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WA’S HIGHEST QUALITY STREET PRESS • THURSDAY 28 JULY 2011 • 248 • FREE

YS JUNIOR BO

E AVALANCH

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R A NAME

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UGH

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INSIDE: KELE • FLOATING ME • JOHN ‘00’ FLEMING • EDUCATION FEATURE ALBANY • BUNBURY • BUSSELTON • DUNSBOROUGH • GERALDTON • MANDURAH • MARGARET RIVER • PERTH


Create something extraordinary Creativity comes in many forms. That’s why our Communications and Creative Industries programs cover many disciplines. This lets you tailor your degree to suit a range of careers. And, because we connect you with creative industries around the world, you’ll be ready for more opportunities, in more places. At our Mount Lawley Campus, you’ll learn in a creative environment in one of Perth’s major cultural precincts. Plus, with some of the best equipment and facilities at your fingertips, your only limit is your imagination. The road to a career in Communications and Creative Industries is truly open at ECU. For details, call 134 ECU (134 328), email futurestudy@ecu.edu.au or visit our website.

reachyourpotential.com.au ★★★★★ TEACHING QUALITY ★★★★★ GRADUATE SATISFACTION The Good Universities Guide 2011

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Images supplied by ECU graduates and students. Credit to Mahmudul Raz and Yvonne Doherty.


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THE DRUM MEDIA 28 JULY 2011 • 3


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FOREWORD LINE IN BRIEF

COLD CHISEL

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MONGREL MOB’ buzz kill vamps, valiant, cal peck & the tramps, carnies with candy $10. 8pm.

FRI SUGARPUSS

BARNESY & FRIENDS

Iconic Aussie rockers Cold Chisel are catching the last train out of Sydney and straight into their biggest run of dates in nearly 30 years. The Light The Nitro Tour will rock and roll around the country for 24 dates, including Saturday 26 November at the Sandalford Estate in Margaret River and Sunday 27 at Belvoir Amphitheatre in the Swan Valley. Both shows will be licensed ALL-AGES shows, persons under 18 must be accompanied by an adult for the former, under 15 for the latter. Tickets through Ticketek and Ticketmaster respectively, and are available from next Thurday, or head to coldchisel. com for early birds.

SONIC THE RAVEHOG

SINGLE LAUNCH

usurper of modern medicine, astral travel $10 or $12 with CD from 8pm.

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fall electric, dux n downtown & race to your face. Entry $12 from 8pm.

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SUB FOCUS

After their forced premature announcement last week, Stereosonic has backed it up with a massive line-up of acts joining the already announced Armin van Buuren, Carl Cox, LMFAO, Afrojack, The Bloody Beetroots, Avicii, Benny Benassi and Ferry Corsten. You can now include Dirty South, Kaskade, Dash Berlin, Sub Focus (Live), Andy C, Mr Oizo, Pnau, Pretty Lights, Annie Mac, Crookers, BT (Live), Caspa & MC Rod Azlan, Claude VonStroke, Datsik, Lucy Love, Bag Raiders, Zombie Nation (LED show), Drop The Lime (band), The Two Bears (Joe Hot Chip and Raf Daddy), Guy Gerber, The Gaslamp Killer, Deetron, EDX, Jochen Miller, Arty, Myon & Shane-54, Destructo, Acid Jack (live), ShockOne and Beni, with the Main Stage being hosted by MC Stretch. We can also tell you it’ll be Sunday 27 November at Claremont Showgrounds (subject to council approval), and limited first release tickets go on sale next Thursday from Moshtix.

MON WIDE

OPEN MIC wanna play? early: freo buskers in the beer garden.

TUES JULIUS

LUTERO TRIO

with von leon & willow $5 from 8pm. Early: Big Ear Chad from 6-8pm

THE KOOKS

SOUTHROUND-UP

The acts keep trickling out for Southbound 2012, already featuring the likes of The Arctic Monkeys, Crystal Castles, Fleet Foxes, DJ Yoda and more. This week, they’ve announced a diverse little array of acts from home and abroad, plus ticket prices for the now two-day festival. Aloe Blacc, Dan Deacon, Emma Louise, Jim Jones Revue, Josh Thomas, The Kooks, Lanie Lane, Metronomy, Missy Higgins and Pnau are now also on board, with ticket prices starting from $200 plus BF for camping passes, and $160 plus BF for weekend passes. VIP etcetera are more, and you can snavel them up from Wednesday 17 August, although head to sunsetevents.com.au for some sneaky early bird opportunities.

WED ANDREA

MARR BAND with special guest kizzy

Entry $10 / $5 members from 8pm.

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The long rumoured Harvest Festival has been announced, bringing acts including Portishead, The National, The Flaming Lips, Bright Eyes, Holy Fuck, Death In Vegas and Mercury Rev to the east coast in November. No word yet of any WA sideshows. Sunset Events is shouting one lucky festival lover the chance to win two VIP/ AAA passes to all of their fest, including Stereosonic, Southbound, Laneway, Margies, West Blues’n’Roots, Creamfields and Groovin’ The Moo! Head to facebook.com/ sunseteventsWA to get on it.

Following Sounds Of A Silhouette being cancelled, Dream On Dreamer have also canceled their planned sideshow. Take 40 Australia has launched a new iPhone app featuring over 10,000 music videos, plus a whole lot more. Head to take40.com/app for more info. After a year off, Homebake is back with a Classic Edition, featuring Grinderman, Pnau, Gotye, Gurrumul, Icehouse, Cut Copy, The Triffids, The Church, CW Stoneking, Noah Taylor and more.

FREMANTLE BLUES & ROOTS CLUB

MOJOS INFO

The previously postponed One Movement For Music Festival is officially discontinued after a commercially sustainable alternative model could not be found.

Wish you were at Splendour this weekend? Head to The Rosemount on Sunday where Virgin Mobile are providing a live stream of the Amphitheatre stage from 3pm, plus festival quirkiness galore including photo booths, local DJs and a tree made of lollies.

$12+BF from moshtix with a free EP. 6pm.

call bruno booth on 0424 606 437

Guinness has launched Guinness Live Thursdays national band comp. The winning band will receive an all expenses paid trip to Dublin to perform alongside the likes of Scissor Sisters at Arthur’s Day Celebrations, Thursday 22 September. Head to facebook.com/ guinnessaustralia to find out how to enter and deets on the Perth heats.

THE WOMBATS

WOMBAT STEW

They unfortunately pulled out of the Groovin’ The Moo Festival earlier this year, but fans of Brit-poppers The Wombats rejoice, they’re playing a huge show at Challenge Stadium Tuesday 11 October, with special guests Faker and Owl Eyes. Following on from the success of their sophomore release This Modern Glitch, they’ll be back to perform hits old and new, such as Techno Fan and Let’s Dance To Joy Division. If their live performance at Parklife 2010 is anything to go by, this will be a cracking show. Tickets $79.90 through Ticketmaster from next Friday.

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Kevin Smith (of the Seven Storey Jumpers) is building a local music collection at the Spearwood Library. If you wish to contribute yours, contact Clive Crocker on 9411 3802. Borrowers head to library.cockburn. wa.gov.au.

NEW YORK DOLLS

NEW YORK NEW YORK

Boutique New York-inspired arts and culture festival The Boroughs will bring the highly influential punk band the New York Dolls to the country for the first time since 2007, with the ‘70s icons reaching Australian shores in all their glamour and glory. They’re presenting The Boroughs festival over east, but we ‘only’ get the band themselves, shaking Capitol to its very core Friday 7 October. Tickets go on sale from 9am tomorrow, with guests for the show to be announced.

VAMP IT UP

Touring for the first time in Aus’, LA Vampires is the shapeshifting universe of Amanda Beth Brown. Hers is an evolving vibe, utilizing a web of slowed/screwed tapes, boombox Casio FX, low end theories and bleached voice patterns to conjure a reverb chamber’s worth of dancefloor mirages. She makes her way to The Bakery Tuesday 6 September, with support from Rites Wild (SA), Stina, Healing Crystal Meth and Son Of The Father. Tickets $10 plus BF from nowbaking.com.au, or $15 door.

ELEKTRIFYING

YIKES! is the brand new album from London Elektricity that’s just been released, and it’s brimming with beautiful vocals, intriguing instrumentals and sumptuous compositions. It’s a step out of the box but stands for music London Elektricity knows and loves. It’s his first release in a few years and he’s of course celebrating with another visit to a place that knows and loves him like no other – here. He plays Friday 28 October at Metro City in Northbridge, with MC Wrec, Blokhe4d and Xilent.

VOWS OF SILENCE

Eclectic New Zealand-born, Australian-based songstress and recent winner of the Vanda & Young Songwriter Of The Year Competition for the song Cameo Lover, Kimbra has been compared to jazz greats like Nina Simone and Bessie Smith, while her music stylings have been dubbed akin to Bjork and Camille. Her debut album Vows is due out September 2, and she’ll be launching it with a live show at Capitol Saturday 17 September, ahead of her appearance at Parklife, Sunday 24 September.

SAILING AWAY

With forty years of chart-topping singles and albums under his belt, Rod Stewart will be rocking his ‘The Hits’ tour on the Nib Stadium stage, Saturday 4 February. Having a phenomenal 62 hit singles in the UK, of which 31 reached the top 10, concert goers can expect to be treated to the likes of Tonight’s The Night, Maggie May, You Wear It Well, Stay With Me, Sailing, Hot Legs, Da Ya Think I’m Sexy… the list of Rod Stewart’s chart-toppers goes on and on. He’s supported by Aussie champ Diesel. Tickets through Ticketmaster from next Wednesday.

JACK LADDER

SNAKES & LADDER

The Hurstville tour is headed our way, on which Jack Ladder & The Dreamlanders will take their critically acclaimed new album of that name around Australia, rollicking in to The Prince Of Wales, Bunbury, Friday 23 September and The Rosemount Hotel, Saturday 24. Following intimate June launches, Ladder & his band will unveil these atmospheric new songs with the support of special guests Ghoul. Tickets through Heatseeker and Oztix for this Street Press Australia-presented tour.

RED RAGGA WINE

Celebrating its fifth year of existence in 2012, the Raggamuffin festival is grooving into Perth Saturday 21 January (venue TBC), and they’ve announced their first headline act – the original voice of hits Red Red Wine, Kingston Town and Can’t Help Falling In Love, Ali Campbell. As lead singer with UB40, Campbell has sold over 70 million records worldwide and notched up four #1 singles.


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Edith Cowan University 2 Bradford St, Mount Lawley THE DRUM MEDIA 28 JULY 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 just mean recently getting a Glasto-like musical experience… After the somewhat-dancey announcement of RTRFM’s Opening Party, they’ve just announced the more rock-infused Radiothon Closing Party for Saturday 27 August at Rosemount Hotel. Doing their thing on the main stage will be Emperors, The Leap Year, smRts, The Autumn Isles and Hang On St Christopher, while in Bar 459 catch Minute 36, Goodnight Tiger, Gulls, Louis Inglis and Seven Weapons, plus DJ sets in the beer garden from Shannon Fox, Jamie Macdonald, Chris Wheeldon and Ryan Sandilands. $15 for subscribers, $20 otherwise from rtrfm.com.au/events.

EMPERORS

Ale-guzzling folk-metal warriors Claim The Throne head around the country to celebrate their new album Triumph & Beyond. Friday 12 August they play Amplifier before heading around the country, back just in time for Bastardfest, Saturday 24 September at The Civic. With Parklife fast approaching it’s time to get acquainted with the local live contingent at Hyde-Parklife, featuring Sun City, Sam Perry and Carl Fox, plus decksmen Black & Bunt, Audageous, Dorcia DJs and Deadvents. Free, at the soon-to-be-re-opened Hyde Park Hotel, Friday 29 August. Future Shorts and 1UP Microcinema have combined to screen FS films every Sunday arvo from 5.15pm at the William Street haunt, with free milo/cool aids, BYO food and good times for all. Prebook at insertcoins.com.au/ microcinema for a free second film. Miasma Eden is the new five-track EP beatsman Obscotch is launching Thursday 4 August at Velvet Lounge for free from 7pm. Support from Ndorse, The Hertz (Sam Perry & Rezide) and Kabourter’s Forrest. Bass music party Nightclass is celebrating its first b’day with another banging shindig at The Bird, Saturday 6 August. Nightclass 201 will feature Allstate b2b Clunk, Pickles, ST1 & Beckon MC and Modo for more free freshness. Pop-rockers Hundred Acre Wood launch their My Heart Bleeds EP Friday 5 August at Rosemount Hotel, supported by Tracksuit, The Windy City (South Africa) and Boston & Chevy. $13 through Heatseeker, $15 door. Stillwater Giants release their new EP Friday 12 August at The Bakery, supported by local faves Tracksuit, Aztech Suns and Sugarpuss, before touring regionally. Soul Project’s US House Tribute is on again at Geisha, Saturday 6 August in an all-local quality affair featuring Terry Waites, Brett Valentine, Jehan Mehta and Sean Morrison. They’ll also be filming the night to go in the Rev Film Festival. Local rockers Mattersville return with their debut self-titled album and finely-tuned live show, launching it Friday 16 September at Rocket Room with special guests Hostile Little Face and Dam Few. $10 from 8pm.

BLACK MAMBA

For more than four decades, Ladysmith Black Mambazo have married the intricate rhythms and harmonies of their native South African musical traditions to the sounds and sentiments of Christian gospel music. The result is a musical and spiritual alchemy that has touched a worldwide audience. They play the Perth Concert Hall Tuesday 1 November. $89.90 through BOCs.

SKRYPT FLIP

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saturday 30th july

OATS SUPPLY 8pm, tickets

$23.50 from www.heatseeker. com.au, Mills Records, Star Surf, Planet Video and 78 Records

Perth hip hop kids LAUNCH welcome their mate from Sydney Skryptcha for the first time in Perth, dropping tracks from his acclaimed The Numbers release. He’ll be supported Thursday 4 August at Rocket Room by local champs DSC, Omac & Wish, Aftershock and 6.0 Krew. It will be a special night for LAUNCH punters being able to hear tracks from Ill Recognise Ill and Role Models for the first time.

WHITE POINTER

Multi-platinum recording artists and Grammy Award winners, The Pointer Sisters’ career has spanned three decades with Top Twenty chartbuster hits like Fire, He’s So Shy, Slow Hand, Automatic and Jump (For My Love) to name a few. Their repertoire has included uch diverse genres from pop and disco to R’n’B, dance and rock, and their I’m So Excited Tour rocks into Burswood Theatre Thursday 10 November, tickets through Ticketek.

OPI WAN KENOBI

Melbourne funky/futuristic/glitch DJ/producer Opiuo is celebrating the release of new EP Squiggle Friday 19 August at Shape. The world of the self-confessed music addict is filled with irresistible grooves, chunkfueled bouncy beats, brooding soundscapes, stomachmorphing bass and glitch that you can’t help but dance to. Tickets through shapebar.com.au.

BLACK & BLUES

With a career that spans over four decades, The Moody Blues are one of the most enduring rock bands in music history. They have generated a legendary list

EDITORIAL

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 28 JULY 2011

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 Czer-

of hit songs that are regarded as some of the most groundbreaking and innovative music of our time. Justin Hayward, John Lodge and Graeme Edge continue their music legacy by stopping in at Burswood Theatre, Monday 14 November. Tickets through Ticketek.

LET’S GET LOUD

For the very first time in Australia, Brazil’s Dirtyloud will be dropping bombs into Ambar Friday 26 August as part of Force Majeure. Dirtyloud’s jacking, tough yet effortlessly groovy sound has come to define the nu-electro style currently taking the world by storm. Touted as the hottest new electronic act to emerge in 2010, they’ll be supported by Dart vs. Devo, Mr Ed vs. JS, Philly Blunt and Mono Lisa. Door sales $15.

ROCKING EAGLE

Aussie rock legend and writer of Eagle Rock Ross Wilson will be in town August for a couple of private shows, but you can catch him at Friends Restaurant Sunday 7 August belting out all his favourites written during his time in such classic Aus’ acts such as Daddy Cool and Mondo Rock. Bookings essential, contact Friends on 9221 0885 for cuisine and concert price of $135.

BELLES TOLL

Following the release of Crystal Theatre (check out the review in this issue), Belles Will Ring have been announced as national supports for Leader Cheetah on their upcoming album tour. Wednesday 24 August they play the Boulevard Tavern, Joondalup; Thursday 25 Prince Of Wales, Bunbury; Friday 26 Amplifier; and Saturday 27 Mojo’s.

GREAT BALLS

The first and foremost psychobilly band in the country, The Fireballs will join Casino Rumblers in their support slots for the upcoming Mad Sin (Germany) tour. Together the groups will look at destroying The Rosemount Hotel Saturday 12 November in a night filled with action-packed live bands who know how to put on a cracking show.

niak, Sebastian D’Alonzo, Kitt Di Camillo, Sam Fell, Cam Findlay, 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

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DRAPHT

MAKE PARTY

It’s been one hell of a year for WA hip hop artist Drapht, with his fourth album The Life of Riley debuting at number 1 on the ARIA charts, thanks to tracks like Rapunzel and Sing It (The Life Of Riley). New single Bali Party keeps the good times going, and he’s celebrating with good friends Layla & Dazastah, Sydney’s Thundamentals and Melbourne’s Muph & Plutonic. Catch the lot Thursday 6 October at Players Bar, Mandurah; Friday 7 October at Metro City; and Saturday 8 at The Prince Of Wales, Bunbury. Tickets from next Friday through Heatseeker and the usuals.

LUCY GOOSEY

After a winter hiatus, The Likes Of You has filled up the latter half of 2011 with an assembly of quality techno and house shows, the first of which is the founder of emerging label Stroboscopic Artefacts, Lucy, Friday 9 September at Geisha, with support from Travis, Mot3k and Lloyd. You know Lucy as a label founder, but he’s also a published author and experimental sound designer, reflecting in his dynamic techno DJ sets layered with deep dub and textured with lucid IDM. $15 door before midnight, $20 after.

REAL HOPE

Hopeful Productions is bringing the ‘Gravity Tour’ to Perth – a run of shows across featuring US speaker Chad Moses, from the organisation To Write Love On Her Arms, on hand to discuss his own struggles with addiction and depression. The Gravity Tour hits The Bird Tuesday 9 August, with Death & A Cure, Beside Lights, Callum Bone and Azlan Amir, and Fly By Night Saturday 13, with We Are The Emergency, In League, The Calling Of Levi and For This Cause. Moses will also speak at Oh Snap, Black Bettys, Thursday 11 August.

HOPE & RAY

Direct from Melbourne, Hope Addicts and singer/ songwriter Lindsay Phillips team up for a tour of Perth as each release a new single from their respective forthcoming LPs, joined by Sue Ray from Brisbane. Hope Addicts have never played Perth as a full band so don’t miss out on this rare opportunity when they are also joined by Kill Devil Hills’ violinist Alex Archer. Friday 5 August they play X-Wray Café; Saturday 6 Mojo’s with Kill Devil Hills; and Sunday 7 The Bird.

AMP IT UP

The 2011 Ampfest band competition fires up next Friday 5 August, with Heat One at St Oswald’s Church in Swanbourne for the opportunity to play in the final Saturday 3 September at the Octagon Theatre alongside Tim & Jean, along with over $10,000 worth of prizes. Heat One features Tiana Dawson, Emberville, Hand Stands For Ants, The Shallows and Patient Little Sister; Heat Two at CMIT Leederville features The King & The Club, Mezzanine, Morgan Bain & Co., The Bedward Smiths and Sisters Doll; and Heat Three at Memorial Hall Mosman Park features Room At The Reservoir, Sugarpuss, Dam Few, Red Sky and The FAIM Project. All events are free and ALL-AGES.

EVOL INTENTIONS

Local d’n’b crew Inhibit are celebrating their 5th Birthday Friday 2 September with another massive show, and they’ve invited some big time friends in the form of US drum’n’bass lords Evol Intent, a trio going from strength to strength with their Cruise Control EP killing it earlier this year. Support from local killers J Switch, Killafoe, Illusiv, Sempy, Stiltz, Dvise and MC Bear at Shape. Tickets $20 plus BF from shapebar.com.au.

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THE DRUM MEDIA 28 JULY 2011 • 9


FOREWORD LINE CHASING AMY

FOLLOWING THE SUDDEN DEATH OF AMY WINEHOUSE ON THE WEEKEND, LIZ GIUFFRE REFLECTS ON HER MUSIC AND INFLUENCE, AND HOW SHE SHOULD BE REMEMBERED FOR MUCH MORE THAN JUST THE ‘TROUBLED’ LIFE OBSESSED OVER IN THE MEDIA.

P

erhaps an unfortunate outcome of Amy Winehouse’s death is that much of her obituary seems to have been written years ago. Today The Guardian quotes an interview with her mother from 2008, who said, “I’ve already come to terms with her death. I’ve steeled myself to ask her on what ground she wants to be buried, in which cemetery.” Many local media outlets, including the usually more astute triple j, played Rehab as something of an explanation. The ‘told you so’ echo is also present in the commentaries which emphasise that Winehouse was 27, the same age as James Dean, Jim Morrison, Jimi Hendrix and Janis Joplin when they died. And thus the game continues, the cycle of ‘tortured artist’ clichés and rock’n’roll legend tributes. But does this do Winehouse and her legacy justice? Hell no. Where are the discussions of her music? Her fabulous, bold, influential music? Frank, her amazingly skilled and funny (let’s not forget she was funny) 2003 debut, played with sex and women’s lib for those of us who don’t want to scream “I Am

music@drumperth.com.au

GIVEAWAYS

Woman”, but also didn’t want to pretend we’d got it sorted, either. Love Is Blind, the story of a cheater’s confession/ justification, remains hilarious and fucked up all at once (“Don’t be upset, I pretended he was you… it’s not cheating, you were on my mind”). But most remarkable and bold is how it was immediately followed by There Is No Greater Love, a completely straight, Frank-Sinatra styled croon with no double meaning expect in how vulnerable it leaves the singer. As she proclaims “There is no greater thrill than what you bring to me… no greater love than what I feel for you”, you are left to assume he feels the same way, but what’s left if he doesn’t? So awesome, so strong, so unusual. A few years later in 2006, Back To Black was released and Amy Winehouse Incorporated was established. It was this second album that woke up the world, and also developed her real rock star personae. Here Winehouse first sported her beehive and thick eyeliner, things that allowed her to hide behind her own caricature as the music business took hold. Here came

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Rehab, perhaps an autobiography, but more importantly just a damn good pop song. It was so good, in fact, that the most vanilla forms of our industry, Idol and Glee, have since taken to it with gusto, liberally ignoring the MA 15+ themes in place of a catchy chorus and great retro arrangement. Now this is her true achievement, just like Elvis got his gyrating pelvis into lounge rooms and early U2 made singing about real politics fashionable again (for a time, at least). Rock’n’roll is meant to be a Trojan horse that sneaks the good stuff past the bouncers – well done Winehouse, well done. But Back To Black had so much more, playing again with a mixture of old and new themes and providing a rare glimpse into the lady’s emotion and naughtiness. The upbeat Tears Dry On Their Own is a real modern day liberation, a song brave enough to admit hurt and triumph and properly mix the two (its closest competitor is probably I Will Survive, but Winehouse had much less schmaltz and a much better backing band). And then there’s the title track – oh, the title track. Is there nothing more brutal than its opening line “He left no time to regret, kept his dick wet, with the same old safe bet”? But in true Amy Winehouse style, her real triumph is in expressing an amazing musical mish-mash, with the twisted Motown-like keys letting the listener know that from the first bar this isn’t a simple tale of loss or victimhood (or even victory). Listen and listen again – I dare you to work it out. And that’s its beauty – that song’s a total freaking mystery; confused and catchy and complicated. Of course since then we’ve seen a public selfdestruction of Winehouse, one that she seemed complicit with. Her personae had become its own punchline – I can’t get past the Spicks & Specks Britannia special where both Myf and Alan dressed as her. It was at once hilarious and hideous. And her final stumbling, stuttering performance earlier this year was a car crash that so many tuned in for just to make sure it was as awful as they wanted it to be. From that point of view, the ‘told you so’ chorus was right. But let’s not let the mythology of her addiction – and a media tendency to overcompensate with ‘what ifs’ – overshadow how she really did make her mark. Screw the skinny Sex & The City girls with their impossible budgets and impossible conquests; Winehouse was my modern feminist hero.

TINY RUINS New Zealand pop songstress Tiny Ruins is touring Australia on the back of her debut album, Some Were Meant For The Sea. The uncompromisingly beautiful and intelligent album in a folk-pop tone perfectly matches the pattern of the already-established musicianship of Seeker Lover Keeper, who she’ll join on their upcoming national tour that hits Astor tonight. You can catch Tiny Ruins solo though at the Velvet Lounge (Flying Scotsman) in Mount Lawley this Friday 29 July. To grab one of TWO double passes to this show, head to facebook.com/ drumperth. As the former frontman of groundbreaking dance-rock act Bloc Party and a distinct indie-dance performer in his own right, Kele needs no introduction. After taking a break from Bloc Party, Kele went on to establish his own intense and emotional style of post-punk dance and beats with a focused wit. He’ll be stopping by Villa Saturday 6 August with guests Strange Talk as part of his Splendour sideshow tour. Head to Drum Perth’s Facebook to earn one of TWO double passes to the show. Featuring a roster of the more sonically darker-tinged elements of Perth’s rock, pych and experimental scenes, Darkwave will throw down the gauntlet this Friday 29 July. Featuring a massive line-up over two stages with the likes of Heytesburg, Fear Of Comedy, Michael Strong And The Ghost Anyway, Zeks, Like Junk, The Frighteners, The Silent World, Shock Octopus and Born On The Bayou, this show will send a sinisterly enjoyable tingle up your spine. Go in the draw to win one of TWO double passes by clicking on the Giveaways tab on the Drum Perth Facebook page. PLEASE NOTE: All entries for giveaways are now via our Facebook, so head to facebook.com/drumperth for details.

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FALLING IN TO PLACE CHIC-CHIC-CHIC IT OUT The knob-twiddling skills of Joe Chiccarelli were brought in to work with the boys (& bear) for Moonfire, adding a fair bit to their already powerful music. He’s done the same for many other huge releases, including: THE SHINS: Wincing The Night Away - Arguably their seminal album, Wincing... immediately shook the foundations of the music industry upon its release. Based on simple pop rhythms and melodies, the record managed to bring an entirely different aesthetic to the modern pop song with its literalyet-emotive lyrics and enthralling treatment of the levelling between ordinary instruments.MY MORNING JACKET: Evil Urges - MMY’s fifth studio album had a definitely different angle to their previous records. Jim James handed Chiccarelli some early demos where the groove-heavy basslines and rhythm were already recognizable. He capitalized on this, telling James and co. To keep following that formula. FRANK ZAPPA: Sheik Yerbouti, Joe’s Garage (1,2 and 3) - Chiccarelli worked as an engineer on the two sets of works that would become the defining masterpieces of Zappa’s career. Whilst, in true egoistic fashion, Zappa produced the albums himself, a lot of the mixing and recording duties were handled by Chiccarelli. One of the greatest concept suites of all time? Not a bad thing to have on your resumÊ.

SYDNEY FIVE-PIECE J-DOMINATORS BOY & BEAR MIGHT HAVE SHOT TO THE TOP OF THE INDIE-FOLK PILE IN RECENT MONTHS, BUT CAM FINDLAY FINDS THAT THERE’S MORE TO IT THAN FITTING A GENRE. LIKE, YOU KNOW, WHISTLING. COVER AND STORY PIC BY CYBELE MALINOWSKI.

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ndie Folk.â€? “Driving Folk.â€? “Mountain Folk.â€? There’s a lot of catch-phrases running around these days to describe what is, at least on the surface, a burgeoning style of music. The combination of dynamic choral harmonies, varying traditionallystringed instruments and a casual, countrified aesthetic under a rock-meets-folk guise has bounded into the consciousness of the average music listener, no limit of thanks to the success of groups like Mumford & Sons and Fleet Foxes. So, the question is: Is it all as simple as slapping an “indie-folkâ€? sticker on every similar band and moving on? Or is there a lot more to it? Boy & Bear, a young Sydney band building their name along similar lines, are trying to steer clear of the overworn clichĂŠ. The band’s frontman Dave Hosking doesn’t dwell on the label. “For me, the bottom line is just your music and your live performance,â€? he says over the phone. “It’s as simple as that, the way I see it.â€? It’s an important point to make for a band that have become pretty big in the last year. After winning triple j’s Unearthed competition in 2009, Boy & Bear were immediately thrust on to the national stage; the obligatory spot at Homebake, followed by tours with Laura Marling, Hungry Kids Of Hungary and Angus & Julia Stone, as well as the release of their debut EP Emperor Antarctica. The fact that they have been so acclaimed in a short amount of time is thanks, in part, to the honesty of their aim. “I guess I have no major qualms with being put into that indie-folk bracket,â€? Hosking comments, “but at the same time part of me feels like it maybe doesn’t offer enough opportunity in regards to just... I guess I just don’t want to be boxed in sonically in to these types of groups. What we want as a band is to push both the heavier and folkier ends at times. If that means using synths and vocoders or whatever, than I think we’ll run with that.â€? While the idea of vocoders in folk songs may seem a little left-of-field, Hosking points out that he’s not sold on the idea of Boy & Bear playing by the rules that may or may not have been established already. “I think the way that you separate yourself from the pack is just by

making sure that you’re not playing by the same rules and playing it safe,� he says. “Eventually you’ve gotta take risks and you’ve gotta take risks all the time,� – impressive words from a group who are only just about to release their debut long-player, Moonfire.

I’M A BIT WHISTLED OUT AT THE MOMENT, AND LIVE IT’S A BLOODY HEADFUCK, TO BE HONEST.�

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But there’s a lot of pedigree to their music; band members Hosking (vocals/guitars), Jake Tarasenko (bass), Killian Gavin (vocals/guitars,) Tim Hart (drums/ vocals) and Jon Hart (banjo/mandolin/keys) all have experience in previous bands. “Things started getting busier with Boy & Bear, as well as the bands that they were doing,� Hosking explains. “They didn’t have time to keep doing them, which was sort of difficult for them because, you know, they invested a lot of time and they had some close friends there. But they knew that the way that music rolls is that you’ve got to take the chances that fall in your lap.� And fall into their laps they did. Boy & Bear currently have the enviable position of having public interest supporting their debut album, thanks in no small part to their dedication in terms of both recording and touring. Moonfire itself is a tour de force for the band; swaying momentously from dark and brooding to warm and welcoming, the album builds on taken pop, rock and folk influences without sounding reheated. In fact, it surprises you with each new track. “I guess the one thing I learnt going into that was that everyone has got an opinion on things,� Hosking says of the expectation that must have mounted to the release. “Sometimes

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you’ve just got to get back to basics and try to ignore what everyone’s telling you and just get on with it. We love writing and playing music, and we knew what we wanted to achieve out of the record. I think that was the focus going into it.� Boy & Bear had a lot to prove, with their treatment of Fall At Your Feet surprising many by reaching number 34 on the ARIA charts and number five on last year’s triple j Hottest 100. The first single off of the upcoming album, Feeding Line, has also already infected listeners with its catchy hooks. Hosking says that the added pressure only acted as an “energizer� for the band to apply themselves even more. “I think the last thing we wanted to do was to shape a record around all those expectations,� he says. “ I think all you can do is write and record music you love and make the record that you would enjoy, and either the rest falls into place or it doesn’t.� Boy & Bear recorded at Blackbird Studios in Nashvile with Joe Chiccarelli, famed for his work on The Shins’ Wincing The Night Away and My Morning Jacket’s Evil Urges as well as a host of other recordings. His influence can be clearly heard on Moonfire. “I think what we wanted him to bring was a sense of more interesting sounds and flavours through the record,� Hosking says. “That was one of the strong points of working with Joe. There were definitely moments where we didn’t see eye to eye, but I think that’s the nature of working with a producer and working with someone who has that experience. I think we learnt in that process to give and take a little bit. “We had a strong vision for what we wanted the songs to be, but we also had to be open to what he brought to the project.� Hosking lists Chiccarelli with many people he has toured and worked with, including Marcus Mumford, as inspiration when it came to writing, recording and producing the record. “Working with them and trying to be a sponge for knowledge with people like that is really beneficial. I think it’s probably shaped us for the better. It’s hard to go through that experience and not be inspired.�

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GRIM FANDANGO

Following a series of shows on home soil, including what is sure to be a spectacular slot at Splendour In The Grass this weekend, Boy & Bear will take their show to the US, with a string of shows including Lollapalooza. It’s a proposition that Hosking is excited about, and asked what it is he thinks makes Boy & Bear so appealing to fans, he takes some time to think. “I’m not sure, I think it’s just a really honest performance. Tim and Killian were both the frontmen for their bands, and that’s why we put Tim’s drums at the front of the stage, because he’s a very charismatic performer. It’s really nice having those strengths in the band, let alone Jake and Jon also bringing a lot to the live process. “If people are into live harmonies and really live instrumentation, no backing tracks, nothing to kind of sit behind, then that’s what we’ll give them I suppose. Maybe that’s why people keep coming back.� Speaking of live instrumentation, whistling is becoming a respected, if maybe under-appreciated, part of Boy & Bear’s repertoire. Is Dave Hosking worried that the iconic whistled chorus of Feeding Line might be taken too far? “It’s funny because Joe was thinking that it didn’t really fit the moment, that there’s so many songs with whistle choruses. We had Feeding Line without the whistle, and it just wasn’t the same without it. I don’t know, whistling is something that’s just really beautiful. The majority of people can whistle, and it has a really beautiful mood and relaxed feel to it, and that’s what works about it. “But I’m a bit whistled out at the moment, and live, it’s a bloody headfuck, to be honest. Trying to whistle at a festival while there’s wind, I’ve had a couple of fails. I think that there probably won’t be as much whistling on the next record...� Hosking stops for a moment. “Awww, maybe, maybe I’ll come around to it in the end.� WHO: Boy & Bear WHAT: Moonfire (Island)

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SLAVES TO POP INDIE AND DANCE COMBINE ONCE AGAIN WITH THE NEW ALBUM FROM JUNIOR BOYS. ONE HALF OF THE DUO, JEREMY GREENSPAN, TELLS CYCLONE OF THE TROUBLED REALITY OF RELEASING ALBUMS.

A BAND REALLY ISN’T AT THEIR BEST UNLESS THEY’RE DOING THEIR OWN SHOW.”

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anadian indietronica heroes Junior Boys – Jeremy Greenspan and Matthew Didemus – have resurfaced with their peppiest album yet in It’s All True. The Domino-aligned duo - conceivably the missing link between Underworld, Metro Area and Hot Chip have traded in hyper-subtlety for quirkiness – an inspired move. Can we call it a comeback? Greenspan has bravely declared that 2009’s minimalist Begone Dull Care “failed to gain traction with people.” Nevertheless, the Junior Boys vocalist wasn’t so much as disowning that last LP as critiquing its promotion. Today Greenspan rues that, while cutting Begone..., he needed to simultaneously develop a marketing angle. “I have this resentment that when we made the last album, even people who were close to us [and] working with us would say things like, ‘OK, what’s the story on this new record? How are we supposed to market this? How are we supposed to sell this thing? What’s different about it? What’s new about it?’” Greenspan sighs. “I just said, ‘I don’t really have an answer to that question.’ I resented even being asked it because I thought, well, aren’t I just allowed to make music and not have to come up with a marketing scheme? I’m not a marketing specialist – that’s not the job of musicians. But, increasingly, it seems as though it is, in fact. New bands who do well do so because they have some real clever marketing strategy or some real clever viral video – all that kinda shit that actually is so secondary to [the music]. So many times you’ll hear like, ‘This band is just getting so hyped right now!’ Then you’ll listen to it and you’re like, ‘This band?’ (laughs). That seems to be the de facto situation in the music world.” Greenspan – and Junior Boys – attempted to subvert that with Begone…. ”I sort of made an album where I think I was trying to be slightly antagonistic. I was making these songs longer than they should have been and all of these things in order to sabotage myself. I guess it worked, in a way!” Musicians like him are under intense “pressure” to manufacture something that is “immediate”. And it’s a pressure artists in the ‘70s never experienced. Besides, they had other avenues through which to expose their music. Humble record store staff played a part in spreading the word. “I don’t have a problem with new music,” Greenspan clarifies. “In fact, I like a lot of new music. I like probably more new music now than I have in a really long time. There’s a lot of great new music. But I don’t particularly love the way music is listened to these days. I don’t think that there’s a great culture of music-listening like there used to be.”

The Hamilton, Ontario native formed Junior Boys in the late ‘90s with Johnny Dark, who quit soon after. Greenspan then recruited Didemus, a childhood friend. The Brit Nick Kilroy launched KIN Records expressly to release Junior Boys’ music. On the back of Birthday, they’d yield 2004’s synth-pop LP Last Exit – really a compilation with some Dark-era songs. Junior Boys 2.0 came into their own with So This Is Goodbye. A remix of Like A Child by Detroit techno icon Carl Craig was nominated for a Grammy (alas, Benny Benassi won with his massacring of Public Enemy’s Bring The Noise). In 2008 the sometime DJs mixed a set in Get Physical’s Body Language compilation series. Ahead of Begone…, Didemus transplanted to Berlin, Greenspan staying in Hamilton. Recording nowadays involves major organisation. “It’s not very easy,” Greenspan says. “What it basically required on this album was Matt just flying back to Canada a few times.” Greenspan hates the idea of their collaborating remotely, exchanging files over the Internet. “I wouldn’t wanna do it – we’re too lazy to do that kinda thing.” But flying back and forth has its limits. ”There was a fairly large chunk of the record that I just ended up doing by myself,” Greenspan admits. He himself traveled to arty Shanghai, on the pretext of visiting family, for two months. “I went because my sister lives there – and she’s lived there for the last decade. I just had never gone. I was remiss in my sibling duties!” Here, Greenspan connected with local musicians (Itchy Fingers, a blend of Arthur Russell’s ambi-disco, electro and indie, features Chinese harp). He remembers it as “a fantastic experience.” Above all, he acquired some perspective on the business, and his life, with It’s All True thematically “a break-up record.” ”To be somewhere so foreign and somewhere so far away was extremely helpful to me,” Greenspan says without elaborating. Junior Boys aren’t consciously “super-experimentalist”, Greenspan laughs. However, they abide by two “mandates”. The first is to continually utilise different musical gear, which, it transpires, doubles as their creative thrust. “We’re constantly buying new stuff and getting rid of old stuff. So, when you’re in a process of learning some new piece of equipment, or if you get really excited about some new piece of equipment you’ve just gotten, the process of playing around with it turns into the process of writing music. You’re sitting there playing around with something – in the same way that anyone plays around with a new toy – and then it does something fun and you record it and that turns into your new song.”

The second mandate? “To make pop music – to make songs, to make songs that people can understand, they can sing to, or dance to, or whatever it is that people do to pop music.” Pop – Junior Boys? “I’m a slave to pop music myself, so that’s the kind of music I wanna make,” Greenspan insists. Pop fiend or not, Greenspan’s love of the obscure remains undiminished. The title It’s All True is derived from Orson Welles’ South American wartime propaganda doco (aborted as the director decimated his budget). Then the nine-minute disco-house epic Banana Ripple pays homage (!) to one of the OCD-afflicted Howard Hughes’ fixations – an ice-cream flavour. Greenspan might be expected to rave about the nightbus genre associated with James Blake. Indeed, his A Truly Happy Ending sounds like Jamie Woon channelling ‘80s soul. But he’s more amped about US urban acts such as Miguel – or “the stuff that’s in that Lil Wayne kinda world.” (Funnily enough, Playtime, nocturnal electro soul, is a bit Drake.) He’s only lately resumed listening to British dance (Greenspan briefly resided in the UK, pre-Junior Boys). “I really felt as though UK dance music lost the point a while ago and was just getting ponderous.” Even then, Greenspan favours UK funky to the “brooding dubstep-y kinda stuff” – it has the “energy” of the early garage he dug. Generally, he gravitates towards “anything that references soulful disco house music.” Greenspan has moonlighted, last mixing old Hamilton buddy Daniel “Caribou” Snaith’s Swim. He also sang on Morgan Geist’s Double Night Time. He’ll pursue more solo – and collaborative – work in future. Meanwhile, Junior Boys, who brought their live show to Parklife in 2009, are embarking on an international tour in support of It’s All True. There are as yet no plans to return Down Under. ”But,” Greenspan reassures, “I would assume that those opportunities will start presenting themselves at some point.” Junior Boys want to approach even their tours unconventionally. “I don’t know if it’s feasible but, if we were to go to Australia, I think I’d like to play our own shows – I’d like to play in clubs,” Greenspan announces. “It’s hard to know if there’s the demand, but that would be more rewarding for me... Festival shows are what they are, but a band really isn’t at their best unless they’re doing their own show – that’s my opinion, anyway.” WHO: Junior Boys WHAT: It’s All True (EMI)

INDIETRONICA 101 Junior Boys have always been perplexed by their ‘indie’ fanbase. “I’ve never followed the indie scene,” Matthew Didemus told this writer in 2009. “My whole life I’ve been into dance music.” Junior Boys aim to put a pop spin on club music, their roots lying in seminal house and techno – but it’s cerebral stuff. The indie-dance phenomenon is traditionally equated with bands like The Stone Roses, Happy Mondays and Primal Scream, who emerged during the acid house era. But, prior to that, indie nightclubs existed, while New Wave – or, at least, its synth-oriented side – was ‘dancey’. Among the first acts to bridge these two worlds? Manchester’s New Order. Bernard Sumner led this reincarnation of Joy Division after Ian Curtis’ suicide. New Order immersed themselves in New York’s club underground in the early ‘80s. Their 1983 electro anthem Blue Monday, which featured a drum machine, become an indie classic. It was also big in nascent Detroit techno circles. Issued on Tony Wilson’s Factory Records, Blue Monday remains the UK’s top-selling 12” ever. In 1982 New Order – and Factory – also launched the fabled Hacienda nightclub. Through the ‘90s ‘dance’ acts such as The Chemical Brothers, pioneers of big beat won over rock fans. They even collaborated with rock dog Noel Gallagher. In later years, New York’s DFA fold led an indie-dance revival, their punk-funk ironically paving the way for nu-rave and Klaxons. But today’s indietronica is closer to the old IDM (‘intelligent dance music’), sweeping up those acts who aren’t as likely to appeal to ‘rock’ as ‘art rock’ fans. Indeed Radiohead, heavily influenced by IDM producers, largely created this demand. Now Junior Boys ‘rock’ labelmates Sons & Daughters are moving in a postindietronica direction. For their potent comeback, Mirror, Mirror, the Scots sought Optimo Music’s Keith McIvor (aka JD Twitch) as producer – the result of their desire to “start using electronics,” in the words of member Scott Paterson. The result sounds like a mash-up of late ‘70s and early ‘80s community radio faves – Lene Lovich, The Human League, and Depeche Mode... The best song, Rose Red, might be a gothic The Naked & Famous.


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BETTER THAN TV SINGER TONY SLY FROM NO USE FOR A NAME WAS IN AUSTRALIA LAST YEAR FOR AN ACOUSTIC TOUR WITH LAGWAGON’S JOEY CAPE BUT, AS HE TELLS DANIEL JOHNSON, HE CAN’T WAIT TO RETURN WITH HIS BAND IN TOW.

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ince forming in 1987, California’s No Use For A Name have released nine studio albums, a handful of EPs and played hundreds of shows, including several tours of Australia. The band has undergone a couple of line-up changes, with former Lagwagon guitarist Chris Rest and ex-Mad Caddies drummer Boz Rivera joining the fray. “Chris has been in the band for almost two years now. He replaced Dave Nassie who went to the band Bleeding Through,” singer Tony Sly explains. “He wanted to do that instead. I think they were touring a little bit more than us at the time and I didn’t want that to be an ultimatum, I wanted No Use to be a priority. “And then Boz, he’s the best drummer I’ve ever played with, first of all. He just brings such a new dimension to the band and I can’t believe how much better he made our songs sound. We were practicing some of the old songs the other day and I was like, ‘Oh my God, this guy is fantastic at the drums!’ I’d never heard anyone play like that… So Boz is just great and Chris fits in with us really well because we didn’t want to pick guys that were new and hadn’t been at it a long time, we wanted to pick guys who had experience.” Sly says writing for his solo project has changed the way he approaches songwriting for NUFAN, and he admits playing acoustic shows has made him miss the intensity of playing with the band. “The stuff that I’ve been writing for the acoustic shows has had sort of a folk sort of feel to it and a country sort of feel to it. Because of that it’s made me want to make a punk rock record,” he offers. “I’ve been doing it so much – I put out a 12-song album last year and I’m doing one again, I’m still mixing a record just this week called Sad Bear that comes out in September. That’s another solo record. It’s really time I did another No Use record, first of all, and secondly, it’s made me kind of want to play harder music; the first couple of No Use songs I’ve written for the upcoming album have been really heavy… not fast, but really rocking. “I think that has something to do with the sort of conflict you struggle with when you write acoustic songs. After a while you’re just like, ‘God, this record’s so mellow and I’ve been working on it for months but I want to write some fucking punk songs now’. That’s sort of what I’ve done, just embrace my roots more on some of the stuff I’ve been writing now, which is coming out nice, I’m happy about it.” NUFAN’s last record, 2008’s Feel Good Record Of The Year, was seen by many fans and critics as a return to form. In fact, when Drum spoke to Fat Mike of NOFX (and Fat Wreck Chords, the band’s long-time label) after the release of that album, he said it was “a good thing” it was a return to form because “the last one (2005’s Keep Them Confused) was shit.” “He always takes things to the extreme, but the same thing could be said for the last three NOFX records,” Sly laughs. “You have your ups and downs and I just think that record had a bit of a sound to it that was more like our old sound. It was experimental in the way that it was us experimenting with our old sound, but it was kind of a balls-out punk rock record as opposed to previous records where we were just trying to be innovative. I think it turned out well that way. I think what everyone wanted at the time, was for it to sound a little bit like [1995 album] Leche Con Carne and sort of have those riffs and those kind of old, little things that you missed on the one before, Keep Them Confused. Everyone was kind of firing on all cylinders and I think we made a pretty good punk rock record.”

Dancing With A Dead Man Tour with special guests

Boy In A Box & Redcoats

thursday 8th september - prince of wales bunbury friday 9th september - studio 146 - albany saturday 1oth september - amplifier - perth sunday 11th september - indi bar - scarborough

new album ‘dancing with a dead man’

out 5th august

Pre-order your copy at jbhifi online and receive a t-shirt plus signed copy!

Although writing for the next NUFAN record is still in its early stages, Sly says the band will definitely be releasing it on Fat Wreck Chords. “Yeah, it’s definitely going to be on Fat, we already know that,” Sly reveals. “You don’t talk about contracts these days. Mike’s such a good friend and I’ve already talked to him about the new record. He’s just excited about hearing the songs because he’s a fan of the band, and it’s always nice to have his support when it comes down to that. He’s still just as supportive as he was on day one and he’s never really tried to be a cheesy person or say, ‘Hey, you guys sound great’ or bullshit us. He’s always been very cool.” Sly says Australia has always been one of his favourite destinations, something he puts down to the warmth of the people and the consistently positive reception he has received from audiences here. “I have a lot of great memories of Australia; I’ve always loved touring there,” he says. “I don’t know why, but it has this sort of mystique to it, it’s not like anywhere else I’ve ever been. Everybody always asks me what Australia’s like because not a lot of people have been to Australia. Everybody out here, if people have been on vacation it’s to Europe or to Hawaii or something like that; nobody’s been to Australia. So I always get asked a lot about Australia and I try to explain to people and I really can’t; it’s one of those things you sort of have to see for yourself to believe it. “People are just so into music down there, and sometimes you get like a surf town and it seems a little bit like California in a way but it’s really not, it really just has its own identity, which I don’t think all places in the world have. It’s not really like it’s trying to be American like some European countries or things like that, I always felt Australia’s just trying to be like Australia.” When asked why punters should bother dragging themselves off the couch to come and check out the band on this tour, Sly is quick to respond. “I think we’re still really high-energy because we’re still into it,” he considers. “I love playing punk rock still, it brings me back to my childhood. The way that it makes me feel is I’m the same as the punters, I’m the guy on the couch wondering if I should go to the show, and I do. I have kids but I get a babysitter and go to the show and it’s always worth it because when I get home I feel like I’ve experienced something in life instead of just boring myself with TV shows. So I guess when it comes down to it, we’re better than a TV show.”

for tickets & further info visit callingallcars.net WHO: No Use For A Name WHERE & WHEN: Friday 5 August, Prince Of Wales, Bunbury; Saturday 6, Amplifier, Perth 16 • THE DRUM MEDIA 28 JULY 2011

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UPWARDS AVALANCHE DEBUT ALBUM TITLE OUR NEW LIFE ABOVE THE GROUND IS RAPIDLY BECOMING A RATHER FITTING DESCRIPTION FOR NEW ZEALAND’S AVALANCHE CITY’S MUSICAL WORLD AS THEY FLY UP TOWARDS GREAT THINGS. AAROM WILSON BREAKS DOWN THE WALLS.

D

on’t know much about Avalanche City? If that’s the case, we can fairly safely assume you haven’t been living in New Zealand for the past year. This is an act who posted their first album online to see it quickly reach almost platinum status on downloads alone, before it went on to debut at #1 on the iTunes chart and reach #4 on the NZ album chart. Their single Love, Love, Love shot to #1 on the NZ singles chart, so it’s no surprise ears perched close to New Zealand picked up some of their sounds and devising grand plans. “I feel really good at the moment about what’s happening,” enthuses frontman Dave Baxter, who played all the instruments on the album. There’s more than ample reason for the enthusiasm. For one, a number of those appreciative ears belonged to some of the heads at Warner, who quickly signed Avalanche City to their quickly growing Australasian roster. Baxter has also just played a Melbourne showcase to a bunch of media types, and the music went down as good as the beer. Not that you could judge this simply from the crowd’s head movements. “I’ve done so many showcases that you don’t even think about that anymore,” says Baxter when asked if it’s nerve wracking playing to a room filled with heads that generally go out of their way not to nod. “You know that they don’t respond to anything, but you know that deep down they’re enjoying it.”

OUR SHOWS ARE ENERGETIC BUT JUST IN A DIFFERENT WAY.”

Rather than an overly confident assessment, it’s a reading that could only be made by a performer who’s had their fair share of experience in judging audience responses. Indeed, Baxter’s Avalanche City may be relatively new on the scene, but his years in hardcore bands One Must Fall and then The Chase have put him in a good position to realise when a crowd is enjoying his performances. Though, while his bands supported such acts as Parkway Drive and Hatebreed, his Avalanche City project is more likely to appeal to fans of Bon Iver or Mumford & Sons, its mix of feathery folk and luscious lo-fi pop replacing menacing attitude with a soothing bed of sounds that rely more on the glockenspiel, banjo and accordion than spitting vitriol at the crowd. “I guess it’s a kind of movement where music changes and develops, and so all the kids that were playing in punk bands then kind of turn into hardcore synth pop bands, and then they trade in their synthesisers for acoustic guitars,” explains keyboardist Ben Tolich when asked about the seeming increasingly common transition from hardcore to folk artist. While to many it might seem like an odd jump in genres, Baxter points out that it’s more about the stereotypes that people harbour, “I think it’s just reinforcing the fact that people who play in hardcore bands also listen to different music. “The difference is the live shows,” Baxter continues. “Hardcore shows are just energetic and crazy. h Certainly the likes of City & Colour (a.k.a Dallas Green from Alexisonfire), Frank Turner (Million Dead) and Tim Barry (Avail) are all fine examples of fire-to-folk transitions that have paved the way for artists like Baxter to have confidence in the future of Avalanche City. Tolich adds, “You can play a folk gig now and sell out a bar, whereas ten years ago I don’t know if that would have been the case… People’s tastes over time change, but at the moment it’s definitely folk friendly.” The gentle folk (pun, embarrassingly, intended) that comprise Avalanche City certainly have an air of confident excitement bubbling up from their naturally chilled-out demeanours. Having their sounds quickly spreading far from their homeland certainly helps. “Me and Jonny [Brock, bassist] went over to LA and did some showcases over there, and we also went to New York and did one there and then London as well,” happily recounts Baxter of their recent whirlwind of activity. “After the Australian tour we’re going over to New Zealand and then to Japan and then straight to the UK.” Listening to the album, it’s easy to get the feeling this band really could crack the international market at a time like this. Baxter’s voice carries his heartfelt ballads in emotive ways that seem to transcend any regional accents, his stories that much more effective due to their worldly sound. ‘Worldly sound’, what the heck does that mean? Throwing it out to the band, Baxter begins analysing his voice: “I try not to sing like an American, like when I say the word ‘heart’ I try and say it like a New Zealander. I don’t try to put on an accent but there is definitely a singing accent.” There is, but it seems one much less identifiable than many Australian accents come across in songs. Think Crowded House… Perhaps it’s a New Zealand phenomenon? ”I don’t know whether there’s a driving force for the NZ sound [that’s applicable] to our sound.” Ponders Baxter. “I get a lot of inspiration from wanting to get out and explore the world and maybe that’s what the NZ thing is, it’s that we’re kind of isolated from the rest of the world and it’s hard for us to go travelling because it costs so much money.” Tolich chips in, “So you might say we have a geographically isolated sound.” Spurned by talk of geography, Baxter begins talking about their exceedingly cute (and that’s meant in the most positive way) video clip to Love, Love, Love. “That was just a friend of mine, Josh Smith, who’s a super talented animator, and I had the idea of using penguins like an icon for Avalanche City. I really just wanted to live vicariously through these penguins and get them going sailing and having adventures and stuff like that, so that’s how it happened.” Watch the video clip and just try to argue you wouldn’t love to get lost in Avalanche City’s world. With references to the second album already being on the way, you get the distinct impression Our New Life… is only just the tip of this upwards avalanching iceberg.

A MUSIC, CAMPING AND ARTS FESTIVAL

Aloe Blacc Arctic Monkeys Arj Barker Crystal Castles Dan Deacon Emma Louise Fleet Foxes The Jezabels Jim Jones Revue Josh Pyke Josh Thomas The Kooks Lanie Lane Metronomy Missy Higgins Papa vs Pretty Pnau Tim Finn Unknown Mortal Orchestra The Wonderful World of DJ Yoda MANY MORE TO BE ANNOUNCED!

7 D 8 J 2012 ticket prices announced!

sir stewart bovell park, busselton

Head to www.southboundfestival.com.au for more info

WHO: Avalanche City WHAT: Our New Life Above The Ground (Warner)

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THE DRUM MEDIA 28 JULY 2011 • 17


POSITIVITY & WARMTH BLOC PARTY FRONTMANCUM-SOLO ELECTRONIC ACT KELE TALKS TO ANTHONY CAREW ABOUT HIS BURGEONING CAREER AS AN AUTHOR AND THE FREEDOM THAT IS ALLOWED WHEN WORDS AREN’T CONSTRICTED BY MELODY OR RHYTHM.

T

he musician-turned-author route hasn’t been done often – Nick Cave, Michael Gira, John Wesley Harding and Louise Wener are some of the more notables. But a curious name is, it seems, about to join the fray: one Kelechukwu Rowland Okereke. The frontman of English post-punk revivalists Bloc Party – rolling solo, these days, as the iconic singular Kele – is currently living in Brooklyn, spending a six-month stint to finish up his first collection of short stories. “They’re ideas for stories I’ve been thinking about since 2009 and I just needed some time to myself so I could organise them properly,” says Okereke of his first-ever stint of living away from London and the typing that’s filling his days. “When I was touring with Bloc Party in 2009, we were on this big world tour and we had so much just dead time in hotel rooms and on buses and I wanted to remain active in those moments. “A friend of mine asked me to write a short story for a book she was having published, so I just did it. It was the first time I ever wrote a short story and I really enjoyed the sensation of writing. So, I thought I’d carry on doing it and see where I ended up. And now I have these stories and I feel like I need to finish them off.” Though Okereke studied English literature at King’s College, he claims to have never self-identified as an author in training. “I’d never really thought of myself as a writer, I thought of myself as a musician,” Okereke offers. “But I realised quickly that it’s a creative discipline and as with most creative endeavours there’s no right or wrong way to do it, you just have to be attuned to what you want to say. And that’s the hard part.”

– STARRING IN ALPHABETICAL ORDER –

ADRIAN LUX / CRYSTAL FIGHTERS / DEATH FROM ABOVE 1979 DIGITALISM (LIVE) / DIPLO / DUCK SAUCE / EXAMPLE / FEED ME FLUX PAVILION / GOLD FIELDS / GOSSIP / HARVARD BASS JOKER & MC NOMAD / KATY B / KIMBRA / LITTLE DRAGON / LYKKE LI MAGNETIC MAN / MSTRKRFT / MYLO (DJ SET) / NERO / SANTIGOLD SEBASTIAN / SEBASTIEN TELLIER / SIMIAN MOBILE DISCO (LIVE) / TENSNAKE THE ASTON SHUFFLE (LIVE) / THE NAKED & FAMOUS / THE STREETS WOLFGANG GARTNER / YACHT CLUB DJS

As a lyricist, for Okereke that never seemed to be a problem – Bloc Party songs were, like the work of good Gang Of Four students, loaded with political/personal subject matter and possessed of pointed theme and meaning. “I always approached lyric writing with Bloc Party in a very structured way,” he says. “I was never just singing random things. There were always things that I wanted to say and it was my job to try and say them as economically as possible. In the past, I feel like I’ve suffered from trying to fit too much into songs; if the words are too dense they can weigh the song down. You’re constrained within rhythmic and melodic ideas. In writing, obviously there’s not those same restrictions; there’s a lot more freedom. You have as much space as you want to get your words and ideas across.” Okereke started writing songs as a 14 year-old, sneaking into his older sister’s room and playing her guitar, teaching himself how to play out of a book of guitar chords. “I pretty soon started putting these chords together into ideas, singing things and then I had songs,” he recalls. “I only ever sang so I could write songs; I never really felt like I was a singer, I just wanted to put songs together. It was only when I was in Bloc Party that I felt like I had to take being a singer more seriously, but I’d always been serious about songwriting.” Bloc Party were, in many ways, Okereke’s first band, born when he was just 17 years-old. They’d spend years finding their feet, only coming together after five years of testing the waters. To the rest of the world, they arrived in 2003 fully-formed, a hype band freshly born. “[There] was five long years of kicking around, auditioning members, trying things out,” Okereke explains. “That was completely essential, because it helped us find out who we wanted to be. It felt like we spent years and years carefully planning and then when it came together it just all fell into place. The perception was that we were some overnight success story, but it wasn’t that at all. “The mainstream music-buying audience often has that feeling that bands didn’t exist before they came on their radar,” Okereke continues, “but there are actually very few bands I can think of that have ever, historically, just come out perfectly-formed and been immediately embraced by the world. It takes years of practicing, thinking, putting things together.” As Bloc Party swiftly ascended to mainstream indie-rock on the back of bountiful hype, Okereke developed a famously prickly relationship with the press. “Having grown up in the UK, having been aware how the music press had treated bands that I had liked in the past, we were definitely wary about them,” he recounts. Okereke famously defended his private life from ever coming up in promotional conversation, a decision that made all kinds of sense when he publicly came out in March 2010. It was no coincidence that this came in the lead-up to his debut solo album, The Boxer, which he chose to release under his own name, rather than trading as a pseudonym. The LP thus served as a personal/musical coming out – a banging electronic record (produced by Alex ‘Armani XXXChange’ Epton, former Spank Rock goon turned Win Win stylist) with a sense of disclosure in the lyrics. “The approach to the lyric writing was different,” Okereke says of an album steeped in platitudes of strength, of coming out the other side of heartache, with pugilist metaphors to go with the boxer dress-ups of its cover.

– ALSO STARRING –

AUDAGEOUS / BLACK & BLUNT / CARL FOX / DEADVENTS / DORCIA DJS / SAM PERRY / SUN CITY TEE EL & BLEND / THE PEARLY WHITES / THE SUBSTANCE / TOM DRUMMOND VS JMC

PARKLIFE.COM.AU ON SALE NOW SUNDAY 25TH SEPT / WELLINGTON SQUARE, EAST PERTH

“I wrote all the lyrics pretty much on the spot; I just wanted to see where the ideas would come from and where they’d go. Whereas with the two previous records, everything had been written down in advance and when it came to record it was a very laborious process; trying to just compress and compress, shoe-horning all these ideas, as many as possible, into songs. I didn’t want to do that this time. “Out of all the records that I’ve made, The Boxer is probably closest to my personality in its positivity, in its warmth,” Okereke eulogises. “I [released the record as Kele] because it was me; because I’d been in a band. The sound of Bloc Party was the sound of a collaboration – a compromise – between the four of us. This record wasn’t that. It was my ideas, my decisions, my music. So, it felt right to put my name on it, because it is me.” WHO: Kele WHEN & WHERE: Saturday 6 August, Villa, Northbridge

18 • THE DRUM MEDIA 28 JULY 2011

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TOMORROW NEVER DIES ALTHOUGH CONSIDERED BY MANY AS ONE OF THE MOST IMPORTANT TRANCE DJS AND PRODUCERS IN HISTORY, JOHN ‘00’ FLEMING HAS NEVER ACTUALLY RELEASED A FULL-LENGTH RECORD. MATT O’NEILL CAUGHT UP WITH THE BRITISH VETERAN TO DISCUSS LONG-AWAITED DEBUT ALBUM NINE LIVES.

J

ohn ‘00’ Fleming is electrifying in conversation. A staple of the international dance community since becoming a resident DJ at the legendary Sterns Nightclub at age 15, Fleming has all the career hallmarks that would seem to signify either a matured professional or a burnt-out party merchant – from DJing at Ibiza back in 1987 through to helping popularise Goa Trance in the mid-‘90s and revitalising psytrance earlier this decade – but he isn’t either. Unfailingly polite and consistently attentive, Fleming sprints through discussions – expounding on theories, topics and opinions about dance music’s development with a clarity and enthusiasm that belies both his age and his experiences (if not his creative output). It is, to say the least, a little bit surprising. “I’m 42 now,” the DJ laughs – sounding almost smugly defiant. “I don’t feel it. I honestly don’t. I’m like a big kid. At not one point have I felt my age. I’m a fit bloke, you know. I used to do professional kickboxing years ago. I don’t drink. I don’t do any naughty stuff. Every day I either run or exercise. You know, I eat healthy, I live well.”

I WAS ON THE DARK SIDE OF IT. I WAS COUNTING MY LIFE BACKWARDS.”

That said, Fleming’s nature becomes somewhat less surprising when one learns of his personal history. Originally rising to prominence with acid house and rave in the late ‘80s, Fleming’s career was temporarily stalled in 1990 when the DJ was diagnosed with lung cancer. It took the DJ a full two years to beat the disease and return to the fray. Given the circumstances, one would expect a certain lust for life. “My history, if anything, has fuelled me to do this,” Fleming explains. “When you’re faced with having your life taken away from you – which I was – it’s the biggest kick up the arse you will ever get in your life. When you realise you’ve survived and beaten cancer, it’s like a restart on your life. Suddenly, everything takes on youth. You look at life from a completely different direction. That’s when you realise every single day given to you is a precious day. “I was on the dark side of it. I was counting my life backwards; ‘this could be my last day’, ‘this could be my last evening’. It’s a horrible feeling. I don’t want anyone to ever go through that,” the DJ recalls. “To come through to the other side of it, though? It’s a gift – and you better make damn sure that each day you’re given you’re doing something that you want to do.” One can start to make sense not only of Fleming’s perpetually exuberant nature but the broader contours of his career at large. Spanning over two decades, Fleming’s work has always suggested a perpetually restless soul. Each innovative movement he has helped pioneer – from rave through to trance through to goa through to psytrance – has also seen some form of his departure. Usually, at the peak of its popularity. “Actually, I just love trance music. I think it’s really clever music,” Fleming attempts to clarify. “Without meaning to tickle people, what they call trance music today is not really trance music. They should probably call it eurodance or something. It’s pop music made into club versions. Trance got its name because it tranced you out and you’ve got to be really clever with sounds and how you make sounds in order to do that. There’s a real skill to doing that,” the DJ stresses. “It’s been kind of lost in the trance world but there’s a real art to making evolutionary, trippy stuff. That’s what trance is supposed to be – you know, these sounds intermingling with each other to create this really mental stuff to put you into a trance. The music alone is supposed to put you into that state. That’s what I love doing and that’s part of the excitement of making this music.” All things taken into consideration, it isn’t difficult to pinpoint Fleming’s primary motivation. The producer is simply driven to foster and create honest, transcendental experiences. One can see the drive operating at the heart of each and every one of his various endeavours – from his label (J00F Recordings) to his club events (J00F Editions – often devoted to four-hour DJ sets from the man himself) to his own productions. “You know what trance is today? It’s a template. It’s a template from ten years ago,” the DJ explains – a little sadly. “I could really easily make something like that today. “Intro, stop, breakdown, build, stop, arpeggio, breakdown, vocal – that’s all there is to it, really. You don’t even have to think about it. It’s not trancing people out. It’s euphoric – and, don’t get me wrong, there’s nothing wrong with it – but it’s not trance. It kind of devalues what trance actually is.” Even his long-awaited debut album Nine Lives fits neatly within the spectrum of that motivation. While one could presume that a character as rampantly energised as Fleming would have delivered a solo artist album at some point in his twenty-five-year career, the producer has held back with good reason – he was determined to present something genuinely honest. “The whole scene has changed. It’s like the whole pop management world has come to the dance music scene – which, in my experience, has always been a very underground, very artistic community,” Fleming explains.

DAY OF THE DEAD CAL PECK

AND THE

TRAMPS

SATURDAY JULY 30TH FREE ENTRY

“It’s very confusing. There are all these guys who only make big hits with big videos and everybody wants to be them. I’m still of the mind that when I make a tune, it’s a tune that comes from my head. As cliché as it sounds, it’s about being creative in my heart,” the producer emphasises. “I never think if it’s going to be commercially viable or not. It’s just the way it comes out. I like to experiment. I like to challenge myself.” WHO: John “00” Fleming WHAT: Nine Lives (J00F)

331 Bulwer St, North Perth www.hydeparkhotel.com.au

WHERE & WHEN: Saturday 30 July, Metro City, Northbridge

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THE DRUM MEDIA 28 JULY 2011 • 19


BEATS HANDLER SMUGGLING EXOTIC BEATS AND ANIMALS BACK FROM SRI LANKA, THE EVER-ACTIVE DIGER ROKWELL HAS SOME BRAND NEW TUNES FOR US. CHRISTOPHER H JAMES INSPECTS HIS BAGGAGE.

THE VINES PA PA PRETTY Supported by triple j & Channel [V] & Drum Media

VS

BLEEDING KNEES CLUB

H

aving kick started his ‘beat tourism’ series with Digerbodia, Diger Rokwell is about to bless us once again with Sri Diger, a collection of tracks inspired by and featuring sounds from Sri Lanka, which begs the question why Lanka? “I went to Sri Lanka on holiday with my girlfriend, and every time I go somewhere I cannot help but delve into the local musicology,” he admits. “Sri Lankan music really amazed me due to its production quality, percussive nature and composition.” If that wasn’t compelling enough, the melting pot of Sinhalese, Tamil, Moor and Arab influences must have stoked Diger’s lusty zeal for all things multicultural. “Most of the tracks were conceptualized in Sri Lanka with the use of my laptop and found sounds,” he explains. These include TV, radio, movies and plenty of natural sounds grabbed with his trusty recorder, plus a stack of purchased street music with a few animal noises nicked off YouTube for good measure, particularly squirrels. “Squirrels are everywhere in Sri Lanka, there are many different varieties. They are cute, resourceful and fun.” Perhaps it’s their resourcefulness that most appeals to Diger, an artist who likes to generate ideas and prototypes on the fly. Even when he’s in the land of endless turquoise beaches, it seems the poor bloke has problems switching off. Not that anyone could use being too active to denigrate his efforts; Rokwell’s industriousness has reaped some impressive results. It was seven years ago now that he co-founded The Community. Initially a two man operation, it’s expanded into a sprawling counter-culture collective that likes to keep its numerous, gifted fingers in as many different arts/ music pies as possible; releasing records, hosting exhibitions and organizing events. Rokwell himself sustains a formidable timetable, maintaining The Community website, designing and recording, all on top of his teaching day job. Don’t believe me? You try scheduling an interview with him. Fortunately, he’s kind enough to reply to me with thoughtful answers whilst running a school skiing trip. Typically his commitments will equate to sixteen hours a day during the week, not that he regards his extra-curricular passions as work. Justifiably proud of the movement that’s risen around him, Diger pours scorn on those who believe that west coast apathy is holding them back. “Geography is never to blame for your lot in life in democratic western societies. Perth is a creative hub with so much talent but not much appreciation due its conservative and consumerist majority,” he says. “It gives the minority of creative folk something to inspire, rebel against and to comment on.” The Community has been instrumental in the realisation of Rokwell’s dreams. YLEM, who will later be mastering Delirious’ debut EP, assisted with the mixing of Sri Diger, which will be launched at The Bird in conjunction with Maxy Bill’s Dust Moats, a release which Diger “kind of project managed.” Diger also plans to work with Felicity Groom on an EP to be released later this year. Whilst most Community artists generally work alone, collaboration has enabled bigger things, such as gigs, releases and other large-scale projects. Despite the relentless activity, it sounds like Diger did manage to get some relaxation in during his holidays. Much of Sri Diger cascades gently along, with exotic voices rolling back and forth like the ocean tide over a deep, massaging bass. The liveliest cuts are Jothipala Forever, a flute-based shuffler highlighted by the golden tones of playback maestro HR Jothipala; and Dharma Drums, which features a rush of chopped-up Lankan TV dialogue. But there are also moments of majestic, almost aching, beauty, notably the lavish, sitar-drenched Ella, which celebrates not a person but a place; a gateway between the high country and the lower coast, replete with hazy, aquamarine horizons and waterfalls embedded amongst lush foliage. Inspired by clouds rolling past tropical green hills, Diger describes Ella as “a mellow little town starting to thrive with increasing tourism”. Indeed, there are many little provincial hideaways enjoying a revival now that the civil war has ended. It has only been two years since hostilities ceased, but allegations remain of continued suppression against the Tamil minority, from the recent ban of the Tamil version of the national anthem to toplevel cover-ups of gross human rights violations committed by the military during the war’s endgame. Like a few other balmy holiday destinations (Fiji or Tonga for example), beautiful scenery occasionally masks troubled histories and racial discrimination. So did Diger encounter any evidence of trouble in paradise? Well, besides “heavily armed guards at checkpoints,” there wasn’t very much for a three-week tourist to latch onto. Taking a different tack, Rokwell hopes that Sri Diger will reflect “the multicultural side of the isle and the bright equal future it surely faces.”

SAT 10 SEPTEMBER CA P I T O L , P E R T H TH

TICKETS AT WW.MOSHTIX.COM PH: 1300 GET TIX 438 849 OR WWW.HEATSEEKER.COM.AU

NEW ALBUM “FUTURE

PRIMITIVE”

AVAILABLE AT WWW.THEVINES.COM

Increased tourism and Australia’s upcoming cricket tour will no doubt boost the industry. And before you get all sniffy about the banality of sport, the breadth of praise awarded to former Sri Lanka cricket captain Kumar Sangakkara and his recent declarations that Tamil and Sinhalese must work together ought not to be dismissed. Perhaps the real heroism can be found in ordinary people’s indomitable desire to get on with life. Sri Diger focuses on the music and multiculturalism rather than historical divisions and politics. But all this begs one more serious question - having mined Sri Lanka and Cambodia for sounds and inspiration, where next? Digernam (Vietnam), Digertolia (Turkey), Digpan (Japan) or Transdigerexpress (Eastern Europe) are all proposed. “But”, he concedes, “most likely the next one will be Digernesia or Indigernesia [which wins this writer’s vote for best title], a beat tourism into Indonesia, which is close to my heart as I am an Indonesian teacher in ‘real life’.” Wherever he wanders next, armed with a field recorder, the world is not so much his oyster, but more his portable drum kit. WHO: Diger Rokwell WHAT: Sri Diger: Remixes & Beats From Lanka (Community) WHEN & WHERE: Friday 29 July, The Bird, Northbridge

20 • THE DRUM MEDIA 28 JULY 2011

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GOING IT ALONE THE BEAUTIFUL GIRLS HAVE BEEN A LONG-CHERISHED SECURITY BLANKET FOR MAT MCHUGH SINCE HIS UNNAMED DEMOS UNEXPECTEDLY TURNED HIM INTO A CAREER MUSICIAN. HE TELLS TYLER MCLOUGHLAN THAT, ALTHOUGH IT’S SOMETIMES SCARY FACING THE WORLD ALONE, FORGING A SOLO PATH FEELS PRETTY DAMN GOOD.

M

at McHugh is tired, hungry, and running late for a show as he calls in from the highway between Cleveland and Chicago. He’s either been on the road or sorting visas for the past 17 hours, but if he counts back to November when he accompanied John Butler through North America, he’s been on the road between three continents for the best part of seven months. Most importantly, he’s been doing it as Mat McHugh, sans the roots royalty cover of The Beautiful Girls. “It’s one of those things where it’s really funny the reaction you get from everyone, especially people that you work with in the music industry, in quotation marks,” McHugh says cheekily with reference to his decision to take some solo time to tour and record as just himself.

I JUST WANT TO STRIP AWAY ALL THE BULLSHIT REALLY”

“The history of the band is that I lived overseas and I just wanted to come home and record some demos, and those demos just kind of got on the radio, on triple j in Australia, and I pretty much had to think up a band name really quickly, or just call it my own name. I wasn’t serious ever about being a musician for a career or anything and I just thought, ‘Well, there’s no way I’m going to call it my own name, I’ll call it this thing,’ and it just happened – one opportunity presented itself after another and I ended up all these years down the track. “I thought, ‘Well now’s the time to actually just own up and just be the name on the front cover of the CD as opposed to just releasing it under a pseudonym,’ which is what it really amounts to. For instance, the last Beautiful Girls record I played pretty much every particle of sound on that record, and it took me twelve hours a day for a year to make. And then I put the name The Beautiful Girls on the cover and people perceive that to be something different than if it says Mat McHugh on the cover; it’s not really different at all, it’s just an arrangement of letters on the cover – the process of how the albums get made are exactly the same. It’s more about just owning up and saying, ‘Look, I’m a grown up now,’ and I feel like, just no bullshit, just calling it my own name and playing music.” McHugh chose to own up with a four-track EP titled Go Don’t Stop, a simple and direct release where his voice is up front and percussion is limited to the tapping of his acoustic guitar or a few beats from an old school hip hop drum machine. It represents an awakening of sorts, with the title track in particular alluding to a desire to be seduced by life. “I think in general [it’s about] juggling everything and having a balanced life, just like everybody else juggles. “And I think you either back away from the whole gamut of shit that life throws at you or you get on the dancefloor and dance with life. I think that’s what the song’s about, it’s like not wanting to back down but trying to have some sort of love affair with life itself instead of being the wallflower and not wanting to dance with life at all,” he says, laughing at his own poetic waxing. To McHugh it feels as though he has come a full circle, as though he is finally prepared for presenting the most intimate version of himself. “I kind of felt like every step of the way I was trying to learn every lesson I could. You know, [things like] how to be more credible with how you dealt with the business side of things, and trying not to screw anyone over or lie to anyone... I tried to learn that and learn my place in the musical landscape and experiment from record to record and I tried to make my own decisions – all the while I just kept it independent. “I never forced our music down anyone’s throats, and by some kind of amazing happenstance the band’s still around after this amount of time and people still want to listen. I just feel like I’ve learnt all these lessons and I feel really comfortable in my own skin, musically speaking, in how I would like to be in the world and in the music industry, and so I just feel like I’m starting again with all this extra knowledge. “I don’t have any issue with people going ‘Oh, you played all these festivals with 20,000 people and you play these huge venues, why would you give that up?’ To be quite honest with you, those things don’t really mean that much to me – it’s as important to me and as fulfilling it is for me to play a gig to 50 people and really connect, and feel that a song that I’ve written had some kind of emotional and proper impact on somebody.” So what is it like then to be Mat McHugh versus being The Beautiful Girls? “It’s a little more scary in a way… It really doesn’t get more raw as far as exposing yourself in front of people emotionally. It’s pretty scary but I think with that comes greater reward as well. You can really get across what you want to get across. It’s a pure as it gets really and it’s so fraught with danger. Anything could go wrong at any second and if it does it’s all on my shoulders, and I kind of like that feeling. I just want to strip away all the bullshit really and just be like okay, I’m just like you – I’m just a fuck up on Sundays and on other days I have a good day and I feel like the king of the world. “And on other days I write a song. And here I am on stage singing a song, and if you want to sing along with me or just listen, cool, but I don’t want to have any delineation between anybody in the room or anybody listening to a CD or playing music on the CD or anything – it’s more just like reality, how I perceive it, and that’s it. That feels pretty good.” WHO: Mat McHugh WHAT: Go Don’t Stop (Die!Boredom Records/MGM) WHEN & WHERE: Friday 5 August, The Bakery, Northbridge

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THE DRUM MEDIA 28 JULY 2011 • 21


THE LONG GOOD START RIGHT NOW JUST MIGHT BE THE PERFECT TIME FOR A BAND LIKE FLOATING ME TO STEP ON TO THE STAGE BUT, AS CAM FINDLAY DISCOVERS, IT’S BEEN A LONG TIME IN THE MAKING.

F

loating Me might seem like a band that have suddenly cropped up in Australia’s hard rock touring circuit, but the truth is that the act has been 14 years in the making. Back in 1997, a group of friends got together to record a few demo tracks for an album that, at the time, wasn’t really an album. Andrew Gillespie, Antony Brown and Tobias Messiter, formerly of ‘90s grunge-rock band Scarymother, brought a few tracks into the studio with Lucius Borich, well-known for his punchy drumming in Cog. They later brought in Jon Stockman (of Karnivool fame) to lay down bass tracks after auditioning a number of bassists. The resulting work would stay as nothing more than worked-on demo tracks for the next decade, as Gillespie explains. “There really was no thought about it being a band at this stage. Lucius’s baby was obviously Cog, so the rest of us just chipped away at it over the years with the view to turning out an album,” he says. “Tobias and I tore apart some of the tracks completely so we had to rewrite and re-record a lot of our stuff. When Lucius was free he’d come in track into the new arrangements.” And that’s how it went. Borich became busy recording and touring with Cog, and Brown moved to the UK after recording his parts. Gillespie, Messiter and Brown sat on the tracks, slowly perfecting them until 2009, when the chance to get the band going again reappeared. “In 2009 Lucius suddenly had more time on his hands,” Gillespie says. “Cog’s activity was winding right down, his wheels were spinning but nothing was moving for him. The album was mostly finished, save for some vocals and the bass, so we decided from that point to make a real effort on completing the project and getting it out there.”

This Census night, shed some light online. Tuesday August 9

From there, the project picked up momentum, and Floating Me were able to gain exposure and develop into a tight and effective band, specializing in epically heavy and melodic tracks that have become synonymous with Australia’s hard rock tier. The self-titled album has a markedly distinct sound that can be clearly traced from the range of influences the talented musicians bring to the act. It builds upon the low-end heavy, drudgy sound of Scarymother with the melodic riffs and terse vocals that have obviously been the product of the amount of time the guys have spent formulating their unique sound. Whilst the similarities are tangible, Gillespie knows that Floating Me had to be something different than the sum of its parts. “This is a different band to Cog, Karnivool or Scarymother, so musically it has to raise its own standard and we’re connected already on that,” he says. At the same time, he knows it’s important for the band to step out of any genre labels that the preceding bands, particularly Scarymother, may have garnered since their formation. “We never felt that [Scarymother was] part of any movement, and anyone who has listened closely to it would have found it difficult to categorise,” Gillespie argues. “It had a lot of layers to it and in some ways it was progressive. “Scarymother first started playing in late ‘91, exactly the time when grunge exploded. It’s fairer to say that the music we were listening to in ‘89 and ‘90 better reflected some of our influences. With all the long hair, screaming and flannelette going on in the ‘the Mother’, I guess we’re partly to blame, but I’m having trouble remembering bands that weren’t coming off that way back then.” It’s a strong and significant argument to make. When asked about the lyrics - which fall somewhere (without trivializing them) between the often-abstract aesthetics of Karnivool and Birds Of Tokyo and the politically-charged domination of Cog’s vocals - Gillespie cements his position as one of isolated and individual progress. “The lyrics have always been my battle to deal with. I’m not looking over my shoulder when I’m writing,” he says. “I think that would make a complicated task even more so. Sometimes things come out in a rush, other times I just scratch them down as they come to me and drop them down the well of thoughts, feelings, reflections or whatever. Once we have arranged most of a song’s structure and mood, I listen to the music and look at all the phrases I have and feel my way into it. It’s a hard process at times, but balancing words, meaning, phrasing, storytelling into the music is a real challenge. I am lucky though that the tone of the music always ends up suiting the lyrics. If the lyrics don’t find some kind of ground in me then I’m not going to sing them.” Gillespie is proving his point by bringing Floating Me’s music to as many people as possible, travelling on an extensive tour all around Australia, including four stops in WA. Such a big break between gigs is obviously an added pressure for Gillespie and the other former Scarymother bandmates. “You’ve got two guys well-seasoned in the live arena over the past 15 years teamed up with three guys who, up until February, have not been on a stage in over 16 years,” he says. “We’ve had some shaky moments and some great ones too. Only time and experience can pull us closer together. There really is no quick fix for that but every we time we go out it gets better.”

This coming Census night, August 9 you have a choice…

But, after knowing each other for so long, and spending more than a decade getting ready, Gillespie and Floating Me are looking forward to finally establishing a band long in the making. “Jon and Lucius’s standing amongst their fans certainly hasn’t hurt the project,” Gillespie says. “We’ve also found a great many people out there, from punters to crew, who remember Scarymother and have been waiting a long time to see something come around again. It’s been a real good start.” So, halfway through their debut tour, what do Floating Me think about playing in our home state, where their kind of hard rock is always treated with adoration? “We can’t wait to play there. It’ll be nice for Jon too, this time he gets to stay at home.”

You can either fill out the Census form delivered to your home, or you can complete the eCensus online at census.gov.au. If you decide to complete it online, an SMS will notify the Collectors not to come back to your home. When you fill out your Census form, shed some light on who you are. What you say will light the way forward for health, education, transport, industry and the environment, making a brighter future for Australia. All information remains private and confidential.

WHO: Floating Me

So shed some light on Census night with eCensus at census.gov.au

22 • THE DRUM MEDIA 28 JULY 2011

WHAT: Floating Me (Inertia) WHEN & WHERE: Thursday 4 August, Prince Of Wales, Bunbury; Friday 5, Players Bar, Mandurah; Saturday 6, Rosemount Hotel, North Perth; Sunday 7 August, Indi Bar, Scarborough

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B-MOVIE HERO

OPEN MIND

FIRST HE SAVED NEW JERSEY IN A SCHLOCKY 1984 HORROR MOVIE, NOW TOXIC AVENGER IS MERGING HIS AGRESSIVE ELECTRO SOUNDS WITH POP ON HIS DEBUT LP, ANGST. TROY MUTTON FINDS OUT MORE.

EMERGING BATTERED AND BLOODIED FROM THE LESS-THAN-METALFRIENDLY ‘90S, BAY AREA THRASHERS FORBIDDEN ARE RIDING A NEW WAVE OF RESPECT AND ADORATION. BRENDAN CRABB GETS IN THE PIT WITH GUITARIST CRAIG LOCICERO.

A

ccording to axeman Craig Locicero, the typical Forbidden setlist comprises of approximately one-third each from their 1988 debut Forbidden Evil, 1990’s blistering Twisted Into Form and last year’s exceptional return Omega Wave. Their two less thrashfocused, if arguably more experimental, mid-‘90s records don’t get a look-in… but with good reason. “Some people regard the other two albums as some of our best work, but most people didn’t really hear it because they came out at a time when metal was pretty much dead,” he ponders when queried about the set composition for their upcoming maiden Australian visit. “We can’t put stuff from those two albums in our set; we don’t really touch them. I know that in Australia we’re a cult band. I know there’s a lot of enthusiasm and Twisted Into Form seems to be the favourite record of the folks over there. Australia liking Twisted Into Form means we’ll probably play one more song from that album,” he chuckles. Those “middle albums” were released at a time when more traditional forms of metal were struggling, to say the least. Locicero doesn’t hesitate when asked about that time period. “Metal sucked,” he booms. “There were very few bands doing it. Most of the good stuff was death metal or black metal. Pantera and Slayer were around, but everyone took a hit on the chin. It started getting watered down around ’90 or ’91. The bands all wanted the videos and sales. Metal was blowing donkeys back in those days. That’s why things like grunge did well... it cleansed the palette, but even that died quickly too. If metal had stayed true to itself and not tried to become too refined, it wouldn’t have died as quickly as it did. It became so commercial sounding.” He also believes this more polished approach is the antithesis of the genre’s core values. “To me, metal

is an expression of your disdain and your anger and to make it safe is to completely dilute what it is. My advice to bands is be true to yourself, but keep pushing boundaries, keep the middle fingers flying and you had better mean it man, or people will see right through it.” It was this organic sound the band was seeking and achieved on Omega Wave, their first studio record in 13 years and one met with almost universal praise. “So many vocals are so ProTool-ed out and auto-tuned and that sucks too,” Locicero says. “I like it to be like they’re walking on a tightrope, with no net. ProTools kind of sucks the life out of it and overly refines it. A lot of it sounds overly safe because the engineers don’t want to attach themselves to something that sounds raw and therefore doesn’t sound ‘industry standard’.” He also seems rather pleased that their latest platter has sidestepped much of the pessimism that often accompanies a band returning from a lengthy hiatus. “You never know and you don’t want to project what will happen. Did it surprise me that people liked it? No. Was I surprised how much people liked it, how good the reviews were? Yes, as I expected some cynicism. I’ve seen a few mediocre reviews, there are a few bad ones, but I don’t seek them out. I hear a lot of things with [older] bands – ‘it doesn’t sound enough like their first record’. We went into it with an open mind to embrace the metal and make the strongest record we could. We just took our time with it and kept it raw when it came to recording it. We didn’t want it to sound like ProTools. All the triggers and over-done production – it bores me.” WHO: Forbidden WHEN: Sunday 31 July, Rosemount Hotel, North Perth

T

he past few years has seen a merging of pop and electro that, thus far, has been incredibly hit and miss. For every good Passion Pit, Phoenix or La Roux track, we get an equally awful single from Black Eyed Peas or Pitbull, with David Guetta usually somehow involved. France’s Simon Delacroix a.k.a Toxic Avenger started out in the chainsaw electro sounds championed by Ed Banger, Bloody Beetroots and the like, but his debut LP Angst sees him too putting a pop slant on a usually banging beats motif. Fortunately when you have a skilful producer who’s not keen on just trying to cash in on the latest fad, the end results provide an altogether more rewarding release. Not that he buys into that stuff anyway… “I’ve found at home I’m listening to mostly pop and rock songs and even soul songs, and nowadays I like to turn my music that used to be a bit more aggressive into something more poppy, and people think it’s a bit more commercial,” he begins down the line from home in France. “But for me it’s not that commercial, turning something violent into something poppy. It’s not necessarily commercial; for me it’s just more pop and that’s who I am. I’m way more pop than I used to be.” As fans of the Frenchman would know, he did used to throw down some heaving electro – his set at Shape a couple of years back rocked the place – and fortunately for those fans, this has only slightly changed. “I would say my DJs sets are still not poppy, still more violent, but they’re more emotional now; I’m playing to people and mixing songs in waves in my DJ sets... And I even play some folk music in my sets,” he reveals, before admitting that Bon Iver is probably his favourite ever artist. From his name it’s immediately obvious that there is a passion for film brewing inside his radioactive brain. The el cheapo horror movies of times gone by and their soundtracks are what really inspire him to produce. “In the ‘80s when they had to create for a horror movie –

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like, bad ones with no money – they all use mostly bad synthesizers, because it was cheaper... I totally love that cheap sound, and some of those soundtracks are treasures of inventivity because they had no money and they had to do it without it, which I like.” Delacroix’s passion for the visual aspect of music has increased more and more, shown in the quality of production on his latest video clips for Angst 1 and Never Stop. “I like to put energy and time into music videos, because nobody is really doing that anymore except for people like Lady Gaga and those big stars. So I like to have a real music video. Like a small movie with characters and a real story. I’m a big fan of those clips.” And in an effort to get more in touch with his fans (“I used to wear a mask for a few years...but people always end up talking to me about that”), he hasn’t minded getting in the video clips himself either, and it’s nice to put a face to the name. “I’m not a big fan of being in front of the camera because I’m way too shy to do it, but at the same time it’s always fun to be the star for one day I guess,” he chuckles. “And then I’m the worst actor ever! It’s always fun... And I just like to get in front of the camera so people can see [me] and can identify a little.” He’s hopeful too that fans will continue to identify with him as he already looks towards album number two: “I would say it’ll be even more poppy than this one, I’m gonna try and get the audience to evolve with me.”

WHO: Toxic Avenger WHAT: Angst (Roy Music) WHEN & WHERE: Big Ape - Saturday 6 August, Shape, East Perth

THE DRUM MEDIA 28 JULY 2011 • 23


SINGLES/EPS

WITH TRISTAN BROOMHALL

ON THE RECORD

cd reviews

CD OF THE WEEK

EP OF THE WEEK GOODNIGHT TIGER Not Getting Married Independent The songwriting duo of Jill Chrisp and Perrin Date have crafted one of the most enchanting local releases of recent times with Not Getting Married. The richness of the recording captures every subtle breath of the pair’s harmonious vocals from Against The Rules through to It Wasn’t You. Endings is deliciously demonstrative of the thought put into production as playful synth lines and glockenspiel accompany the luscious arrangement of acoustic guitars and the single Jump Down is rhythmically thrilling indie-pop at its finest.

MACHINE HEAD Locust

Roadrunner Locust is the first taste from Unto The Locust, which is still two months away from release, and at nearly eight minutes in length it could be surmised that it’s a microcosm of what to expect from the LP – it’s definitely varied enough. Robert Flynn (songwriting, guitar and vocals) has stepped up again as producer and that should be enough for any Machine Head fan that was as enamoured as I was with their last release, 2007’s The Blackening.

TEN CENT PISTOLS Ten Cent Pistols Independent As Come Along With Me opened the debut from this Melbourne ensemble it was quickly evident they were referencing a Black Keys song title with their band name, but thankfully the quartet have an original take on the blues-rock that shines through on So Many Lies. The highlight is the distinct psychedelic, garage rock vibe of bands like The Stone Roses and Primal Scream on that track and Lay My Head, before the The Doors-y closer, Inner City Blues (Makes Me Wanna Be).

BELLES WILL RING

FELIX RIEBL

Dot Dash/Remote Control

MGM

Young Turks/Remote Control

Sydney four-piece Belles Will Ring took flight from the city to record this, their second LP, in the country. It may be a tad cliché, especially in terms of the notorious difficulties faced in writing a sophomore record, but the setting is easily and beautifully captured. Whilst not losing any of the smooth psychedelia the band is known for, Crystal Theatre brims with lush, enthralling soundscapes and powerful balladeering.

Felix Riebl is without any doubt one of Melbourne’s finest and most celebrated musical exports. Having formed The Cat Empire back in 1999, the vocalist/ percussionist has finally taken the bold step of a solo outing. Void of the security of his collective, Riebl is a touch on the sensitive side, yet when it comes to musical composition this is never a bad thing. While it could be said that Riebl has fallen into the stereotypical mournful singer/songwriter mould, his tender touch lifts this debut offering out of the ordinary.

The masked man known as SBTRKT delivers the goods on his much anticipated self-titled debut LP. Calming opener Heatwave kicks things off on an ambient tip with sprinklings of glitchy blips, bell tings, choral vocals, and a very Boxcutter vibe. Love ballad Hold On pairs yearning vocals with sweet xylophone twinkling and a four-to-the-floor beat. The first single from the album, Wildfire, featuring the distinctive voice of Little Dragon, is pure class that bubbles along with a deep bassline.

Riebl is a man who is in touch with his feelings and unafraid to express himself. However, his way with words is clearly confined to his composition as he proclaims, “I was often in my head and there were words I never said” (I Won’t Know You Anymore). With Into The Rain documenting in a break-up in startk detail, he rarely relents and highlights all sides of the argument.

The album glides through 11 tracks at a measured pace, enabling the listener to truly soak up the various layers of sound. In Trials Of The Past, Never Never and Something Goes Right, SBTRKT’s soulful voice laps at your ears as much as the voices of James Blake and Jamie Xx do, and fans of both will take to this album keenly. SBTRKT effortlessly tip-toes across UK funky, bass, dubstep, garage and disco with originality, panache and just the right mix between pure instrumental tracks and those that are vocally driven.

Into The Rain

Crystal Theatre

What’s most noticeable about Crystal Theatre is how much more textually diverse the sound is compared to the group’s previous releases. The first three tracks Crystal Theatre, Come Home To The Village and Trouble In Deepwater are choc-full of reverb-quenched guitars, towering harmonies and deep, rich low-end. The album veers into quieter and more melancholy territory towards the middle, especially in I Hear Your Voice On The Wind and Like A Boxer, but it never loses its enchanting emotiveness. Overall, though, it’s an exploration of big, heavy sounds; a mojority of the songs employ various orchestrated instruments, including vintage keyboards and even entire horn sections. And of course, as with any upstanding psych-pop band, there’s tambourine.

Though at times Riebl verges on the dark, notably the heart-wrenchingly depressing yet unflinching “They Don’t Know You”, Riebl’s torment is largely conducted with a positive outlook. He may be a broken man, but he still has his passion for his outpourings.

SBTRKT SBTRKT

Raw number Go Bang is so good it hurts, a pain only amplified when you realise it’s the last track on the album. As the track breathes in and out, echoing drums ramble along as though you were journeying through some kind of synth-filled dreamworld. A perfect finale to an album, which has not only surpassed expectations, but successfully pushed genre boundaries too and is sure to remain a permanent fixture on your playlist for a long time to come.

The influences are clear to see; traditional ‘60s and ‘70s pop chord progressions, drawn out sequences of church-sound strumming and haunting backing vocals can be compared to other Sydney-siders like Dappled Cities and Red Riders, while the more folk-pop asides sound almost Lovetones-ish. It stands out, however, as a superb album capable of propelling Belles Will Ring outside of the Sydney scene and hopefully into national and international success.

On Into The Rain, Riebl shows signs of a multi-faceted musician who can take solo steps without the need to remain in the shadow of his primary project. Though it’s an album about loss, Riebl maintains elements of The Cat Empire’s zest for life and even at his most depressing moments, his beautiful determination shines through. While many may be longing for the next The Cat Empire release, Riebl’s solo effort is far beyond notable. Into The Rain is a stunningly moving collection of songs.

CAM FINDLAY

JEREMY WILLIAMS

KITTY, DAISY & LEWIS

SHABAZZ PALACES

WILLIAM FITZSIMMONS

Sunday Best/Shock

Sub Pop/Inertia

Shock/Nettwerk

Kitty, Daisy & Lewis, those precociously-talented siblings who subscribe to everything 1950s – both in sound and style – are a pretty irresistible trio. With their angelic faces peering upwards from beneath a cloud of smoke and quiffs on the cover of Smoking In Heaven, the follow up to their sporadically-great debut record, they can melt your heart on aesthetics alone. But they’ve got the musical smarts to back it up and they evidence this with more consistency on their latest release. Recorded in a purpose-built home studio with the aid of oldschool devices, the production has a grubby, unpolished touch that only abets the band’s swing and rockabilly predilection – remarkable, really, considering each member hovers around the 20-years-old mark.

It may be (very) difficult to remember, but there was a time when oblique, whiney Anticon/Def Jux rappers were at the vanguard of what was cool and exciting. Early last decade, tastemakers got excited about Aesop Rock releases and music nerds mused about the Sole and El-P “beef”. Nowadays the cerebral, dark, sometimes angsty, sometimes angry (white) rap that once captured our imagination looks painfully passé. Bear this in mind when you listen to Black Up, an album that hits all of our 2011 pleasure centres but by next year will probably sound about as relevant and current as Vordul Mega.

When a review describes an album as being ‘not quite as bad as James Blunt’, you know you’re in for a pretty poor time. Yet this is where William Fitzsimmons’ dire third release Gold In The Shadow has forced this scribe to consider dishing out. This is one to make you feel charitable even just saying ‘this is the kind of album that gives sensitive singer/songwriters a bad name.’ Apparently Fitzsimmons, complete with a quirky backstory about his psychiatrist background and being raised by blind parents, has recorded two albums before this that weren’t half bad. But on this evidence, I really can’t be bothered looking them up.

But it is still 2011 now and while we’re here, holy shit this album has some amazing moments! The beats – all of them – are so neat and intricate that it’s near impossible to imagine a different way to put a song together. The raps are fine, just as the ones we flipped out about ten years ago were. Recollections Of The Wraith is an incredible track. It alone is worth the price of admission. Swerve... The Reaping Of All That Is Worthwhile (Noir Notwithstanding) is as close as we get to a dancefloor banger, and special guest Thee Stasia needs only her few bars to reveal that she’s the best rapper on this album. Listen. This year you’ll ignore the silly furry album cover. This year you’ll forgive the ridiculous, shitty exam-work song names. This year you’ll embrace an exquisite, immersive album that is a product of its time and for its time. Whether you will feel the same in future is a whole other story. When did you last listen to Labor Days anyway?

So what’s wrong with the album (whose acronym is GITS)? Well, to start with, his vocals are appalling. You see, Fitzsimmons is a bloke with a big beard, and for most of this release he sings his whispered vocals into it so you can barely hear them. His lyrics may be Shakespearean in content and structure, but a quiet voice and poor diction means they generally can’t be heard. As a result, beyond some okay-ish melodies, there’s little emotional connection with the songs. Added to this, every track is relatively slow and ponderous to show this bloke’s a serious dude, while the instrumentation is all about acoustic guitars, some pedestrian keyboard licks and string section finales, none of which make the impression they do on paper. In fairness, opener The Tide Pulls From The Moon is a nice, sinister track, that’s followed by the excellent Beautiful Girl, but it careens downhill very quickly after that. Indeed, by the time Fitzy sings “cut me open, please” midway through Psycasthenia, I completely agreed with him. Anything would have been preferable to the album’s second half.

JAMES D’APICE

PAUL BARBIERI

ANGELA KING

PALATIAL DIGS Palatial Digs

Independent/Firestarter There’s a quirky variety of influences evident across the debut release from this local quartet, yet all the elements gel seamlessly as the group’s songwriting abilities shine through. Tumour and Nothing On Me have a great party vibe and an unlikely blend of blues, funk and good-times rock’n’roll and thankfully the saxophone sits perfectly in the mix, bringing the songs to climactic points and accenting in just the right places. Save Yourself shows off the bands heavier side with some nice soloing through the alt-rocker that takes a curious and playful turn towards the end of the EP.

RUBY BOOTS Devil/Ma

Independent The latest single release from the eclectic Ruby Boots puts the group at the fore of West Australia’s latest alt-county and folk boom. Fronted by Bex Chilcott on guitar and vocals, the six-piece is comprised of everything needed to turn the exquisite songs into rollicking countrified hits. Banjo, violin and organ create a haunting bluegrass atmosphere on Devil while the arrangement of mandolin and violin on the down-tempo Ma provide the perfect vessel for Chilcott’s rich, storytelling vocals.

TRIVIUM In Waves Roadrunner The lead single from the forthcoming album of the same name sees the Floridians develop further as songwriters. The track builds along a thundering, chugging rhythmic hook that should get heads banging the world over. The riffs are less cluttered than on previous releases and Matt Heafy’s sounding increasingly comfortable with clear vocals and a more expressive guitar soloing technique. A great single ahead of the In Waves release next week.

Smoking In Heaven

Predictably for a band of such youth, the lyrics lack any great topical range or emotional insight, but they do suit the rambunctious, heels-in-the-air nature of the music. I’m Going Back, for instance, combines slick guitar work and a catchy vocal delivery before bottoming out for a rarely-seen handclap breakdown – they’re not reinventing the wheel by any stretch, but they’re certainly having a good time recreating it. The funk vibe in Messing With My Life is fleshed out by unified vocals and more intricate guitar gestures, while I’m So Sorry channels a pretty decent dub vibe with some stellar trombone work by Rico Rodriguez. The instrumental title track closes the record and evokes visions of the Durham family sitting around getting stuck right in (mother Ingrid and father Graeme both contribute heavily here). While there’s nothing new on Smoking In Heaven, it’s certainly more rounded and, at it’s core, a lot of fun. RICK BRYANT

24 • THE DRUM MEDIA 28 JULY 2011

Black Up

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Gold In The Shadow


THE DRUM MEDIA 28 JULY 2011 • 25


HAVE YOU STUDIED? WE ASK AMY RAZ, ENGAGEMENT OFFICER AT EDITH COWAN UNIVERSITY, A FEW QUESTIONS IN ORDER TO GET TO KNOW THEIR SCHOOL OF COMMUNICATIONS & ARTS (SCA) BETTER.

Y

our school’s statement/affirmation? We have an exciting multi-arts environment that makes ECU a diverse and contemporary place to study. The flexible course structures allow students to gain expertise in a one specific Major or a range of Majors. Course focus areas/streams? Advertising, Animation, Broadcasting, Contemporary Fashion & Textiles, Creative Services, English, Environmental & Spatial Design, Film & Video, French, Game Design & Culture, Graphic Design, History, Interactive Media, Japanese, Journalism, Literature & Writing, Media, Culture & Mass Communications, Photomedia, Politics & International Relations, Public Relations, Visual Arts and Writing. Most unique courses/resources on offer? The WA Screen Academy – a one-year (three semester) intensive program in digital production for the small screen. A unique feature of the program is its close collaboration with the Western Australian Academy Of Performing Arts (WAAPA) Acting, Production and Design departments and Music Composition programs. ECU Broadcasting – provides an introduction to contemporary broadcast media, including conventional radio and television as well as web-based and mobile technologies. We also have a Minor in Museum Studies. Recent achievements for your department/school? WA Screen Academy, SCA Film and Video students, and WAAPA students and graduates received a total of 20 nominations at the recent WA Screen Awards. Bachelor of Marketing, Advertising and Public Relations student Mikayla Maricic has been named the Asia Pacific Champion of the third International Advertising Association (IAA) Dentsu Global Student Poster Competition. Two ECU graduates will be chosen for paid internships with the Seven Network as the result of a groundbreaking new partnership between the two organisations. A new internship program between ECU and ABC will see one ECU postgraduate broadcasting student embark on a three-month paid internship with ABC News 24 in Sydney. Three ECU Sculpture and Glass students have been recognised by the Gomboc Sculpture Survey, each receiving $500 prizes for outstanding student works. Two ECU students have been selected to showcase their work at prestigious national graduate art exhibition, Hatched, showing at the Perth Institute Of Contemporary Arts (PICA). Congratulations to Visual Arts Graduate, Graeme Burge, who was recently announced as the winner of the 2010 Joondalup Invitation Art Award, taking out the grand prize valued at $12,500, which is one of the largest art award cash prizes in Australia. ECU visual arts and education student, Shirin Marshall, won both the Photomedia Award at the City Of Joondalup Community Arts Exhibition and the Photography Award at the City Of Belmont 2010 Art Awards. Japanese and Film & Video student, Jennie Feyen, has won a prestigious WA Government Japanese studies scholarship valued at $40,000. ECU’s Journalism and Broadcasting students have recently won over 16 national student tertiary awards across a number of different competitions.

26 • THE DRUM MEDIA 28 JULY 2011

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What do you offer that other learning centres don’t? As the School Of Communications is one of the largest and most comprehensive schools of its kind, it can offer students more choice and flexibility than other institutions. Students are able to study either part-time or full-time and select two complimentary majors within their single degree. How do you keep your courses current in our constantly changing world? Many of our courses are internationally accredited. The degrees have consultative committees with industry professionals who advise on the latest trends and technologies. SCA staff are active in research and their respective industries. Any new courses on offer or being designed? Animation, Children’s Literature Minor, Chinese Language Minor, Indigenous Studies Minor, Environmental & Spatial Design, New Bachelor of Arts – combines Visual Arts with the Humanities. Any recent post-grad student success stories? SCA PhD student and Scriptwriting lecturer, Damien Spiccia, is the successful recipient of the Bill Warnock Award for Emerging Screen Writers for his script Beyond The Pale. Damien will receive a support package valued at $6,000. Damien graduated from the WA Screen Academy in 2005 and won a Screenwriting WASA the following year for his first musical short, A Trick Of The Moonlight. In 2008 he was awarded Link funding for Deep End, and in 2010 he was awarded HyperLink funding for his second musical short, Light As A Feather. He has also directed episodes of locally-produced children’s TV drama Castaway. How do you cater to diverse student needs? ESL support, academic skills advisors, ECU has an Equity & Diversity & Disability Service, multiple entry pathways to courses, including portfolio entry and a special focus on first year students. What do you hope a student will gain besides their graduation certificate? An internationalised outlook, industry-ready skills and the ability to teach themselves and keep up-to-date. Strong employability skills such as critical thinking, teamwork and problem-solving. Your perfect student would be… Someone who is interested in getting a job as well as perusing their passion! SCA students come here to pursue their passion and they know we are really hands-on as well as providing a sound theoretical background. Any extra curricular activities your school is known for? Spectrum Project Space – a gallery for ECU staff and students as well as visiting artists; Photomedia Summer School in Bangladesh; SCA are regular Google Challenge participants (and 2010 regional winners); SCA High School Intensives – staff and postgraduate students host free workshops for high school students; Graduation shows – big final year student exhibitions that are open to the public at the end of November for Visual Arts, Contemporary Fashion, Design, Film and Video, WA Screen Academy and Photomedia.


Y A D N E P O

S I D A O R E TH

Y E N UR O J W E N E L O H W A F O P E T S T S R I F THE

Explore cutting-edge campus facilities 10am - 4pm Talk to current and past ECU students ECU Joondalup Open Day, Sunday 31 July 270 Joondalup Drive, Joondalup Behind-the-scenes at WAAPA Mount Lawley ECU & WAAPA Open Day, Sunday 7 August Demonstrations, talks and careers advice Enter from Central Ave, Mount Lawley Play Nova 93.7”s Cash Grab and win! If you’ve got questions about your future, find your answers at an ECU Open Day. Nova 93.7 Casanovas You can check out our inspirational environment and cutting-edge facilities. Entertainment There will also be talks and demonstrations by highly qualified lecturers. Plus, you’ll find out about courses, careers and where we could take you. Competitions and prizes

To plan your Open Day, visit reachyourpotential.com.au/openday 303ECU6124 CRICOS IPC 00279B

THE DRUM MEDIA 28 JULY 2011 • 27


SPLIT SECONDS

MIND EXPANDING FUN

ECYOU

Prospective students can find out about courses and career opportunities at Murdoch University’s Open Your Mind Day on Sunday 7 August. Running from 10am til 4pm, the event will allow attendees discover more about a career in animation from someone who worked on the Toy Story films, learn how to spot a fake smile, go on a wetlands safari, write a play and see it performed later in the day and more than 100 other activities to give you a feel of what it’s like to study there. Plus free on-campus entertainment includes an under the sea’ bouncy castle, a silent disco and a free concert featuring San Cisco, The Brow Horn Orchestra and Split Seconds. More info at murdoch.edu.au/ OpenYourMind.

The Mount Lawley Edith Cowan University campus is holding an Open Day this Sunday 7 August, including tours, the chance to speak to students and lecturers, see rehearsals and performances from the WAAPA students, experience leadership challenges, see innovative technology demonstrations and get the chance go behind the scenes and experience ECU’s broadcasting and radio studios. With plenty of roaming entertainment throughout the day from local acoustic artists as well, 10am til 4pm will see the ECU campus thriving and open for all to have a look. reachyourpotential.com.au/ openday for more info. There’s also the ECU Joondalup campus having their Open Day this weekend, on Sunday 31 July. Plan your days at ecuopendayplanner.com.au.

QANTM PRACTICE

SAE IT LOUD!

Creating a buzz within the digital media world, one of Australia’s leading creative digital media educators Qantm College is thrilled to formally announce the launch of a fully accredited Bachelor Of Interactive Entertainment (Games Design) to commence in Sept 2011 at the Qantm campus in Perth. Qantm also offers a Bachelor Of Creative Media (majoring in Interactive Media) and a Bachelor of Interactive Entertainment (majoring in Animation), made available through its partner college, SAE Institute. Qantm College prides itself on delivering quality assured, intensive and highly practical courses designed to reflect current industry demands with accelerated learning formats to ensure students hit the workforce sooner. More info from perth. qantm.com.

The world’s largest entertainment technology educational providers, SAE Institute has a campus in Perth which is now also an approved Higher Education provider. Over the years SAE has produced graduates who have gone on to win Oscars, Grammys, ARIAs, AFIs and WAMi awards, to name just a few. Offering a Bachelor Of Audio Production and a Bachelor of Film Production, it’s now time to start looking at enrolling in their courses that start in November. Jump on perth.sae. edu or free calling 1800 723 338 for more info.

SAE PERTH STUDIOS

QUESTIONS = KNOWLEDGE = WINNING With a few upcoming Open Days, it’s important you head to them armed with a list of questions. Don’t be shy. After all, it’s your future… COURSE SPECIFIC What are the entry pre-requisites? Are there special requirements, like interviews or folios? If I don’t get the required marks, what are my options? Are there bridging courses, recognition of prior learning or cross credits available? If it’s a TAFE course, can I get credit for my studies and do a uni degree later? What type of job does this degree lead to? What proportion of students land a job in their chosen profession after finishing this degree? What industry connections and work placements does this course offer? What sort of salary can I expect after I graduate? Can I defer my place or take a year off? 28 • THE DRUM MEDIA 28 JULY 2011

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CREATE YOUR OWN VIDEO GAMES

Can I transfer from one course or campus to another? How does this course differ from similar course at other institutions? How many hours of classes will I be expected to attend? Are there any scholarships for school leavers in this faculty that I can apply for? CAMPUS SPECIFIC What kinds of extracurricular activities do you offer? What clubs or groups can I join? Do you offer any support networks, like career counseling, health services and financial assistance? If I need help with an assignment or am struggling in a subject, is there tutoring available? What kind of student accommodation is available? What kind computer facilities are available? Is there on-campus parking (and do I need to buy a permit)? What public transport is available? Do I have the option of studying overseas for a semester?


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FEATURE REVIEW

GIG OF THE WEEK :

SEEKER LOVER KEEPER, TINY RUINS @ THE ASTOR THEATRE Individually, they’re three of Australia’s most innovative songwriters. Sally Seltmann specialises in narcotic, dreamy, sweeping pop, aided by layers of cotton-soft vocals, pianos and synths. Holly Throsby is known for summoning melodies that sound beautifully crumpled, worn and SEEKER LOVER KEEPER decades-old, and matching them with hushed, cutting lyrics. Sarah Blasko writes haunting songs that veer from intimate ballads to orchestral showstoppers, and sings with what’s now one of the most recognisable voices in Australian music. Bring them together in the studio or on stage, and you’ve got an entirely new band with a spectacular self-titled album: Seeker Lover Keeper. Their shows have been mesmerising audiences around the country for a while now, and we get the full experience Thursday 28 July when the trio meander in to The Astor Theatre, Mt Lawley, for one very special evening. They’ll be supported by a special guest from New Zealand in Tiny Ruins, celebrating her own album release with Some Were Meant For The Sea. For a night of ethereal whimsy, get your tickets through BOCs for the show, which is tonight!

FRONTLASH

BACKLASH

FINAL MOVEMENT

AMY WINE…

One Movement For Music is officially never being resurrected. Wipe those tears away though, there were many elements of the festival that were extremely impressive, so let’s hope these help inspire future models for success.

It’s tough to hold back the inappropriate (and just plain bad) attempts at humour for this one, so we’ll just say that it was such a tragic waste of talent. Now, anyone know of a place where we can bet on an ‘all new remixes and unreleased material’ album being released quicker than you can say “R.I.P.”?

EAGLES VS. DOCKERS What a supreme display from our home sides. With the ladder looking like it is, best thing is that this result means that we’re another step closer to not having to wait long til the next derby rematch. Bring on the finals!

JAMES BLAKE BY ANGELA KING

PULP BY ANGELA KING

CADEL SILLINESS When did it become ‘un-Australian’ to think that cycling is one of the most boring sports to watch since the wheel was invented? Oh, since we won the big one, you say? Typical.

GOOD ONE

POOR HARVESTING

From August 1 to 5, Red Cross will set up a computer room with assistance at 110 Goderich Street, East Perth for homeless persons to use Facebook to reconnect with people they may have lost touch with.

Despite an amazing first line-up announcement (OMG, Portishead!), the Harvest festival isn’t coming to WA. Cross dem fingers for sideshows, farmers.

THE HIVES BY ANGELA KING

DRUM MEDIA PRESENTS : SEEKER LOVER KEEPER (FEAT. SARAH BLASKO, SALLY SELTMANN, HOLLY THROSBY), TINY RUINS: JUL 28 Astor Theatre

19 Rock Inne Tav; AUG 20 Settlers Tavern; AUG 21 Redcliffe On The Murray

DARKWAVE: JUL 29 The Bakery

EAGLE & THE WORM, THE FROWNING CLOUDS: AUG 24 Prince Of Wales; AUG 25 The Bakery; AUG 26 Mojo’s

RTRFM SECRET WEAPONS: JUL 29 Geisha FUNERAL PARTY, BOY IN A BOX: AUG 2 Capitol MAT MCHUGH (THE BEAUTIFUL GIRLS): AUG 5 The Bakery KELE, STRANGE TALK: AUG 6 Villa VENTS (SUPPORTING WU-TANG CLAN): AUG 7 Metro City CATHERINE TRAICOS & THE STARRY NIGHT: AUG 10 Malt Market Bar; AUG 12 Settlers Tavern; AUG 13 The Bakery; AUG 14 The Bird UK GARAGE REUNION: TRENT C, DUANE A, RHYS D, GREG PACKER, RU-KASU, MC J RIPPA: AUG 12 Shape Bar MEZZANINE EP LAUNCH: AUG 13 The Bird BONJAH: AUG 17 Indi Bar; AUG 18 Mojo’s; AUG

RTRFM RADIOTHON OPENING PARTY: AUG 20 The Bakery

SEP 3 & 4 Rottnest Island CALLING ALL CARS, BOY IN A BOX, REDCOATS: SEP 8 Prince Of Wales; SEP 9 Studio 146; SEP 10 Amplifier; SEP 11 Indi Bar THE HERD, SIETTA: SEP 9 Metropolis Fremantle; SEP 10 Settlers Tavern

+ SPEAKEASY: STONEFIELD, NINA LAS VEGAS: AUG 26 Villa

THE VINES, PAPA VS. PRETTY, BLEEDING KNEES CLUB: SEP 10 Capitol

HYDE-PARKLIFE: AUG 26 Hyde Park Hotel

SEBADOH: SEP 16 Rosemount Hotel

LEADER CHEETAH, BELLES WILL RING: AUG 26 Amplifier; AUG 27 Mojo’s

+ JACK LADDER & THE DREAMLANDERS, GHOUL: SEP 23 Prince Of Wales; SEP 24 Rosemount Hotel

THE PANDA BAND: AUG 26 Rosemount Hotel; SEP 2 Players Bar + RTRFM RADIOTHON CLOSING PARTY: AUG 27 The Bakery HYPERFEST: ARCHITECTURE IN HELSINKI, ILLY, CHILDREN COLLIDE, STONEFIELD, PAPA VS. PRETTY and locals: AUG 28 Midland City Workshops AMPFEST: AUG/SEPT Various ROTTOFEST and more

BASTARDFEST: SEP 24 Civic Hotel PARKLIFE: ADRIAN LUX, CRYSTAL FIGHTERS, DEATH FROM ABOVE 1979, DIGITALISM (LIVE), DIPLO, DUCK SAUCE, EXAMPLE, FEED ME, FLUX PAVILION, GOLD FIELDS, GOSSIP, HARVARD BASS, JOKER & MC NOMAD, KATY B, KIMBRA, LITTLE DRAGON, LYKKE LI, MAGNETIC MAN, MSTRKRFT, MYLO (DJ SET), NERO, SANTIGOLD,

SEBASTIAN and more: SEP 25 Wellington Square GODSKITCHEN 3D: MARCO V, RICHARD DURAND, JOHN ASKEW, BEN GOLD, BINARY FINARY (LIVE): SEP 30 Metro City WAM SONG OF THE YEAR: OCT 12 Venue TBA ESKIMO JOE: OCT 14 Astor Theatre THE TALLEST MAN ON EARTH, OLD MAN RIVER: OCT 27 Rosemount Hotel; OCT 29 Wave Rock KILLPOP RECORDS FEAT. ELI SMITH, LUCKY DATE: OCT 28 The Bakery HEIRS, ALCEST: OCT 29 The Bakery SOUTHBOUND: ARCTIC MONKEYS, ARJ BARKER, FLEET FOXES, CRYSTAL CASTLES and more: JAN 7 & 8 Sir Stewart Bovell Park ONGOING: JAMMIN’: Band competition each Thursday at Ya Ya’s GIGNITION: Upcoming band showcases 5-9pm each Sunday at Swan Basement

ON THE BRIGHTSIDE Perth Esplanade 23/07/11

A dark and cloudy day failed to deter punters heading along to WA’s own mini slice of Splendour, although it did leave many unprepared for the mud field that awaited them on the Esplanade. What’s a bit of wet sand anyway, especially when electro-pop upstarts Tim & Jean are there to help you forget. Taking energy levels down a notch were the lovely ladies from Warpaint, delivering an impeccable set to a steadily growing crowd of appreciative punters. Rolling through only four tracks, their cohesion of harmonies and melodic instrumentation threw most into a psychedelic dream. That state remained with the introduction of the recently Mercury prize-nominated James Blake, backed by an electronic drummer and guitarist. Once some bass-level issues were sorted out, the set kicked up a notch with popular hit and Feist cover Limit To Your Love. The incredible syncopation between his mumbling yet impossibly soulful voice and the keys was something to behold, though the artist’s emotionally striking talents were somewhat lost in a festival environment. Hyped indie-popsters Foster The People were never in fear of falling victims to the same trap, the dapper young dudes quickly firing off a string of recent upbeat radio rippers in Call It What You Want and Pumped Up Kicks, the latter resulting in a rapture-filled tent and the first girls-onshoulder dance moves of the day. Bringing back the Aussie-pop flavour, The Grates belted out a couple of new tracks spattered with older faves like Science Is Golden. The energetic Patience Hodgson re-affirmed herself as a darling of the Aussie festival scene, highlighted impressively by her complete disregard of the crowd barrier for some mean crowd-surfing. While The Kills‘

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V Fest show a few years back showcased a wonderfully attitude-fuelled dynamic between Jamie Hince and Alison Mosshart, this time around there seemed to be something missing (and no, not just Kate Moss). While their latest album wasn’t bad by any means, all the hair flicking and thrusting from Mosshart still couldn’t save what came across as just a little too bland. Tame Impala then delivered one of their most upbeat performances, though still not wholly impressive in the live interest stakes. Though, with a bag of hits this large to choose from, the crowd responded lovingly. Modest Mouse jumped into their set all guns blazing, Float On and Fire It Up making gleefully well-received early appearances. Yet from here on it was a pretty but lethargic slide downward, or perhaps that was just in comparison to what was about to take place… The Hives proved the perfect injection of Bright-ness into the festival, the well-suited Swedish rabble rousers making the stage their playground. Consummate professionals, they showed that if you know your instruments well enough and you’ve got a killer bag of songs, then you can damn well do what you like, as long as it looks fun. In comparison, Pulp had similarly engaging charisma carried by Jarvis Cocker, yet the songs unfortunately just didn’t stand up. While Disco 2000 and Common People might be much bigger smashes than Hives highlights like I Hate To Say I Told You So and Tick Tick Boom, it just goes to show that it’s the delivery of the songs in-between the hits that makes an act truly interesting. While the mix of vibes on the day could have been planned better, this was a damn fine showcase of some of the finest acts playing Splendour over east, and for that we have to be glad this ripper winter festival is here to stay. AAROM WILSON & TROY MUTTON THE DRUM MEDIA 28 JULY 2011 • 31


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FEEDBACK

ALEXANDER GOW & DAN SULTAN The Ellington, Northbridge 23/07/11

A packed house filled the Ellington Jazz Club for the final leg of Oh Mercy’s Alexander Gow and Dan Sultan’s whirlwind duo tour around Australia. The two started off the set with two guitars, playing a few songs from each other’s back catalogues, before Sultan (graciously) borrowed a cheese knife from a group of ladies to play slide through a brooding cover of Great Southern Land. After high-fiving each other, Sultan left the stage to let Alexander Gow do his thing. Gow took time to casually reflect between his often-melancholy songs. “Tangent” may be the wrong word for it, but the fact that his banter often lead to topics like Masterchef conspiracy theories, cross-dressing and sadistic mermaids only added to the entertainment. Dan Sultan eventually stepped up, playing a few of his known tracks on the big Steinway occupying half the stage before stepping up to the guitar (which he remarked he was “less shit at”) to finish off his emotionally evocative and challenging set. The boys finally finished off the gig with a commanding cover of their mentor Paul Kelly’s To Your Door, before stepping off stage to gracious and genuine applause. CAM FINDLAY

GLASVEGAS

Rosemount Hotel, North Perth 22/07/11 More often than not, the concoction of a winter’s night mixed with the emergence of a Glaswegian rock band – plus a menagerie of their liquor-stewed fans – is going to cause a spectacle, and Friday’s appearance by Glasvegas can firmly be penned as one of those events. Playing to an already swelling main bar, local hard-rockers Young Revelry rinsed out a collection that proved to be the unflawed pre-cursor to the evening’s focal attraction. Leaning on the 2010-released You And I seven-tracker, the outfit moved through material such as Nineteen Seventy Three and Reckless Minds with the ease of a group that had been around for at least twice as long. By the time that the pallid outline of Glasvegas’ vocalist James Allan had strolled onto stage during the gloomy undercurrents of Pain Pain, Never Again – the opening track on sophomore album Euphoric Heartbreak – the atmosphere switched into a different gear. The World Is Yours and You evidently followed as a stunned four-piece stood unpretentiously gobsmacked as the raucous hordes sang the lyrics as if these new creations were some sort of sentimental favourite. It’s My Own Cheating Heart That Makes Me Cry was an anticipated highlight, as was Shine Like Stars, Euphoria, Take My Hand and debut gems Geraldine, Ice Cream Van and Go Square Go. The stripped-back rendition of Flowers &

GLASVEGAS BY STEREO VELVET 32 • THE DRUM MEDIA 28 JULY 2011

Football Tops provided the encore with the leading ‘hairs up on neck’ moment. And after Lots Sometimes and S.A.D. Light, the only track left to truly bring the walls down was Daddy’s Gone, which would have no doubt left a few punters glassy eyed as they moved homeward with freshly inspired grin. CRAIG HOLLYWOOD

GIGNITION Swan Basement, Fremantle 24/07/11 Another Sunday night at the Swan Basement, and another bill of upcoming bands ready to stick the key in the Gignition and show what they got. First up was the talented Dylan McCoy, strumming a reverb-drenched Telecaster and crooning to the early birds crowding the front of the stage. Pulling off some very tasty licks and interesting song structures, McCoy showed off his guitar chops as well as a well-developed sense of his songwriting style. Next up were the eclectic and hard rocking sounds of Magic Cactus, bursting onto stage with a level of energy that would turn even the Hulk green...er. Odd arrangements and continuous tempo changes abounded as the four-piece tore through their set, playing multiple instruments, including a 12-string guitar, a trumpet, and various percussive instruments as front man Adam thrashed around both on stage and off, belting out his cock-rock vocals over what might be called rockabilly funk. The Dissonant’s name may sound like a metal band’s, but what presented itself was far from so; this reviewer was surprised to hear a voice and sound reminiscent of Jeff Buckley. When the second song turned out to be a cover of Buckley’s Forget Her, this reviewer gave himself a pat on the back. Another couple of covers mixed in with original material featuring plenty of sax, and the boys’ won over the crowd. Last up were the tight’n’fast sounds of Custom Royal. Flying through a hard, loud and extensive set, only stopping to tune up and down, the boys dished out a wall of catchy rock, complete with windmill arms, rock star stances and catchy harmony-rich choruses. A cover of the Vines’ Don’t Listen To The Radio gave the crowd further insight into the band’s influences, and as the quartet finished off with the awesomely-titled Careless Robots, another happy crowd saw an end to another cracking Gignition. ANDY SNELLING

ELBOW Metro City, Northbridge 25/07/11 There once was a time when cracking the US was a crazy dream but in these cash strapped times, when a band such as The Ghost Hotel garners attentions on the other side of our own country, there’s something to celebrate. Having emerged from the ashes of Team Jedi, Aaron Gibson’s new diesel-fuelled band delivered a cracking set of rock-lite that sat in pleasant contrast to the refinement that was to come. A couple of years ago, a relative of this writer dismissed Elbow as ‘dad rock’, implying that any band telling stories about drinking and divorce whilst offering anthems destined to be sung at soccer matches can only really be appreciated by cardigan wearing men in their 40s. Well yarbles to him, for as the mirrorball washed Metro’s in brilliant blue, an air of magic had the packed (and diverse) crowd absolutely spellbound. If Pink Floyd’s The Wall metaphorically and literally builds a wall between performer and audience, Elbow’s jolly landlord Guy Garvey tears it down and builds a village pub on top of it. He cracks gags, identifies loving couples and even delivers a message to biking-sweethearts from their mum back in Blighty. With a wink, a wave or through copious charming banter, Garvey had by the end of the evening miraculously managed to single out and connect with every individual in the venue. Of the 14 songs on offer tonight, all but two came from massively popular fourth album, The Seldom Seen Kid or recent fifth Build A Rocket, Boys. Just Great Expectations and Station Approach arrived from the first three. From anyone else, this could have provided painful disappointment yet with impeccable performances of the likes of The Birds, Grounds For Divorce and Starlings, who could complain (especially from possibly the cleanest soundmix ever heard at Metros). This was a polished set from a band who visibly treat every gig like it’s the most important they’ll ever do. Slick and well-rehearsed they most certainly are, but Elbow are also spontaneous and generous with their personality. This writer’s own ‘touched by Garvey moment’ came with verbal recognition for enthusiastic gesticulations at the start of inevitable closer, One Day Like This. Everyone left tonight feeling special. MAC MCNAUGHTON

RISE AGAINST BY AARONV2

THE PANICS BY EBONY FROST

RISE AGAINST

THE PANICS

Challenge Stadium, Mt Claremont 22/07/11

The Bakery, Northbridge 22/07/11

A new wave of rebellion saturated the scene around the turn of the century as a host of punk inspired bands looked for something new. The trend lurched towards angrier and heavier and looked to punch in the teeth of the fun-loving pop punk of the years preceding. It was a four-piece from Chicago, IL that perhaps took these elements and created the smoothest blend. Rise Against have undoubtedly been a dominant voice in the collective chorus of this generation, intelligent lyrics shaped around contemporary issues win the mind while catchy melodic riffing and hopper-friendly beats invigorate the body in the way only punk rock can. The change in sound seemed to make sense after Friday night’s performance since playing in stadiums requires a different dynamic from the traditional stomping ground of pubs and clubs. The lack of raw punch in the newer sound was definitely disappointing to members of the old school, but to the corn-fed and radio-raised it provided anthem after anthem to sing out loud. This is a good thing, since the intent of Rise Against is to really raise awareness and educate. Help Is On The Way provides insight into the devastation felt by the poor communities during Hurricane Katrina to an audience that doesn’t care about Oprah Winfrey. Ready To Fall discusses the plight of nature’s more pedestrian species to a generation that missed the magic of Pamela Anderson’s ‘96 beach spread. On Friday these songs really kicked ass. Judging by the crowd reaction these songs strike deep and if the message is absorbed, so be it. Rise Against aren’t afraid to change it up to reach more minds. The acoustic Swing Life Away was played solo under a blue spotlight Clapton-style, while Injection and Behind Closed Doors rocked out to more traditional punk roots. Sick Of It All accompanied the tour, really carrying the flag for the old school. Their sound was guttural and unashamedly raw. As wonderful as their sound is, the expansiveness of the stadium didn’t really feel right, while local lads Break Even carried the undercard as they continue to march from strength to strength.

Gratifying to see the words ‘sold out’ as one entered The Bakery. It would seem Perth is glad to see The Panics back. The feel-good vibes kicked off in sprightly form with San Cisco – a local four-piece immediately raising questions of whether ID’s had been checked en-route to the stage where they delivered an addictive blend of Vampire Weekend-meets-Ween, produced by Bill Halley. Singer Jordi Daviseon later tells me he’s been listening to lots of Kanye West… Definitely a band to watch! Another ‘one of ours’ on the up is Split Seconds, buoyed by a triumphantly well-received series of dates over east. The abundance of lumberjack shirts gave slight mislay to the harmonious folk-pop that was to come. For a moment, this writer got lost amongst memories of singing songs with friends in leafy Vermont village parks. The imminent release of The Panics fourth album, Rain On The Humming Wire, is what we came to celebrate, though from the opening strains of new song One Way Street – which would have sat well on the second Doves album – it would appear much of the crowd viewed tonight as an opportunity to catch up with each other, rather than the old friends on stage. The always amiable Jae Laffer appeared genuinely happy to be back home, promising songs both old and new. So it was something of a disappointment when the set focused almost exclusively on the robust new album and Cruel Guards. The band was visibly kineticised to proudly show off their new wares, which aired just as well live as they do on record. But This Day Last Year and everything from their 2003 debut were conspicuous by their absence. Breaking the set like ice to scotch was Jae’s solo acoustic rendition of In Your Head – the song he opened with for Noel Gallagher a few years back. It was a high-mark again drowned out by incessant chatter. Finishing with new album opener, the Neil Diamond-esque Majesty, then Get Us Home in the encore satisfied but didn’t exceed expectations. Perhaps when Rain On The Humming Wire gains traction, both band and audience will be as harmoniously in sync as the support acts. It’s a fine record that deserves a better reception than what was received tonight.

SIMON HOLLAND

ELBOW BY ANTHONY TRAN

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MAC MCNAUGHTON


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IT’S FRIDAY

SUIT UP

Fat Shan Records hosts Friday I’m In Love 2 Friday 29 July with a stellar line-up of solo acoustic acts including Sean Pollard (Split Seconds), Heathcote Blue (Seams/ Brow Horn), and Sean O’Neill (Hang On St Christopher). $10 from 8pm. The night is an intimate insight into the intricate works of Perth’s best musicians – an evening focused on the music itself with chatter and swagger left at the door.

Following Tracksuit’s recent showcase in NSW, the boys are back in WA for four shows before they jet back off in late September for a more extensive tour. Things are moving along fast for Tracksuit, so catch ‘em while you can, Friday 29 July at Settlers Tavern, Margaret River; Friday 5 August at The Rosemount with Hundred Acre Wood; and Friday 12 at The Bakery with Stillwater Giants.

MARRVELOUS

SIN CITY

One of the hardest working, most sought after acts in the Melbourne blues scene, Andrea Marr and her band have headlined blues festivals around Australia with their brand of high energy, sassy, soulful, original blues. In 2010 Andrea was signed to Chicago-based blues label Blue Skunk Music, and her album was released in the US to rave reviews. She plays Fremantle Blues Club at Mojo’s, Wednesday 3 August.

Post-hardcore/metal band Safety In Numbers met at TAFE earlier this year while studying music there, and are heavily influenced by bands such as A Day To Remember, The Amity Affliction and Bullet For My Valentine. They’re currently recording some demo tracks, which they’ll be able to give the live treatment Friday 29 July with the Law Of Attraction and 618 at Swan Lounge as part of The New Sound.

WHAT THE SEA WANTS

RAW DIAMONDS

In celebration of her debut long-player, Tiny Ruins will embark on her Some Were Meant For Sea album tour. She’s also playing the support slot for the Seeker Lover Keeper album tour on Thursday 28 July at the Astor Theatre. You can catch her flying solo the following night at The Velvet Lounge in Mt Lawley. Tickets for the SLK show through BOCs, or on the door for her own show.

Perth’s heavy rock kings Diamond Eye, known for their energy and over the top stage shows and effects, are stripping it all back this Sunday 31 July and going raw and unplugged at The Paddington Alehouse. Babyjane and Ragdoll are also strutting their stuff with acoustic guitars in an event that showcases three of Perth’s finest rock acts doing their thing, with a twist. Doors at 7pm, Entry free.

DANNI & THE LAPELS

EVERY SINGLE WORD Danni Ammon is set to release her debut EP Everyword, produced from her new musical project and partnership, Danni & The Lapels. She’ll play Sunday 31 July at Mojo’s with a night of blues, pop and rock, supported by Ali Towers, Spoonful Of Sugar and DJ Cassio. Everyword comprises five original tracks by Danni of true heartfelt folk, the duo producing a sound both sweetly personal and highly accessible.

PECK ON THE CHEEK

THE PAINKILLERS

Mojo’s Bar will host one monster line-up Thursday 28 July that will see Cal Peck & The Tramps break out the garage rock, rhythm and blues for a show with the ladies from Carnies With Candy, Buzzkill Vamps and Moonlight Wranglers. Then Saturday 30 July sees The Tramps bring live music back to the newly re-opened Hyde Park Hotel, with swamp rockers Cat Black and surf rock outfit Day Of The Dead.

MORGAN FREEMAN Guitarist/singer/songwriter Morgan Bain displays songwriting beyond his years and a style that mixes acoustic roots, blues and folk. He’s also a past nominee in the WAM Song Of The Year. He’s launching an EP in October, but has plenty more shows to play before then, including Wednesday 3 August at Indi Bar, Thursday 4 at The Shed’s Uncovered series, and Settlers Tavern, Margaret River the following Sunday.

REAPER RETURN Get your line-dancing partner squared up because after a three month break, Grim Fandango are back to party with you and their friends Emperors (do you remember the ‘90s?), Chilling Winston, and Ex-Nuns in their debut show. It’s all going down Saturday 30 July at The Rosemount Hotel, doors 8pm.

DADADUM Between the last two Aprils, Dada Records have held rather a few gigs and they’ve recorded them and put some of their favourite bits onto a CD to celebrate the Perth stalwart’s 40th Birthday. From 3pm til 8 Saturday 30 July, head to the store to the following acts for a free entry, ALL-AGES show. Get there early enough for a free copy of the CD.

4.30 Gum 3.45pm The New Pollution 3pm Water Temple

!AN L!LBURNE Give a brief rundown of the history of your band from day one to now: West Australian singer songwriter !an L!lburne has a portfolio of original songs stretching back thirty-five years. A passionate singer and guitarist, yet retiring by nature, he did not quickly move onto the stage, preferring more private domains to hone his songwriting skills while pursuing a successful career in arts and events management, production and promotion. Tell us about your release: Ghosts is an eleventrack album of classically crafted songs in the key of Cohen. Pop-folk with a touch of the blues. It’s companion piece, Against The Odds, has four tracks in the same mode. Originally the two were conceived as the one recording but toward the end the four tracks on Against The Odds separated themselves aesthetically from the rest to form their own team. 50 per cent of the proceeds from the sale of Against the Odds are being donated to Médecins Sans Frontieres Australia. How did you go about recording it? The recording was self-funded. Pete Grandison was engaged to produce the album. In collaboration with Ian Lilburne, the songs were arranged to best suit the mood of each. A selection of Perth musicians were then invited to play on the album, the people being chosen who best suited the feel of each song. They included Phil Bailey, Abe Dunovitz, Jim Fisher, Ben Franz, Kate Hall, Mario Horvat, Reuben Kooperman, Peter Smith, Jennifer Tingley, Cathie Travers and producer Pete Grandison himself on various instruments.

What’s next for your band? The one-off band will not be performing on a regular basis. Lilburne plans to do a series of solo gigs and is in the process of forming a trio to continue promoting the CDs and his other material.

6.45 The Painkillers 5.15 Electric Toad

!AN L!LBURNE

Tell us about your launch party: A special oneoff band comprising musicians who played on the album has been formed for the launch and in addition to the music from the two CDs, the band will perform a selection of Lilburne’s original blues songs. Tickets are available through kulcha. com.au.

7.30 Brown 6 Donnie Rat

LAUNCH PAD

RUBY BOOTS

RUBY BLUE Country-rockers Ruby Boots launch their single Devil Friday 29 July at Indi Bar with Sneaky Weasel Gang, Boston & Chevy and Natasha Shanks supporting, and Saturday 30 at Norfolk Basement with Davey Craddock & The Spectacles, Miche Suite and Tim Bott. The group have been receiving plenty of attention around the country, and Devil is the perfect chance to see what it’s all about.

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WHAT: Ghosts LP & Against The Odds EP (Aeon Songs) WHEN & WHERE: Saturday 30 July, Kulcha, Fremantle

THE DRUM MEDIA 28 JULY 2011 • 33


LIVE

2 8 J U LY - 3 A U G U S T 2 0 1 1 live@drumperth.com.au

DARKNESS COMES WE CATCH UP WITH A FEW OF THE ARTISTS PLAYING DARKWAVE, THE IMPECCABLE SHOWCASE OF â&#x20AC;&#x2DC;DARKER MATERIALSâ&#x20AC;&#x2122; FROM THE PERTH SCENE.

THE SILENT WORLD Brief history of your band: Started playing shows in mid-2009, gradually began to find our own sound and become a better live band, released an EP last year which a few people seemed to like and started off 2011 with some cool shows like In The Pines. What does it take to be an act on the Darkwave lineup? Playing minor chords seems to be a prerequisite. From what I gather the evening will be kind of an endurance test, self-harm all over the place. Not really, Iâ&#x20AC;&#x2122;m sure itâ&#x20AC;&#x2122;ll be fun. Howâ&#x20AC;&#x2122;s the darker-rock Perth scene going in your opinion? Perth has a natural advantage over other cities when it comes to dark music as we tend to be averse to daylight savings and social change. Chief exports such as Tame Impala and Tim & Jean havenâ&#x20AC;&#x2122;t done much to exploit that though, in fact their songs tend to be downright cheerful. Who should we look out for at Darkwave? Definitely check out Heytesburg, or â&#x20AC;&#x2DC;80s-burg as we like to call them. Itâ&#x20AC;&#x2122;s all quality though! Did The Dark Knight Rises trailer let you down as well? Too many quick fades, not enough Marion Cotillard. Time playing: 9:20pm.

BORN ON THE BAYOU

BORN ON THE BAYOU

LIKE JUNK

FEAR OF COMEDY

catastrophe and the struggle for enlightenment, which can lead us to very dark placesâ&#x20AC;Ś Howâ&#x20AC;&#x2122;s the darker-rock Perth scene going in your opinion? The Perth scene currently occupies a strange place between the more popular indie and metal cliques. However, one can feel the stirrings of a movement as younger generations connect with the alternative sounds of the â&#x20AC;&#x2DC;90s. Who should we look out for at Darkwave? Heytesburg are forging a strong presence within the Perth scene and definitely worth your attention. Which cult/horror movies should be screened on the night? You can never go past the Evil Dead trilogy. The Dark Knight Rises trailer let you down? Christopher Nolan doesnâ&#x20AC;&#x2122;t disappoint. Time playing: 8.50pm.

evolved to become something more lucid and eclectic. Howâ&#x20AC;&#x2122;s the darker-rock Perth scene going in your opinion? Sadly, two great â&#x20AC;&#x2DC;darker-rockâ&#x20AC;&#x2122; acts from Perth, Mongrel Country and Mile End, are currently out of commission, but Iâ&#x20AC;&#x2122;d lay down with ZEKS any day. Who should we look out for at Darkwave? ZEKS, ZEKS, ZEKS! Which cult/horror movies should be screened on the night? Something Parisian and pretentious â&#x20AC;&#x201C; apparently thatâ&#x20AC;&#x2122;s how we eXpress ourselves? The Dark Knight Rises trailer let you down? You couldâ&#x20AC;&#x2122;ve also put here, Transformers 3: Dark Of The Moon. Time playing Darkwave: 10.50pm.

FEAR OF COMEDY

THE FRIGHTENERS Brief history of your band: We started in 2008, slowly building a following around the Perth scene, supporting bands such as Voltaire Twins and Arts Martial as well as hosting our own shows. What does it take to be an act on the Darkwave lineup? I think that the music you create has to have soul, and as the name implies a dark edge, though less of a punch in the face, more like a spiderâ&#x20AC;&#x2122;s caress.

Brief history of your band: Formed â&#x20AC;&#x2DC;04 as a post-punk act, re-invented ourselves in â&#x20AC;&#x2DC;06 as mix of punk/goth/ other and disbanding December â&#x20AC;&#x2DC;07. Reformed in Oct â&#x20AC;&#x2DC;09, then spent 2010 re-inventing ourselves. Our new approach is fairly avante-garde and idiosyncratic. What does it take to be an act on the Darkwave line-up? Iâ&#x20AC;&#x2122;d say your band has to approach music as an artistic vehicle to express the not-so-celebrated side of lifeâ&#x20AC;Ś so, be big fucking Goths.

Howâ&#x20AC;&#x2122;s the darker-rock Perth scene going in your opinion? It has taken some time to shed some â&#x20AC;&#x153;lightâ&#x20AC;? on the bands who until now, havenâ&#x20AC;&#x2122;t really had a place to call home in the music scene.

Howâ&#x20AC;&#x2122;s the darker-rock Perth scene going in your opinion? I think the darker bands in Perth are just trying to make art. Itâ&#x20AC;&#x2122;s still hard to compete with the boneheads who want instantly gratifying triple j friendly alternative slop.

Which cult/horror movies should be screened on the night? It would be nice to see a certain Peter Jackson movie screening (The Frighteners), maybe Gremlins II?

Which cult should be screened on the night? Altered States, Un chien andalou, Lucifer Rising, The Seventh Seal, How To Operate Your Brain.

Howâ&#x20AC;&#x2122;s the darker-rock Perth scene going in your opinion? Itâ&#x20AC;&#x2122;s beginning to crawl out of the Perth shadows, but with Darkwave we think youâ&#x20AC;&#x2122;ll see some serious growth start to happen.

Did The Dark Knight Rises trailer let you down as well? The original Batman movie came out the year I was born, so I think Iâ&#x20AC;&#x2122;m predisposed to get tingles every time I see or hear anything Bat related!

Did The Dark Knight Rises trailer let you down as well? Were you hoping to see nipples on the bat suit?

Which cult/horror movies should be screened on the night? If there is only one choice for the night it has to be Lynchâ&#x20AC;&#x2122;s Eraserhead.

Time playing: 9.50pm.

Did The Dark Knight Rises trailer let you down as well? Not really. Seeing a glimpse of Tom Hardy as Bane did whet the appetite.

Brief history of your band: We started in 2007 as an experimental noise act. Since then our sound has

Brief history of your band: In 2009 members came from previous local and overseas bands with a shared desire to dirty their hands and minds and put musicâ&#x20AC;&#x2122;s passion ahead of musicâ&#x20AC;&#x2122;s fashion. What does it take to be an act on the Darkwave lineup? A desire for music that falls outside the standard formula, tests boundaries, and is grounded in the more sinister aspects of life.

LIKE JUNK

WHEN & WHERE: Darkwave - Friday 29 July, The Bakery, Northbridge

SHOCK OCTOPUS

THE FRIGHTENERS

â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘

Proudly supporting the local music scene

CD LAUNCHES and PRIVATE HIRE We are always looking for new up and coming bands and DJâ&#x20AC;&#x2122;s send your demoâ&#x20AC;&#x2122;s or requests to: info@ya-yas.com.au â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘

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

34â&#x20AC;˘ THE DRUM MEDIA 28 JULY 2011

TONIGHT ALIVE

In addition to their upcoming show with Anberlin Friday 26 August, Sydney punk-rockers Tonight Alive have announced a little warm-up show Saturday 30 July at YMCA HQ in Leederville. Theyâ&#x20AC;&#x2122;ll be supported by We Are The Emergency, Monuments and The Main Attraction. Tickets through Moshtix for this ALL-AGES show from 6pm.

SUPPLY & DEMAND

Brief history of your band: Shock Octopus formed as an alternative rock four-piece in 2010 and since then weâ&#x20AC;&#x2122;ve released the Safe Room single earlier this year and are currently working on our debut EP.

WZLWWHUFRPOLIHLVQRLVH IDFHERRNFRPOLIHLVQRLVH ZZZOLIHLVQRLVHFRP

Sadly itâ&#x20AC;&#x2122;s the final week of what has so far proven a very successful and innovative concept in Hidden Treasures, Thursday 28 July, all over High Street. San Cisco and Stoney Joe (celebrating their new single Four Weeks On) play the Working Musicianâ&#x20AC;&#x2122;s Dinner Sessions (6 til 9pm); The Kill Devil Hills perform a one-off, fully acoustic set (8 til 9.30pm); and finally thereâ&#x20AC;&#x2122;s a special Mentorship showcase with Billie Rogers feat. Rose Parker, Blue Lucy feat. David Hyams, Rachel & Henry Climb A Hill feat. Jim Fisher and One Thousand Years feat. Dom Mariani (9pm til midnight). $10 to each show, or $5 to the final if youâ&#x20AC;&#x2122;ve been to one earlier.

TONIGHT ONLY

SHOCK OCTOPUS

follow your noise

HIDDEN FINALE

Time playing: 12:20am.

Time playing: 8.20pm.

What does it take to be an act on the Darkwave lineup? Our music deals with mental illness, environmental

STONEY JOE

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THE SILENT WORLD

Saturday 30 July sees the reunion of Oats Supply for a special show to help out a friend of the bandâ&#x20AC;&#x2122;s battle with Motor Neuron Disease. Fundraising tickets are $30, including a great night of fun at The Railway Hotel. Fireworks will be flying as these estranged sexpots explode in a fireball of â&#x20AC;&#x2DC;80s nostalgia and blistering duets, tickets through Heatseeker.


THE DRUM MEDIA 28 JULY 2011 • 35


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2 8 J U LY - 3 A U G U S T 2 0 1 1 live@drumperth.com.au

REQUEST LINE

MAKIN’ JAM

International troubadour Carus Thompson has released his newest album Caravan, and he’s now planning to head back to Europe. Before that, Carus will play a oneoff ‘Request Show’; solo-acoustic mode playing two sets entirely of fan requests. Simply write your request down and put it up on stage next to him! Thursday 28 July at Clancy’s Fremantle. Tickets from Mills, 78’s, Planet, Star Surf and Heatseeker.

Last week’s winner of the Drum-presented Jammin’ Band Competition at Ya Ya’s, The Tumblers, join Crooks, Moontribe, Clean Living and The Dark Rooms in the running to win the first prize of 200 copies of their very own 7” vinyl record pressing. Judges from RTRFM, Drum Media, Fat Shan Records and Beat Route Records will this week look at Taco Leg, Ermine Coat, Owls and Melma taking the stage. Free from 8pm.

SINGLE STORY

EVEL INTENTIONS

BOY BOXER

It’s been a big year so far for The Joy Evelation; they’ve been recording their album, playing live and have supported ZZ Top. They have been busy working on the finishing touches of their first self-titled EP, being launched Saturday 30 July at Players Bar, Mandurah from 10pm. The night will feature two JE sets, t-shirt modelling and a competition being announced on the night.

PAUL HOGAN

CAT BLACK

BLACK CAT Sultry swampsters Cat Black are excited to return to their old stomping ground, the newly renovated Hyde Park Hotel, this Saturday July 30. They’ll be warming up the stage for garage rockers Cal Peck and The Tramps and Surf guitar heroes Day of The Dead. In other news, Cat Black are going into the studio next month to record a two-track demo which will be a taste of what’s to come from their next EP, out early 2012. BOY IN A BOX

TOBIAS PRIDDLE, THE BRAINS BEHIND BOY IN A BOX, TALKS TO DRUM ABOUT HIS SOUND AND UPCOMING INTERNATIONAL SUPPORTS. You have a very hooky, anthemic sound with influences ranging from Springsteen to Sinatra, how does it all come together? Everything that I listen to comes out a little in my writing, I don’t think of it as plagiarising or ripping it off. I just write the music that I’d listen to. I may as well be playing something that I enjoy and connect with. The music sounds very organic and devoid of unnecessary complications or intricacies. Do you think this approach has any advantages when it comes to songwriting? How do the songs come to life? Yeah I guess so, I don’t want to make it too complicated and over-produced. A great song is a great song whether it’s recorded with the best gear, in the best studio, with all the over dubs you can fit on or in a garage with an acoustic guitar. Usually I’ll go into a studio, give myself a designated amount of time so there’s a bit of pressure on me and get it done. Sometimes songs will be done within the day, recorded, written and produced from start to finish. Your music has been described as ‘riot-pop’, and some songs have a very rousing feel, almost like a call to arms. What’s the message you are trying to get across to your audience? Well I’m definitely not trying cause any pop related riots…that could get quite ugly! I’m not trying to push any message on the audience. The last thing I want my songs to do is make people feel any angst. If anything I want to make people feel good. Do you enjoy the extra pressure of supporting established acts, and what can fans expect from your show? I love the pressure, for some reason I thrive off the stuff! But the fact that they are established is a massive advantage for me. Apart from them having a crowd for us to play in front of, you learn so much from them about touring and performing. There’s a reason that they are established and I want to be able to harness it and apply it to Boy In A Box. Expect to see four sweaty guys singing at the top of their lungs playing pop songs as loud as possible like it’s the last show they’ll ever play. 2011 has been a pretty big year for you guys so far. What next? I’m currently writing an album and every time I have a spare minute off the road I’m either in the studio recording or in my home studio writing. The album is due to be released early next year. WHEN & WHERE: Supporting Funeral Party – Tuesday 2 August, Capitol, Perth; Supporting Calling All Cars – Thursday 8 September, Prince Of Wales, Bunbury; Friday 9, Studio 146, Albany; Saturday 10, Amplifier, Perth; Sunday 11, Indi Bar, Scarborough 36 • THE DRUM MEDIA 28 JULY 2011

MINKY FUR Cheerful jazz-pop four piece Minky G & The Effects are getting tasty this week, with a gig at Gypsy Tapas House, Fremantle, Saturday 30 July. Get ready for a packed out night with good tunes and yummy food from 7pm, and the band’s trademark killer keys and awesome vocals. They’re also recording a single at the moment, due out later on this year, so keep your ears peeled for new tunes on the way.

ATTRACTIVE OFFER Alternative metal act Law Of Attraction prepare to launch their debut EP in September by playing their first gig with new vocalist Pete Knot at The Swan Lounge, North Fremantle Friday 29 July. This local outfit fall into the category of alternative metal, or more accurately, post-modern metal; they are a new sound waiting to be heard. They also play the Swan Basement Sunday 31 July for Drum’s Gignition.

QUIRKY KIDS It’s another busy week for Freo’s quirk-folk darlings Rachel & Henry Climb a Hill, as Thursday 28 July they play Fremantle’s Hidden Treasures Mentoring Showcase with Jim Fisher; Friday 29 at Manhattans with Blue Lucy, The Lammas Tide and Trent Williams; and Sunday 31 at the Mundaring Truffle Festival at the Mundaring Hotel.

Rock-country singer/songwriter Paul Mandelt has released two EPs and you can stream three songs off the latest at reverbnation.com, where he’s consistently maintained a position in the charts. So either get a taste before or simply catch him live when he plays Swan Basement as part of Drum’s Gignition Sunday 31 July with a new line-up. $5 from 5pm.

WOLVES TRAVELLING Last week saw indie-folk duo Wolves At The Door release their second EP Wolves At The Door II, and they’re hitting the road to launch it starting Friday 29 July at the Norfolk Basement in Fremantle. Supported by Tusk and Reverse Engine Ear, it’ll be their last WA show for a while as they embark over east for a run of dates winning the hearts and minds of those on the other side of the country.

HEX ON YOU Experience a night of experimental witchcraft ambience when Nagy perform an improvised noise-experimental set in harmony with the 1922 film Haxan, with piano and other melodies shining through layers of gothic textures and soundscapes, Saturday 30 July at the Velvet Lounge. Supported by Ourobonic Plague, playing to the rarely seen Aus’ film Spirits Of The Air, Gremlins Of The Clouds, and Will Stoker.

DIRTY WHORE Supersonic at Ya Ya’s is back this Friday 29 July, featuring the Sonic Youth-inspired sound of The Whores with support from Starcleaner. Formed in Melbourne and now based in Perth, The Whores will send you on a sleazy garage rock journey into oblivion, while Starcleaner are a manifestation from a constellation of alt-rock influences of ‘80s and ‘90s post-punk, indierock, shoegaze and post-rock.

THE LOVE JUNKIES

RELEASING THEIR LATEST SINGLE CRYING RHYMES THIS WEEKEND, THE LOVE JUNKIES’ MITCH MCDONALD GIVES US THE STORY BEHIND THE TRACK. Crying Rhymes came about around autumn of this year. I was at work at the time and caught my mind ticking like usual instead of concentrating on the job. That’s when “Why does your mind run overtime” popped into my head along with a melody, so I spent the remainder of the day thinking about the song. Once I got home to start working on it, I really believed there was something special about this one, so I called up the rest of the lads and asked to borrow their gear to record a demo. After listening to it a few times and showing some friends, I knew I wanted to get it down and release it as soon as possible, so I hunted down the contact details of Mr Dave Parkin and bugged him to have a listen. Not long after that it was all go, and we were at Blackbird last June for a couple of days. The song is about a little struggle I have with thinking too much about things. We all do it from time to time and know that it can lead to ruining a lot of good opportunities. It’s about longing to be in control. I think that’s why I tried to shove as many interesting parts together in such a short time bracket. The song is very much up and down, which I think suits the theme. I’d say after we launch this thang we’ll head back to the studio to finish up another EP. Hopefully all goes to plan and we get ourselves some interest. Play some bigger shows. Maybe even catch a tour. We’re all working really hard to drive this thing. We’re a band with a plan now, and were just looking forward to the next part and whatever that will bring. WHAT: Crying Rhymes (Independent) WHEN & WHERE: Saturday 30 July, Mojo’s, North Fremantle

POP OPERA Sunday 31 July sees the return of Jay Weston to the Subiaco Arts Centre for the second sunday@ subi concert for the season. Weston has entertained thousands with his repertoire from Andrea Bocelli to Michael Bublé, and is rapidly emerging as one of Australia’s most admired ‘Popera’ artists – a classically trained singer who sings popular music. Get down for tickets from 1pm.

BOOM TOWN Their name is Boom! Bap! Pow! and rockin’ pop and soul is their mission. They’ve got a couple of shows this weekend, first up at The Mustang Bar in Northbridge tonight, Thursday 28 July plus special guests and DJ James McArthur. Then you can catch them Friday 29 at Devilles Pad for another night of doo-wop debauchery with Les Sataniques GoGo and more from 6pm, $10 after 8pm.

PUSS N BOOTS Friday 29 July Sugarpuss launch their self-titled EP at Mojo’s, supported by Solar Barge, Ten Mountains, the Chemist DJs and Circus Burlesque. $10 or $15 with an EP, first 50 people get a free EP from 8pm. The recordings sound awesome from this talented young retro psych-rock act – who are going to shake things up by the sound of their EP.

QUARTERS

THE KILL DEVIL HILLS

THE MEANING OF’S RAZ

Finnish group Ilmiliekki Quartet returns to Australia with some of the best new jazz from Europe’s urban edge. This combo has, since 2002, impressed all the right crowds and all the right critics while producing some of Europe’s best new jazz. They play for the Perth Jazz Society at The Charles Hotel, next Monday 1 August. Tickets $35/25 for members.

DEVIL’S ADVOCATE

MEANING OF LIFE

WON THE BATTLE

Swamp-country-punk-rockers The Kill Devil Hills return for a way overdue show Friday 29 July at the Rosemount Hotel, supported by Blackmilk and Big Old Bears. They’ll no doubt bring some lessons learned whilst triapsing through Europe recently, along with some sample tracks from their upcoming fourth album which they are currently hard at work on, and new WAMi-Award winning drummer Todd Pickett.

After 10 years in The Meaning Of, didgeridoo-slayer Raz is moving to the sunny north east of Australia. Consistently being one of Perth’s most entertaining performers, say goodbye with good vibes, love, and appreciation to accompany a night of mayhem, frivolity and good times with The Devil Rides Out, Opia and Over Unity, Friday 29 July at Rocket Room. Special guests Karnivool DJs will also drop in to play some tunes.

This Saturday 30 July the Civic Hotel Backroom plays hosts to a massive afternoon of crushing rock’n’roll bringing the best of the brutal and melodic together in the form of Battlefest. From 2pm til midnight you can catch ten bands: Psychonaut, Mhorgl, Enforce, Prisoners Of Faith, Red Descending, Ill Vision, Beyond Never, Meridian, Davastator, Monsters In Living Flesh and Chainsaw Abortion. Bring ear plugs.

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REDCOATS’ DEBUT EP Redcoats appeared on the Australian music scene with an arrival that was difficult to ignore. The alt. progressive Melbourne band has been on a steady ascent and this new EP features triple j staple Dreamshaker along with second single Kay Trucker. Shake Your Dreams is out July 29 on Island.

STREAMING

NOW!

WASHED OUT’S

WITHIN and WITHOUT Atlanta-based nta--based chillwaver Washed Out achieved critical acclaim for his 2 2009 EPs Life Of Leisure and High Times. His debut album was recorded (A i l C ll ti D h t G l B kl ) with B Ben All Allen (Animal Collective, Deerhunter, Gnarls Barkley). And, it reveals a moodier side of Washed Out while maintaining the hands-in-the-air ecstasy of much of his previous collections.

WITHIN and WITHOUT is out now on Pod. W

POWERED BY STREET PRESS AUSTRALIA


28 JULY

2011

NOT SO SCARY MONSTA ELLA LIASCOS CHATS TO THE LEADING LADY ON FLYING LOTUS’ BRAINFEEDER LABEL, TOKIMONSTA, AHEAD OF HER SHOWS AT THE BIRD THIS WEEKEND TO CELEBRATE THE RHYTHMATISM NIGHT’S FIRST BIRTHDAY.

DAMIEN “DMO” JAY

PHOTO BY ELLE BORWARD

YOUR STYLE? Electro-house. WHAT DID YOU HAVE FOR BREAKY TODAY? Big breaky at Dome and a black coffee. WHAT EQUIPMENT DO YOU USE? Three CDJ2000s and a DJM900 for DJing. All production work, bootlegs and mixes are done using Ableton Live. YOUR FIRST OFFICIAL DJ SET? My first official DJ set was at Bar Open for the launch of Open House, one of those out of the blue packed nights you don’t expect and everything just clicks. First unofficial set a few weeks before, complete opposite story. Almost put the headphones down for good, thanks to a good mate I dropped at Bar Open and haven’t looked back. BEST DJ IN PERTH: Tough question. There would be at least five DJs I would class as the best in Perth. These five DJs have consistently topped their given areas for the past few years if not longer. Micah, Mind Electric, Jus Haus?, Nathan Francis and Darren J I would say are all very different DJs but equally as good. WHAT DO YOU DO IN REAL LIFE? This is my full-time career, so between my DJing and running MaD Mo Productions plus the launch

of another production company later this year and just recently the addition of organizing launch parties for key local and national fashion labels, I’m pretty flat out seven days a week. IF YOU COULD PICK ANYONE IN THE WORLD TO BE YOUR BESTIE, WHO’D IT BE? BOB. THE BEST TRACK THAT NEVER FAILS ON THE DANCEFLOOR? Mobin Master’s Show Me Love feat. Karina Chav. MUSICAL INSPIRATIONS? Any artist who is prepared to bite off more than they can chew, then chew like crazy. In my eyes, the world of DJing is advancing into more than just some guy who can beat match. The more aspects to your talents the better. WHAT DO YOUR FOLKS THINK ABOUT WHAT YOU DO: Let’s just say that my mobile number is currently sitting in the #1 position in speed dial on both their mobiles and landlines, leaving emergency services, doctors and the police department in second through to fourth. Good or bad sign? FAVE SET YOU’VE EVER PLAYED? Just recently in June when I was booked to play at Secret Society’s Baroq House Fridays (Melbourne)

supporting Andy Murphy. 15 minutes into the set the whole basement had crowded around the DJ console as I broke the standard commercial style code of Baroq and rinsed a heavier set than the faithfuls were used to. Heavy hitting electro tracks mixed with electrodub and a few crazy bootlegs of my own. Outcome: the basement went berserk. The full set is being uploaded to the Secret Society and Baroq House websites. Stoked! ANY RELEASES OUT, OR IN THE PIPELINE? Unfortunately not for myself, but a hot tip – keep an ear open for a two local Perth guys releasing some pretty amazing stuff – KNO Agents! Big things coming. BEST PLACE IN PERTH TO: A) ROCK OUT: MaD Mo HQ at Gilkisons. B) CHILL OUT: On The Terrace, Claremont. C) PASS OUT: My Bed. GIGS YOU HAVE COMING UP? DeTOUR, Weekly Backpacker Nights – Thursdays, Gilkisons, Perth; Romeo & Juliet: The Capulet’s Ball – Saturday 30 July, Gilkisons; St Fredde’s Summer Fashion Launch – Saturday 13 August, Gilkisons; Helena & Guests – Saturday 27 August, Gilkisons, TBA.

Congratulations on the release of Creature Dreams. How happy have you been with the response so far? I’ve been immensely happy. This was a very personal release, so peoples’ understanding and support meant a lot to me. You mentioned in an interview that you wanted to keep your first release with Brainfeeder to be more cohesive and directional. Do you think you’ve achieved what you set out to do? I definitely believe I did. I established an aesthetic and feeling that I think was more focused in this release – at least that’s what I feel. For me to say that I will maintain this aesthetic is up in the air. I definitely want to keep evolving. You turned a few record labels down before you were signed to Brainfeeder. What made you commit to this label? Brainfeeder is an artist label that consists of my friends and peers – a label that really is focused on bringing up musicians of a specific mindset. We are not pushing on fame, money, or the conventional; we are trying to “feed brains” and approach new territory. And how has Flying Lotus impacted you? Steve (Ellison) was a friend of mine. When you are involved in this scene, especially many years ago, it was small and we all new each other. He simply asked me to release on Brainfeeder and I accepted. I don’t want to say my whole career is due to him because I do believe I worked hard and did much for myself. However, he did become a window for the world to see into what was happening in LA and helped showcase many of us through Brainfeeder – I will always be in gratitude for that. How much tougher do you think it is for females trying to break into a male dominated industry, and to get taken seriously by a still largely sexist society? My peers were generally accepting of me because I didn’t cut any corners because I was a female. I did all

the local beat showcases and hung out like the rest of the guys. To the general public, the “female” thing can become a petty gimmick or a petty hindrance, but I’ve learned to pay no mind to what these petty type of people think. You recently did a small set for triple j, a station not normally renowned for supporting these sorts of sounds. Have you already seen any positive effects in expanding your fanbase? Directly from doing the triple j mix? Yes, a bit actually. Right after I played I received a load of new followers on twitter and such, but that doesn’t mean much to me (the numbers). What I appreciate is that new people listened and felt compelled to keep listening to me. You played a great set in Perth for the Red Bull Music Academy/ Move showcase last year. What can we expect this time around? The triple j set was more

of a tastemaker DJ set. I wanted to showcase the music I’m listening to, make, or the music that I love. The Perth sets will be different, but I can’t explain how. I still do my live set by myself, but there are different structures and, of course, I’ve incorporated several songs from my EP. Now that you’ve released the new EP, what new projects are on the horizon? There are a few, including working on a full length LP, but there is also a project with vocalist/producer Suzi Analogue that will be quite fun and a different spin on what you can do with our kind of music. WHAT: Creature Dreams (Brainfeeder/Just Isn’t Music) WHEN & WHERE: Saturday 30 & Sunday 31 July, The Bird, Northbridge

TOKIMONSTA

THE HEE PANACEA

HOT SHOT

BIG APE LAUNCH @ SHAPE BY JAMES GIFFORD


HOT LOCAL EVENT RTRFM’S SECRET WEAPONS

Reason for/Idea behind the night? Club nights are just so much fun, and RTR wanted to pay tribute to many of the great local DJs who specialise in house, techno and the more straight up bangin’ forms of dance music. We thought it would be cool to collect some more established acts and compile them alongside folks who are a little fresher to the scene but still doing great things, and get them all to bring the secret dancefloor weapons that are hiding in their crates. Who’s playing your event and who should punters be most excited about seeing? Aside from Declan and Trav, who Full Frequency listeners will be more than familiar with, there are a number of great up-and-coming DJs such as Kyran Smith, Sharon Smart and Nina Van Dyke, who will be deploying some of their secrect dancefloor bombs. Fans of great club music also won’t want to miss Progress Inn, who haven’t played much lately, as they will definitely bring the party. What does your night offer that others don’t? The opportunity to hear and dance to a range of variations on the four to the floor formula all under one roof – house, tech-house, electro, disco and maybe even a smattering of breaks – all styles will be represented, and you can bet that all the DJs on the bill will be bringing something special to their selections. What made you pick the venue?

PAUL MASTER

CLUB NIGHT SPOTLIGHT

SLS

MAKE THE FACE

KYRAN SMITH

KID KENOBI

Where, when and how often is it is it happening? When: Launches this Saturday 30 July. Where: Villa with Kid Kenobi and Surecut Kids, plus local crew Philly Blunt, Bezwun and Marko Paulo. How often: whenever we feel like it! Who’s behind it? Proudly brought to you by Boomtick, the original face-makers. What styles and resident DJs should people expect? Anything to make you Make The Face! A warbly bassline, that electro twang, a hard sound, a phat drop, a bass cannon. It’s that special moment in a tune that makes you look like you’ve sucked on a piece of lemon; you go WHOAH – what’s that!? What kind of vibe? For lovers of the music into the scene not out to be seen, Make The Face is all about substance not style. Hipsters beware! Who shouldn’t come? Don’t like bass? Best not come. Only a munter would miss the launch because… They’re busy spatchcocking fowl. Geisha is synonymous with serious 4/4 dance music, so where better to dedicate a night to it? The venue was also really supportive and keen to be involved with RTR and we’re stoked to be working with them to create this huge night.

What’s next for your crew/ promo company? Radiothon looms large, and of course there’ll be two massive parties to bookend it. WHEN & WHERE: Friday 29 July, Geisha Bar, Northbridge

Anything else we need to know? facebook.com/maketheface. Next night: Rack N Ruin – Friday 16 September, Ambar, Perth. WHEN & WHERE: Make The Face - Saturday 30 July, Villa, Northbridge

FABRIC FRIDAYS @ FLAWLESS

ON THE BRIGHT SIDE @ THE ESPLANADE

LIMELITE - TOMMIE SUNSHINE @ METROPOLIS FREMANTLE

BIG APE @ SHAPE

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THE DRUM MEDIA 28 JULY 2011 • 39


28 JULY - 3 AUGUST

2011 THURSDAY 28/7

Tokimonsta, who has just released her Creature Dreams EP, banging over two nights with Rok Riley, Diger Rokwell and The Move DJs.

DANCEFLOOR OF THE WEEK

DJ COMP @ CLAREMONT HOTEL

JAPAN 4 @ AMBAR

Four contestants battling it out for DJ Lordness. Hosted by Double Dee, who takes over after comp, plus FKN Midas upstairs.

Blend, Dead Easy, Tee EL, Wish and Mr Ed vs. JS bring the perfect night to the home of the underground, $12 til midnight, $15 after.

DISTRICT @ AMBAR This Thursday: Uptown - house, electro, and breaks featuring OHHNO!, Jus Haus?, Mo’Fly, Philly Blunt and the Bash Bros. $10 from 9pm, girls free before 10.

TOASTY THURSDAYS @ NORFOLK BASEMENT Some of Perth’s finest hip hop and beats-kids including Mathas, The Empty Cup, Diger Rokwell & Felicity Groom, Original Fortune and DJ Buda from 8pm.

R’N’R KARAOKE @ DEVILLES Jon Madd’s Rock’n’roll Karaoke with DJs and you, singing for free Now with rotating hosts Magnus Danger Magnus and Ben Sutton.

CISCO CITY @ HARRY’S BAR Funky US house beats from 8pm til late each Thursday, hosted by Frankie Button.

DETOUR @ GILKISONS Perth’s newest Backpacker and Student night, five of Perth’s best DJs, discounted drinks, free hotdogs, free pool and loads more, all for free entry.

FRIDAY 29/7 DANNY T

BLOW UP! @ YA YA’S DOES IT OFFEND YOU, YEAH?

DOES IT OFFEND YOU, YEAH?, PURPLE SNEAKERS DJS @ CAPITOL

Ambar presents the Inthemix Awards 2011 Club Tour featuring Danny T. Support from Micah, Philly Blunt, Mind Electric and Mo’Fly. $15 door sales, or presales from the Boomtick Shop/iPhone App.

JAPANITE @ BAR 138 Japanite is going down again at Bar 138, featuring vocalists Tomo and Jay T-L, plus DJs Rui and Ayanni, raising funds for people struggling in Japan.

Diger Rokwell, Ylem, Ben M, Boost Hero Man and Claude Mono in support, plus visuals from Turbo Mountain. $15 with CD on the door with money going to Lankan charities. Plus Maxy Bills launches his new EP Dust Moats.

THE POTBELLEEZ @ METRO FREO

It’s Rotation’s first birthday, with Krule, Allstate, Dazz K, Riki, Undertone and Mainline McBrine playing some of the freshest sounds in house, breaks and drum’n’bass.

NORTHERN SOUL @ FLY BY NIGHT South West Souls’ four residents TBone, Suzie Cue, Mr. Motown and Denny play Motown, funk, and Northern Soul vinyl from 8pm, $10.

DEATH DISCO @ CAPITOL Indie and disco bangers from Death Disco DJs, DJ Mugsy plus DJ Ryan spinning ‘80s indie upstairs, $10.

RTRFM will provide house, tech-house, electro, breaks and everything else with Progress Inn, James A, Massiv Trav, Kyran Smith, Declan, Luke Reti, Sharon Smart and Nina Van Dyke for $15/10.

POP LIFE @ MINT House, electro, dance, retro, R’n’B and Top 40 from DJ Darren Briais. $5 til 10pm, $10 thereafter.

SATURDAY @ DOUBLE LUCKY Good times and good tunes with Paul and Ruddy.

TANKTOP DJS

CLIQUE @ CANTON

The Potbelleez are set to release their new album, Destination Now, out tomorrow. Say Hello at Limelite, tickets through Heatseeker, Star Surf, Mills, Planet, 78’s, Blue 62 and from the venues.

A special Ladies Edition Friday 29 July featuring Marques Houston, performing his hits including That Girl, Clubbin’ and Pop That Booty. $25 or $40 with a 112/Horace Brown ticket.

DEM SLACKERS @ THE LIBRARY Dem Slackers brings big party times with more bangin’ beats from Time Travel Agent, JS, Arrigold, Mickey Juice. Strict casual dress code.

FULL CIRCLE @ DOUBLE LUCKY A special evening with DJ Cee, DJ M and Nik Keskin giving your more of that good time house music. Hit the DJs up for guest list spots.

DRUM NATION @ SHAPE

FAMOUS FRIDAYS @ CONNIES

Featuring Phetsta, Kurrupt (Brisbane), Ekko & Sidetrack, Havoc and Mercenary b2b C3, hosted by MC Bear. $5 before 11pm, $10 after.

Hosted by Feminem with drag divas and Perth’s best DJ talent. Free until 10pm, $10 before 1am, $15 after, students half price.

DIGER ROKWELL @ THE BIRD ‘Sri Diger: Remixes & Beats From Lanka’, a night of sounds from the enchanted isle of Sri Lanka, with

ROTATION @ RUBIX

Fresh from abandoning their major label relationship and the release of their long-awaited sophomore album Don’t Say We Didn’t Warn You, British electro punks Does It Offend You, Yeah? are one of a number of acts playing a series of Splendour sideshows. The funky monkeys return to the scene of a previous crime, where they destroyed a heaving Capitol last time with fan faves from their debut album like We Are Rockstars, Dawn Of The Dead and Battle Royale. Also rocking the party Wednesday 3 August will be mash-up princes Purple Sneakers DJs, with their patented brand of house-party, funtime party jams. Warming up the night with their live disco-boogie funk tunes will be local lads Bastian’s Happy Flight, fresh off an EP launch. Tickets through Moshtix.

MARQUES HOUSTON @ METRO CITY

ITM AWARDS @ AMBAR

A night of mod action The Guvnas live, plus host of DJs including a special UK guest.

SATURDAY 30/7 SECRET WEAPONS @ GEISHA

If you don’t want to be out partying until the early hours of the morning, resident DJ Klean Kicks mans the decks. $5 from 7pm, food til 9.30.

SUNDAY 31/7

SECRET SOCIETY @ GILKISONS ‘Romeo & Juliet: The Capulet’s Ball’ will be a night full of entertainment, romance and bangin’ beats with The Baroque House DJs, plus Tanktop and locals Nathan J Francis, Damien Jay and Zina. First tickets $35 from Moshtix, or email industrytix@ madmoproductions.com.au.

TOKIMONSTA @ THE BIRD

KID KENOBI, SURECUT KIDS @ VILLA

JULY

Free upstairs every Wednesday night. Val Nourished, Barbie Q Coals and Sandy Beaches, with DJ Samuel Spencer spinning tunes.

THE POTBELLEEZ: JUL 28 Breakers Bar; JUL 29 Metropolis Fremantle; JUL 30 Exit Nightclub (Two Shows); AUG 3 Bar 120 MARQUES HOUSTON: JUL 29 Metro City DEM SLACKERS: JUL 29 Library DANNY T: JUL 29 Ambar JOHN “00” FLEMING: JUL 30 Metro City THE BAROQUE HOUSE DJS: JUL 30 Gilkisons KID KENOBI, SURECUT KIDS: JUL 30 Villa TOKIMONSTA: JUL 30 & 31 The Bird

SWAGG @ REPUBLIC Resident DJs MUV, Exploder and Philly Blunt, plus live art, snacks and good times. $10 from 9pm.

CHEEK @ RED SEA The hildays mean there’s no excuse to not get down to Red Sea for shenanigans and house party vibes with the Cheek DJs.

LMW @ CONNECTIONS Lesbian Mud Wrestling with tunes from Connections DJs all night. Free entry from 10pm.

UPCOMINGS KING TITO’S DIRTY DISCO Returning to East End Bar Friday 5 August with a indie-dance kids Carl Fox. DJs Grubby, Beryl, Joe Macc, Sparklehaus, Cooker, FKN Midas, Realms and more support.

NIGHTCLASS @ THE BIRD Nightclass is celebrating its first b’day with another shindig at The Bird, Saturday 6 August, featuring Allstate b2b Clunk, Pickles, ST1 & Beckon MC and Modo.

THE ONLY @ METROPOLIS FREMANTLE The Only will be back at Limelite at Metropolis Fremantle Friday 5 August for a night of banging electro. The Only Fucking Rave Party will be supported by local champs Zelimir and Mel B, $15 from 9.30pm.

DC BREAKS, AUDIO @ SHAPE

THE POTBELLEEZ @ EXIT

PUNKS JUMP UP @ AMBAR

Your favourite US indie, alt and goth tunes from the Loft DJs, no more requests! $5 before 9pm, $10 after.

John ‘00’ Fleming’s ability to transcend genres is second to none. The trance and prog king will play a 4hr set supported by Perth’s finest.

BINGAY @ QUEENS HOTEL

Drum’n’bass duo DC Breaks along with producer Audio. Support from Illusiv, Sempy B2B Concept and Vu B2B Hidemac, with MCs Bear and Xsessiv. $35 plus BF from shapebar. com.au, Planet, Mills and The DJ Factory.

THE LOFT @ GEISHA

JOHN ‘00’ FLEMING @ METRO CITY

UPCOMINGS

Rhythmatism! will celebrate their one-year anniversary with LA’s Tokimonsta, who has just released her Creature Dreams EP, banging over two nights with Rok Riley, Diger Rokwell and The Move DJs. The Potbelleez are set to release their new album, Destination Now, out tomorrow. Say Hello at an ALLAGES show at midday, then an 18+ show from 6.30pm. Tickets through Heatseeker, Star Surf, Mills, Planet, 78’s, Blue 62 and the venues.

Make The Face when three-time Inthemix Top 50 DJ Kid Kenobi is joined by Surecut Kids. Bezwun, Philly Blunt and Marko Paul support. $20 plus BF from Moshtix and Boomtick, with limited $15 presales also through the Boomtick Shop.

Surf, Mills, Planet, 78’s, Blue 62 and the venues.

WED 3/8

TOKIMONSTA @ THE BIRD

THE POTBELLEEZ @ BAR 120

Rhythmatism! will celebrate their one-year anniversary with LA’s

The Potbelleez are set to release their new album, Destination Now. Tickets through Heatseeker, Star

KID KENOBI

UK’s Punks Jump Up bring their pure, party-for-the-freaks style of new school disco Friday 5 August celebrating their newest release, Blockhead. Tickets $20, or $15 presale from the Boomtick Shop, with Audageous, Micah and Blend.

NOIZE SUPPRESSOR @ GILKISONS Dominate Perth and Club Unknown present the best in hardcore, hardstyle, hard trance and more. Headlining from Italy is Noize Suppressor, with The Saint, Pugsly and Mack Da Ripper, plus locals DJ Hutcho, DJ Tekneeqzz, Mallonatic and Josh Cube. $23.50 from Heatseeker or $30 on the door.

FEATURING

TICKETS: $20+BF AVAILABLE FROM MOSHTIX OUTLETS (1300 GET TIX), THE BOOMTICK APP & ONLINE FROM MOSHTIX.COM.AU

FIND US ON

&

&

SURECUT KIDS

PHILLY BLUNT, BEZWUN & MARKO PAULO SATURDAY JULY 30 / DOORS OPEN 10PM

40 • THE DRUM MEDIA 28 JULY 2011

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VIP TICKETS: $30 AVAILABLE THROUGH THE BOOMTICK SHOP. LIMITED $15 TICKETS AVAILABLE THROUGH THE BOOMTICK SHOP!

BOOMTICK.COM.AU SURECUTKIDS.COM KLUBKIDS.TV

AUGUST DOES IT OFFEND YOU, YEAH?, PURPLE SNEAKERS DJS: AUG 3 Capitol + SKRYPTCHA: AUG 4 Rocket Room 112, HORACE BROWN: AUG 5 Metro City THE ONLY: AUG 5 Metropolis Fremantle DC BREAKS, AUDIO: AUG 5 Shape ORJAN NILSEN: AUG 5 Shape (Downstairs) PUNKS JUMP UP: AUG 5 Ambar ALEX SMOKE: AUG 6 Velvet Lounge TOXIC AVENGER: AUG 6 Shape NOIZE SUPPRESOR, DJ THE SAINT, PUGSLY, MACK DA RIPPER: AUG 6 Gilkisons KELE, STRANGE TALK: AUG 6 Villa WU-TANG CLAN, VENTS, DJ FLAGRANT: AUG 7 Metro City FANTINE: AUG 11 Mojo’s + SARAH MCLEOD: AUG 12 Connections ALY & FLIA: AUG 12 Metro City TYDI: AUG 12 Metropolis Fremantle VENTS: AUG 12 Rosemount Hotel; AUG 13 Prince Of Wales; AUG 14 Railway Hotel WINTERBEATZ: 50 CENT, FABOLOUS, LIL KIM, MARIO: AUG 15 Challenge Stadium + OPIUO: AUG 19 Shape HOUSE OF SHEM: AUG 19 Metropolis Fremantle; AUG 20 Elliot Street Bar MICKY FINN, MC SHABBA D: AUG 20 Rosemount Hotel + SPEAKEASY: NINA LAS VEGAS: AUG 26 Villa + DIRTYLOUD: AUG 26 Ambar SEEKAE: AUG 27 The Bakery


THE DRUM MEDIA 28 JULY 2011 • 41


gigguide@drumperth.com.au

GIG GUIDE THU 28 Ben Pettit Belgian Beer Cafe Groove Night Avenue Burswood Casino Carus Thompson Clancys The Other Guys Como Htl Rock n Roll Karaoke Devilles Pad Gun Shy Romeos Elephant & Wheelbarrow Aaron Spiers Trio Ellington Jazz Club Nathan Gaunt FUSE Bar Chris Gibbs Trio Gate Hidden Treasures: San Cisco, Stoney Joe, Kill Devil Hills High Street Fremantle Bex’s Open Mic Night Indi Bar James Wilson Lucky Shag Madhattan’s Comedy Manhattan’s Bernadine Grigson Duo Merriwa Tavern Sexy Mongrel Mob, Buzz Kill Vamps, Valiant, Cal Peck & the Tramps Mojos Nth Fremantle Boom! Bap! Pow!, Spoonful Of Sugar Mustang Bar Toasty Thursday Norfolk Basement Dr Bogus Paddy Hannans Burswood Tourist, The Date, Calectasia, Sunny Night Men Rosemount Htl Clayton Bolger Rosie O’Gradys Fremantle Bill Chidgzey Rosie O’Gradys NB Dilip Settlers Tavern Margs David Fyffe Sovereign Arms Midnight Boulevard, Duplicious, Julz Swan Lounge The Coalminers Sect, Sensitive Drunks, Sian Brown The Shed Off the Record Universal Bar Jack Doepel Jazz Quartet X-Wray Cafe Taco Leg, Ermine Coat, Owls, Melma Ya Ya’s

FRI 29 Midnight Rambler 7th Avenue Bar Darkwave Showcase: Heytesburg, Fear of Comedy, Michael Strong & The Ghost Anyway, Zeks, Like Junk, The Frighteners, The Silent World Bakery Northbridge Tip Top Sound Bally’s Bar

Dual Airbag Balmoral Rhyme & Reason Bar Orient Fremantle Billy & the Broken Lines Belmont Tavern J Babies Black Bettys Mod Squad Boat Tod Johnston & Peace Love Burswood Casino Styleaid: VEE Burswood Entertainment Complex Bluebottles Captain Stirling Kontraband Castle Hunter & Mortar Civic Htl Backroom Libby Hammer, Nick Sheppard Claremont Hotel Tip Top Sound Como Htl James Wilson Deen Boom! Bap! Pow! Devilles Pad Aftershock Eden Hill Bar & Bistro Freddie Grigson Trio, The James Flynn Swing Thing, Late night groove series feat. Cristal Phillips, Melody Whittle Ellington Jazz Club Howie Morgan, James Sandon Enex100 Podium Level Ghetto Video Fly By Night Fremantle Nicki Rose Herdsman Lake Tavern Ruby Boots, Sneaky Weasel Gang, Boston & Chevy, Tash Shanks Indi Bar Andrew Winton Kalamunda Htl Dr Bogus Kingsway Bar & Bistro Neil Colliss Leisure Inn Rachel & Henry Climb A Hill, The Lammas Tide, Blue Lucy, Trent Williams Manhattan’s Sugarpuss, Usurper Of Modern Medicine, Astral Travel Mojos Nth Fremantle Acoustafunk Mt Henry Harry Deluxe, Cheeky Monkeys Mustang Bar Milhouse Newport Htl Wolves At The Door, Tusk, Reverse EngineEar Norfolk Basement Gun Shy Romeos, Blaze Paddy Hannans Burswood 43 Cambridge Paddy Maguires Flyte Paramount Nightclub Genocidal, Cadaveric Lake, Lakeside, Upon the Shores Railway Htl

42 • THE DRUM MEDIA 28 JULY 2011

2 8 J U LY - 3 A U G U S T 2 0 1 1

The Meaning Of, The Devil Rides Out, Opia, Over Unity, DJ Brett Rowe, Karnivool DJs Rocket Room The Kill Devil Hills, Blackmilk, Big Old Bears Rosemount Htl Switchback Sail & Anchor Threeplay Saint Tracksuit Settlers Tavern Margs Artillery Road, Split Cities, Feat of Giants, Victory Risk Swan Basement Skinflint, Safety In Numbers, Law of Attraction, Blank Paper Refugees, Maps and Navigators Swan Lounge Side FX The Shed Nightmoves Universal Bar Tiny Ruins, 6s & 7s, Adem K Velvet Lounge Ivan Ribic Victoria Park Htl Clayton Bolger Wanneroo Slim Jim & the Phatts Woodvale Tavern Dick Tracy DJ Set X-Wray Cafe The Whores, Starcleaner Ya Ya’s

SAT 30 Split Seconds, Russian Winters, Ben Witt Amplifier Bar The Recliners Balmoral Flyte Bar 120 Chris Murphy Belgian Beer Cafe Redstar Black Bettys Hi NRG Burswood Battlefest Civic Htl Backroom The Zydecats Claremont Hotel Tip Top Sound Como Htl Johnny Nandez Hammond Explosion Devilles Pad Gun Shy Romeos Elephant & Wheelbarrow The James Flynn Swing Thing, Cian Caton Ellington Jazz Club Switchback Gate Hey Bales, Trigger Jackets, The Menu Grass Valley Tavern In the Groove Greenwood Hotel Minky G & The Effects Gypsy Tapas House Day of the Dead, Cal Peck & the Tramps Hyde Park Htl Blue Shaddy Indi Bar Rhyme & Reason Indian Ocean Brewing Co. !an L!lburne Kulcha Steve Hepple Leopold Htl Bicton Polly Medlen Band, Amanda Merzdan, Michael Swann Manhattan’s Dr Bogus Metropolis Fremantle The Love Junkies, Fall Electric, Dux & Downtown, Race To Your Face Mojos Nth Fremantle Blaze Moon & Sixpence Howie Morgan Mt Henry The Rusty Pinto Combo, Milhouse Mustang Bar Ruby Boots, Tim Bott, Davey Craddock, Amanda Merdzan, Tim Nelson Norfolk Basement

The Damien Cripps Band Paddy Maguires Felix Paramount Nightclub Oats Supply Railway Htl Kickstart Rocket Room VEE Rocky Bar Grim Fandango, Emperors, Chilling Winston, Ex-Nuns Rosemount Htl Blue Gene Rosie O’Gradys NB Andrew Winton Rottnest Hotel Better Days Sail & Anchor Caravan Party Settlers Tavern Margs Off the Record Subiaco Htl The Dirty Western, Deth Traktor, Glen Williamson, Rhys Hayes Swan Lounge Courtney Murphy & Murphy’s Lore The Boat Slim Jim & the Phatts The Craftsman Kate Gilbertson Principle Micro Brewery Huge The Shed J Babies The Whale & Ale Soul Corporation Universal Bar Tod Woodward Wanneroo Daren Reid and the Soul City Groove Woodvale Tavern Naomi & The Humming Birds X-Wray Cafe The Guvnas, Strobes Ya Ya’s Tonight Alive YMCA HQ

SUN 31 Reckless Kelly 7th Avenue Bar Greg Carter Bally’s Bar Cranky Balmoral Steve Hepple Belmont Tavern Karin Page Bentley Hotel Chris Murphy Boat Tod Johnston & Peace Love Burswood Casino Adrian Wilson Captain Stirling The Shinkickers Carlisle Htl Sunday Driver Claremont Hotel Jonathan Dempsey Como Htl Daniel Susnjar Ellington Jazz Club Sideshow Macabre Fly By Night Fremantle Better Days, James Wilson Gate Adam James Gosnells Hotel Chris Gibbs Duo Greenwood Hotel Electrophobia High Road Htl Riverton Julius Lutero Trio Indi Bar Retriofit Indian Ocean Brewing Co. Ivan Ribic Leisure Inn Danni & The Lapels, Ali Towers, Spoonful Of Sugar, DJ Casio Mojos Nth Fremantle Everlong Acoustic Moon & Sixpence David Craft, Edie Green Moon Cafe Peter Busher, The Lone Rangers Mustang Bar Neil Colliss Pink Duck Lounge The Crux Queens Tavern, Highgate Forbidden, Malignant Monster, Desecrator, Blunt Force Trauma,

Sins of the Father Rosemount Htl Rosie’s Open mic Rosemount Htl - 459 Bar Shawne & Luc Sail & Anchor Howie Morgan Project Saint Dilip n Friends Settlers Tavern Margs Ivan Ribic Sovereign Arms Steve Hepple Springs Tavern Bill Chidgzey Stamford Arms Law of Attraction, Head Full Of Steam, Paul Mandelt Swan Basement Wrongtown, Moontribe, Count, Sparrows Swan Lounge Retriofit Universal Bar Nat Ripepi Victoria Park Htl Damien Cripps Wanneroo Good Karma Woodvale Tavern

MON 01 Courtney Murphy Burswood Lobby Lounge Plastic Max and the Token Gesture Deen Daniel Sunsjar, Ben Vanderwal, Present Noah’s Ark Ellington Jazz Club Wide Open Mic Mojos Nth Fremantle Johnny Law & the Pistol Packin’ Daddies Mustang Bar Fat Shan’s Open Mic Ya Ya’s

TUE 02 Thumpr Ellington Jazz Club Julius Lutero Trio, Von Leon, Willow Mojos Nth Fremantle Danza Loca Salsa night Mustang Bar Open Piano Night X-Wray Cafe

WED 03 Andrew Winton Balmoral Everlong Black Bettys Courtney Murphy Burswood Lobby Lounge DIOYY, Purple Sneakers DJs, Bastian’s Happy Flight Capitol Tal Cohen Quartet Ellington Jazz Club Isobel Campbell & Mark Lanegan, The Ghost Hotel Fly By Night Fremantle Andrea Marr, Kizzy Fremantle B’n’R Club Fenton Wilde Hale Rd Tavern Damien Cripps Harbour Terrace Howie Morgan Lucky Shag Rudely Interupted, Limping Dave Foley and the Straight Legged Freaks Manhattan’s Ash Hendriks, Peter Milligan, Little Ships Moon Cafe Evolution Machine, Ultrasound, Jupiter Zeus Paddo Hype! Rocket Room Cupid Falls, Afraid of Heights, The Main Attraction, Emberville Rosemount Htl David Fyffe Rosie O’Gradys NB Dove, Andy Ellis, Dave Capper Sail & Anchor The Young Jailbreakers Swan Lounge Ivan Ribic The Craftsman Acoustic Showcase X-Wray Cafe

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UPCOMING TOURS

ROD STEWART CARUS THOMPSON: JUL 28 Clancy’s Freo SEEKER LOVER KEEPER, TINY RUINS: JUL 28 Astor Theatre DAMIEN LEITH: JUL 28 Regal Theatre TINY RUINS: JUL 29 Velvet Lounge TONIGHT ALIVE: JUL 30 YMCA HQ Leeerville FORBIDDEN: JUL 31 Rosemount Hotel FUNERAL PARTY, BOY IN A BOX: AUG 2 Capitol THE BLACK SORROWS: AUG 2 Elliot Bar; AUG 3 Friends Restaurant; AUG 4 Waterside Restaurant; AUG 5 Charles Hotel; AUG 6 Grand Boulevard Tavern; AUG 7 Cardiff Hall ANDREA MARR: AUG 3 Mojo’s MARK LANEGAN & ISOBEL CAMPBELL: AUG 3 Fly By Night DOES IT OFFEND YOU, YEAH?: AUG 3 Capitol FLOATINGME: AUG 4 Prince Of Wales; AUG 5 Players Bar; AUG 6 Rosemount Hotel; AUG 7 Indi Bar MAT MCHUGH: AUG 5 The Bakery NO USE FOR A NAME: AUG 5 Prince Of Wales; AUG 6 Amplifier + HOPE ADDICTS, LINDSAY PHILLIPS, SUE RAY: AUG 5 X-Wray Café; AUG 6 Mojo’s; AUG 7 The Bird KELE, STRANGE TALK: AUG 6 Villa + ROSS WILSON: AUG 7 Friends Restaurant GOMEZ: AUG 7 Astor Theatre BEATLES BACK2BACK: MARK SEYMOUR, IRWIN THOMAS, JON TOOGOOD, RAI THISTLETHWAYTE, DEAN MCGRATH, TIM MORRISON: AUG 7 Perth Convention Centre CATHERINE TRAICOS & THE STARRY NIGHT: AUG 10 Malt Market Bar; AUG 12 Settlers Tavern; AUG 13 The Bakery; AUG 14 The Bird ABBE MAY: AUG 11 Prince Of Wales; AUG 13 Astor Theatre; AUG 19 Settlers Tavern FANTINE: AUG 11 Mojo’s Bar JINJA SAFARI, HUSKY: AUG 13 Amplifier Bar PINBACK: AUG 17 The Bakery BONJAH: AUG 17 Indi Bar; AUG 18 Mojo’s; AUG 19 Rock Inne Tav; AUG 20 Settlers Tavern; AUG 21 Redcliffe On The Murray KEVIN BORICH EXPRESS: AUG 19 Charles Hotel; AUG 20 Fly By Night

FUNERAL PARTY JORDIE LANE, MIKE NOGA: AUG 19 Indi Bar; AUG 20 Norfolk Basement; AUG 21 Settlers Tavern TOBIAS MOLDENHAUER: AUG 24 Mojo’s Bar EAGLE & THE WORM, THE FROWNING CLOUDS: AUG 24 Prince Of Wales; AUG 25 The Bakery; AUG 26 Mojo’s CHILDREN COLLIDE: AUG 25 Studio 146; AUG 26 Prince Of Wales; AUG 28 Capitol STONEFIELD: AUG 26 Villa ANBERLIN, TONIGHT ALIVE: AUG 26 Capitol GURRUMUL, DEWAYNE EVERTTSMITH: AUG 26 Riverside Theatre LEADER CHEETAH, BELLES WILL TOLL: AUG 26 Amplifier; AUG 27 Mojo’s ADAM HOLE & MARJI CURRAN BAND: AUG 26 Esperance Motor Hotel; AUG 27 Settlers Tavern; AUG 28 Redcliffe On The Murray; AUG 31 Mojo’s; SEP 2 The Rock Inne, Karragullen; SEP 3 Mt Helena Tavern; SEP 6 Gascoyne Hotel, Canaravon; SEP 8 Ningaloo Reef Resort; SEP 9 Dampier Mermaid Hotel; SEP 10 The Icon FELIX REIBL (CAT EMPIRE), BEN SALTER: AUG 27 Fly By Night ARCHITECTURE IN HELSINKI: AUG 27 Astor Theatre HYPERFEST: ARCHITECTURE IN HELSINKI, CHILDREN COLLIDE, STONEFIELD, PAPA VS. PRETTY and locals: AUG 28 Midland City Workshops FOR THE FALLEN DREAMS, SIENNA SKIES, HAND OF MERCY: AUG 30 YMCA HQ; AUG 31 Rocket Room SPARKADIA: SEP 1 Settlers Tavern; SEP 2 Prince Of Wales REGURGITATOR, DISASTERADIO: SEP 1 Prince Of Wales; SEP 2 Studio 146; SEP 3 Amplifier; SEP 4 Newport Hotel ABSOLUTELY ‘80S REUNION: SEP 2 Metropolis Fremantle SPARKADIA, IMAGINARY CITIES: SEP 3 Astor Theatre KIM SALMON: SEP 2 Velvet Lounge; SEP 3 Mojo’s; SEP 4 Norfolk Basement ROTTOFEST: SEP 3-4 Rottnest Island + LA VAMPIRES, RITES WILD: SEP 6 The Bakery CALLING ALL CARS, BOY IN A BOX,

REDCOATS: SEP 8 Prince Of Wales; SEP 9 Studio 146; SEP 10 Amplifier; SEP 11 Indi Bar REBECCA O’CONNOR SIMPLY THE BEST: SEP 9 Charles Hotel; SEP 10 Bunbury Theatre FRENZAL RHOMB, TEENAGE BOTTLEROCKET: SEP 10 Civic Hotel THE VINES, PAPA VS. PRETTY, BLEEDING KNEES CLUB: SEP 10 Capitol TRAIL OF DEAD: SEP 11 Rosemount Hotel MONSTER MAGNET: SEP 11 Capitol TITLE FIGHT, TOUCHE AMORE: SEP 13 Capitol THIRSTY MERC: SEP 14 High Road Hotel; SEP 15 Grand Boulevard Tavern; SEP 16 Charles Hotel; SEP 17 Latitude 28; SEP 18 The Ravenswood BATRIDER: SEP 16 The Bakery WEDDINGS, PARTIES, ANYTHING: SEP 16 Metropolis Fremantle THE LIVING END, HUNTING GROUNDS, KING CANNONS: SEP 16 Metro City SEBADOH: SEP 16 Rosemount Hotel THE BEARDS: SEP 16 Settlers Tavern; SEP 17 Mojo’s IN THE MOOD: SEP 16 Mandurah Performing Arts Centre; SEP 17 Burswood Theatre OWL EYES: SEP 16 Villa; SEP 17 Malt Market Bar; SEP 18 Norfolk Basement + KIMBRA: SEP 17 Capitol RUSSIAN CIRCLES: SEP 17 The Bakery THE BEDROOM PHILOSOPHER, CATBOY: SEP 18 Mojo’s WHOLE LOTTA LOVE: SEP 24 Burswood Theatre BASTARDFEST: PSYCROPTIC, BLOOD DUSTER and locals: SEP 24 Civic Hotel RINGWORM, MINDSNARE: SEP 25 Amplifier HERMAN’S HERMITS: SEP 25 Fly By Night BIRDS OF TOKYO: SEP 29 Astor Theatre BOOKER T JONES: SEP 30 The Bakery JOSH PYKE, THE PAPER KITES, EMMA LOUISE: SEP 30 Fly By Night; OCT 1 Astor Theatre SOUNDWAVE REVOLUTION: THRICE, THURSDAY, DASHBOARD CONFESSIONAL, VAN HALEN, ALICE COOPER, HOLE and more: OCT 3 Venue TBA


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THURSDAY 28st July FREE GIG 8pm - 12pm

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www.rainydaywomen.com.au THE DRUM MEDIA 28 JULY 2011 â&#x20AC;¢43


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THIS WEEK IN

ARTS SUNDAY 31 Fashion Talks: Flannel — live, work, and play sums up the philosophy behind Western Australian fashion label Flannel. Kristy Lawrence and her three sisters started Flannel in 2007, and have continued to flourish with the effortless, high-quality and luxurious style of their designs. Fremantle Arts Centre, 7pm. Women Of Substance — an exhibition of fabric sculptures by Robyn Hewett. Final day. Colour Lust Artspace, North Fremantle.

TUESDAY 2

STEPHEN HOUSE

THURSDAY 28 The Disappearances Project — When a person goes missing from a small community, the effect can be devastating and wide-reaching. When their disappearance remains unsolved many years later, the effects of prolonged not-knowing are agonising. Tracing the trajectories of hope, anger and grief over years of police investigations in a range of unexplained disappearances, version 1.0 explore the effects of long-term missing persons cases on family members and regional communities. Studio Underground, State Theatre Centre of WA until 30 July. MADhattan’s — a night of experimental comedy MCed by John Conway. Manhattan’s Bar, Victoria Park, 8pm.

SATURDAY 30 Primavera 2010 — debut WA hanging of Primavera, Sydney’s Museum of Contemporary Art’s annual exhibition showcasing the work of Australian artists aged 35 years and under. Highly recommended. Fremantle Arts Centre until 18 September. Primavera Tour — join Primavera 2010 curator Katie Dyer in an intimate tour of this nationally significant exhibition. Fremantle Arts Centre, 2pm. Recent Photography — through active acquisition and gifts from artists, the City of Fremantle Art Collection has acquired more than 140 contemporary and historical photographs. This exhibition of recent acquisitions features works by Fremantle-based artists Tania Ferrier, Brad Rimmer, Max Pam and Graham Miller. Opening day. Fremantle Arts Centre until 18 September.

Appalling Behaviour — as a part of Homeless Persons’ Week, St Patrick’s Community Support Centre and the Fremantle Business Community present Stephen House’s acclaimed play. Written on the Streets of Paris, where the actor/playwright lived for some time in preparation for the play, this acclaimed performance tells the story of a man living on the very edge and traverses the banks of the river Seine through to the dark back streets of Paris. Deckchair Theatre, Fremantle, 7:30pm.

ONGOING AC/DC Family Jewels — a celebratory exhibition packed with over 400 items, including photographs, instruments, over 35 years of gig posters from shows staged around the world, programmes and show tickets, letters and lyrics, personal memorabilia, and costumes about or from AC/DC. WA Museum until 7 August. Wicked — Long before Dorothy dropped in, two other girls meet in the Land of Oz. One, born with emerald green skin, is smart, fiery and misunderstood. The other is beautiful, ambitious and very popular. Wicked tells the story of how these two unlikely friends grow to become the Wicked Witch of the West and Glinda the Good. Burswood Theatre until August. Hijacked 2: Australia/Germany — presenting a diverse and provocative selection of new photography from Australia and Germany, the exhibition erases traditional boundaries between artists, professionals and emerging talent and points towards the future of contemporary photography. The photographs exhibit a fascination with international subcultures, fragmented trends, alternative lifestyles and urban landscapes. Curated by Mark McPherson (WA), Ute Noll (Germany) and Markus Schaden (Germany). John Curtin Gallery until 9 September.

FEAST YOUR EYES EXPLORES CITY SPACES With the support from Fremantle Arts Centre and Hole In The Wall Gallery, the annual art festival Feast Your Eyes (FYE) has returned. FYE provides a platform for emerging artists in visuals, film, and music in a festival format. This year’s FYE is themed ‘city spaces’. Our city spaces are rapidly filling with developments and growth to make a more cohesive and vibrant city. Each artist will be asked to explore the idea of urban development, growth, and vibrancy within their city spaces. If you’re interested in applying you’ve until Friday 12 August. Head to facebook.com/FeastYourEyes for contact info and how to apply.

WA INDIGENOUS ART AWARDS FINALISTS ANNOUNCED The Western Australian Indigenous Art Awards, founded in 2008 to celebrate “the breadth, diversity, and excellence of art from all corners of Indigenous Australia”, has announced the 16 finalists of 2011’s prize, which will be displayed at the Art Gallery of WA Saturday 13 August to Monday 19 December. They are Jan Billycan, Michael Cook, Timothy Cook, Angkaliya Curtis, Gunybi Ganambarr, Angelina George, Gary Lee, Danie Mellor, Patrick Mung Mung, Trevor Nickolls, Lena Nyadbi, Tiger Palpatja, Kuruwarriyingathi Bijarrb Paula Paul, Reko Rennie, Nyilyari Tjapangati, and Nyapanyapa Yunupingu. The winner will be awarded $50,000. head to artgallery.wa.gov. au for more info. 44 • THE DRUM MEDIA 28 JULY 2011

THE ART OF SPRING SYDNEY’S MUSEUM OF CONTEMPORARY ART’S ANNUAL PRIMAVERA SHOWCASE, AN EXHIBITION OF YOUNG ARTISTS UNDER THE AGE OF 35, COMES TO WA FOR THE FIRST TIME THIS YEAR. BETHANY SMALL TALKS TO FAC CURATOR DR RIC SPENCER.

P

rogression from a bureacracy to an insane asylum sounds like a more socially responsible ending to a Kafka novel, but in the case of Primavera it is an exciting thing rather than a confusing and harrowing one. A show of Australian artists under the age of 35 that has run yearly at Sydney’s Museum Of Contemporary Art (the premises of which used to be the Maritime Services Board) since the early ’90s, Primavera is travelling to WA for the first time and settling itself in at Fremantle Arts Centre this month. Yup, spring is coming early! But the spring of the title refers to the artists as well, with Primavera developing out of a bequest dedicated to fostering the development of young artists both by rewarding innovation and excellence in practice and in gaining broader exposure for art that is itself young, as well as made by young people. “There’s newness in it,” Dr Ric Spencer says of the show, “and a real sense of what’s emerging.” Spencer is curating Primavera at the Arts Centre, and is working on the installation of the works when we speak to him. “A lot of crates arrived,” he says with a slightly bemused air, “and so we’re unpacking. They’re all over the floor at the moment.” This the first he’s seen in person of most of these works, and as well as discovering them he’s working out how to show them in a different space. “We’re not nearly as big as the MCA,” he says, “we don’t have that ‘grand old’ thing, and we’ve got everything else going on in the space, too. It’s going to feel very different. But Katie’s going to come over and help, which is great.” The Katie in question is Katie Dyer, who selected the works in the show and was in charge of the MCA hang. As curator at the National Art School (which used to be a prison!

C U LT U R A L

There is clearly some kind of theme here), Dyer is a woman who knows her young artists and she has travelled extensively to track down her best of the best, ending up with seven artists from five states. Dyer’s focus for her Primavera (it is curated by a different person each year) was to go in-depth and really get to grips with each artist’s work. There was no over-arching thematic drive in their selection, nothing that she knew she was looking for, and the show has ended up reflecting this openness in the diversity of the final works. This helped to make for a very interesting show at the MCA, where each artist basically got a room to him or herself, and is going to be even more so in it’s new incarnation at the Arts Centre. “There are all these... I want to say juxtapositions,” is how Spencer describes his impression of the works as he’s experienced them so far. “But,” he continues, “I hate that word!” You know that Peter Pan thing about how saying if you don’t believe in fairies kills them? Seriously, every time you say ‘juxtaposition’ a curator dies. What Spencer will say about the works and artists in the show, which is what Dyer came to realise after she’d put it together the first time around, is that they all have a kind of narrative

impetus. “Contemporary art is really — and this gets lost a lot, I think, we forget this — contemporary art really is about the history of art.” This historical element manifests differently in different pieces, but form is key. “To me these are all artists who are allowing the material very much to work,” he explains. “That’s part of the nowness of them all together, because they remind you you’re looking at art.” As to the art you will be looking at: there are meticulously crafted replicas of all kinds of boring officey things by Emma White, like a joke on how artists have to have boring jobs too, but also a reminder of the role of use and tactility in our recognition of objects. There are Akira Akira works which combine incredibly labour-intensive techniques with IKEA furnishings and the appearance of an accident. Jackson Slattery contributes watercolours that border on photorealism and invest durational significance in meme images he takes from online; James Newitt makes video works like they’re portraits; Alasdair McLuckie has produced prints alongside an enormous and amazing biro-on-board landscape. Julie Fragar paints text and people delicately and from life: all her works are, if not autobiographical, drawn from what and who she has seen and knows. And there is Agatha

Gothe-Snape, whose self-consciously informative works appear in what seems like every medium she can get her hands on, including PowerPoint presentations that are a part of her body of work in this show. On top of this range of works, the usual Arts Centre activities will be carrying on in shared space with the exhibition, so there will be performances, talks and concerts to provide a sort of broader cultural context for the works. Like the pasta sauce with which it shares a name, Primavera is made up of an exuberant mix of good things, and has a lot of textures. It’s also seasonal, in that it will be springtime by the time it ends. But also this is a particular phase of the careers of these artists. Given the significance that selection for Primavera shows has on an artist’s career, you can predict they’re going to be getting bigger from now on and getting to that mid-career stage. These are artists who are ripe, basically, and you have a chance to catch them while they’re crispy. WHAT: Primavera WHERE & WHEN: Fremantle Arts Centre Saturday 30 July to Sunday 18 September

CRINGE

WITH MARCIA CZERNIAK This week the world lost two players in the music industry, one whose death was tragic, but realistically, from incidents past, not a total surprise. The other passing was seemingly unnoticed by most people, a name far less known but someone that changed the way we look at music as a product. While the circumstances surrounding the death of Amy Winehouse, aged just 27, are still unexplained at this early stage, one thing is for sure. The passing of this artist at such a young age will go down as another death that should never have been. While much will be made of Winehouse joining the 27 Club, the phenomenon of sorts, where some of music’s most influential artists (Jim Morrison, Jimi Hendrix, Janis Joplin, Kurt Cobain) are all

rostered, sometimes glorifying a death in this way can overshadow what a waste of talent it really is. Someone whose talent did not meet a premature end was Alex Steinweiss. At 94 years old, Steinweiss was an integral player in shaping the packaging of music. But who was Steinweiss? Born in Brooklyn, New York, Steinweiss is known as the man who revolutionised the album cover. Steinweiss was hired by Columbia Records to design ads but in 1939, at just 23 years of age, he came up with the idea to create a visual package for the record to replace the plain brown wrapper that they were being packaged in. While it has been said that there were earlier jazz records with illustrations prior to Steinweiss’ work which discounts him as the ‘inventor’ of the album

cover, there is no denying that his work was innovative and shaped the development of the album cover art genre we know today. Steinweiss designed over 800 album covers during his 25 years at Columbia and his work as a visual artist is also solidified in history, bringing art movements to the music business, designing covers that reflected the sound of the music, and using distinct vivid colours with original type. While his name may not be known around the world and his death may not have made every paper, the work of Steinweiss is one that has made such a lasting impact on the music industry. Some of the world’s most iconic records are identified by their album covers and are sometimes more quickly recognised than by the songs that are on them. Albums like The

Beatles’ Sgt Pepper’s Lonely Hearts Club Band or Abbey Road are world renowned, and everyday people go to the zebra crossing outside Abbey Road Studios in St John’s Wood to replicate their own version of the Abbey Road cover. Not to mention Nirvana’s Nevermind, The Rolling Stones’ Sticky Fingers, and The Velvet Underground’s 1967 debut LP The Velvet Underground & Nico. Who would have thought the image of a banana would be so iconic and recognised over 40 years on? While album art has come a long way since Steinweiss, one would hope that the ever increasing rate of the download doesn’t diminish that feeling of buying a record, putting it on and sitting back and looking through the album art. Because that is one connection with the artist you just can’t get via iTunes.


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IMPERMANENT ADAPTATION LOCAL ARTIST AND FORMER FASHION DESIGNER TANE ANDREWS HAS JUST LAUNCHED A NEW EXHIBITION AT VENN. TROY MUTTON GETS A TINY PEEK INSIDE HIS MIND.

T

ane Andrews isn’t one for doing things the easy way. Formerly a designer for his fashion label Of Cabbages & Kings, Andrews has since chosen to focus only on his career in the visual arts, but it’s by no means lessened the amount of work on his hands. And that’s the way he likes it. “I am someone who always needs creative stimulation, I feel the more creative you are the more creative you become,” he says via hazy email correspondence (for both interviewer and interviewee, late on a Sunday afternoon). When you look at how he has created his latest exhibition, {Reformaton} Adapting Impermanence, it gives a pretty clear indication on just how much work he likes to give himself. “The method I use, I have developed over many years. I remember as a child my Dad showed me a printed line under a microscope, and how it was made from tiny single pixels. I think this was the first time I began to explore the idea of using only dots to create a form,” he recollects. “The process of stippling that I use takes me around an hour to produce a two cm square, simply due to the fineness of the pen that I use and the weight of the mark it makes. The works in the {Reformation} show have taken me a year to create. I draw everyday for at least four hours, and on my days off from my other job I draw for eight. Hopefully the time and care spent is visible in the final works.” And it truly is, with an exhibition filled with meticulously crafted botanical and biologically-themed works, one that has taken about a year to produce. The meaning goes a lot deeper though, as Andrews explains: “With this exhibition I wanted to focus on flora and fauna that lives for 24 hours or less, so all works are representations of flowers, insects and plants that live and die within the span of one day,” — a continuing theme of much of his work so far. “There are a few themes and concepts

FILM

TANE ANDREWS - FORM 2 (17HRS, 12MINS, 9SECS), 2010. COURTESY OF THE ARTIST AND VENN GALLERY

that I am continually drawn to. I am fascinated by nature, repetition, mortality and the passage of time. I often find I work with explorations of transience, displaying a beauty and fragility that marks the progression and deterioration of life,” he explains, before adding, “I am fascinated by nature, by its delicate beauty, variety, complexity, and detail. For me it is perfection and the most inspiring teacher. “I am then also fascinated by the role of time. Life and beauty that is so brief, occurring sometimes for only a few moments. The length of time from birth, bloom to decay, can be seconds to a lifetime. They are two massive subjects, that are opposite and intertwine. I am drawn to them because there is always something new to discover and learn about.” It’s a fascination that began at an early age, and instigated by his aforementioned father’s after-school teachings. “My father was a botanical

illustrator; he used to teach my sister and I after school and on the weekends. I think that was probably the catalyst for my interest. But I really became interested when I was in high school. I was part of a specialist art course and the people I was surrounded by really nurtured my curiosity.” That curiosity has since obviously bloomed. In the middle somewhere though, Andrews began exploring fashion and design, which would lead him to start up a successful clothing label in Of Cabbages & Kings, with friend Kira Goodley. 2009 saw the end of that label however, so both of them could pursue more desired fields. “Kira and myself decided to close the label for multiple reasons; we were working from London via Perth, which became increasingly difficult. We both had strong artistic interests outside of the label that we wanted to explore, we both found that the fast-paced turnover of fashion left us unable to

realize large projects, or focus on hand crafted details,” he says. The experience has helped him since though, especially when it comes to his approach to new works and collections. “The influence that the label has had on my art is that I now approach my art practice the way I would a collection. Both are produced using deliberate limitations: I use a restricted amount of materials, shade, tone, texture and proportion to develop a concept or idea. I have always wanted to narrow my focus to solely produce art but I was waiting for the right time and opportunities. I feel this time is now.” It’s no mean feat establishing a successful label out of our little corner of the world either, and Andrews is hopeful for the Perth art community, and grateful for how it has helped him become an established artist. “Perth has been a great platform and I feel I have had the luxury of being able to work on my own practice here; I have lived in cities where it’s so expensive you can’t afford to spend any free time on your own creative pursuits,” he tells. “However in Perth I have been able to gain representation and hold a series of exhibitions, something that would have perhaps taken a lot long in another city.” That’s not to say there haven’t been some struggles, ones that are getting better. “In terms of difficulties, I think that Perth can be limited for exhibition spaces, but that is slowly changing as more places like Venn open up and showcase young artists.” Now all that’s left is to take his work to a bigger audience, and based on the quality of his current exhibition, look out world. “I really want to exhibit internationally next, so I’m working towards that.”

PASSIONE

RUSSIAN AND ITALIAN FILM FESTIVALS ANNOUNCED A massive week in film festival news, with the cultural bohemoth that is the Lavazza Italian Film Festival and its more rambunctious cousin Russian Resurrection announcing their line-ups. The Russian Resurrection Film Festival will feature 15 new Russian features, including Australian and international premieres, as well as a retrospective programme. Highlights include Lucky Trouble, a comedy starring Milla Jovovich (The Fifth Element, the Resident Evil series), Six Degrees Of Celebration from popular director Timur Bekmambetov (Night Watch, Wanted), and classics Moscow Does Not Believe In Tears (winner Best Foreign Language Film, 1981 Academy Awards), Red Tent (starring Sean Connery, Peter Finch, and Claudia Cardinale), Life Is Beautiful (not to be confused with Roberto Benigni’s film), Assassin Of The Tsar (starring Malcolm McDowell), and Station For Two. Russian Resurrection will be held in Perth Wednesday 14 September to Wednesday 21. The Lavazza Italian Film Festival will then take over Thursday 13 October to Wednesday 26, and boasts a lot of big names, including John Turturro in his latest directorial role, Passione, a film about Naples’ music; Marco Bellocchio’s Sorelle mai; Nanni Moretti’s We Have A Pope; Welcome To The South, a remake of sorts of the popular French film Welcome To the Sticks; The Ages Of Love, the third instalment in the Manual Of Love series, this time starring Robert De Niro and Monica Bellucci; and a whole lot more: A Quiet Life, Gorbaciof, The Jewel, and We Believed. For more information about both festivals head to russianresurrection.com or italianfilmfestival.com.au.

WHAT: {Reformation} Adapting Impermanence WHERE & WHEN: Venn Gallery until Friday 19 August

REVIEWS

CAPTAIN AMERICA: THE FIRST AVENGER

HANNA

HANNA Hanna’s a lean, kinetic little film, which, from a momentarily underwhelming beginning, uppercuts its way into the echelon of the film fan’s film; a Scott Pilgrim, or a Tarantino flick, something pulpy, but reflexive — something so deliberately cinematic, its every frame becomes a promise of wonder and joy. And its success can be broken down into a few key decisions made by left-of-field director Joe Wright (Pride & Prejudice, Atonement). The use of music, foremost, steers the film from territory that it could’ve easily slid

into — something more earnest, or a by-the-numbers Salt thriller — into those early shades of greatness. The first big action scene, taking place in a chilly, forest hinterland, is sold with a pumping, Euro-techno glitz which, wonderfully startling, has the effect of purifying the on-screen action; of cutting to the heart of its appeal as visceral cinema and as genre filmmaking. It’s absurdist, thrilling, and immediately engrossing. The music then branches the uniqueness of the action itself. Often choreographed to the blips and pulses of the Chemical Brothers’ stellar score, the action in Hanna becomes otherworldly; fluid, like a dance. And

each action scene feels entirely its own; as recurring characters fight new characters, their ‘themes’ and styles intermingle. Shots, literally from angle to angle, homage everything from the Bourne films to the heart-stopping wide-angle stand-offs of Leone westerns to Hong Kong cinema, Luc Besson, and John Woo. The set design’s stunning, too — and just as much a part of the film’s referential cinematic universe as music. There’s a hell of a lot to love. WHERE & WHEN: Screening in cinemas from 28 July SAM HOBSON

CAPTAIN AMERICA: THE FIRST AVENGER I’ll be honest — when I first clapped eyes on mini-Chris Evans in the first Captain America trailer, I thought it wasn’t going to work. I thought using trickery to shrink down a big buff actor just wouldn’t look right. But I should have had faith. Director Joe Johnston was an effects guy on Star Wars who worked his way up to the folding chair, and he’s done a fantastic job with Cap. If you don’t know the story, it’s a World War II-set romp pitting newly-minted one-of-a-kind super-GI Steve Rogers

(Evans) against a villainous Nazi scientist, Red Skull (Hugo Weaving), after the power of the gods. Johnston directed The Rocketeer, another pre-WWII hero yarn, and the look and feel of Captain America is similarly spot-on — a retro wartime but slightly sci-fi influenced world, eye-popping in gorgeous and subtle 3D. There’s great use of cynical humour, especially when Cap is sidelined into selling war bonds backed by a chorus line. As an origin story it suffers from what they all do, meaning there’s a lack of time to get to the real action — in fact about three films’ worth of action is condensed into a montage in the middle, and some characters are given

short shrift. No-one’s doing anything left-field — actors have definitely been hired for their type, like Tommy Lee Jones as the gruff general and Toby Jones as a wheedling nerdy sidekick — but the entire cast puts in a solid performance and Evans is a hearty hero. Plus there’s a bonus after the pretty, well-crafted propaganda posterinfluenced credits, as always — a full-on first look at The Avengers, coming in 2012. Make sure you stick around. WHERE & WHEN: Screening in cinemas from 28 July BAZ McALISTER

THE DRUM MEDIA 28 JULY 2011 • 45


46 • THE DRUM MEDIA 28 JULY 2011


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Drum Media Perth Issue #248  

The Drum Media entered the Perth landscape with a view to bring the ethos of its iconic East Coast brothers to the vibrant music scene that...