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WA’ S H I G H E S T Q U A L I T Y S T R E E T P R E S S • T H U R S DAY 1 8 A U G U S T 2 0 1 1 • 2 5 1 • F R E E

GIVING UP THE GHOSTS

E WORM EAGLE & TH

ANBERLIN

LEADER CH

EETAH

OSCAR +

MARTIN

INSIDE: JORDIE LANE • SIMIAN MOBILE DISCO • STONEFIELD • WASHED OUT ALBANY • BUNBURY • BUSSELTON • DUNSBOROUGH • GERALDTON • MANDURAH • MARGARET RIVER • PERTH


FREE ~ AUGUST 2011

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THE DRUM MEDIA 18 AUGUST 2011 • 5


6 • THE DRUM MEDIA 18 AUGUST 2011


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THE DRUM MEDIA 18 AUGUST 2011 • 7


music@drumperth.com.au

FOREWORD LINE IN BRIEF SCISSOR SISTERS

SUMMA TIME

237 QUEEN VICTORIA AVE, NORTH FREMANTLE

THU

BONJAH (VIC) with the joe kings & daniel lee kendall $15+bf oztix.com.au or $20 at door 8pm.

One of the final pieces in the summer festival jigsaw puzzle has landed, with the announcement of Summadayze 2012, going down Tuesday 3 January at new venue Sir James Mitchell Park, South Perth. The new venue comes with a new ‘Colourfornication’ vibe, and the usual mix of old and new acts including Pendulum, Snoop Dogg, Scissor Sisters, Calvin Harris, Moby (DJ Set), Grandmaster Flash, Erick Morillo, Sasha, Markus Schulz, Tiga, Skream & Benga, Busy P, DJ Medhi, Jack Beats (live), Flying Lotus, Seth Troxler, Spank Rock, In Flagranti and Mightyfools, with many more TBA. Tickets through Ticketmaster from Thursday 1 September, although sneaky industries are around now.

FRI DILIP N THE

DAVS

w/ special brew, gypsie howls, batuque bacana, dj screech $10. 8pm.

GROOM & FRIENDS apricot rail, fall electric & cameron avery Entry $15 from 8pm. Be early!

SUN

THE BEAUTIFUL GIRLS

BEACH LIFE

Rockingham roots-reggae rollers best start preparing for some groovin’ good times with the announcement of the Drum Media-presented Life’s A Beach, featuring a line-up of quality reggae, roots and hip hop over two stages. With more to be announced, lock in The Beautiful Girls, Salmonella Dub, Katalyst, Muph & Plutonic, Ladi 6, Bonjah and The Red Eyes. Tickets for this ALL-AGES affair on sale Thursday 1 September through Heatseeker.

cupid falls, our fallen legacy, safety in numbers,thiscomingcrusade $10.6pm.

OPEN MIC wanna play? call bruno booth on 0424 606 437 early: freo buskers in the beer garden.

TUES

PINS & LADLES speekeasy, delirious and the empty cup

CSS

BOUND FOR GLORY

The presale allocation sold-out, so there’s no doubt people are getting rather amped about 2012’s Southbound Festival. Rightly so too considering they’ve announced to play Aloe Blacc, Alpine, Arctic Monkeys, Arj Barker, Beirut, CANT, Crystal Castles, Dan Deacon, Drapht, and many more past the ‘D’ point in the alphabet. General tickets are now on sale - southboundfestival.com.au, moshtix.com.au or 1300 GET TIX to grab Happy Camper ($200 plus BF), VIP or Weekend Festival ($160 plus BF) tickets for the fest taking place from Saturday 7 til Sunday 8 January at Sir Stewart Bovell Park, Busselton. To mark this occasion, they’ve also added Brisbane indie heroes An Horse, Let’s Make Lovers CSS, roots kings John Butler Trio, the very now Kimbra and Seattle’s loving thinkers The Head & The Heart. Hot damn!

WED TOBIAS

MOJOS INFO TAKE-AWAY WINE AVAILABLE ALL HOURS

NOW OPEN AT 6PM MONDAY TO THURSDAY!

FOR THE DIARY buzz kill vamps aug 25 / eagle & the worm aug 26 / leader cheetah + belles will ring aug 27 / stonefield aug 28 / refugee rights action network fundraiser sept 1 / fishy style sept 2 8 • THE DRUM MEDIA 18 AUGUST 2011

Pearl Jam hits the big screen at selected Event and Greater Union Cinemas, celebrating their 20th Anniversary with the release of Pearl Jam Twenty – an in-depth look at Eddie Veder & Co. Wanna be the posterchild for Boomtick’s Make The Face nights? Submit your photo on Facebook or get it taken at the next MTF gig for free tickets to the next one, plus life-long infamy.

JEBS’ COMET

To celebrate She’s Like A Comet going gangbusters around the country, Jebediah have announced a final stint of capital city shows to help bring the party to Jebediah’s Battle For November Tour. If their recent smashing of the Splendour In The Grass Amphitheatre is anything to go by, this national run is set to be a sweaty, raucous and rocking. Tickets go on sale next Monday for their Street Press Australia-presented show at Metropolis Fremantle, Thursday 10 November.

TASTY ‘YAM

Having just released his new LP, Sam Baker’s Album, LA’s Samiyam is bringing his Brainfeeder brand of much-loved beats to the home of cool treats, The Bird, Saturday 3 September, supported by James Ireland, Ben M and Ben Taaffe. The instrumental hip hop producer is known for his work with experimental producer and fellow Brainfeeder Flying Lotus, and his 8-bit video game inspired hip hop beats which have been causing the most educated of dancefloor orgies all over.

FUNKAWESOME

Back and badder than ever, The Funkoars are set to unleash their fourth album The Quickening Friday 16 September. Fresh off the back of releasing their thumping first single Where I Am, The Funkoars have announced the accompanying tour, presented by Street Press Australia. They’re headlining the massive Kings Of Sound Festival, Sunday 2 October at The Deen alongside the likes of Culture Shock, The Qemists, M-Phazes and heaps more, plus catch them Friday 30 September at Royal Palms in Busselton. Tickets through Oztix and the usuals.

GRATE SHOW

As winter begins to wane and spring starts to blossom on the horizon, The Grates have their sights firmly on the hot winds blowing summer our way as they hit the hot bitumen again for their biggest national tour yet. Enigmatic frontwoman Patience Hodgson reminded all and sundry why she was a tour de force of the stage with some recent shows here, and she’ll be doing it again Saturday 5 November at Capitol. Tickets through Moshtix or Heatseeker from tomorrow.

TICKLE ME EHMO

After a grueling, year-long legal dispute with the furry friends from Sesame Street, the artist formally known as Elmo Is Dead, Sydney’s Ehmo Instead has a fresh name and an even fresher style. His bootlegs and remixes have seen him release alongside the like of Diplo, Major Lazer and many more. The inaugural visitor will be here as part of Bootleg at Ambar’s Bootleg Artist Series, and he rolls into the underground Friday 9 September, with support from The Bootleg Brothers, Charlie Bucket and DeadVents.

MULLER OVER IT

Since moving from his hometown of Adelaide to Sydney in 1996, James Muller has become arguably Australia’s most in-demand jazz guitar player. Having played and/or recorded with the likes of James Morrison, Vince Jones, Mike Nock, John Scofield and Christian McBride, he also won an ARIA award for Best Jazz album in 2000. The Perth Jazz Society welcomes him to the Charles Hotel Monday 29 August, $20/$15 for members.

There will be no Parklife sideshows for any acts playing this year.

with special guest tracey barnet

WANNA KNOW MORE ABOUT MOJOS GIGS? SIGN UP FOR:

Ultra-cool director David Lynch (Eraserhead, Twin Peaks etc) is set to release his debut solo album, Crazy Clown Time.

JEBEDIAH

Former Warrant singer Jani Lane has been found dead in a LA hotel.

PLAY THE FREMANTLE BLUES & ROOTS CLUB

Entry $10 / $5 members from 8pm.

Chris Martin has moved on from calling his kids stupid names – the new Coldplay album has been christened Mylo Xyloto.

Indigo is working with Sony to develop a worldconquering girl band. Get along to 664B Beaufort St Saturday 27 August from 11am to audition.

$5 from 8pm. Early: Big Ear Chad 6-8pm.

MOLDENHAUER

The Smirnoff Nightlife Exchange Project is on again, with DJ Anna Lunoe this year’s ambassador. Get involved at facebook.com/ SmirnoffAustralia.

This week’s cover stars Eskimo Joe have added another Astor show to their Ghosts Of The Past tour, now also playing Thursday 13 October.

EMBERVILLE MON WIDE

Legendary US drummer Scott Pellegrom will present a free drum clinic at Kosmic Cannington Tuesday 23 August, 7pm.

After winning the Room For Thought Initiative, Queensland’s Dee Dimmick will work with Paul Mac to bring her idea The Living Room to fruition – a space for musicians to perform live and viewed online around the country. Stay tuned.

ALBUM RE-ISSUE LAUNCH PARTY

SAT FELICITY

A sampler for Street Press Australia’s free iPad-only lifestyle mag Three is now available for download, the real deal launches next month, including the finest in film, music and general features around.

GOTYE

SOMEONE WE USED TO KNOW

Wally de Backer’s long-awaited third album under his Gotye moniker Making Mirrors is released tomorrow, and he’s already selling out his album launch shows over east. Luckily for us – especially if you’re a fan of grassy knolls – he’s announced a special Belvoir Amphitheatre show Friday 9 December, with tickets going on sale from next Friday through Ticketmaster. You’re already very familiar with current single Somebody That I Used To Know (feat. Kimbra), which has already achieved platinum sales. So yeah, don’t dilly wally come next Friday.

twitter.com/drummediaperth

Tom Waits, Tori Amos, Ozzy Osbourne, My Morning Jacket, Jeff Beck, Duran Duran and Kelly Clarkson are among this year’s International Songwriting Competition judges. Pop sensation Adele’s album 21 has surpassed P!nk as the longest running #1 album in Australian charts this decade.

SAMPOLOGY

THREE’S COMPANY

DJ competition Red Bull Thre3Style is hitting Australian shores for the first time this August, promising leading DJ talent, insane mash-ups and general dancefloor mayhem in a series of free events. Perth kids, mark Saturday 3 September in the diary for a night with the city’s hottest mixmasters – hand-picked by invitation only – who’ll be showcasing their skills in a contest with just one key rule – to rock the house in 15 minute sets. Mix master Sampology will also be taking to the decks for a guest set.


MUSTANG THURSDAYS

18th AUG

TOASTY THURSDAY featuring Soma, Napalm Rukus with DJ Buda + more. Doors 8pm.

19th AUG

LIVE! Goodnight Tiger with special guests Valiant and The Dirty Western… Doors 8pm, be early.

20th AUG

ON TOUR: JORDIE LANE with very special guest Mike Noga (The Drones). Doors 8pm.

KWUQVO[WWV"

Sun 18th Sept > Owl Eyes

FREE ENTRY 46 LAKE ST, NORTHBRIGE 9328 2350 LIVE MUSIC EVERY NIGHT OF THE WEEK ENQUIRIES info@mustangbar.com.au www.mustangbar.com.au THE DRUM MEDIA 18 AUGUST 2011 • 9


GIVEAWAYS giveaways@drumperth.com.au

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 the beginning of a week where you get the opportunity to feel philanthropically supportive by getting involved in community radio station Radiothons…

PAPA VS. PRETTY Unless you’ve been living under a rock for the last few months, you’d know that this year’s Hyperfest is looking damn hot. Going down at the Midland Railway Workshops on Sunday 28 August, the 2011 event is sure to be one of the biggest all-ages events in the country. With the rad line-up of Architecture In Helsinki, Papa vs. Pretty, Stonefield, Split Seconds, In League and Sam Perry plus more, this is one festival worth making the way down the train line for. To score yourself one of THREE double passes, aim your mouse at the Drum Perth Facebook page. Mesmerising Swedish electronic troupe Little Dragon have just dropped their third long-player, Ritual Union. And yes, it’s a corker. The four-piece have garnered a devoted following over their years, no shortage of thanks to their frontwoman’s spellbinding on-stage presence and enchanting electronic dream-pop style. Log on to facebook.com/drumperth to score yourself one of FIVE copies of this excellent album ahead of their Parklife performance. They are one of those bands that you either worship or have never heard of. They have spent almost two decades making some of the most unique music around, confidently straddling the line between any definite genre. They are …And You Will Know Us By The Trail Of Dead, and they’re finally making their way to this side of the country in the wake of recently released seventh album, Tao Of The Dead. The upcoming show is sure to blow the roof off the Rosemount Hotel. Head to Drum Perth’s Facebook page to potentially grab one of TWO double passes to the show on Thursday 11 September.

The Brow Horn Orchestra launch their debut EP Can’t Afford This Way Of Life with a two-stage micro festival at The Court, Friday 9 September. The Drum-presented launch features THE BROW HORN ORCHESTRA The Sunshine Brothers, Carl Fox, Sam Perry, Bastian’s Happy Flight, The Stoops & Accumulated Gestures feat. Georgi Kay), Mathas, Sun City, Mulder, DJ Ndorse, Cut & Paste Soundsystem and JumpClimb DJs. Tickets through Moshtix. The Boulevard Tavern in Joondalup is launching a new Wednesday night – Northern Lights, featuring live bands and resident DJ Charlie Day mixing up the best electro, rock, pop, indie and dubstep. Opening night Wednesday 24 August also hosts national acts Leader Cheetah and Belles Will Ring. The Amani Consort is a new live offering from urban dance vocalist MC Amani, and she’s launching the outfit Saturday 27 August at Clancy’s Freo, with funk/soul guru DJ Kash supporting. A second, more intimate show will be held at Gypsy Tapas, Saturday 3 September. As part of City of Joondalup’s Arts Development Scheme initiative, the WA Youth Jazz Orchestra presents an afternoon paying tribute to Stan Kenton Sunday 28 August, 3pm at the Premiers Suite, Arena Joondalup. The Queens are having a hard time containing it to just Wednesdays, so now Freo get their own Bingay every Tuesday night at The Newport Hotel, starting Tuesday 30 August. Bingo with a drag queen, free entry. Fuse is a full-length dance work based on the interrelationship between two people, at PICA Friday 26 August to Saturday 3 September and featuring a live DJ score from Massiv Trav. Universal Bar Is hosting Music & Lyrics, an art space exhibition put on by Central TAFE design students and Green Penguin events. It will feature students’ graphic artwork with a musical theme, plus DJ Silence spins down tempo, electronica and hip hop, Tuesday 30 August. Hell On High Heels is a ladies-of-rock night, with femme-fronted bands The Main Attraction, The Sure Fire Midnights and Fools Of April, plus DJ Castasia opens the night, Thursday 1 September at the Rosemount Hotel. The Spitfires have found their new drummer – Bradley Stevens, formerly of The Bullet Holes. He debuts Friday 26 August at Norfolk Basement with Minute 36, The FAIM! Project and The Crossbars. Up-and-coming metal band Law Of Attraction launch their debut EP Obscurity at the Rosemount Hotel, Friday 2 September. Entry $15 or $20 with a CD. Chasing The Ninth, The Exit Line and Buzz Kill Vamps support. Debuting with a world tour that has seen them play the US, UK, Europe and Japan, The Stanleys (featuring members of Norwegian rockers Turbonegro) will be heading home for the first time, playing their first ever Aus’ show at Ya Ya’s Saturday 3 September. Sunday 4 September there’s an Underage Hip Hop Extravaganza going down at The Vault Youth Space in Booragoon, featuring Bitter Belief launching his new album Isolation, supported by Complete, Down South Crew, Creed Birch & Robshaker and DJ Armee. $15, 3 til 7pm.

PLEASE NOTE: All entries for giveaways are now via our Facebook, so head to facebook.com/drumperth for details.

Theatre Trust and the Perth Concert Hall continue the World Orchestra Series in 2011 with the Vienna Philharmonic Orchestra making its debut Thursday 29 and Friday 30 September. Tickets through BOCs.

GAPPY DUCK THE DEVIL WEARS PRADA

DEVIL’S THRONE

Dead Throne, out September 9, is hailed as the uncompromising release that will mark Ohio six-piece The Devil Wears Prada taking a confident step to the next level. More aggressive, more emotionally charged and sonically larger than previous releases, Dead Throne is characterised by a focus on the band’s unique, punishing dual-vocal assault. They’re assaulting Capitol Thursday 20 October, with the help of Michigan’s We Came As Romans and Dream On Dreamer. Tickets through Moshtix/Heatseeker from next Thursday.

FREEDOM SONGS

Thursday 1 September Australian singer/songwriter Neil Murray will play a special show at Mojo’s in support of Refugee Rights Action Network (RRAN) and their work to end mandatory detention of refugees and to halt the Malaysian Solution. Murray’s solo take on Australian rock is deeply affecting, drawn from his travels across Australia during his twenty-year solo career and his 1980s performances with indigenous rock group, The Warumpi Band. Folk-angel/blues-mama Rachel Taylor supports.

SUN ORCHESTRA

Following the success of the London Philharmonic Orchestra and the Berliner Philharmoniker, the Perth

EDITORIAL

Managing Editor Andrew Mast Editor Aarom Wilson Editorís 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

10 • THE DRUM MEDIA 18 AUGUST 2011

ADMINISTRATION Accounts Loretta Carlone

PHOTOGRAPHERS

Elle Borgward, Shane Butler, Graham Clark, Beau Davis, Penny Lane, Cybele Malinowski, Drew Mettam, Anthony Tran, Stereo Velvet, Aaronv2

CONTRIBUTORS

Marnie Allen, Chris Archibald, Marisa Aveling, Paul Barbieri, Aleksia Barron, Zoe Barron, Steve Bell, Nina Bertok, Jackson Best, Tom Bragg, Tristan Broomhall, Rob Browne, Rick Bryant, Shane

For one show only in the west comes Gappy Ranks live and direct from the UK Sunday 2 October at Mojo’s. Gappy is one of the most popular Jamaican dancehall live acts, headlining shows across Europe, Asia and the US, and now he is heading down under for a massive Sunday session. Local support from selectors Earthlink Sound, Sabata Sound, Busha Dee, Flex and Masimba. $35 plus BF from Mills, $40 door sales.

TIJUANA CARTEL

TOUR DE TIJUANA

The Gold Coast’s Tijuana Cartel have built a firm reputation for multi-layered grooves, slide and flamenco guitar, trumpet, vocals and Afro-Cuban percussion mixed with some hardened electronica. Celebrating their new album due in September, catch them Thursday 29 September, Metropolis Fremantle; Friday 30 & Saturday 1 October, Settlers Tavern, Margaret River; Sunday 2, Prince Of Wales; Monday 3 & Tuesday 4, Indi Bar; Wednesday 5 Grand Boulevard Tavern, Joondalup; Thursday 6, Mojo’s; Friday 7, Divers Tavern, Broome; Saturday 8, Pier Hotel, Port Hedland; and Sunday 9 Amplifier. Brisbane art-rock/disco-punkers Tin Can Radio support them until Broome.

CONFESSION TIME

Following the success of their debut album Cancer (2009) and sold-out national tours throughout 2010, Australian hardcore band Confession prepare to push forward with a visit our way, Saturday 29 October at Civic Backroom, and Sunday 30 at YMCA HQ Leederville (ALL-AGES). Tickets for the shows through Moshtix, where they’ll also be joined Sydney deathcore band Thy Art Is Murer. The tour will celebrate their recently recorded new album, The Long Way Home.

CARRIED ON

Ever the curious and canny musician, Jeff Lang has never been one to accept formulas. The trademark qualities of Lang’s playing resonate stronger than ever on Lang’s fifteenth studio album Carried In Mind, displaying not only a talented guitarist, but a songwriter of the highest order. The album is due Friday 9 September, and he’s hitting the road to launch its release, playing the Fly By Night Saturday 8 October and Indi Bar Sunday 9, with singer/songwriter Jordie Lane on support duties.

QUARRY FLURRY

The first taste of Live At The Quarry 2011/2012 has been announced, and it‘s a cracking selection of classic Australian artists. Thursday 10 November catch James Morrison and Deni Hines; Thursday 17 the Boom Crash Opera celebrates 25 years with Sean Kelly (The Models); Wednesday 14 December The Black Sorrows and Ross Wilson drop in; and Friday 16 March perennial fave Diesel rolls down into the picturesque Quarry surrounds. Presale tickets are available; join up with Mellen Events to get ‘em.

JONNY ENGLISH

After 40 non-stop years of entertaining audiences around the world with his concerts, television shows, musicals and theatre, Aussie rock icon Jon English is bringing The Rock Show to town. Join the star of Jesus Christ Superstar, Against The Wind, The Pirates Of Penzance and Altogether Now, along with a nine-piece troupe of multi-talented young musicians and singers on a spectacular journey through the ‘60s and ‘70s. Friday 3 & Saturday 4 February, Astor Theatre. Tickets through BOCs from next Monday.

SWIFT NOW

TESTY ICICLES

The UK’s Jeroen Snik – a.k.a Icicle – is recognised as one of the most technically advanced and highlyrespected producers in electronic music. Mastering tech-funk better than any other, Icicle’s music is graceful yet daring and, without doubt, technically remarkable, tinged with intricate drum patterns reminiscent of Photek and entrancing, enveloping bass-lines à la Jonny L and Optical. Friday 21 October with support from Sardi, Jazza, Deflo and Gracie. $20 plus BF through shapebar.com.au.

Butler, Michael Caves, Travis Collins, Cyclone, Marcia Czerniak, Sebastian DíAlonzo, Kitt Di Camillo,, Cam Findlay, Tomas Ford, Shannon Fox, Olivia Gardiner, Rueben Hale, Stu Harvey, Simon Holland, Craig Hollywood, Christopher Henry James, Jason Kenny, Angela King, Jo Lettenmaier, Ella Liascos, Mac McNaughton, Nic Owen, Baron Gutter, Ted Schlechte, Michael Smith, Andy Snelling, Aimee Somerville, Kristy Symonds, Nic Toupee, Chris Wheeldon, Anthony Williams, Mitchell Withers.

twitter.com/drummediaperth

TAYLOR SWIFT

EDITORIAL POLICY

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

DEADLINES Editorial Friday 5pm

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

Currently on the North American leg of her Speak Now Tour, Taylor Swift has announced, due to strong fan demand, that she will extend the tour into 2012, and more importantly into our little corner of the world. The four-time Grammy winner’s Speak Now performance is a two-hour theatrical presentation, and Taylor plays five different guitars in the show, two banjos, the ukulele and the piano, plus changes costume nine times. If only it wasn’t so far away! Friday 2 March at Burswood Dome, tickets through Ticketek from next Wednesday.

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PRINTED BY Rural Press WA


uncovered Thursdays 7pm-11pm August 18th Caprycon

Free Entry

Evolution Machine Engine of Reason August 25th Sail On Sail On Mourning the Collector Stunning in Red

THURSDAY, 18TH AUGUST The rise and fall of little voice WAAPA Music Theatre show 8:30pm

Proudly supporting Original Music in Perth uncovered at The Shed – 69-71 Aberdeen Street, Northbridge Phone; 9228 2200 email; info@the-shed.com.au www.the-shed.com.au facebook:uncoveredonthursdays

FRIDAY, 19TH AUGUST The Graham Wood Trio 6:00pm ‘Las Vegas Jazz Stories’ featuring Trent White 8:00pm Late Night Groove Series featuring Simon Fisenden 11:30pm

SATURDAY, 20TH AUGUST Libby Hammer Quintet 8:00pm Punky Reggae Party 11:30pm

SUNDAY, 21ST AUGUST Shameem Taheri Lee 6:00pm

MONDAY, 22ND AUGUST Song Lounge 7:00pm

TUESDAY, 23RD AUGUST Cathrine Summers 8:00pm

WEDNESDAY, 24TH AUGUST Awakenings with Michael Pigneguy [UAE] 8:00pm

THURSDAY, 25TH AUGUST George Garzone [USA] 8:00pm

Check our Show Schedule and book your table seat online at TheEllington.com.au

BOOKINGS ESSENTIAL SEE WEBSITE TO BOOK YOUR TICKETS www.TheEllington.com.au 191 BEAUFORT STREET PERTH (08) 9228 1088 MON - THUR 7pm -1am, FRI 6pm - 3am, SAT 7pm - 3am, SUN 6 pm - 12am THE DRUM MEDIA 18 AUGUST 2011 • 11


GROWING UP DRUGS ARE LOVE, M’KAY? BRETT BALINSKI PUTS A MICROSCOPE TO THE TITLE OF ESKIMO JOE’S NEW SINGLE, LOVE IS A DRUG. Drugs. Love. Music. It’s far from rare to see the first two meeting together in the third. Any complete list of these songs would be a fricken huge one. You could look to standards like You Go To My Head, first sung by Billie Holiday and Teddy Wilson, or earlier to find the love/drug comparison in music. Temperley says he gets the occasional comment, as you’d expect, regarding Roxy Music. “Every once in a while. But theirs is Love Is The Drug, ours is Love Is A Drug,� he says with a chuckle. Addicted To Love, Heroin Girl, This Addiction, Love Drunk, The Nurse Who Loved Me, Drugs Or Me, The Drugs Don’t Work and Your Love Is My Drug are a few more off-the-topof the head examples. Temperley says, “A more appropriate title would’ve been Lust Is A Drug, but Love Is A Drug sounds way cooler.� This is also pretty typical of most lyrics that fit within the love/drug lyrical parameters. It is, after all, sex, drugs and rock’n’roll, not caring, drugs and rock’n’roll; or pragmatic, stable unions, drugs and rock’n’roll. Some things go together for a reason in music and we’d all be much worse off if we did away with every song that touched on the unoriginal idea that love is a bit like a drug.

NEW STUDIO, NEW LABEL, NEW ALBUM... YEAH, THINGS ARE GOING DOWN IN THE ESKIMO JOE CAMP. TROY MUTTON CHATS TO KAV TEMPERLEY ABOUT ALL THAT, PLUS WHY THEY’RE DONE WITH CHEESEBURGERS. COVER AND FEATURE PHOTOS BY KANE HIBBERD.

W

hen Drum Media gets on the phone to Eskimo Joe frontman Kav Temperley, he’s a little sleepy. “We did a little warm up for Splendour last night at the Rosemount Hotel,� he admits, speaking of their secret(ish) gig ahead of their Splendour shows a couple of weeks back. No doubt he’s even more tired after that weekend. “I like to think we haven’t been invited there for a while because Paul Piticco, who puts it [Splendour] together, maybe he was afraid we were Powderfinger’s competition,� he jokes while laughing. “It’s probably not true, but I like to tell myself that.� What Temperley and band mates Stu McLeod and Joel Quartermain were back there for, aside from Eskimo Joe now actually being considered one of the quintessential Aussie rock bands, is the release of their new album Ghosts Of The Past, a return to what they do best after following the somewhat-maligned Inshalla record. It’s pretty obviously a big player in what has been their decision to go back to producing the album themselves, as they had done for all records previous. “I think after the success of Black Fingernails...� Temperley stops, considering his words, “We kind of have this weird thing where we have to kick against the last thing that we did. And Black Fingernails... is such a uniform album, you know. You could press play anywhere on it and you knew exactly what record you were listening to. “So we sat down and it all just became too easy, you know? We tried to basically do the most opposite thing we could get away with. And so then we were lucky enough that Gil Norton, who we all loved, wanted to come in and [produce Inshalla]. And he’s a very rock producer so he came in and did his best to make it sound like a rock album, but it still ended up sounding a bit all over the place. At the same time that’s kind of what we wanted, we wanted to throw shit at the wall and see where we came out at the end.� Temperley’s candour when discussing what worked and didn’t with their previous effort is refreshing, but not unexpected from one of WA’s favourite sons. What they learned from the process ultimately pushed them into doing what they previously didn’t want to. “And at the

end we came out at this place where we kind of realised what we were good at, and what people in the band were good at. So when we sat down to do this record it was like we knew exactly what we had to do.

IF YOU LOVE IT, YOU LOVE IT. AND IF YOU HATE IT, THEN FUCK YOU; WHO CARES, YOU KNOW.�

“

“Every time we make a record, if something sounded too much like Eskimo Joe we’d be like, ‘Oh you can’t do that it sounds too Eskimo Joe.’ And this time round we were just like, ‘Fuck it, this is who we are, we’re not gonna cringe.’ Australians have this classic cringe factor, you know, so this time around we just felt a lot more comfortable in our own skin, and we were like, ‘We’re just gonna make an Eskimo Joe record’, and that’s what we did.� The end result is very much a welcome return to that classic Eskimo Joe sound (“I guess if Black Fingernails, Red Wine was our coming of age record then this is our grown up Black Fingernails, Red Wine.�), although now there’s a new point of difference – the lyrical content. You see, the Eskies aren’t those same fresh-faced kids some may remember from the Girl days, and it’s a fact that Temperley is growing more comfortable with. “It’s kind of like an official sayonara to our 20’s, you know? When you write in your 20’s, especially that classic 24 period, around that age you really just wanna burn shit down basically. You wanna push it as far as you can and see what happens. “You go through positive experiences and negative experiences, but by the time I’ve got to the place where I am now - where I’ve turned 30 and I’ve got, you know, a wife, kids - I’m just at a place where I don’t really wanna do that anymore,� he continues, before intimating some lofty aspriations as to his future. “And I

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also wanna be writing songs for the rest of my life and I wanna do it really well, and I wanna do it as well as people like Leonard Cohen and Tom Waits and Nick Cave did when they were in their late 30’s and early 40’s. They kinda tapped into something else, and they were better at that age than they ever were. And they weren’t singing about fucking teenage angst, which is just generally what people sing about in their 20’s. “So I really just wanted to clean the slate‌ A lot of these kind of ‘ghosts’ are an amalgamation of different personalities or different people, but they all seem to tap in to a certain part of your psyche. So when you think about a person, often with these ghosts of the past or demons or whatever you wanna call them, they’re often like a part of your brain that these particular people have brought out in you. And some of these things are kind of good to have around to remind you of which way to go, but other ones you need to say goodbye to them to move on to that next place, to tap into that next songwriting area.â€? Temperley has found that simply letting go of some of these ‘ghosts’ hasn’t been the simplest of tasks. “But it’s really scary as well because I’ve always written about that stuff, and I’m kinda just putting it out there that I don’t wanna write that shit anymore, I wanna move to the next place, whatever that is. Which is still personal and whatever, but when you read Leonard Cohen lyrics, there’s something else going on there man; he’s on a whole other plane.â€? When discussion turns to the group’s overseas aspirations, it becomes pretty clear the next place definitely won’t be the good ol’ U S of A. “We spent a lot of time touring the States, but we had a lot of – I don’t know if you believe in this shit or not – but we had a lot of bad omens when we were over there. Like, people’s parent’s dying while we were on the road, or people finding out they were having babies, or whatever. And we kind of worked out when we were there if we wanted to make it work, which we could ‘cause we were touring and getting crowds and building up a vibe. But the thing is at a certain point you realise you’ve

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gotta drive round and round the States for four years until it cracks. And so we came back a little bit like, ‘Oh my god I can’t eat another cheeseburger, the coffee was terrible,’ and blah blah blah,â€? Temperley reminisces with a grimace. One place they definitely are looking forward to getting to is Europe, a fruitful trip that came about whilst touring Inshalla. “It’s such an epic place to tour. And the places that really started to happen were, like, Switzerland and Holland, probably ‘cause they’re tiny,â€? he laughs. “So it’s an easy place to break. So it’s every record at a time‌ For us I guess it’s about longevity; I guess you see a time in the future when, you’re not gonna be U2 or whatever, you wanna be able to fly anywhere in the world and play to a thousand people, it’s kind of your dream I guess.â€? And besides, they’ll always have their newly formed Dirt Diamonds record label to keep them involved in the scene, and Temperley couldn’t be happier with how it’s going. “There’s Dirt Diamonds and we’ve also got The Wasteland studio, and we’ve always had a jam room that we worked out of‌ At my house it’s always been kind of a creative hub. So back in the day, you know, with all Justin’s demos for End Of Fashion or Sleepy’s demos, and Little Birdy kind of came together in our jam room, so just those kind of moments. “Eskimo Joe is always gonna be Eskimo Joe, and I think the whole thing about this record was the acceptance of that. This is what we fuckin’ do. And if you love it, you love it. And if you hate it, then fuck you; who cares, you know. This is Eskimo Joe and that might not be relevant in another ten years, but we’ll have this really great space where we’re still pouring our creative efforts into something good.â€? WHO: Eskimo Joe WHAT: Ghosts Of The Past (Warner) WHEN & WHERE: Thursday 13 (newly announced) & Friday 14 October (sold-out), Astor Theatre, Mt Lawley

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ROAD SCHOLARS RECORDING RECORDS Oscar + Martin are certainly not the first group to take advantage of RMIT University’s recording facilities. Back in the late ‘90s, a Melbourne group of Gregorian chanters used the university’s Physics sound laboratory to record in a completely silent space that maximised the amount of echoes they could generate. The problem with this, though, was that the lights they used produced a buzzing sound on tape, forcing the group to record by candlelight in the eggshaped and completely enclosed space. Spooky!

THE OSCAR HALF OF OSCAR + MARTIN, RESPONSIBLE FOR ONE OF THIS YEAR’S FINEST ELECTRONICA ALBUMS IN FOR YOU, TELLS PAUL BARBIERI THAT THE BAND ARE WAGGING UNI TO TAKE THEIR SOUND TO PERTH FOR THE FIRST TIME.

N

ot too many bands can say they have used parts of their debut album for a university assignment, but for Oscar + Martin, that’s exactly what happened. Their debut effort For You may have garnered some serious critical acclaim with its combination of minimalist electronic beats, African percussion and some really heartfelt, witty lyrics, but would it stand up under the critical gaze of a tertiary sound production lecturer? “I think for production we got a high distinction,” says Oscar V Slorach-Thorn with a laugh, when he reveals how he and band mate Martin King cunningly used the facilities at Melbourne’s RMIT University to record parts of their debut. The pair, friends from high school, are both in the middle of completing the third year of a Sound degree at the university. And, while most students would prefer a month without beer than going to uni during the holidays, Oscar + Martin took advantage of the situation and used the time to come up with an album already being hailed as one of the most original Australian releases in the last 10 years. “We recorded a lot at RMIT,” Slorach-Thorn begins. “We recorded a lot of percussion there and vocals, and we did a fair bit of mixing there at one of the studios that you can just book out. On the holidays not many people use it, so we used it a lot. I’m in a course called Sound-Art, it’s like a fine art course about sound and installational kind of music, odd stuff, and Marty’s in the course as well. “We do more abstract kind of work for school. They’re not really interested in pop structures and forms. But through the sound course, there’s a subject called studio production or studio recording where, for assignments, you record bands. The final album needed to be finished off in the school, so we got marked on some versions of things.” The empty RMIT campus, one of the more lonely parts of the Melbourne CBD during the summer break, certainly seems at odds with what Oscar + Martin have produced on For You. Although Oscar modestly refers to it as simply ’pop music’, the pair have combined their minimalist electronic sound with some very complex, hip hop syncopated vocals that are used to tell their warm and often genuinely funny stories of everyday life in your early 20s. But while most hip hop acts opt for some seriously bombastic, in-your-face vocals, Oscar + Martin have turned it down a notch, the duo preferring a more understated approach as they just croon along in their engaging tenor voices. Slorach-Thorn, though, feels the style perfectly suits the lyrics. “The status of things can really change because of the way it’s sung,” he tells.

14 • THE DRUM MEDIA 18 AUGUST 2011

“Because it’s a song, you can sort of make something very simple and almost even mundane become quite meaningful and quite powerful. I’m pretty interested in being emotionally honest and meaningful, ’cause it affects you. Music’s nice like that, the way it can really get to the core of things in a way that’s not really expected. You don’t know why it’s doing that sometimes.” One of their best examples of the lyrics and music combining perfectly to create something unexpected is the album’s standout track All I Think About. In this song, Slorach-Thorn somehow incorporates Star Wars references about girls with ‘Darth Vader powers of attraction’, with a track that lyrically and musically looks at a relationship that’s just taking off. Beginning slowly and tentatively, the song eventually blossoms into an uplifting finale that’s packed with Pacific guitars and cool percussion. It could be one of the year’s best songs, but SlorachThorn admits he drew inspiration from a few very simple things. “Basically, I would have a class with her,” he explains. “I would always look at her in class. You know how Darth Vader can strangle people from across the room, it was just like that. (I was) sort of out of breath and she was just looking at me. And then, this just insane thing happened where we kind of just developed this silent relationship as I’d see her all the time. I hadn’t talked to her yet but I built up all these sort of ideas about it. And, then it was this thing where I’d be thinking about her and then I’d be just compelled to walk outside or just totally ride in a certain direction or whatever. “I would think, where am I going, why am I doing this, and then she just appears and I’d be like, ‘Fuck, there you are’. It’s some sort of sixth sense or something. It was funny because I wrote the song about her and then later ended up hanging out with her. It was kind of just a funny moment when I said, ‘I wrote a song about you’, and she was like, ‘Geez, you wrote a song about me? That’s good, that’s crazy.’” Crazy or not, Slorach-Thorn and King are preparing to wag a few more classes to take their music to Perth for the first time later this month for their Speakeasy gig at Villa nightclub with Stonefield and DJ Nina Las Vegas. It’s an indication the band is gaining momentum when Slorach-Thorn admits he hardly knows anything about the upcoming gig, as the show was organised by a booking agent they have only just hired. And, after a few years of just scraping by, Slorach-Thorn says the band are gradually getting their finances settled, especially as they have the backing of alternative Melbourne label

Two Bright Lakes and have a loyal following in their home town. But Slorach-Thorn says there’s no way the band will be resting on their laurels, especially when it comes to playing live. While many electronic bands revolve around blokes just playing on the laptops for a gig, Slorach-Thorn says the pair of them prefer to keep it somewhat real with their instruments. “At the moment I play a keyboard and guitar and I have samples that I’m running off pads which I consider playing an instrument as well,” he says. “I’m playing three or four instruments live and then Marty does a similar thing, he plays bass and he’s playing samples and stuff live. I think for me, I will always sacrifice showing off how well I can play an instrument to be able to engage more live. And the main focus is singing stuff right because if we wanted to

YOU KNOW HOW DARTH VADER CAN STRANGLE PEOPLE FROM ACROSS THE ROOM, IT WAS JUST LIKE THAT.”

play it exactly like the album or whatever, playing every single instrument, it might be entertaining to watch a guy struggle around doing so many things, but at the end of the day, it’s more about the singing and the songs. “Definitely, it’s way important to be engaged, ’cause no one cares about how good you are at music. Fuck, I don’t care, I don’t see why anybody else would. It’s about the actual human element, the connection and stuff.” He adds, though, that the connection is not only with the performance, but also with the song and lyrics the audience already knows. “I don’t like changing lyrics. I think lyrics need to stay exactly as they are, word for word, I think that’s really important to not change them.” And, the band can’t wait to take that connection west. “We really wanted to do it [and go to WA] for the last tour but ran out of money and then we couldn’t,” he tells. “We were worried we’d run out of cash if we went there as well. I’m definitely really excited about making it to Perth.” WHO: Oscar + Martin WHAT: For You (Two Bright Lakes/Inertia) WHEN & WHERE: Speakeasy – Friday 26 August, Villa, East Perth

And, there have been several bands that have recorded albums in other odd places. Most recently My Morning Jacket converted an old school gymnasium into a recording studio for their Circuital album. Justin Vernon has entered popular folk lore for taking himself deep into a Wisconsin forest to record Bon Iver’s For Emma Forever Ago in a wood cabin. Regurgitator’s 1997 classic Unit was recorded in an old disused warehouse in Brisbane that was torn down just a few days after they finished, while Bruce Springsteen’s early classic Nebraska was just The Boss in his bedroom with a guitar and four-track. Deep Purple, meanwhile, headed to the Grand Hotel outside Montreux in the Swiss Alps after their original recording space for Machine Head, the Grand Casino, burnt to the ground during a Frank Zappa concert in 1971. But perhaps the weirdest ever recording space belongs to Katie Melua. Back in 2006, Melua, her roadies and her band underwent an extreme training course in order to set a Guinness World record for the deepest underwater concert ever performed. Invited by Statoil, Melua and her entourage headed to a gas-drilling platform off the Norwegian coast where they performed 303 metres below sea level at the base of the giant rig. Beat that Bon Iver.


THE DRUM MEDIA 18 AUGUST 2011 • 15


COMING HOME you’re going to go to a show, and the main support band will play for 45 minutes and then the headliners will get up there and play an hour, then get offstage and come back for an encore and that’s usually the typical Anberlin show, especially in Australia. So for us, we just laid it all out on the table, we left nothing. “We’re going to take requests over Twitter and Facebook and our fans in Australia can definitely get a hold of us and tell us what they want to hear. But we’re also going to have guest vocalists and we’re going to do questions and answers if the crowd wants, we’re going to break it down and do acoustic songs and we’re going to play songs we’ve never even attempted to play. We have five records and a lot of the time we don’t even get around to playing some of these songs. So we’re going to be playing a bunch of b-sides and a few cover songs and just make sure all Anberlin fans in Australia go home happy and content and have heard every single song that they want.”

FLORIDA ALT-ROCKERS ANBERLIN HAVE BEEN STEADILY BUILDING THEIR FAN BASE IN AUSTRALIA SINCE THEY FIRST TOURED HERE IN 2005. YET, AS VOCALIST STEPHEN CHRISTIAN TELLS DANIEL JOHNSON, THIS TOUR IS GOING TO BE THE MOST UNPREDICTABLE, AND THE RISKIEST.

A

nberlin are about to make their eighth trip to Australia in six years, and frontman Stephen Christian says this time the band wanted to do something special for their Australian fans. After tossing a few ideas around, they came up with An Evening With Anberlin. “Actually, Australia is the only port of call [for this format]; I don’t think we’re ever going to do this again in the United States or anywhere in the world. “Australia has a special place in our hearts and it was our first-ever going overseas adventure for Anberlin. It was just an incredible and amazing time, so much so that we’ve been back six times since – and this will be our seventh – and so when we were discussing

After releasing their first four albums on prominent indie label Tooth & Nail, Anberlin signed with Universal Republic in 2008, and on last year’s Dark Is The Way, Light Is The Place, the band worked with Grammywinning producer Brendan O’Brien. Christian says he has always been a fan of O’Brien’s work and was shocked to learn he was already familiar with the band’s back catalogue. “To get that call from your manager, we thought it was a prank, we thought it was a joke… ‘Listen, Brendan O’Brien wants to meet with you in a few days.’ It just sounds like a joke,” Christian explains.

going back to Australia we just felt like we had done everything, we had done the shows, we had brought the other big name acts, we had toured with local bands and it just felt kind of like ‘all right, we’ve got to do something different for Australia,’” he says before getting into a lengthy explanation of the process.

“I mean, the guy’s worked with Bruce Springsteen, Tom Petty, Pearl Jam, Rage Against The Machine, and so I thought there’s no way, how does that guy even know who we are? It was just incredible, and so he came on our bus in Atlanta, Georgia and said, ‘I’ve listened to your last few records and I really like them and I feel like you’re in a great place, with going out on Universal Republic, and I’d like to work with all of your records from here on out’, and we were just floored.

“We talked it over with the people in Australia, the promoters and the labels over there and we said ‘Listen, what if we do An Evening With?’ And they were like, ‘Well that’s never been done in Australia, we don’t know any band that’s ever done that.’ So we started to throw around ideas of ‘hey, how are we going to make this different?’ And the way that it’s different is that usually

“We tried to give him our records and he was like ‘no, I’ve already got all of them.’ He was incredible to work with. He hears melodies in his head, like five and sixpart harmonies that I’m just like ‘How do you do that?’ He’s very forward thinking, he was always thinking about the next moment on the song and I think that was his strength – ingenuity.”

Despite the success of Dark Is the Way, Light Is the Place, which debuted at No. 9 on the Billboard charts in the US, Christian says he and his bandmates have been working on material for the follow-up for some time. “In Anberlin we’re always working on the next record, because we always want to keep the creative juices flowing,” he offers. “Lyrically and melody-wise I think we have about eight done, and we’re even talking about doing one of those on the Australian run just to see how the crowd reacts.” Since the band’s inception, Christian has made no secret of his faith in God, and while he admits being characterised as a “Christian rock” band used to raise his ire, he is more nonchalant about the issue these days. “It used to bother me so bad, it felt like such a generic label, it felt like lazy journalism because I’m a Christian in the band. But not all of us are Christians and I felt it was just unfair because a lot of people will look at that label and not even push play on your Facebook page or your MySpace page because all they see is a label. And that kind of just hurts the band. “Now I just don’t care anymore, it’s been so many years that people have labelled us indie, or emo, or Christian rock, or radio rock and after a while you just give up on labels. People love to put things in boxes and label them.” Christian admits to feeling some trepidation about how these shows could turn out, especially when it comes to the question and answer segment of the show. “I know how Australians enjoy their alcoholic beverages so I have no idea how that’s going to go. I mean, you hand some drunk guy a microphone and tell him he can yell something to the people on stage, I’m sure it’s not going to be ‘what’s your favourite colour?’ “This will be the greatest experiment Anberlin has ever performed. It’s just going to be an amazing show; it’s probably the most intimate we’ve ever put on. Usually I don’t like talking during the set but we’re going to have questions and answers, usually we don’t play more than an hour and now we’re playing two and a half. Hopefully it’s the most exciting night of not only our lives but theirs too.” WHO: Anberlin WHEN & WHERE: Friday 26 August, Capitol, Perth

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THE DRUM MEDIA 18 AUGUST 2011 • 17


LET THE GOOD TIMES FLY MELBOURNE OCTET EAGLE & THE WORM HAVE QUICKLY TAKEN THE MANTLE OF AUSTRALIA’S PREMIER PARTY BAND, AND THEY HAVE NO INTENTION OF STOPPING THE FUN ANY TIME SOON. FRONTMAN AND SONGWRITER JARRAD BROWN AND BASSIST RICHARD BRADBEER TALK TO STEVE BELL ABOUT CHEMISTRY AND FRIENDSHIP.

F

irst came the rumblings about the live show, a hushed reverie about this amazing new live band from Melbourne, a band with heaps of members, horn players and an unabashed love of having a good time, a group who try everything in their collective powers to drag all and sundry along for the ride. Then came the steady stream of radio songs, as a slew of catchy, summer-infused numbers started getting traction on radio stations all around Australia in 2010, and the vibe around these party-starters started to become tangible. Then, only a couple of months back, Eagle & The Worm’s debut album Good Times dropped and their transformation from shadowy party starters to genuine movers and shakers on the Australian scene was complete. Originally the brainchild and bedroom project of Jarrad Brown – formerly best-known as bassist for fellow Melbourne outfit Custom Kings – it wasn’t long before a bevy of like-minded musicians coalesced around him and Eagle & The Worm was born. “Basically in the beginning there was no Eagle & The Worm, it was just demos on my computer – there were heaps, just music and whatever. I just wanted to make my own record,” the affable Brown recalls. “I had a whole summer to myself and had all those demos, then I put them on a CD and then called up a few mates: it was really casual – I knew what I wanted to do, I knew I wanted to make a great record, but I didn’t let on. I just said, ‘Let’s head down to the studio and cut my songs – I’m going to record a CD’. Everyone cruised down and it was really good. It was just, like, three days in the studio with different drummers and different bass players, no rehearsals. “I’ve got really fond memories of the sessions. The raw sessions didn’t sound amazing but there was a lot of vibe in the room, and then I took them from the studio back home and edited them back into shape and added layers and did arrangements and messed around with them. Then me and [Steven] Schram [co-producer/ engineer] got together and we mixed it, and he was sort of like the last stop on the line, where he really pulled everything together and made it sound really nice on the ear. “I guess that’s the early days in a nutshell. A fair chunk of the record was done before we started doing shows. I always knew that I wanted it to be a bigger band – there were no bigger bands around, there were no bands with horn sections that I really liked around. I was getting sick of guitar bands – there were too many guitar bands and just three- and four-piece bands, I really wanted a big show. I really wanted people to be able to have a good time, and that’s what the album was about. The early rehearsals were the same thing: I had a couple of sort of auditions, but more or less we just kind of started jamming and that was it.”

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“With the audition thing,” bassist Richard Bradbeer interjects, “I’d bumped into Jarrad out and about during the course of the year, we were always drunk and he was always saying, ‘We should catch up for a jam’ and I’d be like, ‘Yeah, cool’, but in the back of my mind I thought two bass players having a jam could be a bit TAFE, a bit shit. And then Liam the trumpet player played me the album and said, ‘I think Jarrad’s trying to see if you’d suit this’ and I just went ‘Whoa!’, and went home and transcribed the whole album in a day and rang up Jarrad and went, ‘Let’s jam! Let’s jam!’ I had to be part of this, I was super-jealous of anybody who was already involved.” “Richard and I were talking about this earlier,” Brown continues, “I guess the big thing about Eagle & The Worm was, for me especially – the same with any band that I ever want to be a part of – is that it’s more about the people than it is about the level of musicianship. A lot of people in our band have studied music and a lot of people are great musicians in their own right, but having great people in your band – we all really click on a personal level, and we inspire each other on a personal level – I think that’s more important to make great music together than actually being a great musician. “You can’t buy that chemistry no matter how much you train or learn or practice. The kind of avenues you can go down when you have that chemistry and you have that friendship – you can create a totally different journey for yourself through that than what you can by just practicing as hard as you can. So I think the early days of Eagle & The Worm was big time about that – getting the right people who just wanted to play together and who all get along.” Once the band’s blueprint was laid out and the album sessions completed it didn’t take long for the eventual eight-piece line-up to fall into place, basically coming together after the band’s second or third show. Brown, likewise, was quickly aware that this is where his musical future lay, and was quick to set himself some aesthetic rather than financial goals. “I look back – it’s all gotten a bit convoluted over time – but in my mind when I first started doing this I saw this as my own long-term musical goal,” he admits. “Like if you buy a house and think, ‘Yeah, I’m going to live here for a while’. How I thought about Eagle & the Worm when I started it was that it doesn’t really matter to me about numbers and stats and how many people were at a gig, it just matters about the success of the show in getting our vibe to those present. “And the success of the record will be not in sales figures, but if people can hear it and connect with it, and say to other people ‘This is a great band’. If people come to the show and connect with it then that’s the success that I sort of want for Eagle & The Worm, and that was the same ambition when I started it. So I guess I had a pretty good idea of what I wanted back then.”

  

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18 • THE DRUM MEDIA 18 AUGUST 2011

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WHAT: Good Times (Coalition/Warner) WHEN & WHERE Wednesday 24 August, Prince Of Wales, Bunbury; Thursday 25, The Bakery, Northbridge; Friday 26, Mojo’s, North Fremantle


THE BIGGER PICTURE SINGER/SONGWRITER JORDIE LANE LEFT HOME WITH THE SPIRIT OF GRAM PARSONS AT HIS BACK. HE TELLS DANIELLE O’DONOHUE ABOUT THE RECORD HE’S COME HOME WITH.

J

ordie Lane left Australia last September on a pilgrimage. The 27-year-old was headed to Room 8 at the Joshua Tree Inn, the room that the founding father of American alt-country Gram Parson died in. If you’re not familiar with the death of Gram Parsons, it’s an odd tale. After the young singer died in 1973 his manager, Phil Kaufman, stole the coffin and drove out to the Joshua Tree National Park to set Parsons’ body on fire so he could scatter his ashes. When Lane left Australia, his plan was to stay in Room 8 and pay his respects but on the plane on the way over to the States, he had another idea. “Did I tell you about buying the guitar in LA just to take to the desert to burn?” Lane asks once the topic of Gram Parsons is raised. “That was basically my whole purpose for going to America; to pay my respects to Gram Parsons and I had this idea to get a guitar and light it on fire in the desert. We went to a guitar shop in Hollywood and went straight up to the desk and said, ‘We’re looking for the best kind of guitar for burning’ and they sort of laughed for a second and then the guy goes, ‘Yeah I can show you where to get a guitar to burn’. And he takes me down to this section. And I’m like, ‘My god, they’ve got a guitar burning section’.”

‘MY GOD, THEY’VE GOT A GUITAR BURNING SECTION.’”

For a long-time musician it can’t be easy walking into a guitar store to buy an instrument with the sole purpose of setting it ablaze, but Lane says a chance encounter helped him find just the right equipment to get the job done. “We were racing to get back to the National Park before sundown and I saw a fireman buying his groceries and I went up to him and said, ‘Um, excuse me. This is a strange question but we’re looking for like lighter fluid or something good for burning a guitar,’ and he showed us where the lighter fluid was. It was a lot of fun. It’s probably illegal to have fires in general in those national parks, but it was a real spiritual experience.”

LIFE IS NOISE PRESENTS

With the memories of his Parsons tribute following him around the States, Lane was inspired to start putting together some new songs. He admits there wasn’t a grand plan. In fact there wasn’t even a plan for an album, just a bunch of ideas that wouldn’t go away. “I was just writing for fun, for something to do. I was bored. But that was the beauty of making it, it was just an experiment and a way to enjoy my own company,” he recalls. ‘It’ is Blood Thinner, Lane’s second album. Though he’s been writing and recording EPs and playing gigs around Melbourne since his late teens, Lane’s debut album Sleeping Patterns didn’t come out until 2009 and was a beautifully realised collection of roots songs about rock’n’rollers, drifters and odd characters real and imaginary. Blood Thinner is quieter and more introspective. Lane recorded it at the end of his recent American travels. His first trip in September lasted for 12 weeks, then after Christmas Lane took off for another 12 weeks. As the trip started to draw to a close, he found himself camped out in Grammy Award-winning producer Tom Biller’s home studio/garage playing all the instruments on an album that he really didn’t expect to record. “He was the one who first made it happen for me. I went and saw him play a gig with his band in a bar and just sort of loosely said, ‘I’m looking for a four track. I want to do some demos.’ He had one so he said, ‘Sure, you can take it.’ I had to go to this other singer’s house and that was really kind of dramatic because I had to go at a certain time of day because her mum comes to the door with a shotgun. They’re from Ireland and their house was burnt down – IRA stuff, so her family’s nuts. I had to kind of drive and wait up the street. “So Tom facilitated the beginning of the process, although he thought I was just some crackhead who was going to sell the thing and never come back. But a week later I came back from the Joshua Tree with those recordings and gave him like 30 cassette tapes and got him to listen to them and he just thought they were great. I was really excited because I’d just found out the depth of the experience he’d had. I didn’t really know that he’d won two Grammy Awards and had worked with all these amazing artists.” Biller’s list of credits includes Kanye West, Elliot Smith, Beck and now Lane’s second effort. Because Lane wanted to continue in the vein of how the songs had been written and then demoed – in random hotels and rooms across the US – Biller’s trusty four track was enlisted once again. “It was really nice to work with someone like that. I felt really comfortable and that was the main thing about the process. He eased his way into it. That final month was staying in his garage/ home studio. I slept down there. I didn’t get out of bed for the first few weeks and he would bring me breakfast and try and get me up. And we’d watch cable TV together and then in the evenings when the air conditioning unit would go off, we’d start recording. Lane says after the album got finished in May he knew it was time to come home. Little things stopped going his way, like cars running out of petrol or meetings getting cancelled. But now he’s home getting ready to tour his second album, Lane is ready to call it. “It was the best experience of my life. That’s a big call but it’s the most… it’s the biggest change, the biggest shift in my mentality that I can remember. On a personal level, I think it’s the first time I’ve ever had to face myself and accept it and learn to respect my own company. “That’s a lot of what the record is about. It’s about actual things that happened on my trips, but it’s also about that bigger picture, like growing as a person and questioning things like religion and stuff like that. And what better place to do it than America?”

WITH SPECIAL GUESTS USURPER OF MODERN MEDICINE ANDREW SINCLAIR & THE RITUAL BAND AND {move} DJS

SATURDAY 27 AUGUST THE BAKERY 233 JAMES STREET, NORTHBRIDGE 8PM-2AM

TICKETS ON SALE FROM LIFEISNOISE.COM NOW BAKING, HEATSEEKER, 78 RECORDS, MILLS AND PLANET FOR $19+BF

WHO: Jordie Lane WHAT: Blood Thinner (Vitamin) WHEN & WHERE: Friday 19 August, Indi Bar, Scarborough; Saturday 20, Norfolk Basement, Fremantle; Sunday 21, Settlers Tavern, Margaret River

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THE DRUM MEDIA 18 AUGUST 2011 • 19


KARMIC RETRIBUTION TOUR-TIRED LEADER CHEETAH MEMBERS DAN CRANNITCH AND MARK HARDING TELL LIZ GALINOVIC HOW, IN CREATING THEIR SECOND ALBUM LOTUS SKIES, THEY TRIED NOT TO TRY TOO HARD. LUCKILY THE RESULTS ARE HARD NOT TO LIKE.

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hey look a tad dazed and distant in that way that is common of the truly exhausted. Several empty coffee cups lie around the table, evidence of the morning they’ve spent talking about themselves and their music in the lead up to the release of their second album Lotus Skies. The fatigue is a result of their recent tour with fellow indie rockers The Middle East. But despite the heaviness around the eyes, Leader Cheetah singer/guitarist Dan Crannitch and bassist Mark Harding still manage to look pretty pleased when discussing the recent events. It actually livens them up a little. “It’s our ninth night and tenth day of playing and not getting enough sleep,” Crannitch explains. “But it’s been great.” And Harding nods in agreement. They’ve been playing together now since the end of 2007, along with Crannitch’s brother Joel on drums and “the other” Dan who, also a guitarist, is Dan Pash. While all four had been involved in numerous bands over the years, the Crannitch brothers decided they wanted to start something new. “Mark is a really old friend of mine,” Crannitch says, “and out of everyone that I knew, he’s the guy that I thought I‘d love to have come and play bass in the band.” The compliment induces a shy smile from Harding who adds that at the time he was involved in something else and had no intention of joining them, “but I just loved what he was doing,” he says of Crannitch – and so he decided to join them. What they were doing was devising Leader Cheetah’s sound and creating their debut album, 2009’s The Sunspot Letters – a collection of melodic indie-rock ballads that landed them a place at Splendour In The Grass (at which they will perform again this year) and has sent them touring around the country. As Crannitch says, in his matter of fact way, “Well, 2009 was a busy year.” And 2010 proved to be one too. “We pretty much took most of the year off to just write and try to write the best album we could.” That was despite having told everyone in 2009 that they already had most of the material for a follow up. “To be honest I don’t think any of those songs ended up making it onto this album. At that point [back in 2009] we were like, ‘Oh these are definitely going to be on the next album’ and then we just went through a few little creative writing spurts and after a while you start crossing out some of the old songs and replacing it with a new one,” Crannitch tells, and Harding nods along with him.

When it comes to sound, not much has changed on Lotus Skies other than the structure of the songs being somewhat more refined. The ballads are still there, the rock is still there, the occasional country twang and surf guitar is there. According to Crannitch this was their aim. They didn’t want to “try too hard” or “overthink” anything. What did change was that on the first album Dan Crannitch wrote and conceptualised most of their songs, but on Lotus Skies, his brother Joel played a bigger part in this process. “He came up with the initial idea of some of the key tracks on [this] album, which I think probably changes things in the sense that he brought a bit of a different colour and palette than if it was just all me.” Harding and Pash tend to leave this part of the writing process to the brothers. As Harding explains, “all the embryos come from Dan and Joel and I guess we kind of jam it out together. That’s how it works.” What Harding, in conjunction with Joel Crannitch, has especially brought to the band is a love for funk and soul music, the influences of which shine through on tracks like So Save Me. “Joel and I really do enjoy soul music and really groove orientated tunes and we were just bringing that to rock’n’roll,” he says. The boys claim that all four of them have very similar tastes and respect for music. “I don’t think we have any different genres that we’re not in to,” says Harding, which makes the creative process roll much easier, particularly if a member is finding themselves in some kind of creative block. The first single to come off the album, Crawling Up A Landslide, is a prime example of how this works out. Crannitch says that what he first brought to the table wasn’t working. “It wasn’t until Joel started doing the little classic country shuffle that we were like, ‘Well, we’ve definitely countrified it and I don’t know whether that’s a good thing or a bad thing, but fuck it, it sounds good’,” he laughs. “I think that’s also in the vein of what we were saying about not trying too hard and just letting the songs go where they kind of want to go and not being too afraid to just… if that’s where it goes, that’s where it goes.” When it comes to lyrics, they describe their word-work with words and phrases like “esoteric” and “stream of consciousness”. Yet Crannitch, who does most of the writing, admits to suffering through a period where personally he found himself feeling spiritually and emotionally “off balance”. But it was an experience that brought richness to the songs while being a cathartic process for him. “I think that can kind of help when you’re writing. I’m feeling better now, but I was definitely feeling a little bit out of balance and would sometimes just kind of put that energy out there and be like [makes as though he’s pleading with the universe], ‘I need a song!’ And it works... karmic retribution.” The band’s next big aim is to get overseas, but first they played Splendour, supported Gomez and they’ve just announced another national headline tour. Asked whether they’ve already amassed material for album number three, both men deliver a very adamant “no”. But this doesn’t mean they’re not continuously working at it. As Harding tells it, “Everyone’s always doing a bit of songwriting and there’s always creative ideas floating around. Always. There’s never really a drought in this band.” WHO: Leader Cheetah WHAT: Lotus Skies (Spunk/EMI) WHEN & WHERE: Friday 26 August, Amplifier, Perth; Saturday 27, Mojo’s, North Fremantle 20 • THE DRUM MEDIA 18 AUGUST 2011

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Using even a small amount of cannabis can increase your risk of mental health problems, including anxiety, paranoia, panic attacks and schizophrenia. 1 in 7 cannabis users report experiencing mental health problems. This risk increases the earlier you start and the more you use.

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THE DRUM MEDIA 18 AUGUST 2011 â&#x20AC;˘ 21


NOT SO SILENT DISCO UK DJ/PRODUCTION DUO SIMIAN MOBILE DISCO HAVE BEEN KEEPING BUSY SINCE 2009â&#x20AC;&#x2122;S TEMPORARY PLEASURE, VERY BUSY. TROY MUTTON TALKS TO JAS SHAW ABOUT NEW ABLUMS, RECORD LABELS AND LIVE SHOWS.

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hroughout the rise of nu-rave and electro in 2007 with the likes of Klaxons, Digitalism and Justice, there was a little production duo always flitting about the edge, throwing in some blippy, unmistakeable remixes and killer DJ sets at various festival appearances. That team of Jas Shaw and James Ford would release their debut LP late that year as Simian Mobile Disco (an offshoot of their old band Simian), and Attack Decay Sustain Release shot into the club world with much fanfare, before bobbing up again in 2009 with guest-vocal-heavy sophomore LP Temporary Pleasure. While they were a part of that electro scene, you always felt like Simian Mobile Disco were really just a couple of techno nerds who somehow made it more accessible to the in-crowd, and itâ&#x20AC;&#x2122;s proved just the case with the birth of their Delicacies label. Catching up with Shaw whilst at home in the UK, he immediately iterates that thereâ&#x20AC;&#x2122;s a new album on the way, and this time thereâ&#x20AC;&#x2122;s gonna be some changes. â&#x20AC;&#x153;Weâ&#x20AC;&#x2122;re in the studio today, in fact Iâ&#x20AC;&#x2122;m in there on my own today actually,â&#x20AC;? he begins rather excitedly (Drum is lucky enough to catch his first interview in what looks to be a solid hour or two). â&#x20AC;&#x153;Weâ&#x20AC;&#x2122;re working on the new record, but itâ&#x20AC;&#x2122;s summer and weâ&#x20AC;&#x2122;ve said yes to loads of gigs that look like a lot of fun. So although weâ&#x20AC;&#x2122;re working on a new record, itâ&#x20AC;&#x2122;s not going that fast â&#x20AC;&#x2DC;cause weâ&#x20AC;&#x2122;re away like four or five days a week. Itâ&#x20AC;&#x2122;s early days to say really but what weâ&#x20AC;&#x2122;ve done so far is quite a departure from [Temporary Pleasure], and itâ&#x20AC;&#x2122;s kind of heavily informed by the Delicacies project that we did.â&#x20AC;?

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That project has been the duoâ&#x20AC;&#x2122;s chance to play around with production techniques and release stand-alone 12â&#x20AC;? singles, and really get stuck in to those techno leanings that have been ever-present since they first began. It was a refreshing process for the duo. â&#x20AC;&#x153;We werenâ&#x20AC;&#x2122;t having to think about our whole album. It was just a full on kind of experiment, and a lot of the stuff that weâ&#x20AC;&#x2122;ve learnt in that process will be applied [to the new album]. There may be some vocals but there definitely wonâ&#x20AC;&#x2122;t be anything like Temporary Pleasure.â&#x20AC;? While their last record was by no means a bad one, it always kind of felt like it was owned by the guest vocalists, including the likes of Beth Ditto (who they have worked with again this year for her debut solo EP), Alexis Taylor (Hot Chip) and Chris Keating (Yeasayer). â&#x20AC;&#x153;I think we kind of threw people a bit of a red herring with Temporary Pleasure in that a lot of the original tracks on it started off very kind of techno-y, and then we really got drawn into...â&#x20AC;? he pauses, choosing his words. â&#x20AC;&#x153;I think it was just the fact that we got so many vocals back. And they really kind of shaped the record. So we had all these eight-, nine-minute long techno tracks, but then we had these kind of versechorus-verse structured vocals. And really, after a bit of playing with it, it just felt like it made sense to tailor the tracks to the vocals. And itâ&#x20AC;&#x2122;s certainly a good way you can go, but in hindsight there was maybe more work to do, and we should have been less respectful of the vocals, and attacked them more. â&#x20AC;&#x153;It was just one of those [situations] where we had all these people that weâ&#x20AC;&#x2122;d met on tour, whoâ&#x20AC;&#x2122;d said they could do a vocal, and weâ&#x20AC;&#x2122;d be thinking theyâ&#x20AC;&#x2122;d never do a vocal, but they all got back to us with vocals. And I think put in the same position again, with hindsight you can say you change something but...I think it was almost inevitable really that youâ&#x20AC;&#x2122;re not gonna take vocals from all those bands that you love and start chopping them up through synths.â&#x20AC;? Shaw reveals they will still be using vocalists on the upcoming album, but â&#x20AC;&#x153;itâ&#x20AC;&#x2122;s less well known people, and the vocals weâ&#x20AC;&#x2122;re using weâ&#x20AC;&#x2122;re treating them more like weâ&#x20AC;&#x2122;d use synths, really messing around with them.â&#x20AC;? Thatâ&#x20AC;&#x2122;s not to say theyâ&#x20AC;&#x2122;re just going to abandon the Temporary Pleasure catalogue, rather just try and bring those vocally-strong songs together with their darker side. â&#x20AC;&#x153;Also one of the other things that we really noticed off Temporary Pleasure was that when we were DJing, it was quite difficult to put a lot of that stuff into our sets because what we play is largely instrumental and quite a bit darker and weirder than a lot of the stuff on that. Almost a kind of schism started appearing between the live show which was actually quite vocal, and the DJ sets, which were really dark and techno-y. And I think just kind of slightly bringing those two back together again, because we didnâ&#x20AC;&#x2122;t wanna split off into two half bands,â&#x20AC;? he laughs. And when talk turns to the new Simian Mobile Disco live experience â&#x20AC;&#x201C; and it really is an experience â&#x20AC;&#x201C; Shaw gets that excited tone again. Itâ&#x20AC;&#x2122;s obviously something that has really re-fired the duoâ&#x20AC;&#x2122;s hunger for live shows, rather than being huddled inside the DJ booth. â&#x20AC;&#x153;At the very start we spent absolutely ages making the live set as versatile and on the fly and improvisory as possible, which has really paid off in terms of keeping it fun, and also to a certain extent keeping it current,â&#x20AC;? Shaw tells. â&#x20AC;&#x153;Because we get the feeling quite a few electronic artists, they make chunks that are largely unmoveable and trigger them, and then make wiggly nosie over the top, you know? If that was the case we would have had to have gone right back to the studio and re-do the tracks, which is a massive job in itself.â&#x20AC;? And while they do have a background in being in a live band, Shaw has found this show infinitely more interesting, and tricky, than picking up an instrument with a few other blokes. â&#x20AC;&#x153;A lot of people think youâ&#x20AC;&#x2122;ve been in a proper band, so this is much easier, but actually itâ&#x20AC;&#x2122;s as difficult as playing properly in a band, if not harder, and thereâ&#x20AC;&#x2122;s actually much more room for improvisation with this â&#x20AC;&#x201C; and it was really something that has been refreshing for us after DJing. So none of it is fixed, and everything is on the fly, and you have a kind of idea that youâ&#x20AC;&#x2122;re gonna play this or that but then you realise this isnâ&#x20AC;&#x2122;t working and it makes you completely re-address everything youâ&#x20AC;&#x2122;re gonna play that night. And that kind of fluidity in terms of what youâ&#x20AC;&#x2122;re playing is something that we really wanted to translate across to our live show.â&#x20AC;? WHO: Simian Mobile Disco

<3E/:0C;Âľ@/7<=<B636C;;7<5E7@3Âś=CB<=E=<23E>@=13AA 22 â&#x20AC;˘ THE DRUM MEDIA 18 AUGUST 2011

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WHEN & WHERE: Parklife â&#x20AC;&#x201C; Sunday 25 September, Wellington Square, East Perth


SAFE & SOUND ALTERNATIVE

IT’S THAT TIME OF THE YEAR – RADIOTHON, TEN DAYS CELEBRATING OF ALL THINGS RTRFM. MUSICAL DIRECTOR ADAM TRAINER BRINGS JASON KENNY UP TO DATE WITH THE SOUND ALTERNATIVE.

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arlier this year, in a modest footnote to their local newscast, it was noted that RTRFM had been on the air for 20 years. One of the pillars of the Perth music industry has changed in many ways over those two decades but the longevity is a credit to the strength of their subscription base and the ongoing support through so many Radiothons. “Well, we joke about it being the ten most important days of the year for the station, but it’s the reality,” says RTRFM’s Musical Director Adam Trainer. “Hopefully what we do during those ten days really drives home to people how important subscriptions are to our survival. And hopefully folks forgive us for banging on about it for ten days because it is so important – because for the other 355 days a year we try not to big ourselves up too much – we just try to play the best music going and deliver the best programming we possibly can.” The 2010 Radiothon was an initial success but as the results came in it left the station shorter than they’d thought. “Well, in terms of the number of subscriptions pledged Radiothon 2010 was actually our best year yet,” Trainer says, “but the problem is getting folks to honour those pledges. Unfortunately sometimes people forget or they get swept up in the madness and pledge without thinking about following through when it’s all over with. “Contrary to popular belief, RTR doesn’t receive any ongoing government funding, and we’re not actually as flush with money as people think we are, which is why Radiothon 2011 is a really important one for us. Just as our fundraising events and sponsorship are as important as ever, so is Radiothon, and as it’s our biggest source of income, it matters that bit extra this year.” Trainer puts it partially down to the way the station is perceived. Recent additions like a new location and digital upgrades – thanks to a one-off LotteryWest grant – means RTRFM has top technology. That acts as a double-edged sword in some ways. “I think since the station moved to Mt Lawley and has taken on a very publicly visible location with a very recognisable branding it has perhaps given the impression that we’ve got loads of money, and therefore that Radiothon is not as important to the station. “We’re the sound alternative by name and by nature, and we’re often the first station to break new sounds, to play artists who are pushing musical forms in new directions, and to offer programming that appeals to people who want something different. And of course we’re almost always the first station to play local artists – and we do so regardless of whether they

have a sound that might get them airplay elsewhere or whether they have a decidedly non-commercial sound. In fact we’re often more likely to play music that doesn’t have a commercial appeal and talk about issues that are outside of mainstream concerns, which is what our listeners respond to and what keeps them tuning in.” The LotteryWest grant helped RTRFM’s transition to digital broadcasting, only one of the high points for over the last twelve months. There was the addition of the station’s own locally focused news and, on a more personal note for Trainer, there was the successful In The Pines this year, his first as organiser. “We’re really happy to be at the forefront of broadcasting technology with the move to digital – obviously as radio catches up to TV people will start to realise how much better it actually sounds! That hasn’t affected our programming as of yet, but it does open up a number of really exciting possibilities, like having two or more channels that people can choose from – like with TV – and also broadcasting special events.” Radiothon always brings some special events, the opening and closing parties along with a special Breakfast With Barr, this year from 78 Records. And if there was any other reason you needed to support RTRFM, there’s a bunch of prizes they’ll throw at you. “We’ve got a cracking bunch of prizes this year,” Trainer says. “First prize is a bright red scooter from Ace Scooters, which has a Vespa motor in it, so it’s got the hipster factor covered, but because it’s red it ties in nicely with the station, and of course it goes faster. Second prize is a pearler too. It’s the Kosmic Collection, which is everything you need to have a kickass house party at your place – turntable, CDJs, mixer and speakers. And of course there’s the ever-popular Feature 250 prize, which is every feature album from right across the station for the last year. “We’ve also got a really interesting prize for those who subscribe on the first Friday of Radiothon, which is the Ninja Lunch – a day of fun and frivolity with the Injured Ninja lads, doing all sorts of crazy stuff like hitting up taxidermy museums and getting involved in a paintball skirmish – that one’s a bit crazy.” Almost as crazy as not getting behind the station that supports the local scene. The RTRFM Radiothon Opening Party is this Saturday 20 August at The Bakery, with the Closing Party set for Saturday 27 at The Rosemount Hotel.

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THE DRUM MEDIA 18 AUGUST 2011 • 23


GOLD’S KITCHEN

AN ENDLESS SUMMER

EXCITING NEW TRANCE TALENT BEN GOLD IS ON HIS WAY TO AUS’ FOR THE FIRST TIME, AND HE TELLS CYCLONE THAT MAYBE THERE IS SOME HOPE FOR THE UNHOLY UNION OF RAP AND TRANCE.

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en Gold has the winsome, boyish looks of a talent show favourite but, rather than pursue pop success, he’s determined to become a trance superstar. The Londoner – bringing his “dancefloor weapons” to Godskitchen on his first Australian tour – not only has a masterplan, but also the necessary work ethic. Gold was perhaps destined to be a DJ/producer – he’s the offspring of the veteran Graham Gold. They’ve collaborated in the past, Ben involved in Dad’s Relative Records. Gold has been active since the early 2000s. Judge Jules selected his Digital Funk (aired under the handle B’Jammin) for a 2003 Ministry Of Sound compilation. Leaving school at 16, he studied music technology in a local college where he learnt how to record bands, and studied the machinations of the biz, but he taught himself how to use Logic Audio at home. Later he engineered for other dance artists, including Claudia Cazacu. “I was working with people whose knowledge of writing a record maybe wasn’t as good as others, so I found that I was doing a lot more of the work – and that’s quite soul-destroying,” Gold recalls. His DJing gaining momentum, he decided to focus on his own music. Gold has made his mark with remixes and originals, such as Life (signed to Discover by then A&R John Askew), Say The Words (which sampled the singer/songwriter Senadee) and, recently, Pandemic (on Gareth Emery’s Garuda, currently Gold’s main outlet). Gold appreciates how competitive it is for today’s DJs. “I was trying to find my own sound that distinguished me from everyone else. It’s so easy to copy another producer, or copy another record that has been successful. But most of those records are successful for a reason – and that reason is mainly because they’re unique and they’re original. So you need to come up with those elements, but on your own. “I’ve been producing for quite a while and been through

HAVING BEEN RUDELY AWOKEN BY THE UNFAMILIAR, UNMISTAKABLE RATTLE OF AN EARTHQUAKE IN TOKYO, WASHED OUT’S PRINCIPAL PROTAGONIST ERNEST GREENE TELLS RICK BRYANT ABOUT THE CHANGES THAT COME WITH RAPIDLY BURGEONING POPULARITY. a few different musical styles to get where I am at now. I’ve just been experimenting, really, and finding what I enjoy doing.” Gold intends to present an album this time next year. He has a studio ready – it’s a matter of scheduling time between gigs. “I wanna think about the album, I wanna work out how many tracks are on there, what kind of tracks… I also wanna make sure that I show something different to what I’ve ever released, because I think to have 12 to 14 tracks of all electronica, and all the same style, would be boring – especially to the listener… I wanna do some different stuff and some experimental bits.” Gold listens nearly exclusively to trance, downloading the major radio shows lest he miss any DJ anthems. “I like to be as upfront as possible.” Nevertheless, he has his quirks. “I used to be a huge fan of Guns N’ Roses before I was into dance music. I have all their albums – I know most of the lyrics still off by heart.” Ironically, trance is increasingly mainstream, with ‘urban’ acts like Snoop Dogg exploiting the music under David Guetta’s auspices. Gold lately flew to Italy on the same plane as Busta Rhymes, who’s recorded with Tiesto, and they talked music. Still, Gold remains unsure about rap’s prevailing fixation. “They’re almost forgetting their love – they’re just following the money.” Though Gold worries that some people may be “confused” about what trance is, there could yet be benefits from this crossover. “It is definitely opening the eyes of a lot of people – and, hopefully, slowly but surely, they will venture into the likes of Godskitchen events and we can reap the rewards as well.” WHO: Ben Gold WHEN & WHERE: Godskitchen 3D – Friday 30 September, Metro City, Northbridge

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eflecting on a performance at the Fuji Rock Festival two days earlier, where Washed Out had opened the Planet Groove stage amid a teeming, pulsating crowd, it’s staggering to consider just how swiftly Greene’s star has risen. Two years earlier he was releasing self-recorded tracks online from the rural town of Perry, Georgia, mostly for the benefit of friends and with little thought of a substantive future. But then the game changed. Blogs of influence, which build and raze reputations expeditiously and unapologetically, were unanimous in their praise and fell on his warm, sparse, ‘80s-inspired synth with glee. He became the poster boy for all that was right with the new musical climate, which no longer demands that years of toil precede any reward, and his esteem grew with every release. Now, talking from the Prince Hotel in the heart of Tokyo, it’s clear that the rapidity of success that Greene has achieved is still sinking in. “Yeah, I try not to think about it too much because it really is pretty odd,” he admits. “Like, Kieran [Hebden] from Four Tet, I have literally listened to his records so many times over the years and then I’m sharing the stage with him and talking to him about his musical approach. “I’ve been lucky enough to have similar meetings with a lot of the musicians that I really looked up to, like all the guys from Animal Collective a while back. Even beyond that, I mean, being here in Japan, I never would have had the chance to travel here, and never even would have considered having the opportunity to play music here. It’s all pretty crazy.”

Such enviable associations also extend to music producers and Greene was lucky enough to work with Ben Allen - whose credits include Animal Collective’s excellent Merriweather Post Pavilion - on Washed Out’s debut full-length record Within And Without. For an

artist so used to having complete creative and technical control, it was an exercise that allowed Greene to extend himself further. “I knew that I didn’t want to make the same record over again and I wanted to try some new things. “Ben Allen came in really at the latter end of the process and his influence was really great,” Greene explains. “I’d been working on the songs for maybe five or six months so I’d definitely lost an objective view of what I was doing. He came in and we spent a period of about 12 days changing arrangements, and the songs I was writing were much bigger and I’d got a lot better at producing, and I wanted all of that to play into the sound.” The result is certainly a progression from earlier works and sees the hip hop influences that were so prominent on High Times massaged out of the tracks and replaced by more conventional beats. “I really don’t listen to hip hop as much as I used to,” he admits, “and though it has very much shaped the way I write, the songs on this new record were moving into a more organic, more live-sounding manner, so I was just trying to take that to its logical end.” The overwhelming tone of the record remains the hazy warmth that Washed Out has become known for, but there are more things happening beneath the surface. Now playing with a full band, the tracks are still evolving and have recently taken on a heavier, harder edge, an experience that Australian audiences will be able to absorb during Washed Out’s claimed scheduled visit in early 2012. WHO: Washed Out WHAT: Within And Without (Sub Pop/Pod/Inertia)

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UNEARTHING STONEFIELD WITH A SET AT THIS YEAR’S GLASTONBURY FESTIVAL BEHIND THEM AND VEGAS GIGS AHEAD, KITT DI CAMILLO SPEAKS TO PSYCH-ROCK WUNDERKINDS STONEFIELD.

A

fter winning triple j’s Unearthed High in 2010, the Findlay sisters immediately saw their band awash in hype and anticipation. The Stonefield backstory caught the eye from the outset – four teenage siblings with a fast developing knack for riff-orientated melodies, raised on a diet of Frank Zappa and Led Zeppelin on a hobby farm in country Victoria. As half the group juggled school commitments, they found themselves being lined up for larger and larger shows, with massive support slots quickly leading to being handpicked to play the John Peel Stage of the legendary Glastonbury Festival earlier this year. “That was probably the biggest turning point,” explains oldest sibling Amy of the Unearthed triumph. Winning song Foreign Lover became the first of multiple Stonefield tracks to gain radioplay for the quartet of Amy on drums and lead vocals, Hannah on guitar, Sarah on keyboards and thirteen year old Holly on bass. “It’s kind of weird ‘cause we weren’t even gonna enter it. We finished recording Foreign Lover the day that [the competition] closed, and Mum was like, ‘Oh just upload it, you may as well’ and we were like, ‘There’s no point! There’s so many amazing bands, as if we’re gonna win, blah blah blah.’ And since that, everything’s been go go go.” Having gone from rehearsing in their shed to hanging out with the Arctic Monkeys backstage at the biggest festival in the world, Amy laughs when describing the band’s earliest days. “We grew up in the middle of nowhere! There wasn’t really that much else to do before we started playing. There’s no shops or anything in our town, so we just grew up listening to music. There wasn’t actually any music teachers in our area until five and a half years ago. We did the whole dancing and singing thing when we were little ‘cause that’s sort of all there was. And then a music teacher moved in next door, so we could start learning instruments!” Success at such a young age inevitably comes with a

backlash, and it didn’t take long for the Findlay sisters to notice the double-edged sword their particular history had saddled them with. “It is kind of annoying when people haven’t actually been to a show or know anything about us and assume we’re put together by a record company or whatever,” admits Amy. “It’s an advantage in so many ways because of course it’s easier for us being a band – we’re sisters, we’ve all got the same tastes, harmonies are easier, all that kind of thing. “We’re so used to each other so it makes touring easy, Mum and Dad are there to keep us grounded…it’s really good in all those ways. But yeah, then people are like, ‘It’s a gimmick’, which you know, I guess it kind of is, but we don’t wanna be thought of as this four-sister band. We wanna be respected for our music and what we actually do rather than who we are.” The first ever Stonefield national tour should go some way to winning the sceptics over. Having played together for five and a half years, the Findlays are now a formidable live band, dripping with youthful enthusiasm while displaying a musicianship that clearly belies their ages. The retro rockers already have a history with Perth too – their set at the One Movement Festival earlier this year was the show that prompted the invite to play Glastonbury. Amy is excited to return, and eager to show off her band’s continued improvement in the live environment. “I think it’s gotten a lot better since then. We’ve been doing so much stuff and had all these experiences. Our songwriting’s slowly developing, and our presence onstage is a lot more energetic. We’ve just grown in every way. So it’ll be good to come back!” WHO: Stonefield WHEN & WHERE: Speakeasy – Friday 26 August, Villa, East Perth; Hyperfest – Sunday 28, Midland Railway Workshops (day); Sunday 28, Mojo’s, North Fremantle (night)

SLAP & GIGGLE MELBOURNE BEAT MAESTRO OPIUO CHATS TO CYCLONE ABOUT HIS BEGINNINGS, WHERE HE’S GOING, AND ER… MC HAMMER.

M

elbourne’s Opiuo isn’t among those homegrown producers who jam social media sites or blog constantly, lauding their own achievements. He’s steadfastly underground. Nevertheless, Opiuo has established himself on the North American circuit with a live electronic hybrid that is experimental, party-fuelled, bassy, beat-driven and, yes, hard to tag. After his current spate of Australian dates, Opiuo will return Stateside to play the counter-cultural Burning Man festival in Nevada’s Black Rock Desert. It’ll be his fourth North American trek – and second this year. “America is an amazing place to go tour and explore,” Opiuo enthuses. “I’m super appreciative that my music is so well received. Each time I go back my following grows noticeably larger, [with me] getting to play to a wider audience. Burning Man festival is a creature of its own. This will be the second time I’ve delved into the depths of that place – and I hope it’s not going to be my last. It is literally the most fun I have ever had.” Opiuo had an idyllic – even bohemian – rural upbringing on New Zealand’s South Island. “My parents used to throw big parties on their land, so I was surrounded by the fun, free and wild festival culture from a super young age.” He was also introduced to music – and the keys. “I learnt piano at a very young age. Unfortunately, I didn’t keep at it as I discovered sport and parties soon after. But, thinking back, my very first musical moment was at the massive age of two – I jumped on a drummer’s knee at one of the festivals at my olds’ and jammed with the band. This probably spawned my love for the drum kit, and rhythm, with me playing drums in a punk/ska/emo rock – yes, emo, you read it right! – band until around 2003. “The many phases of my musical involvement were changing constantly for a few years there. I’ve DJed since I was 14, moving through everything – starting with trance, then house, then drum‘n’bass, then breaks, then electro… Once I was confident enough in my own productions around 2008, I moved away from the DJ world and started to play live original sets. At the

beginning I was a little worried whether my style of music would go down well on the dancefloor as I’d never heard anything like it. Lucky enough for me it went down amazingly!” In 2005 he moved to Melbourne, encouraged by friends who’d preceeded him. “They raved about it.” Last year Opiuo delivered a low-key debut album, Slurp & Giggle – and was buoyed by the response. “Every day I receive multiple emails from every corner of the globe about people’s personal experiences with my music – especially that album. Just two days ago a 58-yearold couple got in touch from Iceland and let me know they keep warm to my tunes by dancing around their lounge.” His style continues to ”expand and evolve.” He’s now plotting another LP. In the meantime, Opiuo is plugging The Squiggle EP. “The Squiggle EP is actually my favourite release so far. It is a small snippet of the direction my music is taking now.” Opiuo’s most unusual gig? How about sharing a bill with MC Hammer at a corporate bash. ”MC Hammer was almost a highlight in my career! I mean, how often do you get to jam before arguably one of pop culture’s legends? Whether I like his tunes or not, it was so much fun. The show was a private afterparty for Google’s employees on a Tuesday night in one of San Francisco’s top nightclubs. It was kinda strange in the way that no one really danced – except for the guy doing laps at full speed around the club. Most people had their phones out recording you and [they] were only allowed two drinks. But he dropped Hammertime [a.k.a U Can’t Touch This] with a full dance troupe – I’ll never forget that.” WHO: Opiuo WHAT: Squiggle (Addictech) WHEN & WHERE: Friday 19 August, Shape, East Perth

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THE DRUM MEDIA 18 AUGUST 2011 • 25


cd reviews

ON THE RECORD

ESKIMO JOE

Ghosts Of The Past Dirt Diamonds/Warner Freo’s favourite sons Eskimo Joe have returned with their fifth studio album and, while it’s the record that perhaps should have followed Black Fingernails, Red Wine, it’s actually served better by having an album’s break between the two. This is the record where Eskies have realised who they are and what they do best – they just needed the (slight) misstep that was Inshalla to get there. Ghosts Of The Past – as the title would suggest – is their coming of age; Kav Temperley and co. are coming to terms with where they’ve been, and it’s a time for reflection, and embracing all the things Australia loved them for in the first place. Back are the dramatic keys that made Black Fingernails… so dark and memorable, and Ghosts… in general sees a not-unwelcome back-to-basics approach that will have old fans looking back fondly, just as the trio themselves are doing. Lyrically this is Temperley moving out of his ‘roaring 20s’ and sliding comfortably into a third decade, looking back on the ‘ghosts’ that have brought him here. Earlier songs like When We Were Kids and the title track see him in full reflection mode, while later on in tracks like Just Don’t Feel and Sky’s On Fire, there’s an acceptance of life now. Underpinning it all is that classic Eskies pop-rock sound, which almost plays it a little too safely (but then that’s kinda the point). Driving drum beats, rocking riffs and Temperley’s signature croon, with interspersed slower moments that give listeners a chance to stop, and perhaps do some of their own reflecting. Where they go from here is anyone’s guess, but for now most fans will be happy to have them back.

CD OF THE WEEK

JACK LADDER & THE DREAMLANDERS Hurtsville Spunk/EMI

JOHN MAUS

We Must Become The Pitiless Censors Of Ourselves Upset The Rhythm/Inertia

Jack Ladder has released a very different record. If you are familiar with his prior work, namely 2008’s Love Is Gone, you might be forgiven for expecting an up-tempo rock’n’roll record in Hurtsville. Not so. As the name might suggest, the sound is considerably darker, moodier and, well, gothic. Recorded with Burke Reid at the same estate where Gareth Liddiard recorded his solo debut Strange Tourist, Jack and his Dreamlanders recorded their 50-minute, eight-track disc using The Drones’ gear. The title, drawn from the Sydney suburb of Hurstville, sets the tone for the subject matter of the songs, dealing with love (and virginity) lost, whilst inciting a lot of comparisons to various artists. First track Beautiful Sound seems to hold a likeness to U2 through its use of guitar drenched in stadium reverb and a string sampler. Even Ladder’s deep baritone incorporates a bit of melody as it grows to meet the choruses, making it easier to picture Bono. Then there’s the electronic drums, eerie keys and occasional distorted but distant guitars of Short Memory bringing to mind the Editors, and yes, there’s the whole Nick Cave and The National thing. It’s not just the deep voice though, it’s also in the intonation and the phrasing of each line, most notably in Blinded By Love because of it’s slow, drawn out tempo and swampy feel. Yet these are offensively bad comparisons.

We Must Become The Pitiless Censors Of Ourselves is underground keyboardist/philosopher John Maus’ third studio album, and a towering testimony to the 1980s; that bountiful nexus of post-millennial idolatry. Powered by gloomy analogue synth, Maus’ droning vocals come with such haunting monotony that it’s as if they’re being murmured by one of Blade Runner’s android replicants. Evoking new and old; Ian Curtis meeting Ariel Pink, Gary Numan against The Horrors, …Censors Of Ourselves is equal parts homage and innovation. Keep Pushing On and Streetlight invoke the frantic electronic arpeggios of Italo-disco to good effect, but it’s Maus’ slower numbers that shine; Cop Killer provides the album’s pulsing, phantasmagorical centerpiece, playing out like the theme to some lost ‘80s horror flick. Hey Moon (written by Swedish songstress Molly Nilsson) weds delicate lyrics (“Your pale round face/ makes me feel at home in any place”) to a glowing keyboard riff and showcases Maus’ command of synth-pop. Contrary to the jagged cynicism of its title, …Censors Of Ourselves is a thoughtful exploration of electronic music’s earliest days made through the measured lens of hindsight.

PHRASE Babylon Universal From the moment Phrase comes bursting out of the gates, aided by You Am I’s Davey Lane on Apart, it’s immediately clear that Babylon is the least ‘hip hop’ hip hop record to emerge in Australia to date. Phrase isn’t just sampling or referencing classic rock ‘n’ roll – he’s created it, but with rapped vocal lines instead of sung. It sounds like a recipe for disaster, but instead, it’s a phoenix (also the name of the closing track), rising from the ashes of genre as something completely fresh and intoxicating. Phrase has eschewed the need for beats, preferring to build Babylon from the ground up. The album is rich with ‘60s-‘70s psychadelia, gleefully immersing itself in upbeat drum lines and well-timed guitar wails. He’s also at his best on the marvellously timely The Book, in which he harpoons the faux-cial media craze straight through its vacuous heart. Phrase has an almost unparalleled ability to inject drama into his vocals, and imploring his Facebook “friends”, “Please don’t lie to me” gives the song a raw power. Here’s hoping we hear it on the airwaves soon. He’s secured the talents of none other than Jimmy Barnes as the guest vocalist on Velvet Glove, and the unlikely marriage of hip hop and pub rock is, surprisingly, the kind of odd couple that you wish you saw more often. Phrase’s measured rapping melds beautifully with Barnsey’s belted chorus, a smooth execution of what could have been a show-pony of a track.

All in all, Hurtsville is a solid release from Ladder and co. The large step from previous sounds into an atmospheric and reverb-drenched gothic world has paid off, pulling together a solidly themed, and rather impressive record. Bravo.

Nostalgia is increasingly considered pejorative; but John Maus takes the grandiose proto-electronica of the Reagan era and triumphantly re-imagines it with self-awareness and subtlety. …Censors Of Ourselves is nostalgic in the best sense of the word; a hymn for listeners who share Maus’ preoccupation with the unintentional beauty at the edges of pop culture.

TROY MUTTON

ANDY SNELLING

CALLUM TWIGGER

NATHAN KAYE

NICK WARREN/VARIOUS

SAMIYAM

SEBASTIAN

Independent

Balance

Brainfeeder/Inertia

Ed Banger/Warner

If you’re into the Australian roots scene then you know Nathan Kaye. The didgeridoo-rockin’ troubadour is one of those hard working chaps that gets around the country at least a few times a year, bringing his one-man band to all the local haunts you’d expect the likes of that ilk to play.

The 18th instalment of the Balance series sees Way Out West’s Nick Warren take on the role of house soothsayer. This twin CD release shows Warren to be a thoughtful yet club-hardened DJ who celebrates his tracks of choice while simultaneously bending them to his will. Technically the transitions on both discs are short and poignant, yet with most of the songs allowed to play out to their full track length. This allows Warren to play with and imbibe the songs with his own personality with the use of live looping and effects. Beginning with the minimalistic Only by Ormatie, the mixing is clever, deft and real. This is further typified with the standout selection and movement between Berlin by Underset through to Jamie Anderson and Owain K’s Without Sound.

Having forged a reputation with releases on uber-cool labels such as Hyperdub and Brainfeeder, a growing simmer of anticipation has been building for Samiyam’s, a.k.a Sam Baker’s, sophomore full length. Elements of those early works, such as the dynamic production (characterised by massively compressed snares that can split ear drums in half) are strongly evident, whilst other quirks, such as Baker’s penchant for woozy otherworldliness are magnified alarmingly. Not mentioning the discordant synth waves that might’ve been sourced from some horror and ketamine fuelled, abstract short movie and curious vocal snippets, just long enough to arouse curiosity without answering too many questions.

The black sheep of influential French label Ed Banger (Justice, Busy P, Breakbot et al) has finally released his debut LP after missing the initial electro boat in 2007. Is it a bit too late? Maybe. Is it still a cracking electro album? Absolutely. Total is 22 (!) tracks that traverse the young gun’s journey from 2006 til now, which initially seemed like an odd choice, but after experiencing what SebastiAn had to offer back then, and combining it with where he’s headed now, it somehow works.

Lucky Man

Lucky Man is Kaye’s fourth release and it’s full of the heart that he has built a solid fan base on over the past few years – in Australia and abroad. The CD itself is divided into a Side A and Side B, with the first six tracks being traditionally recorded for the album, while the last ten were recorded live in a studio with a studio audience – perfect for this kinda gear. So while the first part is a serviceable collection of tracks – the last two in particular stand-out for simply lifting the mood from the tender and slow nature of the first few – it’s tracks 7-16 that will have you coming back for repeat listens. The live environment is obviously where Kaye feels most at home, and it’s a rip-roaring collection of roots-rock filled with plenty of stomping beats, lapsteel slide guitar and, of course, didgeridoo, with Kaye himself in full storyteller mode. His fun spoken-word stylings on the title track (and its sequel), complete with audience laughter and hooting do the man justice, with the blue-grass guitar of Put That Thing Down and the driving I Bumped It also proving plenty of fun.

Balance 18

With the absence of vocals spanning both discs, the sonic story is crafted through rhythm and melody and for the most part there is an effortless synthesis between the tracks. The defined ebbs and peaks may not find favour with some who want more boom than beauty, but this makes the mix listenable and rarely repetitive. This lack of repetition is continued onto disc two where bass driven tech is blended through progressive groove with poise and subtlety.

Sam Baker’s Album

A prime example is the utterly warped Kitties, as an unidentified voice waxing on rescuing homeless felines introduces an irresistible, car boot-jolting stomp, sporadically interrupted with backward meow snippets. Brutally edited, the average track length is a tickle over two minutes, constantly switching tack like a tightly packed mixtape or J Dilla’s legendary Donuts.

While you might find yourself flicking through Side A after the first couple of listens, crank up Side B as you jump in the combi and head south-west to catch Kaye and his mighty didge.

Balance 18 is not only a celebration of the use of modern technology to stamp the DJ’s personality into the release but also seeks to celebrate the tracks by letting them breathe within a live remix technique. Warren barely puts a foot wrong and the mix in its entirety should be a listening pleasure for purveyors of tech, progressive and house – and a fine taster of things to come when he tours this way.

Reactions to this album will probably fall into two categories. There will be those who flock to the instantly magnetic grooves and blinding collision of weirdness. There will be others who feel disappointed by Baker’s decision not to explore some tracks in greater depth or even frustrated that opportunities to shake some proverbial booty are curtailed before even a hint of sweat has broken. Either way, nothing on Sam Baker’s Album in anyway damages his reputation as a formidable talent. How he follows up this slab of unpredictability and innovation is anyone’s guess.

TROY MUTTON

CHRIS ARCHIBALD

CHRISTOPHER H JAMES

26 • THE DRUM MEDIA 18 AUGUST 2011

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In short, Babylon is brave, unafraid, and unabashedly triumphant. ALEKSIA BARRON

Total

Admittedly a bunch of the 22 tracks are little interludes that sometimes work (Mean Games, Tough Games), sometimes not so much (Cartoon), but the proper tracks within are worth the journey – one that keeps the album filled with the variety that separates interesting dance albums from boring slogs of the same track on repeat. Most notably it’s SebastiAn’s new-found disco and funk influences that provides the most fun – in particular first single Embody, the Prince-esque Love In Motion (featuring Mayer Hawthorne) and the groovyas-shit Arabest (which borrows a little from labelmate Breakbot). Older favourites like Ross Ross Ross and Kindercut induce hazy memories of the hedonistic indieelectro parties of ’06-’07, while tracks like the tough-asnails Motor and angry Doggg remind what it was about his early productions that felt so fresh at the time. Total isn’t without it’s shortcomings – the title track feels like noise for the sake of it, and the M.I.A-guested C.T.F.O is flatter than the talent involved should allow, but it’s a pleasant reminder why Ed Banger – and SebastiAn – were so hot right then, and foretells their return to our ears and minds in 2011. TROY MUTTON


Walk This Way presents

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T W I N S

single & music video launch

Sat 20 August 8pm . Amplifier Bar $15 with free Single With special guests

USURPER OF MODERN MEDICINE . SEAMS LILY ROSSEN . REX MONSOON www.voltairetwins.com

ZARM

SUN DOWNER EVERY FRIDAY AT THE HYDEY

SATURDAY AUGUST 20 FREE ENTRY

BOOK FOR 10 OR MORE PEOPLE AND RECEIVE A COMPLIMENTARY PLATTER PLUS THE 1ST ROUND IS ON US! FRIDAYS 3-7PM BOOKINGS ESSENTIAL

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NON-DROWSY

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THE DRUM MEDIA 18 AUGUST 2011 • 27


? w o N n o k c e R a Whaddy e-Issue & Tour Album R Fri Aug 19: MOJOs, Fremantle Mon Aug 22: ROTTNEST LODGE Island Ball, Rottnest Island Fri Aug 28: INDI Bar, Scarborough Fri Sept 2: SETTLERS Tavern, Margaret River Sat Sept 3: PRINCE of WALES, Bunbury Sat Sept 17: Centenary Celebrations, Denmark

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PRESALE TICKETS: $15 RTRFM SUBSCRIBERS / $20 GENERAL PUBLIC MORE ON THE DOOR ON THE NIGHT. AVAILABLE FROM WWW.RTRFM.COM.AU/EVENTS

28 • THE DRUM MEDIA 18 AUGUST 2011


LIVE

18 - 24 AUGUST 2011 live@drumperth.com.au

FEATURE REVIEW

GIG OF THE WEEK :

ABBE MAY BY ELLE BORGWARD

STOLEN YOUTH

OH SNAP @ VILLA Punk-rock party night Oh Snap began with a bang just over a year ago, and as the lyrics go in that lovely Sufjan Stevens song Chicago, “All things grow, all things grow”. The club night has gotten too big for its old venue Black Betty’s britches, so they’re shipping up and shaping out to a bigger venue in Villa. Still going down each and every Thursday night – starting tonight, August 18 – they’re kicking off the new venue in supreme style with a very special Fred Durst B’day Special. They’ll be Rollin’ out Fred Durst masks for every person in the venue and Livin’ It Up, not givin’ a fuck all night long! Oh Snap! DJ’s will be playing plenty of Limp tracks all night, not to mention the best punk/ party tunes all night. They haven’t forgotten the live action either, with local heroes Mandalay Victory and Break & Turning Tides, plus special guests Adelaide’s Stolen Youth. It’s $15 from 9pm – or $12 if you know the right kids – plus there’ll be the usual giveaways galore for Perth’s favourite weekly punk party night.

FRONTLASH

BACKLASH

POW!

VERBAL RAPE

We were expecting something out of the ordinary, but Abbe May’s launch on the weekend took things to a whole new level, our very own rock godess packing more punch than Alison Mosshart meeting Lady Gaga in a boxing ring.

While the suspending of the Eagles’ McGinnity at first seemed almost as odd as suspending a politician for being an idiot, turns out the comment was a shameful reminder of why AFL players will continue to have trouble shaking off their bad rep.

PREFECTLY COOL

CLOWNS VS. CLOWN

Apparently an iOS application is being developed for ‘The New Hitchhiker’s Guide To The Galaxy’, with Simon Jones (who played Arthur Dent in the original TV series) rumoured to be the voice delivering you everything but a reasonable answer to the ultimate question of life, the universe and everything. You don’t need a Babel Fish to translate how rad this will be.

How did the sea of ICP fans let Charlie Sheen escape with less injuries than Tina Tequila? Pelting him with stuff is okay, but the most anticipated meeting of (non) minds this decade basically just fizzled into nothing. They don’t make juggalos and juggalettes like they used to.

ONE SWORD UP

Hell’s bells, drinking a You Shook Me All Night Long Moscato makes us feel about as comfortable as we did when Boonie made the switch to Canadian Club premixes. At this rate, you’ll soon be considered an un-Australian wuss if you down a tinny.

Dazzling us with Fringe Festival feats earlier this year, The Space Cowboy’s weak arresting in NYC recently for busking makes us feel slightly better about this police state of ours. Probably would have got away with it if he were swallowing guns instead of swords…

ACDC WINE RANGE

DRUM MEDIA PRESENTS : JAMMIN! SEMI FINAL 1: CLEAN LIVING, THE DARK ROOMS, ERMINE COAT, MOONTRIBE: AUG 18 Ya Ya’s BONJAH: AUG 18 Mojo’s; AUG 19 Rock Inne Tav; AUG 20 Settlers Tavern; AUG 21 Redcliffe On The Murray RTRFM RADIOTHON OPENING PARTY NAIK, DROP MACUMBA, THE COMMUNITY COLLAB BAND, CARL FOX, UNDERGROUND SOUND SOLUTION and more: AUG 20 The Bakery EAGLE & THE WORM, THE FROWNING CLOUDS: AUG 24 Prince Of Wales; AUG 25 The Bakery; AUG 26 Mojo’s JAMMIN! SEMI FINAL 2: THE TUMBLERS, CROOKS, SEAMS, HURRICANE FIGHTER PLANE: AUG 25 Ya Ya’s SPEAKEASY: STONEFIELD, NINA LAS VEGAS, OSCAR+MARTIN: AUG 26 Villa HYDE-PARKLIFE: AUG 26 Hyde Park Hotel

LEADER CHEETAH, BELLES WILL RING: AUG 24 Boulevard Tavern, Joondalup; AUG 25 Prince Of Wales; AUG 26 Amplifier; AUG 27 Mojo’s THE PANDA BAND: AUG 26 Rosemount Hotel; SEP 2 Players Bar RTRFM RADIOTHON CLOSING PARTY: EMPERORS and more: AUG 27 Rosemount Hotel HYPERFEST: AUG 28 Midland City Workshops AMPFEST: AUG/SEPT Various JAMMIN! FINAL: SEP ! Ya Ya’s BEN SALTER: SEP 1 The Bird; SEP 2 Norfolk Basement ROTTOFEST: SEP 3 & 4 Rottnest Island CALLING ALL CARS, BOY IN A BOX, REDCOATS: SEP 8 Prince Of Wales; SEP 9 Studio 146; SEP 10 Amplifier; SEP 11 Indi Bar + THE BROW HORN ORCHESTRA EP LAUNCH: SEP 9 Court Hotel

THE HERD, SIETTA: SEP 9 Metropolis Fremantle; SEP 10 Settlers Tavern THE VINES, PAPA VS. PRETTY, BLEEDING KNEES CLUB: SEP 10 Capitol THE PANICS: SEP 14 Settlers Tavern; SEP 15 Prince Of Wales; SEP 17 Fly By Night SEBADOH: SEP 16 Rosemount Hotel JACK LADDER & THE DREAMLANDERS, GHOUL: SEP 23 Prince Of Wales; SEP 24 Rosemount Hotel BASTARDFEST: PSYCROPTIC, BLOOD DUSTER: and more: SEP 24 Civic Hotel PARKLIFE: SEP 25 Wellington Square GODSKITCHEN 3D: SEP 30 Metro City + THE FUNKOARS: SEP 30 Royal Palms, Busselton; OCT 2 The Deen (Kings Of Sound) OKKERVIL RIVER: OCT 12 Capitol WAM SONG OF THE YEAR: OCT 12 Venue TBA

ESKIMO JOE: OCT 14 Astor Theatre THE TALLEST MAN ON EARTH, OLD MAN RIVER: OCT 27 Rosemount Hotel; OCT 29 Wave Rock KILLPOP RECORDS FEAT. ELI SMITH, LUCKY DATE: OCT 28 The Bakery HEIRS, ALCEST: OCT 29 The Bakery THE JEZABELS, HEY ROSETTA!, WOLVES AT THE DOOR: NOV 4 Astor Theatre + JEBEDIAH: NOV 10 Metropolis Fremantle + LIFE’S A BEACH: THE BEAUTIFUL GIRLS, SALMONELLA DUB, KATALYST, MUPH & PLUTONIC, LADI 6, BONJAH and more: DEC 9 Rockingham Venue TBA ARCTIC MONKEYS: JAN 6 Belvoir Amphitheatre SOUTHBOUND: JAN 7 & 8 Sir Stewart Bovell Park ONGOING: GIGNITION: Upcoming band showcases 5-9pm each Sunday at Swan Basement

ABBE MAY

Astor Theatre, Mt Lawley 13/08/11 There are gigs and then there are shows. When you go to a theatre you hope for a show, and that’s what the crowd got at the Astor Theatre on Saturday night. As punters strolled in and took a seat early on, DJ Rex Monsoon had a tricky task; how to walk the line between getting the party started without making the initially near-empty room sound like an empty cavern? Answer: a pastiche approach to repertoire (cool/chilled/ downright silly – Enya featured at some point) and later on, costume changes for visual (comic?) effect. Cute, fun, nice work. First support Mathas was a revelation, and set the theatrical tone with his 1940s get up and mimed opening. Mathas is a skip-hopper with a difference, his lyrics and presentation seeming more an evolution of the tradition of spoken word than straight up rap. His skill with story telling and choice of subject matter (no bros or bbqs mentioned here) is unique. Banjo Paterson for the noughties perhaps? Next up, The Silents – a strong band, their late ‘60s/early ‘70s psychedelic sound now well and truly established and fleshed out. The music was wonderful, but overall their performance lacked oomph. It would have been great to see them use

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the theatre space to effect, perhaps with lighting or images of some sort to make up for their minimal movement. By the time the Bunbury girl who’s been making a much bigger stir of late stepped up on stage, the theatre was looking impressively filled. Like the imagined love child of Robert Plant and Johnette Napolitano (Concrete Blonde), Abbe May puts the rock into rock’n’roll, and tonight was irrefutable proof. A total natural onstage, May was warm and engaging, theatrical but without affectation. Her stage presence is oft described as ‘animalistic’, and it’s true – she brings to her music a sense of instinct and urge, hammering out heavy riffs, drawing back into bewitching vocals, then plunging headfirst into a bellowing crescendo. May and her excellent band filled the theatre with the loudest sounds of ordered mess and chaos – as one song mid-set sped up and slowed down continually, the rhythm section held it together with great skill. A stomping version of current single Design Desire (from the newly released LP of the same name) in particular had the crowd pretty worked up, and she saw the night out with a bluesy, all-round fantastic rendition of I Just Want To Make Love To You. It’s a safe bet the feeling amongst much of the crowd was mutual. REBEKAH BARNETT THE DRUM MEDIA 18 AUGUST 2011 • 29


LIVE

18 - 24 AUGUST 2011 live@drumperth.com.au

CLAIM THE THRONE Amplifier Bar, Perth 12/08/11 Chicken drumsticks flew through the air, the ravenous crowd descended upon the tattered remnants of the once living beast with the furore of a pack of ravenous wolves. There is only one band in Australia that elicits that kind of response amongst advanced civilization and that is none other than Perth’s own folk heroes Claim The Throne on their first stop on a monstrous Australian/ New Zealand Tour. The undercard was secured with a combination of relatively recent arrivals Devour The Martyr and long time thrash stalwarts Psychonaut providing the warm-up entertainment. Both bands were impressive, playing with the intensity and fire that transformed the peaceful pub-goers into rampaging beasts. South Australian metallers Double Dragon are somewhat of a curiosity and, as well we all know, very little good ever comes from South Australia… However the sheer class and quality of this band is overwhelming in a live setting. As dirty as they appear, their tunes are crisp and clean. Their rough peasant accents are erased with sweet flowing vocals punctuated by the battle-axe of melodic death. As badass as the chicken drumsticks are, it should be mentioned that they were

FEEDBACK

LAUNCH PAD

accompanied by blueberry muffin cubes and shaved carrots. This combination perfectly sums up Claim The Throne. It should also be mentioned that they are killer musicians that have thrown off the shackles of wankery and embraced the aspects that make getting drunk as hell and cheering in 4/4 as fun as it should be. If the first stop was any indication, the rest of the tour should be a regular Helmsdeep. SIMON HOLLAND

THE KILL DEVIL HILLS The Bakery, Northbridge 13/08/11 A line-up notable for its miscellany had been assembled for tonight’s show, but there was a considered stylistic thread through the performers that ensured that most in attendance would have found something in each act to satisfy their interests. Catherine Traicos & The Starry Night held particular resonance with the Perth crowd, with Tucker B’s members both current and former assuming the roles they hold, and have held, in that band. Ex-local Traicos is a songwriter of a profoundly different persuasion, however, with her lyrically-driven tracks more oriented towards the country and blues spectrum and having considerably

less dynamism. These are seasoned musicians, effortless on stage, and tonight they brought polish to Traicos’ well-written tunes. A second Melbourne outfit in Thomy & The Tanks was full of verve from the outset and their rock assault was impressive, if one-dimensional. Singer Thomy Sloane was a picture of enthusiasm, his fist thrusts matching the punchy delivery of his gravelly vocals as he sang variously about getting high (metaphorically) and nude (literally). In fact, the fight that broke out in the crowd during the band’s penultimate track was oddly fitting, though it must be said that the sluggish security response was not. Headliners The Kill Devil Hills shared a stylistic bent with Thomy & The Tanks but their ability to engage was far more pronounced. Beginning with long-time favourite Angry Town, which like the band itself now bears only a moderate resemblance to its original form. Singer Brendon Humphries exposed a voice that now carries with great force and melds effectively with the higher tones of new drummer Todd Pickett. Though a real tightness eluded them tonight, the quality of both their songwriting and structure means they are always enjoyable. Gunslinger was a case in point, with guitarist Steve Joines tantalising punters with each stop/start vocal – it meant the band occasionally fell behind, but the crowd was always absorbed. RICK BRYANT

RADIOFUN

What’s been happening in your hood of late? Debut album release set for September. What has RTRFM done for you? Shown plenty of support for our debut single Tolstoy’s Plight released earlier this year. What’s your favourite RTRFM moment of the past year? In The Pines. What are your favourite show on RTRFM? Full Frequency always has something that makes your ears prick up. Tell us about your RTRFM deflowering: About ten years ago when I got sick of hearing the same songs on triple j. Why should the general public subscribe to the radio station? To ensure that there is an alternative to mindless Top 40 and/or oldies on the airwaves. What can we look forward to from you in the near future? A few more shows, a tour and a follow up album next year. Everyone always seems to step it up for RTRFM events – what are you bringing to the party? Sex. Who are you most looking forward to seeing? Community Collab Band apparently features Diger Rokwell, who I think is rather talented.

SMRTS

HANG ON ST. CHRISTOPHER

we need to keep the only good one alive. What can we look forward to from you in the near future? New album, new songs, new shoes. What are you bringing to the Radiothon party? Drums, drugs and heartbreaking melodies. Who are you most looking forward to seeing? Happy punters, especially the one that told us we “made her heart hurt” when we played the Radiothon party two years ago. Closing/Opening party? Closing, 9pm.

HANG ON ST. CHRISTOPHER WITH SEAN O’NEILL What’s been happening in your hood of late? We have recently released our self-titled debut EP which you can buy online or at all good record stores. What has RTRFM done for you? They played our music since the very beginning of the band. Thankyou RTRFM. Favourite RTRFM moment of the past year? Anything to do with ‘fair bump, play on’ is pure gold. I don’t even really like footy but that little part of breakfast with Barr on Monday mornings is so funny.

SMRTS WITH PEX

Favourite shows/presenters on RTRFM and why? Global Rhythm Pot because I’m fairly into my world music and Andrew Ryan’s Out To Lunch because he plays a great mix of styles and genres.

What’s been happening in your hood of late? Recording new album/releasing it by end of the year, playing local shows and hopefully touring over east in March 2012.

Tell us about your RTRFM deflowering: Once I got a car where the radio actually worked I started to hit RTR hard. So it’s either RTR or 97.7 Classic fm, depending on my general mood for the day.

What has RTRFM done for you? Played our music a lot and help spread the smRts love through the airwaves.

Why should the general public subscribe to the radio station? Bulk prizes. Plus I think it’s important to keep stations like RTR running so that people can realise that there is actually good music out there.

Closing/Opening party? Opening Party, 8.40pm.

What’s your favourite RTRFM moment of the past year? Doing an acoustic performance on Breakfast With Barr. What are your favourite shows/presenters on RTRFM and why? Underground Solution, cause they always play some amazing obscure (to me at least) stuff. Tell us about your RTRFM deflowering: Early 1993. I just arrived in Australia and was interviewed by Genge and played some Yugoslavian records. Why should the general public subscribe to the radio station? Because all other radio stations suck shit and 30 • THE DRUM MEDIA 18 AUGUST 2011

RED DESCENDING WITH BERNARD SHAW (BASS/VOCALS) Give a brief rundown of the history of your band from day one to now: Red Descending is a metal band that has been gigging in Perth since 2004. We feature twin guitar melodies, raw black metal vocals, symphonic elements and selected use of clean vocals. We released our first fulllength album back in 2008 and this year we are hoping to gear things up with the release of our second album. Tell us about your release: Our second album is called Kingdoms. It has ten tracks and is 60 minutes in length. We’ve sped things up in a couple of songs with a few blast beats and replaced the ‘Gothenburg’ style riffs with black metal guitar leads. The theme running through the album is about the many different civilizations that have come and gone throughout history and the wars that inevitably destroy them. How did you go about recording it? Our guitarist and main songwriter Ian has a home recording studio, which makes things easy when progressing from ideas to the end result. Not having any time constraints can lengthen the recording process, but having the tools to perfect the result is priceless. We do, however, send our mix to Tailor Maid Studios for mastering. Their work with bands of similar styles adds the final touch to our album.

YOU CAN ALWAYS BET ON RTRFM’S RADIOTHON OPENING AND CLOSING PARTIES FOR ACE NIGHTS OUT. INTRODUCING A FEW OF THE ACTS READY TO ENTERTAIN YOU…

DROP MACUMBA WITH BOBBY BURGESS.

RED DESCENDING

What can we look forward to from you in the near future? I will be doing an east coast solo tour around late September for a few weeks. More shows with the band plus we will most likely be recording an album next year. I’ll also be releasing a solo EP at some stage in the near future. What are you bringing to the RTRFM party? We have a harmonium. That’s a checkmate. Who are you most looking forward to seeing? I

haven’t seen Naik live before so I’m pretty keen on checking him out. Closing/Opening party? Closing party.

LOUIS INGLIS What’s been happening in your hood of late? This year I released my first album Dark Days Ahead. I’ve been rehearsing with a live band to bring the songs to the stage in a form more similar to the recordings. What has RTRFM done for you? RTR has been very helpful and supportive both of my music generally and also in finding contacts and opportunities. It also allows me to sometimes hear my songs with that distinctive “FM radio” sound. What’s your favourite RTRFM moment of the past year? Probably the fake interview with Peter Barr on my brothers’ sitcom Henry & Aaron’s Seven Steps To Super-Stardom. Fave shows/presenters on RTRFM and why? Out To Lunch, you just don’t hear the variety of music that gets played there anywhere else, especially local stuff. Tell us about your RTRFM deflowering: Firstly I think you should tone down the lewdness in your questioning. Secondly I remember bringing a demo into RTR ages ago when it was still on the UWA campus, I wanted to see if it would get played...it did! Why should the general public subscribe to the radio station? We’re really lucky in Perth to have a community radio station as fit and thriving as RTR. People should subscribe because it feels good and is good to support good things. What can we look forward to from you in the near future? I’m launching my album at the Bird Saturday 28 August, the night after the Radiothon closing party. So I hope people can peel themselves out of bed and come on down! Who are you most looking forward to seeing? Seven Weapons (Lara Malin) at the closing party, because she sings nicely and plays guitar nicely. Closing/Opening Party? Closing Party. WHEN & WHERE: RTRFM Radiothon Opening Party – Saturday 20 August, The Bakery, Northbridge; RTRFM Radiothon Closing Party – Saturday 27 August, Rosemount Hotel, North Perth

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Tell us about your launch party: We’ve arranged for some cracking supports on the night – The Ascent, Advent Sorrow and Chaos Divine. What’s next for your band? Hopefully an Australian tour is not far away! WHAT: Kingdoms (Independent) WHEN & WHERE: Friday 19 August, Amplifier, Perth

WIZARD SLUTS The Velvet Lounge this Friday 19 August plays host to heavy electro-rockers Sluts Of The Underground, hitting the stage for their first headlining show this year supported by Wizard Sleeve and The Goats, doors 8pm.

BLUES & MEETINGS The Perth Blues Club host their Annual General Meeting Tuesday 23 August, to look at the year in review, future plans and elect a new committee. Entry is free for members that attend the AGM, then normal fee after 7.30 pm. After the meeting there’ll be quality blues, roots and rock’n’roll courtesy of Indigo Duck and The Resonators.

MUSTANG SALLY Thursday 18 August sees a double-header featuring Company Of Men and Kevin Smith & The Seven Story Jumpers, the latter performing two headline sets on the night. As always the host with the most James McArthur will be on hand spinning fun-time tracks in the gaps.

LEE JEANS The latin quartet of the Garry Lee Trio feat. Denise Dale play the Perth Jazz Society’s Monday nights at the Charles Hotel, Monday 22 August, with Laura Coney on saxophone and jazz chat earlier in the night.

DARKNESS COMES The Civic Hotel backroom plays host to more brutal rock’n’roll Saturday 20 August with some of Perth’s heaviest acts in Advent Sorrow, Empires Laid Waste, Khariot, Animistic and IVK.

BLOOD HUNTERS Celebrating his new album Blood Thinner, Jordie Lane is headed out way, bringing singer/songwriter and skinsman for The Drones Mike Noga. Friday 19 August they play Indi Bar; Saturday 20 Norfolk Basement; and Sunday 21 at Settlers Tavern.


LIVE

18 - 24 AUGUST 2011 live@drumperth.com.au

PARIS TO MILAN

WAM UPDATE

Inspired by improvisational master Bobby McFerrin, Nicola Milan, brings a mix of improvised melodies fused with original moody blues and jazz music to Kulcha Friday 19 August. Fresh from her coaching with acclaimed New York jazz singer, Chris McNulty, Milan has been likened to an Astrud Gilberto and Doris Day martini with a splash of Tracy Chapman. BONJAH

LOCH DE NESS THE ATLAS MOUNTAINS

ATLAS SHRUGGED Local rockers The Atlas Mountains will be releasing their first full-length studio album A Splendid Diagnosis through noisetrade.com tomorrow, Friday 12 August. Noise Trade is a unique website that allows people to download entire albums for free, giving the group the chance to reach as big an audience as possible, before frontman Taylor Smith returns from overseas to get gigging.

A stand out hit during the City Of Subiacoâ&#x20AC;&#x2122;s summer concert series, Sunday 21 August sees composers Jen de Ness and Bill Atkinson bring you the uniquely entertaining de Ness jazz cabaret show to sunday@subi at the Subiaco Art Centre. Each de Ness show is a musical genre-bending performance, incorporating original tango and Latin jazz, French gypsy, chilled out lounge and a splash of cabaret.

FURRY FERRET Ferrety Fridays is coming to the X-Wray CafĂŠ in Fremantle August 19 with a night of cracking local music courtesy of femme fatales Tiaryn, Jasmine Riley & The Distraction and Minky G & (some of) The Effects, plus local heart throbs Our Man In Berlin. Itâ&#x20AC;&#x2122;ll be a night of jazz, funk, soul, pop and folk from 8pm, $5.

GIGNITABLE For the past eight months The Insatiables have been tucked away in the depths of the jam room cultivating their sound. Think The Cranberries, The Jezabels and Red Hot Chilli Peppers and you have something like this newly-harvested four piece. Or, make your own assumptions Sunday 21 August when they play Drum Mediaâ&#x20AC;&#x2122;s Gignition, down in the Swan Basement for $5 from 5pm.

LIPS SINK SHIPS Solo singer/songwriter and acoustic act Lips McConague continues his Friday night residency Friday 19 August at Moondyne Joeâ&#x20AC;&#x2122;s in Fremantle from 8.30-11:30pm, where entry is free. McConague will be playing plenty of tracks from his debut EP Tomorrow Is Today, which is complete and due for release in the next few weeks.

follow your noise WZLWWHUFRPOLIHLVQRLVH IDFHERRNFRPOLIHLVQRLVH ZZZOLIHLVQRLVHFRP

CONTEMPORARY MUSIC INDUSTRY NEWS WITH JUSTINE THORNLEY

Having sold out their Go Go Chaos album preview show in 48 hours, Bonjah are thrilled to be taking the album on the road presented by Street Press Australia. The Melbourne outfit will spread their love to Mojoâ&#x20AC;&#x2122;s, North Fremantle Thursday 18 August; Rock Inne Tavern, Karragullen Friday 19; Settlers Tavern, Margaret River Saturday 20; and Redcliffe On The Murray, Pinjarra Sunday 21.

The WA Indie Label summit is a FREE workshop open to all, covering information relevant to self-released recording artists and independent labels. The session will incorporate an informative presentation plus Q&A with AIRâ&#x20AC;&#x2122;s General Manager Nick Oâ&#x20AC;&#x2122;Byrne, before an open networking session for labels. Tuesday 23 August 6-8:00pm, Rosie Oâ&#x20AC;&#x2122;Gradyâ&#x20AC;&#x2122;s Northbridge. Entry is free, but booking is essential. Be sure to register online at wam.asn.au/ workshops by 5pm Monday 22 August.

KENDALL CHAOS

BIG DISCOUNTS FOR BIGSOUND

Daniel Lee Kendall is joining Bonjah for parts of their SPA-presented tour, including their WA stops this weekend. Catch them at Mojoâ&#x20AC;&#x2122;s, North Fremantle Thursday 18 August; Rock Inne Tavern, Karragullen Friday 19; Settlers Tavern, Margaret River Saturday 20; and Redcliffe On The Murray, Pinjarra Sunday 21.

Thinking of heading over to BIGSOUND - Brisbane, 7-9 September? Did you know WAM members get membership rates on conference registration rates? Gain entry to all conference sessions, lunch each day, access to online delegate networking, entry to all showcase events plus a conference show bag with program â&#x20AC;&#x201C; register online at qmusic.com.au/ bigsound â&#x20AC;&#x201C; but grab your WAM membership first from wam.asn.au/join or call 9227 7962.

CHAOS REIGNS

OTHER MOTHER Celebrating five years together, The Other Woman are putting on a show featuring Wizard Sleeve, Amberdown, Crawlspace and Fools of April at the Rosemount Hotel tonight, Thursday 18 August, $10 from 8pm. Saturday 20 theyâ&#x20AC;&#x2122;re also playing The Leopold, rocking out at The Global Battle Of The Bands competition, so get cheering.

FELICITY GROOM

INTER ROCKINENTALS

BRIDE & GROOM Local songstress Felicity Groom plays Mojos with various friends Saturday 20 August. This is a most awesome fact as Miss Groom, whose debut album Gossamer is to be released rather soon, is not playing very much at all in the lead up to this new album release. Apricot Rail, Fall Electric & Cameron Avery support. $15 from 8pm.

WA INDIE LABEL SUMMIT

Itâ&#x20AC;&#x2122;s a double punch of rockinâ&#x20AC;&#x2122; rhythms for your feet Friday 19 August at Devilles Pad when Rocket To Memphis and The Continentals hit the stage. As always the Mondo Disc Jocks spin vinyl tunes for dancing, and the Les Sataniques GoGo dancers provide the eye candy. Happy Hour in hell drink specials 6 to 7pm, doors open 5pm, $10 after 8pm.

WHAT CAN WAM DO FOR YOU? â&#x20AC;&#x153;Those things that hurt, instruct.â&#x20AC;? â&#x20AC;&#x201C; Benjamin Franklin. Taking some of the pain out of pursuing a career in music is WAM â&#x20AC;&#x201C; your not for profit music association, existing to develop the WA contemporary music industry. A membership based organisation, your memberships stay right here to help you and the local industry grow through events, competitions, workshops and industry advocacy. Membership starts from just $40, including the annual 4-disc Kiss My WAMi CD/DVD compilation, plus discounts from retailers and industry service providers. Visit wam. asn.au or call 9227 7962 and join today!

Iâ&#x20AC;&#x2122;M GOING TO PARKLIFE!

THE WINNER GETS 200 7-inch Vinyl RecoRD S PRESSED BY BEATROUTE RECORDS & RECORDED BY FAT SHANâ&#x20AC;&#x2122;S

SEMI FINAL #1 - THURSDAY 18TH AUGUST

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5)&56.#-&34t$300,4t4&".4 HURRICANE FIGHTER PLANE GRAND FINAL - 5)634%":454&15&.#&3

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PARKLIFE.COM.AU

Ya-Yaâ&#x20AC;&#x2122;s Bar, 147 James Street, Nothrbridge. Ph: 9328 8930

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THE DRUM MEDIA 18 AUGUST 2011 â&#x20AC;˘31


LIVE

18 - 24 AUGUST 2011 live@drumperth.com.au

COMP WR AP

WEBB BREAK After supporting the likes of Diesel and Sarah McLeod within the last week, Ryan Webb continues his incredibly busy year by providing support this week to Jordie Lane (Vic) on the WA leg of his Blood Thinner National Tour. Catch his final shows for a few months spent recording a new LP with his band The Method, at Indi Bar Friday 19 August, and Settler’s Tavern, Margaret River Sunday 21.

THIN KIZZY

DILIP N THE DAVS

SISTERS DOLL

THE JOE KINGS BY GRAHAM CLARK

With her gutsy yet heartfelt performances, original singer, songwriter and guitarist Kizzy creates a plethora of rocking, high-energy music steeped in roots, rock, blues and folk. Having spent a productive year in the Melbourne music scene, Kizzy is back to embark on recording after having released her first EP in 2010. Catch her at The Newport Hotel Saturday 20 August from 3-6pm. Free entry.

DAV RECKONING

JOE BLOW

AMP IT UP

CIRCLE TOWERS

Funk-party band Dilip N The Davs’ album Whaddya Reckon from 2010 has been given a complete makeover with a full three-piece horn section and a total remix to reflect the current live sound of one of the state’s busiest party bands. And they live up to their repuation with a celebration that hits Mojo’s Friday 19 August; Rottnest Island Monday 22 and Indi Bar Friday 28, with more southern dates follow.

WAMi Award winners The Joe Kings have packed their duffle bags and are setting off into the sunset on a national tour supporting band of the moment Bonjah, and then headlining a string of shows later in the year for new EP Love Strikes. Mojo’s, North Fremantle Thursday 18 August; Rock Inne Tavern, Karragullen Friday 19; and Settlers Tavern, Margaret River Saturday 20.

The 2011 Ampfest band competition continues Friday 19 August, for the opportunity to play in the final Saturday 3 September at the Octagon Theatre alongside Tim & Jean, along with over $10,000 worth of prizes. Heat 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, with the winner joining Patient Little Sister and last week’s heat winner Sisters Doll, alongside a fourth wild card in the massive final.

Head down to the Swan Lounge Friday 19 August for a night of enthusiastically loud awesomeness with prolific rock extraordinaire Ali Towers, followed by two of the hottest shoegazing, prog-alt-rock newbies to hit the Perth scene – Petrashevsky Circle and Starcleaner. A small donation at the door will get you in from 8pm.

O’KAYE DOKIE

TURN, PIVOT Midvale Speed Dome plays host to Pivot Of Oz, a WA Roller Derby showdown between Sonic Doom and Electric Scream, featuring all your fave ladies from 6pm Saturday 20 August. Tickets $11 from Rolloways, Talk To Me Derby, Planet and warollerderby.com. Be trackside to see the Screams’ and Dooms’ new uniforms unveiled, see their new players and cheer loud for your favourite skaters.

This August troubadour Nathan Kaye will be pulling out some new tunes, old and new tricks and his underground brand of sun-baked blues-driven psychedelic roots live across WA. Get didge’d Friday 19 Cape Wine Bar, Dunsborough; Saturday 20 Quinninup Tavern; Tuesday 23 The Bird and Wednesday 24 Indi Bar. Check nathankaye.com for his regional northern tour dates the following week.

GRIM YOUTH

GUITAR EXPRESSO

Rockin’ rollers Grim Fandango will support Adelaide’s Stolen Youth at The Civic Den, Friday 19 August with The Proletariate, From Deep Within and Fun Razor; Prince Of Wales, Saturday 20 with Ten Points For Glenroy and Charming Skeletons; and YMCA HQ Leederville with The Decline, The Others, Refrain and First & Ten (ALL-AGES, 1pm).

For strictly two exclusive performances, the Kevin Borich Express machine screams into town on Friday 19 and Saturday 20 August, sure to render audiences captive without escape. He plays The Charles Hotel on the 19th with Graham and Mike de Velta, and with Dom Mariani’s Datura and Sonpsilo Circus at the Fly By Night in Fremantle. Ticketing details from the venues.

SPACE JAMMIN’ The last eight weeks has seen some of Perth’s finest tout their ware’s on the Ya Ya’s stage for the Drum-presented Jammin! competition. This Thursday 18 August sees the first semi final featuring Clean Living, The Dark Rooms, Moontribe and Ermine Coat. Two will go through to the grand final to be in the running to win first prize of 200 copies of their very own 7” vinyl record pressed by Beatroute Records. Respected industry individuals from RTRFM, Drum Media, Fat Shan Records and Beat Route Records are Jammin’s judges. Free from 8pm.

“brilliantly personal and so very sharply observed” Daily Telegraph, 2011

NEXT WEEK ONLY! 24th ~27th of August, 7.30pm Octagon Theatre, Uni WA, Crawley BOOK NOW 32 • THE DRUM MEDIA 18 AUGUST 2011

bocsticketing.com.au or 9484 1133 twitter.com/drummediaperth

This Friday 19 August The Jayco Brothers duo are at Clancys Fish Pub Fremantle as part of the regular Friday Songwriters sessions. Joining them will be Abe Dunvitz and Tim from One Tiger Down. The music commences at 7.45pm, wit the Jayco duo taking to the stage from 8.45. Clancys’ vibes are always fun, get down earlier for some quality eats beforehand.

LOVED UP After the successful release of new single Crying Rhymes at Mojo’s last month, The Love Junkies head to the Prince Of Wales, Bunbury with Deep River Collective to take the tune to the south, Friday 19 August. Crying Rhymes displays the three-piece’s knack for producing hook-laden, gnarly post-grunge rock’n’roll, combined with classic ‘60s-styled guitar from lead guitarist Mitch McDonald.

W 32 IE S $ EV ET PRCK TI

Star of Talkin’ ‘Bout Your Generation

BROTHERS JAYCO


LIVE

18 - 24 AUGUST 2011 live@drumperth.com.au

NO MORE DRE

TAHERI-LEE JEANS

Andre has decided to part ways with the rest of Still Water Claims and move onto other things. So to mark this pretty momentous occasion the group is holding one last show for him at their favorite haunt, The Rocket Room, Friday 19 August. Devastator, Know Your Knot and Cameo Thieves support, plus DJs Brett Rowe and special guests Homebrewe DJs fill all the right gaps.

Recently returned from a collaboration with a Grammy-winning producer in the UK, Shameem Taheri-Lee plays with her original band at The Ellington Jazz Club Sunday 21 August from 6 til 9pm. Shameem and her band are fresh out of the studio from recording their debut album, so get down to the Ellington and get a taste of what they’ve been brewing.

STRICT MACHINE

TAUN TO FLY

Melodic rock outfit Evolution Machine are gearing up to release their first taste of recorded music in the coming months. Influenced by bands such as Nightwish and Symphony X, the three-track EP will feature the group’s most powerful songs to date. Get a taste Thursday 18 August, when they team up with good friends Caprycon and Engine Of Reason as part of Uncovered Thursdays at The Shed, free from 7.30pm.

With many influences contributing to their unique rock flavour, Taun will remind you of your favourite rock bands, yet sound like none of them. The Rockingham-based three-piece are relatively new to the scene, but are slowly building their name up, recording their EP earlier this year and clocking up several gigs around the traps. It continues Sunday 21 August at Drum’s Gigntion, $5 from 5pm in the Swan Basement.

WHEN SUMMER ENDS

ENDLESS SUMMER A chilled out group that’s making an impact on Perth’s music scene, When Summer Ends is Sunday afternoon perfection. One of the only acoustic four-piece acts around, their vocal harmonies and groove have given acoustic bands a rebirth. Catch When Summer Ends at Drum Media’s Gignition in the Swan Basement, Sunday 21 August to end your week on a high, $5 from 5pm.

TRACEY BARNETT

KISS TRACEY Wednesday 24 August at Mojo’s sees the Fremantle blues and roots club play host to solo performer Tracey Barnett, when she supports Tobias Moldenhauer. Barnett’s awe inspiring guitar work is driven by gutsy melodic opened tunings and slide guitar, and her voice expresses an incredible emotive range, the combination creating a fresh tilt on roots‘n’blues with a taste of country.

OVERDRIVE

IN LEAGUE

ALL THINGS PUNK AND HARDCORE WITH LUKE BUTCHER. The local punk and hardcore community is again growing from strength to strength and is set for plenty of action in the upcoming weeks. Soldiering on despite the cancellation of the locally organized Sounds Of A Silhouette festival, the folk at Deadwalk Bookings have ensured Drum they will be back next year with an even more impressive festival that looks set to be a landmark for all local promoters to come. In the mean time the agents will be keeping busy, focusing their attention to the recently launched HYPE! club night, showcasing the best of national and international metal and hardcore as well as plenty of opportunities for local acts at the newly refurbished The Rocket Room on Wednesday nights. The month of August will also play host to Perth’s largest all-ages music festival as HyperFest rolls in to the Midland Railway Workshop’s (arguably the coolest venue in Perth) for another dose of eclectic acts that looks set for a sell-out before the August 28 event; sets from Surrender, In League and Emberville shouldn’t be missed. Drum would also like to congratulate Oh Snap! on reaching their first birthday and having the spheres to up and move the night to its new home Villa after some mistreatment from previous venue hosts. The team has assured Drum that the new venue will be bigger and better equipped to house the growing scene and plenty of upcoming big name acts. In other local news, Break Even have secured the national support for the highly anticipated Title Fight and Touche Amore tour in September, with Vanity pinching the local support for the September 13 Perth show. Another upcoming show worth parting with your coin for, All Eyes On Saturn have announced the details of their debut EP launches (as well as an amazing EP teaser) – September 3 and 4 with support from Foxes, Sleepwalker, Black Birds, Death & A Cure and more. Ready to launch their sophomore album, Confession will be hitting the road again in October with support from Thy Art Is Murder and Antagonist A.D. Whilst the unfortunate cancellation of Soundwave Revolution has bought a tear to the eye of many, as one door closes a window opens elsewhere and the crew at Soundwave have assured Drum they still have some big things planned for around revolution time. In the meantime the folks at Soundwave Touring will be continuing their world domination (after the announcement that their radical Harvest Fest won’t be making it to Perth) by launching a record label entitled 3Wise. The first releases will be coming from Vanna, Iwrestledabearonce, Zebrahead, Fireworks and Chelsea Grin. In international news The Devil Wears Prada have announced an Australian tour with support from We Came As Romans and Dream On, Dreamer. A string of album updates and details have also been released by Mastadon, Four Years Strong, Thrice, Jacks Mannequin, Jim Ward and even a Nirvana tribute album has been completed. Furthermore, various new singles or videos have been dropped by New Found Glory, Mariachi El Bronx, Blink 182, Hot Water Music, Iwrestledabearonce, Cartel, Paramore, August Burns Red and Polar Bear Club.

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THE DRUM MEDIA 18 AUGUST 2011 • 33


LIVE

2 - 8 JUNE 2011 live@drumperth.com.au

VOLTAIRE TWINS

ANIMAL INSTINCTS After a manic 12 months that saw their debut EP Cabin Fever explode on US college radio, a trip to New York and multiple Australian tours, Voltaire Twins return with their new single Animalia. They launch it and accompanying video Saturday 20 August with special guests Usurper Of Modern Medicine, Seams, Lily Rossen and Rex Monsoon. $15 from 8pm, with free copies of the single and video available.

RICHIE BRANSON

INDIGO KIDS

Original three-piece retro rockers The Branson Tramps take to the Rosemount Hotel stage Friday 19 August to launch their EP Thermo Sonic, supported by The Volcanics, The Old Croak and The Strobes. The EP manages to capture the diverse sound of the band across five tracks.

New-wave kids Place Of Indigo are back with some new tracks and a new line-up, playing The Bird Friday 19 August. The four-piece construct danceable indie rock songs with distinctive vocals and emotive instincts. They’re supported by Bastian’s Happy Flight and The Shallows. $10 from 8pm.

NO REASON

WHERE WHEN WHY

The musical culmination of four creative forces, Engine Of Reason take in a range of eclectic styles, varying tempos and contrasting moods. They’ll be trying Thursday 18 August, at The Shed’s Uncovered original local music night, free from 7.30pm.

Kicking off at 7pm for a measly $5, Who What Wednesdays is on again at new home The Bird. CoolPerthNights brings you a line-up of rad performers including Reilly & Chris (7pm), New Erotic (7.50pm), BugHunt (8.40pm) and No Deadlines (9.30pm).

EURO CAFÉ Performing a sophisticated blend of bohemian jazz, originals and Euro-café favourites will be Trio Alegra & The Velvettes, launching their latest EP The Twilight Sessions. Join Eddie Staszak on accordian, Laura Mitchell on violin and Corrine Brokken on double bass, as they combine with the luscious three part harmonies of The Velvettes.

HURRICANE FIGHTER PLANE

HURRICANE FIGHTERS Forming a little over a year ago, Hurricane Fighter Plane are set to release their debut self-titled EP Saturday 20 August 2011 for all to hear. The launch party is going down Ya Ya’s, with the lads performing the EP live in its entirety, plus many other catchy upbeat favourites. They’re supported by folk-popsters Goodnight Tiger, with resident DJs Steed & Agent 85 filling the gaps for $10 from 8pm. Free EP on entry.

CIRCUS IN TOWN R’n’B/classical/soul/psych-rockers Sonpsilo Circus are lunching their new EP at The Bird, with support from desert rockers Puck, who’s raucous riffs kick-off the evening’s proceedings, followed by the fury and passion of grunge/blues trio The Love Junkies. The show starts at 8pm, $10.

HAVE YOU HE ARD

BELLES WILL RING

BELLES WILL RING FROM: Blue Mountains/Sydney, NSW Your sound: Semi-narrative modern folk-rock with scary reverbs and lots of harmonies and echoey guitars. Band’s name comes from? Liam’s imagination. Around since: The winter of 2005. Band’s worst gig ever and why? I think we’ve successfully erased the memory of our worst gig ever. But I’m pretty sure it would have been somewhere in the latter part of 2008. That was a dark time for the band. Band’s best gig ever and why? Our album launch at Good God last month. We hadn’t played that well in years, and the fans were really into it. Plus I think the music’s the best it’s ever been now, and that’s really satisfying to feel onstage. Best achievement? Crystal Theatre. If you could travel back to any gig in history which would it be and why? November 25 1976, Winterland Ballroom in San Francisco to see The Band’s Last Waltz. A lot of people would have died happily after that night. Fave hangover cure? Nurofen Plus, Irish Breakfast tea and Guitar Man by Bread. Fave Perth bands? The Blackeyed Susans, The Triffids, The Scientists, Tame Impala, and The Stems. Fave bands from your state? Rand & Holland, Caitlin Park, Knievel, The Holy Soul and Melodie Nelson. Biggest bands you’ve supported? Pulp, Broken Social Scene and Death Cab For Cutie. Our ultimate groupie would be…incredibly sweet but really, really annoying. Fame for your band would mean…having a “jukebox musical” made from our songs and funded by Cameron MacIntosh. So not sure how appealing fame really is. Any members play in other bands? We all play in other bands. Liam, Lauren and Joe are in Sister Jane, I’m in The Maple Trail. Liam and I often play guitars in other people’s bands too. Any releases out? Mood Patterns (LP, 2007); Broader Than Broadway (EP, 2008); and Crystal Theatre (LP, 2011) Any releases on their way? We’re planning a special surprise Christmas release, and a new album in 2012. More info: belleswillring.com. Next gigs: Leader Cheetah Tour: Wednesday 24 August, Boulevard Tavern, Joondalup; Thursday 25, Prince Of Wales, Bunbury; Friday 26, Amplifier, Perth; Saturday 27, Mojo’s, North Fremantle 34 • THE DRUM MEDIA 18 AUGUST 2011

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THE DRUM MEDIA 18 AUGUST 2011 • 35


18 AUGUST

2011

SEEKING ANSWERS AFTER WOWING THE BAKERY IN SUPPORT MODE EARLIER THIS YEAR, SEEKAE RETURN THIS TIME WITH THEIR TRIUMPHANT DEBUT ALBUM IN TOW. ELLA LIASCOS DIGS A LITTLE DEEPER. Around the release of +Dome you were one of the most bloggedabout acts in the world. What has the feedback been like since and what opportunities has it opened up for you? Yeah that was a surprise for us – I guess we’ve got a lot of Aus’ blogs to thank for that. We’ve been touring so much that it’s hard to keep tabs on how people are feeling about us at the moment. We’ve had plenty of people at our shows, and we’ve got plenty more coming up, so that’s a good sign. The Herald Sun described you as ‘intelligent dance music that transcends everything before and everything after it.’ How do you guys cope with the increasing pressure of expectations? Statements like that sort of go straight through us, I think – it’s hard to comprehend having an impact on such a broad genre, especially one that we’ve modelled ourselves around. We still have so much to learn, which keeps us grounded. We can only hope to one day have the type of impact that statement carries, so when people say things like that, after the period of extreme flattery, it makes us want to work harder. In terms of expectations, at first we were worried about how our second record would be received, but in retrospect it’s been a lot of fun – it’s a good feeling knowing that people

LAST GIVEAWAY

SURIC YOUR STYLE? Deep house and techno. WHAT EQUIPMENT DO YOU USE? DJing – Traktor Scratch Pro with CDJs/vinyl. Production – Trusty Macbook Pro, Ableton Live 8, my stock VST’s – NI FM8, Minimoog, Trillian, Melodyne. Plus a load of other plug-ins and samples. YOUR FIRST OFFICIAL DJ SET? The Fuzz in 06/07. I had pre-planned the entire set and then invited a small tribe of friends to come watch. I had been practicing on some crappy Stanton C.304’s at home; they had no BPM reader so I was of the impression that I was a super-talented human metronome. The first mix was a major embarrassment; I went into brain lockdown for five minutes. The promoter Grant saved my first mix while my girlfriend at the time sweet talked me and fanned me down. I soon smartened up and it worked out quite well, I specifically remember playing a Sinden track thinking I was way ahead of the curve… “Hit me on my beeper” wow! BEST DJ IN PERTH: Bwoah, “Insert ass suck”. Technically I’m not sure. In the house and techno scene there are so many talented locals that just don’t get the chance to play a solid two hour set; this process usually filters out the rubbish. I really like Richard Lee’s sound – we’ve followed a similar path musically so I always dig his vibes. Man of the

PHOTO BY ELLE BORGWARD season El Dario has impressed me – his sound is current but doesn’t lose that vital groove which I feel so many people forget. WHAT DO YOU DO IN REAL LIFE? Banking/HR. THE BEST TRACK THAT NEVER FAILS ON THE DANCEFLOOR? If it’s 3am at Geisha and I don’t know what to play then I would say one of my ‘break in case of emergency’ tunes would be Kabale Und Liebe – Since You Looked Into My – it just takes me straight back to Cocoon in Ibiza last year. MUSICAL INSPIRATIONS? Reboot describes it as “Complex Rhythm Architecture”, which packages it quite nicely. I love these vibes – Cecille, 8Bit, Circo Loco, Liebe Detail, Moon Harbour, Hideout, Viva Music, Tsuba, Saved Records, Leftroom, Crosstown Rebels, Supplement Facts, Desolat, Cocoon, 2020Vision, Freak N Chic, One, Ostgut Ton, Bpitch, Cadenza… the list goes on. Artist wise, Maya Jane Coles is killing it - I think the hype is valid, she’s a true talent. Her recent Essential Mix is right on the money at times. WHAT DO YOUR FOLKS THINK ABOUT WHAT YOU DO: My dad has always been massively into electronic music. For me ‘90s car rides involved Trance Classics and Boyz II Men. He also is one of those post mid-life crisis Salsa teacher types, so I’d say rhythm runs in

the family. Funnily enough he is a frequent surprise visitor to my early morning gigs. Initially it was embarrassing, but he truly enjoys it so I’m okay with that. FAVE SET YOU’VE EVER PLAYED? Playing Ambar in my Destination? days. I used to play very Dave Taylor-inspired electro-house with the Destination? crew but my sound changed and I went down a different path to them. Having an entire club genuinely interested and in the palm of your hand at 3am is something that doesn’t occur often in Perth; some of those early morning sets were real spine-tinglers for me. WHAT CREWS DO YOU BELONG TO? I’m a resident for Element at Geisha, plus I also run Harem at Geisha, which is more focused on the deeper facets of house and techno. The supply of eager DJs is crazy, but I also play for Maiko, LD, Fore and Habitat on the occasion. BEST PLACE IN PERTH TO: A) ROCK OUT: The Likes of You, Habitat, Lucid Dreaming, Geisha. B) CHILL OUT: Fore (Defectors), Kingsley shops. C) PASS OUT: Kingsley. D) PICK UP AND GET OUT: That’s pretty obvious…. Kingsley shops. GIGS YOU HAVE COMING UP? Element – Saturday 20 August, Geisha, Northbridge; The Like Of You - Sunday 16 October, Venue TBA, Harem – Geisha, November TBA.

Dance music pioneers Faithless took their final bow before a soldout crowd in London, April 8 of this year, but all is not lost. If you were unfortunate enough to not attend their WA swan song at Good Vibrations Festival earlier this year, or perhaps if you did and just want to relive the event, this is for you. Hoyts Carousel in Cannington will be screening that final London show over this coming weekend, starting tonight, Thursday 18 August, through til Sunday 21. The next best thing to being at Brixton’s O2 Academy, Faithless: Passing The Baton captures the full arena production of

SEEKAE

are ready and waiting for new material. If you could reword that statement/describe your sound, what would you say? Lately we’ve all just been calling our music ‘electronic’. We don’t do enough digging to go deep enough in to specific genres. We’re happy making music the way we make it – with a broad outlook – we’d like people to approach listening to it in the same way. You’ve recently returned from a tour in the UK. What was the reception like? Highlight performances, other acts etc? The UK was awesome. We started off playing consistently for about a month. It was our first time experiencing back to back shows for that period of time. There were the obligatory 4AM slots playing to the cleaners, but also some really good shows. Our first gig in Brighton packed out, which was a huge surprise, and we backed up the next night supporting PVT in London. Those were happy times.

FAITHLESS

the trio’s last ever concert. Filmed using the latest hi-def technology and recorded in bass-banging 5:1 surround sound, the film promises to have cinema audiences out of their seats and dancing to anthems such as Insomnia, God Is A DJ and

DESTINATION? - PORTER ROBINSON @ AMBAR

LIMELITE - TYDI @ METRO FREO

You’ve hit a pretty distinctive niche in electronic music. Do you have any major influences to thank for it? I don’t think so really. A lot of the artists we listened to in high school made us want to make music. At the same time we get a lot from new music. We’re still trying to find our formulas and sounds though, so we take a little bit from a lot of different sources. For +DOME we had spent a lot of time listening to stuff coming out of the UK. Music from emerging electronic labels like Hot Flush as well as established European labels like R&S. The last time you played Perth you were in support mode, though, in many people’s eyes/ears, stole the show. How’s the live show developed since? Shucks. The last time we were in Perth we were only trying out new material of +DOME. Since then we’ve reworked most of the record in to what we feel is an engaging and fun way to present it live. We’ve gotten rid of one of the laptops, added a guitar and another synth – and we’re in the process of changing even more. We can’t wait. Perth’s always a highlight for us. Especially when we’re playing at The Bakery. Besides touring, what’s next for Seekae? Another record hopefully. We’ve already got a bunch of new material that we’re considering, and we’ve got a lot more writing on the cards. There are whispers of some soundtrack work as well. You’ll know more when we know more! WHO: Seekae WHEN & WHERE: Saturday 27 August, The Bakery, Northbridge We Come 1. It actually screened live around the UK and Europe at the time, so if you were thinking dance music had exhausted all its options for rave-up potential, think again – the cinema is where it’s at! With a triple platinum greatest hits album, six UK gold certified albums, six top 10 singles and a catalogue of memorable remixes and collaborations, the influence of Faithless on the current crop of dance artists is pretty obvious. To score yourself one of THREE double passes to the show of your choice, email giveaways@drumperth.com. au and specify which show you’d like to go to. Visit hoyts.com.au/ Movies/Events/Faithless.aspx for tickets to one last goodbye.


TRASH TALK MARISA AVELING TRAWLS THROUGH THE TRASHY WORLD OF MUSIC GOSSIP SO YOU DON’T HAVE TO. It’s the opposite of surprising to discover that the fat-bellied, pseudogangsta-in-reality-ex-prison-officer Rick Ross really loves chicken wings. What’s more startling is the seriousness of his conviction, with news that the Teflon Don is buying into the American franchise, Wingstop. He first hinted at his passion for wangs’n’thangs on his track MC Hammer when he name-dropped the chain (“She thinking folic, I’m thinking Wingstop/ Fienin’ lemon pepper, I got my thing cocked”) whose catchphrase is ‘the wing experts’, and Ross will make his dreams become real when he opens his first store in Memphis later this year. “After tasting Wingstop’s signature lemon pepper–flavored wings in Miami, I knew this was a franchise I wanted to add to my investments,” he said in a statement to AllHipHop. In perhaps more well thought-out investments, it has been announced that Lady Gaga and Kanye West have both decided to bet on a somewhat sure thing and lay money down onto the relatively new Turntable.fm. While their specific individual numbers haven’t been announced, it is known that the pair contributed to the US$7.5 million of financing that the start-up successfully procured a few weeks ago. The genius of Turntable.fm is the social networking aspect that the service injects into music sharing. A number of chat rooms (with names like ‘Coding Soundtrack’, for the nerds, obvz)

PAUL MASTER

BEAT SUITES

SLS

DRUM MEDIA NERDS OUT WITH DJ/PRODUCER HYKUS AHEAD OF THIS WEEKEND’S BEAT SUMMIT, WHICH SEES HIM, ZEKE AND DOWNSYDE’S DAZASTAH HOLDING A BEAT-MAKING MASTERCLASS.

RICK ROSS

are available for users to enter, with people “DJing” and playing songs for the people inside. Depending on your thoughts and feelings, you vote either “lame” or “awesome” on a song, and DJs score points accordingly. Commoners aren’t the only ones picking up on the good Turntable.fm vibes, either – Diplo participated in the Hipster Runoffcurated ‘VIPFest’ a few weeks ago and was collectively deemed lame by the Internet as a whole. He ended up slinking off due to all the “h8” and went back to do his own h8ing on Twitter. Since we’re keeping it pretty commercial, hip hop’s next big couple (maybe? They keep on talking like it’s gonna happen) Nicki Minaj and Drake have been announced by Variety as voices in the upcoming Ice Age animated film. This will be the fourth in the series (full title Ice Age: Continental Drift), with vocal contributors including Ray Romano, Queen Latifah, Denis Leary, John Leguizamo, Sean William Scott, Aziz Ansari, Wanda Sykes and Jennifer Lopez. Movies work to long lead times, and this one (coming out in 3D) won’t be out until July 2012.

Hopefully those aforementioned stars will avoid any sexual scandals between now and then. Alternately legendary/legendarily crazy singer Lauryn Hill gave birth to her sixth child a few weeks ago. Whether Hill’s former partner Rohan Marley (son of Bob) is the father is still under speculation; before the birth he tweeted, “2 things, I’m not married and I don’t have anyone expecting anything.” Hill fans had already started hating on Marley, with accusations that he ditched her for Brazilian model Isabeli Fontana. Hill also gave a statement of her own, in which she said, “Mr. Marley did not abandon me while pregnant with his child… We have had long periods of separation over the years but our five children together remain a joy to us.” Hill will be performing at the upcoming Rock The Bells hip hop concert series in the States, where she also made appearances last year (looking a bit like a crazy cat lady). And a short but sweet piece of gossip, Cee Lo Green will play Raekwon’s father in an upcoming biopic about the Wu-Tang Clan rapper’s life.

A little background on yourself: Mathieu Valton a.k.a Hykus: Perth producer, label boss at Infamous Recordingz, SAE Perth EMP lecturer and all round audio nerd. This is the first ever Beat Summit. What was the inspiration behind the masterclass? I’ve been teaching at SAE Perth for several years now and hosting industry workshops has always been something I feel there should be more of. Especially on specific topics, products, electronic music production and overall ‘tricks of the trade’ that in most cases you only would learn from experience and years of research. What was the decision behind opening up the album making process to the public? Well Daz [Dazastah] and I were brainstorming about the whole workshop one night and originally it was going to only be a Native instruments and Steinberg workshop… but we’ve been creating a beat for each workshop for a different town and location and suddenly it clicked. What are we going to do with the beats and why not get someone in each town to feature on it and do it all live? And put out an album… Boosh! How do you think this will make producing, mixing and mastering an album more accessible and achievable for everyone? Is there a chance for some hands on training with the programs and

equipment? With the technology we have now – you really do not need a lot in order to make noise – computer, audio interface (soundcard) and speakers… everything we will be covering can be used universally with most DAWs and if your into phat beats and phat bass, you will learn how we do what we do. Basic theory of sound and synthesis will be explained, just so we are all on the same page. As far as the mixing goes the beat will be mixed in front of you, and mastering will be explained with basic examples using UAD plug-ins, but the final master will be done in a secret dungeon in the Swiss alps while sipping gin n’ juice with Bigfoot. Why is mastering a track so important? Mastering is very important and the final step before reproduction. But mixing, instruments used and samples to me are just as important. If you use bad samples, bad instruments and do a bad mix… What do you think your record will sound like? Do you have any advice as to the best pathway to take to become a producer? Start now! Learning, reading, making music, collaborating with other artists and discipline… Nerd out!

WHEN & WHERE: Sunday 21 August, SAE Perth

BEAT SUMMIT CREW

CONTROL @ THE REPUBLIC

DEATH DISCO @ CAPITOL

FABRIC FRIDAYS @ FLAWLESS

WEEKEND @ DEFECTORS

WEEKEND @ DEVILLES

WEEKEND @ MINT

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How about any tips for those struggling to get their tunes out there? Ask your favourite producer in the genre you’re making for feedback or advice. Even think about the idea of releasing it yourself. Digital labels are a very cost effective and useful method to get your songs out there with a catalogue number. What do you like best about lecturing at SAE and teaching skills to others? The students, to be honest. SAE Perth is a very talented stream of kids, each one with their own goals and ambitions. But I guess the thing that I enjoy most from teaching is seeing the joy in a student’s eyes when you just taught them exactly what they’ve wanted to learn and it’s the happiest moment of their life! Will you be holding more Beat Summit events in the future? Indeed we will! This is only the first round of the tour; we got an album to make! Rome wasn’t built in a day. And we do work 9-5. Check facebook.com/thebeatsummit for upcoming events.

THE DRUM MEDIA 18 AUGUST 2011• 37


18 - 24 AUGUST

2011 THURSDAY 18/8 SLOWED & SCREWED @ BIRD Free from 7pm with Ohh!! Dub, Karl Blue, Simmo T. vs. Drank Costanza, Stylz Ali and Mr Starks vs. Ta-ku.

R’N’R KARAOKE @ DEVILLES Jon Madd’s Rock’n’roll Karaoke with DJs and you, singing for free – one hell of a night for your vocal cords.

BASS CULTURE @ NEWPORT If you love a good night out check Bass Culture. Free from 8pm with host and resident DJ Death Disco’s Anton Maz.

TOASTY THURSDAY @ NORFOLK Underground – Perth’s finest and tightest hip hop with Soma, Mark Lloyd, Rukus Napalm and DJ Buda.

THURSDAYS @ ROSEMOUNT Matty G from The Ghost Hotel takes over tonight, with bands inside.

PARADIGM @ CANTON DJ Viktor and Jump Climb DJs from 9pm.

FRIDAY 19/8

DANCEFLOOR OF THE WEEK SUNDAY 21/8 RADIOTHON OPENING PARTY @ THE BAKERY It’s that time of the year again to get on board the good ship RTRFM with Radiothon kicking off this Saturday 20 August with a suitably massive opening party, featuring a suitably dancey line-up to get proceedings off to the most good time start possible. Of course they don’t do things lightly, so this Saturday at The Bakery you’ll get live bands, DJs, VJs, dance performances, live street art and more. On the main stage boogie down to live sets from CUT & PASTE SOUNDSYSTEM BY ELLE BORGWARD prog-hop-electronica man Naik, hip hop jam kids The Community Collab Band, indietronic crooner Carl Fox and loungecore dancefloor fillers Drop Macumba. Spinning tunes on the wheels of steel will be the Underground Sound Solution Crew, the Cut & Paste Soundsystem, Ben M, Sibalance and Jade Nobbs. On the visual front catch VJs Carlos Rockets & Steve Ninja, WA Ballet bring the contemporary dance styles, Aerial Skills do live street art, plus there’s an uber-cool Radiothon Photobooth. Presale $15/20 from rtrfm.com.au/events, old subscribers free. Unwind in the city’s centre of urban cool with chilled house, Latin, jazz, soul and funk beats from DJ Infuseone from 5.30pm.

SNEAKY @ THE LIBRARY PANDA

ASCIIMOV

DJs Angry Buda, Adroc, Headayke, Junior, Karl Blue, Kyte Kutter, Raji D, Maxwell and guests bring the tunes.

BIG APE - TOMBA @ SHAPE The Big Ape keeps the big parties coming with the heir to Borgore’s throne, Tomba. Limited $10 presales, otherwise it’s $10 before 11pm, $15 after, but don’t be late.

THE LOFT @ GEISHA A special tribute to The Cure, with DJs Panda, Asciimov, Nat and Exploding Boy. $5 before 9pm, $10 til 10pm, $15 after.

BEAT SUMMIT @ SAE PERTH op dubstep producer Hykus, hip hop kid Dazastah and turntable champion Zeke will run three master classes on all the tricks of their given trade. Tickets $65 through thebeatsummitperth.eventbrite.com.

TUESDAY 23/8 PINS + LADLES @ MOJO’S It’s Pins + Ladles last show for a while, playing with Speekeasy, Delirious and The Empty Cup. $5 from 8pm.

DANZA @ MUSTANG Danza local salsa night with DJ and live percussionists.

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

Dancehall madness with DJs Rontings, Rasta Fyah, Rasta, Scater07 and MC Legalize plus special guest from Sudan, DJ Ezzy. Starts 7.30pm, ladies free before 9.

WEDNESDAY 24/8

FRESH PRODUCE @ AMBAR

FUNK FRIDAYS @ EAST END

VOLTAIRE TWINS @ AMPLIFIER

Up-and-coming DJs Lost Boy, Panda, Lady L, Fusion Six and New Noize from 10pm, $12.

A new funk, soul, jazz and house night at the East End, free before 10pm, ladies free all night.

Indie-electro duo Voltaire Twins launch their Animalia single and video. Support from Usurper Of Modern Medicine, Seams, Lily Rossen and Rex Monsoon.

DUBCENTRAL @ RAILWAY Jah Wisdom Sound have invited Mr Meerkat from Dubcentral, Support from Tutu-Math and Kriti-Cal.

SATURDAY 20/8

OPIUO @ SHAPE Opiuo is celebrating the release of new EP Squiggle, filled with bouncy beats that you can’t help but dance to. Tickets shapebar.com.au.

HOUSE OF SHEM @ METRO FREO House Of Shem play in support of their album Island Vibration. Tickets through Heatseeker, Oztix, Moshtix and the usuals.

FORK @ GEISHA Local lads Kill Dyl, Sneakee, Hammer & Tongz, Len Bones, Mo’Fly and Props Box. 11pm til late, $10 til 12.30am, $15 after.

THE PEARLY WHITES

HOUSE OF SHEM @ ELLIOT ST

MICKY FINN

MICKY FINN @ ROSEMOUNT Micky Finn & MC Shabba D are both regarded as influential figures in the ‘80s UK d’n’b movement. Support from Greg Packer & MC Assassin, Dair, Hutcho, MC J Rippa and Seeka MC. Tickets $30 plus BF from Moshtix and the usuals. TOMBA

TIMOMATIC @ PLAYERS BAR Timomatic has emceed the hottest events in town such as Groove Hip Hop dance championships and Urbanforce Hip Hop concerts.

House Of Shem play in support of their album Island Vibration. Tickets through Heatseeker, Oztix, Moshtix and Blue 62 Busselton.

PARKLIFE LOCALS @ NEWPORT

AUDIO: TECH SUPPORT @ BAR 138

NORTHERN LIGHTS @ BOULEVARD TAVERN

G-Money & Carla, Roxright, Mr Ed and Audiocell, free from 7pm. Mono Lisa, Marty McFly, Micah, Wish and Bobnoceros at the home of the underground, $12 til midnight, $15 after.

DEATH DISCO @ CAPITOL

LMW @ CONNECTIONS

Indie-dance and disco bangers from Death Disco DJs, plus DJ Ryan spinning ‘80s indie. $10 entry fee.

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

WINTER WONDERLAND @ CONNECTIONS

STUDENT NIGHT @ ROSEMOUNT

Brought to you by BarbieQ, Val Nourished, Hannah Conda, Swish and Sandy Beaches. Free before 11pm, $15 before 1am, $20 after. Free before midnight in fur.

FRIDAY @ ENEX100

Parklife Perth local line-up hits the road, tonight featuring Micah, The Pearly Whites and Tom Drummond.

DJ Charlie Day mixes up the best electro, rock, pop, indie and dubstep, plus live acts, starting this week with Leader Cheetah and Belles Will Ring. Tickets through Moshtix, Oztix and Heatseeker.

JAPAN 4 @ AMBAR

FIND US ON

HYDE-PARKLIFE @ HYDEY With Parklife fast approaching it’s time to get acquainted with the local live contingent at HydeParklife, featuring Sun City, Sam Perry and Carl Fox, plus Black & Blunt, Audageous, Dorcia DJs and Deadvents. Free, Friday 26 August.

DANCEHALL MADNESS @ RAILWAY HOTEL

FAMOUS FRIDAYS @ CONNIES

UPCOMINGS

The Hong Kong Palace DJs brings you post-punk, indie-pop goodies outside in the beer garden for free.

DEADWEIGHT! B’DAY @ BAKERY Deadweight!’s 1st B’day sees a ‘wake’ featuring BoostHeroMan, Mathas, Ben Taaffe, ST1, DYP, Clunk, AllState, Modo, Nebula, Kit Pop, Zeke, Saxon, BoyP, KnoeFm, Pickles, Kamashed and more TBA at The Bakery Friday 26 August. $5 entry.

DIRTYLOUD @ AMBAR Brazil’s Dirtyloud will be dropping bombs into Ambar Friday 26 August as part of Force Majeure. Dirtyloud’s tough yet effortlessly groovy sound has come to define the nu-electro style currently taking the world by storm. They’ll be supported by Dart vs. Devo, Mr Ed vs. JS, Philly Blunt and Mono Lisa. Door sales $15.

HELENA @ GILKISONS Helena is making her take as Australia’s very own Queen of Clubs.Dishing all the best of house, electro, prog, tribal and tech, Helena commands the dancefloor. She’ll be rocking The Girls Night Out at Gilkisons Saturday 27 August with Kastel, Sifi-Sound, Shots, dMo, Stevie M and Lukas Wimmler, check madmoproductions.com.au for ticket details.

BIG BOI @ METRO CITY Big Boi has sold more than 25 million albums and directed the world’s attention to Southern Rap over a decade before anyone had heard of Lil Wayne. Wait no longer to see him in the flesh as he heads to Metro City Saturday 3 September with his full band, and Theophilus London, for his debut tour of the country. Tickets through Moshtix.

KINGS OF SOUND @ THE DEEN Mega local beats festival Kings Of Sound is back with a vengeful Spring edition, Sunday 2 October at new home The Deen, over four arenas from midday til 10pm. They’ve invited a few out-of-town guests in Funkoars, Culture Shock, SPL, The Qemists, M-Phazes, Noah D, Tantrum Desire and Droid Sector. Plus there’s Optamus, Killafoe & J.Nitrous, Greg Packer & MC Assassin, Layla & Dazastah, Jus Haus?, Rregula, Hunter & Mortar, Ekko & Sidetrack, Broken English, Mamma Says Yes, Sempy & Concept, Stiltz, Deadvents, The Stoops, Illusive & Dvise, Monkee, J Switch, Slackjaw, Dnbassador, Rekab plus heaps, heaps more. Yep, massive. Tickets through Moshtix and Heatseeker, $55 plus BF until August 31, $65 plus BF thereafter.

UPCOMINGS DUBCENTRAL: AUG 19 Railway Hotel OPIUO: AUG 19 Shape HOUSE OF SHEM: AUG 19 Metropolis Fremantle; AUG 20 Elliot Street Bar MICKY FINN, MC SHABBA D: AUG 20 Rosemount Hotel TOMBA: AUG 20 Shape BEAT SUMMIT: AUG 21 SAE Perth SPEAKEASY: NINA LAS VEGAS: AUG 26 Villa DIRTYLOUD: AUG 26 Ambar HELENA: AUG 27 Gilkisons SEEKAE: AUG 27 The Bakery ZOE BADWI: AUG 28 Mullaloo Beach Hotel HYPERFEST: ILLY and more: AUG 28 Midland City Workshops ANTISERUM: AUG 31 Bar Open EVOL INTENT: SEP 2 Shape MICKY SLIM: SEP 2 Ambar NICK WARREN: SEP 2 Geisha Bar + REDBULL THRE3STYLE: SAMPOLOGY: SEP 3 Villa + SAMIYAM: SEP 3 The Bird BIG BOI, THEOPHILUS LONDON: SEP 3 Metro City LA VAMPIRES, RITES WILD: SEP 6 The Bakery + EHMO INSTEAD: SEP 9 Ambar ABOVE & BEYOND, JAYTECH, MAT ZO: SEP 9 Metro City THE HERD, SIETTA: SEP 9 Metropolis Fremantle; SEP 10 Settlers Tavern DARKSKY: SEP 10 MOS 10TH ANNIVERSARY FEAT. MARK DYNAMIX, JOHN COURSE: SEP 10 Villa JAH MASON: SEP 16 Railway Hotel RACKNRUIN: SEP 16 Ambar HOPSIN, SWIZZZ: SEP 16 Harrys Bar GOLDIE, MC LOWQUI, CHRIS. SU, HEIST: SEP 16 Shape KIMBRA, HUSKY: SEP 17 Astor Theatre DJ FUNK: SEP 23 Ambar TERRENCE PARKER: SEP 23 Double Lucky PARKLIFE: ADRIAN LUX, CRYSTAL FIGHTERS, DEATH FROM ABOVE 1979, DIGITALISM (LIVE), DIPLO, DUCK SAUCE, EXAMPLE, FEED ME, FLUX PAVILION, GOLD FIELDS, GOSSIP, HARVARD BASS, DISCO (LIVE), TENSNAKE, THE ASTON SHUFFLE (LIVE) and locals: SEP 25 Wellington Square

&

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SUPPORTED BY

MONO LISA, KILL DYL, MICAH & OLI

AMBAR FRIDAY SEPTEMBER 2 10PM

DOOR SALES $20 GUARANTEE YOUR ENTRY WITH A DISCOUNTED $15 PRESALE FROM THE BOOMTICK IPHONE APP! DON’T HAVE AN IPHONE? YOU CAN USE THE BOOMTICK SHOP.

FRESH CUTS FROM PERTH’S FRESHEST TALENT!

Friday 19-08-11 FEATURING

LOST BOY, LADY L PANDA, FUSION SIX & NEW NOIZE 38 • THE DRUM MEDIA 18 AUGUST 2011

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INFO 104 MURRAY STREET PERTH DOORS OPEN 10PM. DOOR SALES ONLY: $12/$8 (LOYALTY) FOR MORE INFO CHECK OUT BOOMTICK.COM.AU EVENTS@BOOMTICK.COM.AU


THE DRUM MEDIA 18 AUGUST 2011 • 39


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GIG GUIDE THU 18 Ben Pettit Belgian Beer Cafe Mandalay Victory, Stolen Youth, Break, Turning Tides Black Bettys Groove Night Avenue Burswood Casino The Other Guys Como Htl Rock n Roll Karaoke Devilles Pad Gun Shy Romeos Elephant & Wheelbarrow The Rise and Fall of Little Voice Ellington Jazz Club Nathan Gaunt FUSE Bar Chris Gibbs Gate Bex’s Open Mic Indi Bar Stella Donnelly Karrinyup Shop Centre James Wilson Lucky Shag Madhattans Comedy Manhattan’s Shawne & Luc Merriwa Tavern Bonjah, The Joe Kings, Daniel Lee Kendall Mojos Nth Fremantle Kevin Smith & the 7 Story Jumpers, Company of Men Mustang Bar Dr Bogus Paddy Hannans Burswood Damien Cripps Paddy Maguires The Other Woman, Crawlspace, Fools of April, Wizard Sleeve, Amberdown Rosemount Htl Clayton Bolger Rosie O’Gradys Fremantle Fenton Wilde Rosie O’Gradys NB Sophie Madison Settlers Tavern Margs David Fyffe Sovereign Arms Sticky Sweet, Dissonant, Dubya Swan Lounge Evolution Machine, Caprycon, Engine of Reason The Shed Off the Record Universal Bar Jack Doepel Jazz Quartet X-Wray Cafe Jammin’ Semi Final Clean Living, The Dark Rooms, Moontribe, Ermine Coat Ya Ya’s

FRI 19 Red Descending, Chaos Divine, Advent Sorrow, The Ascent Amplifier Bar Rhyme & Reason Bar Orient Fremantle

Faces Bennys Bernadine Grigson Bentley Hotel Tod Johnston & Peace Love Burswood Casino Bluebottles Captain Stirling Kevin Borich Express Charles Htl The Jayco Brothers, Abe Dunvitz, Tim (One Tiger Down) Clancy’s Fish Pub Adrian Wilson, Nick Sheppard Claremont Hotel James Wilson Deen Rocket to Memphis, Marco & The Continentals Devilles Pad Huge Eastern Hotel Graham Wood Trio, Trent White, Simon Fisenden (Late) Ellington Jazz Smoking Section Gate Local Heroes Greenwood Hotel Chris Gibbs Duo Herdsman Lake Tavern Black Swan Hyde Park Htl Jordie Lane, Mike Noga Indi Bar Nicola Milan Kulcha The Whores, Hokusai, Nevsky Prospekt, Rackets & Fives Manhattan’s Room At The Reservoir, Sugerpuss, Dan Few, Red Sky, The FAIM Project Memorial Hall Mosman Pk Crown Jewels Merriwa Tavern House Of Shem, Ngati Metropolis Fremantle Dilip & The Davs, Special Brew, Gypsie Howls, Batuque Bacana Mojos Nth Fremantle Harry Deluxe, Cheeky Monkeys Mustang Bar Milhouse Newport Htl Goodnight Tiger, Valiant, The Dirty Western Norfolk Basement Gun Shy Romeos Paddy Hannans Burswood Flyte Paramount Still Water Claims, Devastator, Know your Knot, Cameo Thieves Rocket Room The Branson Tramps, The Volcanics, The Old Croak, The Strobes Rosemount Htl Switchback Sail & Anchor Threeplay Saint

40• THE DRUM MEDIA 18 AUGUST 2011

18 - 24 AUGUST 2011

Abbe May, Polly Medlen Settlers Tavern Margaret River Greg Carter Springs Tavern Spilt Cities, Magic Cactus, Paul Mandelt Swan Basement Petrashevsky Circle, Starcleaner, Ali Towers Swan Lounge Place Of Indigo, Bastian’s Happy Flight, The Shallows The Bird Grim Fandango, Stolen Youth, The Proletariate, No Mistake, Fun Razor The Den Bonjah, The Joe Kings The Rock Inne Kickstart The Shed Karin Page Duo The Vic Hotel Nightmoves Universal Bar Sluts of the Underground, Wizard Sleeve, The Goats Velvet Lounge Slim Jim & The Phatts Woodvale Tavern Tiaryn Griggs, Minky G & The Effects, Jasmine Riley & The Distractions, Our Man In Berlin X-Wray Cafe Good Company Ya Ya’s

SAT 20 Voltaire Twins, Usurper Of Modern Medicine, Seams, Lily Rossen Amplifier Bar Radiothon Opening Party Bakery Northbridge The Recliners Balmoral Retriofit Bar Orient Fremantle Chris Murphy Belgian Beer Cafe Rhyme & Reason Broken Hill Smoking Section Brook Bar & Bistro Bonfire Brooklands Courtney Murphy & Murphy’s Lore Burswood Casino Advent Sorrow, Empires Laid Waste, khariot, Animistic, I.V.K Civic Htl Backroom Pete Busher & The Lone Rangers Claremont Hotel Trumpet Fiesta, Los Hombres De Diablo Devilles Pad Timeout Elephant & Wheelbarrow House of Shem Eliot Street Bar, Bunbury Libby Hammer Quintet, Punky Reggae Party Ellington Jazz Club Kevin Borich Express Fly By Night Fremantle Electrophobia Gate Baby Piranhas Greenwood Hotel Freddie Tribute Herdsman Lake Tavern Zarm Hyde Park Htl Blue Shaddy Indi Bar The Other Guys Indian Ocean Brewing Co. Trio Alegra, The Velvettes Kulcha Rhythm 22 M On The Point Lady Penelope Metropolis Fremantle Felicity Groom, Apricot Rail, Fall Electric, Cameron Avery Mojos Nth Fremantle Sophie Jane Mt Henry The Continentals, Milhouse Mustang Bar Kizzy, Gravity Newport Htl Jordie Lane, Mike Noga Norfolk Basement

Dove Northlands Roundhouse Tavern Felix Paramount Grim Fandango, Stolen Youth, Ten Points for Glenroy, Charming Skeletons Prince of Wales Proud Mary Ravenswood Htl Kickstart Rocket Room Adam James Rottnest Hotel Better Days Sail & Anchor Bonjah, The Joe Kings Settlers Tavern Margaret River Chris Gibbs Steve’s Bar Off the Record Subiaco Htl Red Triangle, Paperfly, The Hum, Goose Swan Basement Alex The Kid, Safety In Numbers, It All Ends Here, Emberville Swan Lounge Greg Carter, Aftershock Swinging Pig PUCK, The Love Junkies, SonPsilo Circus The Bird Bryte MC, Rukus Napalm, Dista, OGF, Emcee Red, Two Worlds The Den Kate Gilbertson Principal Micro Brewery Huge The Shed James Wilson The Vic Hotel Soul Corporation Universal Bar Tod Woodward Wanneroo The Whistling Dogs, Jason Snook X-Wray Cafe Hurricane Fighter Plane, Goodnight Tiger Ya Ya’s

SUN 21 Greg Carter Bally’s Bar Cranky Balmoral Ben Pettit Bentley Hotel Tod Johnston & Peace Love Burswood Casino Adrian Wilson Captain Stirling Wesley Goodlet Jamboree Scout Carine Glades Tavern The Shinkickers Carlisle Htl Sunday Driver Claremont Hotel Shameem Taheri-Lee Ellington Jazz Club Better Days, Mike Nayar Gate Adam James Gosnells Hotel Chris Gibbs Duo Greenwood Hotel Mike Nayar High Road Htl Riverton Naomi & The Humming Birds, Polly Medlen Band Indi Bar Retriofit Indian Ocean Brewing Co. Bernadine Grigson Kalamunda Htl Jamie Powers Lakers Tavern Emberville, Cupid Falls, Our Fallen Legacy, Safety In Numbers, This Coming Crusade Mojos Nth Fremantle Kurbist Gong Band Moon Cafe Peter Busher & The Lone Rangers, Rockin Rhys Mustang Bar The Gypsie Howls, The Yokohomos Newport Htl Grace Barbe & Band Queens Tavern, Highgate Bonjah Redcliffe On Murray

Rosie’s On The Couch open mic Rosemount Htl - 459 Bar Shawne & Luc Sail & Anchor Howie Morgan Project Saint Jordie Lane, Mike Noga Settlers Tavern Margs Kate Gilbertson South st Ale House Jen de Ness, Bill Atkinson Subiaco Arts Centre Gignition: Taun, The Insatiables, When Summer Ends, Reilly & Chris Swan Basement Campbell Ellis, Emele Ugavule, Curtin McEntee, Julia Evans Swan Lounge Christian Thompson Swinging Pig The Ghost Hotel, Our Man In Berlin The Bird Retriofit Universal Bar Grim Fandango, Stolen Youth, The Decline, The Others, Refrain, First And Ten YMCA HQ

MON 22 Song Lounge 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 23 Boyce Avenue Capitol Cathrine Summers Ellington Jazz Club Pins & Ladles, Speek Easy, Delirious, The Empty Cup Mojos Nth Fremantle Danza Loca Salsa night Mustang Bar Nathan Kaye, Jessica Morhall, Kate Gilbertson, Helen Shanahan The Bird Open Piano Night X-Wray Cafe

WED 24 Black Market Cabaret Bakery Northbridge Nathan Gaunt Balmoral Stafford Brothers Bar 120 Michael Pigneguy Ellington Jazz Club Nathan Kaye Indi Bar Fremantle Blues & Roots Club, Tobias Moldenhauer, Tracey Barnett Mojos Nth Fremantle Going Solo, Tim Nelson, Amanda Merzdan, Liz Wreck, Emlyn Johnston Moon Cafe Owls, The Date, Graphic Fiction Heroes Paddo Eagle & The Worm, The Frowning Clouds Prince of Wales Bunbury Hype! Empires Laid Waste, DJ Dan Dan Diamond Renegade Rocket Room Trigger Jackets, Selk & The Bone Singers, Mezzanine, RaceToYourFace Rosemount Htl Dove, James Hall, Boston & Chevy Sail & Anchor The Moltens, Lee West, Brett Dunham Swan Lounge No Deadlines, BugHunt, New Erotic, Reilly & Chris The Bird Acoustic Showcase X-Wray Cafe

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UPCOMING TOURS

THE GRATES BONJAH: AUG 18 Mojo’s; AUG 19 Rock Inne Tav; AUG 20 Settlers Tavern; AUG 21 Redcliffe On The Murray ABBE MAY: AUG 19 Settlers Tavern NATHAN KAYE: AUG 19 Cape Wine Bar; AUG 20 Quinninup Tavern; AUG 24 Indi Bar; AUG 25 Kalbarri Motor Inn; AUG 26 Gascoyne Hotel; AUG 27 Kalbarri Motor Inn; AUG 28 L’Attitude 28 Bar KEVIN BORICH EXPRESS: AUG 19 Charles Hotel; AUG 20 Fly By Night JORDIE LANE, MIKE NOGA: AUG 19 Indi Bar; AUG 20 Norfolk Basement; AUG 21 Settlers Tavern TOBIAS MOLDENHAUER: AUG 24 Mojo’s Bar EAGLE & THE WORM, THE FROWNING CLOUDS: AUG 24 Prince Of Wales; AUG 25 The Bakery; AUG 26 Mojo’s CHILDREN COLLIDE: AUG 25 Studio 146; AUG 26 Prince Of Wales; AUG 28 Capitol SPEAKEASY: STONEFIELD, OSCAR + MARTIN: AUG 26 Villa ANBERLIN, TONIGHT ALIVE: AUG 26 Capitol GURRUMUL, DEWAYNE EVERTTSMITH: AUG 26 Riverside Theatre LEADER CHEETAH, BELLES WILL RING: AUG 24 Boulevard Tavern, Joondalup; AUG 25 Prince Of Wales; AUG 26 Amplifier; AUG 27 Mojo’s ADAM HOLE & MARJI CURRAN BAND: AUG 26 Esperance Motor Hotel; AUG 27 Settlers Tavern; AUG 28 Redcliffe On The Murray; AUG 31 Mojo’s; SEP 2 The Rock Inne, Karragullen; SEP 3 Mt Helena Tavern; SEP 6 Gascoyne Hotel, Canaravon; SEP 8 Ningaloo Reef Resort; SEP 9 Dampier Mermaid Hotel; SEP 10 The Icon FELIX REIBL (CAT EMPIRE), BEN SALTER: AUG 27 Fly By Night ARCHITECTURE IN HELSINKI, CUT OFF YOUR HANDS: AUG 27 Astor Theatre HYPERFEST: ARCHITECTURE IN HELSINKI, CHILDREN COLLIDE, STONEFIELD, PAPA VS. PRETTY and locals: AUG 28 Midland City Workshops + JAMES MULLER: AUG 29 Ellington Jazz Club FOR THE FALLEN DREAMS, SIENNA SKIES, HAND OF MERCY: AUG 30 YMCA HQ; AUG 31 Rocket Room

CONFESSION + NEIL MURRAY, RACHEL TAYLOR: SEP 1 Mojo’s

WEDDINGS, PARTIES, ANYTHING: SEP 16 Metropolis Fremantle

BEN SALTER: SEP 1 The Bird; SEP 2 Norfolk Basement

THE LIVING END, HUNTING GROUNDS, KING CANNONS: SEP 16 Metro City

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 ABSOLUTELY ‘80S REUNION: SEP 2 Metropolis Fremantle RESIST THE THOUGHT, FEED HER TO THE SHARKS: SEP 2 Amplifier; SEP 3 YMCA HQ 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 BUDDY: THE CONCERT: SEP 7 Albany Entertainment Centre; SEP 8 Bunbury Regional Entertainment Centre; SEP 9 Mandurah Performing Arts Centre; SEP 10 Astor Theatre; SEP 11 Queens Park Theatre, Bunbury CALLING ALL CARS, BOY IN A BOX, REDCOATS: SEP 8 Prince Of Wales; SEP 9 Studio 146; SEP 10 Amplifier; SEP 11 Indi Bar REBECCA O’CONNOR SIMPLY THE BEST: SEP 9 Charles Hotel; SEP 10 Bunbury Theatre FRENZAL RHOMB, TEENAGE BOTTLEROCKET: SEP 10 Civic Hotel THE VINES, PAPA VS. PRETTY, BLEEDING KNEES CLUB: SEP 10 Capitol … AND YOU WILL KNOW US BY THE TRAIL OF DEAD: SEP 11 Rosemount Hotel MONSTER MAGNET: SEP 11 Capitol TITLE FIGHT, TOUCHE AMORE: SEP 13 Capitol THE PANICS: SEP 14 Settlers Tavern; SEP 15 Prince Of Wales; SEP 16 Astor Theatre; SEP 17 Fly By Night THIRSTY MERC: SEP 14 High Road Hotel; SEP 15 Grand Boulevard Tavern; SEP 16 Charles Hotel; SEP 17 Latitude 28; SEP 18 The Ravenswood

SEBADOH: SEP 16 Rosemount Hotel THE BEARDS: SEP 16 Settlers Tavern; SEP 17 Mojo’s IN THE MOOD: SEP 16 Mandurah Performing Arts Centre; SEP 17 Burswood Theatre OWL EYES: SEP 16 Villa; SEP 17 Malt Market Bar; SEP 18 Norfolk Basement KIMBRA, HUSKY: SEP 17 Astor Theatre RUSSIAN CIRCLES: SEP 17 The Bakery THE BEDROOM PHILOSOPHER, CATBOY: SEP 18 Mojo’s TEX PERKINS & THE DARK HORSES: SEP 23 Rosemount Hotel JACK LADDER & THE DREAMLANDERS, GHOUL: SEP 23 Prince Of Wales; SEP 24 Rosemount Hotel WHOLE LOTTA LOVE: SEP 24 Burswood Theatre BASTARDFEST: PSYCROPTIC, BLOOD DUSTER and locals: SEP 24 Civic Hotel RINGWORM, MINDSNARE: SEP 25 Amplifier HERMAN’S HERMITS: SEP 25 Fly By Night BIRDS OF TOKYO, BOY IN A BOX: SEP 29 Astor Theatre; SEP 30 Studio 146, Albany; OCT 1 Metropolis Fremantle BOOKER T JONES: SEP 30 The Bakery JOSH PYKE, THE PAPER KITES, EMMA LOUISE: SEP 30 Fly By Night; OCT 1 Astor Theatre AKRON/FAMILY: OCT 4 Mojo’s JOHN WATERS: OCT 5 Queens Park Theatre; OCT 6 Bunbury Regional Entertainment Centre; OCT 7 Mandurah Performing Arts Centre; OCT 8 Astor Theatre THE CAT EMPIRE: OCT 5 Astor Theatre; OCT 6 Fly By Night; OCT 7 Metro Freo; OCT 9 Rosemount NEW YORK DOLLS: OCT 7 Capitol LEGENDS OF NEW ORLEANS: ALLEN TOUSSAINT & FRIENDS, THE DIRTY DOZEN BRASS BAND, THE PHILTHY PHEW: OCT 7 Fremantle Art Centre

DEAD LETTER CHORUS: SEP 16 Villa

OKTOBERFEST IN THE GARDENS: OCT 7 & 9 Supreme Court Gardens

BATRIDER: SEP 16 The Bakery

MARNIE STERN: OCT 8 The Bakery


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JAMMIN! SEMI FINAL 1

THURSDAY 18h August 8pm - 12pm

CLEAN LIVING, DARK ROOMS, MOONTRIBE & ERMINE COAT ..................................................................................

GOOD COMPANY

FRIDAY 19th August 9pm - 2am $7

A. SINCLAIR, JAVIER FRISCO, PCJ & SON OF THE FATHER A.

WALLACE,

PLACKY

RON

&

CHUCK

LAURENCE

..................................................................................

Hurricane Fighter Plane EP Launch SATURDAY 20th August 8PM - 2am $10

HURRICANE FIGHTER PLANE & GOODNIGHT TIGER ................................................................................. JUMPCLIMB & WHEREISMYMIND

MONDAY 22nd August 8pm - 11pm FREE

FAT SHAN’S OPEN MIC EMAIL OPENMIC@FATSHANRECORDS.COM ................................................................................. JAMMIN! SEMI FINAL 2

THURSDAY 25h August 8pm - 12pm

THE TUMBLERS, CROOKS, HURRICANE FIGHTER PLANE & SEAMS 147 James St. Northbridge

(Cnr of Lake & James St )

Tobias Moldenhauer Tracey Barnett Wednesday August 24th - 8pm Mojo's Bar North Fremantle - Fremantle Blues and Roots Club Door sales $15 or $10 for members of the fremantle blues and roots club

THE DRUM MEDIA 18 AUGUST 2011 • 41


frontrow@drumperth.com.au

THIS WEEK IN

ARTS

LICENSE TO THRILL WHAT DO BON SCOTT, DAYS OF OUR LIVES, AND JUNK FOOD HAVE IN COMMON? YOU’LL HAVE TO ASK ONE-MAN SHOW BELOWSKY, WHEN HE PRESENTS HIS NEW SHOW AT THE MAJ, A LESSON IN BELOWSKOLOGY. TROY MUTTON ATTEMPTS TO CONNECT THE DOTS.

and crazy path, befriending some big players that would provide him with a lifetime of stories. “I had my own show in the [Standard Hotel] lobby. And I used to do spoken word and music. It was fantastic; it introduced me to the Hollywood celebrity lifestyle. I hung out with people like Joaquin Phoenix and Lisa-Marie Presley. My closest friends are Paul ‘Bonehead’ Arthurs who was the original rhythm guitarist for Oasis, Andy Bell also of Oasis and now Beady Eye, and Alan McGee, co-founder of Creation Records is one of my biggest fans and closest allies.” You can also put down late Factory Records owner Tony Wilson and The Charlatans’s Tim Burgess in that list that one feels may extend for a very long time.

S

LITTLE WHITE LIES

THURSDAY 18 MADhattan’s – a night of experimental comedy MCed by John Conway. Manhattan’s Bar, Victoria Park, 8pm.

SATURDAY 20 Craigie Tales exhibition and book launch – Craigie Tales is a publication about a suburb, a site, and a mural arts programme regulated by the painters that took ownership of three local High School tennis court walls. The Bakery, 12pm. In These Shoes – Julia Jenkins (Taking Liberties!, A Divine Bette Midler Experience, Among Friends) returns to the DownStairs at the Maj stage with her latest offering, In These Shoes. From Liza and Bassey, to Bowie and Bob Dylan. From Weimar to Mississippi, each number gets an electrifying treatment from this gifted interpreter of narrative song. Cheeky and charming, In These Shoes is an intimate glimpse into the influences that have shaped this formidable artist. Closing night. His Majesty’s Theatre.

MONDAY 22 Little White Lies / Oceans – two recent well-received French films; one a romantic comedy involving many couples, and the other a wonderous exploration of the oceans. Luna Leederville, 7:30pm. Versility – solo exhibition for Barbara Jeanne Baumhoff, who will be presents a collection of paintings which reflect the many impressions she has captured while travelling and living in different parts of the world. Final day. Colour Lust Art Space.

WEDNESDAY 24 Belowsky Live: A Lesson In Belowskology – From his famous lobby shows at the infamous Standard Hotel, West Hollywood, to his live talk show Authentic at the Notting Hill Arts Club and opening for The Charlatans at the Cuckoo Club in the West End of London for Death Disco TV, to most recently bringing his quick wit to Foxtel’s Quickies In My Kitchen with celebrity chef Anna Gare, this international hound dog will leave you wanting more. Opening night, 6:30pm. His Majesty’s Theatre until 27 August. Black Market Cabaret – hosted by the very funny and charismatic MC Swingin’ Sammy Poopenmeyer, Black Market Cabaret features Sugar Blue Burlesque performers and some of 42 • THE DRUM MEDIA 18 AUGUST 2011

the very best artistes from the circus and cabaret community in Perth and abroad. The Bakery, 7:30pm.

ONGOING Hijacked 2: Australia/Germany — presenting a diverse and provocative selection of new photography from Australia and Germany, the exhibition erases traditional boundaries between artists, professionals and emerging talent and points towards the future of contemporary photography. The photographs exhibit a fascination with international subcultures, fragmented trends, alternative life styles and urban landscapes. Curated by Mark McPherson (WA), Ute Noll (Germany) and Markus Schaden (Germany). John Curtin Gallery until 9 September. Primavera 2010 — debut WA hanging of Primavera, Sydney’s Museum of Contemporary Art’s annual exhibition showcasing the work of Australian artists aged 35 years and under. Highly recommended. Fremantle Arts Centre until 18 September. Recent Photography — through active acquisition and gifts from artists, the City of Fremantle Art Collection has acquired more than 140 contemporary and historical photographs. This exhibition of recent acquisitions features works by Fremantle-based artists Tania Ferrier, Brad Rimmer, Max Pam, and Graham Miller. Fremantle Arts Centre until 18 September. Wicked — long before Dorothy dropped in, two other girls meet in the Land of Oz. One, born with emerald green skin, is smart, fiery and misunderstood. The other is beautiful, ambitious and very popular. Wicked tells the story of how these two unlikely friends grow to become the Wicked Witch of the West and Glinda the Good. Burswood Theatre until 11 September. The Yellow Wallpaper – Movementworks brings to life Charlotte Perkins Gilman’s gothic tale of a troubled writer, wife and mother who is prescribed a “rest cure” – cutting edge medicine in 1892. Charlotte is to spend her time in the nursery at the top of the stairs. She is not to touch pen, brush or paper. She is alone except for her imagination, her illicit journal and the yellow wallpaper. Blue Room Theatre until 3 September.

tephen Belowsky – or simply Belowsky, as he prefers – is a man of many talents, friends, and stories to tell. And telling stories is something he loves to do, and will be doing, alongside a plethora of other activities in his upcoming one-man show at the Maj, A Lesson In Belowskology. The spoken word performer promises 80 minutes of in-your-face antics that you best be prepared for. “The show is spoken word, comedic spoken word, spoken word stand-up, straight stand-up... it’s interwound with stand-up comedy and multimedia. And it’s very rock and roll. And it’s very new and different. There’s nothing like it in Australia. It’s out there and it’ll blow peoples minds,” an exciteable Belowsky beams down the phone, wandering the streets of

C U LT U R A L

Perth. So you’ve been warned, but let’s explain why a little further. The running theme for Belowsky appears to be pop culture; it’s something the man simply cannot get enough of, and it seems he is up to his eyeballs in ammunition, with a particular slant towards music, but that’s just the tip of the proverbial iceberg. “The show is very much the pop culture of now. A lot of people say it’s like bouncing around in a neon technicolour pinball machine. I mean everything from Days Of Our Lives to Young And The Restless to The Bold

And The Beautiful, to AC/DC to junk food, to breakfast cereal, it’s all thrown at you, right through the show it’s all thrown at you. “And there’s a music opera to it, so much is happening. A lot of visual comedy sketches. There is the musical element – if you love John Lennon and you love Bon Scott I would get down.” Belowsky has a deep association within the music industry that stems back to the days of his now infamous spoken word shows in the lobby of the Standard Hotel in West Hollywood, a place that has sent him on a long

He’s transferred those encounters and friendship into a love of the local music scene as well, pushing up-andcoming local acts such as Still Frame Minds and Wizard Sleeve to a wider audience. As he puts it – “With great power comes great responsibility. I don’t abuse doors that I can open for people. I have to really believe in them because it’s a reflection [on me].” It’s all forms the backbone of an outlet that Belowsky has fallen in love with over the usual stand-up comedy routines. “When you’re doing a one man show it’s not like standing next to a brick wall in a comedy club throwing one liners out, you can think outside the box. You have a license to thrill.” WHAT: A Lesson In Belowskology WHERE & WHEN: His Majesty’s Theatre, Perth Wednesday 24 to Saturday 27 August

CRINGE

WITH MARCIA CZERNIAK

landed some massive coup and featured Botticelli’s well known The Birth Of Venus in an exhibition? Would they not be able to use the image on a billboard for their promo because it features a naked lady? Would that not impinge upon our sensitivities? Or does the code of ethics establish a difference between a painting and a photograph? Photos are art, are they not?

Who would have thought a little bit of side-boob and an intimate embrace could cause such a stir? Are we really living in such a prudish nanny state that we think motorists passing an image of a loving couple might get offended and... what? Shake their heads in so much disgust that their bodies convulse thus lose control of the steering wheel and cause an accident? Or be so overcome by the sexuality of the image that they lose concentration on the road and end up driving up a kerb and hitting a street sign? If you are a little bit confused by it all, join the club. But if the confusion is because you have no idea of what is being referred to, then here it is.

2.3 – that advertising or marketing communications shall treat sex, sexuality, and nudity with sensitivity to the relevant audience and, where appropriate, the relevant programme time zone.

A recent promo image that was intended for billboards around Mt Lawley and Osborne Park from Perth Theatre Company’s production of Tender Napalm was deemed too explicit according to the Public Transport Authority, saying it breached the Australian Association of National Advertisers’ Code of Ethics, in particular Section

The image has the two actors of the production sharing an intimate embrace, nude from the waist up. There is no explicit nature to the image and to anyone with common sense, one look of the image and you can see the beauty in the photograph. Perth Theatre Company has changed their lead image for the play to one where the two actors are wearing tops and

THE BANNED BILLBOARD IMAGE all is now good to go. But should they have had to? You look at any art history book and there are naked people everywhere! Walk through the Louvre and there are sculptures of naked men everywhere. Any decent Renaissance artist painted a nude lady. Heck, Michelangelo even has naked cherubs on his tomb at Santa Croce in Florence. What, you say? Statues of naked little people in a church? How do people not run away from the overtly sexualised images that should be damning their poor sensitivities? Oh, because they don’t live here, that’s why. Hypothetically, what would happen if our Art Gallery

There is so much worse and explicit on our TV screens that is more likely to offend than what the Tender Napalm image would, or could, and no one seems to ban the episodes of Home And Away where students are having sex in the back of the cars causing an outbreak of Chlamydia to hit the high school. Shouldn’t we be more outraged at the portrayal of teenagers sleeping around and passing on STDs than a promo photo on a billboard? Especially considering how many families watch those Aussie soapies – that can’t be suitable viewing for the kiddies. And as the new Underbelly kicks off, you can be guaranteed to see more than sideboob and some naked torsos on that. God forbid if Channel 9 want to do any billboard advertisements for that show.

THEATRE SUD STORIES Blue Room Theatre After travelling around the globe from London to Italy with Sud Stories, Scottish actor Janette McGinty has splashed into Perth at the Blue Room Theatre. Performing this year in Barefaced Stories and Bursting In Solo Spot, she is no stranger to Perth. We were invited into the Blue Room

Theatre with, “please wipe your feet on the bathmat”. Huh? I thought. But there I was. I had just stepped into McGinty’s bathroom. And there she was, centre stage in a blue terrytoweling bathrobe and shower cap, tapping her feet and happily inviting us all into her not so private bathroom. Spurts of childlike laughter and flirtatious winks were thrown out to the seats as Janette attempted to engage the audience. She didn’t have to work

very hard as her adoring Scottish accent immediately captivated. She dove straight into a Perth sud story: “I heard you Perth people like to wee in the shower, don’t you?” She had us in fits of red-faced giggles, reeling us into a more comfortable space. An oddly tall character, with foam stuck to his body and a dive mask on, sprung onto the stage; the Sponge! Janette’s bathroom wouldn’t be complete without one. He

soaked, he helped and he cleaned. I wanted more though, and I got it. The closing scene of this amusing play about human shower routines was a synchronized dance between Janette and Sponge, peaking with the Sponge break-dancing on the floor of the theatre. Hilariousness abounded. Until 27 August SARAH BLANGIARDO


frontrow@drumperth.com.au

AS PERTH THEATRE COMPANY’S PRODUCTION OF TENDER NAPALM OPENS THIS WEEK, ACTOR ANNA HOUSTON SPEAKS TO MARCIA CZERNIAK ABOUT THE LEAD UP TO THE PLAY AND JUST HOW HARD IT IS TO A BACK FLIP AND THEN LAND ON YOUR HEAD.

DARK YELLOW

LOVE TERROR IN THE MIDST OF

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hile their publicity image has been causing a little bit of a stir after being banned from billboards for being too sexualised, actor Anna Houston says despite the hype around the show’s nudity, Perth Theatre Company’s production of Philip Ridley’s Tender Napalm is quite simply a love story. “It is about love in the midst of terror. At its core it is about love and it is about all the conditions we put on love personally and also in society and culture. I think it’s very much about two people who have a very strong, tender and lasting bond who navigate through terror, in a world where bombings and wars are now commonplace, trying to find tenderness,” explains Houston. Directed by Perth Theatre Company’s artistic director Melissa Cantwell, Joshua Brennan joins Houston on stage, a pairing she says has worked really well. “Josh is so incredibly honest and open as a performer. There’s no way you can do those really intimate things on stage without going, ‘Well, I just have to do it, I can’t have any inhibitions, I can’t have any hang ups, I’ve just got to be really raw and open as a performer and go there.’ To work opposite someone who has the exact same attitude is very easy. You don’t have to worry, like, ‘Oh gosh, if I put my hand there will they get offended?’ You just go, ‘what’s the story we are trying to tell,’ and you do it. I feel really lucky to be working opposite him.” The production has quite a physical element to it and is choreographed by Russell Leonard. These physical elements are quite demanding, and Houston says it has been her biggest challenge with the play. “I have done a little bit of physical theatre before, but nothing as strenuous as this. Russ Leonard is a machine of a man. He is so incredibly strong and fit and flexible and he sets us these daily challenges. He’ll do these amazingly complex and beautiful acrobatic moves and then be like, ‘Okay, now it’s your turn.’ Its great to work in that way because you don’t have time to be scared. You just have to get up and go. I can do a back flip and land on my head, no worries! It has gotten a lot better but that first week of working with Russ, I really did have difficulty getting out bed in the morning. I turned 30 this year and I thought, ‘Is this what this decade is going to be like for me, not being about to get out of bed,’” Houston laughs. Despite some aching bones, Houston is passionate when speaking about the play, saying she is loving being a part of it. “Parts of the script are incredibly domestic. Within two seconds, the tone of the writing shifts to incredibly abstract text, so the challenge of juggling both of those worlds and making them work as a whole piece is really what initially drew me to it. And also that it has never been performed in Australia, it is a really new play and I think it deals with contemporary themes. “There are moments throughout which I adore and there are moments I am terrified of because they are so emotionally exhausting. Josh and I have a fairly physical sequence in the play and that is something that I love and fear in equal measure. But the final moments of the play are probably my favourite, because for me, it really wraps up all of these amazingly diverse strands sewn throughout the rest of the text. They all sort of come together in a really beautiful way. It is a terrific piece of writing.” WHAT: Tender Napalm WHERE & WHEN: Studio Underground, State Theatre Centre of WA Friday 19 August to Saturday 10 September

FILM

THEATRE ACTRESS JO MORRIS CHATS TO TROY MUTTON ABOUT THE BLUE ROOM THEATRE PRODUCTION, THE YELLOW WALLPAPER.

“T

his is always a scary time, the last week is you know... running as fast as we can and getting those lines down and working within the structure of the piece to get that flow happening,” a cautiously optimistic Jo Morris says – mid-moving house – of her excitement regarding the opening of The Blue Room Theatre’s new show, The Yellow Wallpaper. “It’s a really exciting time so I’m gonna say yes, I’m feeling confident we’ll have a great show.” In the play, Morris stars alongside Sarah Nelson – both are playing the main character Charlotte – and Sean Walsh, playing a domineering husband who locks his wife in an upstairs nursery for special therapy. “It’s based on the short story The Yellow Wallpaper, which was written by Charlotte Perkins Gilman back in the late 19th Century,” Morris says. “And it’s almost like a semi-biopic tale about the experience of her husband putting her on a rest cure, in a room at the top of a house that they rent for a summer. “And she goes a little bit crazy over the course of those three months due to a whole lot of different things, but mainly the story is a warning against repression, people having to be repressed and what happens because of that, psychologically and physically.” It doesn’t stop there however. In addition to this already gothicsounding tale, there are plenty of deeper, darker themes going on that Morris is looking forward to tackling in the show. “So the wallpaper reference is mainly because of the fact that in that period, within a lot of dyes there was arsenic, and so in the damper weather the arsenic fumes would be released into the air. And so that is a big reason why she also went a bit nuts, because she was breathing in

this kind of toxic air over the course of three months that she was locked into this room, supposedly resting and getting better.” And although the short story was written in 1892, this take, adapted by Silvia Lehmann and director Teresa Izzard, will update the tale with a contemporary spin that Morris hopes will fire the audience’s imagination further. “So they’ve devised a script that was based on the short story, and it incorporated a lot of that old vernacular as well as more of a contemporary style... And then within our approach to the piece... We want to make the pieces as accessible as possible to a modern day audience. So we’ve not only tried to modernise that vernacular even more, but we’ve also tried to explore ways of expressing the text through movement and sound and through a contemporary kind of soundscape.” Adding to the intrigue is the two actresses playing the one character, a necessity according to Morris. “We’re exploring this notion of the outer shell that is this woman who lives in a very restrictive kind of period... And we also look at the other extreme, the fact that this woman was an extremely creative soul; she was an amazing writer and artist.” It’s definitely a show that requires your full attention, just how Morris likes it: “I’m really interested in making the audience active participants in theatre; I don’t want them to just sit back in a cosy atmosphere and drink wine and listen half-heartedly.” WHAT: The Yellow Wallpaper WHERE & WHERE: The Blue Room Theatre until 3 September

REVIEW

COWBOYS & ALIENS The title practically sneers at you for resisting the promise of a zany mashup of two matinee staples (even as ‘wicka wicka Wild West West’ sounds off in the back of your head like a warning siren). It’s practically an acknowledgement that the mass appeal of any Hollywood product lies largely in the delivery of a few sure-fire

ingredients for success; sorta like a hypothetical Transformers sequel titled Explosions And Tits. Which is to say that anyone buying a ticket to Cowboys & Aliens is expecting a smart-stupid, tongue-in-cheek, Snakes On A Plane-lite sorta thing. So it’s perplexing that the film is such a drab slog, and completely devoid of Iron Man director Jon Favreau’s customary light touch. The problems start with the casting of Daniel Craig, playing a gunslinger who arrives as a

memory-deprived mysterious stranger in a small county, only to gradually recall the abduction of his wife by the titular extraterrestrials. Craig is a fine actor in other things, but he offers as much levity here as a stampede, and his cowboy hat always manages to look crudely photoshopped above his head. In addition to that, he’s saddled with an underwritten love interest (Olivia Wilde), who together, generate all the chemistry of Madame Tussaud sculptures knocking into each other.

The irony of Cowboys & Aliens is that though it stagnates when the aliens arrive for a showdown, Favreau begins the film as a reasonably convincing straight-up western, with Harrison Ford doing a pretty decent audition for a gruff colonel in a more solemn, backto-basics take on the genre. Mostly though, Cowboys & Aliens vaporises while you watch it. WHERE & WHEN: Screening in cinemas now IAN BARR

THE DRUM MEDIA 18 AUGUST 2011 • 43


frontrow@drumperth.com.au

FINDING THE TRUTH AMONGST THE HATE

A

s their time at university is soon to come to an end, this year’s graduating class of Acting students at the Western Australian Academy of Performing Arts are about to be put to the test as they perform The Laramie Project. Just over ten years ago, Matthew Shepard, a young, gay university student in America, was kidnapped, beaten, tied to a fence and left to die. The murder sent shockwaves throughout the town where it happened; Laramie, Wyoming. After visiting the town and speaking to over 200 people living there during the following year, members of the Tectonic Theatre Project wrote The Laramie Project. Describing his involvement thus far with the play, Sydney’s Craig Ilot (Misanthropology, Dealer’s Choice, Candy) came on board as guest director after lengthy discussions with WAAPA’s program director of performance, Andrew Lewis.

CRAIG ILOT ON SET OF SMOKE & MIRRORS AT SYDNEY FESTIVAL

AS WAAPA’S THIRD-YEARS EMBARK ON THE PRODUCTION OF THE LARAMIE PROJECT, DIRECTOR CRAIG ILOT SPEAKS TO MARCIA CZERNIAK ABOUT PUTTING ON A PLAY BASED ON REAL-LIFE EVENTS THAT FOREVER CHANGED SMALL TOWN AMERICA.

“Andrew Lewis had been speaking to me for a while about doing something at WAAPA and I had been keen to do so, but my schedule hadn’t really allowed for it to happen. Finally it has, so I have come over specifically to work on this,” says Ilot. “We talked about different plays, and finding the right piece that would challenge a group like this at this stage of their studies was tricky, but I think we found the right one. Sifting through something that gives everyone a fair share when there are 15 actors in a

project is tricky. When I thought about The Laramie Project and gave it a read, I was just struck by how suspenseful and interesting and provocative a read it was.” The play deals with some very emotional and raw subject matter, and while it is said that the it is one of the most performed plays in America and has been presented in theatres all around Canada, UK, Ireland, New Zealand, and Australia, Ilot says it was important for him and the cast to keep true to its original form. “I don’t approach a piece such a The Laramie Project with, you know, ‘what is my particular spin on it’. Who cares what the director thinks about that? I feel a great responsibility to serve the project well. Because it is based on the lives of real people and real events – maybe even more than ever – I feel a responsibility to just be true to the piece. I think to try and find some concept or new spin to it would just be maybe a little egotistical.” In an effort to really understand the play, Ilot says he and the cast have been working collaboratively through the material and have developed a multi-layered appreciation for the text. “It is challenging, really challenging, and I think when I started I was like, ‘This was an event that happened more than ten years ago. If we can’t in some way find this event relevant now, then we are going to be struggling.’ There have been some healthy debates and genuine interest from everyone as we pick apart what the piece means

and what it is. “I think the other thing we all find interesting about the piece is this was an event that happened, and that an artistic director of a theatre company thought, ‘What can we do about it in response to this incident? What can we do as theatre artists to deal with this response?’ So you are actually dealing with a bunch of artists who have headed to this town to see what they can do to make a difference and found there was something they could do. I think that as another bunch of artists looking at this, it is inspiring what those actors from the Tectonic Theatre set out to do and achieved. “Also, thematically I don’t think the piece is too didactic in that way, I don’t think the play sets out to say who is right and wrong. It is about starting a dialogue and to some degree it certainly has encouraged a great dialogue amongst us and it has been challenging at times. One of the things I find about the piece is just this great problem of ‘us and them’. Whenever we feel that people are different from us or not as worthy of respect, I think problems loom and that is really what the piece is about. It is about prejudice and hate, and its opposite, and it can be a really moving piece of theatre.” With all of its challenges, Ilot says the cast has been great to work with and credits the teachers at WAAPA for developing their natural talents, which will definitely need to be utilised for The Laramie Project. “That was the other thing, you know,

why choose The Laramie Project? It is a particular type of theatre, it is verbatim theatre or docu-drama. I don’t think there are as many instances, strangely enough, where actors do have these types of plays where there is direct address. The students have had some experiences at it before, but that is definitely one of the challenges for them to embrace this type of theatre and I think it is important for them to have all types of experiences while they train as well. Probably one of the most challenging things is they are meant to be speaking to the audience and of course we don’t have one yet, so that will be a welcome addition to have an audience, because it is very much about that actor/audience connection.” While rehearsals continue before the fast approaching opening night, Ilot and his cast will get their audiences soon enough, allowing for all their hard work to be seen. “I always get terrified of those last stages but hopefully we can serve the play well and give the audience a great night of theatre.”

WHAT: The Laramie Project WHERE & WHEN: Roundhouse Theatre, ECU Mt Lawley Friday 26 August to Thursday 1 September

i

The Laramie Project On October 6 1998, an openly gay university student was killed in a sickening homophobic attack that shocked the world! The Tectonic Theatre Project visited Laramie and conducted hundreds of interviews with residents, forming the narrative of this poignant and absorbing play. A chronicle of the life of the town in the year after the murder.

Written by Moises Kaufman Directed by Craig Ilott Performed by 3rd Year Acting students

Roundhouse Theatre (ECU, Mount Lawley)

Fri 26 Aug - 1 Sept, 7.30pm Sat 27 Aug, 2.00pm WAAPA Box Office, Ph: 9370 6895

waapa.ecu.edu.au

44 • THE DRUM MEDIA 18 AUGUST 2011


BEHIND THE LINES THE NEW SOUND PERTH’S PREMIER MUSIC RETAIL OUTLET KOSMIC SOUND IS GETTING SOME NEW STOCK IN THEY THINK YOU SHOULD KNOW ABOUT, AND IT’S ALL ABOUT BEHRINGER.

B

ehringer is celebrating its 20th year of existence in 2011, and over those two decades the Germany-based company has become one of the leading manufacturers in audio equipment technology throughout the world. The company was born out of founder Uli Behringer’s desire to become a sound engineer while being unable to afford good equipment. Now there is a state of the art factory based in China known affectionately as Behringer City, and the company’s success is recognised the world over. While Kosmic Music in Perth may not have its own city, they have recently imported some new Behringer stock that is again changing the way we think about audio equipment around the globe:

BEHRINGER INUKE NU1000DSP AMPLIFIER: Like all Behringer products, their new iNUKE amplifier has a list of features that seems to never end, but highlights for this ultra-lightweight, high-density 1000-watt power amplifier with DSP Control and USB Interface include:

- 1/4” soft neoprene pad to serve as an acoustic isolator - Professional balanced XLR, 1/4” TRS and RCA input connectors plus gain control for precise calibration in stereo setups

- Delivers 2 x 500 Watts into 2 Ohms; 2 x 300 Watts into 4 Ohms; 1000 Watts into 4 Ohms (bridge mode) and weighs less than 3.5 kg - Ultimate reliability through revolutionary cool-running High-Density Class-D technology with “near-zero” thermal buildup - Ultra-efficient switch-mode power supply for noisefree audio, superior transient response and low power consumption - High-performance DSP and 24-bit/96 kHz converters deliver ultimate signal integrity and extreme dynamic range - DSP section features sophisticated delay, crossover (3 filter types, up to 48 dB/octave), EQ (8 parametric, 2 dynamic), dynamics processing and lockable security settings - Front panel LCD display enables setup and adjustment without PC - Can be set up, controlled and monitored via front panel USB connector. Powerful remote software downloadable at behringer.com - “Zero-Attack” limiters offer maximum output level with reliable overload protection - Built-in Subwoofer/Satellite crossover for perfect subwoofer operation - Detented and illuminated gain controls for precise level setting - Precise 4-segment Signal and Limit LEDs to monitor performance - Independent DC, LF and thermal overload protection on each channel automatically protects amplifier and speakers without shutting down the show

PRO MIXER DJX900USB: Their latest DJ mixing technology is a wheel spinner’s wet dream, featuring: - Professional 5-channel ultra-low noise DJ mixer with stylish, black design - 45-mm infinium “contact-free” optical crossfader with adjustable tension and fader curve for years of use - State-of-the-art 24-bit digital effects with advanced parameter control - Built-in USB interface for recording and playback of any digital music file. Works with your PC or Mac computer – no setup or drivers required - Intelligent dual auto-BPM counter with time and beat sync display - 3-band kill EQ and precise level meters with peak hold function per channel - Additional 3-way kill switches with extremely steep frequency separation - Awesome adjustable XPQ stereo surround effect - VCA-controlled faders for utmost reliability and noisefree performance

BEHRITONE C5A: These new vintage-style 30-watt active full-range reference studio monitors’ feature: - Vintage-style studio monitor modeled after a famous model from the ‘70s - High-end 30-Watt Class-D amplifier built-in to perfectly match the speaker’s performance - Full-range 5 1/4” speaker with special diaphragm and deformation-resistant chassis - Homogeneous dispersion pattern due to singular smalldiaphragm full-range driver configuration - Magnetic shielding allows placement near computer monitors - 6 1/2” cube cabinet with detachable acoustic foam and attractive wood laminate - Precision-milled, high-rigidity MDF cabinet and baffle for minimal resonance - 5/8” microphone stand mount built into the cabinet base

Kosmic also have more new Behringer stock, including the ULTRABASS BVT5500H – a classic 550-watt bass amplifier head with VTC tube modeling and voicing selector, and VINTAGE TIME MACHINE VM1 – vintage analog delay/echo/chorus/vibrato. For more info head to kosmic.com.au, or head to their stores at 94 Hector Street, Osborne Park and 8/1296 Albany Hwy, Cannington.

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THE DRUM MEDIA 18 AUGUST 2011 • 45


BEHIND THE LINES GEAR REVIEWS

RHOMBING IN THE USA

BOSS CS – 3 COMPRESSION SUSTAINER This is one of three compact compression pedals that is produced by the Boss corporation and quite frankly, it blows the other two out of the water in terms of functionality and tweakability. From the moment I plugged this pedal in, it did exactly what I was hoping. This pedal is very easy to use and easy to dial in a chosen sound. It is built in the same housing as all other Boss compact pedals and is a real workhorse when it comes to live performance. The CS – 3 will last for hours on 9v battery power and it can also be plugged in to a 9v mains source, eliminating the need for batteries altogether. The pedal is very well set out and has an extra-large footswitch on it with a rubber grip, like all Boss compact pedals, so you are unlikely to miss it when you are jumping around on stage. I would recommend this pedal to every guitarist, no matter what genre, as it is so versatile. The only issue is that the CS – 3 can be a little noisy when coupled with distortion. I would recommend coupling it with a noise gate of some sort to remove this problem. However, this pedal comes into its own on a clean channel and that’s where you will get the best use out of it. I find it is particularly useful in clean soloing. I can liken it to having the sustain of a distortion channel without any distortion. It is a background effect and works with your tone without changing it too dramatically. If you want a pedal that will radically alter your sound, this isn’t it. However, if you are after some subtle tone shaping and extra sustain, this is the perfect pedal. Richard Carpenter Available from bavasmusic.com.au

BOSS ST – 2 POWER STACK This is another brilliant release in the Boss distortion line. Boss has made over a dozen different distortion/ overdrive pedals but this one manages to stand out. With this pedal, Boss tried to achieve the ‘feel’ of a stack amp and has certainly achieved it. The tonal soundscape of this pedal is quite remarkable. Everything from a very slight country/blues overdrive, all the way through to deathcore/metalcore tones, this pedal has it covered. As Boss has tried to achieve the sound of a stack amp, the pedal already packs a great deal of low end punch. If this is too much for you, it is easily resolvable through the Bass EQ channel. I found at times that the pedal could be a little trebly. I resolved this by reducing the Treble knob and this gave it a rich, warm and valve-like sound. The most dynamic parameter is the ‘Sound’ knob. This is basically the amount of gain or distortion you want to saturate the sound with, but it is so much more than that. As you move through the tonal soundscapes, the whole dynamic of the pedal changes. For instance, with the sound knob at 9 o’clock, the pedal creates a Marshall Plexi type tone, which is great for ‘70s rock. As I cranked the sound knob up around 12 o’clock, it created a sound similar to a Marshall JCM. This is great for ‘80s rock and metal. Around the 9 o’clock mark and up results in a tight, metal, high gain sound popularised by bands from the nu-metal and metalcore genres. The Power Stack is for the guitar player that is looking for a strong, powerful distortion that is different to other distortion pedals on the market. There is so much more I could say about this pedal but it is definitely worth checking out for yourself!

46 • THE DRUM MEDIA 18 AUGUST 2011

FRENZAL RHOMB GUITARIST LINDSAY MCDOUGALL – AND HIS TATTOOIST – TALKS TO MICHAEL SMITH ABOUT THE MAKING OF THEIR NEW ALBUM.

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Richard Carpenter Available from bavasmusic.com.au

THE AMERICAN HIGHWAY I FENDER PRECISION BASS I’ve been playing a 1976 Fender Precision bass since early 1978, when I bought one from the then bass player from Supernaut (now singer-songwriter Phillip Foxman), retiring my then main bass, a 1974 Rickenbacker stereo, to backup, the band I was in at the time wanting the tougher, grittier rock edge the Precision delivers live and on record. So, I thought I’d have a look at this year’s model and see if Fender has been able to better the original template for a rock’n’roll bass without losing its essence. Well, to be perfectly honest, the good news is that they haven’t messed with the original P-bass one iota - or barely anyway. The original P-bass came with one single-coil pickup, changing over to the standard split pickup in 1957, and the headstock and pickguard were also redesigned that year to more closely match their then new Stratocaster guitar, while the one-piece rosewood neck didn’t become standard until 1966. Fender call the sunburst model under review the American Highway 1 Fender Precision and it’s pretty much a replica of the passive rather than active original model on which my 1976 P-bass and the rest of the line are based, so really, what differences exist are principally cosmetic. The biggest plus is the high-density alloy zinc Badass Bass II, head and shoulders above the original Fender setup and something I really should replace on my own bass as I have on my Rickenbacker – time to start saving. The tuning keys too are a huge improvement on the original model. The satin nitro finish makes the neck very smooth and comfortable, again a subtle improvement on the high-gloss polished lacquer finish on my P-bass, and overall it felt a little lighter – 30 percent apparently, according to the official specs – and that’s always a plus, lugging a five rather than six kg slab of wood round your neck. All up, the American Highway I, an upgrade apparently of the 2006 edition, is a lovely solid working bass and a credit to a justly legendary line that, in a very real sense, created a whole new musical genre – rock’n’roll. Reviewed by Michael Smith Supplied by Allans Music, retails for $1699.

e was meant to be back at The Blasting Room in Fort Collins, Colorado, the studio owned by Bill Stevenson of The Descendents, where Frenzal Rhomb have spent much of the past month recording their next album. But when Drum finally tracked him down, Lindsay McDougall was at a tattooist not far from the studio getting several cats heads added to his collection. The conversation that followed is mostly true. On the choice of Stevenson as the producer for the record, McDougall explains, “I think we just kind of figured’ ‘well, we’re probably won’t record too many more albums and everyone wants to record an album some place cool, whether it’s the place where Guns N’Roses recorded Appetite For Destruction or Led Zeppelin recorded Houses Of The Holy, but we don’t give a shit about Guns N’Roses or Led Zeppelin [laughs], so let’s go and do it with Bill Stevenson from The Descendants and Black Flag. We may as well do it before we all get too old to play our guitars.’ “The last album that we did [2006’s Forever Malcolm Young], with [producer] Phil McKeller, who we’ve used for years and who’s fucking awesome, his approach was get in there, plug all your stuff in, play the songs once or twice until they’re all sounding good and then press ‘Record’. Bill’s a little bit different. He has this real kind of punk rock production line approach going. So while Tom [Crease] is doing the bass in one room, I’m in another room, and this is after Gordy [Foreman] has done all of his drums – like Gordy only took about two days to do all of his drums; that’s like sixteen songs in two days, the fucking super-human freak – so we’re doing the bass and the guitar in two separate rooms and running between each other, me asking what the chords are ‘cause I can never remember, and just bashing it out. That took about three or four days and then onto the vocals as the songs are getting mixed. So it’s this weird production line where, like The Minutemen had that ‘we rock econo’ thing where you do things as quickly as possible because, you know, fuck, who cares? “What we did, we actually went through all the songs with Bill so we could get something that he calls a Tempo Map, which I still don’t understand. So [in preproduction] we went through each song once or twice that way, but we’ve been in a band for twenty years so we know when a song is as good as it’s gonna get. There were a couple of times where we’d play a thing and he’d say, ‘Really? You really wanna do that?’ But then he wouldn’t so much suggest something; he’d get us to rethink.” Built in 1994, The Blasting Room features two studios, with Studio A equipped with an SSL console, a 2.93GHz 12-Core Intel Xeon “Westmere” Mac Pro with Pro Tools HD 9 AC3, and 2” analogue tape machine, while Studio B has API and Chandler pre-amps and Pro Tools HD 8 AC2. Frenzal Rhomb set up in Studio A. Stevenson was already aware of McDougall’s guitar sounds from the Australian tour Frenzal Rhomb did last year with The Descendants. “He had a listen to all my guitar sounds and all the guitars that I’ve got and we came to the mutual decision that I wasn’t allowed to

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bring any of my guitars over to America because they all sound like shit [laughs]. Actually, I did have a Cole Clark guitar I would like to have brought over, but we’re also over here on tourist visas pretending we’re on holiday, so it’s kind of dodgy to pretend like you’re on holiday and carrying a guitar and a bunch of pedals and shit. So we’ve used Bill’s Les Paul and his crazy [Fender] Jazzmaster, on which apparently the last NOFX album was all done, and we also used this amazing Gibson Les Paul baritone guitar, which is tuned down to A, which fucking sounds heavy as fuck. “The only concession to wankerism we had was this old Silvertone amp which you could make sound really, really angry if you put a bunch of pedals through it. I’ve got a modified FB1 super-overdrive pedal, so we just cranked that through it and it sounded like somebody was actually going to get punched.” “It sounded like Nickelback,” the tattooist chimes in, McDougall naturally agreeing. “I’ll just repeat everything that the tattooist says!” As for Stevenson’s approach to recording the vocals, as McDougall tells it, “there’s a really good trick that he uses, which Tom and Jason are loving, and that is singing the song a million fucking times until you get it fucking right! They’ve never spent this long on vocals; it’s amazing. [Stevenson] doesn’t like doing that thing where they just get a bunch of different options and cut them together word by word. It’s you sing until you get it fucking right and then move onto the next one. “I’m sitting there in the studio as Jason [Whalley]’s singing, you listen to some of the words and you’re thinking, ‘Are you really singing that Jason? Singing about standing up naked on the bus?’ And he is apparently, in one of the songs, When My Baby Smiles At Me I Go To Rehab. As to mics, there’s definitely a mic being used – I can confirm that. I’m not allowed into the room where the vocals are being done. And we will apologise in advance for the American accent that Jason now sings in because Bill likes all his bands to sound like Rise Against!” Smoko At The Pet Food Factory (a reference to Whalley’s studio, The Pet Food Factory, where the band rehearses) is released through Shock this Friday 19 August. They tour to launch it at The Civic Hotel in Inglewood on Saturday 10 September.


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Drum Media Perth Issue #251