contingent thought otherwise, each one of their songs swallowed with a big smile – and the last with no less enthusiasm. TROY MUTTON
LIMELITE B’DAY W/ CALVIN HARRIS @ METROPOLIS FREMANTLE 11/03/11 The big house found itself packed as people flooded in for Limelite’s 4th Birthday celebrations, and with a Calvin Harris set in the mix, there’s little wonder. Zelimir was amongst
the line-up of DJs preceding the main man and did a quality job in getting people in the mood for a long night. His enthusiasm on the decks got the crowd dancing, spinning tunes like G6 and mixing Aretha Franklin’s Respect with Shots. He created the perfect entree for Calvin’s set by slowing it down with a sing-a-long to Diddy’s Coming Home, settling the enthusiastic crowd into conserving their energy for Mr. Harris. There were no fake smiles or exaggerated excited reactions to this birthday present as Calvin Harris snuck onto the decks just after midnight. With everyone marking their territory – plenty of elbows and dirty looks amongst the amped fans – it was
BOOTLEG @ AMBAR
DEATH DISCO @ CAPITOL
clear that things were going to get intense and sure enough opening with his own Acceptable In The ‘80s catapulted fans into a drunken jumping frenzy. Calvin’s cheeky smirks up at the crowd were like bait to fish as everyone anticipated what was coming. Martin Solveig’s Hello was a clear favourite as he sampled it throughout his set whilst teasing the crowd with snippets of Dirty Talk between Fat Boy Slim’s Praise You. Amongst occasionally grabbing the mic and thanking the crowd, he played up to the cameras of the people in the front row, giving the crowd the interaction they seemed to be screaming for. Swedish House Mafia’s Miami 2 Ibiza and his own
Flashback were at the climax of his set as he continued to pump out tunes like he owned the place. A godly figure up on Limelite’s stage, the audience mirrored his moves and did not take their eyes off him, with sore necks a consequence. After two hours of crowd favourites it wasn’t a surprise that by set’s end the exhausted crowd was thinning out as Harris continued to seamlessly mix heavier dance tracks. His quality set will no doubt be raved about for a while yet, perhaps making his recently released OneLove mix being on a few more people’s birthday wish lists. DANICA CACCAMO
Brooklyn-based duo Travis Stewart and Praveen Sharma follow up their spellbinding debut EP Love Pressure, with yet another immaculate release. Fleur EP opens with the title track, filled with soulful ‘oooohs’, melodious blips and beeps, quirky vocal clips, and mellow guitar strums. The elegant Your Love is an excursion in emotional two-step vibes while six-minute track No Think layers luscious beats in aural pleasing precision. To finish, brief but potent number Inside, is made of heart-stopping serenity. Fleur EP is yet another tantalising example of what Sepalcure are capable of and with each listen their sumptuous soundscape pieces leave you unreservedly yearning for a full-length release. ANGELA KING
LIMELITE’S B’DAY – CALVIN HARRIS @ METROPOLIS FREMANTLE
WEEKEND @ HIP-E CLUB
STEVE AOKI @ VILLA
THE DRUM MEDIA 17 MARCH 2011 •39
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2011 THURSDAY 17/3 DIDDY @ FLAWLESS
DANCEFLOOR OF THE WEEK
HEDKANDI @ EVE HedKandi is going monthly in Perth. Eve will now be hosting the night every month, with Chiari, Mind Electric and Mitchell Smith on hand. Free entry til 10pm.
HANG ON ST. CHRISTOPHER @ THE BIRD
TIJUANA CARTEL @ MANHATTANS Gold Coast trip-tronica group Tijuana Cartel bring a new sound that marries rockier grooves and electronica along with their trademark mix of sub‐continent, funk, dub and world music.
R’N’R KARAOKE @ DEVILLES Jon Madd’s Rock’n’roll Karaoke with DJs and you, singing for free – one hell of a night for your vocal cords.
CULTURE CLASH @ NEWPORT This week Culture Clash sees a special live show from Mama Says Yes! from 8pm til midnight. Support from Cobz, Nic K and Doc Spin.
PINEAPPLE LOUNGE @ VELVET LOUNGE Some of the finest talent from the WA performing arts academy including Black Matter (live d’n’b), Feeding Ear, Khoas/Disorder, KuCka, Pineapple Unbranded and VJ Shoes & Socks. Free from 8pm.
Bangin’ beats at Perth’s newest club, Flawless. This week Italian afro-electro duo Blatta & Inesha touch down with Diddy residents New Noize, Got Mess, Dr. Space, Lost Boy! and MUV in support for $10 (uni students $5).
The luscious melancholic revelry of Hang On St. Christopher brings the tunes with Nathan J and Ta-Ku backstage, re-editing a live recording of what is happening on stage. Cottonomouth from the UK joins with a live set from Nic Elliot, $5 from 8pm.
night of beats-laden madness.
FULL FREQUENCY PARTY @ CONNECTIONS
SOFT SELL ‘80S @ DEVILLES
RTRFM’s much loved Full Frequency party is back again for 2011 and going down this Friday 18 March. After a huge night last year and an awesome year bringing you the latest in cutting edge dance music sounds, the Full Frequency crew once again take their beat juggling skills to Connections Nightclub on James St. in Northbridge for a huge night of beats, bass and bouncing bodies. Taking the decks on the night will be the Full Frequency team – Rok Riley, Micah & Ben Mac, Massiv Trav, Declan & Ben Elliott, and Dart & Sardi. Outside on the Terrace Bar you can also catch sets from some of this city’s finest DJs in Len Bones, Devo, Philly Blunt, Rudy, Aarin F and Bezwun. Presale tickets are $10 for RTR subscribers and $15 for the general public – more on the door on the night. Head to rtrfm.com.au/events for more info. The line-up features a whole bunch of Perth Dance Music Award nominees and winners, so if it’s quality tunes and good times you’re after, you know exactly where to be tomorrow night.
support from Bermuda (live), Adam Burford (Wolves) and resident DJ A. Sinclair. $10 from 8pm, til 2am. AJAX
open 5pm, $10 after 8pm.
Supanova belt out tunes live on stage plus disc jocks AJ/DJ and Claudio Idol spinning dancefloor smashes with ‘80s Garbage bag A-GoGo with the Les Sataniques. Doors open 6pm, $10 after 8pm.
JAPAN 4 @ AMBAR The sounds of Oli, Blend, Wish, Bob Noceros and Tee El are set to fall into your mind at Perth’s number one regular night, Japan 4. Door sales: $12/$8 loyalty.
DEATH DISCO @ CAPITOL Indie-dance and disco bangers from the best in such a biz – Death Disco DJs, plus DJ Ryan spinning ‘80s indie classics upstairs. $10 entry. TUTOMATH
FRIDAY 18/3 UPTOWN TOP RANKING @ BAR 138
AJAX @ AMBAR
FORMAT:B @ GEISHA Format:B have been developing their craft in the back streets and techno clubs of Berlin and Frankfurt since the early ‘90s. The boys are back in the intimate surrounds of Geisha for one very special show, supported by Darren J, Flex, Nathan Francis and Kill Dyl. Tickets are available from all Moshtix outlets for $30 plus BF.
One of Australia’s most skilled mash-up maestros and favourite all-round DJs Ajax is set to ‘Sweat it Out’ at the Home of the Underground. Bacich, Philly Blunt and Time Travel Agent support, $15 from 10pm. GREG PACKER
XHIN @ BAR OPEN The Likes Of You present their first Perth show for 2011 with Singapore’s Xhin, who has been crafting ominous cuts of cuttingedge electronic music since 1997. $15 with support from Progress Inn, Richard Lee, Chach and Mono Lisa.
KING TITO’S DD @ EAST END
GREG PACKER @ SHAPE D’n’b legends Greg Packer & MC Assassin are all set to drop their Sound Kriminal EP – the soulful dancefloor smasher has already got bodies shaking and heads turning. The launch will feature a two-hour set by the duo – massive!
The Dirty Disco is back, with live tunes from indie wunderkinds San Cisco and loop winner Sam Perry, plus DJ support from good time sleaze makers FKN Midas, Cooker, Grubby, Joe Macc, Odim, Friend, Sparklehaus and Kes.
MC AMANI @ X-WRAY
BLACK SUNDAY @ THE BAKERY
BACK2MONO @ DEFECTORS
The Black Sunday Fundraiser will be providing assistance to the Roleystone and Kelmscott bushfire victims. The Bakery will host Diger Rokwell & Felicity Groom, The Stoops, Speek Easy, YLEM, Vishnu, Boost Hero Man, Sibalance and the Cut & Paste Soundsystem. $10 for a good cause Friday 18 March.
After stellar performances in the UK and festivals such as Southbound 2011 join MC Amani and friends for an intimate night of funk soul and hip hop from 8pm. To celebrate Belle & Sebastian being in town the brothers Maz will be laying down a set of classic indie-pop and alternative anthems. Starting early at 7pm, to get you in the mood for an amazing concert.
TYGA @ METRO CITY
FOAMO, SLYDE @ VILLA Two of the UK’s biggest and bestloved broken beat acts head to Villa in Foamo and Slyde. The former is one of the next generation of dance music’s elite; the latter’s infatuation with funk, phat and well-produced breakbeat is matched only by Perth’s love for the stuff. Support from DNGRFLD, Marty McFly & Tee El and Mr. Ed. $30 plus BF from Boomtick and Moshtix.
THE LOFT @ GEISHA The Girls take over the DJ box this week with their own Girls Girls Girls brand of The Loft. Sarah, Erin, Courtney and Honor will give you a femine perspective. Songs written by, sung by and about, women. $5 before 9pm, $10 after.
MAIKO @ GEISHA
To celebrate turning two, UTR have lots of presents for everyone including free dancehall CD mixes and everyone who gets there before 10pm enters a competition to win a double pass to see Anthony B & Cecile live in Perth. Playing the soundtrack will be DJ Iz from Radio Afro, Tutomath, and The Empressions. Free from 8pm.
BELLE & SEBASTIAN@ YA YA’S
BAMA LAMA @ DEVILLES
MISTANOIZE @ CRUSH
Bama Lama DJs Dandy and Mohair Slim bring a trunkload of 78s for your dancin’ pleasure plus Perth’s own Razor Jack opens the lock on his box of vinyl for the hottest vintage sounds on the Planet. Doors
22-year-old Mistanoize from the UK has already been nominated as Best Breakthrough D’n’B DJ at the D’n’B Awards in 2009 and he brings those skills to Crush in Joondalup for a
40 • THE DRUM MEDIA 17 MARCH 2011
WEDNESDAY 23/3 VAN SHE TECH
UPTOWN TOP RANKING @ BAR 138
After the madness that was Calvin Harris’ DJ set last week, Limelite keeps the good times rolling with Jus Haus?, Zelimir and Mel B providing a night of bootlegs and classics from 9.30pm. After playing a sold at show at the Astor Theatre, Glaswegian indiepop legends Belle & Sebastian will be heading down to Panic! to spin some of their favourite tunes with
Drop Macumba drop debut single Tolstoy’s Plight this month. The Macumba lads dabble in dance, electronic and soul with a slight rock’n’roll accent, and launch ‘Plight at The Bakery on Saturday 19 March with DJs supporting.
Performing all of his Young Money, Mixtape and solo hits R’n’B superstar Tyga is bumpin’ his way into Metro City. The Grammynominated rapper will be supported by a host of locals in Xzact, K.I.B, DLoc, DJ Slick, Kyte Kutter, DJ Blackbelt and BSyde. $15 presale or $20 on the door.
LIMELITE @ METRO FREO
To celebrate turning two, UTR have lots of presents for everyone including free dancehall CD mixes and everyone who gets there before 10pm enters a competition to win a double pass to see Anthony B & Cecile live in Perth. Playing the soundtrack will be DJ Iz from Radio Afro, Tutomath, and The Empressions. Free from 8pm.
DROP MACUMBA@THE BAKERY
After a six-week break Maiko is back. From 11pm roll in to see Rob Sharp, Luke P, Jay Vicente, Nathan Francis and Suric with Jack on the sax. $10 til 12.30am, $15 after.
STUDENT NIGHT @ NEWPORT DJ Tom and The Chad bring the tunes for the Newport’s weekly student night, free entry 8pm ‘til late.
STUDENT NIGHT @ ROSEMOUNT DJ Shannon Fox brings you postpunk, indie-pop, rock and electro goodies in the courtyard. Free entry.
UPCOMING TOURS & EVENTS PEANUT BUTTER WOLF, JAMES PANTS @ THE BAKERY Thursday 24 March at The Bakery you can expect a night of mindbusting beats, aural adventurism and musical amazement with Stones Throw label boss Peanut Butter Wolf and intergalactic funk specialist James Pants. Support from Ben M, Charlie Bucket and Cosmo Gets (live). $15 plus BF from Planet and nowbaking.com.au.
TIM HEALEY @ AMBAR
doors, the hardcore and hard dance styles need a new home. A.W.O.L plan to provide just that with a new monthly night at the Civic Hotel. Tonight sees Reaktor, Rinski, KC Taylor, Pace, Jason V and Slap N’ Tickle hit the decks, hosted by Reazon. 7pm til midnight, $5.
Re-launching this Friday, the Destination? then crew kick off their international roster with electro house maestro Tim Healey, whose unique super-trash ghetto electro sound has seen him rockin’ around the globe. Support from Black & Blunt, Grantley Hyde, Beatsmack and more. $20 plus BF from Planet, Mill and Moshtix for Friday 25 March at Ambar.
BANG GANG, GLOVES @ EAST END BAR Bang Gang 12” invite you to a night at Magic Mingle Mansion, with special guests Bang Gang DJs and label-mate Gloves, for two mingle-tastic rooms of party jams and psychedelic slams. Support from Tame Impala (DJ Set), a live set from boogie funk heroes Bastian’s Happy Flight, Scenic (DJ Set), Audageous, Craig Hollywood, Lightsteed, Lyndon Blue, TCEE and Prodje. The two rooms are at East End Bar in Fremantle. $20 or more on the door.
MF DOOM @ METRO CITY Straight out of the shadows of the concrete metropolis is rap’s most revered super villain MF Doom. The masked lyricist is known to possess genius-level intellect and multi-syllable rhyming, which has dominated the underground for close to 20 years, as well as seen him collaborate with such folk as Danger Mouse (Danger Doom) and Madlib (Madvillain). Tickets through Moshtix and Heatseeker. Support from Briggs, Simplex, Layla (SBX), Dazastah (Downsyde), King Leonidas, Armee, Charlie Bucket and LStreet.
KID MASSIVE @ METRO FREO CHEEK FIRST BDAY @ RED SEA There is only one way to celebrate a full year and that’s with the biggest, loosest party ever thrown. Tickets $20/$30 through Moshtix. DJs on the night are Sydney’s Van She Tech, plus local lads Audageous, Yon Jovi, Scott D, Time Travel Agent, Dead Vents, MUV, Meow, Montana and DangerousDanDLyons.
JUICY @ NICHE BAR Resident DJs Frankie Button, Whitelabel, Stevie M and Dale will be holding the strong foundation of freshness playing the most recent tunes to hit the charts. It’s also a night of young up’n’coming DJs playing in Perth and getting them into the club/bar scene. 7pm til 2am.
AWOL @ CIVIC HOTEL Now that the Rise has closed its
Metropolis Fremantle’s banging Friday beats night Limelite has a couple of big announcements this week. After celebrating their fourth birthday with Calvin Harris the other week, Denmark’s Kid Massive will bring his energetic set Friday 25 March with support from Mind Electric and Mel B. $15 from 9pm.
CALIBRE, MC DRS @ SHAPE Dominick Martin a.k.a Calibre has been responsible for some of the most beautiful tracks in drum’n’bass to date. From his first full length LP on Creative Source to his latest Even If on his own label Signature, Calibre’s sound has progressed through jazz, funk, dub and techno and more. Prepare to clamp your jaw when he slams Shape Wednesday 30 March with MC DRS. Support from Greg Packer, Assassin, Fusion and Affiliat, $25 from shapebar.com.au.
UPCOMINGS MARCH TIJUANA CARTEL: MAR 17 Manhattans; MAR 19 Mojo’s; MAR 20 Indi Bar FORMAT:B: MAR 18 Geisha SAM LA MORE: MAR 18 Breakers Bar, Geraldton XHIN: MAR 18 Bar Open TYGA: MAR 18 Metro City AJAX: MAR 18 Villa RTRFM FULL FREQUENCY PARTY: MAR 18 Connections FOAMO, SLYDE: MAR 19 Villa PEANUT BUTTER WOLF, JAMES PANTS: MAR 24 The Bakery BRIGGS: MAR 24 Prince Of Wales; May 26 Railway Hotel BANG GANG DJS, GLOVES: MAR 25 East End Bar STATE OF MIND, DBS: MAR 25 Rosemount Hotel MF DOOM, SIMPLEX, BRIGGS: MAR 25 Metro City KID MASSIVE: MAR 25 Metropolis Fremantle TIM HEALEY: MAR 25 Ambar + SISTER KARI, KING KRAZY: MAR 25 Settlers Tavern; MAR 28 Rosemount Hotel CLUBBERS GUIDE 2011: GOODWILL, TOM PIPER: MAR 25 Royal Palms; MAR 26 Villa SLYNK: MAR 26 Ambar SETS ON THE BEACH: BANG GANG DJS, HOOK N SLING, MUSCLES, THE HOLIDAYS and more: MAR 27 Scarborough Beach Amphitheatre AJAX, ALISON WONDERLAND: MAR 28 Flawless CALIBRE, MC DRS: MAR 30 Shape TEEBS: MAR 31 The Bird
APRIL PEO DE PITTE: APR 1 Ambar TRIAGE: APR 1 Shape + RUBY ROSE, GRANT SMILLIE, MICHAEL WOODS: APR 1 Metropolis Fremantle THE ASTON SHUFFLE: APR 2 Villa + CRISSY CRISS: APR 8 Shape THE MAGNIFICENTS: JS-1, RHAZEL, SUPERNATURAL: APR 8 Villa JANETTE SLACK: APR 9 Ambar SUPAFEST: SNOOP DOGG, NELLY, TAIO CRUZ, BOW WOW, TIMBALAND, T-PAIN, BUSTA RHYMES, CIARA, NEW BOYZ, BENNY D, ISRAEL, MIRACLE, DJ NINO BROWN, KERI HILSON, GAME, FAT JOE: APR 10 Arena Joondalup BRUNO MARS: APR 12 Astor Theatre + GOOD CHARLOTTE DJS, DROP THE LIME: APR 15 Metropolis Fremantle TV ROCK: APR 15 Villa MEAT KATIE: APR 15 Ambar SNEAKY SOUND SYSTEM: APR 15 Villa + HEAVYFEET: APR 16 Ambar CLARK: APR 21 The Bakery MIAMI HORROR DJS, DIRTY LAUNDRY, THE IMMIGRANT: APR 21 Metropolis Fremantle CREAMFIELDS: DEADMAU5 (LIVE), MARTIN SOLVEIG, CHUCKIE, SIMON PATTERSON, SKRILLEX, GABRIEL & DRESDEN, WYNTER GORDON (LIVE), HI TEK SOUL, BINGO PLAYERS, SKAZI, SURKIN (LIVE), DADA LIFE, UMEK, NADASTROM, ROUND TABLE KNIGHTS, SANDWELL DISTRICT, TIM GREEN, BART CLAESSEN, MUMBAI SCIENCE and more: APR 23 Claremont Showgrounds IAN CAREY: APR 23 Villa
AMBAR FRIDAY 1 APRIL
PEO DE PITTE
Saturday 26-03-11 FEATURING
SLYNK TOM DRUMMOND BLACK & BLUNT BEN MAC
INFO 104 MURRAY STREET PERTH DOORS OPEN 10PM. DOOR SALES $15 GUARANTEE YOUR ENTRY WITH A PRESALE FROM THE BOOMTICK SHOP!
Dead Easy, Ben Mac, Marty McFly & Tee El 104 Murray Street Perth. Doors Open 10pm. Door Sales: $20 Guarantee your entry with a presale from the Boomtick SHOP!
THE DRUM MEDIA 17 MARCH 2011 •41
GIG GUIDE THU 17 Double D Bally’s Bar Ben Pettit Belgian Beer Cafe Howie Bennys House Vs Hurricane, Your Demise, Nazarite Vow Black Bettys Celebrations Karaoke Brooklands Black Velvet Burswood Casino Unwritten Law Capitol Wrighteous Clancys Canning Bridge Reel 2 Reel Clancys Fremantle The Other Guys Como Htl Jon Madd’s Rock’n Roll Karaoke Devilles Pad Manteca Ellington Jazz Club Clocked Out Fremantle Arts Centre Nathan Gaunt FUSE Bar Cara Greenwood Hotel The Blue Bottles Kalamunda Htl Stella Donnelly Karrinyup Shop Centre Cara Lakers Tavern Riki, Roger Smart Leopold Htl Bicton James Wilson Lucky Shag Tijuana Cartel Manhattan’s Chris Gibbs Duo Merriwa Tavern Justin Townes Earl, Lanie Lane, Joe Pug Mojos Nth Fremantle The Kuillotines, DJ James MacArthur Mustang Bar Jake & The Cowboys, Minute36, Empire Blues, Moondog J Norfolk Basement Jonny Taylor Oxford Leederville Samuel Spencer Players Bar Mandurah Sweet Regal Theatre Subiaco Black Board Minds, Dylan Ollieverre & The TNs, The Gypsie Howls, Death & A Cure Rosemount Htl Chris Martin Sheraton Htl Kat Swan Lounge Hang On St. Christopher, Ta-Ku, Nathan J, Nick Elliott, Cottonmouth The Bird Better Days The Gate Bar and Bistro, Success Chris Foster, Ricky Mallet, Daniele DiPaola The Moon Simon S The Principle Micro Brewery Off the Record Universal Bar Darryn Vernon Arms Tavern Jack Dopel Quartet X-Wray Cafe House Vs Hurricane, Your Demise, Nazarite Vow YMCA HQ
FRI 18 Groovetube 150 East Riverside Bar The Mighty Scrape, Rezume, Entrails Eradicated, Nails Of Imposition Amplifier Bar Belle & Sebastian Astor Theatre Copy Cat
Bally’s Bar Chris Gibbs Duo Balmoral Faces Bennys Bernadine Grigson Bentley Hotel J Babies, Trubble Black Bettys Sweet Bunbury Regional Ent Centre Tod Johnstone & Peace Love Burswood Casino The Bluebottles Captain Stirling Sergio Charles Htl Break Even, Phantoms, Into The Sea, Mandalay Victory, Battletruk Civic Bandroom Boogie Clancys Canning Bridge Bartlett Brothers Clancys Fremantle Jamie Oehlers’ Blowfish, Allira Wilson, Melissa Epren, Matt Allen Ellington Jazz Club Matty J Esplanade Htl Busselton Groove Karaoke FUSE Bar Rhyme & Reason Herdsman Lake Tavern Filling Da Gaps High Wycombe Hotel Leighton Keepa Kalamunda Htl A Hoan A Do A Tri Lakers Tavern Darryn Last Drop Tavern James Wilson Leopold Htl Bicton Jonny Taylor M On The Point The Shallows, Cat Black, The Witches, Lucy Peach Manhattan’s Crown Jewels Merriwa Tavern Tijuana Cartel Mojos Nth Fremantle Full Circle Mt Henry Oz Big Band Mustang Bar Milhouse Newport Htl Mink Mussel Creek Norfolk Basement Courtney Murphy Osborne Park Htl The Recliners Oxford Leederville 43 Cambridge Paddy Maguires Next Generation Karaoke PEEL Alehouse The Other Woman, Fools Of April, Crawlspace Railway Htl Nth Fremantle Dove Lee Rivervale Htl The Owls Rocket Room Frighteners, Further Earth, The Mysterons, The Swines Rosemount Htl Nathan Gaunt Rottnest Hotel Switchback Sail & Anchor Threeplay Saint Robbie King Karaoke South St Ale House Calectasia, Coronal Sky, Blacksure Junction, Ichora Swan Lounge Spritzer Swinging Pig James Teague, Seams, The Big Old Bears The Bird Amos Pella The Boat Brutus, The Order of The Black Werewolf, Run & Kill, Scalphunter The Den
42 • THE DRUM MEDIA 17 MARCH 2011
17 - 23 MARCH 2011
The Other Guys The Gate Bar and Bistro, Success Nicki Rose Duo The Principle Micro Brewery The Fix The Shed Karin Page Duo The Vic Hotel Nightmoves Universal Bar Buffalo Everything, Shimmergloom, The Wishers, Gwangi Velvet Lounge Ivan Ribic Vic Park Htl Pearse Ward Wanneroo U2ME Woodbridge Htl Valiant, The Dublin Jazz Aunts X-Wray Cafe
SAT 19 Sophie Jane 150 East Riverside Bar I, Said The Sparrow, Arms Like Branches, Chasing The Ninth, All Eyes On Saturn Amplifier Bar Belle & Sebastian Astor Theatre The Other Guys Balmoral Chris Murphy Belgian Beer Cafe Dove Lee Bentley Hotel Jonny Taylor Bootleg Brewery Bernadine Grigson Brooklands Courtney Murphy & Murphy’s Lore Burswood Casino Amanda Timler Chime Restaurant Stone Circle, Diamond Eye, Chris Gibbs Trio Civic Bandroom Dave Mann Collective Clancys Fremantle Mistanoize, Fusion, Skinny, Rowdy, Motion Crush Nightclub, Joondalup Supanova, Les Sataniques Devilles Pad The Canarino Trio Duckstein Brewery Adam Hall & The Velvet Playboys, Shameem Taheri-Lee Ellington Jazz Club Local Heroes Greenwood Hotel Rhyme & Reason Indian Ocean Brewing Company Mantra Left Bank Swinging The Pig Leisure Inn Greg Carter Leopold Htl Bicton Project Mayhem, Mongrel Country, Cal Peck & The Tramps Manhattan’s Dr Bogus Metropolis Fremantle Indigo Alley Mighty Quinn Tavern Tijuana Cartel Mojos Nth Fremantle Passionworks Morley Ale House Aaron Woolley Mt Henry Kate Ceberano Mundaring Weir Htl The Rusty Pinto Combo with Rockabilly DJ, The Damien Cripps Band with DJ James MacArthur Mustang Bar Gravity Newport Htl Matt Gresham Norfolk Basement The Dark Rooms, Paper Thin, The Cult Of Addiction, Pool Forth Railway Htl Nth Fremantle
Still Frame Mind Rocket Room Paperfly, Burgers Of Beef, Art In Algebra Rosemount Htl Nathan Gaunt Rottnest Hotel Bluebottles Sail & Anchor Fossil Rock, The Yeomen Stirling Adriatic Club Off The Record Subiaco Htl Blackjack, Smokin’ Aces, 12 Inch Shifter, The Reptilians Swan Basement Antonio Paul, Room At The Reservoir, Nosey Parker, The Closeout Swan Lounge MOSCA, Clunk, Allstate, Boy Prince, Bolsty The Bird Anthony Cormican The Boat Booty Juice The Deen Rezume, Arterial Haemorrage, Sensory Amusia, Devour The Martyr, Devastator The Den Ben Pettit Duo The Gate Bar and Bistro, Success Dove Lee The Principle Micro Brewery Huge The Shed Soul Corporation Universal Bar Darryn Vernon Arms Tavern Christian Thompson Wanneroo The Shinkickers Woodbridge Htl Stu Orchard, Craig Eulenstein, Julio Cadriguez X-Wray Cafe
SUN 20 Rhyme & Reason Balmoral Jamie Powers Bentley Hotel Karin Page Brooklands Nicki Rose Captain Stirling Jonny Taylor Caves House Marco & The Rhythm Kings Devilles Pad Paul Williamson & Inside Out Ellington Jazz Club Dave Mann Fremantle Arts Centre Adam James Gosnells Hotel Chris Gibbs Greenwood Hotel Mike Nayar High Road Htl Riverton Dove Lee, Retrofit Indian Ocean Brewing Company Rory Faithfield Jackadder’s Music Club Bernadine Grigson Kalamunda Htl Charlie McCarthy Lakers Tavern Sunshine Brothers Manhattan’s The Owls, The Tumblers, The Yoko Homos, Loose Lips Mojos Nth Fremantle Road Masters, DJ Rockin Rhys Mustang Bar Cal Peck & The Tramps Newport Htl Mink Mussel Creek Norfolk Basement Soul Empire Queens Tavern, Highgate The Kuillotines, Brow Horn Orchestra, Chainsaw Hookers, Grim Fandango, Goodnight Tiger, Zeks Railway Htl Nth Fremantle
Andrew Newman, Applebite, The Beggars On Acid, Day Of The Dead, TungXsten, Born On The Bayou, Caprycon, Midnight Boulevard, The Other Woman Rosemount Htl Better Days Sail & Anchor Howie Morgan Project Saint Anthony Nieves South St Ale House We Build Pyramids, Georgie Kay, Jincs & Tara Swan Basement The Seals, Paper Thin, Hannah Crofts Trio, Pool Forth Swan Lounge Christian Thompson The Corner Stone Alehouse Better Days, Mike Nayar The Gate Bar and Bistro, Success Retrofit Universal Bar
MON 21 Song Lounge Ellington Jazz Club Wide Open Mic Mojos Nth Fremantle The Savage Guns Mustang Bar Cameron Avery, Luke Dux The Bird
TUE 22 Catherine Ann Ellington Jazz Club Sophie Jane Lucky Shag Naomi & The Humming Birds, Simon Kelly Band, Julius Lutero Mojos Nth Fremantle Jonny Taylor Murphys Mandurah Danza Loca Salsa Mustang Bar Open Piano Night w’ Stu Orchard X-Wray Cafe
WED 23 Six60 Amplifier Bar Andrew Winton Balmoral Hutcho & Steil, Koppi & G-Force, Reaktor, Rinski, KC Taylor, Jason V Civic Bandroom Dave Brewer Band Ellington Jazz Club Rory Faithfield, Them Little Secrets Indi Bar Howie Morgan Lucky Shag Shock Octopus, Runner, Clean Living, Lights Manhattan’s Murder Mouse Blues Band, James Teague Mojos Nth Fremantle Paulo Gonzalez, Lucy Peach, Eduardo Cossio Moon Cafe Milhouse, DJ Giles Mustang Bar The Tumblers Paddo The Bluebottles Paddy Hannan’s, Burswood Hostile Little Face, Enfilade, The Silent World, The Crossbars Rosemount Htl Songs In The Green Sail & Anchor Blacksure Junction, Kat, Ruth, Lee West Swan Lounge Working In The Dark The Bird The Dublin Jazz Aunts, The Dirty Westerns X-Wray Cafe
GLENN RICHARDS HUSSY HICKS: MAR 17 Gypsy Tapas; MAR 19 Dongara Hotel. TIN CAN RADIO: MAR 17 Indi Bar; MAR 18 Prince Of Wales; MAR 19 Dunsborough Hotel BJ THOMAS: MAR 18 Regal Theatre JUSTIN TOWNES EARLE, JOE PUG, LANIE LANE: MAR 17 Mojo’s HOUSE VS HURRICANE, YOUR DEMISE, NAZARITE VOW: MAR 17 YMCA HQ (AA); MAR 18 Black Betty’s STICKS AND TONES: MAR 17 Fremantle Arts Centre UNWRITTEN LAW: MAR 17 Rosemount SWEET: MAR 17 Regal Theatre JOE PUG: MAR 18 Norfolk Basement BELLE & SEBASTIAN: MAR 18 Astor Theatre & Ya Ya’s (DJ Set); MAR 19 Astor Theatre THE OWLS: MAR 18 Rocket Room; MAR 19 Indi Bar; MAR 20 Mojo’s WEIRD AL YANKOVIC: MAR 21 Burswood Dome THE DOOBIE BROTHERS: MAR 22 Burswood Dome DEEZ NUTS: MAR 24 Black Betty’s; MAR 25 YMCA HQ LIVES OF NINE: MAR 24 Fremantle Arts Centre LEO SAYER: MAR 25 & 26 Swan Yacht Club LIOR: MAR 25 Fly By Night; MAR 26 Joondalup Festival MILES AWAY, DEFEATER, FIRE OF WACO: MAR 26 Amplifier; MAR 27 YMCA HQ DIESEL: MAR 26 Fly By Night HEIRS: MAR 26 The Bakery COOPERS BAREFOOT BOWLS: GLENN RICHARDS, DAN LUSCOMBE: MAR 26 ECU Bowls Club HOODOO GURUS: MAR 27 Hotel Rottnest FINNTROLL, CLAIM THE THRONE: MAR 28 Capitol NEIL DIAMOND: MAR 29 Nib Stadium THE MCCLYMONTS: MAR 30 Mandurah Performing Arts Centre; MAR 31 Bunbury Regional Entertainment Centre AUSTRALIAN BRASS QUINTET: MAR 31 Fremantle Arts Centre EDDIE VEDDER: MAR 31; APR 1 Riverside Theatre + NICK & LIESL: APR 1 Jetty Café Tea
THE MISSION IN MOTION Rooms; APR 2 Nelson’s Of Bridgetown; APR 3 Redcliffe On The Murray; APR 6 Mojo’s; APR 8 Nannup Hotel; APR 9 Quindanning Tavern; APR 10 Indi Bar; APR 14 Settlers Tavern ROSE TATTOO, THE SCREAMING JETS: APR 2 Belvoir Amphitheatre COOPERS BAREFOOT BOWLS: ADALITA, AMAYA LAUCIRICA: APR 2 ECU Bowls Club ANGUS & JULIA STONE: APR 2 Red Hill Auditorium ERIC BIBB: APR 2 Fly By Night GARETH LIDDIARD, DAN KELLY: APR 2 The Bakery
Tavern; APR 16 Casella’s Bar, Bunbury (TBC); APR 17 Broken Hill Hotel, Vic Park BEN OTTEWELL (GOMEZ): APR 14 Mojo’s CHRIS DUKE & THE ROYALS: APR 14 Rosemount Hotel; APR 15 Rocket Room; APR 16 Stirling Club; APR 17 Swan Basement GOOD CHARLOTTE: APR 15 Challenge Stadium + KARNIVOOL: APR 15 Metro City; APR 16 Studio 146 THE CHARIOT, NAZARITE VOW: APR 15 Amplifier; APR 16 YMCA HQ
THE SCRIPT, TINIE TEMPAH: APR 2 Challenge Stadium
I EXIST: APR 15 The Civic Den; APR 16 Prince Of Wales; APR 17 YMCA HQ
STREETLIGHT MANIFESTO: APR 2 Rosemount Hotel
MY DISCO, CUBA IS JAPAN: APR 16 The Bakery
ADALITA: APR 3 Indi Bar
GRACE WOODROOFE, WIM, EMMA DAVIS: APR 16 The Bird; APR 17 Newport Hotel
+ ADAM PAGE: APR 4 Ellington Jazz Club + TAYLOR GUITARS ROAD SHOW: APR 4 Music Park; APR 5 The Rock Inn JIMMY EAT WORLD, THE JEWEL & THE FALCON: APR 5 Metro City TIM BARRY, CHIS WOLLARD, ADDISON BURNS: APR 6 The Den + FRANCK TORTILLER: APR 6 John Inverarity Music & Drama Centre LIONEL RITCHIE: APR 6 Nib Stadium + DAVID ROSS MACDONALD, HEATH CULLEN: APR 6 Settlers Tavern; APR 7 Matilda’s Estate; APR 8 Red Mill Store; APR 9 Fremantle Arts Centre BASEMENT BIRDS: APR 7 Artbar (Art Gallery Of WA) LUKA BLOOM: APR 7 Fly By Night NEVERMORE: APR 8 Rosemount Hotel DEAD LETTER CIRCUS: APR 8 Metropolis Fremantle MARGIES: KARNIVOOL, ASH GRUNWALD, TIJUANA CARTEL, SPLIT SECONDS: APR 9 Gloucester Park Football Club, Margaret River SEASON BREAK: GYROSCOPE, BABY ANIMALS: APR 9-10 Kellerberrin THE AMENTA, RUINS: APR 10-12, Venues TBA CITY & COLOUR: APR 11 Astor Theatre COLLEGE FALL, LARS WALLIN & THE TRIBELARS: APR 13 The Paddo; APR 14 Mustang Bar; APR 15 Settlers
INTERPEOPLE CHARITY BALL FEAT. IAN MOSS: APR 16 Burswood SPARKADIA, OPERATOR PLEASE, ALPINE: APR 16 Capitol FRANK TURNER: APR 17 Amplifier WEST COAST BLUES’N’ROOTS FESTIVAL: BOB DYLAN, GRACE JONES, ELVIS COSTELLO & THE IMPOSTERS, THE CAT EMPIRE, RODRIGO Y GABRIELA, GURRUMUL, MICHAEL FRANTI & SPEARHEAD and more: APR 17 Fremantle Park DISTURBED: APR 20 Burswood Dome THE BUTTERFLY EFFECT: APR 20 Settlers Tavern; APR 21 Studio 146; APR 23 Prince Of Wales; APR 24 Metropolis Fremantle DEREK WARFIELD: APR 21 Rosie O’Grady’s, Northbridge HORRORPOPS: APR 21 Capitol INDIGO GIRLS: APR 21 Perth Concert Hall ZZ TOP, ROSE TATTOO: APR 23 Perth Motorplex IN THE PINES: APR 24 Somerville Auditorium, UWA OH, SLEEPER: APR 24 Handasyde Strawberry Farm, Albany EMERY: APR 24 Amplifier ESCAPE THE FATE, PIERCE THE EVIL: APR 24 Astor Theatre NEIL FINN, PAUL KELLY, LIOR, BEN MERITO: APR 25 Red Hill Auditorium CHILDREN COLLIDE: APR 24 Capitol
Perth, Adelaide, Hobart, Melbourne, Sydney, Newcastle, Brisbane, Sunshine Coast, Darwin, Auckland.
mon+sat 4-12 tues-fri 2-12 sun 2-10
One Big PaRTY Live Music Discovery
42 Bands 3 Stages 1 Movie 2011 The Australia / New Zealand SCoRCHeR Circuit + “The SCoRCHeR FeST Story”
Sun 20th March
12noon til late : Tix $30 @ the Door or $20 online + Band Profiles
www.scorcherfest.com.au C U @ SCoRCHeR ! Perth, Adelaide, Hobart, Melbourne, Sydney, Newcastle, Brisbane, Sunshine Coast, Darwin, Auckland.
THE DRUM MEDIA 17 MARCH 2011 • 43
THIS WEEK IN FRIDAY 18 The Ugly One – Perth Theatre Company kick off their 2011 season with a production of German playwright Marius von Mayenberg’s satire about contemporary obsession with physical beauty, starring Gemma Ward in her first theatrical performance. Opening night, 8pm. Studio Underground, State Theatre Centre of WA until 9 April.
DOGTOOTH Madman One of the more stunning films to emerge from the festival circuit in recent years is Dogtooth, a Greek film that’s finally seeing a local DVD release. Winner of the Un Certain Regard prize at 2009’s Cannes, it’s since gained enough traction and plaudits to nab an unexpected Oscar nomination for best foreign film. “Unexpected”, because this is the kind of transgressive, terminally weird provocation that the Academy AwardsTM usually pass over in favour of more conservative fare. Dogtooth centres on a middle-class family whose elders have kept their two daughters and one son, now presumably 20-something adults, in the confines of their household for fear of outside contamination. The parents have infantalised them with a number of lies about the outside world, including a revised vocabulary of deliberately ill-defined words (zombie = flower, to name one). The title refers to the arbitrary rule that allows them admission to the great yonder – when their dogtooth falls out. Writer/director Yorgos Lanthimos leaves many of the specifics of the story ambiguous, particularly the reasons for the childrens’ imprisonment, and it could be read as anything from a home-schooling satire to a political/religious parable, depending on one’s vantage point. Many will cite the influence of Michael Haneke on the film’s icily controlled imagery, but this is no knockoff. Haneke’s compositions tend to entomologically pin down his characters, whereas Lanthimos lets his subjects wander around the static frames, sometimes letting their heads protrude out of vision during conversation, mirroring the collapse of the rigid system imposed upon. And unlike Haneke’s filmography, Dogtooth is goddamn hilarious much of its time, even at its most sadistic, and an all-round triumph of originality and command of tone. IAN BARR DOGTOOTH
44 • THE DRUM MEDIA 17 MARCH 2011
The 25th Annual Putnam County Spelling Bee – WAAPA opens its 2011 season of music theatre productions with one of the funniest musicals of the last 20 years, a new Tony Award-winning musical, follows the story of six kids in the throes of puberty who are overseen by grownups who barely managed to escape childhood themselves. A hilarious tale of overachievers’ angst, the production chronicles the experience of adolescent outsiders vying for the spelling championship of a lifetime. It even includes audience spellers, guaranteeing a different show every time. Opening night, 7:30pm. Geoff Gibbs Theatre, WAAPA, Mt Lawley until 26 March. The Anti Shakespearean Cocktail Hour – playwright David Moody (Witness, A Wilde Night) returns to the Perth stage with this work that throws classic Shakespeare heroines from plays such as Othello, Hamlet, Macbeth, and Titus Andronicus together to lament their fates
ARTS in the Bard’s classic tales in an irreverent exploration of who exactly Shakespeare was. Presented in conjunction with Mood Theatre and Murdoch University. Closing night. Nexus Theatre, Murdoch University. Catalpa – Western Australian premiere of Donal O’Kelly’s account of the famous true story of the whaling ship Catalpa, which is part of one of the most remarkable prison escapes of all-time, taking in Ireland, England, Australia, and the US, which culminated in the rescue of Irish Fenian political prisoners from Fremantle Prison. Closing night. Subiaco Arts Centre.
TUESDAY 22 Appalling Behaviour – written on the streets of Paris, from the banks of the Seine to the tucked-away all-night sleazy clubs, this acclaimed poetic solo performance from Stephen House about a man living on the very edge will keep you thinking long after you leave the theatre. Preview night, 8:30pm. Blue Room Theatre until 9 April.
ONGOING Duets – Harbour Theatre’s first production of 2011, renowned British playwright Peter Quilter’s Duets, a mixture of humour and pathos that brings together four sets of characters, four crucial moments in a gloriously funny examination of love, relationships and why the grass is never greener. Opening night, 8pm. Harbour Theatre, Fremantle until 26 March.
I DREAM OF JEANNIE CAST AT SUPANOVA Supanova’s 2011 event just keeps building on its line-up of stars. The latest names to come on board are I Dream Of Jeannie stars Barbada Eden (Jeannie), Larry Hagman (Captain/Major Anthony Nelson, Jeannie’s master), and Bill Daily (Captain/Major Roger Healy). The I Dream Of Jeannie cast join a list of names that already includes Cary Elwes (The Princess Bride), Luke Perry, and more. Supanova hits Claremont Showgrounds Friday 24 June to Sunday 26. Head to supanova.com.au for more details.
C U LT U R A L
CASTING SPELLS IMPROVISATION AND SPELLING GO HAND IN HAND IN THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE AS DIRECTOR ADAM MITCHELL SPELLS OUT TO JASON KENNY.
he annual soul destroying parade of the spelling bee is something generally quite removed from Australian culture but the third-year music theatre students at WAAPA will be bringing the most musical and humourous parts of it to the stage. “It’s a group of adults playing children at, well I would call it a blood sport, of spelling bees in the US,” describes director Adam Mitchell. “I’ve been watching a lot of ESPN. On their website you can actually watch the Spelling Bee trials. They’re televised nationally around the United States. It’s this amazing, huge industry that we don’t know much about because we don’t have that, and it’s about all that pressure that goes with that. With these kids wanting to win this goddamn bee at all costs.” The Broadway hit also draws on a story from the heart, as Mitchell describes it. The characters in The 25th Annual Putnam County Spelling Bee are the kids who are bullied at school and who have finally found something they’re good at: spelling. “There needs to be a good reason to break into song. In this show it’s like a death match in the spelling arena,” Mitchell says with a laugh. “In the next round another kid gets out and the words get harder and harder. It’s quite dispensable. Then you pull in the other part which is the audience participation, which is why this show
WITH JASON KENNY Two of the city’s longest running theatres announced their most recent seasons last week. Blue Room Theatre launched its season for the first half of the year and the Deckchair Theatre announced their full programme for 2011. The 2010 seasons at Blue Room Theatre showcased the best of what that theatre offers with an abundance of shows exploring all parts of theatre. There were musicals, dark dramas, comedies, and fine one-actor shows. The first season for 2011, their 22nd year, continues with another strong selection from local and national theatre makers. Stephen House’s one-man show Appalling Behaviour opens the season in late March. While he was exploring the idea of writing a piece inspired by living on the streets, House found an opportunity to make his idea come to life when he visited Paris. The show has already won rave reviews from seasons in House’s native Adelaide. The world-first show Wish is adapted from Peter Goldsworth’s novel and combines award-winning actor Humphrey Bower with choreographer Danielle Micich as the work explores relationships between science, ethics, nature, and love. The Duck House company follow up their The Bearskinner from 2009 with A Disappearing Act, an interesting
look at love in the afterlife with a cast of characters from throughout the ages, ticking all the right tragi-comedy boxes. More dark comedy goodness can be found in the ensemble piece Anytown and the one-woman show A Germ Of An Idea. The issues of free speech, the right more recently under attack through internet censorship and the WikiLeaks case, are on full display in Laryngectomy. The technology and times have changed but the rights to free speech are still under attack, and the Renegades ensemble explore those ideas in a unique performance piece and interactive show. The delicious and fragrant Scent Tales adapts the folk tale of a woman who stole scents from a bakery. It’s a tasty little piece that combines the playful and surreal with some fine smelling goodness. The Blue Room see out the end of the first part of 2011 with Drag, a look at the history and different aspects surrounding the culture of drag. Not just a camp show lip syncing to Lady Gaga, Drag will go behind the curtain to look at the deeper elements of identity mixed up with the performance of drag. Fremantle’s Deckchair Theatre have emerged from a difficult 2010 even stronger than before. For 2011, their 28th season, there will be a new Deckchair Theatre event every month including the restaging of some key plays of WA history and string of premieres. The curtain rises on the 2011 season
has become quite famous.” Each night four members of the audience volunteer to be part of the spelling bee. Their level of success in the competition determines the direction of the performance, making each show unique. If you’re a good speller, there’s a chance you’ll be up there for a good 40 minutes. “It’s a big commitment for an audience member,” Mitchell says. “But it’s good for us because there’s a lot of unknown. If they get out for instance in the first round the show change direction from where it would go if they’d stayed until the last moment. So there’s a lot of improvisation from the children.” That the improvisational part of the show is still a large part of the performance is not a surprise given that the show actually grew from a bunch of improvisers improvising a theatre piece around the idea of a Spelling Bee. From there it grew into the Broadway hit that The 25th Annual Putnam County Spelling Bee became. It’s not all just letters and improvisation, however. Although it’s
set at just one spelling bee, the various rounds makes it feel much larger. The story of the characters growing up is the story tying it all together. “It’s really a first love type of encounter,” Mitchell explains. “It’s the first instance of caring about somebody else for the first time as opposed to wanting to win at all costs.” Being involved in the production also brings a personal element, having a link with the original writers of the piece. “A good friend of mine who grew up in Perth moved to New York more than a decade ago and actually wrote the vocal score. So it’s quite nice to be working on a piece that my friend actually had to do with when it was in its Broadway production. Serendipitous, I think.” Just don’t ask him to spell serendipitous. WHAT: The 25th Annual Putnam County Spelling Bee WHERE & WHEN: Geoff Gibbs Theatre, ECU Mt Lawley, Saturday 19 March to Saturday 26 March
with the WA premiere of The Modern International Dead. The captivating play incorporates true stories from Rwanda, East Timor, Cambodia, and Iraq with international peacekeepers, aid workers and weapon inspectors. The season of the show in Sydney had many people talking for all the right reasons. Throughout the year there are encore performances of Deckchair favourites Krakouer! and Rhapsody In Red. The former will take its acclaimed show on tour around the country from July to September, showing the strengths of the Fremantle theatre icon to the rest of the country. The end of the year delivers two exciting productions; the world premiere of Lorelie and a restaging of Taking Liberty. Combining German myths, cabaret cruise ships, a mystery, and the songs of Jacques Brel, Cole Porter, Nina Simone, Nick Cave, and Elvis Costello, Lorelie is sure to be a popular ticket late in the year. The restaging of Taking Liberty in December will coincide with the 2011 Sailing World Championships, the biggest sailing event to hit the city since that little race in 1987. Inspired by the feats of Alan Bond, John Bertrand, and Australia II, Taking Liberty explores the personal obsessions that saw the America’s Cup wrestled from the Americans and the majesty of the winged keel.
GRIFF THE INVISIBLE It’s incredible to think there hasn’t really been an Australian superhero movie until now, with Ryan Kwanten taking on the role of cripplingly shy office worker Griff. By night, Griff is someone entirely different — clad in a rubber suit, he prowls the alleyways duffing up bad guys. He’s bullied and tormented at work by the truly odious Tony, in a love-to-hate-him turn by the scene-stealing Toby Schmitz. He lives alone in his tiny flat, with a bank of video monitors keeping watch on his neighbourhood in case he needs to spring into action. Griff’s world is turned upside down by his brother’s new girlfriend Melody (Maeve Dermody), a cute and nerdy scientist who’s constantly trying to
melt through walls. While on the face of it Griff The Invisible is a quirky superhero flick, it actually engages on a much deeper level with serious issues such as workplace bullying and mental illness. But don’t let that sound like it’s a downer of a film – it’s anything but. It’s cute, funny, romantic, and a little moving. Kwanten is excellent as the shy Griff, a world away from his True Blood character, and Dermody is enchanting as the ethereal Melody. It may seem like there’s not quite enough story here to sustain the film’s full length but it’s sweet, it has heart, and it’ll put you in touch with your inner child. WHERE & WHEN: Screening in cinemas from 17 March BAZ MCALISTER
LUCK OF THE IRISH
THE STORY OF ONE OF THE MOST DARING PRISON ESCAPES HAS FINALLY COME BACK TO THE CITY OF ITS BIRTH. DES FLEMING FILLS JASON KENNY IN ON THE PLAN.
lthough his name is synonymous with fine times and drinking establishments around our fair city, few people actually know who John Boyle O’Reilly was. There’s vague talk about prison escapes and bad poetry, but the truth of the matter is much more engrossing. It started when O’Reilly and dozens of other members of the Fenian movement were sent to the Fremantle Penal Colony. “You have six Irish men who were serving in the British army,” begins Des Fleming, currently bringing his story to life on stage at Subiaco Arts Centre. “And at the time, as there’s always been a long history of Irish revolutionary movements, there was a movement called the Fenian movement. These guys were a part of the Irish Republican Brotherhood. John Devoy was an activist, quite a shrewd political mind. He had been instrumental to getting these guys to swear an allegiance to the Irish Republican Brotherhood, which of course constitutes treason. They were discovered and they were arrested. The six guys who were in the English army, normally they would have been hanged straight away. That was the punishment for treason in the day.” Over years most of the Fenians were pardoned. Another of the convicted Fenians, John Boyle O’Reilly, had escaped years earlier to Boston where he was editor of a newspaper. He and Devoy raised money to buy a whaling ship and enlisted the services of George Anthony, a retired whaling captain, to sail from Massachusetts to Fremantle. “That’s what happened but what happened in the meantime was the human angle,” says Fleming. “George Anthony had retired and had promised his wife he wouldn’t go back to the sea. They had a small daughter at the time. He was quite conflicted. But he was drawn. He’d been on the sea all his life. There’s a domestic side of it as to the choices he had to make and the issues that arises with your family and also trying
THE NEW FACE OF FRANCE IAN BARR SPEAKS TO RISING FRENCH ACTRESS CLOTILDE HESME, IN AUSTRALIA AS A GUEST OF THE ALLIANCE FRANÇAISE FRENCH FILM FESTIVAL.
to follow your heart.” It’s that human angle that makes the story so compelling. Other than the basic need to escape from prison, those already free had a drive to spring those left behind the prison walls. “There’s also the heroes, the likes of John Devoy and the other operatives, and these guys were remarkable men but also deeply flawed. What I think Donal [O’Kelly, playwright] has done has written a script that really reflects their humanity.” Other conflicts emerge like when Anthony meets a French girl in Fremantle and, over a year from home, has to struggle with his marital status. The play also has a certain resonance for Fleming as an Irishman living in Australia, although admittedly under very different circumstances. The parallel, Fleming says, is in the willingness to take a journey and not know what was going to happen. In recent years Fleming has been involved with three productions of Catalpa, performing in Melbourne, rural Victoria, and now Perth. His connection with the play goes beyond just those performances. “The first time I saw it was in 1997,” Fleming says. “I was a drama student in Dublin and Donal O’Kelly — he wrote and performed it originally — I saw him perform it in Dublin and I was blown away by it. It wasn’t just the story — the story is epic — but the script and the ability, really, to have one actor up there, doing all the roles and telling this wonderful story was something that really captured my imagination. And it stayed with me. A number of years later I was setting up a theatre company and I needed to do a show and I was searching, wondering what I could do, and Catalpa popped into my mind, and thought it was appropriate given the Irish-Australia relations.” Fleming describes performing Catalpa in Perth, as a West Australian premiere, as something of a privilege. When visiting the
city last year and looking at possible venues, Fleming toured the Fremantle prison where the characters he play were imprisoned. “For me it’s the single most prominent colonial historical place that I’ve been as far as that convict history goes. We did have a discussion about doing it in the prison originally but it just wasn’t something that was going to work out.” The play is framed within its own story, pulling together the different threads of narrative in a way that can be performed by just one actor. “What Donal has done is frame it in the device that it’s a screenwriter who’s written the movie of the Catalpa and has failed to pitch it to Hollywood producers,” Fleming explains. “He’s at home at night, an insomniac, frustrated, disconsolate, and he’s angry at himself for having mucked up his pitch. He arrives at the point where he says, you know I should have...instead of telling them about it I should have shown them. He undergoes a transformation and he acts out his movie as it is in his mind. What you get really is some marvellously provocative images created through language, physicality and music.” The nature of the performance, of the single storyteller, is another link to the Irish heritage of both Fleming and the main players of the story. “That’s very much in that storytelling dynamic and it’s very much an Irish dynamic. Before the advent of television or the wireless you’d have a storyteller come to your house and tell stories. That oral storytelling tradition, I think it’s a beautiful way to have that fabric telling the story in a sort of cinematic style and there’s a melding of the three dynamics that works very well. You could put 20 people on stage and it might not work as well.” WHAT: Catalpa WHERE & WHEN: Subiaco Arts Centre until Saturday 19 March
DANNY BOYLE’S FRANKENSTEIN TO SCREEN If you’re yet to experience NTL, we reckon the next featured production will spark more than a little interest: The National Theatre’s production of Mary Shelley’s Frankenstein. With such talent involved we’d actually considered the trip to London. But now we don’t need to as Luna Leederville and Luna on SX will screen it Saturday 9 April, Sunday 10, Saturday 16, and Sunday 17, at 10am. For more information visit ntlive.info.
definitely don’t want to work with James Gray!” protests Clotilde Hesme, in regards to the French-revered American director of We Own The Night and Two Lovers. “I love his movies, but James Gray and Guillaume Canet are going to remake Rivals...,” a 2008 film in which Hesme played a major role. “I would tell Guillaume Canet, why are you doing a remake?” The boycott, however serious, is telling of Hesme’s admirably staunch work ethic, and her support of French filmmakers. Since her breakthrough role in 2005’s Regular Lovers, she’s starred in over 15 French films, becoming one of her country’s major up-and-coming actresses. Her latest role is in the sombre drama Angèle et Tony, which she is in Sydney to present for its screenings at the Alliance Française French Film Festival. Set in a small fishing village in Normandy, Hesme gives a nuanced performance as a woman recently released from prison, who finds human connection in an unlikely place. The project came from a desire to collaborate with her director, Alix
CLOTILDE HESME (CENTRE)
Delaporte, who she had worked with on a prior short film. “I wanted to work with Alix. At first she wanted to find more realistic idea of the character who went out of jail, and she told me, ‘I would love to work with you, and maybe not on this film’. But she changed her mind.” The starkly beautiful location, with its grey skies, gives the film its pervasively melancholy mood. Hesme and Delaporte even talked about Jane Campion’s The Piano as an influence on the film, and it shows. Asked if Hesme was familiar with the region, she replies, “Not at all. I was familiar with these kinds of people, because I used to live in the countryside. The fishermen, it’s another level, because their jobs are much more dangerous.” In characteristic Gallic fashion, the film is devoid of the usual midday movie cliché, and Hesme’s naturalistic
performance is far removed from the project she’d jump on board shortly afterward — a four-and-a-half-hour epic period piece, by prolific Chileanborn director Raoul Ruiz. “Just after the shooting [Angèle et Tony], I shot Mysteries Of Lisbon. It’s a really interesting thing, to change completely. It was in costumes, and Raoul Ruiz had made over 80 films, but in terms of [both filmmakers’] energy and desire, it was the same.” The films and her performances — one very grounded in reality, and the other in a more theatrical, heightened register — are a testament to the actress’s versatility. Her breakthrough role was as the lover of Louis Garrel (The Dreamers) in Regular Lovers. Like Mysteries Of Lisbon, it’s another epic-length film by a maverick auteur — her co-star’s father Philippe Garrel, the former husband
of famed German model and Velvet Underground chanteuse Nico. “I started with theatre first, and actually I met Philippe Garrel in the acting school,” Hesme explains, going on to relate an amusing anecdote about Garrel’s attitude to his own work: “I [made] the mistake to see his movies in the Cinémathèque… He yelled at me, ‘It’s a crap movie, you’re not going to trust me anymore because I did crap movies, I should’ve given you a list!’” she says, laughing. With her own filmography looking mighty fine, Hesme doesn’t seem at risk of finding herself in the same position in future. WHAT: Angèle et Tony WHERE & WHEN: Screening as part of the Alliance Française French Film Festival, at Cinema Paradiso Wednesday 23 March to Sunday 10 April THE DRUM MEDIA 17 MARCH 2011 • 45
UGLY LETTE MAYBE LOOKS DO MATTER, AS BRENDAN EWING AND MARIUS VON MAYENBURG’S THE UGLY ONE SUGGEST TO JASON KENNY. to be part of the first season in the freshly unwrapped building is just another incentive to an already exciting play.
he relevance of good looks and attractiveness has often been the topic of theatre, like Cyrano de Bergerac and The Ugly Duckling. There’s no shortage of material arguing for various inner beauties over aesthetic beauty. The discussion continues with The Ugly One. “It’s the story of a man named Lette who is an inventor for a plug and socket company and he’s invented a fantastic new plug,” begins Brendan Ewing, who plays Karlmann, the assistant who Lette is passed over in order to promote the new technology. “Unfortunately it’s revealed to him that he’s too ugly to tour and promote it so his assistant is going in his place. He then goes on to ask his wife about it and she says that yes he is very ugly and she’s just gotten used to it and loved him for the human being that he is. Through a series of events he decides to take on some extreme plastic surgery and he becomes extraordinarily attractive. “Initially I am the good looking one. But not for long,” Ewing says, laughing. The production makes used of the brand spanking new State Theatre, itself a good looking new construction in what used to be a less than aesthetically-pleasing corner of the city. The opportunity
“It’s exciting,” Ewing confirms. “It’s very nice. Everything is nice and new. We’re rehearsing here as well, though not in the performance space. It’s nice to be part of the opening.” The flurry of interest around the new theatre and the productions within its theatres is something that Ewing has observed in recent weeks. That the interest around Perth theatre stays at a constant high is something he can only hope for. “I guess there’s been a new focus on theatre and performance in Perth and in some ways [it] has been an exciting thing. It will be interesting to see if this will draw a new crowd of people who maybe weren’t aware of it then this great new building might draw some new people. It’s a lovely new space.” The play itself is relatively new. Playwright Marius von Mayenburg is still only in his 30s and the first production of The Ugly One was barely four years ago. One of the magnificent elements of theatre is how texts can be reimagined over the years bringing different parts in focus in order to highlight different cultural and
social issues; that’s one reason why Shakespeare is always in production. For a play this new, the original intentions are still relevant. Von Mayenburg’s text is quite open, leaving many choices to the directors and actors of each production. The interpretation of lines is open not only to the way they should be delivered but, by virtue of how the actors portray multiple characters in the play, even which character speaks them. Ewing himself plays two characters, as does Geoff Kelso. Gemma Ward plays three. “Benj [D’Addario] plays just one, Lette,” Ewing says, “but that character does change from being very ugly to being extremely attractive and that changes the character.” The blurring of theatrical elements continues past the characters and into the scenes, leaving a lot of work for the audience to do. But then who said theatre was a spectator sport? “The play itself has barely any stage directions,” Ewing says, “and we’re playing multiple characters but there aren’t any scene changes as such the way that it’s written. The transitions from scene to scene and character to character in most cases can go either way depending on what line you choose and how the scenes change or the characters change. They blend through. That’s going to be part of the enjoyment for the audience. There will be situations when you’re not sure if the scene has changed or the characters have changed and it takes
“This super-smart new musical is not merely funny it’s wise, ‘Spelling Bee’ is perfect in every possible way.” - The Wall Street Journal
Western Australian Academy of Performing Arts
directed by Adam Mitchell music director David King choreographer Bernie Bernard book by Rachel Sheinkin music and lyrics by William Finn conceived by Rebecca Feldman performed by 3rd Year Music Theatre
Sat 19 - Sat 26 March, 7.30pm + Sat 26 March, 2pm The Geoff Gibbs Theatre ECU Mt Lawley Tickets: $43 / $37 concession WAAPA Box Ofﬁce: Tel: 9370 6895
46 • THE DRUM MEDIA 17 MARCH 2011
a while for you to catch up depending how you interpret it.” The rehearsal process has been a longer one for The Ugly One, in part due to these creative decisions that had to be made. For the cast, just playing out the scenes in different ways has been a rewarding part of the process. “We spent some time talking about it and just getting up and trying different things,”” Ewing says. “We’ve also had a long rehearsal period, we’re in our fourth week now. It’s been great to have the time to physically explore that and explore the rhythm. When I first read the script it seemed to be a very fast paced, almost exhilarating read but I guess there are times when it can slow down in some changes. There are some changes that are blurred. There’s one change which happens during a sex scene, for instance, which is fun working around with that.” No doubt transitions like that would have many decisions to be made in order to pull them off well, and cause plenty of discussion in the rehearsal space. Those challenges alone would naturally be enticing for an actor, but the darker elements of the play are those that interest Ewing. “It is a dark comedy,” Ewing says. “And I guess it is a satire of all the value we place on external beauty and who decides what is external beauty and what that means,” Ewing says. “I guess I’m always drawn to something that has a darkness to it.
BRENDAN EWING, LEFT, AND BENJ D’ADDARIO
It’s written as a comedy then it ends in a tragedy then it speaks to the darker side of human nature.” Maybe that darker side of human nature is where true beauty lies.
WHAT: The Ugly One WHERE & WHEN: Studio Underground, State Theatre Centre of WA, Perth, Friday 18 March until Saturday 9 April
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Proudly supporting the local music scene
CD LAUNCHES and PRIVATE HIRE We are always looking for new up and coming bands and DJ’s send your demo’s or requests to: email@example.com ••••••••••••••••••••••••••••••••••••••••••••••••••••••
147 James St. Northbridge (Cnr of Lake & James St )
Published on Mar 15, 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...