Issuu on Google+

WA’S HIGHEST QUALITY STREET PRESS • THURSDAY 21 APRIL 2011 • 234 • FREE

DRAPHT

I N S I D E :

AYS THE HOLID

D A R W I N

D E E Z

CHILDREN

O H

M E R C Y

COLLIDE

5 DEADMAU

I A N

C A R E Y

Z Z

T O P

ALBANY • BUNBURY • BUSSELTON • DUNSBOROUGH • GERALDTON • MANDURAH • MARGARET RIVER • PERTH


4 0 / / : 3 0 - - * / 4 s  C H R I S C U N N I N G H A M  s  "3 $ )* 5 &$ 5 6 3& * /  )&- 4 * /, * s $ 6 5  $ 0 1 : s  :0 ("##" ("##" 0'8(,5"  s  ) : 1 / 05 * $  # 3 " 4 4 & / 4 & . # - &  s 5" .& * .1"- " s %0. s WU LYF s 5)& "7"- "/$)&4 %+ 4&5   . " / : %+ 4  s " ;" 3*    ** *  s 5 )& $ 3:45"-  "3, s #"(  3"* %&34  s 4 / & ",: 46/%":4 s %"/*&-& #" - % & - - *

T I C K E T S

&

F U L L

L I N E – U P

0 2 9 2 5 0 7 7 7 7 SY D N E YO P E R A H O U S E .C O M / V I V I D L I V E


THE DRUM MEDIA 21 APRIL 2011 • 3


4• THE DRUM MEDIA 21 APRIL 2011


KNOWLEDGE AND NICHE PRODUCTIONS PROUDLY PRESENT

WITH FULL LIVE BAND SPECIAL GUEST NATIONAL SUPPORT FROM BROOKLYN NYC

THEOPHILUS LONDON LOCAL SUPPORT

KIT POP & ZEKE

SAT. 3 SEPTEMBER  > >\>  TICKETS ON SALE FROM WEDNESDAY 27TH APRIL THROUGH MOSHTIX.COM.AU

BIG BOI’S SIR LUCIOUS LEFTFOOT: THE SON OF CHICO DUSTY ALBUM AVAILABLE ONLINE AND AT ALL GOOD RECORD STORES

FOR MORE INFO: KNOWLEDGEMUSIC.COM.AU NICHEPRODUCTIONS.COM.AU BIGBOI.COM

THE DRUM MEDIA 21 APRIL 2011 •5


music@drumperth.com.au

FOREWORD LINE IN BRIEF BIG BOI 237 QUEEN VICTORIA AVE, NORTH FREMANTLE

SHUTTERBUGGIN’

THUR

SUBSTANDARD kitpop, saxon & boy, prince, sibalance, a-step & modo $7 entry from 7pm.

As one half of Grammy winning duo Outkast, Big Boi has sold more than 25 million albums and directed the world’s attention to Southern Rap over a decade before anyone had heard of Lil Wayne. His debut solo album Sir Lucious Left Foot: The Son Of Chico Dusty was without doubt one of the biggest releases of 2010, culminating in numerous accolades and a clamouring to see the man in the flesh. Wait no longer, as he heads to Metro City Saturday 3 September with his full band, and in a bonus, NYC artist Theophilus London, for his debut tour of the country. Pre-sale tickets through Moshtix from tomorrow, with General Admission available from Wednesday 27 April.

GOOD FRIDAY

no music venues are open! we will be enjoying the day off

WRANGLERS

the painkillers, the hotspurs and sanssangria $5 entry from 8pm.

SUN

Radiohead’s Ed O’Brien has told BBC Radio there will be no sequel to The King Of Limbs. OWL EYES

OWL AT THE MOON

Even though winter is approaching, eerily talented Melbourne songstress Owl Eyes will by no means be going into hibernation for the next few months with the release of her new EP and coinciding national tour that rolls into King Tito’s Dirty Disco at East End Bar Friday 20 May, Malt Market in Dunsborough Saturday 21 and The Bird, Northbridge Sunday 22 May. Street Press Australia is proud to present her Raiders EP tour, with the CD due for release in the coming months, and the single due out late April.

plays the mojos sunday session with lucy peach $10 entry from 6pm.

MON WIDE TUE

THE CANNONELS spoonful of sugar, ladybug, reid maul

THE PROXY

APPROXY-MATION

From the ashes of the Soviet empire, The Proxy’s story reads like a Tolstoy from his native Russia’s enormous bookcase, and enormous is most certainly a word to use when describing The Proxy’s presence and command of a room demanding destructive electro-rave tunes. It’s not often Ambar opens its doors on a Thursday – so join the Russian revolution that is The Proxy Thursday 9 June with Audageous, Jus Haus? and Dead Vents. His show at Shape last year was incredible, so get onto tickets when they come out Friday 29 April, $30 plus BF from Planet, Mills, 78s and Moshtix.

WED AIDEN PLAYS THE FREO BLUES & ROOTS CLUB

with rachel and henry climb a hill & lightning jack Entry $10/$5 from 8pm

MOJOS INFO AVAILABLE FOR FUNCTIONS CALL ANDREW 0408 934 256

TAKE-AWAY WINE AVAILABLE ALL HOURS

NOW OPEN AT 6PM MONDAY TO THURSDAY!

FOR THE DIARY volcanics album launch april

30 / kill devil hills may 5 / fishy style may 6 / benedict moleta may 12 / hussle hussle may 13 / hunting huxley + tusk ‘dance to rock’ night may 14 / odette mercy single launch may 15 / mission in motion may 22 6 • THE DRUM MEDIA 21 APRIL 2011

Katy Perry will perform at this year’s Logie Awards. Still no tweeting though. The original lyric sheet to The Beatles’ Lucy In The Sky With Diamonds has been put up for auction in the US. The sheet is expected to sell for upwards of $200,000. A new song from Santigold – a duet with Karen O – has been posted online on Jay-Z’s Life + Times website.

early: big ear chad dub & soul 6pm

VARRO

Bobby Brown has said he is clean and sober and ready to release his first record in 14 years.

William Shatner‘s new heavy-metal album Searching For Major Tom will pay homage to Star Trek with 19 intergalacticthemed rock anthems.

call bruno booth on 0424 606 437 early: freo buskers in the beer garden.

Despite reports to the contrary, Ray Davies says he will be meeting with his brother Dave to try to arrange a Kinks reunion.

After a successful run on Broadway, American Idiot, the Green Day musical is set to be made into a feature film with Tom Hanks’ production company purchasing the rights.

MATT GRESHAM OPEN MIC wanna play?

Local lads Stone Circle have been invited by Sir Bob Geldof’s management to perform at the exclusive after party of the charity event ‘Rock & Rebuild’May 1. The side project of Hot Chip’s Alexis Taylor, About Group, has a new album out called Start And Complete and it’s streaming on themusic.com.au this week. The album was recorded in one day at Abbey Road Studios.

FRI CLOSED FOR SAT MOONLIGHT

Southbound 2012 will be returning to the two day format, the same model that saw the event sell out three years running ’07-‘09. It takes place January 7-8, giving us a little break after New Year’s shenanigans. The first line-up announcement is expected late Aug/Sept.

STEVE HUGHES

THRASH COMEDY

Following an acclaimed European tour, a much talked about Sydney Comedy Festival debut in 2010, and this year’s Melbourne International Gala Performance, Steve Hughes is bringing his brand new show, Conspiracy Realist, to the Astor Theatre Saturday 14 May. Beginning his performance career in the ‘80s as the drummer in several Australian thrash metal bands including Slaughter Lord (which he formed), Mortal Sin and Nazxul, Hughes has resided in the UK since 2002 and is widely regarded as one of the most esteemed and exciting stand up comedians working on the UK and international circuit. Tickets $30 through BOCs.

twitter.com/drummediaperth

Recent Blues’N’Roots visitor Mavis Staples will be given an honorary degree by the Berkley College Of Music in Boston, while another B’n’R artist, Gurrumul, has released Rrakala, which is already the biggest selling Australian album of 2011 so far. Goner Records are reissuing Teenage Hate, the debut album from The Reatards, on CD and vinyl. It will come with a bonus disc called Fuck Elvis Here’s the Reatards, full of classic covers.

DAMIEN LEITH

LEITH AND ROY

With a love for Roy Orbison ingrained since childhood, Damien Leith has his new album Roy – A Tribute to Roy Orbison and on the back of its release he announces a national July theatre tour with tickets on sale now. He plays the Regal Theatre Thursday 28 July, with tickets through Ticketek. Accompanied by a five-piece band, Leith will take the stage to honour the talents of Roy Orbison in what would be his 75th birthday year, bringing to life songs that Orbison made household names including Only The Lonely, Crying, Oh Pretty Woman, She’s A Mystery To Me and I Drove All Night.

LATIN RHYTHMS

If Latin is your flavour you don’t want to miss the West Coast Latin Festival. This soiree of rhythm and rumba debuts on Easter Sunday 24 April in the sunshine at Salt On The Beach, Fremantle. It’s a carnivale on the beach showcasing the very cream of Latino entertainment, with US party-starters Fulanito heading over with DJ Dante Rivera and Don Juan from Sydney lending a hand to keep party levels at a maximum. Local beats maestros DJ Suave, DJ Chilli, DJ Christian, Charlie Bucket and DonMigi make up the local support, with live performances of tango, Capoeira, merengue and Zumba going down from 4pm. Tickets through Heatseeker.

BON LIVES ON

Australian all-star band Raise The Flag have lured two ex-members of rock legends AC/DC in a world first, which sees them join the RTF line-up and help Oz rock fans celebrate the great man himself, Bon Scott, on his 65th Birthday weekend. Simon Wright and Mark Evans, who both played for AC/DC at one stage or another (along with a host of other legendary rock acts) will join the group for a special night rock’n’roll done right. They’re supported by up’n’coming Perth heavyweights Sleeping Giant. It’s all going down Friday 8 July at Metropolis Fremantle, tickets through Heatseeker.

AMP IT UP

What do Tame Impala and Goodnight Tiger have in common? They’ve both been finalists in AmpFest, and applications for the 2011 edition are now open for bands, duos and solo acts between 12 and 25 years of age. Over $10 000 of prizes and valuable industry experience are up for grabs. Application forms available from Claremont, Mosman Park, Subiaco or Peppermint Grove council offices or online from ampfest.com.au and wam.asn.au. Applications close Friday July 1 and heats begin in August for this Drum Media-presented event.

BASS ELITE

Saturday 4 June sees one of the world’s most influential and prolific producers in the tech-funk/breaks scene Elite Force, return to WA for the first time since a set-of-the-day performance at Breakfest 2009. He’s joined by one of Australia’s finest in Bass Kleph, for a massive Foundation Day long weekend show at Villa call simply, Tech Knights. Limited early birds $25 plus BF, or $30 plus BF later, available from Planet, Mills, 78s and Moshtix. Support from Kill Dyl, Oli and Mr. Ed vs. JS. If you know Elite Force, you know where to be come June 4.

JORIS VOORN

THE REJECTS

Habitat are honoured to present a very special evening with uber-cool record label Rejected, and its two biggest stars Joris Voorn and Edwin Oosterwal. Having headlined some of the world’s biggest festivals, including Stereosonic here in Perth in 2009, Joris Voorn returns to Perth with his partner in crime for a very intimate club show. His productions are favourites amongst heavyweights like Sven Vath, Dubfire and John Digweed amongst many others and The Rejected label itself has become played by many DJs around the world. Friday 13 May at Geisha, support from Darren J, Richard Lee, Flex and Progress Inn. Tickets $35 plus BF from Moshtix.


/756#0) 6*745&#;5

22nd APRIL

Closed (Good Friday)

23rd APRIL

LIVE! Freya Hanley with special guests The Velvet Echo. Doors 8pm.

27th APRIL

Adventure Land (Bris) with special guests The Scene and Herd + The Optimist. Doors open 8pm. Be early.

KWUQVO[WWV"

Sat 14th May > Mike Noga (The Drones)

Western Australian rming Arts Arr ts t Academy of Performin

*OVYLVNYHWOLKI` 1V-\UHRP :\L7LHJVJR 4LSHUPL3HUL (UKYPLZ>LPKLTHUU 7LYMVYTLKI` UKHUKYK`LHY +HUJLZ[\KLU[Z

;OL.LVMM.PIIZ;OLH[YL FREE ENTRY

,*<)YHKMVYK:[4V\U[3H^SL`

46 LAKE ST, NORTHBRIGE 9328 2350 LIVE MUSIC EVERY NIGHT OF THE WEEK ENQUIRIES info@mustangbar.com.au www.mustangbar.com.au

;PJRL[Z -\SS *VUJLZZPVU >((7()V_6MÄJL7O!   ^HHWHLJ\LK\H\

:H[4H`WT

THE DRUM MEDIA 21 APRIL 2011 •7


FOREWORD LINE

music@drumperth.com.au

LOCAL LOVIN’

There’s some mighty fine happenings going down right now in WA, and we don’t mean stuffing ourselves silly with chocolate eggs, although that does sound rather delightful.

Nominated for two WAMi’s including Best Funk Act, Boom! Bap! Pow! are taking their high energetic show east for a quick BOOM! BAP! POW! run of dates with Eli Paperboy Reed next weekend before a whole lot more shows in the west. Say farewell to the quintet this Sunday 24 April at The Newport, or welcome them back on Friday 13 May at The Bird with Odette Mercy & Her Soul Atomics. Local rootsman Matt Cal will be launching the first single from his upcoming EP, Kimberly Moon, along with the video clip shot while on tour around this grand state. The single steps away from Cal’s roots band sound and in a fingerpicking direction. The launch is supported by Miche Suite and Goose at Indi Bar, Sunday 1 May. Want to make animated film clips for local musicians but don’t know how? You’re in luck. Fur Chick will be running workshops to do just that during the school holidays. The youth-based workshop kicks off at 10am on Monday 2 May in the Digital Studio at Scitech. Bootlegs, mash ups and a whole bucket load of whatever else featuring The Bootleg Brothers (Philly Blunt & Ben Mac), Progress Inn, Nyquist Freqs, Dr. Space and The Relative Funk SoundSystem – yep, it’s Bootleg time again. Ambar on Friday 13 May. Ahead of their Groovin’ The Moo show, Darwin Deez are hitting up The Bakery. The local support are none other than The Sneaky Weasel Gang getting on their sneaky moves. Catch it at The Bakery on Thursday 12 May. The 6s & 7s have also been announced as supports for GTM-bound The Go! Team, playing The Bakery Friday 13 May. Roots maestro Mat Gresham takes in the West Coat Blues Club in Rockingham. It’s been a while for Mat and his band, but they’re sure to put on a show at the Rockingham Rams Football Club on Friday 6 May. According to some religions, climate change can be pinned on the ailing pirate population. Alestorm are doing their part by spreading piratical glee with their tunes around the nation with Voyager, and Claim The Throne have been announced as local supports for when the good ship Badass docks at Amplifier Tuesday 10 May. Odette Mercy & Her Soul Atomics have so much goddamn soul that they’re releasing a double A-side single. Shake your soul and other body parts at Devilles Pad, Friday 29 April. It’s time to break out the good vinyl for FreQualizer’s Sub:Version Breakbeat Party. Get your 1s and 2s moves on at Shape on Friday 6 May. The Manor Live sessions, brought to you by Think Twice, enlist the help of The Stoops when they take in The Manor on Friday 29 April.

HARDER FASTER

UK hardstyle mega duo D-Block & S-te-Fan (Diederik Bakker and Stefan den Daas) are from The Netherlands and draw from the happy hardcore sounds of yesteryear. Originally they owned their own label, Next Chapter Records, however they were signed on with Scantraxx and now own their own Scantraxx sub label, Scantraxx Evolutionz. They’ll be bringing those big sounds to Gilkisons Studio Saturday 28 May as part of Magic City. Head to facebook.com/perth.magic.city.28th.may for more info.

PSYCROPTIC

The team at Bastardfest HQ are fizzing to announce the first group of acts to be performing at this year’s glorious events – the Perth leg of this Drum Mediapresented event hitting the Civic Hotel, Saturday 24 September. Leading the pack at every event are globetrotting Tasmanians Psycroptic, in their first full nationwide appearance for well over a year. The first round of Perth supports are Chaos Divine, Malignant Monster, Entrails Eradicated and Psychonaut. Prepare, rejoice and behold the mighty Bastardfest – tickets through Moshtix and 78s from Thursday 28 April.

TICE AS NICE

Two of Australia’s most seasoned musicians, Dave Tice (Buffalo/The Count Bishops) and Mark Evans (ex AC/DC/The Party Boys), return to our shores for the first time in three years to perform at The Indi Bar in Scarborough Wednesday 18 May, Lat28 in Geraldton Thursday 19 and then on to the annual Newman Bike Show Saturday 21 May, supporting Raise The Flag. With careers that span a combined 85 years, these artists are an integral part of Australia’s music evolution.

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

ADVERTISING

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

DESIGN & LAYOUT Dave Harvey

8 • THE DRUM MEDIA 21 APRIL 2011

HORSES FOR COURSES

The combination of French-born songstress Flossie Malavialle, and Geordie singer/songwriter Keith Donnelly, form Dark Horses, and the response to their comedy/ music show has been immediate and positive. A truly world class act, their eponymous debut album was released in 2010 to wide-spread acclaim, and they play Fairbridge Festival April 29-May 1, then wind up their massive Australian tour with a show at Kulcha in Fremantle Tuesday 3 May. The Kulcha mega concert also features six-piece Cairns group Kamerunga, fresh from their own set at Fairbridge.

FULL OF WONDER

Melbourne-based duo The Wonderfuls will be playing their first WA gigs from April 28 to May 8 to support the release of their new self-titled CD. The Wonderfuls feature Scottish troubadour Alex Legg, together with harmonica player Chris Pain. Originally from Scotland, Legg has lived and performed in Britain, Europe and America, working with some of the world’s best. Catch them at Fairbridge Festival April 29-May 1, Perth Blues Club at the Charles Hotel Tuesday 3 May, Mojo’s Wednesday 4, Kulcha in Fremantle Friday 6, Freemasons Hotel in Bridgetown Saturday 7 and Settlers Tavern, Margaret River Sunday 8 May in an arvo set.

HOODWINKED

Along with Dan Bell, Robert Hood revolutionised Techno music during the mid to late ‘90s, with benchmark releases like Internal Empire, Minimal Nation, Master Builder and Movable Parts. Unlike many Detroit firstwavers however, Hood is still a major force, with the Hoodmusic series for Music Man and his Fabric mix proving that when it comes to stripped back, hard-edged techno, he’s unbeatable. He brings that force to Geisha Saturday 21 May thanks to The Likes Of You, with Joe Stawarz, Puff vs. JDubs and Mono Lisa in support, tickets $25 on the door.

TANTY TIME

CROPTIC CLUES

EDITORIAL

DARK HORSES

ADMINISTRATION Accounts Loretta Carlone

PHOTOGRAPHERS

Elle Borgward, Shane Butler, Graham Clark, Beau Davis, Penny Lane, Jacqueline Jane, Cybele Malinowski, Anthony Tran

CONTRIBUTORS

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

Civil Society is thrilled to announce that UNKLE will be joined at their show at The Bakery Wednesday 11 May by the layered, weaving loops of Melbourne group Tantrums. The Melbourne band sound like abstract symphonies sound-tracking an art school thriller, and bridge the gap between the organic and electronic, their eerie synthesisers woven together with hooky melodies. UNKLE also play Groovin’ The Moo Saturday 14 May, Hay Park, Bunbury. ESKIMO JOE

THAT BUDDY GUY

Buddy Holly was one of the greatest pioneers of rock’n’roll in the ‘50s in a career spanning only two short years. Now, donning his trademark horn-rimmed glasses, his ever so engaging and charismatic figure and a lilting vocal hiccup…Scott Cameron returns to the roll that made him famous, presenting Buddy: The Concert. The show hits Albany Entertainment Centre Wednesday 7 September; Bunbury Regional Entertainment Centre Thursday 8; Mandurah Performing Arts Centre Friday 9; Astor Theatre Saturday 10; and Queens Park Theatre, Geraldton Sunday 11 September. Tickets through BOCs, or the venues.

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

EDITORIAL POLICY

The opinions expressed in this publication are not necessarily those of the publishers. No part may be reproduced without the

twitter.com/drummediaperth

consent of the copyright holder. ©

DEADLINES

Editorial Friday 5pm Advertising Bookings Monday 12pm Advertising Artwork Tuesday 12pm Gig Guide Monday 5pm

PUBLISHER

Street Press Australia Pty Ltd. 1/205-207 Bulwer St Perth 6000 PO Box 507 Mount Lawley 6929

ROUGH DIAMONDS

Fremantle favourite sons Eskimo Joe are getting back to our collective conscious in more than one way over the next few weeks. Soon the lads launch their very own record label Dirt Diamonds, and then they’ll embark on their When We Were Kids Tour – a special acoustic series that hits Fly By Night Saturday 21 May. It will feature some of the recently crafted, yet-to-be released songs as well as their classic tunes. Head to eskimojoe. net for more info, and tickets if there are any left!

Phone (08) 9228 9655 General Inquiries info@drumperth.com.au (no attachments) Advertising Sales sales@drumperth.com.au Accounts/Administration accounts@drumperth.com.au Artroom artwork@drumperth.com.au General Editorial music@drumperth.com.au Arts/Film Editorial frontrow@drumperth.com.au Club/Dance Editorial mo@drumperth.com.au Gig Guide gigguide@drumperth.com.au

Distribution distro@drumperth.com.au Office hours 9am to 6pm Mon to Fri.

PRINTED BY Rural Press WA


@ SWAN BASEMENT 201 Queen Victoria St, North Fremantle 9335 2725

FaifrWbrrliddagndeFoFlkeMstivc al o

29th 29 9th April A - 1st st May Ma ay 2011 2011 20

INTERESTED IN G? YIN PLA Contact:

luke@sweetmate.com.au

Over 80 acts from around the world Children’s and Youth festivals 12 stages, music, comedy, markets, street theatre, workshops and camping

fairbridgefestival.com.au

SUPPORTED BY

smoke - free event THE DRUM MEDIA 21 APRIL 2011 • 9


FOREWORD LINE BRE AKING BAD

MELBOURNE UP’N’COMING ROCKERS REDCOATS RECENTLY EMBARKED ON A TOUR WITH SWAGGER LEGENDS THE STONE TEMPLE PILOTS. SINGER EMILIO MERCURI DESCRIBES HOW IT FEELS TO BE THE NEW KIDS ON A LEGEND-FILLED BLOCK.

10 • THE DRUM MEDIA 21 APRIL 2011

music@drumperth.com.au

GIVEAWAYS

I

n some regards I imagine touring with a band such as Stone Temple Pilots as very similar to having your first experience being the toy boys for some loaded old grandma. They feed you extraordinarily well, keep you fit and then throw you in the mix to warm everything up for the more experienced guys. Your short stint is euphoric but when you realise you have done a crazy trip around most of Australia, you’re scraping to pay for your Taragos and people are looking at you a little differently, you begin to take the enormity of the situation into account. Being the newcomers to this, you walk around the seedy old hallways where greats have strutted, rather sheepishly, not completely understanding what you are in for. You brush shoulders with the older experienced guys who have done this whole thing many times before, listen to their funny stories about their first times in these halls and when they were getting started. For some unknown reason they look at our fresh faces and have

giveaways@drumperth.com.au

some sort of nostalgic flashback about when they were young, letting a childish smirk surface on their weathered old faces. We met a man who believes that he wrote the book on getting high before a gig. Although this hilarious encounter made us laugh a lot, only momentarily did it take our minds away from the fact we were about to walk out in front of thousands of people to play on the same stages that our fucking gods The Beatles played on. We managed to blow a bass cab, guitar amp, break five pedals and piss off about 12 sound guys and roadies. Lucky for us this was all during sound checking and once we played, they all forgave us. We met roadies that were more intimidating than the main acts. All of them have done this kind of thing for so long and you would think love it when rookies come along so they can flex some of their muscle. Wrong. They were all very nice people, and some were actually amazed that we would take time to talk with them. They all said similar things, “Now you know,” or, “See you next time boys”. For a bunch of young stoners in the deep end of the rock’n’roll circus you would be amazed to know how much comfort you get from things like that. In all seriousness a lot of people would have killed for the chance to watch STP from side of stage six times in nine days, let alone play with them. So we take the experience very thankfully. We learnt that it takes a long time to have a crowd scream your lyrics at you with tears in their eyes. Stone Temple Pilots took time to talk to us and always made sure we were taken care of, absolute dudes. Even when you reach a point where you have sold 80 million records you can still take time to be grounded. When all is said and done we received a cheeky wink from those around us, in our case Grinspoon and the very LA smooth Stone Temple Pilots, as though to say “I know what you just did you little fuckers and I know you loved it”. WHO: Redcoats WHAT: Dreamshaker (Independent)

twitter.com/drummediaperth

The photographs of Tony Mott have been an integral part of the Australian rock landscape for over three decades. Now Rock’n’Roll Photography Is The New Trainspotting collects hundreds of his best known shots with some previously unpublished of acts including The Rolling Stones, Sonic Youth, Paul McCartney, Nirvana, Nick Cave, The White Stripes and so many other rock royalty and icons. To pick up one of FIVE copies of Rock’n’Roll Photography Is The New Trainspotting, email giveaways@drumperth.com.au with “MOTT’S SHOTS” in the subjectline and tell us which musician you’d think would make the most interesting photographic subject and why. Undoubtedly one of the biggest bands in the world these days, Foo Fighters now have their own documentary exploring their evolution from Dave Grohl’s garage in the days post-Nirvana to recording their recently released Wasting Light album. The Foo Fighters Back & Forth documentary will screen in 3-D at selected Hoyts cinemas from Thursday 28 April to Sunday 1 May. The 2002 Concert For George, held one year after George Harrison died, and featuring performances from Eric Clapton, Tom Petty, Paul McCartney, Ringo Starr and many others will also be screening on Sunday 1 May for one night only. To pick up one of FIVE double passes to each film, email giveaways@drumperth.com.au with the title of the film you want to see in the subjectline. Victoria’s In Malice’s Wake are bringing their brand of thrash metal to this side of the country on the back of their Eternal Nightfall release. They hit up The Civic on Saturday 30 April. To pick up a double pass to the show, along with a copy of their Eternal Nightfall CD and their Desecrator EP, email giveaways@drumperth.com.au with “ETERNAL WAKE” in the subjectline. There are also two runners up prizes of the CD packs. *All giveaway prizes must be claimed within two months and a max of one prize can be won by each entrant every two months.


THE DRUM MEDIA 21 APRIL 2011 • 11


PINING FOR LOVE PINE TIMES So now we’ve pretty much made In The Pines an irresistible proposition for you (that’s if you haven’t already got your ticket), here’s the line-up times – and as Nan Hunt said during the shoot, “Come down early!”

RTRFM’S ANNUAL LOCAL MUSIC FESTIVAL IN THE PINES IS GOING DOWN THIS SUNDAY AT ITS SPIRITUAL HOME OF THE SOMERVILLE AUDITORIUM AT UWA. DRUM MEDIA CAUGHT UP WITH A BUNCH OF PERTH MUSICIANS PLAYING THIS SUNDAY TO SHOOT SOME PRETTY PHOTOS AND DISCUSS WHAT IT MEANS TO THEM, AND US. COVER PIC AND PHOTOS BY PENNY LANE.

A

year after seminal WA rock outfit The Triffids released their 1986 album In The Pines, they joined Australian Made – the largest Aussie touring festival of its kind at the time, featuring the likes of INXS and The Saints. So it seems fitting that RTRFM’s festival of the same name, while not a touring festival, is definitely our biggest gathering of local music for what has been year in, year out, a highlight on the local music calendar. This year is no different – just check the line-up times for an idea of the quality to be found in the 2011 edition – and Drum Media took the opportunity when arranging the photos you see on the cover and this page to chat to some of the artists, both experienced and newer to the scene, to get their thoughts on a day of music and well, pines. Featuring Nan Hunt of rockin’ lady duo Hootenanny; Timothy Nelson (commonly found with some Infidels); Mark Cruickshank from rockers Red Jezebel; recent nominee for Best Instrumentalist in the 2011 WAMi’s and member of Seams and The Brow Horn Orchestra Lyndon Blue; and last but definitely not least Josh Fontaine of 6’s & 7’s, whose album Choose The Sentinel Booze also received a WAMi nomination, the groups offered their thoughts on the day and RTRFM, and what they mean to them and the local music scene. “Yeah it’s massive, it’s like the crème de la crème of Perth festivals for Perth music,” is Hunt’s quickfire response to the importance of the festival. Nelson wholeheartedly concurs: “It’s probably the biggest piece in the puzzle of what makes the Perth music scene.” Red Jez bassist Cruickshank also gives the day some pretty big wraps: “I think it’s the Perth equivalent of the Big Day Out. It’s got a lot of history. It’s always the mixture of old and new bands and punters alike.”

Given that Perth is so isolated and the local music scene so contained, all are in agreeance that the festival also helps promote a lot of camaraderie amongst Perth bands. “I think it’s pretty unique to Perth in general. It’s always been like that, as far as I can remember. It’s always been a chance to catch up with old friends, and it’s pretty unique to Perth and pretty special,” reflects Cruickshank. Talk then turns to the event organisers. With RTR obviously hosting the festival they’ve been an important

IT’S PROBABLY THE BIGGEST PIECE IN THE PUZZLE OF WHAT MAKES THE PERTH MUSIC SCENE.”

feature of the Perth soundscape for many years, and clearly ‘Pines isn’t the only thing bands appreciate them for. “There’s a little common pride that holds us all together. We’re all out doing our own things, but RTR really brings us together like a family... I guess community radio is the only one that pretends to know about Perth music. In The Pines really gives RTR a physicality in that it’s a stable of bands that they’ve played over the year,” says Fontaine, who’s been involved in local music in Perth longer than most. Somewhat newer to the scene, Lyndon Blue is just pretty stoked to hear his band’s music on the air. “I think it’s the biggest experience. Just having people who wouldn’t otherwise seek your stuff out being exposed to it. And hearing yourself on the radio is just damn cool.”

7+85DSU

VDWDSU

Hunt – also a relative newcomer to the scene – is in agreeance. “If people haven’t heard you band, you just give them your EP and they’ll play it and plug it.” Nelson, another stalwart around the traps, really cuts to what RTR is all about. “Especially since other radio stations won’t play you. RTR has become more and more successful as a station but they still haven’t lost track of being a very local-based thing.” RTR has helped expose so many local musicians and obviously a big part of that is how much they give back. “When you get the call [to play], it sends a little thrill through you. I liken it to the Royal Show a little bit; as soon as you can smell booze and fried onions as you walk in, and the hairs on your neck stick up,” reflects Fontaine, before highlighting the standing it has amongst local bands. “It’s the gig everyone wants to play.” “It’s kind of like grand final day for bands that have been playing for a few years, like a sort of reward for their efforts. They get to play to a crowd as big as you’ll probably see all year. It’s always fun as a punter, but it feels like a bit of a victory when you play. You get to see people you haven’t seen for a while,” continues Fontaine, as the discussion turns toward the actual day itself. And really, that’s part of the huge appeal of the day – the unique surrounds of Somerville Auditorium, and all those lovely pines, creating an atmosphere that is unique to shows around Perth, with big festivals usually held on boring showgrounds or parklands. “[It] makes you feel like you’re not in the city. You feel like you’re out in the middle of nowhere,” says Hunt, even though ‘Pines is obviously only five minutes from the CBD. “Yeah, it’s wicked. Again, it’s something pretty unique. Outdoor shows can be an unknown prospect, with the wind and that sort of stuff. But the pines really shield you from the elements,” adds Cruickshank, who lists off

VXQDSU

11.30am – Gates open 12.00pm – Hootenanny 12.30pm – The Silent World 1.00pm – Atolah 1.30pm – Seams 2.00pm – Simone & Girlfunkle 2.30pm – Usurper Of Modern Medicine 3.00pm – Timothy Nelson & The Infidels 3.30pm – Wolves At The Door 4.00pm – Tangled Thoughts Of Leaving 4.30pm – Mental Powers 5.00pm – The Scotch Of St James 5.30pm – The Growl 6.00pm – The Brow Horn Orchestra 6.30pm – Fall Electric 7.00pm – 6’s & 7’s 7.30pm – The Devil Rides Out 8.00pm – Umpire 8.30pm – Sons Of Rico 9.00pm – Red Jezebel 9.30pm – Abbe May 10.00pm – Home time a few tips for punters heading down this Easter Sunday. “Get down early to make sure you get in. It’s just a great day – bring your kids if you’ve got them and your grandparents or whatever. It’s one of those days where everyone can come along and all be at one together. Also, pace yourself. It’s a day for drinking, but don’t write yourself off before night.” Wise words from a guy with enough ‘Pines experience to know a thing or two. “Come up close, don’t sit too far away, start dancing and bring a blanket,” are Hunt’s simple suggestions, before she starts on the other aspect unique to in the pines – the crowd. No cashed-up bogans just there for to be scene or fake tan-laden femmes, just people down for a good time. “They’ve just come to chill out. It’s just a really cool day to hang out, see those people you haven’t seen since the last In The Pines.” Blue agrees: “It is really cool. Line-ups like this don’t happen every day, and everyone’s just hanging out. No-one goes to ‘Pines if they don’t like music.” But really, what’s special for these guys, is they get show their wares to a big crowd of punters hungry for quality local music, which is what RTR, and In The Pines, is all about. Cruickshank sums it up nicely: “To me, In The Pines has always been like Christmas day. It’s a special day on the Perth music calendar. Every time you come down it’s always something different.” Christmas in Easter? Sounds good to us.

WHAT: In The Pines WHEN & WHERE: Sunday 24 April, Somerville Auditorium, UWA

EDFNQH[WVXQ EDFNQH[WVXQ

RXFK WKH& 5RVLHmVRQ

2SHQ0LFDQG-DP6HVVLRQ Hosted by Turin Robinson For info call 0425 171 585 In four5nine from 3pm

COMING SOON Brand new Rosemount website at www.rosemounthotel.com.au corner angove & fitzgerald st, north perth 12 • THE DRUM MEDIA 21 APRIL 2011

twitter.com/drummediaperth


THE DRUM MEDIA 21 APRIL 2011 • 13


ON TOUR THE PRINCE OF PERTH HIP HOP, DRAPHT, IS OUT ON THE ROAD IN SUPPORT OF HIS NEW ALBUM THE LIFE OF RILEY, WHICH DEBUTED AT NUMBER 1 ON THE ARIA CHART. HE TOOK SOME TIME OUT TO TALK TO ALEKSIA BARRON ABOUT SUCCESS, NAIL CLIPPINGS AND BURYING JIMMY RECARD.

D

rapht, known to his bank as Paul Ridge, is on a roll – and that’s putting it mildly. The prodigal son of Perth hip hop has overcome numerous roadblocks to release his fourth album, The Life of Riley. The payoff? Debuting at the number one spot on the ARIA Album Chart, and being the first Australian album released in 2011 to do so. “How good’s that?” says Ridge happily. “I still can’t believe it – it’s amazing. I don’t know when it’s supposed to sink in. It sort of lingers around.” Even landing a number one album, as well as a coveted Splendour In The Grass festival slot, isn’t quite enough to get Ridge to accept the widespread praise that critics and fans alike are keen to heap on him. “People keep giving me compliments. I don’t really know how to accept compliments at times,” he says quietly.

It doesn’t exactly sound glamourous, but that’s the reality of touring, and Ridge is loving it. Currently on the road around Australia in support of The Life Of Riley, he’s got Sydney’s The Tongue and Melbourne’s Mantra in tow, offering hip hop fans something of a fantasy line-up. “It’s great. I’m really blessed to have the line-up that I have,” says Ridge, more than happy to share the spotlight with his fellow artists (he’s quick to give props to Trials, his longtime collaborator, who provided most of the beats for the new album). Still, there are disadvantages to heading out on tour with a bunch of dudes. “I’m out on the balcony and I saw some old nail clippings.” Well, that’s disgusting. “There are a lot of dirty towels in the bathroom, too. We’re in and out, and then the poor cleaner has to clean up after us afterwards.”

Still, Ridge can’t help being a bit excited, even if logistics have hampered his ability to enjoy his accolades. How did he celebrate landing a number one album? A massive party, or a suite at the Holiday Inn (a la Chingy)? Not quite. He chuckles as he remembers how he heard the big news: “I was in a touring van with six sweaty guys, traveling from Melbourne to Traralgon! We were stuck in the van for another two hours, so we just did exactly what we were doing for the two hours before – sitting on our arses. Then we got ready for the next show!”

Toenail clippings and filthy linens aside, Ridge loves being on the road. “It is hard work at times, but… it’s living the dream. It doesn’t get much better than this – seeing the whole of Australia in a month is amazing. Not many people are lucky enough to do that for a living.” Interestingly, it’s a living he never thought would be possible for him. “I never expected to have music as my livelihood. I was always working a nine-to-five, and it was just something I loved to do in my ‘off’ time.” He had a fair amount to show for it, too – a prolific

member of WA’s Syllabolix hip hop collective (along with Downsyde), Ridge had two albums to his name, Pale Rider (2003) and Who Am I (2005), before he found more widespread success. History shows the game changed when Ridge penned a track about what would have happened if his mother hadn’t named “this little boy” Paul. The song in question, Jimmy Recard, was recorded for Ridge’s previous album, 2008’s Brothers Grimm. Ridge was in the middle of a roof carpentry apprenticeship when his career truly took flight. Jimmy Recard landed at Number 10 on the 2008 triple j Hottest 100, garnered commercial airplay and launched Ridge into the top tier of the Australian music industry. The next few years featured high points, such as his wildly popular tour alongside Downsyde in 2009, as well as a fair few lows. Ridge parted company with Obese Records amidst considerable gossip in the hip hop community, eventually setting up his own label, Ayem Records, through which The Life Of Riley was ultimately released. In addition, the breakout success of Jimmy Recard was proving something of a hindrance to an artist seeking to move on from his smash single. Any doubts that Ridge would prove to be a onehit wonder have been efficiently dispelled by the overwhelming reception of The Life Of Riley’s first single, Rapunzel. Not only did the catchy track, with its ‘60s-inspired beat and snappy lyrics land at Number 12 on the 2010 triple j Hottest 100, it has recently been certified platinum (“I wish it was double platinum!” laughs Ridge) and found favour in commercial radio in a way not even Jimmy Recard could match. Still, Ridge couldn’t resist the opportunity to drive a few more nails into the coffin of Mr Recard. The sixth track on the album is R.IP J.R, a brutal burial of Ridge’s notquite-alter ego. He’s quick, however, to point out that he didn’t write the track as a criticism of himself. “It wasn’t as much of a dis song at myself as people perceive it to be,” he explains. “It was moreso just a response to the questions I was getting about the making of The Life of Riley, people in the industry asking if I was able to back up the success of Jimmy Recard.” The constant scrutiny didn’t sit well with him. “I made Jimmy Recard, so I could quite easily break Jimmy Recard as well!” he says, with a hint of laugher in his voice. “It was more having a bit of fun with it, and maybe exposing some of the qualities of Jimmy Recard as smoke and mirrors and shit. It was in the database of songs that I needed to write.” At the same time as he was penning the rhymes for R.I.P J.R, Ridge was kicking around the idea of a song about a high-maintenance girlfriend... which ultimately took shape as the smash single Rapunzel. It’s nothing new for him to be working on multiple tracks. “A lot of my subject matter sits around for at least a couple of years, until I can find a beat that will marry it, that will suit it perfectly.” Still, even as he was working on Rapunzel, he had no idea about the success that it would achieve. “Rapunzel was never written for a single, as with any of the songs I’ve released as singles. That happens after the recording process.”

TAKE THAT, AUSTRALIAN ROCK INDUSTRY!”

In fact, the incredibly successful song caused Ridge more headaches than most of the other album tracks combined. “Rapunzel was a real hard one. I had to keep rewriting the chorus until I felt like it suited the rest of the song. I probably rewrote the chorus about four times.” Another album track, Murder Murder, which takes a harsh view of people who don’t accept responsibility for their actions and lives, was similarly difficult to perfect. “They’re two of my favourite tracks on the album, but they definitely pushed me to the brink of insanity.” For Ridge, it’s just part of his nature. “I’m a Virgo, so I’m extremely anal, and a perfectionist with everything, which makes it that much harder.” The result of his efforts, however, is a number one album and a milestone, both for himself and the Australian hip hop scene. “I can’t believe it,” he says, still sounding a little stunned. “Ten years ago, when I started, no-one was getting played on commercial radio. We didn’t even dream of getting played on Government radio!” Are we entering a golden age for Australian hip hop? Quite possibly, and Ridge can’t resist a parting shot. “Take that, Australian rock industry!”

WHO: Drapht WHAT: The Life Of Riley (The Ayems/Sony) WHEN & WHERE: Groovin’ The Moo – Saturday 14 May; Thursday 19 May, Breakers Bar, Geraldton; Friday 20, Metro City, Northbridge; Saturday 21 May, Heaven, Albany

FAIRY TALE ENDINGS Drapht’s single Rapunzel takes its name from the classic fairy tale, in which a girl imprisoned in a tower is implored by a handsome prince to “let down her hair”. Obviously, Drapht’s track about a high-strung girl whose boyfriend is begging her to loosen up is something of a deviation from its namesake. He’s not the first artist to find inspiration in the world of fairy tales, though... Li’l Red Riding Hood – Sam The Sham & The Pharoahs (1966) The ‘60s garage rock classic invited men everywhere to get their sexual predator on, playing on the double meaning of wolves as animals and horny dudes. It had everything – great drums, references to big eyes and a charming allusion to date rape: “I’ll try to be satisfied/ Just to walk close by your side/Maybe you’ll see things my way/Before we get to grandma’s place”. It’s been covered by the likes of Bowling For Soup, Smashing Pumpkins and, most recently... Amanda Seyfried, in a bid to promote her new Twilight rip-off Red Riding Hood. Probably could have done without that one. Sleeping Beauty – A Perfect Circle (2000) The album that launched a thousand tattoos, Mer De Noms, was noted for featuring songs that drew their titles from people’s names (such as Rose Orestes, Judith, Thoma and Magdalena). The popular rumour is that singer Maynard James Keenan dedicated the lyrics of each song to someone he knew. One can only imagine the lucky soul, then, who inspired Sleeping Beauty: “But you’re far too poisoned for me/Such a fool to think that I can wake you from your slumber.” Sounds like someone took the “I have a headache” excuse to a new level. Cinderella (Umbrella Remix) – Chris Brown (2007) From the moment that Jay-Z yelled, “REMIX!” it was clear that Chris Brown’s reworking of Rihanna’s single was destined to be a golden turd of almost unprecedented proportions. How Brown managed to make that “Umba-rella” chorus sound even worse by rhyming it with “Cinda-rella” baffled belief... although it’s fair to say that if Brown yells out, “Rihanna, where you at?” these days, he gets a far less enthusiastic response than in the song.


“UWA’s New Courses will help me

achieve

a degree the whole world respects, The New Courses have been developed in line with recent changes made by some of the world’s leading universities.

the freedom to study what I want, You’ll have the freedom to sample a wide range of subjects, particularly in first year, that will help you to decide which subjects and careers interest you most. And there are more opportunities for you to study overseas.

a broader foundation of knowledge, The New Courses allow you to study a wide range of subjects and develop greater focus as you move through your degree. This gives you a more interesting study experience and a broader, highly valuable education.

the skills top employers demand UWA’s New Courses have been developed with the involvement and support of leading Western Australian and international employers to ensure that you’ll have the skills necessary to make them productive from day one.

and a lot more job prospects.” The wider range of disciplines available within each course ensures that you are equipped to pursue the career you want, anywhere in the world.

Michael Deller UWA student - Conservation Biology and Management

www.uwa.edu.au


PRIVILEGED GRIEF AS AUSSIE INDIEPOPSTERS OH MERCY HIT THE ROAD IN SUPPORT OF THEIR SECOND ALBUM GREAT BARRIER GRIEF, FRONT MAN ALEXANDER GOW SPEAKS TO MARCIA CZERNIAK AND TELLS HER HOW THIS ALBUM WAS ALL ABOUT OPTION A.

A

s Alexander Gow speaks of his music and the new Oh Mercy album Great Barrier Grief, you get the impression that somehow he was always destined to be doing this. The softly spoken singer/songwriter is more than aware of how good his luck has been of late, almost as if the stars have aligned and allowed him to make the album he always wanted to make. “I am lucky I didn’t have to look to Plan B for artwork or production or anything like that. I don’t take that for granted, I feel very lucky and privileged that everything, all my plans, all my option As ended up coming to fruition,” Gow explains with utter sincerity. Following on from their debut album Privileged Woes, Oh Mercy seemingly rose from obscurity and became the next big thing. Which is a lot to take in from an album that was made in a bedroom. “It was completely, fundamentally different headspaces. The first one, we had no idea if it was going to see the light of day. We had no idea what people where going to think. That was kind of naïve and ad hoc and casual, which is the sound of the record. Whereas we knew we had a platform by the time I was writing the second, so people were going to hear this music. “It made me more confident if anything. I didn’t feel any pressure – it was really exciting to know that people were going to hear this record. I suppose if anything it was like a burden was lifted from my back knowing that we had done lots of hard work and I was in a position to do a record that was going to be printed and people were going to hear, it is really exciting.” Gow started the band with friend Thomas Savage, who after the band’s intense touring schedule after their debut album took off, decided he wanted to leave the band. “Tom didn’t want to tour anymore and then he decided that he wanted to concentrate on music that he was passionate about. Oh Mercy has always kind of been my thing and he has always been a wonderful co-writer and incredible guitar player and he had other things musically on his mind. So he said touring is getting a bit much and I want to spend some time on my own stuff and that was that, you know, we’re two adults. I asked him if he wanted to play on the record and he said yes and that was that,” explains Gow.

WEST AUSTRALIA’S PREMIER CONTEMPORARY MUSIC CELEBRATION

21 - 28 MAY Public voted award nominees Most Popular Music Video Presented by Video Hits Abbe May Mammalian Locomotion Boys! Boys! Boys! Ticky Ticky Boom Felicity Groom Finders & Keepers The Brow Horn Orchestra Don’t You Wanna Sing Forever

Most Popular Live Act Presented by City of Perth Gyroscope Split Seconds Tame Impala The Joe Kings

Most Popular Single/EP Presented by Barbagallo Korando Drapht Rapunzel Felicity Groom Finders & Keepers Jebediah She’s Like a Comet Split Seconds Split Seconds

Most Popular Music Website Presented by iiNet FasterLouder Life is Noise Perth Bands Spaceship News

Favourite Newcomer Presented by RTRFM 92.1 The Growl Sam Perry San Cisco Split Seconds

Most Popular Album Presented by Alberts 6’s & 7’s Choose The Sentinel Booze Birds of Tokyo Birds of Tokyo Pond Frond Tame Impala Inner Speaker

Most Popular Music Venue Presented by Sonicbids Mojo’s The Rosemount Hotel The Bakery The Bird

Most Popular Music Event Presented by Whotune Future Music In the Pines St Jerome’s Laneway Soundwave

Most Popular Act Presented by triple j Birds of Tokyo Split Seconds ShockOne Tame Impala

WAMi AWARD PUBLIC VOTING IS NOW OPEN GO TO WWW.WAM.ASN.AU/PUBLICVOTING WAMi Awards Ceremony, Saturday 28 May - Artrage Bakery - Limited tickets available at www.nowbaking.com.au WAMi workshop schedule announced - Download the workshop program at www.wam.asn.au/workshops Tickets and season passes are now on sale at www.nowbaking.com.au Kiss My Camera photographic exhibition opens Friday 20 May – WA Museum GO TO WWW.WAM.ASN.AU/WAMIFESTIVAL FOR THE FULL PROGRAM

So that is that. Savage left the band after their tour overseas and flew back to the States to record. While Savage was back in Australia gearing up to start his new band Kins, Gow was in the US fine-tuning the material for Great Barrier Grief before hitting the studio with acclaimed producer Mitchell Froom. “When I write new stuff I have to lock myself away and free myself from distraction but prior to recording the album in LA I spent some time in Brooklyn. I spent six weeks just getting mentally prepared to record the album and making sure the songs were in shape. I was corresponding with Mitchell and working on the arrangements and keys and making sure the lyrics were acceptable and that time was very much a solitary time and one I benefited from a great deal.” With Gow’s first recording experience taking place in a bedroom, a studio at his disposal this time around meant he was able to take a different approach to recording. “Well being that we had a studio to use meant that we didn’t have to layer music like we did on the first record. We recorded the first record in a bedroom so we had to use every kind of audio trick in the book and fill the track up until we could attempt to fool people into thinking it wasn’t made in a bedroom. Having a recording studio with real instruments and real people in it was obviously fundamentally different and it was cause for a different approach for arranging and songwriting. Because I didn’t have to layer things anymore I could make a record with very simple arrangements and instrumentation and that was something that interested me at that time. Something about the way that the music hits you when you turn it up to a certain level when there are only four or five people playing, it has a very unique effect on a listener. “So having the recording studio resources allowed me to do that and Mitchell was really helpful with whittling down the arrangements and instrumentation because some people would assume that it would be an easy thing to get rid of things, but in fact, I found it a little harder ‘cause everything in turn has a spotlight shone upon it and you have to be very bold and certain of what you are doing with every instrument at every point, and Mitchell understood that and helped me make those kind of decisions.” Froom also lent a helping hand in front of the desk. “He is an incredible pianist. It was wonderful hearing someone who is so talented and someone I admire so much play my songs and I benefited and learnt so much from him and I feel very privileged to have met and worked with him.” With Savage leaving the band after the recording Gow turned to Perth’s local frontman Simon Okely from The Preytells to join the band. “I nicked one of your own! You’ll be glad to hear he is working on new music and he is such a talent and such a lovely person as anyone who has ever met him would know. When I would come to Perth I would usually stay at his house, whether it would be at his parents or his place and we did shows with The Preytells and once they kind of disbanded and moved over here it was kind of perfect timing and the obvious choice.” Whatever happens next, Oh Maercy are hitting the road and Gow is looking forward to getting back on stage. “It is an exciting thing to do and once again it is another privilege getting to turn up to work and have a bucket of beer given to you, another stroke of luck.” WHO: Oh Mercy WHAT: Great Barrier Grief (EMI) WHERE & WHEN: Saturday 30 April, Amplifier, Perth; Sunday 1 May, Mojo’s, Fremantle

16 • THE DRUM MEDIA 21 APRIL 2011

twitter.com/drummediaperth


DARWINIAN EVOLUTION NEW YORK-BASED BOHEMIAN INDIE-POP WUNDERKIND DARWIN SMITH, AKA DARWIN DEEZ, IS ALREADY FEELING THE HEAT TO DELIVER ON HIS ALSONAMED BAND’S SOPHOMORE RELEASE – AND YET THEIR DEBUT HAS REALLY ONLY JUST SUNK IN AT HOME. MITCH KNOX CHECKS IN WITH THE AFFABLE FRONTMAN PRIOR TO HIS AUSTRALIAN VISIT.

S

ometimes, you think you’ve got a person all figured out and then, out of nowhere, they throw curveballs at you which straight up blindside you and leave you wondering how you had them so horribly misperceived. Such is the case with the enigmatic Darwin Deez, real last name Smith. At first glance, he seems like any other earthy waif of a hipster, but it’s not until he admits he’s been filling his days between “shows and shows and lots of shows” doing “a little bit of rapping, listening to the Chili Peppers and listening to a lot of John Mayer”, that it’s apparent Deez is a truly unique specimen indeed. The rapping refers to his recentlyreleased “high concept” rap album made up of samples from the original Willy Wonka film, but the Chili Peppers? John Mayer? Really? “I’m just following the muse, I guess,” Smith laughingly justifies. “I don’t know why; I guess the Chili Peppers fascination kind of started because a bunch of us – well, first I started reading [Anthony Keidis’] biography, his really racy and maybe, probably, exaggerated biography, which is just continuous sex and drugs. Scar Tissue, you know… It started because I bought it for Michelle [Dorrance, a.k.a Mash Deez], our bass player, and she never really read it, but I did, before I gave it to her, parts of it, and then I finished it more recently on tour and we’ve all passed it around and we got kind of obsessed with it. It made us want to listen to this music that they’re talking about in the book, so that’s where the Chili Peppers thing came from. I don’t know about John Mayer. He’s just a musical guy – I can’t resist.” Strange though it may seem that Deez could find not only enjoyment but relevance in anything Anthony Keidis has to say, he admits that he has something of an ongoing fixation with the lives of music royalty that compels him to hear their tales, however (probably) exaggerated they may be. “Well, I’ll tell you – I like to see the films,” he explains. “I like to see the documentaries about musicians’ lives because it’s relevant, it’s just fascinating and it’s fun and exciting, and now more than ever it’s relevant to me because it’s like, well, this is how it could be, you know, if I keep going down the path I’m going down, whereas for most jobs and lifestyles it’s kind of evident how things are going to turn out and what they could be like, and I think for a musician – just for me, it kind of gives me a picture of what that’s like… I love to watch those documentaries.” When he has the time, that is. Although the band’s eponymous debut album was released in the UK around a year ago, it only dropped in his home country in late February this year. It’s not the most usual of approaches, but a lack of “label love this side of the pond”, among other reasons, led to the arrangement and so only now is Deez blessed with the opportunity to make a dent on the US psyche – not that he really seems to mind the way things panned out. “It’s boding well, yeah,” he says of the album’s early reception at home. “We’re doing some shows at a few colleges this month, and we’ve done a few shows at colleges and those have been good, so I think that’s a pretty good place to start, and certainly a goal I’ve had for a long time is to play those college gigs that pay well and are a lot of fun and you’re getting in front of people that you want to play for, so it’s definitely progress.

HE’S JUST A MUSICAL GUY – I CAN’T RESIST.”

YOU CAN EARN GREAT MONEY IN THE BUILDING AND CONSTRUCTION INDUSTRY. HOW YOU SPEND IT IS UP TO YOU. How does a career with big opportunities and long-term benefits sound? Earn while you learn in an industry with fantastic career potential and build yourself a future with no limits. Check out the huge range of occupations and training available in Western Australia’s biggest industry at nolimits.com.au or call 1300 727 494

“It was kind of like a goal and a fantasy and a dream for it to happen in England first,” he continues. “I always thought it was, like, the best way to break in to the music business because England is kind of the mother of all music press, and there’s a lot of really reputable acts that were famous in England first, like The Strokes and The Killers and Jimi Hendrix… and they have this way of talking about music in England, I swear, that’s, like, way more exaggerated. There’s a word for that – ‘hyperbole’ – and I think that gets people excited and it contributes to the spread… So I’m really happy for us too and, again, I think it’s a good sign. I’m happy.” The positive vibes now irrevocably flowing, Deez is similarly optimistic about his impending performances in Australia. “I think you can expect to like it,” he affirms. “I think you can expect to remember it for a while, and if you don’t love the songs already, you probably will, so… that’s pretty boastful I guess, but I think that’s just the truth about this group of songs and about our live show so, y’know, who’s to say whether we’ll be able to keep it up? We probably won’t; sophomore albums usually suck, so at least I’ve got it now. Get it while you’re hot, right?” Well, yes. Besides, at least if the expectation is there that the sophomore could “probably” tank, there surely can’t be all that much pressure to perform. “No, no, it’s definitely, like, super-megapressure,” Deez frets. “I put a lot of pressure on myself anyway to make stuff good. So with this one, I think people are going to notice if it’s not good, so it’s probably about the same amount of pressure but just more time pressure. I hate that, because I really don’t want anyone to be bothering me with, ‘oh, this sounds done to me’, for me to say, ‘no, I want three more months with it so I can change one word’, but it’s like, that’s how I prefer to write and work, so I’m a little anxious about that. “But it’s gonna be a new challenge and I like new challenges. That’s my thing – I’m Aries so I’m a pioneer, first sign of the Zodiac. So it’s like, anything that I’ve never done before, I want to see if I can be good at it, and that’s how I sort of stay interested in life.” WHO: Darwin Deez WHEN & WHERE: Thursday 12 May, The Bakery, Northbridge; Friday 13, Fat Shan’s Record Store, Perth (DJ Set); Groovin’ The Moo – Saturday 14 May, Hay Park, Bunbury

twitter.com/drummediaperth

THE DRUM MEDIA 21 APRIL 2011 • 17


CHAOTIC CUPIDS first. We didn’t want to scare off our original fans who are devoted to our live shows and our more raucous material. Keeping that in mind we also want to represent what we want to represent at all times.” So what do they want to represent then? For Crawley it’s a snapshot of a moment in time, something of equal importance, but vastly different to the band’s now infamous live shows. “They’re two completely different things really – one of them is making a time capsule of something that you’re doing at this moment and collecting all the pieces and keeping them as they’re going to be forever, whereas a live show can be a different story every single night using the same sort of ingredients. There’s more of a natural feeling of just expressing yourself, however you’re actually feeling at that very moment. That’s where the energy is and that’s where the communication with the audience is. That’s where a lot of the fun is. With an album you do have to be a little bit more conscious of making it sound good. Not that we’re not doing that live, but you want to make sure that what you put down is something that you can listen back to in a couple of years time and be very proud of,” says Crawley.

BASSIST HEATH CRAWLEY FROM CHILDREN COLLIDE TALKS TO DAVE DRAYTON ABOUT THEIR NEW SINGLE ARROWS, AND TRYING TO STEAL THE LIMELIGHT FROM F1 RACERS.

H

eath Crawley has been preparing for a whirlwind trip of the country over the Easter weekend in support of Children Collide’s third single from 2010’s Theory Of Everything. It seems it is the album that keeps on giving and Crawley says that this time around the band could really show their diversity. “With the singles from this album we didn’t have an exact idea of the order that we wanted to take. For example when [first single] Jellylegs came out it was more of a ‘Welcome back, here we are again’. It had been a bit of a break since we had released anything to radio. That came out as a re-introduction and that just really took off and then we felt like we needed to follow that in an appropriate way, so we brought My Eagle out.”

Crawley is chatty and honest as he continues to explain the selection process behind Arrows. “But the album isn’t all raucous and – what’s the word – rambunctious, like those kind of songs tended to be, so we wanted to represent a different side of our music as well and we thought Arrows was definitely the way to go about it. It’s a side of ourselves that we like to show as well. From our live shows I think people get the idea that we’re all grunge and punk and really we’re not, we just kind of write whatever we write and they turn out however they turn out. We like to show all facets of our songwriting and our styles and what we’re into. “Obviously we wouldn’t have brought that track out

And he’s clearly not the only one that’s proud, especially now that Arrows is getting picked up by radio stations. “I’m always receiving phone calls and that kind of thing from mum and various friends from history who are all excited to hear it, so that’s cool,” he admits with a laugh. Working towards their next time capsule, the band have been demoing separately, with singer and guitarist John Mackay and Crawley corresponding via email and sending one another riffs. “We’re actually just about to start demoing. Johnny’s been coming up with some of his own stuff and I’m coming up with some bass lines here and we’re actually trying a new approach. As well as the old approach of just recording and making up songs in jams and that sort of thing, we’re having a go at a bit of the online thing where we’re we’ll send each other a few ideas here and there and the other person will work on it and then send it back… Through all of these processes each thing will refine itself until we’re finished with a Children Collide song,” states Crawley. What this means for fans is a few unlikely or unexpected gems in the setlist to keep them guessing

when the band take to the stage throughout April. “We always like to throw in a couple of new songs here and there. There’s a couple of tracks that we would never release as a single that we love to play live. There’s no particular reason either way for that, it’s just that we just don’t feel like they’d make a very good radio song really.” Honing their impressive live show for the Arrows tour, Children Collide have had a couple of slots at big sporting events – most recently the F1 Grand Prix in their hometown of Melbourne – but the feedback hasn’t been as unanimous as that from their regular shows. Discussing the idea that playing sporting events is a yardstick for success for bands, Crawley reveals how the F1 crowds in Melbourne seemed hell-bent on keeping their racing separate from the rock. “That was probably our worst sporting event so far. One week before that we played Clipsal in Adelaide, which is more of a V8 kind of affair. It is a weird place for us to be playing, because we don’t go home and watch the cars every day – it’s not our crowd necessarily. But Clipsal was amazing, the response we got there, it was just like playing at Big Day Out! Our crowd was massive. The V8s were still racing, but everyone came to see us and that kind of thing. The Clipsal was exactly the same as the Big Day Out except with different merch. The crowd was the same people, they just had different hats on. It was weird, quite strange and cool,” he laughs. “The Grand Prix Crowd in Melbourne was somewhat different to that. It wasn’t quite as nice a day as well to be honest. But I think the people at the Grand Prix are very much about watching the Melbourne Grand Prix. It was a little bit less exciting that show, in comparison to the others – we’ve played State Of Origin and stuff like that as well in the past. Every time we’re about to do one of things it’s like, ‘Wow! It does feel like a step up’ – definitely commercially. But we just treat it like any other show and you go and you do it and you have your fun.” WHO: Children Collide WHAT: Arrows (Universal) WHEN & WHERE: Sunday 24 April, Capitol, Perth

FREQUENT FLYERS Lipton Ice Tea but I just thought of the horrible Hugh Jackman ad. I don’t really wanna be involved with any of them – water, tap water!” On getting his band over to SxSW for their first appearances on US soil, Jones admits, “The admin [was] just a nightmare. We felt a little bit better because, at our interviews with the US consulate, Bliss N Eso were in the line ahead of us and they were having a lot more trouble than we were –- they just weren’t as organised as we were… It was really very formal and a very convoluted, public service kind of process. We didn’t wear suits and comb our hair – we should have done that.”

SYDNEY INDIE-POP FIVE-PIECE THE HOLIDAYS HAVE BEEN WORKING STEADILY SINCE THEIR GUITARIST SENT RAW DEMOS TO VARIOUS RADIO STATIONS WITHOUT NOTIFYING THE REST OF THE BAND. FRONTMAN SIMON JONES TELLS BRYGET CHRISFIELD THEIR PASSPORTS WILL BE ACCUMULATING PLENTY OF STAMPS THIS YEAR.

“I

nstead of using it on this [last] trip to the States [for South By South West], we’ve done the greedy option and we’re gonna go over to the States later in the year and actually put the recording [time] to some serious use,” says The Holidays frontman, Simon Jones, of how his band plans to spend the $15,000 they scored by taking out the fifth annual Red Bull Award for Best Debut Release (Post Paradise). This prize includes flights and accommodation to travel to Los Angeles and a week in the Red Bull studio in Santa Monica. Jones has a keen and fairly apt observation to make on the whole thing: “Winners are grinners. It turns out that it’s actually gonna be quite a good opportunity, because 18 • THE DRUM MEDIA 21 APRIL 2011

Red Bull are pretty hands on and they really wanna get involved in terms of booking us into festivals over there around September and doing a fair bit of promo for us – all free and easy, I guess.” On whether The Holidays are happy to drink lots of vodka and Red Bull while they’re at it, Jones is diplomatic. “Ah, I guess we’ll drink the obligatory amount.” And pose for photos holding cans? “Oh, I don’t know if we wanna become the face of Red Bull or anything like that. We’re not that extreme, we’re pretty laid back,” he laughs. Is there a beverage that Jones thinks The Holidays would be well suited to representing? “Fuck, I don’t know. I was gonna say

The Holidays toured with the Laneway Festival this year and Jones shares a “standout moment” that occurred when the band members were watching Les Savy Fav’s show. “Al [Kortt], the bass player, had gone to watch them in Perth at the festival – he’d just kind of wandered over by himself, and the rest of the band had been at different places and wandered over and watched them as well. But we were all standing separately,” he remembers, “and [Les Savy Fav frontman Tim Harringon] did his thing where – he’s got his face spray-painted silver and he’s running around the crowd with the microphone. We were all watching him in the crowd and then he stopped and started pashing this guy, and we all separately were like, ‘Holy shit, that’s Al!’ There happened to be a professional photographer standing next to him and he just snapped a photo of this guy, Tim Harrington, pashing Al! I have seen the photo pop up as well. I don’t know if it’s the kind of thing you want floating around, but I quite like it. I don’t know if Al’s proud of it or not, but it looks pretty cool.” After the success of their self-produced debut album, Jones is enthused about the new material The Holidays have been working on, although he admits it’s still very much in the embryonic stages. “Our first [album]’s done reasonably well, but I think in terms of sound we left the door open a little bit – there’s quite a bit of variation there, so I don’t think there’s any particular sound that people could get that attached to and go, ‘Oh, why didn’t you do that?’ But we are conscious of having some sort of continuity so it’s not gonna be a shock to the system, but I think moving forward is an important thing. “I felt good at the end of making the last one, because we felt like we’d been quite adventurous and then, in

twitter.com/drummediaperth

the time since, I’ve felt, ‘Oh, well we could have gone further’. And now, I guess, it’s an opportunity to do that. Your frame of reference kind of changes as time goes on – things feel safe as time goes on – but when you think back, at the time that was a big decision to do that, or whatever, you know? I guess sometimes you’ve gotta drag yourself and other people kicking and screaming into different sounds. And all the albums that really stand out as my favourites are the sort of things that may not have gone down so well initially, ‘cause it’s a little bit disorienting, and as time goes by it doesn’t seem that way [anymore].” Rather than approaching “big-name producers”, Jones quite likes the idea of “getting an engineer in and getting an artist that we respect to produce” their album. “I think that’s a really good idea,” he continues. “I reckon a lot of the time a good songwriter would make a good producer. A lot of the really important stuff for production comes down to, ‘Take that out,’ or, ‘Do that differently,’ and sometimes you don’t have to be a technical genius to have that ability. A lot of it comes down to taste and someone who’s got good taste and a good creative way of thinking outside the box is probably the most important thing. Well, for our type of music anyway.” Although Jones initially has trouble recalling the first time he heard one of his band’s songs on the radio, he does a sudden about-face. “Actually yes, I do! It was on Sydney community radio station FBi and it was one of our early demos. It was Will [Magnus], the guitarist [who] had given them demos without telling anyone else in the band. And so it was a major surprise, because at that stage we weren’t even really a band – we were just a bunch of guys mucking around kind of as a joke, not as a joke but just as something to do at the time. I dunno what his thought process was then, but we were all kind of angry with him but kind of happy. And then he did the same thing to triple j where he sent the same songs to Caz Tran from Home & Hosed, and she played ‘em one night and, yeah! We were like, ‘You’ve done it again! You’re supposed to tell us these things.’”

WHO: The Holidays WHEN & WHERE: Thursday 28 April, Amplifier, Perth


BOARD STIFF

STILL WAVIN’

LOSING BAND MEMBERS, ACOUSTIC ALBUMS AND THEIR HEAVIEST TUNES YET, IT’S BEEN A BUSY YEAR FOR EMERY. GUITARIST AND VOCALIST TOBY MORELL SITS DOWN WITH LUKE BUTCHER TO TALK ALBUM NUMBER FIVE.

F

or many acts losing a guitarist-vocalist and founding member would be a near knockout punch, but not for Seattle based Emery, not at all. Showing the resilience of a racehorse, the departure of Devon Shelton acted as a catalyst for the band to write their heaviest material to date. But before you get too carried away, the split was as amicable as the splitting of two Siamese twins, with many reports stressing that a future return to the band for Shelton appears likely. Described as far from a dramatic departure, the band have moved on in the most productive of ways. “Devin is an amazing songwriter and friend so it was a huge change but we took it as a challenge to step it up on this record and go further than we ever have before,” says Morell. Fortunately the departure of Shelton helped clarify the objective of the release for the now four-piece, as Morrell and lead guitarist Matt Carter set about writing We Do What We Want in what they describe as “different, but fun to try something in a new way”. When questioned on the response of fans and critics alike to the new album, the band seem content with the feedback they’ve received. ”It’s been amazing, people really love the new record and we have actually heard nothing but praise, it’s really cool to have this happen on our fifth full length!” Having completed the album, no doubt having four successful records and an ever growing fanbase behind them opened the door to many an opportunity for the March release of We Do What We Want. When the time came to release their fifth full length, despite any speculations of volatility within the band, the record was shared across both Tooth & Nail Records and Solid State Records. “With our new record being so heavy it was also a natural progression to move over and hang with the big boys,” explains Morrell, referring to Solid State Records. Like any established act intent on growing, wanting to get their music out to new and larger audiences proved their strongest motivation.

IT’S NINE YEARS SINCE ZZ TOP RELEASED A NEW ALBUM, BUT DON’T IMAGINE THEY’VE BEEN SITTING AROUND WATCHING THEIR BEARDS GROW. WELL, MAYBE A BIT. ANYWAY, HIRSUTE GUITARIST BILLY GIBBONS CHECKS IN WITH HIRSUTE MICHAEL SMITH ON LIFE IN THE BEARD LANE. When examined on which song on the album aroused the most discussion amongst the band Morrell reveals that I Never Got To See The West Coast was disputed the most. “It is acoustic and we wondered if it fit on such a heavy record, but in the end we felt it needed to go on the record. It also is one of the darkest songs we have ever written.” As an act that contrasts aggressive and heavy songwriting with melodic, lighter moments, the writing of the confidently titled We Do What We Want was no different to previous releases for the band, letting the song itself dictate its outcome. “Usually we seem to just find the direction of the song. It feels like there is a song out there and we just have to find it.” However, Morrell stresses that it is the lyrics that dictate where a song, an album or the band are headed from beginning to end. After finding a new way to channel their music this time around, the band is planning to release an acoustic album hopefully inside the year. A risky proposition for any act, one can only assume the sizable fanbase of Emery will ensure such a release finds a home amongst the iTunes library of many Australians. But before such ventures can get underway, the band this week tears into Perth on the penultimate stop on their first Australian tour for the We Do What We Want album. Clearly exultant to be in the position they are this far into their career, Morrell promises Australian audiences are “going to get to see a rock show like no other.” Assuming they keep doing what they want, the future seems nothing but bright for Emery. WHO: Emery WHAT: We Do What We Want (Tooth & Nail/Solid State) WHEN & WHERE: Sunday 24 April, Amplifier, Perth

NO PAIN NO GAIN

O

They are best known though for the infectiously popular single Jump Around, one of those true classic songs that just about everyone knows and loves. Now that House Of Pain are hitting the road again, does O’Connor find it difficult to construct a set around one runaway hit? “It’s just one song,” he explains. “It’s a great song, I love it, people dig it, but it’s just one song. We’ve got so many. We’ve done other stuff.” Even after House Of Pain split in 1996, the group members were hardly unproductive. DJ Lethal joined Limp Bizkit. Everlast put out successful solo material and got involved in a beef with Eminem. O’Connor, on the other hand, remained fairly quiet, putting his graphic art talents to use designing streetwear and sneakers. (Footwear is a passion for him – he even executive-produced the 1995 documentary film Just For Kicks, which chronicles the hip hop community’s sneaker obsession.) In his words, “I just wasn’t sure what I wanted to do. I didn’t want to start something for the wrong reasons.” Still, the right opportunity came knocking eventually, with the formation of La Coka Nostra. “We got together maybe five or six years ago.” O’Connor was doing

So there’s the first big bit of news – ZZ Top are finally working on a new album, their first studio album since 2003’s Mescalero. “We’re ploughing ahead, as they say. At the moment, we’re all throwing the hat in the ring for the best possible outcome. All we do is we show up and we start playin’ [laughs] and we keep playin’ till it sounds good!” Universally referred to as “That Little Ol’ Band From Texas”, ZZ Top came together when Gibbons, who was playing round Houston in a band called Moving Sidewalks back in 1970, found himself in need of a rhythm section and came across Beard and bass player Dusty Hill in American Blues. It turned out to be a marriage made in Texas boogie heaven. The template was laid down for their less than successful debut, 1971’s ZZ Top’s First Album, built on distorted electric guitar, boogie rhythms, lyrics full of “funny cigarettes” references and sexual innuendo in a sort of Texas version of a Carry On movie. It took three more albums to finally break through and then another seven years before they exploded with the Eliminator album and hit singles Gimme All Your Lovin’ and Legs, in 1983. Even the trademark beards didn’t appear until 1978.

“The rhythm section is where it’s at,” says Gibbons. “If you’ve got a good solid platform, all you have to do then is dive deep in the water. It goes back to Memphis Tennessee, the Stax guys, the Willie Mitchell guys, all that Southern stuff – it was solid standing on the rhythm section. Dusty and Frank were sort of a tight team from the get-go. We got together for a jam session and were gonna do a little shuffle which we thought, ‘Okay, three, four minutes and we’ll see if it works,’ and about 30 minutes into it we’re still pumpin’ and we were noddin’, ‘Okay, this feels right – let’s go for it.’” Forty-one years on that shuffle is still serving them well. They’ve sold more than 50 million albums worldwide, were inducted into the Rock And Roll Hall of Fame in 2004 by no less than Keith Richards (“Couldn’t have been more perfect,” Gibbons reckons.), scored six #1 singles and three MTV Video Music Awards. While they may not have been releasing new studio albums, ZZ Top haven’t let up on the live front, heading out with Aerosmith and their own Necessity Is A Mother tours through 2009, as well the annual Crossroads Guitar Festival and tours with Lynard Skynard and Tom Petty. “I don’t know if we know anything else to do,” at which Gibbon breaks up again. “It’s kinda like what we do. I was fortunate enough to have a nice sit down with Eric Clapton revealing the most recent Crossroads and it’s such a wonderful gathering. You’re glad you picked up the six-string just when your parents said, ‘Don’t do that.’ Now you can say, ‘Okay, I did that.’”

WHO: ZZ Top WHEN & WHERE: Saturday 23 April, Kwinana Motorplex

CHOICE CUTS

ONE OF HIP HOP’S GREATEST NAMES, HOUSE OF PAIN HAVE RISEN FROM THE GRAVE AND IS COMING TO THE COUNTRTY. MC DANNY BOY TELLS ALEKSIA BARRON WHY EVERYONE SHOULD GET READY TO JUMP AROUND. h, Danny Boy, the journalists, the journalists are calling… and despite the most temperamental phone connection in the history of international calls, Daniel O’Connor a.k.a MC Danny Boy is up to the challenge. After all, the upcoming House Of Pain tour is something he’s been wanting for a while. “Yeah, it’s been a long time coming,” says O’Connor. Along with his high school friend Erik Schrody (also known as Everlast), O’Connor formed the iconic ‘90s hip hop group House Of Pain with DJ Lethal (currently on deck duties with Limp Bizkit). They released three albums – a self-titled debut in 1992, Same As It Ever Was in 1994 (their highestcharting effort, peaking at #12 on the Billboard chart), and 1996’s Truth Crushed To The Earth Shall Rise Again.

I

t was barely an hour before the call was supposed to come through that Drum discovered it would be Billy Gibbons fielding the questions rather than the beardless drummer, Frank Beard, who’d already postponed the conversation because he had a doctor’s appointment. No problem – after all, the brains behind the beard has always been Gibbons. So, out of politeness, the first question had to be about Beard’s health. “Well I think he’s playing hooky,” Gibbons admits, instantly collapsing into laughter, something that would punctuate the entire conversation. “He was in the studio earlier today and I think he was trying to get out of work, but who wouldn’t?”

GLOBAL HOUSE CHAMPION IAN CAREY IS IN TOWN PROMOTING HIS LATEST VICIOUS CUTS MIX CD AND HE REGALES TROY MUTTON WITH TALES OF PARTYING WITH THE ONE AND ONLY SNOOP DOGG. some label scouting at the time, looking for a new group that would click. It was when he got old friends and collaborators Slaine and Ill Bill involved that the project really started to take shape. “I found Slane and another cat… they asked Ill Bill to join them, and then I jumped in, and it was like, ‘Fuck it, we should just do a group’.” Soon, Everlast was involved as well, bringing the House Of Pain MCs into the same studio together for the first time in years. O’Connor would insist that all members meet up in person and record together, rather than piecing tracks together over the internet. Still, technology played a significant role in the group’s success. “We made a track and put it on MySpace and it just started catching on like wildfire,” he says. Social media, which was non-existent when House of Pain launched, impressed O’Connor. “I think it’s great. It was a big deal in getting La Coka Nostra off the ground. Now, it’s so oversaturated – it’s basically junk mail for start-up bands. But for us, it was the opposite – we won everyone over with the visuals and a little bit of music.” Naturally, working with Everlast again put the idea of a House Of Pain reunion in O’Connor’s mind. “We were getting back to the natural progression that would bring us back as House Of Pain. Working together on La Coka Nostra, that really gave us the chance to start thinking about bringing that stuff back again.” Now, there are plans afoot for a fourth House Of Pain album, although for now, the 20th Anniversary tour is the priority – including their first Australian visit in over a decade. “Yeah, we came out maybe 15 years ago, with Coolio. It’s been a long time, I’m looking forward to it.” WHO: House Of Pain WHEN & WHERE: Groovin’ The Moo Festival – Saturday 14 May, Hay Park, Bunbury

I

an Carey has many different monikers – The Ian Carey Project, Illicit Funk, Ian “45” to name a few – but when it comes to the Vicious Cuts mix CD he’s done with Vandalism and John Course, he’s all business. And that business right now is blooding some new artists after being in the game for almost 20 years now. “My label right now is like a platform for new artists and demos I find in my inbox. I think it’s important for them to have a platform to get their music out, so we’ve moved the label in that direction.” Fair enough too given Carey has been a hugely successful member of the house music community, especially over the past decade and reaching fever pitch with 2008’s Get Shaky – a tune you couldn’t (and still can’t) miss out at nighttime establishments anywhere you go. The man knows how to make a cracking tune, and he’s now diverting that talent down two pathways – his own debut album, and producing the up’n’comers he spoke of – right now he’s helping out Canadian artist Rosette. “So I’m working on producing her album, and she’s a really great vocalist. She’s great, and I’m really trying to push her out into the rest of the world,” he enthuses, before adding this is only the beginning. “I mean it’s great doing my own stuff, but it’s also to keep it interesting. It would be great to get into producing some of the bigger artists and do some of the behind-thescenes work.” In the meantime, there’s his album, one that comes after years of just releasing mix compilations and singles. It begs the question, why now? “I just think the nature of the music we make, like club music and dance music, it isn’t really an artist/album-centric kind of thing,” Carey admits. “I’ve done heaps of these mix albums, but it’s been recently when I’ve started doing these dance records that are crossing over into the pop charts, so that’s kind of what I’ve moved into.

twitter.com/drummediaperth

“I think in the dance music world it is more about the singles. Even in the pop world as well. You find just because of the way people access music now, I think the album concept is still important, but it’s losing its relevance in a way.” Which again begs the question, what’s Carey packing that is going to buck this trend? “I think the best thing that I can do to make an album is to make it a collection of singles, of strong songs. A group of songs we plan on getting singles and remixes on and everything, and not just two or three big singles and the rest album tracks. I think now you need to make sure they’re all single material.” An album of hits does sound like a pretty good idea, and whether he pulls it off or not remains to be seen, but it’s already begun with his latest single and instant crossover hit that will feature on the album (due late our winter) – a collaboration with Bobby Anthony and the Doggfather himself. “I had the track done with Bobby Anthony and we were going to release it as is. A friend of mine who is a talent scout in LA passed it to Snoop just to listen to and he really liked it and wanted to do a guest appearance on it. He came back and said Snoop wanted to do a guest voice on it. I didn’t actually believe him at first, so I was like ‘yeah, whatever’,” Carey laughs. The clip for Last Night you’ll know is a classic Snoop Dogg video, featuring the trio partying up with plenty of lady friends. “Snoop’s a cool guy; we were just having a party really. It was great, just hanging out with Snoop.” WHO: Ian Carey WHAT: Vicious Cuts 2011 (Vicious Cuts/MOS) WHEN: Saturday 23 April, Villa, East Perth THE DRUM MEDIA 21 APRIL 2011 • 19


SMASHING SUCCESS

ABOUT TO ROCK

NO ONE CAN BLAME MARTIN SOLVEIG FOR RESTING ON HIS LAURELS. WHILE GRADUALLY CROSSING OVER TO A MORE MAINSTREAM AUDIENCE, HE CONTINUES TO SET THE BENCHMARK FOR DANCE ACTS. HE SITS DOWN WITH CYCLONE TO DISCUSS HIS POSSIBLE STATUS AS A POP CELEBRITY.

M

artin Solveig is the hottest name in French house – again. Hello, his second collaboration with Canada’s Dragonette, has been his biggest crossover record yet, establishing him as a cool alternative to David Guetta. He’s following it with Ready 2 Go, featuring Bloc Party’s Kele Okereke. And there’s an album in the pipeline – his first since 2008’s C’est La Vie – entitled Smash. Solveig – real name Martin Picandet – has occasionally appeared a reluctant pop star. The Paris DJ-cumproducer relished a huge ‘pop’ hit back in 2003 with the funky Rocking Music – and first toured Australia behind it – but he didn’t capitalise on that momentum long-term. Still, Picandet denies that he’s uncomfortable with celebrity. “No, I don’t think so. I just don’t naturally consider myself a pop star ‘cause ‘pop star’ is for real pop stars. It’s not really my concern when I make music. I make music basically to have the possibility to exchange this with a crowd – whether it’s more of a live crowd or a DJ crowd, but it’s a lot about having fun.” Lately Picandet has harnessed YouTube to air zany video-clips. Indeed, Hello has attracted over 20 million views, the video shot at the French Open, with Picandet’s friend Bob Sinclair cameo-ing. And, Picandet reveals, another Smash episode will be shot during his upcoming Creamfields tour: he’s even bringing the “fake manager” from his videos (portrayed by DJ Gregory). At this stage, the thirty-something is feeling creatively reinvigorated. “Smash is my fourth solo album [and] it was by far the easiest one to do – and I was very surprised, actually, because at the end of C’est La Vie, I didn’t even know if I was going to go on with doing albums and work like that. I really started with Hello and did this video – and things went very well. I had in mind this sort of project to work on videos and music

IN TODAY’S WESTERN WORLD, MENTIONS OF ISRAEL ARE UNLIKELY TO CONJURE UP THOUGHTS OF DANCE MUSIC, BUT THE TWO CERTAINLY GO HAND IN HAND AS FAR AS INTERNATIONALLY ACCLAIMED PSYTRANCE DUO SKAZI GOES. JANE STABLER FINDS OUT MORE. at the same time. The success of Hello told me that it was probably an interesting thing to do and so I kept on doing this and there are now many other episodes and many other tracks coming – and the Smash album is going to be released in June.” Picandet was never a part of the 90s filtered disco revolution. As with DJ Gregory, he mined American deep house. Picandet expressed a greater affinity with Dimitri From Paris than Daft Punk. In 2002 the marketing student presented his debut, Sur La Terre, which he’d subsequently describe as “a bit naive” in its production values. Picandet felt disgruntled that Universal Australia didn’t do more with a second album, 2005’s Hedonist, though it did earn him a smash in the bluesy Everybody. Smash will be a different album again. “I wanted to be a bit more ‘dance’,” Picandet says. “Many of the tracks are good for a DJ to play straight on the dancefloor – and that’s one thing I tried to do because, when I work on albums, I tend to do more electronic pop which applies more to live [shows].” Picandet didn’t exactly avoid the studio post-C’est La Vie. He masterminded a fluke smash with Dragonette titled Boys & Girls, which Jean-Paul Gaultier used to promote his scent, Ma Dame: Rose ‘N’ Roll. Picandet speaks warmly of the iconic couturier. “My studio is close to his studio place and we bump into each other quite a few times in the year. Of course, he’s a bit of a legend here, but he’s still very easy and natural.” WHO: Martin Solveig WHAT: Smash (Universal) WHEN & WHERE: Creamfields - Saturday 23 April, Claremont Showgrounds

H

eaded our way to be part of the massive Creamfields line-up, partners in electronic mayhem Skazi – Assaf B-Bass (real name Nir Sobol) and Asher Swissa – are no strangers to the scene, dropping their first album over a decade ago. Now seasoned veterans, Sobol says their music may have changed a bit, but the pressure to perform hasn’t – regardless of whether they’re playing at a big festival or their own show. “As we [have spent] 11 years traveling worldwide for shows and festivals, we have played with lots of big names from the rock and electronic scene,” Sobol explains. “Like every show there is the pressure of doing the best show, so there isn’t any difference in that regard. I do also DJ sets a lot, and for a good DJ it’s all about reading the crowd, concentrating on the songs you pick and the art of mixing. The live performance has a lot of details and preparations, so lots of thing can go wrong but nothing beats playing your own music live! “Playing for the festival crowd is a different thing all together though,” he continues as he compares the likes of Creamfields to their own shows. “At big festivals it’s always interesting to see and feel the reaction of the crowd for the different acts and enjoy the festival atmosphere. At the Skazi concerts what we do often is what is special for us because we know that the whole crowd came only to see us. It makes it very exciting!” Peddling a relatively different side of trance, Skazi’s musical eclecticism is definitely a source of excitement for those who have followed the pair’s progression. Sobol says the melding of punk with trance serves audiences on both sides. “I think [the switch from punk to trance] came in a natural way because in the time that I started making electronic music my kind of music – punk hardcore rock

– was not doing it for me any more, and I didn’t hookup too much for the new blood of rock. Then I realised in making this kind of music, I can combine my love of rock and the hard style with electronic sounds and make hard rocking bombs that will lift the dancefloor. I think I did good job! People who used to listen to rock music understand me from the start, and the trance addicts find their favourite sounds and melodies too, so it’s different. It’s always good to be different and the crowd agree from deep realms of the dancefloor.” Speaking of deep realms, where Skazi hail from could be considered one by many. Despite the pair of them having traversed much of the globe, Sobol recognizes that many would think of his homeland as neither a destination nor a source of globally revered electronic music. “We travel a lot worldwide and with the long travels we love our beautiful country even more,” Sobol enthuses. “We have everything here and in the best way – from nightlife to the most beautiful girls in the world, beautiful never-ending views, cultural sites. People do come and when they do they don’t want to leave. We are not frustrated from that; I hope people realise that it’s not a war zone, not as it’s shown on TV and all are welcome to this amazing land. “Israel is actually a base for lots of dance and electronic music producers,” he adds. “When we tell people that we come from Israel most of them are surprised because again they think we live in a war zone but what I find globally is that this land has always been talked about with strong feelings. It’s special music in the way!” WHO: Skazi WHEN & WHERE: Creamfields – Saturday 23 April,

Claremont Showgrounds

CAUGHT IN A MAU5TRAP DIVISIVE, CONTROVERSIAL AND EVER QUOTABLE, JOEL ZIMMERMAN RALLIES AGAINST LUKE MCKINNON ON THE TOPIC OF ON-STAGE BAZOOKAS, THE RELEVANCE OF DJS TO DANCE MUSIC CULTURE AND OTHER MATTERS OF IMPORTANCE IN THE WORLD OF DEADMAU5.

I

n a matter of just a few years, Joel Zimmerman, the enfant terrible of dance culture, has gone from basement dwelling producer to dance music phenomenon. Over the past three years – thanks to a string of hits on download site Beatport – Zimmerman has effortlessly traversed the musical landscape, leapfrogged the crossroad and arrived promptly at the commercial mainstream. Where he was once a cult underground hero, he is a now a playable character on defunct computer game DJ Hero. On the eve of his new

20 • THE DRUM MEDIA 21 APRIL 2011

live show at Creamfields this weekend, Drum Media caught up with the frank 30-year-old and found out just why he thought his music was so divisive. “I swear, World War Three will be started on my Facebook page,” Zimmerman states, “but you know what? I don’t know why.” Zimmerman is no stranger to upsetting people. Like, for instance, his largest consumer base. In 2008, he went on an unprecedented rant in the Irish Times, expressing his dislike for DJs who played other people’s records. “It puts me to fucking sleep,” he said. “I don’t really see the technical merit in playing two songs at the same speed together and it bores me to fucking tears and hopefully, with all due respect to the DJ type that will fucking go the way of the dinosaur, I’d like them to dis-a-fuckingpear! You need them, but they’re fucking cunts.” Right. So Zimmerman, for all intents and purposes, hates the very people that allow him to make a living from his music. And as Drum found out when quizzing the forthright musician about his comments, it is still

a touchy subject. “Fucking hell,” Zimmerman bellows down the phone. “That’s the fourth fucking interview I’ve done in a row where someone’s brought that fucking stupid thing up. Is it that bad?” After due consideration, Drum decides that it’s not so much bad, as ironic, given he recently accepted the International Dance Music Award for best DJ. “Whatever, I mean, so have a fucking laugh,” he concedes. And we do, both of us. Zimmerman made a name for himself through his music, yet has become increasingly renowned for his live performance, so how does his tread that fine line between staying true to his sound and not spilling over into pure spectacle? “Well you don’t necessarily need to a lot of the time,” he explains. “Like with Kiss, their albums sound great, but live, forget it. But their show is what sticks in your mind. I mean a guy pulls a bazooka out half way through the middle of the show and blows off a piece of the lighting rig and it’s fucking hilarious, it’s awesome. Now, I’m not saying we should go all smoke and mirrors up on the stage, it’s just a complementary part of the music. If you’re going to start

twitter.com/drummediaperth

a career, I would first and foremost establish a good sound – that’s what’s going to sell this whole thing.” WHO: Deadmau5 WHAT: 4x4=12 (EMI) WHERE & WHEN: Creamfields – Saturday 23 April, Claremont Showgrounds


THE DRUM MEDIA 21 APRIL 2011 • 21


SINGLES/EPS

WITH JASON KENNY

ON THE RECORD

cd reviews

CD OF THE WEEK

SINGLE OF THE WEEK ABBE MAY

Design Desire Sandcastle This second single from Miss May’s forthcoming album paints a picture of where she’s heading. There’s a rumbling bassline with spurts of guitar but the howling blues-stress that we know has gone... for now. Instead she’s embraced the psychedelic thing and given it the May treatment – atmospheric, brooding and outright seductive. It’s not as instantly catchy as the first single Mammalian Locomotion but at under three minutes, it’s punchy and will be sure to be a live favourite.

TEETH & TONGUE Unfamiliar Skirts Remote Control This starts out like some sort of ‘80s ballad that I can’t quite put my finger on, but with Jess Cornelius’ vocals and some fine guitar breaks, it goes far beyond that. Apparently it was mostly recorded in one night while Cornelius was house sitting for Dan Kelly. He really should let her house sit more often. Unfamiliar Skirts moves between melodic and rhythmic sections with aplomb. It’s in the vein of Cat Power or the seductive side of PJ Harvey and insists on repeated listening. The album’s out this month and might just be an unexpected favourite come year’s end.

SKIPPING GIRL VINEGAR Here She Comes

DURAN DURAN

MASTODON

Shock

Reprise/Warner

Skinnyfish Music

Thirteen albums in 31 years, with the last five all desperately clambering for public approval that never came, All You Need Is Now takes the gamble of enlisting one shit-hot producer (Mark Ronson) and banking on him making Duran Duran cool again.

As epic sludge-metalists Mastodon’s twin virtues of being sublimely heavy and mind-bendingly prog are maximised live, the release of this CD/DVD concert package will undoubtedly have legions of fans unrestrainedly drooling in shop windows. It’s comprised of their latest, most complex, and some would argue greatest album Crack The Skye in its entirety, with a quintet of lesser celebrated album tracks to crown it off.

The second album from Geoffrey Gurrumul Yunupingu, Rrakala is a much more confident affair than his debut release, showcasing an artist who could, incredibly, just be developing the full range of his powers. Why this is incredible rests on the fact Gurrumul is already one of the country’s finest musicians, one who combines a spine-tingling, timeless quality in his gorgeous vocals with some quality work on the guitars. Conscious of not simply repeating his debut’s singer-songwriter vibe, Gurrumul and bass player/ producer Michael Hohnen have taken great steps to ensure Rrakala has a substantially fuller sound, demonstrating his skills on the piano and drums.

Live At The Aragon

All You Need Is Now

Ronson’s strategy was to make an unofficial sequel to Rio, their landmark 1982 album. What’s absolutely astonishing here is just how accurately he has nailed the sound of that era without it coming off like desperate pastiche. This is every bit his album as it is Duran’s – he’s like a therapist who has put the group in touch with themselves again, albeit without original guitarist Andy Taylor. Nick Rhodes keyboards are so ‘back’, you can smell his hairspray while Simon Le Bon’s nasally whine hasn’t aged a jot. The old formula of mixing hi-energy dance-pop with a smattering of tender ballads works for them again here, even if at 14 songs it overstays its welcome just a little. Maybe they were all just having too much fun to stop. Songs such as Blame The Machines and Girl Panic are so authentic when spliced into an iTunes playlist, with Rio it’s impossible to hear anything out of place. The lunacy peaks with The Man Who Stole A Leopard which is about exactly that, played with the intense tabloid sincerity typical of the ‘80s.

Whilst the band’s sound lives up to its namesake (a prehistoric beast of immense size and power), no amount of production wizardry can disguise Dailor and Hinds inadequacies as vocalists. It’s the one chink in Mastodon’s otherwise impervious armour, as their sometimes off key singing lacks the authority of their pure brute metal instrumentation. The DVD concert footage is a reasonable document, but much better is the inclusion of Crack The Skye: The Movie, a quite frankly phantasmagorical, Czarist-Russia epic that was displayed as a backdrop during the concert. Inspired by horror movies of the silent era, the plot is a tad esoteric, but that matters little as the screen is filled cult sacrifices, astral travelling and more Rasputin-style beards than you can shake a hedge trimmer at.

GURRUMUL Rrakala

The new dimension added by the piano is immediately apparent on opener Gopuru as the keys provide a beautiful counterpoint melody to the guitar and vocals, which are all sung in his native Yolngu tongue throughout the entire album. Mala Rrakala has a nice little chorus while the real surprises here are the flashes of colour Gurrumul adds, like flamenco guitars to open Baru and a neat little blues guitar solo on ready-made single, the reggae-tinged Ya Yawirrinj. Gurrumul’s strongest instrument is still his voice and it certainly shines as he lays down some gorgeous harmonies on tracks like Warwu. But there’s also a tougher rasp in his vocals on the soaring Djutarra, while the simple combination of voice, piano and cello make Wulminda a seriously haunting, beautiful moment. This super talentedmusician may have defied all the odds to produce a landmark Australian release.

Whilst there is little in the way of individual numbers here that stand alongside classics like Hungry Like the Wolf or Save A Prayer, the time-traveling power of this album is incredible. Mark Ronson must have creamed himself when he got offered this job. Instead of covering songs, he has covered a whole period in Duran Duran’s career.

There are many fine technical achievements here, much manical warped shredding, the intense, double time soloing through Divinations and so on, but their loyalty to the recorded work is a touch staid. The entire record is transcribed almost note for note; the only instance of improvisation arriving during the sprawling majesty of The Last Baron. It’s righteously impressive, but lacks the spontaneity of a truly great event.

MAC MCNAUGHTON

CHRISTOPHER H JAMES

NEW YORK DOLLS

PREFUSE 73

THE MIDDLE EAST

429 Records/Columbia

Warp Records

Spunk

PARADING

They’re back, after a second incarnation, The New York Dolls’ latest offers a collection of twelve well-crafted tracks – combining a hybrid blend of blues, pop and rock.

Z-Man/Fuse

Those tracks form what is their fifth studio album Dancing Backward In High Heels, and their trademark rock‘n’roll is somewhat overshadowed by heavier vintage blues and 60’s pop influences. Usually centre stage, the unbounded roaring sounds of Sylvain Sylvain’s electric guitar make way for a more layered arrangement, emphasising the sax and harmonica as rhythm instruments as well as the doo-wop backing vocals found in Fool For You Baby. The record’s one cover, Patti LaBelle & The Blue Bells’ 1962 hit, I Sold My Heart To The Junkman hints at the overall sound of the album. David Johansens’ husky smoker’s voice tells of a life that’s been lived out the sex, drugs and rock‘n’roll way, with a deep baritone quality well suited to the blues balladry on the record. It’s not all changed though. While the bluesy reflectiveness of songs such as Kids Like You are testament to their age, it is balanced out by the playfulness of Street Cake and I’m So Fabulous, which are comparable to singles from their youth like ‘70s release Bad Girl.

To revive his somewhat fading profile, experimental hip hop producer Scott Herren, a.k.a. Prefuse 73 has employed a troupe of female singers. No, wait, come back – it’s not nearly as corny as it sounds!

Their first full-length and follow-up to their acclaimed EP, The Middle East’s I Want That You Are Always Happy bursts with contradictions, in the best of ways. At times pop (first single Jesus Came To My Birthday Party) and a lot of times the haunting, dark melody the young band is known for, the album is both iconically Australian and like nothing else.

Popboomerang/MGM Even without the birds singing along at the beginning of this, you instantly see the Melbourne five-piece skipping along in a sunny park, bringing all their friends and generally having a damn good time. So good, it might be snapped up for some sort of cider or mobile phone ad. It’s a guilty sing-along pleasure with the “da da da” of the chorus, and you want to instantly look them up on Facebook so you too can be one of their friends and skip along with their sugary melodies for the two and a half minutes. The other tracks take things a bit moodier, and political with the spoken word track, showing they’re not just capable of indie-pop gems.

PAUL BARBIERI

PARADES

Water Stories Dot Dash/ Remote Control A new single for an east coast tour heralds this – full of beats, ethereal falsetto vocals, chiming guitars and little keyboard motifs. It’s a catchy track that’s very 2011. Since MGMT and Animal Collective, we’ve been surrounded by bands doing this sort of thing. Luckily, Parades do it damn well, even if it sounds a little too convoluted and intricate to be a big radio hit.

Parading

I picked this one up because I thought it would be funny to review Parades and Parading. Their names sound similar. Their bands don’t sound alike at all. This five-track EP offers up some moody indie-rock with no sign of electronic beats. It starts with a slow build instrumental over a solid rhythm section and a circular guitar line. There’s noise guitar in one song. Then things get louder, emphasising instrumentation over vocals with punchy alt rock songs, then reverting back to distorted guitar post-rock.

MAGIC SILVER WHITE Over Under Love + Mercy Synthetic beats and melodies bring this third single from MSW to life. It’s a tight rhythm beneath the washy vocals and takes some cues from Metronomy. There are definite parts to like in this, but the synths leave things a bit cold. It’s more of a droning beat until the layered vocals return. It’s nice enough, short and punchy, but it doesn’t leave a memorable melody lingering.

Dancing Backward In High Heels

After two rocky reunions that saw the death of beloved bassist Arthur Kane, the Dolls new album sees them dancing forwards, minus the heels and the glam rock of their earlier days. Look no further than Johansen’s raw swagger in the clip for the single Fool For You Baby and you’ll see they’ve still got it – dusting himself off and emerging in a top hat and suit, bowing and smiling in the face of adversity. ELLA LIASCOS

22 • THE DRUM MEDIA 21 APRIL 2011

The Only She Chapters

Eschewing any commercial sensibilities, Herren has assembled a simultaneously dense yet ethereal collage of ambient hisses and swooshes. Apparently built on his idea of modern classical arrangements, the individual melodies and glitchy beats Herren made his name with are mostly submerged under waves of static. His collaborators include operatic oddball Zola Jesus and Broadcast’s Trish Keenan who tragically lost her battle with pneumonia this January. On The Only Trial Of 9000 Suns, she supplies sensuous vocal textures rather than actual conventional singing, with only an occasional clutch of decipherable lyrics. Providing the exception to the rule, Shara Worden endows The Only Hand To Hold (you’ve probably spotted the frustratingly pretentious naming convention by now) not only a fully-fledged set of lyrics, but something resembling a verse-chorus kind of structure. The overall effect is impressively icy, with occasional bursts of yellow warmth phasing through. Zola Jesus’ Cocteau Twins-esque contribution to The Only Direction In Concrete highlights possibly the finest track here, a dizzyingly convoluted mass of audio-spaghetti, which despite its complexity, amalgamates successfully.

I Want That You Are Always Happy

The Middle East have become alt-country darlings over the East Coast since releasing their self-titled EP in 2009. Their artful reconstruction of the lush, dense surrounds of their native north Queensland garnered critical acclaim and high radio rotation all over the nation. The full-length obviously draws from the same roots, utilising careful acoustic chords with the soaring vocals of Jordan Ireland and Bree Tranter. They recall Jose Gonzalez on tracks like As I Go To See Janey, with a minimalist progression of guitar and vocals building up to a characteristic flurry of percussion and quick rhythm. The album is separated by a few beautifully simple yet enthralling piano tracks, with the appropriately-named Sydney To Newcastle being an almost classical piece, set over a recording of a city train running between the said locations.

Herren’s new sound has a Christian Fennesz influence so strong it seems like he’s spent sleepless nights studying Fennesz’s peels of feedback in excruciating detail. Yet there’s enough of Herren’s talent to make this an audio pool that reveals more detail with every immersion.

The Middle East have become the standard bearers for the far-north Queensland art scene, their acceptance into the national touring circuit and frequent airplay on radio showcasing a facet of Australian culture that isn’t always common. Dark and melancholy as the album may be, it carries an overarching feeling of hope and acceptance. The Middle East have a lot to look forward to in the future if they keep producing music that carries the same evocative atmosphere as this album.

CHRISTOPHER H JAMES

CAM FINDLAY

twitter.com/drummediaperth


+9<. +9<. (>(9, (>(9,

For many young people with depression or thoughts of suicide, the world can sometimes seem like a lonely place. Through Youth Focus, young people can access counsellors whenever they need help. This vital service turns lives around, and it’s made possible by your support through the Lotterywest games you play.

APPLICATION FORMS AVAILABLE FROM

www.ampfest.com.au, Council’s offices, Zenith Music, CIT Leederville Music Department and WAM Office or phone Kris on 9227 7962

FREE ALL AGES EVENT. DRUG, ALCOHOL AND SMOKE FREE.

24• THE DRUM MEDIA 21 APRIL 2011


LIVE

21 - 27 APRIL 2011 live@drumperth.com.au

FEATURE REVIEW

GIG OF THE WEEK :

GRACE JONES BY ELLE BORGWARD

WEST COAST BLUES ‘N’ ROOTS FESTIVAL FREMANTLE PARK 17/04/11

WOLVES AT THE DOOR

IN THE PINES @ SOMERVILLE AUDITORIUM UWA

RTRFM and Perth music’s day of days has arrived this Easter Sunday 24 April. That’s right, it’s high time for In The Pines and as is due course, the line-up just gets bigger and better each year. Due to the strength of popular local acts like rockin’ blues queen Abbe May, old favourites Red Jezebel and indie champs Fall Electric, plus the quality of emerging talent like The Brow Horn Orchestra, The Growl and Sons Of Rico, and lastly not to mention the idealic surrounds of UWA’s Somerville Auditorium… Well let’s face it, you’ve already got your ticket or you’re already sorting that business out right now. But wait, we haven’t listed the rest of the stellar acts on display! There’s The Scotch Of St. James, The Silent World, Simone & Girlfunkle, Umpire, Wolves At The Door, The Devil Rides Out, Hootenanny, Mental Powers, Seams, Timothy Nelson & The Infidels, Atolah, 6s & 7s, Tangled Thoughts Of Leaving and Usurper Of Modern Medicine. Alright, enough waffle, head to rtrfrm.com.au/events for tickets, $15/20 if you’re not yet a member.

FRONTLASH

BACKLASH

RECORD DAY RECORDS

GAGA FOR GAGA

Record Store Day was another massive success last weekend, with record stores, the Foo Fighters and Radiohead enjoying the day with massive sales spikes, and general music fans enjoying re-releases from the likes of Nirvana and The Smiths.

A Lady Gaga fan from Oklahoma is receiving medical treatment after killing a cat to make an outfit to wear to a Gaga concert. Probably not the point the pop starlet was trying to make…

BLIND AMBITION

Arnold Schwarzenegger is set to star in his own animated superhero show – The Governator – thanks to Stan Lee. Sounds awesome, right? The first trailer says otherwise.

Their minders were trying to shut them down, but The Blind Boys Of Alabama wouldn’t have a bar of it at Blues ‘N’ Roots – the trio of singers, pushing 90 and blind, continued rocking the gospel after curfew and longer than anyone.

HE’LL BE BACK

ROYALLY BORING

The wedding simply cannot pass soon enough.

LONG WEEKEND

Five days off? Thankyou very much.

DRUM MEDIA PRESENTS : IN THE PINES: ABBE MAY, FALL ELECTRIC, THE SCOTCH OF ST. JAMES, THE SILENT WORLD, SIMONE & GIRLFUNKLE, UMPIRE, WOLVES AT THE 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 THE HOLIDAYS, GOLD FIELDS: APR 28 Amplifier PASSENGER, JACKSON MCLAREN: APR 29 Indi Bar, APR 30 Norfolk Basement

FAIRBRIDGE FESTIVAL: ANDY IRVINE & RENS VAN DER ZALM, DARK HORSES, CIRCLE OF RHYTHM, FOURPLAY STRING QUARTET, THE GOOD LOVELIES, IAN LOWE, JOSEPH TAWADROS TRIO, KAMERUNGA, THE GO SET, MARTIN PEARSON, MIKE COMPTON, THE NEEDLE & THE DAMAGE DONE, RICCARDO TESI & BANDITALIANA, LOREN, VOLATINSKY TRIO, WARREN FAHEY/ DOWN THE LAWSON TRACK and more: APR 29-MAY 1 Fairbridge Village

+ UNKLE, TANTRUMS: MAY 11 The Bakery

GYPSY & THE CAT: MAY 7 Capitol

WAMI FESTIVAL: MAY 21-28 Various

HUGH CORNWELL (STRANGLERS): MAY 8 Charles Hotel

BLUE KING BROWN, DIAFRIX: JUN 2 Metropolis Fremantle

KYUSS, FORT: MAY 11 Capitol

TRIAL KENNEDY: JUN 2 Prince Of Wales; JUN 3

DARWIN DEEZ: MAY 12 The Bakery SAMPOLOGY’S SUPER VISUAL MONSTER MASH: MAY 13 Metropolis Fremantle CHOMPIN’ AT THE BEAT (RTRFM): MAY 14 The Bird BOY & BEAR, JINJA SAFARI, EMMA LOUISE: MAY 19 Capitol + OWL EYES: MAY 20 East End Bar; MAY 21 Malt Market, Dunsborough; MAY 22 The Bird

Amplifier Bar THE MIDDLE EAST: JUN 8 Fly By Night PEGZ: JUN 10 Prince Of Wales; JUN 11 Civic Hotel ART VS. SCIENCE, STRANGE TALK: JUN 30 Metro City MIAMI HORROR, GOLD FIELDS: JUL 7 Villa FUNERAL PARTY: AUG 2 Capitol + AMPFEST: AUG/SEPT Various + BASTARDFEST: PSYCROPTIC and locals: SEP 24 Civic Hotel ONGOING: GIGNITION: Upcoming band showcases 5-9pm each Sunday at Swan Basement

For the second year running Fremantle Park played host to the West Coast Blues ‘N’ Roots Festival and early festival goers were met with overcast and humid weather and a frustratingly elaborate entry system into the venue itself. The teething problems experienced at last year’s edition were still yet to be completely ironed out, but an iconic line-up and free recyclable cardboard chairs did much to ease most general irritations. The festivities were livened early by a live showing of SBS One’s RocKwiz programme on the Big Top Stage. Host Julia Zemiro was in typically enthusiastic form throughout, introducing the likes of Tim Rogers, Marcia Hines and Augie March’s Glenn Richards into an almost two hour show that ended in an unlikely duet between Hines and Richards. Over on the Park Stage Aussie festival regular Washington played a likeable set scattered with triple j faves such as Rich Kids and Cement. While not the main drawcard for most people, her easy going indie-pop made for the perfect introduction to the next act, Elvis Costello & The Imposters. The remarkable thing about Costello is his ability to dabble in any musical form he wants, and while his jazz, country and classical records weren’t represented in what was a fine career-spanning set, his ragtime blues adventures got a look in with A Slow Drag With Josephine, played solo. Watching The Detectives was a highlight and I Don’t Want To Go To Chelsea pleased long-time fans. The rewarding set was seen out with Pump It Up and What’s So Funny About Peace, Love & Understanding. As Costello warmed the crowds on the Park Stage, legendary gospel singer Mavis Staples appeared on the Big Top Stage to huge applause. With three brilliant backing singers and a simple three-piece backing band behind her the 71-year-old put in one of the performances of the festival. A phenomenal cover of The Band’s The Weight was an immediate highlight, and the singer’s unrivalled passion on every number was lapped up by an appreciative audience. Hippie poster-child Michael Franti & Spearhead caused a riot of good will when he took to the stage and he had the whole park dancing, with smiles aplenty. Whether he dived into the audience, or dragged the audience on stage, audience connection was what it was all about. Robert Randolph & The Family Band were also intent on good times over in the Big Top, playing irresistible deep south blues-funk. While everyone got their groove on, Randolph played Michael Jackson melodies over his band in his lapsteel solo. Large expectations waited for Bob Dylan and he and his band seemed to be ready for fun, launching into the set with Gonna Change My Way Of Thinking. Dylan played piano for most of the set, only picking up the guitar for a heartfelt Don’t Think Twice, It’s Alright – given extra weight

twitter.com/drummediaperth

since the song’s inspiration, Suze Rotolo, passed away earlier this year. Highway 61 Revisited, High Water and Tangled Up In Blue were definite highlights as Dylan prowled the stage like a gravel-voiced preacher. Like A Rolling Stone brought a cheer and a couple of thousand people howling “How Does It Feel?” to the near full moon, before Forever Young closed the set, one that seemed to leave a few of the less-diehards a little underwhelmed. With Dylan drawing the largest crowd of the day the strong turn-out for reggae heroes Toots & The Maytals over on the Big Top Stage appeared to surprise even the band themselves. Audience members were keen for a dance and the band didn’t disappoint, frontman Frederick “Toots” Hibbert smiling his way through every song. Ever the provocateuse, Grace Jones made sure people stuck around to see her and by three songs into the set they’d perhaps seen more of her than they bargained. Wearing heels and little more than a leotard, Jones had people smiling and gasping at her showmanship, and dancing in equal measures. Over in the Big Top, The Blind Boys Of Alabama were holding their Sunday night sermon. Yes, it’s alright to dance to gospel, especially when they’re covering Tom Waits’ Down In The Hole or singing an inspired version of Amazing Grace to the tune of House Of The Rising Sun. The tent turned into a church when lead singer Jimmy Carter was lead through the audience by his minder. All three singers, blind and in their 80s, were all moved by the audience and danced up a storm, leading the crowd in moshing before they finally, reluctantly, finished their set in a spiritual fashion fitting for the Blues ’N’ Roots faithful, who enjoyed another lazy day of quality tunes from some truly legendary acts. JASON KENNY AND KITT DI CAMILLO

THE DRUM MEDIA 21 APRIL 2011 • 25


LIVE

21 - 27 APRIL 2011 live@drumperth.com.au

FEEDBACK

OVERDRIVE THE CHARIOT Amplifier, Perth 15/04/11

TAKING BACK SUNDAY

ALL THINGS PUNK AND HARDCORE WITH LUKE BUTCHER. The week passed has seen several high quality international acts destroying the city of Perth. Most notably The Chariot tore this city a new ring, accompanied by Adelaide’s Nazarite Vow with plenty of support flying the flag with the black swan on it coming from Statues, Vanity, Mom, Dad & The Kids and Afraid Of Heights. Whilst the man known as City & Colour has come and gone, Dallas and co. left behind a path of folk goodness and majestic beauty of which all in attendance will agree was a show not soon forgotten. Likewise Escape The Fate and Pierce The Veil will leave their mark this weekend, whilst Emery will no doubt tear apart Amplifier Bar this Sunday with help from We Are The Emergency, Chasing The Ninth and I, Said The Sparrow. Whilst on the topic of releases, local lads We Can Breathe In Space also launched their newest release at Oh Snap last week. Several acts all over this big round world have made progress with their own releases: Taking Back Sunday have revealed a new track off their upcoming self-titled album due out June 27; Incubus have debuted a new song Adolescents from their long awaited June 12 release of If Not Now, When?; Manchester Orchestra have posted a new track Simple Math – the title track from their upcoming third album; and last Tuesday saw the release of Thursday’s new album No Devolucion. On top of these acts, The Wonder Years have released the track listing for their third studio album Suburbia I’ve Given You All And Now I’m Nothing set to be released on June 14. Also to be released on that cool winter’s day, The Dear Hunter’s ambitious nine-EP The Colour Spectrum will be available in a vinyl box set, complete with digital download card. A sneak peak of the Red EP has been made digitally available through the band’s website in the form of Deny It All. In other news Four Year Strong have parted ways with their keyboardist Josh Lyford choosing to go on as a four piece; Emarosa have finally kicked Jonny Craig out of the band; and after getting the band “back to full strength” Misery Signals have outlined writing for their upcoming fourth album is set to begin in June. Shows recently announced for Perth include Trial Kennedy hitting Amplifier Friday 3 June with support from Wolves (who launch their own single Children at The Rosemount this Saturday), and Amy Meredith pop into Capitol Friday 21 May. Likewise the gang at Soundwave have decided that just one stellar festival a year isn’t enough and have endowed loyal fans with Soundwave Revolution. Acts already announced include Steel Panther, Sum 41, D.R.U.G.S., Funeral For A Friend, Story Of The Year, The Acacia Strain, Every Time I Die, The Damned Things, Zebrahead, Devin Townsend, Hellogoodbye and many more. Other community updates include Alice In Chains frontman William DuVall producing a feature length documentary on the hardcore scene of Atlanta entitled All Alone Together. And with heartfelt commiserations this scribe is pained to reveal that possibly one of the greatest bands currently in existence are no more. California’s RX Bandits have decided that their upcoming North American summer tour will be their last. R.I.P.

With a tour as highly anticipated as this one, the night had no choice but to kick the shit out of the audience from the get go. Thankfully Statues were on hand to do just that. Perth’s answer to the Georgia headliners, the openers delivered a set that was itself of headlining quality. There is no doubt big things are ahead for the intimidating four-piece. Up next, Afraid Of Heights powered through their set with enough force to keep their fans satisfied and gain a couple more. After taking some time to get going, Vanity performed an endearing set, the first of the night to get the pit dancing. Monotonous vocals were fortunately offset by some atypical guitars and all-round tightness. The night’s main support from the city of churches were Nazarite Vow whose honest, gimmick-free delivery shone brightly, standing out for its individuality. The only act to spend the entirety of the set on-stage, the band played and played well, letting the music speak for itself. Describing what unfolded as The Chariot took to the floor is near on impossible, but he we go. Playing their set (with the exception of the drummer) on the floor amongst the crowd, the hardcore five-piece provided the soundtrack to the apocalypse, doing so with a sense of community and performance-art style expression that sets the act above their extensive contemporaries. Although it was hard to remember what was played, the oblivion that unfolded will long remain the benchmark for those to come. Anyone who didn’t catch the band can only be urged to hit the web to see what they’ve missed. LUKE BUTCHER

kicked off a diverse, albeit all hardcore line-up with an unmerciful and aggressive set. It was the first time this reviewer had caught the five-piece and what really gelled their sound together was a doubling up on the vocals and the vicious delivery from the male and female vocalists. Warthreat haven’t been gigging long either but the four piece have a distinctive sound, with the vocalist’s delay pedal transforming the frenetic songs with swirling loud vocal delay that trails off or builds to ear piercing levels. Lie Cycle had a more trad approach to their familiar repertoire, the psyched-out vocals of Warthreat traded for vicious screams and unrelenting riffs. Swelling walls of crunchy feedback signifies the start of Drowning Horse, but sometimes it’s hard to tell until the first song begins to take shape and some more tangible melody creeps in. The rumbling low frequencies that roll off the stage punch right into your gut and the tortured, howled vocals all work to emote pure misanthropic rage. It was a majestically dark set, the sludgey doom making for a great transition into the headliner’s heavier sounds. Canberra’s I Exist destroyed my stereo last year with I: A Turn For The Worse so it’s great to see them smash through their work live on stage, and even though the effect’s markedly different to their recorded work, the band manage to conjure an even heavier sound. The band’s down-the-line hardcore sensibilities are offset with monolithic heaviness and doom riffing and even if it wasn’t a lengthy set, it was punchy enough to not be lacking in any field. There was a stack of cuts from their debut release and a few tracks from the upcoming release to whet the appetite leaving the crowd anticipating what’s going to come out once Billy Anderson (Melvins, Sleep, Eyehategod etc.) finishes with it all.

BURN TO THE GROUND Slowly taking the Brisbane music scene by surprise with hard-hitting riffs, face-melting solos and powerful lyrics, Burn Down Hollywood have a work ethic that can’t be questioned. With the imminent release of their self-titled EP, BDH has gone all out, forging an audio experience that surpassed even their own expectations, and their bringing that experience to WA in April. Catch them at the Prince Of Wales Wednesday 20 April; Oh Snap!, Black Betty’s Thursday 21; Cockburn Youth Centre for Clandestine Festival Saturday 23 at 5pm; and Ya Ya’s 11pm on the same day.

A-OKAYE After a year that’s included supporting Jason Mraz in LA, Paul Dempsey in Hollywood and performing at big Oz Festivals such as Splendour In the Grass, Nathan Kaye’s back in WA with his new show at his fav WA stompin’ grounds. These include Didgeridoo Breath in Fremantle Thursday 21 for a workshop and show; Cape Wine Bar in Dunsborough Saturday 23; and Caves House, Yallingup Sunday 24 April, with Simon Kelly in support.

LOREN ON THE MOON Former Fremantle-based troubadour Loren is returning this month with his band for a tour of Perth and the south-west, starting with shows at the Fairbridge Festival, April 29 – May 1. Loren has been busy finishing off third studio album Listening To The Moon with his band, due for release mid-2011. They also play Indi Bar Wednesday 4 May; Quindanning Hotel, Thursday 5; Clancy’s Fremantle Friday 6; Settlers Tavern Saturday 7; and Redcliffe On The Murray Sunday 8 May.

TRISTAN BROOMHALL

SPARKADIA Capitol, Perth 16/04/11

CHAOS DIVINE

Arriving to Capitol some 10 minutes after the advertised start time of 8pm left this reviewer sadly catching only the finale of Melbourne band-to-watch Alpine, however it was more than enough to see why the dual-female led indie-pop group are on the up. Please Capitol stop beginning your Saturday night shows at 7.30pm! Those arriving closer to the right time would have seen most of Operator Please’s sadly lacklustre set. There’s no denying the group’s talent, but one just felt the youngsters were a little tired at the end of a long national tour as they struggled through sound difficulties and lifeless renditions of usual crowd-stirrers Just A Song About Ping Pong and Back And Forth. Feeling no such strains of a long national tour were a very dapper (if not funeral dress-appropriate) looking Sparkadia, who went straight into the title track from their latest LP, The Great Impression. While it’s frontman Alex Burnett’s beast now, the new group looked as though they’d been together for years – tight as hell and with a warm and greatly appreciated camaraderie. What ensued was an early contender for this reviewer’s gig of the year – you know it so when the five-piece can confidently drop Talking Like I’m Falling Down Stairs so early in their set. It was packed with old favourites like Animals, Too Much To Do and Morning Light, which slid beautifully alongside new ones such as the dramatic Mary and set-closer China – chimes and all. In a show filled with goosebump-inducing moments, the one-two encore of Hurt Me (Burnett showcasing his voice beautifully), and Jealousy only served to highlight this as a gig worth savouring. And if they’re coming back in September as Burnett promised, I’d suggest you get onto tickets the second they come out.

The Rosemount 15/04/2011

The Den, Inglewood 16/04/2011

With the world buckling under the weight of bands trying to create abstract and ambient metal, there are few that have achieved the delicate balance between abstract ambience and punchy effective songwriting. One of those bands is the ball-tearingly good Chaos Divine. On Friday night they celebrated the release of their second full-length album The Human Connection at the Rosemount to a packed house. Genre-bending locals Tangled Thoughts Of Leaving are the experimental architects of mood altering sonic experiences. Repackaged jazz is the key here, with heavier elements creeping in to provide the twisting and turning of emotions. The tightly-packed crowd were treated to sweeping cinematic style soundscapes that require closed eyes, imagination and perhaps just a few licks of a Poison Arrow Tree Frog. The mash-ofkeys approach dominated for long periods, but when the band finally get involved they invoke darkly intense imagery of the highest calibre. It takes a lot to move straight from the undercard to the headline and Chaos Divine moved with the distinguishable swagger that comes from a band that is satisfied with its current position at the top. Their superior level of musicianship allows a technicality that can only be achieved with a basis of knowledge, while the creativity allows for a tastefully worked simplicity. Chaos Divine are heavy, unmistakably so, but the gentle touches they weave serve to highlight these points of intensity rather than simply override. New album The Human Connection featured heavily, with One Door, The Beaten Path and Invert Evolution tearing shreds off any patron that wandered in unprepared and the guys truly showed why they are a headline act. The release of this album marks the end to the humble beginnings of a band destined for success.

Little known Perth scene microcosm Clenched Teeth

SIMON HOLLAND

TROY MUTTON

I EXIST

AIDEN VARRO

LOVERS, LIARS The third album from Aiden Varro is released this week and sees him experimenting with a diverse array of string instruments including the 12-string guitar, banjo, acoustic bass and ukelele to shape the sound of his new reggae and rock inspired CD. His band will release track number 14 of the album Brothers, Lovers, Liars exclusively to the Indi Bar in Scarborough this Sunday 24 April with A Beggars Second supporting the occasion.

CoopersTV is a dedicated YouTube channel featuring all the great stuff Coopers are into. Things like music, food, grassroots sport and of course, beer. Check out Rock ‘n’ Roll BBQ with comedian Matthew Hardy, The Australian Music Prize (AMP), RocKwiz Road Stories with Brian Nankervis, plus much more. All exclusive to CoopersTV.

26 • THE DRUM MEDIA 21 APRIL 2011

twitter.com/drummediaperth

cooperstv.com.au

kwp!CPR11118

We’ve brewed a TV channel.


LIVE

21 - 27 APRIL 2011 live@drumperth.com.au

STREET BEAT

DAYUM AFRICA

Each year Fremantle is the place to be during the Easter long weekend and 2011 is no different as the Fremantle Street Arts Festival’s curtains rise on Australia’s biggest and best street performing festival from April 23-36. Twenty-two of the best street performers from around the globe are heading to the restaurants, pubs, streets and old buildings of Fremantle to perform more than 150 shows over four days. Notable performers include street/break dancing acrobat Stalker (NSW), video-walking puppetry troupe HomoCatodicus from France, USA Breakdancers, Funny Bones from Tokyo and The UK, 70-foot lasso-spinning Leaping Louie (Utah, USA) and gentlemen jugglers Married Men from the UK. Head to fremantle.wa.gov.au for more details.

A feast for the eyes and the ears, tribal dance band Dunumba will have you dancing the night away to the infectious rhythms of traditional African. Together with flamboyant costumes and an array of fine instruments, this group is dynamite. It all happens at Kulcha, Saturday 23 April. Presale $12, Members $10 and $15 at the door.

SUMMER STINA Summer might be climatically over but Stina is doing her part to stop climate change when she launches her new album Summers In Mariana at The Bird on Monday 25 April. Head down for a bit of premature summer nostalgia, hosted by the unique sunshine fuelled sounds of the dreamy avant-garde songstress.

SUPERGROUP-ERS Having adventured around the local underground rock circuit the last 18 months, psychedelic boogie-rock fiends Datura will pump out one local gig before gearing up to support ZZ Top. Made up of familiar faces Greg Hitchcock (You Am I/The Monarchs), Dom Mariani (Stems/Someloves), Stu Loasby (6s & 7s) and Warren Hall (Volcanics/Black Buzzard), Datura are a four-piece “band’s band” with some serious qualifications. They will let fly tonight, 21 April at Deville’s Pad to road test tracks from their upcoming album before supporting ZZ Top at the Kwinana Motorplex on Saturday 24 April.

EASTER FIX If church is not your thing, why not spend your Easter Thursday at Devilles Pad hanging out with The Volcanics for the launch of their new album. Don’t mind the easter-eggs, what more could satisfy you than Happy Hour drink specials and if your hungry, Devilles will even fix you up with a bite to eat. Supported by Datura, The Sure-Fire Midnights and Disc Jocks, it all starts at 6pm, Thursday 21 April.

MILAN’S MISCHIEF The quirky and alluring sounds of Miss Nicole Milan will have you hanging onto every phrase, from belting out gutsy blues lyrics one minute then soft vocal whispers the next. Having her single Take Your Chances, featuring in indie film Kittens of Woodlake, Milan brings her charm to the Indi bar Wednesday, 27 April for a night of eclectic Latin rhythms mixed with upbeat blues.

THE FORCE With their powers combined… That Velvet Echo joins forces with Freya Hanly to deliver their collection of raw and honest tunes in celebration of the Easter weekend. Having not yet announced the release of their debut EP Silence they plan to test out their latest work live at Settlers Tavern in Margaret River Thursday 21 April, on the Norfolk Basement crowd in Fremantle this Saturday 23 April.

CONTEMPORARY MUSIC INDUSTRY NEWS WITH JUSTINE THORNLEY

LIVE FESTIVAL & LICENSING PITCHES WAM is excited to announce submissions are now open for the Licensing Pitch and Festival Pitch panels at the 2011 WAMi Festival. The pitch panels take place Saturday 28 May. The Licensing Pitch Panel gives 10 Sonicbids artists or representatives the chance to pitch a track to a panel of music publishers, music supervisors and advertising representatives from around Australia. The Festival Pitch Panel gives eight Sonicbids artists the chance to give a 60-second pitch and perform two tracks to a panel of festival booking agents from Australia and beyond. Both sessions will be in front of a live audience at the 2011 WAMi Festival. Submissions close 11:59am Thursday 28 April 2011. Head to wam.asn.au/workshops for more on how to apply.

WAMI PROGRAM TASTER WAM are proud to announce the 2011 WAMi Festival Teaser Program is now available online… a whopping eight days and nights dedicated to showcasing West Australia’s contemporary music diversity and also offering industry workshops at low or no cost at all. Call us crazy? Sure… but supporting the local music community is what we do year round. Check out this year’s incredible flavour array at wam.asn.au/program - but do not lick your screen – as noone’s invented taste-ovision yet…

SCOTTIE DOESN’T KNOW Former pianist for Bo Diddley, Scottie Miller has a soulful way of writing and delivering a song that will improve your mood and lighten your load. His new release, Elixir For The Soul, as the name implies, is almost medicinal, and you can hear tunes from it and more Tuesday 26 April when he is joined by the Gary Cox Band, Craig Pinkney and Damon Carren at the Perth Blues Club, Charles Hotel. $25/20 for members from 8pm.

CYCLONE WARNING Long time jazz folk chanteuse around town, Tessa Davis, has concocted a perfect storm of melody and rhythm with her new project Cyclone Tess. Reggae, rock, blues, folk and grunge all combine in a mysterious whirlwind and you can catch it all at X-Wray Cafe in Fremantle on Wednesday 27 April.

THE DESCENT

UMPIRE

RED CARD Hot on Umpire’s agenda this weekend is the launch of their new single Green Light District from the album Now We’re Active at Amplifier Bar this Saturday 23 April. Joining the party are special guests Felicity Groom, Split Seconds and The Wine Dark Sea, for a night of toe-tapping, head-nodding indie-rock. The group then launches their album Saturday 4 June at The Rosemount Hotel, check back for more details closer to the date.

SINGLE STORY

WAM UPDATE

Head to Rocket Room tonight for a night of metal with Vesper’s Descent hosting the ‘Lama Sabachthani’ – Good Friday Eve. They’ve asked fellow sharp metal maniacs Nails Of Imposition, the rolling thunder of Khariot and the full metal fury that is Paradise In Exile to support. Kick on afterwards with DJ Brett Rowe and Everlong keeping the good times rolling til the wee hours.

twitter.com/drummediaperth

WOLVES

WOLVES RELEASING THEIR FIRST SINGLE CHILDREN THIS WEEKEND, WOLVES FRONT MAN ADAM BURFORD GIVES THE LOWDOWN ON HOW IT CAME TO BE. Children came from a jam we had about a year ago, based on a finger tapping guitar riff Russ had written in his bedroom (I’m assuming, I never actually asked where he wrote it). It was something very different to what had come before. I was still fairly new to the band and we were all excited like kittens at the potential of the song and the direction Wolves was going on the back of this tune. Then events turned sharply, as only sharp turning events can, and within a month we’d thrown the song out, vowing to never play it or speak of it again (not exactly, but almost). Somewhere between then and now we decided not to let Children die the death of a thousand silences, resurrecting it, reworking it and choosing it as the first single off our debut album, Thieves & Lovers, due later this year. The song evolved with a hopeful kind of energy about it, something bordering on happiness, which was unchartered territory for the band. I ran with this vibe in the lyrics and made it the chronological starting point of an album that ostensibly tracks a relationship from birth to death. Children’s theme is two fold – with the literal story one of falling in love and likening that feeling to youthful naivety, a time when “we knew no never, we knew nothing’s impossible”. Then there’s a deeper meaning, but I’d sooner people found their own interpretation. So it was in 2010, we jetted off to Northern California and Sylvia Massy’s Radio Star Studios armed with this song and about a dozen more. Children quickly revealed itself as a favourite of Massy’s and a strong contender for our leading track off the album. It was an undeniably amazing experience to record with someone of her ilk and CV. We five Wolves standing around a mic with Sylvia beside us, arm in arm; screaming “We Are The Children” is a picture I wont soon forget, having immediately scribbled the scene down on a conveniently handy etch-a-sketch. Of note, my original second verse of the song was scrapped in the vocal booth and I had about five minutes to rewrite the melody and lyrics. This was probably the sharpest alteration we made in the recording process and the song turned out all to the better for it. WHO: Wolves WHAT: Children (Independent) WHEN & WHERE: Saturday 23 April, Rosemount Hotel, North Perth.

THE DRUM MEDIA 21 APRIL 2011 •27


LIVE

21 - 27 APRIL 2011 live@drumperth.com.au

HAVE YOU HE ARD

SINGLE STORY

THE BIBLE BASHERS STRANGE TALK

AMEN BLACKMILK

BLACKMILK RELEASING THEIR LATEST SINGLE COURT OF THE BEES THIS WEEKEND, BLACKMILKâ&#x20AC;&#x2122;S TIM SHERRY GIVE US THE STORY BEHIND THE TRACK.

Heeding to the call of a higher power, gutsy filth-merchants The Bible Bashers are calling it a day. They will not be going out quietly, however. The localsâ&#x20AC;&#x2122; final gig will be a full-on bible-bashing extravaganza, with support from the likes of Chainsaw Hookers, Blazing Entrails, Like Junk and The Fags, as well as some burlesque goodness from the Carnies With Candy. The Bashers will also release their final collection of teachings for true believers, The Bible Bashersâ&#x20AC;&#x2122; Prayer Book Volume II. Get converted on Sunday 24 April at Devilleâ&#x20AC;&#x2122;s Pad for $12.

SINGLE STORY

When and where did you write the song? Our bass player John came in with the original idea for the track and we all really hooked onto the groove of it, it came together really freely from there...one of those songs which just slipped into place. What is the song about? The lyrics are based on an ancient Sufi sect of mystics called the Sarmoung Brotherhood or â&#x20AC;&#x2DC;Court Of The Beesâ&#x20AC;&#x2122;, that James was reading a lot about when we wrote the song, so lyrically itâ&#x20AC;&#x2122;s quite esoteric. At the same time, I think it has quite a personal feel to it.

THE MDC

THE MDC

Inspirations? Listening to a lot of soul and hypnotic electronica like Flying Lotus inspired the production of the track, the remix especially. Although, it does sound more like a soundtrack to a western! Thereâ&#x20AC;&#x2122;s a bit of reggae in there too, I think. We were also trying to strip things back a little and keep a more organic, open sound and embellish rather than complicate.

RELEASING THEIR LATEST SINGLE MR SUGAR THIS WEEKEND, THE MDCâ&#x20AC;&#x2122;S RICHARD STAGG GIVES US THE STORY BEHIND THE TUNE.

Whatâ&#x20AC;&#x2122;s next for your band? Weâ&#x20AC;&#x2122;re just finishing off the filmclip for this track which was filmed in a very surreal setting â&#x20AC;&#x201C; a German restaurant actually. Plus our debut LP which is coming along nicely, weâ&#x20AC;&#x2122;re planning for a release late this year. WHO: Blackmilk WHAT: Court Of The Bees (Independent) WHEN & WHERE: Saturday 23 April, The Bird, Northbridge

follow your noise WZLWWHUFRPOLIHLVQRLVH IDFHERRNFRPOLIHLVQRLVH ZZZOLIHLVQRLVHFRP

Well Mr. Sugar was one of the first songs I worked on when I started writing for this project. I wanted it to have a kind of Hey Jude vibe, where the song just goes completely off on one after the second chorus. But it ended up being a pretty solid pop-rock tune, still has a bit of a trek at the end though! The vocals were literally written about two minutes before recording them, and so hence the absurdist-esque lyrical theme running throughout. The song is pretty much about nothing. Who cares anyway? Iâ&#x20AC;&#x2122;d had more than a few Coronas that day. Altogether when recording the EP I wanted to have one track each that represented a specific style of music that I love, and with Mr. Sugar it was definitely Beatles time, Not your â&#x20AC;&#x153;Yeah The Beatles influence our music but we play completely different shit anyway,â&#x20AC;? sort of thing; I definitely wanted to get that sound out of not only the guitar double tracking, but the vocal harmonies. The whole verse it subtly harmonised in three parts and with that big double-echo sort of effect ala John Lennonâ&#x20AC;&#x2122;s vocal recordings. And then at the end it was time to let rip with the big screams, stamping it as a rockâ&#x20AC;&#x2122;nâ&#x20AC;&#x2122;roll song that demands attention. But of course the chorus lyrics had to be nice and simple; party time. This song is a good one for me, it has a real earthy feel to it â&#x20AC;&#x201C; not every song can be an absolute barnstormer now can it! Itâ&#x20AC;&#x2122;s probably one of the few times in my writing over the years that I really wanted to nail the textures and shapes of the vocals, and probably the only time its come back with great results. I wanted to be able to hear the restrain in the voice for the first half of the song, and slowly let it drip into a big open delivery and absolutely shred at the end, like to hear that every instrument is absolutely spent and the voice is about to goâ&#x20AC;Ś and then BANG â&#x20AC;&#x201C; who can resist going all punk rock at the end? Probably one of the most fun songs to play live for us. A good insight into what The MDC is all about, get on it! WHO: The MDC WHAT: Mr. Sugar (Independent) WHEN & WHERE: Saturday 23 April, Ya Yaâ&#x20AC;&#x2122;s, Northbridge

28 â&#x20AC;˘ THE DRUM MEDIA 21 APRIL 2011

The long-awaited (almost four years in the making!) third LP by resilient Perth metal act Enforce is finally being launched tonight at Amplifier. Itâ&#x20AC;&#x2122;ll be a full-force metal attack to celebrate their album, Biblakill on the day before Good Friday. Theyâ&#x20AC;&#x2122;re joined by Sins Of The Father and Ill Vision, plus Anger Managment DJs and the Prime Cuts Merch stall for all your metal needs. $15 from 8pm.

JONNY MNEMONIC

Type of sound? Salsa-Psy-Twang.

Where and when was it recorded? Weâ&#x20AC;&#x2122;ve been playing the track live for some time now and recorded it late last year at our home studio and Underground Studioâ&#x20AC;&#x2122;s with Matt Gio who is the main man when it comes to vintage sound and gear.

THE ENFORCERS

Local acoustic act Jonny Taylor has a busy couple of weeks over the holiday period â&#x20AC;&#x201C; whatâ&#x20AC;&#x2122;s different? The hard working troubadour plays The Oxford Hotel tonight; Caves House, Yallingup Saturday 23 April; Bootleg Brewery, Wilyabrup and Broadwater Bar, Busselton Sunday 24; M On The Point, Mandurah Monday 25 and Friday 29; Dunsborough Tavern Saturday 30 April; and Broadwater Bar again Sunday 1 May.

NOT DAVINâ&#x20AC;&#x2122; IT Still riding high after being nominated for three WAMiâ&#x20AC;&#x2122;s, Freoâ&#x20AC;&#x2122;s favourite funky sons Dilip Nâ&#x20AC;&#x2122; The Davs are heading north of the river to bring their unique blend of roots, funk and groove music to Perthâ&#x20AC;&#x2122;s newest original music night at The Shed, tonight. Come on down to kick start the five day weekend with a bang.

SNAP WALKER Oh Snap at Black Bettyâ&#x20AC;&#x2122;s are throwing one heck of a party this week, so line-up and come hang from 9pm with Sleepwalker, headlining this week and joined by Bridge The Gap in their first 18+ show, Burn Down Hollywood from Queensland and Break. All of these bands know how to rock, so bring your dancing shoes for some good time throwdowns. Misery Loves Clothing are giving away threads, and the DJs keep the punk, hardcore, party and dub tunes flowing after the bands.

STRANGE TALK From: Melbourne. Next gigs: Thursday 21 April, Curtin University Tavern, Bentley; Thursday 30 June, Metro City w/ Art Vs. Science. Your sound: Electro/pop/rock, but everyone likes to say weâ&#x20AC;&#x2122;re the love child of Phoenix and Passion Pit, which is a massive compliment. Bandâ&#x20AC;&#x2122;s name comes from? Too many beers and not enough sleep. Around since: February 2010. Bandâ&#x20AC;&#x2122;s greatest strength? The ability to demolish a rider before a gig, and write catchy songs. Bandâ&#x20AC;&#x2122;s worst gig ever and why? Towards the end of last year at the Espy, our backing track system crashed for every song and some old guy had a heart attack on the dancefloor. Definitely a night we wonâ&#x20AC;&#x2122;t forget! Best achievement? Winning the triple j Unearthed Parklife gig, and gaining the incredible support of triple j. Any gig in history which would it be and why? Michael Jacksonâ&#x20AC;&#x2122;s Dangerous concert at Wembley Arena. Iconic performer at an iconic venue. Fave hangover cure? Keeping drinking. Fave Perth bands? Tame Impala. Fave bands from your state? Gypsy & The Cat, Midnight Juggernauts, Cut Copy. Biggest bands youâ&#x20AC;&#x2122;ve supported? The Rapture â&#x20AC;&#x201C; great guys too. Our ultimate groupie would beâ&#x20AC;ŚJessica Alba or anyone that looks like her. Fame for your band would meanâ&#x20AC;Śthat people really like our music and that we can keep doing what we love. Any releases out? Our self titled EP, Strange Talk, is available now on iTunes, through Fine Time Records and Neon Gold and accompanied by four great remixes of our current single, Eskimo Boy. More info: myspace.com/strangetalkmusic, facebook.com/strangetalkmusic, twitter.com/ strange_talk, strangetalkmusic.com.

EMERY BOARD Local rockinâ&#x20AC;&#x2122; outfits We Are The Emergency, Chasing The Ninth and I, Said The Sparrow support everevolving South Carolina rock quintet Emery at Amplifier this Sunday 24 April. To coincide with their first headline Australian tour Emery have released their muchanticipated fifth studio album We Do What We Want. Australian fans will be some of the first in the world to witness new tracks taken from the album, along with fan favourites from their extensive back cataloge. COMBINED DEATHTOLL

CALL OF DUTY Over the Easter long weekend do Your Civic Duty at the Civic Hotel, Inglewood. Saturday 23 April will feature 20 of Perthâ&#x20AC;&#x2122;s top metal and hardcore bandâ&#x20AC;&#x2122;s including Combined Death Toll, Paradise In Exile, Grotesque and Blunt Force Trauma. Thereâ&#x20AC;&#x2122;ll also be roaming characters from the Twisted Vaudeville Circus including a Fire Eater, Contortionist and Snake Dancer. The guys from JAR Modifications will be there showcasing the weird and wonderful world of piercing, plus thereâ&#x20AC;&#x2122;s an all day BBQ, merchandise stalls, door prizes and giveaways. Pre-sale tickets for Your Civic Duty are available from heatseeker.com.au, Star Perth, Mills and Planet.

twitter.com/drummediaperth

SIREN EFFECTS After two huge back-to-back launches for their new single Floods, West Aussie acoustic/electric rock act, The Siren Tower have been invited out on the road with Brisbaneâ&#x20AC;&#x2122;s The Butterfly Effect for their Four Wheels & A Heartbeat Tour. They play Studio 146 in Albany Thursday 21; Prince Of Wales in Bunbury Saturday 23; and finally Metropolis Fremantle Sunday 24 April, tickets through Oztix.

THE EMPIRE Theyâ&#x20AC;&#x2122;re back at the Mount Helena this Sunday the 24th of April from 4 til 8pm for what should be a great show with a trial run of some new original material. So if youâ&#x20AC;&#x2122;re not going away for the holiday break come along for an afternoon of Empire Blues.


THE DRUM MEDIA 21 APRIL 2011 •29


21 APRIL

2011

DJ NDORSE HOW DID YOU GET YOUR DJ NAME? Initially it was an emcee name for a hip hop side project and now it has become a general guise for any of my solo antics, be that DJing, beatmaking or whatever else I decide to do come the weekend. IN A NUTSHELL, DESCRIBE WHAT YOU PLAY... It varies from gig to gig, but my strengths lie around dubstep and beats of a hip hop/jazzy variety. However, I like to play to the mood of a room so if five Disney songs back to back is my calling card, prepare to holla at Hakuna Matata. WHAT MADE YOU START DJING? Just a love of music and records and a passion for connecting things together. I use to make a lot of mix tapes and CDs for friends (but mostly myself); premix stuff mainly, so I guess doing it live was a natural progression. WHAT’S THE WEIRDEST THING YOU’VE SEEN IN A NIGHTCLUB? A blow up sex sheep doll bounced its way from the front to back of a crowd and out the door before you could say the words “bah bah black sheep” as someone grabbed it and ran. NAME THE FUNNIEST RECORD YOU’VE EVER PLAYED... There’s nothing quite like dropping a Richard Cheese interlude in the middle of a really gangsta hip hop set. THE MOST IDIOTIC REQUEST

YOU’VE HAD AS A DJ? Normally it starts with the words “play some fucking…” and ends with “Accadacca” – I’m sorry I don’t speak your strange dialect. But now I have a pretty hilarious dubstep remix to cover said situation in future. WHAT DO YOU DO IN REAL LIFE? I teach camera and editing workshops/assist student projects at UWA, freelance edit and film for several production companies/ run a small media business and do a handful of other things including being the singer/songwriter in The Brow Horn Orchestra. WHAT SCHOOL DID YOU GO TO AND WHO’S THE MOST FAMOUS PERSON TO COME OUT IT? Shenton College and probably Gemma Ward. IF YOU COULD PICK ANYONE IN THE WORLD TO BE YOUR BESTIE, WHO’D IT BE? Bruce Willis – What a badass! THE BEST TRACK THAT NEVER FAILS ON THE DANCEFLOOR? Nah’mean Nah’m Sayin’ by The Herbaliser or a lot of the dubstep remixes/mash-ups I tend to drop. Mixing popular tracks with wobble worthy basslines – always a winner. MUSICAL INSPIRATIONS? Mr. Scruff is probably one of my favourite DJs of all time; he takes people on amazing journeys and provides really seamless sets, and

PHOTO BY ELLE BORGWARD is a fantastic producer. Lots of Ninja Tunes/Tru Thoughts artists, Stones Throw acts…it goes on. WHAT DO YOUR FOLKS THINK ABOUT WHAT YOU DO? They’re very supportive of my music, obviously mainly the band as that’s my central focus. My mum was a musician in her time and my dad’s a big music lover so there’s lots of great backing in that department. FAVE SET YOU’VE EVER PLAYED? Probably the other weekend in Dunsborough at the Malt Bar. I was DJing jazzy electro swing type stuff before our band’s set and it really seemed to hit the mark. ANY RELEASES OUT, OR IN THE PIPELINE? Double A-Sided single with The Brow is out now, and we’re getting well into the final stages of our six-track EP to be released late this year. BEST PLACE IN PERTH TO: A) ROCK OUT: Mojo’s, The Rosemount, The Bird. B) CHILL OUT: Moon Café. C) PASS OUT: Woolworths. D) PICK UP AND GET OUT: Woolworths. NEXT GIGS: Pre-Loved – Sunday 15 May, Rosemount Hotel, North Perth. You can also usually find me supporting The Brow Horn Orchestra and occasionally Sam Perry. I also play Pre-Loved Sunday sessions at The Rosemount somewhat regularly.

TOUR TALES WITH DIAFRIX DIAFRIX

COMING STRAIGHT OFF A HIT RELEASE SINGLE, DIAFRIX GIVE SOME INSIGHT INTO THEIR RECENT SHOW WITH BRUNO MARS. What a great start to the month. With the release of our new single Simple Man featuring Daniel Merriweather, we kicked off the month playing with Tinie Tempah in Sydney at the Oxford Arts Factory, before heading off to Perth to kickstart Bruno Mars’ amazing DooWops & Hooligans Australia and New Zealand tour. We arrived the day before the gig where we met Bruno Mars and his crew for dinner. It was nice to meet him and the crew before we

started the tour. After about five scotches, a massive steak, and a stomach ache from laughter (let me tell you, Bruno has a great sense of humour) we decided to call it a night and rest up for the first gig of the tour. It was our first time playing at the Astor Theatre in Perth. We’re always trying to get Diafrix music out there and this tour is perfect for that. As we entered and introduced ourselves, it was obvious a large portion of the audience was like, ”who?” Not to worry though, we kicked off our set and they where ready to ride with us. We played a solid 50 minutes and enjoyed every second of it as the crowd jumped. We sung one of our favourite set songs Crazy – if you’ve been to a Diafrix gig then you know what I’m

talking about. We finished off the night in the bar above the venue where Philly, Bruno Mars’ back up singer, took over the bar while DJing at the same time. Very talented! I couldn’t find Azmarino so I went for a walk and found him in a theatre room playing X-box on a cinema size screen! The funniest moment so far was at the welcoming dinner watching Bruno Mars’ security eat a King Bruno! The dude hates seafood, he looked like he was going to barf! WHO: Diafrix WHAT: Simple Plan feat. Daniel Merriweather (Illusive Sounds) WHEN & WHERE: Thursday 2 June, Metropolis Fremantle

FLOORED 12/04/11 A sold out audience sported smiles as they lined up for the first Australian show on Bruno Mars’ Doo-wops And Hooligans tour. First up, hip-hop band Diafrix had young Bruno fans dancing to songs they are probably too young to know the meaning of. Unfortunately the over-yelled rapping was headache material and the only clear vocals were heard when they asked Perth how they’re feeling a few too many times. To their credit they did get enthusiastic crowd responses but whether that was just due to the hype over Bruno is still unsure.

ECSTASY CAN AGE YOUR BRAIN BY 40 YEARS. SEE THE DAMAGE EVEN ONE PILL CAN DO TO YOUR BRAIN AT DRUGAWARE.COM.AU 30 • THE DRUM MEDIA 21 APRIL 2011

twitter.com/drummediaperth

As Bruno Mars entered the stage in his signature hat, he created an atmosphere with his band that matched the excited crowd. And he made his expectations clear from the beginning with his cheeky sense of humour encouraging people to put their cameras down and just dance. Billionaire gave a taste of what was to be expected of him. With pace changes throughout he ultimately rocked the guts out of the song. Lyrics suggesting body contact with Bruno made imaginations run wild and teasing the audience during Our First Time had woman blushing and screaming. Nothin’ On You created a laugh when he refused to sing to a girl because she was on her phone, choosing another lucky girl

instead and this warm and fuzzy feeling continued through a sing-along to Count On Me. An unexpected mash up of M.J. with Nirvana showed how versatile his amazingly flawless vocals are so there was no stopping the crowd yelling for an encore after he finished with favourites, Grenade and Just The Way You Are. Of course he didn’t disappoint, coming back for a song and dance to Runaway Baby and finishing the night on a massive high. With his genuine and charismatic performances Bruno Mars is definitely the original hooligan. It may be his first Aussie tour, but it better not be his last. DANICA CACCAMO

HADP1012B

BRUNO MARS @ ASTOR THEATRE


PAUL MASTER

DJ BOOTH

HOT LOCAL EVENT

SLS

HATERS

From: Sydney How did you get your DJ name? Half ‘cause we got hated on and half ‘cause we hated the people hating on us more than they hated us. I think that makes sense. What you play... Straight up bass music, shit that abuses your face and messes with your motor functions. Dubstep, drumstep, d’n’b, electronica, breaks. What residencies do you have and crews do you belong to? We don’t really have any residencies but we often play at Dub Rave when playing in Sydney. Our first release was on the No Frills Label… also have just done a mix on a No Frills Label compilation. Career highlight: Probably the No Frills Label compilation alongside dubstep stalwarts from NZ, Truth. First set, and what was most memorable for you? First set was at Chinese Laundry in Sydney. Don’t remember that much, I think we broke an APC. All time favourite 12”? Probably something from Prodigy. Fave producers and why? So many people are fucking smashing it…too hard to list everyone. Funniest thing that’s happened to you when DJing? Some dude was so off his head that he leaned on my laptop running Serato for support. So it closed and music stopped and he couldn’t work out why we all had the shits… The look on his face was priceless! I guess that’s just funny to me ‘cause I’m picturing his face – sorry. What do you like most about your

ROLLER EASTER THURSDAY

Idea behind the night? An annual drum’n’bass night where the focus can be on locals delivering the rolling sound of the genre. Who’s playing your event and who should punters be most excited about seeing? The Roller crew – Dart, Devo, Kent and Blend plus special guest Greg Packer. Ekko &

Sidetrack rock the after party, we’re very excited about their first Roller set. Also young Gracie will playing her debut Roller set too. Lots of reasons to get excited. What does your night offer that others don’t? It’s a 100 per cent Perth thing, it’s a reason even after 10 years people keep coming back for more. If you’ve never experienced it make sure you come and check it out, you won’t be disappointed. If you have come before, why not bring a Roller virgin with you this year, share the wealth.

What made you pick the venue? The Rosemount Hotel is Roller’s spiritual stomping ground – it provides a massive dancefloor to party on as well as a great beer garden for those wanting a more relaxed time. Ambar was chosen as the after party venue because it’s the place we’d always end up after one of our Roller lunches for more good times. WHEN & WHERE: Thursday 21 April, Rosemount Hotel & Ambar (after party).

DART (LEFT) ROLLING IN 2001

hometown’s dance/urban scenes? Well I think right at the moment its all starting to super pickup again. So it’s exciting. Worst trainwreck you’ve made? Try not to remember those moments. I guess the first three years of trying to DJ was probably one big rail disaster. Worst bootleg ever? 99 per cent of the internet meme dubstep remix crap. Piss that off already. Production releases: Anthem (No Frills) with more to come. Next big thing to look out for you?

Our compilation for No Frills Label happening just now then we have a pretty big release bout to drop, I guess soon as the comp stuff dies down a bit. More info? facebook.com/ officialhaters. What should people expect from you when you tour here? Loud bass music. NEXT GIG IN PERTH: No Frills Dubstep CD Launch – Thursday 21 April, Newport Hotel.

DEATH DISCO @ CAPITOL

DANNY BYRD @ SHAPE

For the facts visit drugaware.com.au

For the facts visit drugaware.com.au LIMELITE @ METRO FREO

HEAVY FEET @ AMBAR

POP LIFE @ MINT

FRIDAY 06 MAY AMBAR NITECLUB SUPPORTED BY

APRE’SKI, MO’FLY, LEN BONES INFO 104 MURRAY STREET PERTH. DOORS OPEN 10PM. DOOR SALES $20 GUARANTEE YOUR ENTRY WITH A PRESALE FROM THE BOOMTICK SHOP!

boomtick.com.au

“I LIKE WHAT YOU’RE DOING” EP L AU N C H twitter.com/drummediaperth

SEARCH FOR:

Cassian88 THE DRUM MEDIA 21 APRIL 2011 • 31


21 - 27 APRIL

2011 DANCEFLOOR OF THE WEEK

CLARK

‘90S DOUBLE DENIM @ MINT

CLARK @ THE BAKERY Clark’s live shows are renowned crackers, with an MPC DJ set that is rhythmically enticing, cerebrally challenging and aurally confounding. He’s joined by Zeke, Viv G, Declan and the Underground Sound Solution System. $20 plus BF.

MIAMI HORROR DJS, DIRTY LAUNDRY, THE IMMIGRANT @ METROPOLIS FREMANTLE Limelite have a massive Easter with Miami Horror DJs, Dirty Laundry and The Immigant bringing the eggy goodness from 9pm. Support from Jus Haus?, Zelimir and Mel B.

HATERS @ THE NEWPORT Bass Culture gets heavier with a special Easter celebration with Haters from NSW, here to celebrate the inaugural compilation CD release from the No Frills label. They’re joined by MC Scarlett and of course the host, Anton Maz. $10 door sales from 8pm til midnight.

VASISAKHI BHANGRA 2011 @ SHAPE In celebration of the Punjabi festival of Vaisakhi, Bhangrology proudly present Vaisakhi Bhangra 2011 – Perth’s longest running and most prestigious bhangra event. This edition features Bolllywood group RDB. This two-level event at Shape also features support from DJ AK (London), MixtaBishi, MC J-Sky, Rajit, DJ Ruthless, DJ NFX and B-Star, plus live Dholis. For more info and tickets head to bhangrology.com.

SUBSTANDARD @ MOJO’S Dubstep hits up Mojo’s with Kitpop, Saxon & Boy Prince, Sibalance, A-Step and Modo bring the bassheavy beats from 7pm.

ROLLER@ROSEMOUNT&AMBAR Perth’s biggest Easter drum’n’bass party is back with favourite son Greg Packer joined by the Roller Boys for free from 7pm. Kick on afterwards at Ambar for the after party with Gracie, Ekko & Sidetrack and Marty McFly on the decks for guaranteed looseness.

METRIC TOGA PARTY @ VILLA Villa will be transformed into ancient Rome for one night only, with Melbourne’s Naysayer and Gilsun joined by Philly Blunt, Yon Jovi and the Metric and Control DJs. Tickets $25 plus BF from Moshtix – no costume, no entry.

OURSTYLE EASTER @ RISE The Easter Bunny will be hitting the decks, along with Jason V vs. Melicious, Rousa vs. Daze, Clubthrillers, Reaktor vs. Koppi, Hutcho vs. Mayhem. $10 before 11pm, $15 thereafter.

SNEAKY @ THE LIBRARY The Sneakypop room see DJs Angry Buda, Headayke, Moe Steez and

ROUND TABLE KNIGHTS

CREAMFIELDS @ CLAREMONT SHOWGROUNDS Just when you thought it was safe to book a festival-free weekend, Creamfields has announced another line-up of high-quality international DJs for 2011. First cab off the rank with a massive new live show is Deadmau5, bringing fresh tunes to boot. There’s also Frenchman Martin Solveig, now with vocalist Sunday Girl; Dutch-house maestro Chuckie; new school trance-man Simon Patterson; punishing producer Skrillex; old school trance-heads Gabriel & Dresden; Wynter Gordon (live); Hi Tek Soul (Kevin Saunderson & Derrick May); Bingo Players; Skazi; Surkin (live); Dada Life; Umek; Nadastrom (Dave Nada and Matt Nordstrom); Round Table Knights; Sandwell District; Tim Green; Bart Claessen; Mumbai Science; and loads of stellar local supports. Going down on Saturday 23 April, the fun will go down at Claremont Showgrounds. Tickets $95/99/109 plus BF for the various release stages from Moshtix, or take advantage of Deadmau5 special offers from Moshtix and Ticketek. Master Dash play pop and party hits; Sneakhouse will see electro and from Maxwell, Kastel and Paul Scott; and Sneakyfunk discos to Adroc and Dazz K.

JOIE @ GEISHA Go hard on the dance floor tonight from 10pm til 3am where Malone, JMC and Tom Drummond will give you those deep house sounds that will have your head bobbing and your feet taking control of your body.

CLUB RETRO @ MINT Chris McPhee and guests unleash ‘80s/‘90s party and retro hits.

THE PRESTIGE @ EAST END BAR A special Silent Disco edition this Easter Thursday for $15.

alongside locals Oli, Tee El, Marty McFly and Philly, door sales $15.

FEMINEM SOUL @ DEVILLES Feminem Soul Revue will be live on stage with all her queens plus live dancefloor tunes from Johnny Nandez Hammond Explosion, vinyl action from Microgroove and Claude Mono, plus Les Sataniques GoGo. Doors open 6pm, $10 after 8pm.

Mini skirts, platforms, baby doll dresses, baggy jeans, bum packs, jelly shoes… plus truly fantastically cheesy pop music – Spice Girls, Backstreet Boys, Shania Twain, Mariah Carey… Free before 10pm, $5 before midnight when it closes.

LAUNCH @ ROSEMOUNT It’s going to be a massive day of local hip hop with Optamus (with the Hip Hop Orchestra); Bentman & Sipn; Hunter & Mortar; Dazastah & Laylah; Smiley; Bitter Belief; Leonidas; The Pantheon Vanguard; Kadyelle; Broken English; Delta Force; Paulie P & Rocksteady; and HEAPS more, from 3 til 10pm. Confetti cannons and giveaways with Perth’s finest – Phetsta, KitPop, Dr. Space, Yon Jovi, Time Travel Agent, Deadvents, Arrigold and more. Wear a mask, $15.

GOOD FRIDAY @ EVERYWHERE

SATURDAY 23/4 ANTHONY B, CECILE @ THE BAKERY It’s a night of serious, conscious reggae business and dancehall tunes showcased through live musical performances from special guests live and direct from Jamaica: Anthony B (first time in Aus) and Ce’Cile. Tickets through Moshtix, Oztix, BOCs, nowbaking.com.au, Greentix and bigtunesmusic.com.au.

IAN CAREY @ VILLA However you’ve known Ian Carey over almost twenty years, there’s no denying he’s a legendary player in the house scene. He’s supporting Vicious Cuts 2011 mix featuring a typically tight selection from the likes of Deadmau5, Afrojack and Steve Aoki. $25 plus BF from Moshtix and Boomtick.

The ladies take control of the Open Decks Sessions this edition with Systim and her party breaks, Kat Gray’s tech house, Lizness and tech-funk and Tash Hunt with some electro and tech, free from 8pm.

ELEMENT @ GEISHA Simone, James A, Suric and Malone will be bumpin’ out some deep house till dawn – beats that London and Detroit made famous and make you want to dance long and hard. $8 before 12.30am, $15 after.

POP LIFE @ MINT House, electro, dance, retro, R&B and Top 40 from DJ Darren Briais. Free before midnight for Pop Life, $5 before 12am, $10 thereafter.

SUNDAY 24/4 KID KENOBI

Free cheeseburgers from the DJ box at this Forkin’ Party. Tom Drummond, Ogden vs. Misprint, Mo’Fly, Philly Blunt and Hammer & Tongs bring the heaving electro madness from 8pm. Code for cheaper entry before 10pm – I got these cheeseburgers man. $10 after 10, lockout at midnight, 2am close.

MONDAY 25/4

Doug Masters, a.k.a D*Funk was inspired by early Stanton Warriors gear fusing breakbeat and house and he’s set to bring his beats

KID KENOBI @ AMBAR

It’s a special ANZAC edition with a night of classics to keep the d-floor full. Free from 7.30pm.

THE PROM @ MINT After the massive success of last year’s Prom Mint are doing it again – bring our your ‘best’ dress, bring a date (or find one there) and put on the glitz. Free before 10pm, $5 before midnight, $10 thereafter.

WEDNESDAY 27/4 POLYFONIK

POLYFONIK @ NEWPORT Melbourne electro duo Polyfonik stop in at Newport’s student for a night of bangin’ beats with support from DJ Tom and The Chad.

JUICY @ NICHE BAR Resident DJs Frankie Button, Whitelabel, Stevie M and Dale, plus fresh up’n’comers hold the strong foundation of dance. 7pm til 2am.

NERO

UPCOMING TOURS & EVENTS ALTON MILLER@DOUBLE LUCKY GRIZZLED @ VILLA The first Grizzled has a massive quadruple-header: after destroying Origin NYE, Nero are back for another electro/dubstep-infused set. They’ll be joined by Foreign Beggars, the UK’s Trolley Snatcha and Skism. The lone local soldier is bad man Dr. Space. Tickets through Moshtix.

ROBERT BABICZ @ SECRET VENUE The Likes Of You will be hosting a secret show at an intimate, licensed venue that is five minutes from the CBD and UK acid house and minimal tech king Robert Babicz will be playing a live set for two hours. Tickets $30 and, with a strictly limited capacity of 100, best hit lisa. democracy@gmail.com pronto.

GRENDEL, NACHTMAHR @ THE BAKERY

D*FUNK @ AMBAR

SUPERSONIC @ YA YA’S

FORK @ GEISHA

LADIES NIGHT@VELVET LOUNGE

FRIDAY 22/4

Yolanda Be Cool are at the top of the music industry A-list thanks to breakout hit with DCup, We Speak No Americano. Get some more with support from JMC, Oli, Micah and Mono Lisa for $25 on the door.

DORCIA MASK PARTY@LIBRARY

B’DAY @ CONNECTIONS Integral member of the Connections team, and the WA gay community, Tim Brown is having a party for all club kids old and new, far and wide to celebrate his 20th year with Connections. Drag queens, Got Soul and GoGo dancers, free until midnight, $15/20 after.

YOLANDA BE COOL @ AMBAR

This Easter weekend The Bakery gets a dose of its biggest line-up of agrotech to date. International agrotech powerhouses Grendel (NL) and Nachtmahr (AT) will be joined by some other special guests along with The Sin DJs. Tickets $45 plus BF through nowbaking.com.

Deep house artist Alton Miller has recently released his new album, Light Years Away, and will be bringing a swag of tunes from it Friday 29 April.

CHRIS BROWN @ BURSWOOD DOME Global R’n’B superstar Chris Brown heads to Burswood Dome Tuesday 3 May for his F.A.M.E tour with a raft of special guests including Jessica Mauboy, Justice Crew and DJ Havana Brown. Head to ticketek. com.au to see it live.

HOUSESHOES @ THE MANOR Detroit hip hop’s ambassador to the world, Michael “HouseShoes” Buchanan has been an integral part of the long-burgeoning Motown resurgence. Ask the people coming out of Detroit and they will confirm all of this as Buchanan has had a personal influence over (at least) a full generation of MCs, producers, and then-future-DJs; and his DJ sets are renowned for taking audiences somewhere they never planned to go. Take the journey Friday 6 May at The Manor, with support from Charlie Bucket, Matt Thomas and the Move DJs, $15 entry.

EVERY ADDITIVE IN AN ECSTASY PILL COULD ADD UP TO A TRIP TO EMERGENCY. THERE IS NO SAFE WAY TO TAKE ECSTASY. FIND OUT MORE AT DRUGAWARE.COM.AU 32 • THE DRUM MEDIA 21 APRIL 2011

twitter.com/drummediaperth

UPCOMINGS APRIL HATERS: APR 21 Newport Hotel RDB, DJ AK: APR 21 Shape CLARK: APR 21 The Bakery MIAMI HORROR DJS, DIRTY LAUNDRY, THE IMMIGRANT: APR 21 Metropolis Fremantle D*FUNK: APR 23 Ambar IAN CAREY: APR 23 Villa ANTHONY B, CE’CILE: APR 23 The Bakery CREAMFIELDS: DEADMAU5 (LIVE), MARTIN SOLVEIG WITH SUNDAY GIRL, CHUCKIE, SIMON PATTERSON, SKRILLEX, GABRIEL & DRESDEN, WYNTER GORDON (LIVE), HI TEK SOUL FEAT. DERRICK MAY & KEVIN SAUNDERSON, 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 + WEST COAST LATIN FESTIVAL: FULATINO, DJ DANTE RIVERA, DON JUAN: APR 24 Salt On The Beach KID KENOBI: APR 24 Ambar YOLANDA BE COOL: APR 25 Ambar GRENDEL, NACHTMAHR: APR 25 The Bakery GRIZZLED: NERO, FOREIGN BEGGARS, TROLLEY SNATCHA, SKISM: APR 25 Villa ALTON MILLER: APR 29 Double Lucky IKONIKA: APR 30 The Bakery

MAY CHRIS BROWN, JESSICA MAUBOY, JUSTICE CREW, DJ HAVANA BROWN: MAY 3 Burswood Dome MUSTARD PIMP: MAY 5 Flawless DJ HAVANA BROWN: MAY 6 Metropolis Fremantle CASSIAN: MAY 6 Ambar HOUSESHOES: MAY 6 Manor GYPSY & THE CAT: MAY 7 Capitol BROOKES BROTHERS: MAY 13 Shape JORIS VOORN, EDWIN OOSTERWALL: MAY 13 Geisha AC SLATER, MUMDANCE: MAY 13 Villa THE GO! TEAM, PURPLE SNEAKERS DJS: MAY 13 The Bakery CUT COPY, WORLD’S END PRESS: MAY 13 Metro City SAMPOLOGY, TOM THUM: MAY 13 Metropolis Fremantle BLISS N ESO: MAY 13 Mangrove Hotel, Broome; MAY 21 Challenge Stadium GROOVIN THE MOO: AC SLATER, ART VS SCIENCE, THE ASTON SHUFFLE, BLISS N ESO, CUT COPY, DATAROCK, DRAPHT, THE GO! TEAM, HORRORSHOW, HOUSE OF PAIN, NINA LAS VEGAS and more: MAY 14 Hay Park, Bunbury

HADP1012B

THURSDAY 21/4

Kid Kenobi is coming back for the Dubstep Invasion Tour. Celebrating the release of the Ministry Of Sound: Dubstep Invasion double-CD, Kenobi will rock Ambar deeper underground with support from local bass bad guys ShockOne, D.Y.P and Rekab. $15 presales available from Boomtick, $20 on the door.


THE DRUM MEDIA 21 APRIL 2011 •33


gigguide@drumperth.com.au

GIG GUIDE THU 21 Enforce, Ill Vision, Sins Of The Father Amplifier Bar Clark, Zeke, Viv G, Declan, Underground Solution Crew Bakery Northbridge Tip Top Sound DJ Bally’s Bar Electrophobia Balmoral Ben Pettit Belgian Beer Cafe Howie Bennys Bernadine Grigson Bentley Hotel Celebrations Karaoke Brooklands Proof, Hi Nrg Burswood Casino Horrorpops Capitol In League, Atlantis Awaits, Stand For The Fallen, The Dead electric, Fallfromglory, we Can Breathe In Space, Know Your Knot, Varial, I Am No King Civic The Other Guys Como Htl The Volcanics, Datura, Sure Fire Midnights, Luke Dux Devilles Pad Little Red Wagon Divers Tavern, Broome Scottie Miller Ellington Jazz Club Pearse Ward Fenians Pub Open Mic Night Fly By Night Fremantle Nathan Gaunt FUSE Bar Slack Alice High Wycombe Hotel The Bluebottles Kalamunda Htl Stella Donnelly Karrinyup Shop Centre Steve Hepple Legends Bar Helen Shanahan, Stella Donnelly, Kate Gilbertson, Billie Rodgers, Jessica Morhall Manhattan’s Chris Gibbs Duo Merriwa Tavern Kit Pop, Saxon & Boy, Prince, Sibalance, Modo Mojos Nth Fremantle Entourage, DJ James MacArthur Mustang Bar Haters, DJ Anton Maz Newport Htl Jonny Taylor Oxford Leederville The Limerick Lads Paddy Hannans Burswood Dr Bogus Paddy Hannan’s, Burswood 43 Cambridge Paddy Maguires Flyte, DJ Morgan, DJ Jordan Paramount Nightclub Indigo Girls, Henry Wagons Perth Concert Hall Vespers Descent, Nails Of Imposition, Paradise In Exile, Khariot Rocket Room Clayton Bolger Rosie O’Gradys Fremantle Bill Chidgzey Rosie O’Gradys Northbridge James Wilson Sail & Anchor Threeplay Saint Freya Hanly, That Velvet Echo Settlers Tavern Margaret

River Chris Martin Sheraton Htl Jade, Ruth, Kat, Internal/External Swan Lounge Mental Powers, Kurbist Gong Band, Rok Riley The Bird Lewis The Burrendah Better Days The Gate Bar and Bistro, Success Retrofit The Principle Micro Brewery Dylan Ollivierre, Simon Kelly, Dilip n The Davs The Shed Matty J Toucan Club Off The Record Universal Bar Jack Dopel Quartet X-Wray Cafe Seams Ya Ya’s

FRI 22 Sundowners Bentley Hotel Tod Johnstone & Peace Love Burswood Casino Boogie Clancys Canning Bridge Melody Whittle Enex100 Podium Level Full Circle Mt Henry Blue Gene Paddy Hannans Burswood Rueben Queens Tavern, Highgate Chris Martin Sheraton Htl Kickstart, DJ Andyy The Shed Pearse Ward Wanneroo Inhouse Tunes X-Wray Cafe

SAT 23 Unpire, Felicity Groom, Split Seconds, The Wine Dark Sea Amplifier Bar Anthony B, Cecile Bakery Northbridge Tip Top Sound DJ Bally’s Bar The Recliners Balmoral Flyte Bar 120 Chris Murphy Belgian Beer Cafe Dove Lee Bentley Hotel Redstar Black Bettys Bernadine Grigson Brooklands Entourage, Courtney Murphy & Murphy’s Lore Burswood Casino Jonny Taylor Caves House Amanda Timler Chime Restaurant Combined Death Toll, Khariot, Grotesque, Blunt Force Trauma, Neverborn, Paradise In Exile, Devour The Martyr, Empires Laid To Waste, I Am Eternal, Kimura, Human Extinction Project, Afraid Of Heights, Thirty Three Victims, Pale As Ashes, Sensory Amusia, From Isolation, Chainsaw Abortion, All This Filth, Animistic, Akarion Civic Tip Top Sound, DJ Al Como Htl Johnny Nandez Hammond Explosion, Microgroove, Claude Mono, Les Sataniques

34 • THE DRUM MEDIA 26 APRIL 2011

21 - 17 april 2011

Devilles Pad The Canarino Trio Duckstein Brewery Timeout Elephant & Wheelbarrow Penny King Quartet, Riyaana Harman, Jade Crompton Ellington Jazz Club Foos Gold Fly By Night Fremantle In The Groove Greenwood Hotel Rhyme & Reason Indian Ocean Brewing Company Glen Davies Kingsway Tavern Bumpy Johnson Left Bank Swinging The Pig Leisure Inn Greg Carter Leopold Htl Bicton Rhythm 22 M On The Point Kill Teen Angst, Celebrator, Suburban & Coke, Craig McElhinney Manhattan’s The Moonlight Wranglers, The Painkillers, The Hot Spurs, SansSangria Mojos Nth Fremantle Blaze Moon & Sixpence Passionworks Morley Ale House Road Masters, Rockabilly DJ, The Damien Cripps Band with DJ James MacArthur Mustang Bar Gravity Newport Htl Freya Hanly, The Velvet Echo Norfolk Basement Felix, DJ Morgan, DJ Jordan Paramount Nightclub Stella Donnelly PEEL Alehouse Housequake Player’s Bar The Butterfly Effect, The Siren Tower Prince of Wales Bunbury Kevin Smith & The 7 Storey Jumpers, Wayne Green’s Company Of Men, Adrian Hoffman, Jill Birt Railway Htl Wolves, Sleepwalker, Bermuda, The Arsonist Rosemount Htl Blue Gene Rosie O’Gradys Northbridge Better Days Sail & Anchor One Tiger Down Settlers Tavern Margaret River Chris Martin Sheraton Htl Chris Murphy Springs Tavern Off The Record, Bob Brisbane Subiaco Htl Bluebottles, Spritzer Swinging Pig Blackmilk, The Witness, Alexander Peter-Pander, Omi The Bird Mod Squad The Boat James Wilson The Gate Bar and Bistro, Success Dove Lee The Principle Micro Brewery Huge The Shed Daren Reid & The Soul City Groove The Whale & Ale

Soul Corporation Universal Bar Leighton Keepa Wanneroo Allstar David Bowie Tribute Woodvale Tavern Dani Spaull, Brown Dog Saloon, Seven Stories X-Wray Cafe MDC, Burn Down Hollywood, Besides Lights Ya Ya’s

SUN 24 Undercover Acoustic 7th Avenue Bar Emery, We Are the Emergency, Chasing The Ninth, I, Said The Sparrow Amplifier Bar Escape The Fate, Pierce The Veil Astor Theatre Greg Carter Bally’s Bar The Bluebottles Balmoral Damien Cripps Belmont Tavern Ben Pettit Bentley Hotel Jonny Taylor Bootleg Brewery Benjamin Glynn Broken Hill Leighton Keepa Brooklands Double Trouble, Tod Johnstone & Peace Love Burswood Casino Adrian Wilson Captain Stirling Zydecats Clancys Fremantle Acoustic Inc Como Htl Timeout Court Hotel Sly, Danny Martin, Cian Caton Ellington Jazz Club Chris Gibbs Gosnells Hotel Chris Gibbs Duo Greenwood Hotel Mike Nayar High Road Htl Riverton Hotplate Heaven Hotel Rottnest Aiden Varro, A Beggars Second Indi Bar Dove Lee, Retrofit Indian Ocean Brewing Company Tod Woodward Kalamunda Htl Jamie Powers Lakers Tavern Nat Ripepi Leisure Inn The Butterfly Effect, The Siren Tower Metropolis Fremantle Matt Gresham, Lucy Peach Mojos Nth Fremantle Good Karma Moon & Sixpence Pete Busher & The Lone Rangers, DJ Rockin Rhys, Cheeky Monkeys with DJ James MacArthur Mustang Bar Boom! Bap! Pow! Newport Htl Slim Jim & The Phatts Ocean View Tavern Flava Dee Queens Tavern, Highgate Animal Railway Htl Optamus, Bentman & Sipn, Dazastah, Layla, Bitter Belief, Delta Force Rosemount Htl Shawne & Luc Sail & Anchor Threeplay Saint Ben Merito Settlers Tavern Margaret River Blackheart & Strangelove South St Ale House Steve Hepple Springs Tavern Bill Chidgzey Stamford Arms The Yard The Bird Chris Murphy The Boat Neil Collis The Corner Stone Alehouse Clayton Bolger The Craftsman Better Days, Mike Nayar The Gate Bar and Bistro,

Success Retrofit Universal Bar Glen Davies Victoria Park Htl Damien Cripps Wanneroo James Wilson Whistling Kite Freddy Mercury Tribute Woodvale Tavern Nicholas Tweedy: The Mentalist X-Wray Cafe

MON 25 Grende & Nachtmare Bakery Northbridge The Other Guys Balmoral Topkats Duo, Dr Bogus Burswood Casino Children Collide, Young Reverly Capitol Chamber Jam Ellington Jazz Club Hotplate Heaven Hotel Rottnest Jonny Taylor M On The Point Wide Open Mic Mojos Nth Fremantle The Savage Guns Mustang Bar Clayton Bolger Ocean View Tavern Neil Finn, Paul Kelly, Lior, Ben Merito Red Hill Auditorium Flyte Paddy Hannans Burswood Ben Pettit Duo Sail & Anchor Karaoke Settlers Tavern Margaret River Stina Thomas, Ghost Drums, Chris Cobilis, His Last Bow, DJ Pex The Bird Plastic Max & The Token Gestures The Deen Retrofit Universal Bar

TUE 26 Chelsea Gibson, Slim Jim & The Phatts Burswood Casino Daniel Gassin Trio Ellington Jazz Club The Cannonels, Spoonful Of Sugar, Ladybug, Reid Maul Mojos Nth Fremantle Danza Loca Salsa Mustang Bar Barefaced Stories The Bird Tip Top Sound, DJ Roxy Victoria Park Htl Open Piano Night w’ Stu Orchard X-Wray Cafe

WED 27 Andrew Winton Balmoral Jamie Oehlers Ellington Jazz Club Howie Morgan Lucky Shag The Empty Cup, Escape Artists, Boost Hero Man, Charlie Daly Manhattan’s Page, Jesse Woodward, Morgan Bain Moon Cafe Kickstart, DJ Giles Mustang Bar Polyfonik Newport Htl Adventure Land, The Scene & Herd, The Optimist Norfolk Basement Stone Circle, Ragdoll, Damien Thornber Paddo Animal Plus, Shannon Fox Rosemount Htl Acoustic Open Mic Settlers Tavern Margaret River Brain Valve, Sirens Of Sound Swan Lounge Mixed Massages The Bird Edie Green, Leon, Cyclone Tess X-Wray Cafe

twitter.com/drummediaperth

UPCOMING TOURS

PASSENGER

HERBIE HANCOCK THE NEVER EVER, DAYLIGHT HOURS, WAKE THE GIANTS: APR 23 Cockburn Youth Centre Festival BURN DOWN HOLLYWOOD: APR 21 Black Betty’s; APR 23 Cockburn Youth Centre & Ya Ya’s THE BUTTERFLY EFFECT: APR 21 Studio 146; APR 23 Prince Of Wales; APR 24 Metropolis Fremantle NATHAN KAYE: APR 21 Didgeredoo Breath; APR 23 Cape Wine Bar; APR 24 Caves House STRANGE TALK: APR 21 Curtin University

3 Kulcha + THE WONDERFULS: MAY 3 Charles Hotel; MAY 4 Mojo’s; MAY 6 Kulcha; MAY 7 Freemasons Hotel; MAY 8 Settlers Tavern HUNGRY KIDS OF HUNGARY, THE CHEMIST, ANDY BULL: MAY 5 Prince Of Wales; MAY 6 Indi Bar; MAY 7 Rosemount Hotel; MAY 8 Newport Hotel LOREN: MAY 4 Indi Bar; MAY 5 Quindanning Hotel; MAY 6 Clancy’s Fremantle; MAY 7 Settlers Tavern; MAY 8 Redcliffe On The Murray MARIANNE DISSARD: MAY 5 Rosemount Hotel

LISSIE: MAY 14 Fly By Night PIKELET: MAY 14 The Bakery GROOVIN’ THE MOO: ARCHITECTURE IN HELSKINI, ART VS SCIENCE, BIRDS OF TOKYO, DARWIN DEEZ, THE DRUMS, GOTYE, GYROSCOPE, UNKLE, WASHINGTON, CUT COPY, BOY & BEAR, THE PANICS and more: MAY 14 Hay Park Bunbury SOWETO GOSPEL CHOIR: MAY 14 Perth Concert Hall MIKE NOGA: MAY 14 Norfolk Basement; MAY 15 The Bird

HERBIE HANCOCK: MAY 6 Perth Concert Hall

ARCHITECTURE IN HELSINKI: MAY 15 Capitol

HORRORPOPS: APR 21 Capitol

LONNIE LEE: MAY 6 Burswood Theatre

GARY NUMAN: MAY 17 Astor Theatre

INDIGO GIRLS: APR 21 Perth Concert Hall

METAL HEALTH: QUIET RIOT, LA GUNS, WARRANT: MAY 6 Metro City

SUICIDAL TENDENCIES: MAY 18 Capitol

DEREK WARFIELD: APR 21 Rosie O’Grady’s, Northbridge

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 CHILDREN COLLIDE: APR 24 Capitol NEIL FINN, PAUL KELLY, LIOR, BEN MERITO: APR 25 Red Hill Auditorium THE HOLIDAYS, GOLD FIELDS: APR 28 Amplifier PASSENGER, JACKSON MCLAREN: APR 29 Indi Bar, APR 30 Norfolk Basement 78 SAAB: APR 29 Mojo’s; APR 30 The Bird FAIRBRIDGE FESTIVAL: ANDY IRVINE & RENS VAN DER ZALM, DARK HORSES, CIRCLE OF RHYTHM, THE GO SET, FOURPLAY STRING QUARTET, THE GOOD LOVELIES, IAN LOWE, JOSEPH TAWADROS TRIO, KAMERUNGA, MARTIN PEARSON, MIKE COMPTON, THE NEEDLE & THE DAMAGE DONE, RICCARDO TESI & BANDITALIANA, VOLATINSKY TRIO, WARREN FAHEY/DOWN THE LAWSON TRACK, KIM CHURCHILL, THE WONDERFULS and more: APR 29-MAY 1 Fairbridge Village OH MERCY, GOSSLING: APR 30 Amplifier; MAY 1 Mojo’s MAROON 5: MAY 1 Burswood Dome IIRO RANTALA, PEKKA KUUSISTO: MAY 2 Charles Hotel + DARK HORSES: MAY

CARUS THOMPSON: MAY 6 Settlers Tavern; MAY 7 Fly By Night GYPSY & THE CAT: MAY 7 Capitol BEYOND THE DARKSIDE: MAY 7 Perth Concert Hall JUSTIN BIEBER: MAY 7 Burswood Dome YELLOWFEVER, LOVE CONNECTION: MAY 7 The Bird; MAY 8 Mojo’s KIM CHURCHILL: MAY 7 Clancy’s Fremantle; MAY 8 Indi Bar; MAY 10 Charles Hotel; MAY 13 Prince Of Wales; MAY 14 Settlers Tavern; MAY 15 Dunsborough Hotel A DAY TO REMEMBER, UNDEROATH: MAY 8 Astor Theatre HUGH CORNWELL (STRANGLERS): MAY 8 Charles Hotel ALESTORM, VOYAGER: MAY 10 Amplifier AGAINST ME!, OFF WITH THEIR HEADS: MAY 11 Rosemount KYUSS, FORT: MAY 11 Capitol + UNKLE, TANTRUMS: MAY 11 The Bakery THE LITTLE STEVIES: MAY 12 Settler’s Tavern; MAY 14 Clancy’s Fremantle; MAY 15 Indi Bar THE DRUMS: MAY 12 Astor Theatre DARWIN DEEZ: MAY 12 The Bakery WASHINGTON, LISSIE: MAY 13 Astor Theatre CUT COPY, WORLD’S END PRESS: MAY 13 Metro City THE GO! TEAM, PURPLE SNEAKERS DJS: MAY 13 The Bakery

+ TICE & EVANS: MAY 18 Indi Bar; MAY 19 Lat28, Geraldton; MAY 21 Newman Bike Show BOY & BEAR, JINJA SAFARI, EMMA LOUISE: MAY 19 Capitol AMY MEREDITH, TONIGHT ALIVE: MAY 19 Players Bar; MAY 20 Prince Of Wales; MAY 21 Capitol; MAY 22 Fly By Night TONY JOE WHITE, FRANK YAMMA: MAY 20 Fly By Night; MAY 21 Divers Tavern, Broom + OWL EYES: MAY 20 East End Bar; MAY 21 Malt Market, Dunsborough; MAY 22 The Bird + ESKIMO JOE: MAY 21 Fly By Night JEFF MARTIN: MAY 21 Rosemount Hotel LULO REINHARDT: MAY 21 Friends Restaurant; MAR 22 Ellington Jazz Club THE MISSION IN MOTION: MAY 21 Amplifier; MAY 22 Mojo’s STOLEN YOUTH: MAY 22 Venue TBA PROPAGHANDI: MAY 22 Capitol JOE BONAMASSA: MAY 23 Perth Concert Hall JAMES BLUNT, THE VERSES: MAY 23 Riverside Theatre JAZZGROOVE MOTHERSHIP ORCHESTRA: MAY 24 & 25 Ellington Jazz Club JARRAH THOMPSON: MAY 24 Mojo’s; MAY 26 Indi Bar THE DANDY WARHOLS: MAY 24 Metropolis Fremantle BEN FOLDS, KATE MILLER-HEIDKE: MAY 24 Riverside Theatre


7 days: mon+sat 4-12 tues-fri 2-12 sun 2-10

THE DRUM MEDIA 21 APRIL 2011 •35


frontrow@drumperth.com.au

THIS WEEK IN

ARTS

The Vagina Monologues – hugely popular show made up of a varying number of monologues read by a varying number of women, on the subject of the vagina, be it through sex, love, rape, mutilation, birth, orgasm, and masturbation. Directed by Tempest Productions’ Susie Conte. Subiaco Arts Centre.

chance to catch the burlesque academy’s latest graduates in all their glitter and glory. See Perth’s glamorous new Queens of Tease as they brave the stage for their burlesque debut from the Dance Like A Showgirl, Burlesque Beginners Dance, and Cabaret Chair Dancing. Plus guest performances by the Sugar Blue Burlesque artists. The Bakery, 7:30pm.

SUNDAY 24

ONGOING

The Music of Andrew Lloyd Webber – new theatrical event featuring Andrew Lloyd Webber’s most timeless songs, with all the most memorable moments from Evita, The Phantom Of The Opera, Cats, Jesus Christ Superstar, Joseph & The Amazing Technicolor Dreamcoat, and more as performed by the stars of Australian musical theatre. Burswood Entertainment Complex until 24 April.

Hatched – national graduate exhibition of works by students from across that county that graduated in 2010. One of the finest art exhibitions annually. This year, 35 artists from 20 of the country’s most prestigious art institutions have embraced diverse art forms, such as painting, collage, photography, ceramics, printmaking, textiles, performance, video, sound art and mechanical engineered installations to express their social concerns. The show sees an ambitious group of artists keen to critique the conditions of our time, unpacking issues such as ethics, consumerism, depression and body image. PICA until 6 June.

THURSDAY 21

WEDNESDAY 27 Fresh Faced Follies – Sugar Blue presents a Burlesque graduation show at the end of each of their Burlesque courses, so this is a

C U LT U R A L

CRINGE

STILL FROM BAZ LUHRMANN’S ROMEO + JULIET (1996)

WITH JASON KENNY For many, just the mention of Shakespeare is loaded with dread. The archaic language and a perceived stifled of emotion turns many off. Part of the reason is that the Bard’s works are poorly taught in school and are then borne with a stigmatism that they’re hard work and dated. That symphonies and ballet companies perform his works regularly mean that the perception is reinforced. But the influence of his works is in the culture around us. Shakespeare’s works are full of violence, passion, sex, and humour. Surely that’s an allusion to oral sex in Julius Caesar when Portia tries to get Brutus to return to bed. That violence, sex, and passion is why the work of one writer hundreds of years ago – this week marks the 447th anniversary of Shakespeare’s birth – is still performed in new ways. In the last year Perth has hosted performances of King Lear, Twelfth Night, Romeo & Juliet, and the everpopular A Midsummer Night’s Dream is about to be staged again. On top of these, West Side Story at Burswood and The Blue Room’s season of Romeo & Juliet As Performed By William Shakespeare And The Earl Of Southampton drew inspiration from Shakespeare, exploring the themes of Romeo & Juliet in different contexts. That’s one of the most amazing things about Shakespeare’s work; that it can be adapted to other situations and bring different meanings to those plays after hundreds of years. The previous year’s season at the Blue Room also featured Cry Havoc that adapted Julius Caesar to the halls of the White House. In the ’30s, Orson Welles adapted that same play to 36 • THE DRUM MEDIA 21 APRIL 2011

reflect the rise of fascism in Europe, in one of the first artistic attacks on fascist politics. That’s nearly 350 years after Shakespeare wrote the piece, adapted to attack a political agenda that no one in Shakespeare’s time would have conceived. For centuries other artists have been taking Shakespeare’s works and using the wealth of material for their own creations. Composers including Tchaikovsky and Verdi used the plays as starting points for operas and ballet. There have been countless cinematic versions of Shakespeare’s works but even more are the films that adapted the plays obviously or otherwise like Ten Things I Hate About You and My Own Private Idaho. Even ’80s TV show Moonlighting did a Shakespeare episode, ‘Atomic Shakespeare’, that thrust Bruce Willis and Cybill Shepherd into the roles of The Taming Of The Shrew in a way that made no sense with the rest of the series. And it was brilliant. Although opera, ballet, and maybe even theatre isn’t everyone’s cup of tea, there’s no escaping the influence of Shakespeare. The stories themselves aren’t removed from modern times, since the plays haven’t dated but the ways that they’re introduced to most of us – through stuffy readings in year nine English or men in tights on a scratchy video – only robs us of the richness of the stories. So let’s reclaim the works of the bard! Do something Shakespearean this week, whether it’s trespassing in a pretty girl’s backyard until she appears on her balcony, falling in love with a donkey, or simply buying a ticket to an upcoming performance.

BLUE KING BROWN PIONEERING BRITISH COMEDIAN ROY “CHUBBY” BROWN IS STILL GOING STRONG, 43 YEARS AFTER PREMIERING HIS ‘BLUE’ COMEDY IN WORKING MEN’S CLUBS. HE TALKS TO BAZ MCALISTER ABOUT HIS PHILOSOPHY OF FUNNY.

R

oy “Chubby” Brown is utterly fearless — he’ll talk about anything and everything in his act, as he has done for 43 years. However, chat to Chubby offstage and you’re really chatting to the much more mild-mannered Royston Vasey, his birth name, immortalised by The League Of Gentlemen when they named “that” village after him. The patchwork suit and flying helmet are very much a persona, and there are some things that do still put the willies up the performer. “Last time we were in Brisbane, we went to a golf course for a game of golf, and there were these signs up saying, ‘Please do not retrieve your ball because of snakes,’ and ‘beware of crocodiles’. What kind of a golf course is this? And later, we went to this beautiful restaurant and this cockroach crawled across the floor; it was like a fuckin’ tortoise. Frightened the shit out of me. They’ve asked me to go on I’m A Celebrity Get Me Out Of Here a few times, you know — but I’m not going in no jungle,” Chubby says in his wonderfully rich Yorkshire accent. Chubby is a consummate performer who says a comedian on stage is only ever one minute away from disaster. But in his fifth decade of stand-up he’s got crowd-pleasing down to a fine art. “I can be onstage 20 seconds and tell you what the audience is going to be like by the reception you get. I

look round the audience and if I see the blue rinses I know not to go over the top. If it’s full of young’uns I can say what I like.” He has gotten into a certain amount of trouble for saying what he likes over the years, and in the act he’s bringing to Australia he covers everything from TV to sex, drugs, rock’n’roll, marriage, aeroplanes, tsunamis, the floods... “I’m an utter professional in one respect — I write something every day,” he explains. “If you can think of one funny thing a day, then at the end of the week you have seven funny things to say.” Chubby says that the comedy landscape now is much different to when he started out playing in working men’s clubs in northern England in the 1960s. “If you said bugger, bloody, nipple, arse, tit or fart you were off the stage and escorted from the club, because they would have no suggestiveness whatsoever.” In the ’70s, however, attitudes loosened up. Chubby got away with more and more and was described as the first comic to bring the building site onto the stage. Eventually, he and acts who followed him changed the shape of stand-up audiences forever. “You know when you’re on a building site you’d go, ‘Pass the fuckin’ hammer’, every other word

was ‘fuck’ — that was like my act. I was a men’s entertainer, in working men’s clubs. There was no women allowed. But these men would go home and tell their wives about me and they said, ‘Well, why can’t we go and see him too? We have babies, we suck dick, we eff and blind, we run the home.’ I eventually started doing hen nights

when it was just women, and I’ve never heard anything like it! Soon as you step on stage it was, ‘Get your cock out you fat bastard!’ Even I had an eye-opener.” WHAT: Roy “Chubby” Brown WHERE & WHEN: Burswood Theatre Wednesday 4 May

I WAS A TEENAGE GANGSTER FILMMAKER ROWAN JOFFÉ TALKS TO IAN BARR ABOUT CONTEMPORISING THE MUCHLOVED BRITISH CLASSIC BRIGHTON ROCK, WHICH STARS CONTROL’S SAM RILEY AS A YOUNG GANGSTER.

I

f not quite as perverse as, say, Aki Kaurismäki taking on Crime And Punishment as his debut feature, screenwriter and diector Rowan Joffé (son of Roland, director of The Killing Fields and The Mission) was adamant on adapting Graham Greene’s beloved novel Brighton Rock for his big-screen debut. Joffé was well aware of the risk in adapting a novel of such clout, which has the additional baggage of a beloved 1947 film adaptation starring Richard Attenborough. “It’s a moronic choice as a directorial debut,” he plainly admits. “You’re inevitably going to get a smack on the bum from critics who are absolutely determined not to like the film, whatever its merits are.” Regarding certain fuddy-duddies in the UK press, Joffé pulls no punches. “We were actually reviewed by a bloke in the Daily Telegraph who criticised the movie without ever having gone to see it. That’s the kind of hatred this kind of project can produce in critics, because they see the original movie as a piece of British cinema history, and they’re obviously very sceptical about my motives and my handling – and with all due respect to [critics], I spent three years of my life on this movie, and I did it out of passion for

Greene’s work.” It was that simple passion for the story that fuelled the project, rather than any attempt at postmodern revisionism. “I read the book for the first time in many years since I read it as a teenager at school – I fell in love with the characters of Pinkie and Rose. It occurred to me that the original movie, which was made in 1947, while cherished by my generation and older, younger generations probably never will, and I decided that the book was ripe for another adaptation,” he says. Nonetheless, Joffé refused to be slavishly faithful to the source, and moved the action from the 1930s to the mods-and-rockers era of the ’60s for practical reasons. “We wanted to make the movie seem [as] contemporary as possible, but it doesn’t actually work as a contemporary story,” he says, “because there’s a level of innocence required by the central character Rose, which doesn’t really exist sadly in today’s generation and the media being what it is”. The portrayal of Rose – played by up-and-comer Andrea Riseborough as a late replacement for Carey Mulligan (“unfortunately, she runs

off to do Wall Street 2,” Joffé laments), was what the director identified as the 1947 film’s major shortcoming. “I think the original movie was made in a period when society’s view of women was pretty patronising, and I think that the Rose in the original movie is handled in a very demeaning and patronising fashion.” To Joffé, she was, “a heroine of almost saint-like and tragic proportions… That’s precisely why Greene, who was also a Catholic, was interested in her.” The most important piece of casting was for Pinkie, the menacing hoodlum who courts Rose to keep her from reporting a gang-related murder committed by him. Originally played by Richard Attenborough in the 1947

film, Joffé was dead-set on Sam Riley, best known for his uncanny take on Ian Curtis in Control. “There’s a lot of boyish English actors around, but they not necessarily have that kind of oldfashioned, edgy, cinematic sexiness to them…and at the same time there’s a kind of vulnerability to Sam,” he says. “And he’s got to be beautiful: he’s described in the book as a ‘Fallen Angel’”. Joffé jokingly adds, “and Richard Attenborough is many things, but I wouldn’t describe him as beautiful.” WHAT: Brighton Rock WHERE & WHEN: Screening in cinemas now


frontrow@drumperth.com.au

DOWN IN

AFRICA

THE SECOND PRODUCTION FROM FLEDGLING THEATRE COMPANY MY DARLING PATRICIA IS AFRICA. CREATOR SAM ROUTLEDGE SPEAKS TO ALEKSIA BARRON ABOUT PUPPETS, MUSIC, AND THE FANTASTICAL IN THEATRE.

PHOTO BY JEFF BUSBY

S

am Routledge loves the power of theatre. A member of the innovative theatre company My Darling Patricia, he’s hard at work rehearsing for the company’s second production, Africa, which credits him as the “creator”. “I’ve always been attracted to the visual aspects of the stage,” he explains. “I’m not a great fan of naturalism on stage – I think television does it better, and I think the stage is better suited for things beyond naturalism: fantasy, surrealism, and narratives of power.” It’s his scope for visual creativity that has led to the creation of Africa – a production inspired by true events, featuring bunkaru-style puppets. (Don’t fall into the trap of thinking that this is a kids’ production, through – it’s very much a play about children, for adults.) The narrative, Routledge explains, draws inspiration from two main sources. One is the story of Mika and AnnaBell, two young children who tried to make it to Africa in order to “get married”. The other is the recent cases of child neglect reported in Canberra and Adelaide. Routledge says, “I was in Denmark in the winter of 2008, and I was reading about these cases of child neglect back in Australia that came out of Canberra and Adelaide.” In the midst of his shock at the events, he was stunned by the imagery that came with them. “I was very taken with the spaces that were being described – rooms covered in garbage.” He developed the concept for the set of Africa as a result. “I had an idea for a space that was a floor that was covered with rubbish and toys, with no walls – the rooms in the house would be given to us by what was on the floor, and these three children characters lived in this space.” It

was then only natural for Routledge that puppets be incorporated into the production. The previous My Darling Patrica production, Politely Savage, featured a puppet character called Snatch, made by Briony Anderson. “It was as good mechanically as it was aesthetically, says Routledge. “I had a desire to work with those puppets again.” He discussed the initial concept with his fellow My Darling Patricia members, who helped develop the narrative. “Someone mentioned the idea of these children trying to get to Africa, which is a true story, of course, and we came up with the play,” says Routledge. What has followed has been an extensive creative process focusing on using the uniqueness of theatre to tell the story. In particular, Routledge is thrilled to have wellregarded Melbourne DJ Declan Kelly on board as sound designer and composer. “The music is so important in this play.” Dealing with such heavy subject matter, it would be easy to assume that Routledge is looking to preach from atop a soapbox, although nothing could be further from the truth. “The idea of giving a message is sort of problematic,” he says. “Opinions within the company vary about whether theatre should should teach us something. What appeals to us about this story is that we do believe that this story is relevant to Australians today… Australia does have problems with children who are neglected, and that’s a problem that we, as a society, have to face up to.” WHAT: Africa WHERE & WHEN: Studio Underground at State Theatre Centre Wednesday 4 May to Saturday 7

FILM

REVIEWS

THOR

THOR It could so easily have gone so horribly wrong, but the stars are all in alignment for Kenneth Branagh’s Thor. When you think about it, this movie is a triumph of tone. The big blonde hammer-wielding Norse god is, let’s face it, one of the campiest of the Marvel superheroes, but by reimagining him as a Stargate-style super-powerful alien Branagh gets away with fusing superhero film and sci-fi epic into a thrilling whole. For nearly restarting a war with the Frost Giants and breaking a delicate truce, Thor (Chris Hemsworth, an excellent piece of casting) is stripped of his powers and kicked out of Asgard by father Odin (Anthony Hopkins) and lands in the New Mexico desert, disoriented and thoroughly disappointed at being on Earth. His brother Loki (Tom Hiddleston), ever the trickster, plans to take full advantage of the situation and make a play for power. Meanwhile, on Earth, Thor is trying to get his powers back while wooing astrophysicist Jane (Natalie Portman). Branagh wrings every drop of Shakespearean gravitas out of Thor’s

SCREAM 4

family life in the heavens, and puts together some hugely impressive action scenes to boot. The beefy blond’s sometime sidekicks Sif and the Warriors Three get a decent slice of screen time and the wonderful Kat Dennings brings much of the comic relief as Jane’s sassy sidekick Darcy. Above all, Thor is great fun, and Hemsworth owns the role, amping up excitement for the Avengers team flick. In many ways, his is the Superman movie that we haven’t ever had before. WHERE & WHEN: Screening in cinemas from 21 April BAZ MCALISTER

SCREAM 4 It’s hard to believe it’s been 15 years since the original Scream, and 11 since the last of its somewhat ill-advised sequels. However, Sidney (Neve Campbell), Gale (Courteney Cox) and human pincushion Dewey (David Arquette) have all made it through. Ten years on, Gale is now a struggling writer married to sheriff Dewey and they both live in Woodsboro, the scene of the original Ghostface murders. When Sidney arrives back in town to

promote her new self-help book the knives are out again – but this time, who’s behind the Ghostface mask, and why? Several fun new characters are introduced to keep us guessing, like Sidney’s publicist Rebecca (Alison Brie), Dewey’s deputy Judy Hicks (Marley Shelton), Sidney’s niece Jill (Emma Roberts), her cool but geeky friend Kirby (Hayden Panettiere) and all-new film nerds Robbie (Erik Knudsen) and Charlie (Rory Culkin). The script by Kevin Williamson is just as sharp as the first instalment, but instead of commenting on the hackneyed mature of the horror genre, instead it goes for the jugular of something else entirely – without saying too much, it’s about how the rise of the internet has changed society radically over the last ten years. Sharp, witty and lots of fun, it’s a worthy sequel that doesn’t tip you too soon to the identity of the killer. In some ways it would have been braver of Williamson to cut his script short before its final act – but in others, you come to a Scream film for some good, scary fun and that’s exactly what you get here. WHERE & WHEN: Screening in cinemas now BAZ MCALISTER

CANNES SELECTS AUSTRALIAN FILMS Two Australian films have been officially selected to screen at the upcoming 64th Cannes Film Festival. Sleeping Beauty, the debut film from author Julia Leigh (The Hunter, 1999), has the prestige of being screened in Competition alongside films from such auteurs as Pedro Almodóvar (All About My Mother), the Dardenne brothers (L’enfant), Terrence Malick (The Thin Red Line), Nanni Moretti (The Son’s Room), Paolo Sorrentino (Il Divo), and Lars von Trier (Dancer In The Dark). The film’s trailer is a masterful work in itself, stylistically and thematically drawing comparison to Stanley Kubrick (Eyes Wide Shut), Pier Paolo Pasolini (Salò), Catherine Breillat (Romance), and François Ozon (Swimming Pool). Yeah, heavy name dropping, but there’s no denying that it appears Leigh has crafted a remarkable film, and looks set for a very bright future indeed. Sleeping Beauty’s official synopsis: “Death-haunted, quietly reckless, Lucy is a young university student who takes a job as a Sleeping Beauty. In the Sleeping Beauty Chamber old men seek an erotic experience that requires Lucy’s absolute submission. This unsettling task starts to bleed into Lucy’s daily life and she develops an increasing need to know what happens to her when she is asleep.” Following its world premiere at Cannes the film will open nationally in Australia on 23 June through Transmission Films/Paramount. The second film is Ivan ‘Dreamland’ Sen’s Toomelah, which screens Un Certain Regard, a parallel programme to the Competition, dedicated to films expressing original ideas. Its synopsis: “The film is set entirely in the remote Indigenous community of Toomelah, located on the NSW, QLD border. It was created as a mission during the 1930s, bringing together Gamilaroi and Bigambal people from the surrounding area. The story centres on Daniel, a small ten year old boy who dreams of being a gangster. He is kicked out of school and befriends a local gang leader, until a rival gangster arrives back from jail to reclaim his turf. A showdown ensues and Daniel is caught in the middle, leaving him with a choice to make about his uncertain future.” In late news, Snowtown, which documents the grizzly events of the South Australian town and picked up Audience Award for Best Film at the recent Adelaide Film Festival, has also been chosen to screen at Critics’ Week at Cannes. Cannes Film Festival runs Wednesday 11 May to Sunday 22. Head to festival-cannes.com for further information. SLEEPING BEAUTY

THE DRUM MEDIA 21 APRIL 2011 • 37


frontrow@drumperth.com.au

TRAILER

TRASH

WITH GUY DAVIS You know that saying about 90 per cent of everything being crap? Well, thatâ&#x20AC;&#x2122;s not quite true. Itâ&#x20AC;&#x2122;s more accurate to say that 90 percent of everything is...well, okay, I guess. Tepid. Wan. Mediocre. And how the heck is a cultural commentator meant to come up with fascinating copy about movies, TV shows, books, or other forms of expression that are just, I dunno, fine? No, seriously, Iâ&#x20AC;&#x2122;m asking you guys. Because Iâ&#x20AC;&#x2122;m damned if I know. It was actually Sucker Punch that got me thinking about this. Iâ&#x20AC;&#x2122;ll admit I was hyped for Zack Snyderâ&#x20AC;&#x2122;s latest bonbon of eye candy after some semi-scintillating teasers and trailers (the man does give good trailer; that nobody can deny) but after being subjected to two hours or so of sound and fury signifying fuck-all I was left decidedly so-so. I didnâ&#x20AC;&#x2122;t completely loathe it because I kinda got what Snyder was trying to say, even if he developed a bit of a speech impediment trying to express it, and I felt like his heart was in the right place. So the movieâ&#x20AC;&#x2122;s a mess, but itâ&#x20AC;&#x2122;s a mess with some degree of conviction. But I know some people who freakinâ&#x20AC;&#x2122; hated it, viewed its sexual politics as retrograde, its depiction of women as offensive and its general concept as asinine. And the passion of their argument got people talking. Now, I could understand their point. But I didnâ&#x20AC;&#x2122;t feel it. Does that make

me a bad person? No, the fact that I hit someone with my car on the way home from the screening and drove away without checking to see if they were alive or dead makes me a bad person. So what gets me passionate in the negative? I guess incompetence. And peopleâ&#x20AC;&#x2122;s mileage is gonna vary on that. Sucker Punch disappointed me for the afore-mentioned reasons and also because Snyderâ&#x20AC;&#x2122;s supposedly badass visuals are getting repetitive and, well, kinda ugly in parts. But I saw the germ of a good idea â&#x20AC;&#x201C; and more importantly, good intentions â&#x20AC;&#x201C; in Sucker Punch. Yeah, but we all know what the road to hell is paved with, huh? Whereas in the movie Iâ&#x20AC;&#x2122;ve hated most so far this year, the fucking useless No Strings Attached, a turgid rom-com with all the precise timing of a street-vendor Rolex, I saw an unwarranted confidence in its own charm and humour. That pissed me off. Of course, there were people giggling themselves silly at the screening I attended, so what the fuck do I know, right?

CLOWNING AROUND EVERYONEâ&#x20AC;&#x2122;S FAVOURITE MAD IRISH BASTARD JASON BYRNE IS IN AUSTRALIA WITH HIS NEW SHOW CIRQUE DU BYRNE, WHICH HE TELLS BAZ MCALISTER IS GOING TO BE A WHIRLWIND, CHAOTIC AFFAIR.

â&#x20AC;&#x153;P

eople say to me, â&#x20AC;&#x2DC;Why donâ&#x20AC;&#x2122;t you just do a straight stand-up show, why do you make your life so fuckinâ&#x20AC;&#x2122; difficult?â&#x20AC;&#x2122;,â&#x20AC;? muses Jason Byrne. â&#x20AC;&#x153;But you know, people are paying to see a show, and they want that little bit extra.â&#x20AC;? The lovable Irish rogueâ&#x20AC;&#x2122;s philosophy of comedy has won him the hearts and minds of fans all over the world due to his outrageous stage antics â&#x20AC;&#x201D; into which he often co-opts audience members. â&#x20AC;&#x153;Thereâ&#x20AC;&#x2122;s loads going on with this show,â&#x20AC;? he says. â&#x20AC;&#x153;When people come in thereâ&#x20AC;&#x2122;s like six aerobics steps on the stage with skipping ropes beside them and you can just hear people coming in talking about it... â&#x20AC;&#x2DC;What the fuck, whatâ&#x20AC;&#x2122;s that? Why is there six of them and thereâ&#x20AC;&#x2122;s only one of him?â&#x20AC;&#x2122; So I come straight on and get five people up on stage, and doing step aerobics and skipping to music, itâ&#x20AC;&#x2122;s fuckinâ&#x20AC;&#x2122; hilarious. I try to pick guys because theyâ&#x20AC;&#x2122;re so shit at it â&#x20AC;&#x201D; fellas that have had a good few beers before they come in, you know? And if thereâ&#x20AC;&#x2122;s any latecomers they have to get up and do the whole thing again!â&#x20AC;? This yearâ&#x20AC;&#x2122;s show is called Cirque

Du Byrne â&#x20AC;&#x201D; quite fitting, as the comic often casts himself in the role of ringmaster. â&#x20AC;&#x153;When I called it that, I thought, â&#x20AC;&#x2DC;Oh fuck, Iâ&#x20AC;&#x2122;d better put more circus stuff in itâ&#x20AC;&#x2122;,â&#x20AC;? he says. And so he did. Expect the skipping. Expect plate-spinning. In fact, Byrne divulges a lot more about whatâ&#x20AC;&#x2122;s in his show during this interview, but trust us â&#x20AC;&#x201D; itâ&#x20AC;&#x2122;s best kept under wraps. â&#x20AC;&#x153;This kind of thing, itâ&#x20AC;&#x2122;s what my comedyâ&#x20AC;&#x2122;s all about. Itâ&#x20AC;&#x2122;s like a teacherâ&#x20AC;&#x2122;s out of the classroom and weâ&#x20AC;&#x2122;re all just taking the piss, we can do whatever we want,â&#x20AC;? he says mischievously. â&#x20AC;&#x153;I work out a lot of these routines there on stage for the first time. Often, when I get up, I have no fuckinâ&#x20AC;&#x2122; idea what Iâ&#x20AC;&#x2122;m gonna do. If I sat there and wrote some of these things down on paper Iâ&#x20AC;&#x2122;d just throw it in the bin. â&#x20AC;&#x2DC;What? Get a bloke up and do what? Thatâ&#x20AC;&#x2122;s not gonna workâ&#x20AC;&#x2122;. But because the audience are with me we can do anything.â&#x20AC;? And this year, Byrne has stimulated the audienceâ&#x20AC;&#x2122;s creativity by appealing for them to bring him crazy gifts. â&#x20AC;&#x153;I donâ&#x20AC;&#x2122;t want to push that too much because I donâ&#x20AC;&#x2122;t want 800 people

bringing fuckinâ&#x20AC;&#x2122; gifts to a show,â&#x20AC;? he says, â&#x20AC;&#x153;but the weirdest one so far, and still the winner for me, is a hand-knit Santa Claus from Mexico, but apparently in Mexico Santa is the devil? It was like â&#x20AC;&#x2DC;fuckinâ&#x20AC;&#x2122; what?â&#x20AC;&#x2122; Itâ&#x20AC;&#x2122;s this sort of stuff I want to see. I donâ&#x20AC;&#x2122;t want somebody putting their shoes on the stage and going, â&#x20AC;&#x2DC;Theyâ&#x20AC;&#x2122;re my favourite shoesâ&#x20AC;&#x2122;. Itâ&#x20AC;&#x2122;d be brilliant

if someone put their granny on the stage. Thatâ&#x20AC;&#x2122;d be fuckinâ&#x20AC;&#x2122; brilliant. People will come away from the [show] going â&#x20AC;&#x2DC;Holy fuck, what the fuck was all that about?â&#x20AC;&#x2122;â&#x20AC;? WHAT: Jason Byrne: Cirque Du Byrne WHERE & WHEN: Astor Theatre Friday 29 April and Saturday 30

3``S =SdW`[`S

Cf^eTahSXUUTaT]c[^eTbc^aXTbcWPcfX[[U XaTcWTX\PV X]PcX^]P]Sc^dRWcWTWTPac

A^d]SW^dbTCWTPcaT

5aX% !<Ph&)"_\ <PcX]TTBPc&<Ph!)_\

0SP_cTSUa^\;T^C^[bc^hzb]^eT[ Qh7T[T]4S\d]Sb^] 3XaTRcTSQh2WaXb4S\d]S ?TaU^a\TSQh"aSHTPa0RcX]VBcdST]cb

interested in

CXRZTcb!$5d[[!2^]RTbbX^]

Gone Without Saying

GIAN SLATER WITH THE WAAPA JAZZ VOCAL ENSEMBLE â&#x20AC;&#x153;The audience had never quite heard anything like Slaterâ&#x20AC;&#x2122;s adventurous and highly inventive offering... it was a treat to hear Slaterâ&#x20AC;&#x2122;s amazing vocal agility.â&#x20AC;? Andra Jackson, The Age

fashion editor/flatlaid â&#x20AC;&#x201C; meghan hosie â&#x20AC;&#x201C; meghan@drumperth.com.au advertising â&#x20AC;&#x201C; matt mcmullen â&#x20AC;&#x201C; matt@drumperth.com.au

WAAPA Music Auditorium Thurs 5 May, 7.30pm $30 / $25 WAAPA Box OfďŹ ce Tel: 9370 6895 waapa.ecu.edu.au

next Lure out Thursday 5 May 38 â&#x20AC;˘ THE DRUM MEDIA 21 APRIL 2011


EMPLOYMENT ENTERTAINMENT Looking for work backstage? head to www.backstagejobs.com.au or join our facebook www.facebook. com/backstagejobs iFlogID: 12846

SALES & MARKETING I need people to send eMails to Libraries around Australia offering a new music Book for sale. Applicants need their own computer - payment is commission based via Paypal. Contact Bill on (02) 9807-3137 or eMail: nadipa1@yahoo.com.au

Head iFlogID: 12369

Laney GH120 Guitar Head. 120 watt.2 channel.footswitchable. reverb.direct out.very punchy.great tone.VGC.$400. Ph.0428744963. Cooroy. iFlogID: 12741

Peavey Windsor 400watt 4/12 slant cab. supreme XL speakers.16ohm. HUGE bottom end tone.AS NEW cond.$450. Ph.0428744963.Cooroy iFlogID: 12745

VASE Valve/tube amp with 2 2/12 matching cabs.’Trendsetter 60’. genuine 1960’s.HUGE sound.perfect original working cond. $1200 ono. Ph.0428744963.Cooroy iFlogID: 12747

iFlogID: 12394

PASSIONATE & ETHICAL CHARITY FUNDRAISERS! Do you love animals, people, the environment? Help the worlds best charites by becoming a face to face fundraiser. We offer: Great Base, Super, Bonus & Incentives. Fun teams, no weekends, trips away & more! email: luke.szabo@ waysfundraising.com iFlogID: 12288

FOR SALE AMPS PEAVEY BANDIT 80watt 12”speaker Guitar combo. 2 channel.footswitchable.great fat tone.reverb/ saturation etc.USA made.VGC.$350. Ph.0428744963. Cooroy iFlogID: 12737

Fore Sale,, Bogner Shiva Guitar

BASS Gibson Epiphone SG Bass.solid mahogany.great fat tone.VGC.$450. Ph.0428744963.Cooroy. iFlogID: 12751

GUITARS Fender Pink Paisley Strat.genuine 1980’s.all original.in case. great tone/action/condition.very rare.$2500 ono.Ph.0428744963. Cooroy. iFlogID: 12749

GODIN MIDI GUITAR ACS SA Nylon string semi-solid body with piezo and 13-pin MIDI output plus the Terratec Axon AX100 Synth controller & AX101 MIDI guitar pickup. Used once. Black colour. $2,400 including delivery to any state of Australia. THE001Music@hotmail.com

KEYBOARDS

MUSIC SERVICES

KORG TRITON Extreme88 synthesizer in new condition with sturdy keyboard stand and damper (sustain) pedal. Worth over $7,000 sell for $4,295 including delivery to any mainland state. Currently in Perth. Phone 0439 301 165 late evening Email: THE001Music@hotmail.com

BAND MERCHANDISE

iFlogID: 12220

OTHER

Your Next Album Cover?! It’ll look drop-dead amazing with the help of the award winning Wealth & Hellbeing Creative team! We turn your local look into an international standard release. We work with bands here and worldwide-visit www.wealthandhellbeing.com Call Lix 0405809066 iFlogID: 12355

Attention Musicians, Record Collectors, Universities, Libraries - new Book available (print/cdROM/direct download) compiling 100 years of popular music. GO TO www.plattersaurus.com for free web-site and information on how to buy. Enquiries: (02) 9807-3137 eMail: nadipa1@yahoo.com.au iFlogID: 12392

NOT AVAILABLE FOR FREE ADS. CL Tenor Saxophone for sale used Temby Custom Pro Silverplated 5yo $1500 good cond. Call Mike 0420435760 Sydney. iFlogID: 12310

PA EQUIPMENT CARVER 1800watt P.A HEAD Price: $850.00 Rack mount.split mono. with Bose controller/pre-amp.8 speaker outputs.Very loud! in case.cost over $2500 sell $850. Ph.0428744963.Cooroy. iFlogID: 12733

BOOKING AGENTS Artists and bands needed to play Caloundra Music Festival 2011. Applications being taken now. Head over to www.caloundramusicfestival.com.au and click Get Involved, then Artist Applications to find out more. iFlogID: 12349

EP RELEASE Sydney Music - excellent new bands. www.swimmingpoolrecords.com iFlogID: 12290

MANAGEMENT Open Muzic Records is a new London based record label that is focused on talent, whether it’s Rock or R&B, Pop or Metal, we feel we have the ears to spot a star! Applications being taken. www.giglaunch.com.au iFlogID: 12353

heard? Clk Click Publicity can help you with all your publicity needs. Check out www.clkclickpublicity. com or email info@clkclickpublicity.com/call 0420 902 446 to get in touch. iFlogID: 12298

Register Today its FREE www.ozmusiccentral.com.au be part of something bigger iFlogID: 12326

Songwriter available. I write catchy, positive, marketable and popular songs with broad appeal. APRA Full Member. To hear samples of my work go to www.custard.net.au/ raoulmclay. 0434 300 959. iFlogID: 12225

www.ozjam.com.au is free to join, and with over 5000 members its fast becoming the largest online music community in Australia! If your looking to join or form a band, find a band member, or get exposure check Ozjam out today! iFlogID: 12759

band...original prog rock band iFlogID: 12735

SERVICES

musicians. E-mail: nicole.a.reece@ gmail.com iFlogID: 12406

GUITARIST

GRAPHIC DESIGN

Guitarist looking for a band/covers gigs i have all my own professional gear, transport and flexible in styles. I am very committed and not one to give in on an idea to pursue. Shane Greig 0408732177

Band Posters Want professional looking band posters? Contact 1200design and get great posters and/or cd covers for prices aimed at

TUITION BASS GUITAR TUITION....FOR BEGINNERS...ONLY $30/hour iFlogID: 12784

iFlogID: 12713

MUSICIANS WANTED KEYBOARD Guitarist, bass player and drummer looking for Keyboard Player for Blues project. Original material with Hammond/Piano type arrangements, minimalist preferred. Influence T-Bone Walker, Buddy Guy, 3x Kings, etc. Any age/experience, but prepared to commit to rehearsals and performing live. iFlogID: 12743

••••••••••••••••••••••••••••••••••••••••••••••••••••••

Proudly supporting the local music scene

CD LAUNCHES and PRIVATE HIRE

VIDEO / PRODUCTION Kontrol Productions is a highly professional production company that specializes in the production of music video’s. We employ a range of industry professionals to insure that our products are of the highest industry standards. www.kontrolproductions.com iFlogID: 12198

MUSICIANS AVAILABLE

OTHER

BASS PLAYER

Are you an artist struggling to be

BASS PLAYER seeking prog rock

iFlogID: 12222

OTHER Gig Launch, Australia’s first online music booking agency, needs a radio ad! Applications now being taken. Prizes awarded to winning advertisement. Head over to Gig Launch - www.giglaunch.com.au to find out more.

We are always looking for new up and coming bands and DJ’s send your demo’s or requests to: info@ya-yas.com.au

iFlogID: 12351

Register Today its FREE www.ozmusiccentral.com.au be part of something bigger iFlogID: 12328

••••••••••••••••••••••••••••••••••••••••••••••••••••••

147 James St. Northbridge (Cnr of Lake & James St )


Portacom and Acer, the largest supplier of notebooks in Australia, introduce the Travelmate 7740G-II for power users both business and gaming. This high quality 17.3" 1600x900 Hi Res Business Grade design is made for reliability and come with a dedicated ATi 3D gaming GPU and network ready Windows 7 Professional. Includes; Webcam, WiFi, HDMi, Bluetooth and Wifi Portacom is also including our famous $99 Prep/Test and 24 Hour Technical Support valued at $299. This included $398 value proves Portacom is dedicated to your long term notebook life and is superior to anyone in Australia. Buy anywhere else and you wont get the best deal.


Drum Media Perth Issue #234