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INSIDE : SWAY MACHINERY • DAN MANGAN • SLEEPMAKESWAVES • THE CUBAN BROTHERS www.themusic.com.au


Strong sexual references, drug use and coarse language

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THE DRUM MEDIA • 3


THE DRUM MEDIA • 5


FOREWORD LINE

NEWS FROM THE FRONT

IN BRIEF

BLEEDING KNEES CLUB

BEES KNEES Hot on the heels of new single Nothing To Do, Gold Coast’s garage-pop bombshells Bleeding Knees Club are psyched to announce their Australian album-release tour, where they’ll be joined by fellow Queensland slackers Dune Rats. Recently named by NME as one of the 100 New Bands To Watch in 2012, catch them Wednesday 25 April at the Indi Bar; Thursday 26 at Prince Of Wales, Bunbury; Friday 27 at Amplifier; and Saturday 28 at Mojo’s as part of their Street Press Australia-supported new album tour. Bleedingkneesclub.com for tickets.

THE ASTON SHUFFLE

SETS SAILS AWAY It feels like just yesterday we were announcing the first Sets On The Beach for the summer, and after another killer bout last weekend we’re already up to the last. Predictably, it’s a doozy. Say goodbye to summer Sunday 25 March at the Scarborough Beach Amphitheatre to the musical backing of electro duo The Aston Shuffle, partyrockers Yacht Club DJs, party prince Ajax, mash-up madman Sampology, disco enthusiasts Canyons (live) and indie-poppers New Navy, with locals TBA. Final release $56 plus BF via the usuals.

In case you’ve been under a rock, Fringe World Festival was amazing – over 180,000 patrons catching events over the two weeks. It wrapped up last weekend, with Rachael Dease’s City Of Shadows taking out the inaugural $10,000 Martin Sims Award for most promising West Australian Work. Head to Fringeworld. com.au for all the winners. Fringe’s awesomeness lives on through Artrage though, when Rooftop Movies begins Wednesday 29 February on the roof of the Roe St Car Park, Northbridge, rooftopmovies.com.au for more info, including live jazz, bands, themed double sessions and more, all within the coolest sounding setup out. Jessye Norman has cancelled her Aus’ tour (Monday 23 April, Perth Concert Hall); Mickey Avalon has re-scheduled his March tour, now playing the Rosemount Hotel Saturday 26 May; and the March 10 Fremantle Arts Centre show for Chic feat. Nile Rodgers has been cancelled due to disappointing sales. Global social networking platform YuuZoo has launched a band comp, The Break, giving bands a chance to play Bamboozle Festival in New Jersey. Head to thebreakcontest. com for info on how you can join the likes of Bon Jovi and Skrillex. So You Think You Can Dance/Celebrity Apprentice dude Jason Coleman has launched independent record label Groove Pill Records. Congrats to Street Press Australia journalist Lochlan Watt who will be the new host of triple j’s The Racket.

BLUEJUICE

GOOD COMPANY As 2011 closed, Bluejuice dropped their third album Company, a high energy, wellcrafted, pop music anthology that sets Bluejuice further apart from both their peers and current music trends. It left behind the genre-hopping that some felt had compromised their earlier records, and it delivered on their long-term live appeal. They play Settlers Tavern, Margaret River Thursday 19 April; and Capitol Friday 20. $25 via Moshtix, Heatseeker and Oztix, $30 door. Special guests Loon Lake and The Cairos heading this way as well for this Street Press Australia-presented triple-header. FREESTYLERS

Over the past three years, Villa has brought some killer shows including The Stanton Warriors, Krafty Kuts, Plump DJs and Steve Aoki, and they keep the ball rolling to celebrate turning three with some help from one of the original finger-lickin’ crew, Freestylers. In addition they’re supported by crazed German Marten Hørger, his own club night Stamina just turning 10. DNGRFLD and Black & Blunt support this broken biz Thursday 5 April, $35 plus BF via Moshtix/Boomtick. 6 • THE DRUM MEDIA

themusic.com.au

GREENE MACHINE The Bakery hosts an Easter Thursday Extravaganza over two rooms April 5 when New York’s Machine Drum (Sepalcure) and Montreal’s Jacques Greene bring some down-tempo glitch-hop, jungle, house, hip hop and more. Just as massive is the huge host of support acts: Nik Ridikulus Vs Ben Taaffe; Ylem Vs Rachael Dease; Rok Riley; Kit Pop; Solar Barge; Clunk; Modo; Oni Cash; and Sleepyhead. $29 plus BF via Life Is Noise, Oztix, Heatseeker, Now Baking and the usuals. DEEZ NUTS

DARWIN DEEZ NUTS To celebrate the release of their new CD/DVD package F#*k The World, Deez Nuts take on their first Australian tour in almost a year, joined by one of Sydney’s finest heavy hitters in Phantoms. It’ll be their last for a while before they jet off to write and record their third studio album. Saturday 21 April they play Amplifier; and again Sunday 22 when they play YMCA HQ, Leederville, in a special ALL-AGES affair. Tickets via Heatseeker, Moshtix and Oztix. HUSKY

SUB HUSKY Melbourne band Husky will be the first-ever Australian group to be signed to Sub Pop, joining the likes of Fleet Foxes and Beach House, and grunge legends Nirvana and Soundgarden. They’re obviously pretty chuffed about it, and are hitting both the international and national touring circuit for some good times to spruik latest single The Woods. Once they get back from Europe, Friday 4 May they play The Bakery, with supports and ticket info TBA.

Breakfest has been nominated in the Top 5 Best Large Events at the Breakspoll 2012 Awards which are announced this Saturday. Good luck! High school students keen to play at this year’s Fairbridge Music Festival should get along to fairbridgefestival.com. au and enter The Quest. Entries now close March 2. The Holding Pattern allows artists who upload their music onto the portal to keep 80% of the sale, while retaining control of their copyright. holdingpattern.com for more info.

STYLIN’ BDAY

MACHINE DRUM

Sia has said she no longer wants to tour or promote her music, preferring to make money writing pop songs for pop stars. Of course this isn’t the first time she’s been a little over the top on her Twitter.

BLOCK NESS MONSTERS

FRAT PACK Metropolis Fremantle have a new weekly party, and let’s just say it’s for fans of every college party comedy that’s ever happened. Frat House Fridays is a student night launching Friday 24 February from 9pm ‘til late, with hosts Death Disco DJs, plus special guests every week. Shorts and casual attire welcome, with cheap drinks in red cups and more, including special launch guests Block Ness Monsters. Who? Here’s a hint: a DJ project from guys who usually battle science with art.

HAVANA NIGHT Last time Havana Brown was at Metropolis Fremantle it was heaving and she’s back Easter Thursday 5 April for Limelite. This darling of the decks has reached dizzying new heights receiving two ARIA nominations and smashing the charts with her Crave compilations. Touring, recording and living it up in LA, Brown’s popularity in the States has translated into a 12-month residency at Paris Las Vegas’ Chateau nightclub. Tickets via Moshtix.


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THE DRUM MEDIA • 7


FOREWORD LINE SLEEP WALKIN’ As the momentum keeps building for Dead Letter Circus in the US they’re headed there for some tours including SXSW, before returning for the Sleepwalker Australian Tour, presented by Street Press Australia with Fair To Midland and Twelve Foot Ninja. Friday 11 May the three play Metropolis Fremantle and Saturday 12 they play Capitol. Tickets via Oztix, Moshtix and the usuals from next Monday. Dead Letter Circus’ new single blasts the airwaves very soon.

NEWS FROM THE FRONT

LOCAL LOVIN’

March and want you to celebrate at The Bakery with Naik, Diger Rokwell, Mathas, The Empty Cup, Ylem, GDP (USA), Mei Saraswati, Ourobonic Plague, Boost Hero Man, Sibalance, Silence and Arms In Motion. This Drum-presented event also features The Community Market Stall, print exhibition, VJ Lambency, party games and more. Tickets via Now Baking.

DIGER ROKWELL

The Unwrapped South Perth Annual launches Sunday 25 March on Angelo St in South Perth, featuring fashion and performances from Morgan Bain, Needing Cherie, Katharine Penkin, Splinta, Sam Wylde, Sugarpuss and DJ Steven Bacich from 12 ‘til 6pm.

CATCALL UP Hitting the road this May in support of current single Satellites and to preview songs from forthcoming debut album The Warmest Place, Catcall and her band play Amplifier Saturday 26 May. Having kicked off 2012 by supporting Brazilian babes CSS in Sydney and Melbourne, and with Satellites making noise triple j and worldwide, catch her before she claws her way to the very top. Tickets via Moshtix.

CISCO KIDS Even though their massive sold-out national tour hasn’t even wrapped up yet (it finishes at the Fremantle Arts Centre this weekend with two EP launch shows!), San Cisco have announced another, and they’re taking local electro duo Voltaire Twins along for the ride, including Mojo’s Friday 27 April, before jaunting around the country playing Groovin’ The Moo sideshows and the festival, before playing our GTM Saturday 19 May at Hay Park, Bunbury. Tickets via Oztix.

Dedicated new DJ radio station The Backyard Project hosts Backyard Knights at Villa, Friday 16 March, featuring young WA guns Jus Haus?, Darren J, The Barons Red, New Noize, Vandan and more TBA. Stay ‘tuned’ for more. $11 plus BF via Moshtix, $15 door.

There’s some mighty fine happenings going down right now in WA, and we don’t just mean the seemingly never-ending pool weather… The Community has grown into a 30-strong collective featuring producers, musicians, singers, MCs, photographers, artists, a record label, two radio shows and more. They turn eight Saturday 31

THE BIG 1-0

Touring a brand new full live show, Opiuo brings his funked-up dub sounds to Capitol Saturday 24 March. Featuring live drums, saxophone, trumpet, keys, synths, guitar and samplers, all played and morphed live by a few extremely talented, carefully-selected musicians, even venturing from as far as the mighty USA. Prepare to be shaken, stirred and moved by this one-off live tour experience. The Butternut Slap features support from Sunmonx, Russ Liquid and JPS. Tickets via Moshtix.

JOXIC WASTE Having recently spent some time in the studio with Marko Seider (Beyonce, Drake) and soon heading off to the USA for more recording time, J.Waste is ready to make his mark on the Australian music scene, and he’s got his eyes set on Perth. A former metalcore (Chelsea Smile) and post-hardcore (With Oceans Below) vocalist, Jarrod Bartlett’s move into hip hop becomes complete Thursday 1 March at Oh Snap at Villa.

EAT THE BEATS Take in music and food from around the globe at the City Of Wanneroo’s Global Beats & Eats Festival at Liddell Reserve, Girrawheen Saturday 10 March. Headline act Tijuana Cartel (also playing Mojo’s March 2 and 3) bring beats that span the globe, supported by West African drummers Bolo and Middle-Eastern four-piece Daramad, with Chinese Lion Dancers, Ozmosis and more. There’s plenty for the kids too, with shaker making workshops, a bouncy castle, face painting and more, from 5 til 9pm.

V FOR VENGEANCE Aussie renegade DJ/producer Vengeance started in high school, releasing his first tracks in 2008, and since then he’s been proving his worth around our shores; slamming out killer tracks and begging retribution with his skills behind the decks – expect an explosive delivery of infectious beats, electro bangers and ridiculous synth-pop. He’s joining Japan 4 at Ambar, supported by Bezwun, Marty McFly, Micah and Philly Blunt, $15 Saturday 24 March. 8 • THE DRUM MEDIA

Saturday 3 March new ALL-AGES venue The Garage

Award-winning acoustic duo Jane Germain & Ian Simpson launch their new LP No Fun Allowed, packed full of raging bluegrass, hard-driving blues and downhome country Friday 9 March at Kulcha. Bootleg is back at Ambar Friday 16 March, featuring The Bootleg Brothers, PDS, Tee El, FTW and The Barons Red, $12 from 10pm. Devilles Pad presents the annual Low Brow Kustom Kulture Extravaganza, Sunday 25 March from 12 ‘til 8pm. Muscle cars, kustom bikes, rat rods and more combine with Sea Of Tunes and Lord Miff & The Cadillacs, plus vintage markets, DJs, magicians, barbeques and more. The second annual William Street Festival arrives Sunday 18 March. A free family and community event, the ‘fest celebrates the arts and culture of William Street. Two stages will showcase original bands including Rocket To Memphis, Kwachala, Natalie Gillespie & Lucky Oceans, The Bartlett Brothers, Village Vibe, Grace Barbe and Club Qachria, with other performers roaming the streets all day, which will be filled with food stalls, arts and crafts, markets, live art and more.

JESSIE J

NEW BANGERS

M A R L E Y

FESTIVAL NEWS www.houseofmarley.com.au

With all the buzz around Groovin’ The Moo, Saturday 19 May at Hay Park, Bunbury, with sideshows and a cracking line-up to get excited about, there’s a teeny bit of bad, but then good news: Chiddy Bang has had to cancel, but has been replaced by sunny indie-pop kids Ball Park Music, who continue the good times going after a stellar 2011. Chiddy fans can get a refund through Moshtix from Monday 27 February.

RUNNIN’ PADDOCKS Australia’s favourite Leeds lads the Kaiser Chiefs return to rock our shores this May for Groovin’ The Moo. They’ll be bringing their brand new single On The Run, though the chiefs arrive here a day early, now also playing Metro City Friday 18 May. Tickets via Oztix. Up-and-coming young guns Deep Sea Arcade (coming off the back of a new album) and Loon Lake support, following plenty of j-radio play for both in recent times.

ANNA LUNOE

Fremantle institution The Norfolk Basement reaches the 10 year milestone in March and is marking the occasion with a month-long celebration, featuring 22 separate gigs, and over 60 bands and artists joining in to toast Freo’s own cellar full of noise. Saturday afternoons will also feature acts in the Norfolk courtyard. Acts involved include Pond, Felicity Groom, Mick Thomas, Wolves At The Door, Rainy Day Women, The Tumblers and many, many more.

BUTTERNUT CANDY

Local chanteuse Rabbit Island and dream stateinducing group Erasers have been picked to support Portlandian indie-rock girl power group Wild Flag at The Bakery Wednesday 7 March.

May at Amplifier. The genre-bending trio have taken it upon themselves to deliver music that is unequivocally their own, culminating in the recent much-adored Odd Soul album. Tickets via Moshtix from February 28.

MY DELIRIUM Rewind to August last year when Calling All Cars released their second album, the ARIA-charting Dancing With A Dead Man and set off on a tour cycle around the country. They finished the year in a blaze of glory supporting their new best friends Foo Fighters and being added to the East Coast Big Day Out run. They’re back though, The Delirium Tour at Indi Bar Thursday 19 April; Prince Of Wales, Bunbury Friday 20; and the Rosemount Hotel Saturday 21. Arts Martial support.

The Dave Mann Collective launch their brand-spanking new album Everywhere At Once at Fremantle Arts Centre Friday 9 March. $15 plus BF or $25 door from Heatseeker, Fremantle Arts Centre or usuals.

hosts The Seals, Hootenanny, Foam and The Strangeways. It’s a new initiative offering under-agers the chance to see some of Perth’s quality original live music under the Rock Scholars umbrella. $10 from 6pm, with the next edition Saturday 28 April.

SECOND WAAVE FUTURE FUSS The final pieces of Future Music Festival’s epic raverpuzzle have fallen into place, with the addition of Sydney DJ femme fatale Anna Lunoe joining the line-up, alongside locals Naik feat. Pat (Sugar Army), The Brow Horn Orchestra, Black & Blunt, Death Disco DJs, Darren J, Mind Electric, Kenny L, Jason Creek, Massiv Trav, Progress Inn, Junior Vs Raji, Cut & Paste Soundsystem, Valle Zoo, Stillwater Giants, German, Riot Class, Jack Masel, Ekko & Sidetrack, Lukas Wimmler Vs Chris Moro and the winner of The Future Of Future DJ competition this weekend at Capitol. Lunoe headlines the Pure Blonde Dome, a unique space filled with rainforests, mountains and most importantly, beats. Tickets via Ticketmaster and the usuals.

ODD MATH

Following from their just-announced shows at Groovin’ The Moo, Wavves will play a sideshow Friday 18 May at Rosemount Hotel. Thrust into the spotlight after generating buzz through the brilliant home recordings of the first two albums – both chock-full of charisma and infectious power-pop – the distortion-happy, lo-fi slacker and poppy melodies have attracted plenty of fans. Tickets via Heatseeker, Planet, 78’s, Mills and Star Surf.

HOWARD’S END Folk and world music good time Fairbridge Festival have added Aussie legend Shane Howard to the line-up for the festival, Friday 13 to Sunday 15 April. It’s been almost 30 years since Howard released the iconic album Spirit Of Place, featuring Aussie anthem Solid Rock. Fairbridge Festival takes place at Fairbridge Village, Pinjarra. Hit up fairbridgefestival.com.au for ticketing details and a full list of the 90-plus acts performing.

While Groovin’ The Moo looks like a massive one on Saturday 19 May at Hay Park Bunbury, city-bound people won’t be complaining too much as yet another act have been announced for a sideshow: the Grammy-nominated New Orleans three-piece Mutemath playing Sunday 20

CREDITS

Bell, Jackson Best, Tom Bragg, Tristan Broomhall, Rob Browne, Rick Bryant, Michael Caves, Travis Collins, Cyclone, Marcia Czerniak, Sebastian DíAlonzo, Kitt Di Camillo, Daniel Cribb, Naomi Dollery, Cameron Duff, Cam Findlay, Tomas Ford, Olivia Gardiner, Rueben Hale, Simon Holland, Craig Hollywood, Christopher H. James, Jason Kenny, Angela King, Mac McNaughton, Nic Owen, Lily Seabrooke, Baron Gutter, Ted Schlechte, Michael Smith, Andy Snelling, Aimee Somerville, Kristy Symonds, Callum Twigger, Anthony Williams, Mitchell Withers

EDITORIAL

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

EDITORIAL POLICY

ADVERTISING

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

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. ©

Matt Davis, Kieryn Hyde

Editorial Friday 5pm

DESIGN & LAYOUT

DEADLINES

ADMINISTRATION

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

Accounts Loretta Carlone

PHOTOGRAPHERS

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

CONTRIBUTORS

Marnie Allen, Marisa Aveling, Paul Barbieri, Aleksia Barron, Zoe Barron, Steve

themusic.com.au

PUBLISHER

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

GIVEAWAYS

Justin Timberlake reckons she’s the best singer in the world right now, but find out for yourself when rising pop icon Jessie J performs Monday 5 March at Challenge Stadium. The international pop sensation will show you Who’s Laughing Now with hits like Who You Are, Nobody’s Perfect and Domino. This ALL-AGES, Street Press Australiapresented show is set to be a cracker, with support coming from the good Professor Green and Aussie star Ruby Rose. But if you don’t want to shell out for tickets, win one of FIVE double passes to the show by hitting the Giveaways tab on Drum Perth’s Facebook page. Jessie J will also be in town this coming weekend for Future Music Festival, sharing a line-up this year that’s hard to argue with. One of the highlights this time around is sure to be the Smirnoff DFA Records Stage. The original New York slice slams down, with DFA hosts and LCD Soundsystem’s legendary duo James Murphy and Pat Mahoney performing hosting duties, along with Hercules & Love Affair, Azari & III, Holy Ghost, The Juan Maclean and more.

Phone (08) 9228 9655 General Editorial music@drumperth.com.au Arts/Film Editorial frontrow@drumperth.com.au Club/Dance Editorial mo@drumperth.com.au Gig Guide gigguide@drumperth.com.au Live Editorial live@drumperth.com.au Advertising Sales sales@drumperth.com.au Accounts/Administration accounts@drumperth.com.au Artroom artwork@drumperth.com.au Distribution distro@drumperth.com.au Office hours 9am to 6pm Mon to Fri.

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THE DRUM MEDIA • 9


TRIPPING IN NEW YORK, STEALING IN AUSTRALIA DIE ANTWOORD’S NINJA HAS FOUND OUT WHAT DUBSTEP IS, IDENTIFIED WHAT SNOW IS AND IS SHOCKED AT THE CONTROVERSY MORMONS CREATE. SCOTT FITZSIMONS BELIEVES IT’S THINGS LIKE THESE THAT MAKE THE RAP-RAVE WORTH THEIR WEIGHT IN STOLEN HOTEL GEAR.

“O

K, sweet, don’t be a faggot now.” That’s how Die Antwoord’s Ninja signs off on his chat with us on the line from New York. It’s been a long day of rehearsals and experiencing the big city for the trio, also featuring co-vocalist Yo-Landi Vi$$er and DJ Hi-Tek, and Ninja’s in fine form. At the time the “rap-rave” group, as David Letterman put it recently, from South Africa’s Capetown were about to release their second album Ten$ion, an equally demented and delirious collection of songs as their break-out debut $O$.

Matt Stone? “We didn’t know anyone was having a go at us. What did they say, the fucking bastards?... We made the video before they had a go at us. So they couldn’t say anything, because we were like, ‘What? Check out the Faggot video niggas, then everything will make sense’.” Preparing for tours around the world – Australia’s leg coming courtesy of the Future Music Festival – Ninja says that the New York rehearsal rooms are treating them well. “They had mirrors, and it was just like the best thing I’ve ever done. We were rehearsing so much, it was the coolest. Yo-Landi, for this one song Baby’s On Fire, she only got the flow and pitch right, like, today. ‘Cause in the studio she does this very sexy, chilled, intimate vibe, but live that sort of shit can die so it was difficult… While I’m doing the chorus to Baby’s On Fire she does this one dance move, she does the more cool, chilled version and I do the more epileptic fit version on the hook.

Ninja says it’s snowing. “Just a little, but it definitely is snowing. It’s not rain, because it’s big and white… this is the first time I’ve seen this, it’s tripping me out actually. I put it on my tongue.” The new experience could even inspire a future song, he says, quickly throwing some ideas around. “Yeah, I’m Dreaming Of A White Christmas, and Hey Santa Claus You Cunt Where’s My Fucking Bike? It’s a remix, we’ll bring it back.”

“Have you ever seen, like, Fame or Flashdance? It was like those sort of studios. We’ve never been is such fancy facilities before, to do a rehearsal. And we have a sound engineer, he’s from Columbia. He doesn’t deal cocaine or anything, he’s from Columbia though. He can’t come to Australia, which we were depressed about, because he’s the ultimate sound engineer/tour manager.

Throughout our conversation, Ninja is usually rambling on a topic. Extrapolating on small details that often take him off that topic, he knows how to dominate a conversation – not so much as intimidating as controlling. “We just went and saw The Book Of Mormon,” he says, deciding that this is what we’d be talking about next. “It’s a Broadway production; we don’t get Broadway in South Africa. It’s by the guys who made up South Park. Our hotel was actually mystically positioned like four steps away from the Broadway production The Book Of Mormon. That was fate, not any human intervention, and then we kind of freaked out and we tried to get tickets and we found out they were booked ‘til February 14 2014 and we were, like, severely depressed.

“He’s having a baby, it’s a girl, but he won’t tell us the name until it’s born, because it’s bad luck in South America to say the name before the child’s born, but it does have a name apparently, word on the street. His name’s Leo, not the baby, him, the guy, our tour manager. We’re gonna get another tour manager for Australia, which is traumatising. But Australian tours are really fancy upper-class sort of styles, so we’re not that worried. When we played the Big Day Out we stayed in the Versace Hotel [Australia’s first Versace is on the Gold Coast] and they have a fake beach, and I stole everything from the hotel. I have a Versace towel, Versace slippers, Versace bed robe, Versace soap, Versace shampoo, Versace everything.”

“But then we sent an email to my one friend who knows the guys from South Park. They’re presently starting season 16 and they’re pumping our Ten$ion album at the South Park studios and once again destiny intervened and we got four tickets to the show tonight. They had to cancel some poor bastard and his posse’s tickets so that we could watch it. And it was pretty much the most controversial scene I’ve ever seen since I was born and I can’t believe they haven’t been assassinated.” Was it good though? [In over-blown Australian accent] “Yeah, it was above bloody average mate.”

It’s not only the hospitality that gives them fond memories of Australia. Like many artists, they attest that the support here is amongst the best in the world. “Pretty much everyone’s psychotically into us. Rather than anywhere else in the world, Australia went the most fuckin’ berserk.” He describes the crowd in Big Day Out’s “Boiling Room” as “Lord Of The Rings CGI. You don’t see that many people in front of you in real life, ever. It was the most psycho shows we’ve ever had ever… I can’t even understand it myself. I think it’s to do with Rodney Rude and Crocodile Dundee.”

It’s enjoyable to let Ninja rant on like this, because that’s when he’s at his finest. Die Antwoord is, after all, performance art. Ninja’s real name is Watkin Tudor Jones, and he’s played a number of characters notorious in South Africa. He even has a child with co-star Visser named Sixteen. Not everyone’s in on this joke yet – of an overly Zef (South African’s answer to gangster culture) rap group – and that’s part of what makes Die Antwoord so alluring. Especially when Jones holds his character so well. He’s been known to freeze up when journalists take the ‘performance art’ angle, and when the story is so entertaining it’s worth running with him.

Ten$ion has since been released on the band’s own label, and it’s both an improvement on $O$ and Die Antwoord. Given that people know what to expect now, they’ve been able to play up on the joke, push it further, and even get the kids in with dubstep. “DJ Hi-Tek was fucking with this shit called dubstep. We thought it was like gangsta rap, like slow gangsta rap. And then he said, ‘No, that’s dubstep. All the kids are into it.’

“We nearly got kicked out, basically,” he continues of the Broadway experience. “They were saying we were talking but I didn’t fucking talk once, I was just laughing. Like, fuck, I basically laughed my balls out of my mouth. It was the funniest thing I’ve ever seen since I was born, I couldn’t believe that they were allowed to do that. You would get assassinated for doing that type of production in South Africa, like, easily.”

“We were like, ‘Can you do an apocalyptic fuckin’ warzone end-of-the world?’ which is pretty much South African-flavoured dubstep. Like, hard up-inthe-club shit mixed with hi-energy rave.”

WHAT: Ten$ion (Zef Records/Co-Operative) WHEN & WHERE: Sunday 4 March, Future Music Festival, Arena Joondalup

THUR FEB 23

fri FEB 24

Tonight! Thurs day November 3rd

Something Humble

Bears and Dolls Blind Highway & Ichora

with special guests Sonpsilo Circus + Sugarpuss Doors 8pm. Tickets from www.rosemounthotel.com.au

ENTTRY RY $8. $ . DO $8 DOORS RS 7: 7 30P 30PM 30PM

DJ Sean Pollard (Split Seconds) free in the beer garden Presented byy

$10Selected Cocktails

$12TEDD jugs

$13Schnitzell $13

www. spacesh ip news. com.au

One of the big talking points prior to Ten$ion’s release was that the band had left their label after a dispute (which may or may not have been manufactured). They claimed that Interscope were too involved in their new direction. The album was subsequently released on their own Zef Records. Ninja tells Drum that the unnerving mid-album satirical skit Uncle Jimmy, where ‘Uncle Jimmy’ entices band member Yo-Landi Vi$$er to sit on his lap and stay in his office so he can ‘keep her as a pet’, is based on a real person – Interscope Records boss Jimmy Iovine. “Yeah Jimmy Iovine, from Interscope, the boss of Interscope. I can do Jimmy real good, that was actually me, I know it sounds like Jimmy but it’s actually me. Jimmy always used to like ask us in for herbal tea and stuff and ask Yo-Landi to sit on his knee and stuff and make little cute jokes at us all the time. So we thought it was quite funny to put in a skit.” He continued, “And

WHO: Die Antwoord

Given the controversy of the use of the word “faggot” in single Fok Julie Naaiers, which came accompanied with an explanatory video, surely Die Antwoord’s penchant for controversy matches South Park creators Trey Parker and

‘OUR LABEL BOSS MADE US SIT ON HIS LAP’

COERCE

sat FEB 25 7ULJJHU-DFNHWV 7KH6FRWFK2I 6DLQW-DPHV 7KH9LQFHQW*DOORZV

with special guests

Grim Fandango Drowning Horse Coveleski

Doors 8pm. Tickets from www.rosemounthotel.com.au

FREE ENTRY from 8pm.

then he didn’t want to put the skit on the album, and that’s why we left Interscope. We were like, ‘That’s lame. We’re leaving your label now. Bye.’ That’s why we left Interscope, because they wouldn’t put Uncle Jimmy on the album.” Ninja said that he doesn’t know what Iovine – one of the biggest industry players in the American, and international, music scene – thinks of the track since it made the album. “He doesn’t speak to us anymore, I don’t take his calls.” He adds that the skit, “Was funky, it was fresh. As I said for us it was like the greatest skit in the history of hip hop music. When we made it it was like, ‘Fuck this is funny’ and like cool and shit. Memorable. “People would be talking about it. we knew if we put it on it would be popular with the kids. When they were like, ‘Oh, we’re not putting that on’, we were like, ‘OK, you’re not our label, bye.’”

SUN FEB 26

SUPER SUMMER

SUNDAY SESSION DJs in the Beer Garden from 3pm / Breakfast $10 / Cocktails available all day

WED FEB 29 student

night

free pool

indie djs

outside

in the garden

LIVE BANDS INSIDE CHEAP DRINKS $14 STEAKS Red Sky (EP launch) + Förstöra + Nevsky Prospekt $5 entry. Doors 8pm.

Cowboys & Indie Kids DJ Set in the beer garden Wednesdays from 7:30pm www.rosemounthotel.com.au cnr angove & fitzgerald , north perth 10 • THE DRUM MEDIA

themusic.com.au


THE DRUM MEDIA • 11


MAN ABOUT TOWN

BLOODY SUNDAY

Joining Bonnie Prince Billy at his Perth Festival Gardens show will be frequent collaborator Emmett Kelly and his band The Cairo Gang – common knowledge, sure, but what you may not know is what the band shares their name with. And today, fair Drum reader, we offer you a quick history lesson on a group of British Intelligence Agents from the 1920s, sent to Dublin to gather intel against Irish Republican Army (IRA) big wigs. They were known as The Cario Gang and the majority were killed at various locations around Dublin on the morning of November 21, 1920 – a day that would later become known as Bloody Sunday.

IT HAS BEEN A LONG SIX-YEAR WAIT FOR AUSTRALIAN BONNIE “PRINCE” BILLY FANS TO SEE HIM BACK IN OUR COUNTRY, BUT, AS THE MAN BEHIND THE MONIKER WILL OLDHAM PREPARES TO RETURN ON THE BACK OF LAST YEAR’S WOLFROY GOES TO TOWN, HE TELLS DAN CONDON HE’S HAD HIS REASONS.

T

here are some explicitly personal reasons as to why Will Oldham hasn’t been to Australia in six years, though it’s not because he doesn’t love it down here. “The last trip we made down there we played a few shows in Australia and a number of shows in New Zealand and it was one of the most rewarding trips I’ve been on,” Oldham begins. “It was very special in a lot of ways and it’s the kind of thing that slows you down from trying something again, having such a great experience. “At the same time, the last time I went was about six years ago and a few months later my father passed away. My mother has been of questionable health since then, so that makes travelling to the other side of the world a bit more challenging.” There are plenty of exciting plans in store for this trip, both for Oldham and his fans. “We’ll get to see my friend Mick Turner and play some music with him and I believe do a bit of recording with him and that’s something I greatly look forward to,” he reveals. “I look forward to going to Margaret River because Chan Marshall [aka Cat Power] has spoken many times about the glories of Margaret River and I’ve never had a chance to go there before, but this time we get to go and play in Margaret River so that’s very exciting. I’ve only heard good things about it. I’ll also have a new hand-plane for bodysurfing, so I look forward to breaking it in on both the east and west coasts of the country.” This trip is on the back of last year’s wonderful Wolfroy Goes To Town, a record made with the help of six of Oldham’s favourite collaborators. The fact such a large band has produced a sparse, considered record is testament to their subtle playing. While this wasn’t a dictated direction on Oldham’s behalf, he did ask the musicians to listen intently and respect each other’s playing. “I knew we were going to be going in and recording with seven of us in total, so there was always the thought of encouraging people to remember that there were seven of us participating and asking everybody to be very judicious when deciding how he or she was going to contribute,” he recounts. “It’s great that it’s ended up sounding open and sparse when there are seven people participating in the making of all the songs. It’s just the idea that you want all of these creative forces as part of the record but you don’t want them to overwhelm the song, you don’t want the listener to feel ganged-up upon by us. The song has to have some space because 12 • THE DRUM MEDIA

there has to be room for the audience in there.” The album takes its name from a painting by Oldham’s friend Lori D, an artist from Portland, Oregon, who painted it for an exhibition in Melbourne. “I had created this name Wolfroy a number of years ago and I used it as an email address,” he explains. “I follow [Lori’s] work fairly closely and knew she had this exhibition down there and I looked from here, from Kentucky, to see what the works were and saw she had appropriated this name of Wolfroy and created this amazing image. Her work in general I usually find fairly breathtaking and inspiring, and I liked that she had carried the name and given the name a body. It was so exciting. I own the painting and I look at it every day; it’s the kind of thing where it’s just a part of my brain world. When I was looking at it every day and working at these songs, I just thought, ‘This could be my guiding light for making this record’.” A track from the record, Time To Be Clear, will be released as a single soon with unreleased offcuts Whipped and Out-Of-Mind featuring as b-sides. But they’re far from throwaway songs. In fact Oldham says their release is what will make Wolfroy Goes To Town feel complete. “We prepared twelve songs and

roles. Another good way is to write songs in which you can leave certain parts of the forces that act upon you to make you who you are and retain others. “Maybe one day it would be nice to write some more third person songs and I’ve tried every now and again, but, when you’re singing, the joy of finding the dynamic and the melody of the performance comes more completely with identification with the voice that is making the words happen.” Anyone who has spent the past few months bathing in the gorgeous harmonies on Wolfroy... are in for a real treat when Oldham arrives with his band The Cairo Gang. “We’ll be a four-piece, four of us out of the Wolfroy… band – Emmett Kelly, Angel Olsen, Van Campbell and myself,” he reveals. “This will be the first time that we’ve worked as a quartet in that way, although the four of us have been playing together in different formations in the past few years. There will be a lot of singing – Emmett, Angel and I have just been singing with each other a lot, so there’ll be a lot of singing off of each other.” He has 16 studio albums and countless singles, EPs and collaborative works to his name, but when Will Oldham thinks about the future, he’s not certain about continuing along the path he’s trod for so

THE SONG HAS TO HAVE SOME SPACE BECAUSE THERE HAS TO BE ROOM FOR THE AUDIENCE IN THERE.”

ended up only recording ten, but then we recorded the other two songs a few months later,” he says. “That’s exciting because it feels complete now and the release will feel complete by that point. They’re the two songs that have anything to do with love – both platonic and corporeal – and they were not included with the rest of them, so it ended up being a fairly cerebral record without these two songs.” Wolfroy… sees Oldham once again singing from the first person perspective, something he has made a habit of throughout his career. He says it was a yearning to step out of his own skin what drew him to music initially. “I came to music through acting and I came to acting through the desire to live out alternate realities and make decisions based on completely different forces acting upon my decision making process – and one good way of doing that is to play

long. “Making records is something I love to do, but it’s also something I do to live,” he imparts. “In general, mass produced media has changed and, if it continues to go in such a way that less and less income can potentially come from the making of a record, then I don’t know how many records I can continue to make. I love making records, but it’s a new world from the world in which I grew up.” WHO: Bonnie “Prince” Billy WHAT: Wolfroy Goes To Town (Spunk) WHEN & WHERE: Friday 24 February, Perth Festival, Festival Gardens, Northbridge; Saturday 25 & Sunday 26, Jewel Cave, Margaret River

themusic.com.au

The Cairo Gang – named so as members of the group regularly gathered at various establishments around Dublin, one of which was called the Cairo Café – consisted of British Army Officers, Royal Irish Constabulary Officers and a civil informant, and was assembled due to growing concerns at how successful the IRA was becoming under the leadership of Michael Collins. Unfortunately for the gang there was enough information about their presence for Collins to set-up counter-intelligence on the group, which lasted for several weeks until the infamous Bloody Sunday. On the morning of 21 November, Collins along with several other IRA members planned a large-scale attack at 9am, which left 15 men dead and four injured at various points around Dublin city. The timing of the killings was chosen to coincide with a Gaelic Football Match on in the city that afternoon, the increased crowds providing ideal cover. Unfortunately it also provided perfect opportunity for the British Royal Constabulary to march on the game to search all men in the park. What resulted was another 14 deaths, these ones Irish citizens, then three more IRA suspects were shot and killed later that night trying to escape from custody.


THE DRUM MEDIA • 13


NO NEW DIRECTIONS THEIR ARABIA MOUNTAIN RECORD OF LAST YEAR WAS WIDELY HERALDED AS ONE OF THE YEAR’S BEST, AND NOW ATLANTA’S FINEST PARTYSTARTING GARAGE ROCK TROUPE BLACK LIPS ARE GETTING READY TO GET LOOSE IN AUSTRALIA AGAIN. DAN CONDON DISCOVERS THAT WE SHOULDN’T HAVE TO WAIT TOO LONG BEFORE THE NEXT RECORD.

“THIS TIME I’D LIKE TO KINDA DO THINGS LIKE WE NEVER DO THEM, WHICH IS ACTUALLY PLAN IT OUT.”

I

t’s over six months since Black Lips released their sixth studio record Arabia Mountain and Jared Swilley is still, in a word, chuffed. “I’m super happy with it, it’s my favourite record we ever did,” he exudes, “both with the end product and the recording process. I’m super happy. I’m actually ready to start working on the new one as soon as possible.” Yes, the record – their highest selling to date – is just half a year old, but the bassist is already looking to the next one. It is in revealing his hopes for album number seven that we get something of an insight into the Black Lips’ rather chaotic modus operandi on Arabia Mountain. “This time I’d like to kinda do things like we never do them, which is actually plan it out,” he asserts. “Usually everything with us is just so scatterbrained, everything’s… not a mess, but this time I actually want to like do demos beforehand and do a session where we set up and have a set amount of time to do it. I want to record everywhere and do as much as possible, but this one I’d like to plan out more. “The last one was just kind of haphazard, we’d just do studio time here and studio time there, and then Mark Ronson called and that was great that we did that, but we kind of did it by the skin of our teeth because we were touring pretty heavily between it and just had a lot of deadlines and stuff. But this next one I want to plan more.” And so nonchalantly Swilley brings up the biggest talking point about Arabia Mountain prior to its release, the Grammy award-winning, heavily pop and soul-leaning superstar record producer who came on board with a scruffy bunch of garage punks and helped them make a record. To say there were hesitations about the decision among the band’s fanbase is a drastic understatement, but Swilley says that, inside the band, it was a different story. “No, he was calling us a bunch and writing to us and pretty much the first thing he said was that he didn’t want to fuck with our sound too much and he didn’t want to be the one responsible for [us] feeling the wrath of our fans, for ruining us,” Swilley responds when asked if there was any fear of letting Ronson take control midway through the recording process. “So he was not hands-off, he was more like… he really wanted us to do our thing and he would just add in his nuances and subtleties and direction. He didn’t take it over like a dictator or anything; he was so easy and so great to work with. He just kind of helped accent things and make our strengths a little stronger.” That is precisely what he did. Despite the fact that the record manages to capture the free spirited energy of this band clearer and more urgently than ever before and even though it sees the band further refine their (already razor-sharp) knack for irresistible pop hooks, the best thing about Arabia Mountain is that it did not ruin the Black Lips. One could make the assumption that this is why the band’s early adopters didn’t voice their disdain upon the record’s release. “I’m kind of surprised that we didn’t get more of a backlash from our older fans who are fans of all of the earlier albums,” Swilley reflects. “I was expecting a lot of people who have been following us for years and the ones who are more like super punk-rock and stuff to rip on us working with Mark Ronson because he’s known for doing so much pop stuff. There wasn’t really a backlash about that at all, everyone was pretty happy about what he did and no one called us sellouts or anything like that. That surprised me.” Their producer may have been a little more high profile than usual – though it must be said that Deerhunter’s Lockett Pundt and the band themselves also contributed a lot to the production process – but much of the nuts and bolts used to put their songs to tape stayed the same as usual. This was particularly important in regards to keeping the record sounding cohesive, given the sessions were completed in a number of different studios with different figures at the helm. “We do everything analogue,” Swilley says. “I believe at most of the studios it was identical tape machines and similar mics and amps and all that. For us it was easy. The guy mastering the record, I think he had a nightmare mastering it; it took him a really long time. I think he had a real bitch of a time doing it. That actually took over a month of sending tracks back and forth. I don’t understand the mastering process very well at all but I think he said it was the hardest thing he’s ever had to master before.” Another thing that hasn’t changed over the years is the band’s attitude towards practicing. “We’ve never practiced before,” Swilley blurts, almost out of nowhere. “I mean, we did when we were in high school, but we just write the songs and then we get together and work them out. We might have one or two practices a year. We play together so much that I guess we have full dress rehearsals every night.” Since the release of Arabia Mountain, their touring schedule hasn’t been quite as hectic. They’re still out on the road more often than they’re not, but doing bigger shows around the world means a little more time at home. “It’s the best selling record we’ve had so far which these days with record sales numbers isn’t that much, but it did well in terms of numbers. Our shows have gotten bigger in the States and in Europe, especially in France and stuff I’ve noticed it’s gotten a lot better. I’ve noticed our fan base has gotten a lot younger. I mean, I have gotten older, but they’re getting even younger, which is a good thing. I like the kids and their energy and enthusiasm. This year is probably our best year career-wise, it’s been fun. Now instead of having to tour ten months out of the year we only have to tour seven months out of the year. We get a little more time off.” With that extra time, Black Lips band have been hard at work to fulfill Swilley’s goal of getting back into the studio pronto. “Everyone has written their batch of songs so we’ll get together and start practicing and then go to the studio. We might start [recording] as early as before we go to Australia, because we have time in February off with nothing to do.” WHO: Black Lips WHEN & WHERE: Thursday 8 March, The Bakery, Northbridge

14 • THE DRUM MEDIA

themusic.com.au


DIESELBASS FROM DJING HIGH SCHOOL DANCES TO RUNNING TWO LABELS, IT’S FAIR TO SAY FLORIDA’S DIESELBOY HAS BEEN AROUND THE TRAPS. TROY MUTTON GOES BACK TO THE START WITH DAMIAN HIGGINS, AHEAD OF HIS SHOW WITH CONCORD DAWN THIS WEEKEND.

B

ig-name drum’n’bass DJs haven’t exactly spewed forth out of the United States Of America. A genre usually reserved for the Brits (and us Perthites of course), you get the feeling it might even be bypassed completely given the advent of dubstep has currently exploded stateside. Don’t blame Damian Higgins, aka Dieselboy, though. He’s been there right from the start – banging it out at high school dances. “Back then I was playing R’n’B and synth-pop – basically the music that I was collecting at the time,” Higgins says of his humble beginnings. “There wasn’t really a stepping stone for me into drum’n’bass because I was actually playing what was the precursor to drum’n’bass, which was breakbeat techno. Drum’n’bass didn’t even exist when I started DJing. As I began my career into DJing, drum’n’bass slowly evolved from this early stuff.”

HE PUTS ALMOST EVERY DJ IN THE CIRCUIT NOW TO SHAME.”

Higgins’ family had a background in music, but not one that affected him. His father is Bertie Higgins, the quintessential one hit wonder with his chart-killing romantic ballad Key Lago. “Ironically, my father really had no influence on my career in music. My parents separated when I was quite young, I was however influenced by my cousins growing up who were going out to clubs in the early ‘80s and playing me all sorts of club tracks, early dance remixes etcetera. Later, I became really interested in late ‘80s R’n’B/new jack swing as well as synth-pop like Dépêche Mode and New Order. Finally, after discovering industrial music in the late ‘80s/early ‘90s, I started getting into the early rave, techno stuff that was starting to come out, and the rest is history.” As accurate a use of the phrase as there ever was, Higgins would go on to become one of America’s most successful d’n’b DJs. His single Invid was the first d’n’b track to poll in Billboard’s chart in 2000, and he became the first American to poll in the UK-based Drum’n’Bass Arena Top 10 DJs in 2004. Just last week at the Grammy Awards Skrillex quoted Higgins at the end of one of his acceptance speeches, closing with “All the boats rise with the water.” And if dance music’s hottest property giving you a sneaky shoutout isn’t making it, then running two influential labels surely is. In 2002 he founded Human Imprint, and has since co-founded its sub-label Subhuman. According to the DJ who now, like many, is not averse to throwing in some dubstep and electro into his d’n’b sets, it’s all going swimmingly. “The labels are actually doing well, especially Subhuman. My focus with the record labels isn’t to make a ton of money unless it is for our artists. Quite the opposite, my focus is to help promote artists that I like and to also use the labels as a springboard into doing other sorts of things like setting up tours, helping to push t-shirts, exposure etcetera; really just using the label as a creative outlet to do all sort of things.”

THE ALL NEW

FESTIVAL GARDENS

TICKETS $39.50–$59.50

This is just a taste. Full program available online. Complimentary ticket entry for Festival patrons from 6.30pm

OPEN NIGHTLY FROM 6.30PM UNTIL 3 MARCH

And the list of ‘things’ is long. Along with the labels, production, and mix compilations, you can generally catch Higgins at any number of festivals around the globe and even supporting acts that range from metallers Disturbed to the bald prince Moby himself, plus extreme sports displays, writing tracks for video games and graphic designing. It’s clear through talking to him, and his shows that meld the audio and the visual, that it’s a link he enjoys making. On graphic design he says, “I feel that the visual is just as important as anything else with regards to music. The purpose is to help create a synergy between music and aesthetic that forms a greater end result.” And this in turn lends itself to his music appearing in a number of video games, including Gran Turismo, Saints Row and Need For Speed. “I think electronic music in general is a good fit for video games... I feel that drum’n’bass really adds a lot of energy to high-paced action games.” And then there’s his mixes, the latest of which, Wake The Dead, is a ball-tearing 84 minutes that includes no less than 87 tracks. The free download went gangbusters, clocking in thousands of hits in very repaid succession, and Higgins is understandably pretty chuffed. “While I was working on Wake The Dead I was thinking that it was going to suck and not be as good as I wanted it to be. But once I put the finishing touches on it and took a step back I must say I am happy with the end result. What I was really trying to say with it is that I don’t shoot for mediocrity. I like to set the bar high for myself and aim for it. I hope people that listen to my new mix will appreciate the small details and layers that I put into it. I try to do that with everything, including my live sets.” Higgins has been in the game for a while, and it shows with the amount of thought, effort and passion that goes into the entire package that is Dieselboy. It also separates the wheat from the chaff in the current industry. “I must say that it does make me somewhat sad that the new generation of performers use every trick in the book to actually not do anything ‘live’ any more. Almost like the equivalent of not learning how to play guitar but learning how to be really good playing Rock Band 3 for Xbox. Or just putting out stuff that is super uninspiring,” he bemoans. “As far as being impressed by people nowadays, I will say my favourite DJ and performer hands down is a guy from the States that goes by Z-Trip. He puts almost every DJ in the circuit now to shame.” Higgins has also been very open to collaborative efforts over the course of his career, and he offers a somewhat interesting choice for a dream partner. “I just like working with other people. I like to help showcase their strengths in a tune and then amplify it... A dream collaboration for me would be to work on something with someone who really does crazy shit in the studio…maybe someone like Kanye West? Would be curious to see his work process.” Wouldn’t we all.

MEN THIS SATURDAY! Sat 25 Feb, 9pm Festival Gardens

This is music for a dance party that lets out at 7am, when everyone can pack up their glow sticks and move on to the research library. NY PRESS

Supported by

BOOK 08 6488 5555

WHO: Dieselboy WHAT: Wake The Dead (Subhuman/Human Imprint) WHEN & WHERE: Saturday 25 February, Heat, Villa, East Perth

themusic.com.au

THE DRUM MEDIA • 15


UNEARTHLY DELIGHTS ALL AROUND HIM UNEARTH FRONTMAN TREVOR PHIPPS IS WATCHING BANDS FLAME OUT AND DIE. THE CORE PHENOMENON COINCIDED WITH THE INTERNET BOOM AND THE REVOLUTION THAT CAME WITH IT. THE HYPE DIDN’T LAST AND SIMON HOLLAND TALKS TO THE CREAM OF THE CROP.

I

f there could be a cooler sounding name for a place than Massachusetts I’d like to hear it. An illustrious US college state, it has a reputation for the twin pillars of society: education and partying. Massachusetts also houses the best metalcore band in the damn country. The term, as with the genre, is so riddled with pretence that even the mention leaves a bitter taste on the palate. However, Unearth have remained true to the origins of the genre, a thrashy youthful brand of metal that is native to America and succeeded where the trendwhores failed.

Unearth, currently in the prime of their lives, are all too aware of the rapid changes taking place amongst the youth of today and have adapted to suit. Seeking to be a permanent fixture in the American heavy metal lineup like their illustrious forebears, they remain just as hungry to prove they are not simply trendy flashes in the pan. The response to latest release Darkness In The Light has been met with nothing but acclaim from critics and fans alike. “Hell yeah, it’s been awesome,” begins frontman Trevor Phipps. “We’ve been playing most of the songs live, touring the world with it, so we’ll play some of the songs for the first time in Australia. The crowd response has been amazing. A bunch of our fanbases are saying that it’s our best record yet or our best record since The Oncoming Storm, which was kinda the record that broke us back in ‘04. But it seems like the fans are going nuts to it, singing hard to it, so it’s a good time.” The approach to the album was simple. All killer, no filler. It was this mentality, reinforced by Phipps’ belief in the strength of the traditionalist approach, that results in the band’s continuing success. “I think it’s important to have a full record because bands that write aggressive music don’t write songs just to have pop songs.” The last two words are spit from Phipps’ mouth with a particular distaste. “Bands need to write a full album. I think it’s very important to listen to a full album. I think that if you don’t give an album a chance, like the full record, then you as a fan are getting gypped. I was a kid and just thrashing to these records from start to finish, and even the songs that I knew were the weaker tracks, I still got into those songs because it was part of the record and that whole vibe. No record from a band will

ever be the same. Vulgar Display Of Power by Pantera doesn’t sound like any other Pantera record. Master Of Puppets is in a class of its own. There might be weaker tracks on it but it’s a complete album, you get lost in that record. It’s a lot better than stand-alone singles.” They tour hard, having reached success at an earlier stage in their careers than most bands, and are gearing up as a massive inclusion for the epic 2012 edition of Soundwave. Phipps is impressed. “I reckon Soundwave is pretty diverse,” he states, with geniune admiration for the Australian production. “It’s amazing actually how diverse. Our first time on Soundwave was in 2009. It was very much about that mentality of the festivals in Europe, where you would mix a bunch of bands together, and you’ll get people to go to the festival and check it out. Wacken might be just metal. There’s other festivals like Download and Rock Am Ring in Germany that we played. One year it was like Slayer played right before R.E.M, and I was like, ‘Man that’s fucking weird.’ It was a strange idea but it works because most humans enjoy music but they just don’t like strictly one kind of music, they might definitely lean towards one style more, but everyone likes different styles of music. “You can’t just like one style only. That’s why I think that these festivals are so great, because they kinda blend all these different bands, and if you don’t like a style of music or a style of band, you just don’t watch that stage, you know? You can walk around and check out a song, perhaps like, you might not like the band’s sound, but you just wanna check out their live show just for a song, and you might get hooked. It’s kinda cool. It breaks down a bunch of barriers, and gives people a different idea of what bands are about.” The inclusive nature of these festivals is not limited to genre-bending. The ferocity of their nature and the hard yards on the track are paying off as metalheads unite globally under the Unearth banner, resulting in massive crowds showing up for the blistering live performances they’re renowned for. The development of the Internet has proven to be the catalyst for the steroidal advancement of globalization and Unearth are finding success in the furthest corners of the globe. A globe with

a population that, despite vast geographical and cultural differences, find commonality in this type of music. “Having shows are shows, and we’ll play a show, in Boston or it can be Sydney or it can be Tokyo, I feel like the shows are all, like, very similar. People are there, they’re moshing, they’re having a good time, they’re stage-diving, singing along, and I think that our scene is very tight-knit around the world. If you’re involved in metal or hardcore all the shows are very similar, worldwide. We play in a bunch of countries and we’ve been touring full-time since around 2001. Our first tour in Europe was 2002. We’ve been in Australia, this will be our eighth time. Japan, five or six times. We’ve been a bunch of places and it just seems like our shows are very similar across the planet.” The good news is that all this translates into a sense of higher being for Unearth. Their goal is to remain in the elite bracket of American bands and continue to strengthen and inspire the genre itself. “If the bands are out there,” states Phipps emphatically, “if they’re playing hard each day and they’re putting out records that people like, there’s no reason why a band should

disappear. They’re just playing for five or six years, which seems to be the current trend, that we see a bunch of bands kind of come and go. This is our fourteenth year as a band, and it’s our eleventh year of touring full time, and our band has no plans of going away. This is what the band wants to do for a career. “There’s bands that we look up to that have done this. Bands like Slayer, Cannibal Corpse have been around for 20 or 30 years, and that’s what this band wants to do and I think that’s good for fans too, because a band only gets better with time. You’re playing each day, and your just getting better at your craft. So, if a band is good, puts out good records, and plays well live, then I think fans should stick around for them. I think that their old fans should introduce them to the younger generation as well.” WHO: Unearth WHEN & WHERE: Sunday 4 March, Amplifier, Perth; Monday 5 March, Soundwave, Claremont Showgrounds

POWER PLAYERS DANCE MUSIC SUPERGROUP SWEDISH HOUSE MAFIA ARE NOT SO MUCH SAVING THE WORLD AS TAKING IT OVER. CYCLONE MANAGES TO PIN SEBASTIAN INGROSSO DOWN FOR A QUICK CHAT.

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he Swedish House Mafia (SHM) – DJ/ producers Axel “Axwell” Hedfors, Steve Angello and Sebastian Ingrosso – could be dance music’s first bona fide supergroup. They have the big tunes, big shows and big egos. Now SHM are heading to Australia for the first time as a trio and, while Ingrosso is amped about that, he’s less keen to do press for it. It’s obvious he wants this interview done with; Ingrosso typically starts speaking mid-question. His answers are truncated or vague. Nevertheless, the Stockholm native, himself last here for Stereosonic, confirms that SHM will basically be bringing the same extravagant One Night Stand ‘live’ show they staged at New York’s Madison Square Garden in December. “We always tweak it and make it better for every show,” Ingrosso says. They’ll chuck in fresh edits, or bootlegs and tracks.

To be fair, Ingrosso, a family man, has a lot going on. SHM officially launched circa 2008, the ‘Mafia’ bit a joke, but their origins are much older. Ingrosso bonded with Angello in childhood when they got into a scrap (Angello hit Ingrosso on the head with a baseball bat). They had something in common – both were outsiders. Ingrosso, who has Italian ancestry, was born in South Africa and Angello Greece (his late father is the one with the murky underworld connections). They’d eventually recruit Hedfors, who’d blown up globally with Feel The Vibe (‘Til The Morning Comes), the three collaborating in different configurations. The inaugural SHM tune was Get Dumb, with input from Dutchman Laidback Luke. They’d subsequently unleash One (Your Name) – Pharrell Williams gracing the vocal version – and Miami 2 Ibiza with Tinie Tempah, plus the album Until One. Until One served as a soundtrack to that “unofficial” Mafioso Christian Larson’s hilarious SHM documentary Take One, which The Guardian likened to This Is Spinal Tap. In it Ingrosso, SHM’s funniest (and most ironic) player, utters his slogan, “I’m going to fuck this nightclub in the pussy!” Today ‘Swedish House Mafia’ is a brand, the DJs even hosting their own Masquerade Motel events globally. As with his cohorts, Ingrosso continues to actively pursue a solo career. All the SHM members 16 • THE DRUM MEDIA

have labels, with Ingrosso’s being Refune. And Ingrosso might just be feeling a little competitive as SHM’s least ‘famous’ DJ. Though the clique placed 10th in the 2011 DJ Mag poll, Hedfors himself is #12, Angello #23 and Ingrosso #26. SHM clearly has three strong personalities, but Ingrosso can’t describe how they interact – or who chips in what. “I mean, it’s hard for me to say,” he demurs. “I think you need to ask a fan that question... I don’t know, man. They’re my best friends.” SHM recently aired the dark, dubsteppy ‘versus’ Antidote with fellow Future Music Festival heavy hitters Knife Party, a new electro project from Pendulum’s Rob Swire and Gareth McGrillen. “Steve was in Australia for Future Music [Festival] last year and he toured with Pendulum. They’d been to a lot of our shows – or Gareth has been to a lot of our shows – and they remixed Save The World and we loved the remix. We said, ‘We should do something together’. They started out with the track in Australia, then Steve sent it over to me and Ax in Sweden and we started to work from, like, London, LA, Sweden – back and forth. It took a while but, yeah, then we finished the record.” SHM presented what was marketed as their debut, Until One, in 2010. But, as Ingrosso admits, it was really a compilation of various productions, remixes or edits from SHM as a posse or individuals (including his own reworking of MGMT’s Kids). The group are slated to release a live set, One Night Stand, taking in 2011’s aforementioned mega-anthem Save The World, Antidote and SHM’s remix of Coldplay’s Every Teardrop Is A Waterfall. Yet Ingrosso says tersely, “No, it’s not coming out.” He doesn’t elaborate, though SHM’s local label EMI indicates that it’s been shelved. However, plans are afoot for a proper album. “We’re working on it and hopefully we’ll try to someday finish one.” SHM have teamed with big names in (urban) pop, like Pharrell. Would they record together again? “Of course,” Ingrosso replies. “We did work with him again, but there’s nothing that’s released. We will see what happens with that. We work with a lot of people, but we always try to work with different people for every track.” In the meantime, SHM have been attached to will.i.am’s

next solo album, #willpower. Ingrosso clarifies that he and Angello co-produced a track with the Black Eyed Pea and Alicia Keys, but it’s no SHM ‘collab’, per se. Pop, urban and house have all but converged. Some – cue Erykah Badu – worry that hip hop especially is losing its identity. “Music is music – that’s what I say,” Ingrosso responds dryly. Still, he holds that it’s now virtually mandatory for urban acts to be dancy. “They don’t have any other choice. If they wanna be played on the radio, if they wanna sell records, if they wanna be played on MTV, they need to have a 4/4 beat on the track and they need to follow the trend or they need to be in the future or otherwise they will fall. That’s exactly how it works.” At any rate, more than David Guetta, SHM have a macho hip hop swagger – and Angello is a former turntablist. Ingrosso reckons that the dance music revolution was inevitable. He’s not necessarily surprised at how big dance has become in the US – despite the fact that in the ‘80s, even the ‘90s, America’s black dance pioneers were unable to garner support, let alone exposure, at home, prompting them to look to Europe. The scene then was segregated. “I’ve been doing this for almost ten years and I’ve been waiting for this moment for a long time and I always knew it – because the feeling I got when I first went to a big dance rave or something like that, I never felt at any other kind of concert in my life, except maybe U2 or Coldplay, which has the same big, huge epic feeling.

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But I said to myself, the world needs to experience this – it can’t be an underground thing forever.” The ‘House’ in Swedish House Mafia is ultimately a misnomer as the group flirt heavily with power trance. Their blinged-out club music is a hybrid of everything from house to electro to progressive to trance. Moreover, Ingrosso has astutely dubbed Save The World “a stadium rock dance tune”. “We try to do different things all the time,” he states. Ironically, when quizzed on his favourite supergroup, Ingrosso needs the concept to be explained. He picks a patriotic example in ABBA, as iconic in Sweden as they are in Oz: “They’re huge – they’re king and queen.” But, alas, Ingrosso, in solo DJ/producer mode, has things to do, places to be – and the interview ends earlier than scheduled. Does the dude behind Calling (with his protégé Alesso) have new stuff to plug? “I’m working on it. I’m actually going to the studio tomorrow and this week to try to finish something before the Miami Music Conference in March. You never know what’s coming up before you go to the studio – I can’t really say what the name of the single is before I’ve made it – but, yeah, working, working...” WHO: Swedish House Mafia WHEN & WHERE: Sunday 4 March, Future Music Festival, Arena Joondalup


THE LONG ROAD

MUSIC MISSION MIXING THE MODERN AND THE TRADITIONAL, SWAY MACHINERY ARE SET TO ROCK THE PERTH FESTIVAL WITH THEIR DISTILLATION OF WORLD MUSIC. JEREMIAH LOCKWOOD CHATS WITH CALLUM TWIGGER ABOUT CANTORS AND KHAIRA ARBY.

DAN MANGAN TELLS STUART EVANS THAT THOUGH HIS BANDMATES SHOULD PROBABLY WANT TO KILL EACH OTHER BY NOW, THEY DON’T.

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n 2011, Canadian indie folk-rock singer Dan Mangan had not slept in his own bed for more than 25 days. Such was the singer/songwriter’s itinerary, being at home was a rarity. “If you have any tips on how to make it easier I’m all ears,” he laughs. He’s jesting but there’s seriousness, too. “You have to know that touring is hard. As a musician, you start by wanting a gig before wanting to make records and touring the globe. At the start it’s all a bit of a dream or fantasy, going on tour with friends and doing what you love doing for little or no money. When touring becomes your profession, things change as it’s more about coming to the realisation that this is life and things have to fit around it.” Not that he’s whinging; the ever-humble Mangan reckons he’s fortunate to have been given the chance. “I’m part of a very hardworking band and we’ve all still got a lot to learn,” he reckons. It’s been a plentiful few years for the singer as he’s emerged from the shadows of Canadian folk culture to become more mainstream and more recognisable – and not just in his indigenous homeland. For the wispy-voiced Canadian, the past few years have marked a growing demand for his music as his trademark sound and shabby, untidy image has resonated. “I actually have a hard time believing all the hype,” he laughs. “I know it’s a cliché, but I’m the biggest critic of my work. The band and I had some encouraging feedback from the press over the past few years and we’re just very fortunate to have been granted this opportunity.” He believes he’s grown, both musically and ideologically, over the past few years as he has focused on people around him. Be it crowds, family or his band, all have played a part. Mangan and band – consisting of jazz connoisseurs John Walsh, Kenton Loewen and Gord Grdina – are tight. “By all means we should probably want to kill each other by now but we’re passionate and they’ve been amazing throughout. It actually feels like we’re growing up together as we’ve developed an emotional connection. I mean, these are real people who have kids and other things happening in their lives.”

If previous album Nice, Nice, Very Nice was influenced by travel and touring, his latest effort, Oh Fortune, is prone to bursts of melancholy – so much melancholy in fact that Mangan’s copped criticism for his depressive lyrics. Although many songs on Oh Fortune are overlain with uplifting melodies and charming instrumentals, lyrics that openly spout of death, sorrow, grief and pity are to be heard right through. “I wanted to make a record that had a bit of everything and a record that took people in different directions. The extent of the album was bigger and it was a real joy to make.” You can trace the joy of making Oh Fortune to a single factor: time. “I spent five months making it and it was a real labour of love,” he explains. “It was nice to have so much time as it helped figure out what I actually wanted. It was a very positive experience.” Described as a bearded rhymester, Mangan’s become something of a reluctant progressive, moving from country to country with his trademark guitar and seemingly crusty beard. Still, he’s adapted and moved with the times and those times have led some to call him one of Canada’s most successful exports. It’s good to report that he’s as down-to-earth as anyone you’re likely to meet. He’s also wonderfully candid, revealing his songwriting had taken a hiatus since he finished Oh Fortune. The good news for fans is that he’s just started to write again. “If I lost my creativity I may have to give it all up and become a teacher,” he laughs. WHO: Dan Mangan WHAT: Oh Fortune (ABC Music/Universal) WHEN & WHERE: Wednesday 29 February, Fly Trap, Fremantle

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he idea was that it was going to be an outfit for me to explore cantorial music, which is European Jewish spiritual music,” Jeremiah Lockwood, guitarist of Balkan Beat Box, says of the Sway Machinery, the multi-faceted world music collective which he has humbly assembled over the past six years. Speaking quietly down our early morning line from New York, Lockwood is both measured and urbane. “The cantor is the singer, the person who sings the old prayers. It’s a knowledge-based art form. To be a cantor, you have to have a lot of oral tradition knowledge about different modal practices and old pieces, and it’s also an art form that involves a lot of creative improvisation. My grandfather was a cantor, and I’d wanted to do a project involving cantorial music for a long time.” Lockwood is of Ashkenazi Jewish extraction, and evidently commands a breadth of knowledge on matters of history and music. Hailing from central Europe, Ashkenazis (from which Freud, Einstein and Kafka were also descended) have excelled so thoroughly in the arts and sciences over the last three hundred years that medical experts have conjectured individuals of Ashkenazi heritage are predisposed to thrive in the field of intellectual pursuits. “In the Jewish traditional music world, we’ve had a lot of support, although there are certainly more renowned Jewish artists,” says Lockwood. “I would say in the very traditional world, people aren’t so aware of developments in pop music in the secular world. In New York, we have a lot of very Orthodox Jews who are very supportive of us, who support what we’re trying to do.“ Sway Machinery’s collaboration with Malian chanteuse Khaira Arby is almost an archetypal world music record; there are soaring brass sections, mid-tempo drum flairs, ululating choruses. In 2011’s The House Of Friendly Ghosts: Volume I, Lockwood and his ever-shifting collective demarcate the traditional and the modern, and establish how confident they are shifting between the two. “Going to Africa has been a goal for everyone. Mali in particular had been an interest of mine,” Lockwood explains. “A lot

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of the musical traditions in Mali are very open to religious influences, they have a deep knowledge of Muslim musical modes and history. That’s an all-pervasive subtext to Malian music culture. That’s a big part of Malian culture and Malian music, and we felt a similarity there. People were very receptive of what I was trying to do there. A lot of these traditions have been learnt about from grandparents, and I could really identify with that.” Certainly, Sway Machinery boasts a comprehensively accomplished line-up of musicians. “When I started the project I had a few close friends who I wanted to work with. Over the year the line-up has changed, but the core guys have stayed together. It was an opportunity to work with a lot of the bands that come out of New York City,” Lockwood modestly qualifies. Proceeding from Lockwood, drummer John Bollinger is from Barbez, bass guitarist Nikhil Yerawadekar from Antibalas. Machinery’s trumpet and tenor sax/horn section, Jordan McLean and Stuart Bogie, have spread their talent as far afield as TV On The Radio and Volney Litmus. So does Sway Machinery have a mission goal? Are they trying to unite the world through music? “I was thinking about that more when I started the project; at this point, I’m just trying to make music and to draw on different sources. I don’t really have a mission anymore, I’m just trying to make music,” Lockwood asserts. That’s undeniably true, but regardless, Sway Machinery unite a wealth of different cultures, styles, and traditions into one gig that you’d be foolish to miss. WHO: Sway Machinery WHEN & WHERE: Monday 27 February, Perth Festival, Festival Gardens, Northbridge

THE DRUM MEDIA • 17


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THE DRUM MEDIA • 19


SINGLES/EPS WITH SIMON HOLLAND

ON THE RECORD

DEVOUR THE MARTYR Wasted On The Young Independent Woah. From out of the abyss storms the troops of Devour The Martyr armed with one of the best debut recordings ever heard. Period. Unbelievably heavy and remarkably interesting, there is no part of this record that fails to achieve maximum points. No weaknesses. It is fucking bullet-proof from start to finish. The production value is of an international calibre. Each track is electrifying in its own way and each member of the band is at the top of their game. The talent and unmistakable potential of these four guys is scary. Buy this EP immediately.

LIVE

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VD

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EMPIRES LAID WASTE

VD

With The Tide Comes Destruction Independent

Another ripping local release! Is there some new energy drink out or something? What the hell? Empires Laid Waste cover a well-worn track, setting everything ablaze as they pass. With The Tide Comes Destruction is a raw and primal six-tracker in absolute beast mode. Epic songs sprawl forward connected by driven passages that are feature-filled and powerful. The vocals are furiously guttural and filled with foreboding. The twin-guitar attack take turns in shredding out phase after phase of brutal assault, and the drumming sets out at a heart-thumping pace. These guys gig hard and it’s good to see them back it up with a badass studio contribution.

THE GRACEMAKERS The Gracemakers Independent

AIR

CHARLOTTE GAINSBOURG CLASS ACTRESS Stage Whisper

Rapprocher

EMI

Because Music/Warner

Carpark

Imagine a time when café culture was fresh and exciting. From Leederville to SoHo, exotic smells would pour onto the streets to the sounds of steamers and albums such as Portishead and Air’s debuts, whose occupancy of a Bang & Olufsen stereo system seemed conditional to owning a barista’s license.

Every time Charlotte Gainsbourg releases music, it sounds completely different to what she’s done before. This isn’t a case of reinvention or exploring influences. See, Gainsbourg is known more for her acting – damn fine acting, too – and approaching the studio with that mentality means that she seemingly works with her collaborators in the same way an actor might work with a director – as a performer collaborating and interpreting the song. That’s why 5:55 sounds exactly like Air with Jarvis Cocker-penned lyrics and nothing more, and why Beck’s fingerprints are all over the marvellous IRM.

Elizabeth Harper has skillfully slipped from one end of the spectrum to the other; starting out as a reticent folk singer and evolving into the frontwoman of a three-piece electro-pop outfit. And, as the name suggests, she has done so with an element of class, albeit at times this may be an act, with more style than substance. Their first LP follows a successful EP that showcased the trio’s unique use of synths, Harper’s sensual vocals and lyrical substance. Rapprocher sees the synths remain, but a shift in the vocals towards straight-up pop.

La Voyage Dans La Lune

The French band’s seventh, La Voyage Dans La Lune (translation : A Trip To The Moon) percolates a loving fascination with the 1902 Georges Méliès silent film of the same name (you’ll recognise it’s imagery from the cover instantly). Here, Air have created not quite a nouveau soundtrack to the film, more an evocative, modernised companion piece inviting you to take sips to the moon. Paced in typically laid back style, laced with vintage keyboards and lethargic pianos, Moon Fever passes the hook from Fatboy Slim’s Right Here Right Now through a very DJ Shadow-y filter. While at the heart of the journey, Sonic Armada quaintly pictures the vintage view of celestia with rhythmic old farfisas. The only thing that’s out of place is the kitch PA announcements, briefly dragging the traveler unwittingly into ‘80s Zucker film territory. The latter half coasts through space pleasantly enough but at just 31 minutes, it ends oh-so prematurely, Lava providing an almost inconspicuous end, as though the destination hasn’t even been reached. Far too short and nowhere close to the finery of their debut, La Voyage... is more of a weak latte than a fine espresso. MAC MCNAUGHTON

Striking a triangular mix between haunting, reflective and optimistically upbeat, the soulful tunes from this Melbourne duo sore upwards and beyond. The minimalist approach to the music is betrayed by the intricacies and skill of their musicianship. Tiffany Kommedal and Kent Morris blend their talents in perfect unison to create a relaxed setting in which to lie back and relax. And while folk is the keyword these days to describe this sort of structure, there is nothing folky about the deep sense of heritage and ancestral warmth injected into The Gracemakers’ work. A balanced sense of warmth and emotion prevails and it is truly beautiful to behold.

TWISTED AFFECTION That’s What She Said Independent It’s great to see a bunch of young guys having a crack at this. Pop-punk is a tricky genre to break it in. It draws in young and inexperienced musicians looking to get up on stage and blast out something for their mates. This is what is expected and this is about where Twisted Affection are at. The chord progression doubles up on instruments in a way that somewhat debases the genre, but fuck, it’s punk-pop for god’s sake, and that’s totally allowed. This band is fresh and ready to take on the world, and after a little musical maturation should serve the pub scene well when the time comes.

ARKAYAN The Marsh Chapel Experiment Independent The milk that gathers at the at the base of my bowl following the deliciousness of Fruit Loops is consistently the best tasting shit I have ever tasted in my life. It is curiously purple and tastes like everything all at once. Hence, an example of things mixing with a good outcome, much like the vibrant, relaxing rock of Arkayan. Patience is overwhelmingly present but not in a frustrating way. Each track unfolds at about just the right pace without meandering too far from the goal of moving the song forward. Top-class songwriting, fulfilled with excellent instrumentals and a top quality release all around.

Stage Whisper is a strange beast, essentially combining a studio mini-album with a live mini-album and covering a wider spectrum than you’d expect. The studio songs range from the Goldfrapp-ian electro-pop of Terrible Angels and Paradisco to the acoustic French pop of Memoir. The duet with Noah & The Whale’s Charlie Fink, Got To Let Go, takes a Velvet Underground-esque melody and squishes it through studio wizardry. All The Rain, one of the higher points, brings out more of the Beck colours. The live album draws from both IRM and 5:55 and doesn’t really do much with them. At her best here, Gainsbourg performs within the tracks and lets songs like Trick Pony and Heaven Can Wait show their own brilliance. At her worse she reverts to a near-spoken word or overly breathy performance, like the confusing version of Dylan’s Just Like A Woman. She never engages with the songs or the performance. Instead, she delivers them with some distance, leaving the songs as they were written, like you’d expect from a screen actress. JASON KENNY

EVANESCENCE

MARCEL DETTMANN

Wind-Up/EMI

MUSIC MAN/N.E.W.S.

With just over five whole years of no album or even EP release, you would assume that a band might have taken time to re-establish its roots, experiment with new sounds, and then release an album that stands out amongst all of the mediocrity of the music scene. However, it seems Evanescence have not decided to go down this path. Evanescence’s self-titled album is of a very similar sound to their previous album, The Open Door, which has left the album possessing little individuality. The album has an overall formulaic feel to it, and this is where its downfall lies. All 12 tracks have the same sound and feel to them (apart from slower and less metal-based songs, Swimming Home and Lost In Paradise), and this makes the record become tedious quickly.

Marcel Dettmann is no stranger to leading the world of techno forward. The Berlin-based Berghain resident is a figure that constantly pushes the genre forward into uncharted, futuristic territory, yet manages to seamlessly preserve its roots and means of expression. It’s been four years since his scene-defining commercial mix Berghain 02 was released, and now the dark prince of techno returns to deliver his second mix CD, Conducted.

Evanescence

Conducted

Luckily however, the band has also decided to stick to doing what they have always done best. The band includes occasional touches of high-octave piano throughout the album, which seems to always gel so well into their respective songs, hardly ever going awry. Great uses of this are in songs such as What You Want, and End Of The Dream. The vocals, provided by Amy Lee, also continue to be as good as they have ever been, possessing an almost operatic sound at times such as in Lost In Paradise. Sure, Evanescence’s self-titled album shows little progression from their last release, but fans that have appreciated their previous work should be able to easily appreciate it. STEVE ANDERSON

Kicking things off with the ostentatious Immolare from Sandwell District, there is a sense of claustrophobia and suspense that the opening crafts before Dettmann starts to pick the pace up. Roman Lindau’s Sub Suggestion heralds the first real change in direction with a tribal battery that sets the tone. Its off-key synth line contrasts nicely with the drums that will mutate and underpin most of the rest of the mix; however, the set does fluctuate and doesn’t always engage on the same level on intensity. The next few tracks seem to leave behind the primeval atmosphere evident throughout most of the set for a brief moment with Bluemoon Productions’ Night and The Analogue Cops’ Why You Love Me, before Milton Bradley’s Don’t Phonk brings back that dark ambiance to the mix. Other standouts include Morphosis’ Too Far and and Redshape’s The Lesson. From this point the mix slowly coasts to a relatively sombre conclusion, but raises itself one more time with the bittersweet finale of 44A (Hard Wax Forever!) by Shed. Themed to pay homage to the influential figures of contemporary techno, Dettmann juggles difficult material on Conducted but somehow effortlessly strikes the right balance between ambience and the dancefloor with this mix. CAMERON DUFF

20 • THE DRUM MEDIA

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The easily accessible opening track Keep You is unashamed electro-pop that keeps the listener engaged as Harper demands, “Give me what I want”, and in that instant you just might. However, the initial euphoria/lust is quickly replaced by the disjointed Love Me Like You Used To, which echoes the ‘80s but in a more manufactured manner. The Weekend is taken straight from the generic pop mould, and is the track on the album that may enable Class Actress to break into the mainstream market – as they appear eager to do. Missed and Bienvenue are the saviors of Rapprocher; catchy, Ladyhawke-esque guitar riffs marry with the vocals and synth-led bassline perfectly. The appeal of style over substance is a yearning for commercial success, and is evident on Rapprocher. Yet there are tracks that capture the seductive elements of Harper as a vocalist, and the slick and clever work of the production duo. The result is a collection of songs that, rather than a complete album that commands listening from start to finish, is instead a collection of songs that might help you pick up the fresher at O Week. TOM BRAGG

VARIOUS ARTISTS

Twentysomething: Music From The ABC TV Series ABC/Universal Jump into that abandoned shopping trolley and get ready to surf summer’s sidewalks. Twentysomething: Music From The ABC TV Series is about narrowly avoiding life’s power poles at extreme velocity. This predominantly indiepop 18-track release has a going-nowhere-but-goingeverywhere attitude that proves anything is possible, even with zero dollars and a snap-lock bag for a wallet. Most of the artists featured are Unearthed bands recognisable from triple j radio waves during 2011; Jinja Safari, Big Scary, Polygon Palace and The Keepsakes. The recognisable Run Wild from Dead Letter Chorus has mischief written all over it with raw jungle drumming, clapping, hits of tambourine and chanted lyrics. Loon Lake’s Into The Office begs for you to bounce around with all its playful distortion and vocals that reach notes with animated strain. Polygon Palace’s electronic teeny-bopping number Pick Up The Pieces fashions an awkward mental image of turning up to school without undies, and the sitar in Jinja Safari’s Peter Pan gives an elsewhere melody. Lo-fi tracks from Tales In Space and The Keepsakes have a low-budget feel suited to the financial struggles of your 20s. Big Scary’s Falling Away tugs at the heartstrings with sombre keys and breathy vocals and timeliness between drum and piano hammering is incredibly satisfying. Every song relates to the mishaps conquered by these two best mates in the comedy series as they illogically swindle the system to maintain their proclaimed lifestyle. Basically, when life gives you lemons, just say “Fuck the lemons”, and bail. KATIE ROLSTON


FRONTROW@DRUMPERTH.COM.AU

THIS WEEK IN

ARTS

THURSDAY 23 Animator’s Hour – every Thursday night, Animator’s Hour will promote local Perth animators and their work, as well as showcasing other animated work from Australia and the world. Northbridge Piazza Super Screen, 8:30pm.

FRIDAY 24 Blogging the Revolution – join Marieke Hardy, John Birmingham, and Paul French as they discuss the art of the blog and tackle questions such as who blogs, why and what do they know anyway? Part of Perth Writers’ Festival. Romeo Tent, Perth Writers Festival Precinct, 7pm. The 14th Tale – a free-flowing narrative that tells the hilarious exploits of a mischief maker who grew up on the clay streets of Nigeria, the rooftops of Dublin and finally London. Inua Ellams vividly recreates the characters that punctuated his upbringing in deft and beautiful poetry. Part of Perth Writers’ Festival. The Dolphin Theatre & The Octagon Theatre, UWA, 7:30pm. Repeats Sudnay 26. Home Sweet Home – using our special cardboard kit, you can design and decorate a dream home, nightclub, surf shop, bird sanctuary or whatever you like – the more imaginative the better. Part of Perth Festival. Opening day, 12pm. WA Museum until 3 March.

SATURDAY 25 Driving Into Walls – drawn from over 500 starkly honest and highly confidential interviews with Western Australian teens, this intimate and confronting play draws back the curtain on what it means to be young in our modern, media-driven society. Part of Perth Festival. Opening night, 7pm. Studio Underground, State Theatre Centre of WA until 3 March. Women Of Letters – co-curators Marieke Hardy and Michaela McGuire present five brilliant writers in a lively homage to the lost art of letter writing. Live missives and a rowdy panel discussion, all as the sun sets over the Sunken Garden. Readers for this event are: writer/ illustrator Nicki Greenberg, author/ poet Cate Kennedy, author Krissy Kneen, journalist/philosopher Anne Manne, and author Charlotte Wood. Part of Perth Writers’ Festival. Sunken Garden, Crawley, 7pm.

SUNDAY 26 The Gourmet Farmer at Perth Writers Festival – to be chaired by Jane Cornes, as we hear from chef and food critic Matthew Evans. Evans turned his back on the city to embark on a new life on a farm in Tasmania to further his quest for the finest food. Winthrop Hall, UWA, 12:30pm. Ennio Morricone conducts Ennio Morricone – The multi-award winning Italian Maestro of film music performs in Australia for the first time. Indulge in a magical night of cinematic splendour as the legendary composer for films such

DO THE REICH THING

GLOBAL CONNECTIVITY PETRINA HICKS – EMILY THE STRANGE (2011). COURTESY OF THE ARTIST AND STILLS GALLERY

as The Good, The Bad And The Ugly, The Mission, and Cinema Paradiso leads a 100-piece orchestra and 100-voice choir through his greatest works. Part of Perth Festival. Burswood Theatre, 7:30pm.

ONGOING Hijacked III: Contemporary Photography from Australia and the UK – more than 24 artists from opposite sides of the globe offer unique photographs ranging from oblique takes on portraiture and collage to snapshots of society at its best and worst. This exhibition presents far reaching photographic practices which question what it means to look, catch or construct images. PICA until 8 April. Katherine Perry: My Mamiya & Me. – Perry, along with her Mamiya, explored the country capturing slight glimpses that seem to go unnoticed by the human eye. The Mamiya takes medium format photographs, which when exposed shows the natural and raw image in its true form. Feast Your Eyes Gallery Space, Fremantle until 1 March. Lluis Fuzzhound: Solo Exhibition – Fuzzhound has established himself as an accomplished painter, illustrator, and cartoonist, recently adding 2D animation to his repertoire, which has seen his characters bought to life in film clips. The exhibition will feature all new one-off pieces, with a limited edition Hole In The Wall T-shirt designed by Fuzzhound available from the gallery while stocks last. Hole In The Wall, Fremantle until 3 March. Spaced: Art Out of Place – IASKA’s inaugural biennial event of socially engaged art. Fremantle Arts Centre until 11 March. Tom Malone Prize 2003-2012 & Translucence: Contemporary Glass – 2012 marks a decade of the Tom Malone Prize. This acquisitive award for Australian glass artists has been the platform for the Gallery to collect some of the best work being made in the country today. The combined exhibitions feature work by 2012’s shortlisted makers, all past winners and a selection of glass works from the State Art Collection. AGWA until 2 April. The unknown by the more unknown – David Egan presents a charismatic constellation of paintings and objects examining pop culture mysteries and vernacular theories – in which established methods of knowing are hijacked and subverted by the incurably curious – investigating the infinite potential of interpretation and understanding in cultural communication. Central to The unknown... is an interactive sculptural book that, when manipulated by the audience, produces a generative soundtrack that fills the gallery with an oscillating musical scale. A mysterious soundtrack is created by which a guided meditation on each painting can take place. OK Gallery until 18 March.

THE GENIUSES BEHIND VIRAL HIT ITALIAN SPIDERMAN ARE RESPONSIBLE FOR THE FUNNIEST TV SHOW OF THE YEAR: DANGER 5 – A PASTICHE OF MEN’S-ONLY MAGS THAT RECALLS THUNDERBIRDS AND OSS 117, AND BOASTS NAZI DINOSAURS. GUY DAVIS TALKS TO CO-CREATOR DARIO RUSSO. Nazis: nobody likes ‘em. Except, well, maybe other Nazis. But the one good thing they have offered the human race is an instant go-to villain for pop culture. You never need to delve too deeply into their motivation or even offer up a token sympathetic one. Nope, in the words of Dario Russo, co-creator of the new SBS series Danger 5 (which has its fair share of nasty Nazis), “you don’t even need to explain why they’re the bad guy, you just have to slap a swastika on there”. Danger 5 slaps a swastika on there, and it slaps on a few other things as well – lizard super-soldiers, talking animals, and suave secret agents who make Sterling Archer look positively second-rate. A glorious pastiche of the ‘Men’s Only’ adventure yarns of the ‘60s and ‘70s, with nods to the lurid era’s Italian cinema aesthetic and Japanese monster-movie conventions, it’s the latest creation of Russo and David Ashby, who previously collaborated on the cult YouTube hit Italian Spiderman. “David and I have long been fans of a peculiar genre of magazine known as the ‘men’s adventure’ magazine, very popular in the ‘60s and ‘70s,” explains Russo. “They would have pulpy short stories that would more often than not involve WWII scenarios that had vulgar Nazis torturing scantily-clad Allied women in exotic locations. They would have wonderfully explicit cover art, like rampaging Nazi baboons! We looked at a lot of these covers and they seemed to get more and more ridiculous as we went further along, so we wanted to create a show that emulated this pseudo-WWII universe, one filled with surreal and historically inaccurate elements bathed in this ‘60s/’70s aesthetic.” And the result is this bizarro six-part comedy that pits its faux force

five – “Jackson from the USA, Tucker from Australia, Ilsa from Russia, Claire from Britain, and Pierre from Europe” (gotta love that “from Europe”) – against the worst excesses of Hitler’s reign of terror. We’re talking “Josef Mengele’s perverted Antarctic death circus” and “Erwin Rommel’s golden murder casino”.

provided the entertainment including Cupcake’s hula routine during the interval with the lovely Jelly Fish Opera closing the awards. Artrage director Marcus Canning warmly thanked the festival artists and boasted of the success of the show. He told the crowd that he’s excited for the future, which is something all Fringe-goers can agree with – we look forward to another great festival in 2013.

SIDESHOW MACABRE

“At no point in the series do we ever condone Nazism,” Russo helpfully points out. “We’re re-forming them into this supervillainous entity rather than a historically accurate picture. And we’ll probably be able to do that forever. No one ever has a problem with Nazis as a bad guy.” With the popularity of Italian Spiderman as their calling card, Russo and Ashby were offered a deal by SBS to submit three ideas, one of which would be selected for development. “Danger 5 was the most ambitious,” says Russo. And despite the production’s low budget, the Danger 5 team was keen to provide the most bang for their buck. “We had Italian Spiderman to prove our worth when it came to making pastiche of this kind of cinema,” says Russo. “It proved we could deliver. With this, everything was painstakingly put together. We were being serious about the effects we created. It’s going to be a ridiculous show, well outside the sphere of credibility, so the production values don’t need to be hammed up. We’ve got this much money to make six Nazi lizardsoldier masks – make the best ones you can!” WHAT: Danger 5 WHERE & WHEN: Screening Mondays, 9:30pm, from 27 February on SBS1 / Released on DVD 21 March (Madman)

AS HIJACKED III LAUNCHES AT PICA AS PART OF THE VISUAL ARTS PROGRAM OF PERTH FESTIVAL, MARCIA CZERNIAK SPEAKS TO CURATOR LEIGH ROBB ABOUT THIS GLOBAL EXHIBITION WITH A LOCAL FLAIR. The third installment of the Hijacked series brings us back to the motherland, featuring 24 artists and over 130 works from Australia and the UK. The exhibition’s co-curator and resident PICA curator, Leigh Robb, says the exhibition charts the ideas and visions of contemporary photographers. “Through portraiture, digital collage, archival images, documentary snap shots, internet grabs, and refined photographic tableaus, the artists tell us something about the socio-cultural landscapes of the people, places and ideas present when taking, or making their photographs,” explains Robb. “Their take on subjects as diverse as curious weekend leisure pursuits, gender politics and displaced Indigenous culture, and the range of the technological, conceptual and aesthetic forms harnessed to depict these worlds, also speaks of the current state of the photographic medium. “Rather than looking at outmoded concepts of national identity and overloaded historical or colonial relationships and setting up dichotomies and looking at the differences in practice and ideas in photography, the project hijacks those ideas and allows local and global positions to coexist and blur without being didactic about nationalism.” In various forms, the Hijacked series has been around since 2002, when Mark McPherson from Perth publishing house Big City Press conceived the Hijacked zine and further developed the concept into an exhibition in 2008 with Hijacked I: Australia/USA and in 2010 with Hijacked II: Australia/Germany. Robb says McPherson has been focused on constantly finding opportunities for Australian artists to be launched onto the world stage, and in collaboration with this exhibition, there is also the simultaneous release of the third edition of the Hijacked book series.

Robb says the exhibition came to be a part of the 2012 Perth Festival programme after Margaret Moore, who curates the Festival’s visual arts component, worked closely with Robb and McPherson through PICA. Her support of the Hijacked series saw its inclusion into the festival, again giving the exhibition local prominence on an international level.

are entertained by burlesque and cancan dancers, acrobats, trapeze artists, drag queens, magicians, contortionists, and a guy who likes to hammer nails into sensitive parts of his body and wouldn’t be out of place in the Jim Rose Circus. As proclaimed by the Ringmaster, our freaks are on display, and they surely were a unique bunch, but more to the point, they were an amazingly talented bunch as well. The trapeze and acrobatic

components of the show were breathtaking and the segment with the angel-like performer and her partner was simply stunning. The infamous Mr Pustra, flown in from overseas to be a part of the show, was solid but honestly, it was the home-grown talent in the show that really made it as good as it was.

“There is a real sense of creating a platform for local talent. The book is designed by the visionary local graphic designer Andy Simionato, who also lectures at ECU and really took the book, and in turn the exhibition, on a different course. Paring back the design, tailoring the image layout to keep the artist’s work to scale and presenting a back-to-back, unbroken sequence of images, in alphabetical order, and putting all the essays and texts at the end rather than dividing the artists or writers into AUS/UK.” Working alongside Robb and McPherson is also Louise Clements, artistic director of QUAD Gallery, Derby in the UK, where an exhibition of Hijacked 3 is going to be launched on 2 March. “Louise had been involved in Hijacked II and had worked with Mark, and so when we came together as co-editors for the book, we worked together to dove-tail our programming at PICA and at QUAD to simultaneously present two exhibitions, one in the northern and one in the southern hemisphere. “It is both global and resolutely local. The artists are from all over the world but the project originated in WA and also has a sister exhibition in the UK at QUAD – a truly antipodean show that takes place across hemispheres.” WHAT: Hijacked III: Contemporary Photography from Australia and the UK WHERE & WHEN: PICA until 8 April

FRINGE WORLD FRINGE WORLD AWARDS The Bakery, 19/02/2012 Unfortunately not all of the 900+ Fringe World performers made it to the awards ceremony last Sunday night, which isn’t necessarily a bad thing, since the venue was comfortably full. Among the festival talent, promoters, and sponsors were those who turned up to enjoy 22 • THE DRUM MEDIA

a pleasant evening dedicated to the celebration of the best in the festival. Of the many nominees, City Of Shadows was a clear favourite taking away two prizes, the RTR music award and the Martin Sims Award for the most promising WA work from the festival. Blue Room Theatre Summer Nights took the prize for best indie venue and the Briefs burlesque show was aptly awarded the Little Creatures Circus Award. Sugar Blue Burlesque

OLIVIA GARDNER

The Spiegeltent Forget any childhood memories you have of the circus because they are lame compared to Perth’s Twisted Vaudeville Circus’ latest offering, Sideshow Macabre. You definitely won’t find any lions and horsies in this show, no; instead you

Season finished MARCIA CZERNIAK


FRONTROW@DRUMPERTH.COM.AU

C U LT U R A L

CRINGE

WITH MARCIA CZERNIAK

he was set up and oh yeah, here are some letters he left for you explaining it all and, even better, here is the heap of money he left you. From there the most logical thing to do of course is go to the Hamptons and spend your dad’s money on a house there and plot to ruin the lives of all those who wronged your poor, innocent, dead, dad. Now in those terms, you could be thinking, ‘what a crap premise for a show’. But where Revenge could fail dismally into cheesy drama, aka Ringer, it doesn’t because of some good casting and writing. Emily VanCamp is perfect as Emily Thorne/Amanda Clarke, daughter of the wrongfully incarcerated David Clarke (because if you are about to launch into a plethora of vengeful acts, you need to change your name). In the first episode it is abundantly clear that VanCamp can go from being able to play sweet new girl one second and calculating evil mastermind the next. Madeline Stowe is also perfect as Victoria Grayson, the woman who Emily’s dead dad was having an affair with when he wasn’t so dead. It seems that when this affair was found out and things were going belly up work-wise, Victoria’s husband made David the scapegoat. And in the first episode we see Emily engaged to Grayson’s son, who just happens to get shot while everyone is partying at their engagement do. And that is the beauty of this show. Just two episodes in, there is so much over the top wank it is hard not to watch. And it’s all set in the Hamptons. Who better to take down than rich people with beach houses who have more money than cents – I mean sense?

“This is not a story about forgiveness”. Although completely obvious and a little ‘duh’ considering the title of the series, what a way to introduce a television show. I love a good over-the-top drama, and the new offering of Revenge is definitely on the path to being a winner. Channel 7 kept taunting us with flashes of it over summer and kept telling us it would be on after the tennis. Well, for those of us in which patience is a virtue not quite possessed, having to wait nearly two weeks until after the tennis was not appreciated. But finally it is here and after its premiere last week, it was worth the wait. The first episode had everything you want from a drama – murder, illicit affairs, plotting and scheming, lavish parties on a boat, lavish parties on a marquee just off the beach, the quiet townie with a soft spot for the girl he once knew and whose dog he still has, the gorgeous boy next door and his evil, vindictive mother, and, of course, the girl who wants payback on all the people who put her father in jail for a crime he didn’t commit, taking away her only family and forcing her to become a ward of the state and thus ruining her childhood and life forever. And it is all told in flashbacks – everyone loves flashbacks! But as luck would have it, after growing up and thinking your father was a murderer and had destroyed the lives of many people, you become emancipated and as the gates of what looks like your juvie centre open and there is someone claiming your dad wasn’t a murderer,

PERTH FESTIVAL R E V I E W S

GIVEAWAYS

JACK CHARLES V THE CROWN

LIKE CRAZY

When a British college student (Felicity Jones) falls for her American classmate (Anton Yelchin) they embark on a passionate and life-changing journey only to be separated when she violates the terms of her visa. Like Crazy explores how a couple faces the real challenges of being together and of being apart. Winner of the Grand Jury Prize for Best Picture at the 2011 Sundance Film Festival and of the Special Jury Prize for Best Actress for Felicity Jones, Like Crazy depicts both the hopefulness and the heartbreak of love. Opening in cinemas 1 March, thanks to Paramount we’ve FIVE in-season double passes to giveaway. For your chance to win one, head to facebook. com/drumperth. Two of our favourite things in the world are BBQs and New Zealand. Thanks to Random House, we can now have both of these in convenient book form. In Stoked, highly regarded NZ chef Al Brown (owner, Depot, Auckland; host, Hunger for the Wild) shares his experiences of traditional outdoor cooking methods from New Zealand’s diverse cultures – a hangi at Matahiwi Marae on the Wanganui River, cooking tandoor with his Wellington grocer, and putting a pig in a pipe with a third-generation Chinese New Zealander. Al is a keen hunter and gatherer and forages in Canterbury for porcini mushrooms, collects seaweed on the Wairarapa coast, and goes hunting for deer, as well as trout fishing. The book is brimming with great recipes and stunning photography, and celebrates the rewards of eating outdoors. Thanks to Random House we’ve a copy of the book to giveaway. For your chance to win it, head to facebook.com/drumperth.

Studio Underground, State Theatre Centre of WA Theatre is about storytelling and Jack Charles is one hell of a storyteller. After the reception he received from Amiel CourtinWilson’s documentary Bastardy, in which he was the subject, Charles decided to delve into his story a little further and gives us the starkly honest and open tale Jack Charles v The Crown. Joined onstage by a three-piece band, the play describes the life of this 69-year-old man from being a member of the Stolen Generation and growing up a ward of the State to his foray into acting, his heroin addiction, and criminal history. Within those parts of his life he talks about the moments that stood out, like meeting his mother and siblings, learning how to work a kiln in jail and the love of creating with clay, as well as hinting at the trauma of sexual and physical abuse as a child. But there is no ‘woe is me’ to this story; Charles is clean and on the path to redemption. Which is where the play comes to its major scene, with Charles standing in front of a court asking for his record to be sealed so he can fulfill his path of helping others who are going through what he has been through. And as he asks the audience “do my trespasses weigh as much as those visited upon me?” one thing is mighty clear: no matter whether you would say yes or no, Jack Charles v The Crown celebrates the transformations we are capable of undertaking as

human beings and our capacity for forgiveness. Until 23 February MARCIA CZERNIAK

RAOUL Regal Theatre ‘Incredible’; it’s a word this scribe can’t be confident they’ve ever actually used in six years or so of reviewing for this mag, though it’s a word that’s absolutely necessary to use in describing the multitudes of magic that Raoul conjured up over its hour-and-a-half journey through a fantastical world like no other. French wizard James Thiérrée invited the audience to enter his mind, one that seemed to teeter dangerously on the edges of madness, but in doing so made us laugh and feel amazement as we happily plunged into a universe where kitchen utensils became weapons and elephants and jellyfish needed to be assessed as friend or foe. Thiérrée’s mastery of body and balance, comedy and circus made for mind-blowing physical theatre, his knack for delving into the absurd without the use of language something so special to witness. The grandson of Charlie Chaplin, his ability to suspend our disbelief, combined with the superbly inventive set design and props, turned the audience into children, naïve and trusting in our complete immersion in this fantastical dreamscapes and smiling away like nothing else mattered in the real world. Yes, this is a truly incredible piece of theatre, and a credit to the Perth Festival for bringing it over. Until 26 February AAROM WILSON

Chen Wenling, red memory smile, Sculpture by the Sea, Cottesloe 2011. Photo Viviane Dalles.

21ST INTERNATIONAL SHORT FILM FESTIVAL PRESENTED BY ING DIRECT

2012

EIGHTH ANNUAL EXHIBITION

cottesloe 2012

1 - 19 MARCH

Flickerfest presented by ING DIRECT, Australia’s premier international short film festival is coming to WA! Featuring a selection of the best short films from Australia and the world!

THURS 1 MAR – SUN 4 MAR CAMELOT OUTDOOR CINEMA

Cottesloe Beach | A FREE Event | www.sculpturebythesea.com

Also visting Kalannie, Broome, Margaret River, Esperance, Narrogin, Wyalkatchem, Albany.

Co-Principal Sponsor

Our Host

Major Partners

Check the TOUR INFO tab at flickerfest.com.au for more details

THE DRUM MEDIA • 23


24 • THE DRUM MEDIA


DEATH CAB FOR CUTIE BY GRAHAM CLARK

TOUR GUIDE SLOW CLUB

GIG OF THE WEEK: NEON INDIAN, SLOWCLUB @ FESTIVAL GARDENS The brainchild of Alan Palomo, Neon Indian is headed to WA for a special Perth Festival appearance at the new Festival Gardens in the Perth Cultural Centre. Straight off the bat, if you haven’t been there yet then you are missing out on a special, relaxed evening on the rolling hills of astro-turf, a crazy water feature and chilled, good times making it a pretty damn neat nightspot as is. However, this Sunday 26 February you can get even more chill(wave) with the maestro Neon Indian celebrating his cracking sophomore LP Era Extraña, joined on stage by a live band and supported by the UK’s Slow Club – the duo of Rebecca Taylor and Charles Watson having released a little ditty of their own last year in Paradise, their take on doo-wop and a frazzled, fragile representation of soul-inspired rock. Both coming off rad albums, both rad live acts, all at a rad venue; this can only turn out supremely well. Tickets through perthfestival.com.au.

DEATH CAB FOR CUTIE FESTIVAL GARDENS, NORTHBRIDGE 17/02/12 One of the most anticipated dates of the Perth Festival saw a mixed group of ages enjoying a beverage in the softly-lit junkyard that is the Festival Gardens. With seven albums under their belt, the latest being released early last year, Seattle quartet Death Cab For Cutie opted for pleasing their loyal fans with a smorgasbord of songs spanning their lengthy career, opening with popular favourite Lack Of Colour before sliding forward a couple of albums to I Will Possess Your Heart and back to Crooked Teeth. The outdoor setting was perfect for Death Cab’s brand of atmospheric pop, as they repeatedly left the crowd in silence between songs – the only drawback being Gibbard’s vocals frequently getting lost in the mix. The band proved their prowess as a live act as they toyed with the arrangements of the

songs: extending intros, dancing around climaxes and continually swapping instruments – even in the middle of songs – which brings us to the highlight of the show, a stirring rendition of We Looked Like Giants. An extra drum kit was commandeered by Gibbard mid-song as bandmates Chris Walla and Nick Harmer swapped guitar for bass and back again. Set-ender Soul Meets Body saw Gibbard’s guitar play up, causing him to take to the front of the stage with the mic, tossing it to the floor at song’s end and walking off stage. An encore saw the frontman apologise: “I unleashed my inner punk-rock”, before launching into A Movie Script Ending, Marching Bands Of Manhattan and Transatlanticism. A magical night had by all. ANDY SNELLING

FRONTLASH

BACKLASH

SNAPPY FELLOWS

WHY RI RI, WHY?!

Big ups to Henry & Aaron for their latest short It’s A Snap, and to CIT for allowing them the artistic freedom to spill their blood all over the assignment that’s quickly approaching two million internet stabs. With the scriptwriters from Community amongst ADALITA those laughing, we’re expecting these locals to be snapping their fingers in Hollywood in no time at all.

RUDDY ENTERTAINING Will K-Rudd’s F-bomb footage help his political standing? Probably not. Will it continue to provide a constant source of amusement? Fucking definitely.

RAOULLY BRILLIANT Never have we seen such a spellbinding explosion of imagination, music, comedy, physical wonderment and visual magic as Raoul. PIAF, thankyou for bringing this amazing feast for the senses to Perth.

Worrying news with Rihanna inviting ex-puncher Chris Brown to sing on her new song Birthday Cake, his first line being, “Girl I wanna fuck you right now/ Been a long time/I’ve been missing your body.” If Ri Ri continues to allow this relationship to re-blossom, we fear she may need a body bag for her next b’day.

ALL THAT JIZZ We thought we’d never hear a bigger cock on radio than Kyle Sandilands, but all that changed when UK station Jazz FM’s programming was interrupted for five minutes on Saturday with either a porno or some live studio sex going to air. Reports the station is changing its name to Jizz FM are unconfirmed.

THE GOOD SUN? We’re not surprised Rupert Murdoch is launching a new Sunday paper in the UK with more LANIE LANE Sun staffers arrested last week on corruption charges, there’s no shortage of news PIC to fillBY it. CC HUA

DRUM MEDIA IS PROUD TO PRESENT SHOWS INCLUDING: SAN CISCO EP LAUNCH: FEB 24 & 26 Fremantle Arts Centre ERYKAH BADU, MAYER HAWTHORNE, FAT FREDDY’S DROP: FEB 25 Belvoir Amphitheatre RYAN ADAMS: FEB 25 Perth Concert Hall (PIAF) ENNIO MORRICONE: FEB 26 Burswood Theatre (PIAF) GOSSLING: MAR 1 The Bird BON IVER: MAR 3 Red Hill Auditorium (PIAF) FUTURE MUSIC FESTIVAL: NEW ORDER, SWEDISH HOUSE MAFIA, FATBOY SLIM, PAUL VAN DYK, TINIE TEMPAH, THE WOMBATS, CHASE & STATUS (LIVE), SKRILLEX, JESSIE J, THE RAPTURE, FRIENDLY FIRES, GYM CLASS HEROES, PROFESSOR GREEN, SVEN VATH, DIE ANTWOORD, KNIFE PARTY, ZANE LOWE, JOHN O’CALLAGHAN, ORJAN NILSEN, TYDI, DUBFIRE, OLIVER HUNTEMANN, FLUX PAVILLION, KILL THE NOIZE, PORTER ROBINSON, RUBY ROSE, TIMMY TRUMPET, APHEX TWIN (LIVE), GARETH EMERY, JAMIE JONES, JAMES MURPHY & PAT MAHONY (LCD SOUNDSYSTEM), ANNA LUNOE and more: MAR 4 Arena Joondalup JESSIE J, PROFESSOR GREEN, RUBY ROSE: MAR 5 Challenge Stadium WILD FLAG: MAR 7 The Bakery THE BEARDS: MAR 9 Settlers Tavern; MAR 10 Fly By Night; MAR 11 Indi Bar BOMBAY BICYCLE CLUB: MAR 18 Astor Theatre RTRFM FULL FREQUENCY PARTY: MAR 23 Shape KRS-ONE: MAR 23 Metro City FAT SHAN FESTIVUS: THE CHEMIST, THE FLOORS, HIGH HORSE, THE NOVOCAINES, THE SEALS, SONPSILO CIRCUS: MAR 24 The Bakery ADAM ANT, GEORGIE GIRL & HER POUSSEZ POSSE: MAR 28 Metro City + THE COMMUNITY 8TH B’DAY: MAR 31 The Bakery PASSENGER: APR 13 Fly By Night JAY & SILENT BOB: APR 18 The Astor + BLUEJUICE, LOON LAKE, THE CAIROS: APR 19 Settlers Tavern; APR 20 Capitol

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BIG SCARY: APR 20 Amplifier + BLEEDING KNEES CLUB, DUNE RATS: APR 25 Indi Bar; APR 26 Prince Of Wales; APR 27 Amplifier; APR 28 Mojo’s HOODOO GURUS, REDD KROSS, THE FLESHTONES: APR 28 Astor Theatre BOY & BEAR: MAY 10 Albany Entertainment Centre; MAY 11 Bunbury Entertainment Centre; MAY 12 Fremantle Arts Centre + DEAD LETTER CIRCUS, FAIR TO MIDLAND, TWELVE FOOT NINJA: MAY 11 Metropolis Fremantle; MAY 12 Capitol ANDREW WK, ALEISTER X: MAY 17 The Bakery GROOVIN’ THE MOO: ANDREW WK, BIG SCARY, KAISER CHIEFS, SAN SISCO, WAVVES, 360, ADRIAN LUX, BENI, BALL PARK MUSIC, DIGITALISM, MUSCLES, MUTEMATH, PUBLIC ENEMY and more: MAY 19 Hay Park, Bunbury

ONGOING: GIGNITION: Upcoming band showcases 5-9pm fortnightly on Sundays at Swan Basement CULTURE CLASH: Party tunes every second Thursday at The Newport Hotel PERTH FESTIVAL: INCLUDING CUT CHEMIST (FEB 23); BONNIE PRINCE BILLY (FEB 24); MEN (FEB 25); NEON INDIAN, SLOW CLUB (FEB 26); SWAY MACHINERY (FEB 27); BARO BANDA (FEB 28); EDDIE PALMIERI (FEB 29); THE MAGNETS: (MAR 1); STAFF BENDA BILILI: (MAR 2); PENGUIN CAFÉ: (MAR 3), Perth Festival Gardens

ENNIO MORRICONE THE DRUM MEDIA • 25


INDIANA JONESZ

THE BLAST

Mark Stewart used to play in Horsell Common and he’s since formed a new project called Jonesz, who released their 2010 record Betty’s Soup, before last year’s Gruffalo. They spread the love in WA Thursday 23 February at Prince Of Wales supporting Coerce; Friday 24 at Norfolk Basement; and Saturday 25 at The Bird supporting Pond.

MUNICIPAL WASTE

GOLD METAL

Show your support for Nails Of Imposition, Khariot, Empires Laid Waste, Reaper’s Riddle and Aussie metal Friday 24 February at the Civic Hotel, as long-running site WesternFront.com.au raise funds for the bands featured on its up-coming Australian Metal Compilation: Volume 1 album, which will be given out for free after Soundwave.

FISHERMAN’S FRIEND

Following on from last years acclaimed performances at the Nannup Music festival, Kimberley based singer/songwriter Wil Thomas returns for to promote his debut album Fisherman’s Bend. He brings his dusty blend of folk and rock, with a nod toward the blues, to the X-Wray Café, Friday 24 February. The evening features special guest Bec Schofield of the Dave Mann Collective, $5 from 8pm.

NIGHT OWLS

Big Day Out’s over, now Big Night Out, Saturday 25 February at The Civic Hotel, featuring The Meaning Of, Animal, Sleeping Giant, Brutus, The Loved Dead, Ben Merito, Nevsky Prospekt, We Build Pyramids and Ozmonaut, $12 from 7pm. It’s been 11 years since the last night out, and Antonella De Gregoriis and Jimmy Thompson have teamed up once again for a night of mayhem.

SOUTH WEST SECONDS

RIGHT CHEMISTRY

After two successful EPs and touring, The Chemist have finally written and recorded their debut album and they wanna show you their dark, quirky and brooding new material, supported by The Sun Orchestra and Runner, $10 from 8pm. Freo kids catch them at The Fly Trap Friday 2 March, with Sonpsilo Circus and Shy Panther supporting.

LET’S GET PHYSICAL

International superstar of studio, stage and screen, Olivia Newton-John returns for A Summer Night with the West Australian Symphony Orchestra. She’ll be rocking all her hits including You’re The One That I Want, Summer Nights, Physical, Xanadu and so many more. Special guest Jon English supports at the Burswood Theatre, Friday 24 and Saturday 26 February. Tickets through Ticketek.

BIT RICH

Garage folk-rockers Rich Widow play their first Northbridge gig for the year on Saturday 25 February with Violet Scene, Neutral Native and Hoot & Howl at Ya Ya’s. With new tunes, new backing vocals and a new outlook on the world the boys from Rich Widow are raring to go and ready to put on a show. $10 from 8pm.

After some rural WAM dates last weekend, Spilt Seconds headline this year’s inaugural South West Craft Beer Festival at 3 Oceans Palandri Winery, Margaret River, Saturday 25 & Sunday 26 February. Other acts include Ill Starred Captain, Tank 7even, Polly Medlen, Minute 36 and more, with SS headlining Sunday. Tickets via Moshtix.

CRAZY KAT

New film Like Crazy opens at Luna from next Friday 24 February and the opening night will feature a prescreening celebration from 7pm with live music from Kathryn Rollins. Also available as part of the ticket are some cheeky beverages and some food, get along to lunapalace.com.au for all the details.

Four months after getting together, Twisted Affection launch their debut self-titled album at The Rocket Room Friday 24 February. With high energy shows, killer melodies and throwbacks to catchy old school punk riffs, the bands debut album sets the tone for good things to come. 10 Past 6, Kill Teen Angst, The Corner and Here Come The Cavalry support. $10 from 8pm.

GIMME MORE

The annual fundraiser for the homeless at Fremantle Arts Centre, Gimme Shelter, is on again Saturday 25 February with Jill Birt and Alsy Macdonald from The Triffids together with Adrian Hoffman (The Morning Night). They’re supported by Felicity Groom, Dave Mann and The Starlight Hotel Choir. $25 plus BF via FAC and the usuals for this not-for-profit event.

DOOM & GLOOM

White Trash Heroes 5 smashes its way into Ya Ya’s Friday 24 February, with a cracking three way line-up of Shimmergloom, Broken Royale and Damn Few. Shimmergloom are looking to get back into the studio and start recording their next EP/single to be released soon, following the successful release of last year’s Unfamiliar Nights EP. $8 from 8pm.

GREAT HYTES

Prog/psych rockers Hyte touchdown in The Fly Trap Saturday 25 February, to deliver their groov-acious and tantalizing blend of prog, psyche and hard rock. Keep your ears and eyes peeled for there debut release out midyear. They’re supported by fellow hard rockers State Of Order and newcomers Queens Blvd from 8pm, $10.

PARK LIVE

The Vincent Film Project connects with the Live In The Park Concerts to finish on a summer high note Sunday 26 February at Hyde Park. Set to the backdrop of short films set in/about the Town Of Vincent, Sea Of Tunes will deliver an authentic summer setlist of classic songs from one of the biggest bands in history – The Beach Boys. Free from 4pm.

TWISTED SISTER

BANANA BOAT

International electric violin virtuoso Rupert Guenther’s new band Banana Theory are stepping out this weekend to shake things up. Sunday 26 February they play Drum’s Gignition at The Swan Basement, before shows at X-Wray Café (March 10) and the Charles Hotel (March 20). He’s combining his sound with the Soanes Sisters, for rock, psychedelic and blues influenced originals.

TEN THINGS YOU DIDN’T KNOW ABOUT STONEFIELD

1. To pass time at airports, we enjoy going for joy rides on baggage trolleys. 2. The reason we’re coming back to Perth this time around is because we missed out on Adelaide and Perth on the Big Day Out tour, and those are two of our favourite places to play. Perth audiences have an amazing vibe, so we love sharing our music in the west! 3. We were playing shows in Melbourne when Holly was eight years old. 4. Some of our other hobbies include: Amy – cooking and craft; Holly – craft; Sarah – photography; Hannah – guitar is her only hobby… 5. Our new EP to be released very soon is our

26 • THE DRUM MEDIA

AGAINST THE GRANEY proudest work so far. We’re so excited to share it with everyone. 6. This will be the fourth time visiting/playing in Perth. 7. Perth is where we were asked to play Glastonbury! After playing our set at the One Movement festival, we were invited over. 8. Everyone thinks Sarah is the shyest member of our band, but she is the craziest by far. She has a great sense of humour and when she was younger, she even came up with a “Sarah 2,” her insane split personality that had us in laughing fits. 9. Amy was the lead singer of her high school soul band. 10. Somebody made a club remix of our song Yes Master. We never released it, but it was pretty crazy hearing it as a dance tune. WHAT: Bad Reality EP (Wunderkind) WHEN & WHERE: Thursday 23 February, Rosemount Hotel, North Perth; Friday 24, Prince Of Wales, Bunbury

While in town to play at the Perth Writers’ Festival, maverick Australian songwriter Dave Graney will be stopping by Mojo’s for a solo show Sunday 26 February. Graney created seminal new wave albums with The Moodists, before forming bands The Coral Snakes and The Lurid Yellow Mist. Supported by Tomas Form, Odette Mercy and Adam Brown, $15 from 6pm.

SETTLING DOWN

It’s been a ‘long time no Settlers Tavern’ for awesome foursome The DomNicks. That’s all set to change as the garage soulsters rock there Friday 24 February. The band will play two big sets from their debut EP Hey Rock ‘N Roller and the soon to be released full length 12 tracker CD with the tentative title of Super Real.

AUTUMN APPROACHES

Fresh from supporting The Whitlams and Sons & Daughters, The Autumn Isles venture down to Fremantle from 6pm Sunday 26 February to play two sets at the Newport Hotel. Support comes from Wesley Fuller from the brilliant power pop masters Hurricane Fighter Plane. Entry as always, is free.

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FURNACE

ALL THINGS HEAVY FROM THE BUBBLING DEPTHS OF THE METAL MELTING POT WITH TRISTAN BROOMHALL, FOR ONE LAST TIME. Love them or hate them, the comical velocity of Dragonforce has spawned some of the catchiest hits within the genre of epic speed/power metal in recent years, as well as infuriating countless Guitar Hero players. The group have dropped a new track, Fallen World, on fans this week with the added claim that it’s their fastest song to date. Hit up their Myspace or Facebook to judge for yourself. The track will appear on their upcoming album, The Power Within, which is the British group’s first album with new guitarist Hudson. It’s due out in mid-April. We’re just under two months out from getting our mitts on the new Municipal Waste album, The Fatal Feast: Waste In Space, and the Richmond, Virginia thrash quartet have been kind enough to let loose the title track ahead of the April 10 and 13 release dates. It’s the group’s fifth LP release and their first out through Nuclear Blast Records after parting ways with Earache. The 16 track thrash-a-thon even features some curious guest appearances like Steve Moore of Zombi, the incredible Pitsburgh space-rock duo, which could explain the ...Waste In Space subtitle. A video for the new track is said to be on the way as well. Also, depending on what magazines you subscribe to, you’ve probably noticed a few more flexi-discs finding their way into the pages as subscriber giveaways. This month Decibel subscribers will receive a special green flexi of Religion Proof, which didn’t make it onto the disc. It’s also available to stream. If you’ve been missing Andrew Haug on The Racket you can catch the him on Soundwave’s Pirate Radio. He’s interviewing a slew of acts from this year’s line-up and last week we heard from Paradise Lost, Times Of Grace and Gojira, the latter of which gave details of a new album due out in Autumn this year. It will be the band’s fifth album and their first on Roadrunner Records. Catch the latest episode of Haugmetal tonight (Thursday), 8-10pm AEDT. Speaking of The Racket, fellow SPA writer Lochlan Watt has been confirmed to soon take over the reigns of triple j’s flagship headbanging program. New Zealand metalcore outfit Antagonist A.D. have signed with U.S. label Mediaskare Records, home to Bury Your Dead and It Prevails. Fans will know that the quartet have recorded a new album and that album has a name now, Nothing From No One, and with the new label on board it’s due out mid-year. In the meantime they’ve made last year’s EP release, Old Bones Make New Blooms, available as a free download on their facebook page. Over the last few years the trend of releasing episodic sneak-peeks into studio production has filled news feeds with generally droll videos of the monotony of guitar overdubs. the odd fart joke, and the sleep deprived insanity often found in the recording studio. If you’re interested to see how Finnish folk-metallers Ensiferum are updating their sound after the disappointing 2009 release From Afar, you can travel through the looking glass and into the studio with the quintet, just hit up the band’s social media. On a personal note, this is my final column for the foreseeable future. The call of metal is strong, never ignore it, but I’m stepping down and entering the dark and terrifying world of public education to smash sense, and a love of thrash metal, into the malleable brains of our wayward youth.

NEW NOIZE

The February edition of Noizemaschin at The Artifactory in Osborne Park offers up plenty of sustenance for the noise junky and casual surveyor of experimentalism alike. For $10 from 7.30pm Tuesday 28 February, catch New Zealand’s Stanier-Black Five, Cat Hope, Kynan Tan, Malcolm Riddoch, Leafy Suburbs, Christopher de Groot, Sam Gillies and Dr Vellocet.


BYE BUREACRAT

The show must go on for The Bureacrats, who bid farewell to Gareth at The Ellington Jazz Club last weekend as he heads off to Europe with high hopes, some savings and his trusty bass. After a cracking send-off, the group are straight back on the horse Friday 24 February with an intimate show at the X-Wray Café, supporting The Banana Theory.

MORE LOVE UKELELE FIEND AND OKA BAND MEMBER BOBBY ALU IS BRINGING HIS SOLO STYLES TO WA THIS WEEKEND. AND HE CHATS TO TROY MUTTON ABOUT ALL THINGS ROOTS, REGGAE, AND JUST GENERALLY HAVING A DAMN GOOD TIME DOING THEM.

RAINY DAY WOMEN

CISCO CITY

Proudly presented by Street Press Australia, San Cisco’s tour celebrating their Awkward EP has been going gangbusters thanks partyly to massive single Awkward smashing No.7 in the Hottest 100. They play Fremantle Arts Centre Friday 24 February and Sunday 26, the latter show ALL-AGES with Sugarpuss supprting.

THE LETTER F

Fat Shan’s feted Friday I’m In Love series returns Friday 24 February for more fun and fantasticalness. They’re excited to celebrate the end of single digit editions with lo-fi tunes from the mystical Rabbit Island, smooth topical hip hop from Mathas and the acoustic stylings of Lee Schneider. Tickets $10 from tickets@fatshanrecords.com.

FORMIDALE FORCE

Welcome to your newest party dance band, Ensemble Formidable – only described as some sort of bizarre chicken-powered, dancefloor doof device. The ten-piece barely squeeze on stage horns, strings, accordion, synth, electric junk percussion and harmonies, but they’ll try Friday 24 February at Clancy’s Fremantle with The Joe Black trio.

ROCK CIRCUS

Friday 24 February roll up for a Rock’N’Roll Spectacular at Mojo’s, featuring The Floors, introducing you to new single You Got To Move ahead of an album release later this year. Special guest Matty Blade – famous for his sword swallowing and knife throwing – brings his act, along with High Horse and The Belle Ends supporting. $15 from 8pm.

BLOWING FUSES ADELAIDE MUSIC CONFERENCE FUSE FESTIVAL KICKED OFF YESTERDAY, AND DRUM GIVES YOU A LITTLE INSIGHT INTO WHAT’S ACTUALLY GOING ON. HINT: IT’S GREAT AND MAKES US MISS ONE MOVEMENT EVEN MORE.

In a nutshell, the festival consists of conferences featuring keynote speakers during the day time, with live music on each night hosting over 80 national acts over 30 venues until Friday 24 February – with expected crowds of around 5,000 over the few days. Major speakers over the course of Fuse include Brett Cottle (CEO of APRA/AMCOS); author, entrepreneur and agent of change Seth Godin; and Andy Kelly and Andy Cassell (Winterman & Goldstein/Ivy League Records). There are also international guests Alicen Schneider (Head Of Music, NBC/Universal); Corey Denis (Toolshed); Chris Wareing (Mean Fiddler/Great Escape); and Franz Schuller (Indica Records). To put simply, big deals. And that’s not even going into the dozens of other speakers from management and promotions companies such as Umbrella, Select Touring, Warner, Alberts and a heap more. The night-time showcases are free to the public, and divided up into East and West according to the location they’re playing in the city. Playing the former are acts including Howl At The Moon; Sietta; Epidemic; Red Ink; Catherine Traicos and Kristina Miltiadou, while in the west Winter People; The Guppies; The Shiny Brights; Move To Strike; and our own Patient Little Sister and Rainy Day Women. And while we touch on WA’s presence at Fuse, these two will also be joined by fellow movers and shakers The Brow Horn Orchestra, Law Of Attraction and Shameem, with a host of other acts playing other stages over the two days. The final nights sees APRA hosting a special Fuse @ Fringe event, combining forces with Adelaide’s own Fringe Festival Friday 24 February, and hosting Mission In Motion; Glass Towers; Sincerely Grizzly; Es Ist Super; The Shaolin Afronauts; Marcus Corowa; Goldbloom; and Them Swoops (triple j Unearthed Band). As mentioned above all the shows are free, except for the final Fringe show, which is a measly five bucks! Again just making us here at Drum Perth incredibly jealous, and not without a small tear in the eye. We’ll be giving the festival a bit of a wrap next week to highlight how awesome music conferences are, and how Perth needs theres back. Head to fusefestival.com for more info

Coming from a band background with OKA and others, what prompted you to break out on your own? It was totally daunting and totally fresh doing the solo thing. I had written and recorded my songs for a university assessment, and was later urged by friends to start a band. It all happened pretty quickly and all of a sudden I was the front man of a band. It was so nerve-racking and foreign to be at the front, I’d never been that nervous at a gig before – but I found that I liked the nerves and the freshness. Gigging became new again, it brought a different form of excitement. And you’re touring new single Love You More. Tell us a bit about the track and your future direction? The track was the first I’ve written with my band. I wrote the song whilst on holiday in Bali inspired by love for relationships, friendships and courtships. I came home showed the band and we wrote the music together. For the first album I wrote all the parts that the band replicated, so it was exciting for

CUSTOM MUSTANG

The Mustang Bar’s original music night continues Thursday 23 February from 9.30pm and this week they welcome Custom Royal – a wall of catchy rock, complete with windmill arms, rock start stances and catchy harmony-rich choruses. Supported by The Cabarets and Paperfish, plus DJ James Mac on the wheels of steel, all free.

WIRED UP

Black Betty’s weekly rock fiesta Wired continues Thursday 23 February featuring Nexus, Animistic

SUNDAY 26 FEB

201 Queen Victoria St, North Fremantle 9335 2725

28 • THE DRUM MEDIA

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WHEN & WHERE: Wednesday 29 February, Indi Bar, Scarborough; Thursday 1 March, Mojo’s, North Fremantle; Friday 2, Prince Of Wales, Bunbury; Saturday 3, Settlers Tavern, Margaret River; Sunday 4, Nannup Music Festival

and Befallen smashing it out live on stage from 9pm. The night also doubles as a listening party for recent visitors Psycropitc’s album The Inherited Repression, with copies of the CD up for grabs.

HOW TO TRAIN YOUR…

This Thursday 23 February Big Dragon Little Dragon play a little gig in the Fremantle Music Shop on South Tce. It’s a free after work affair starting around 6pm, BYO refreshments for a cool little music store vibe. BDLD is a father-son duo that have been busy tracking some debut original tracks, and they want to test ‘em out.

5.30-9PM, ENTRY $5

BANANA THEORY

music

WHAT: Love You More (Independent)

SUPPORTED BY

DETH TRAKTOR @ SWAN BASEMENT

us to write some music together finally. The future direction is definitely more of this. I’m so stoked to have my good friends in the band – the bonus is they are exceptionally accomplished, experienced and tasteful musicians. We love writing and playing music together. The Ukulele is a bit of a trademark for you, what drew you to the instrument? I don’t know life without it. My mum used to play it to me as a baby. It’s quite a popular instrument where she’s from in Samoa. I was playing before I reached 10 and would often just pick it up for fun right through high school. Just as I was finishing school I started writing my own songs on it. I always have one in the tour van. It’s the perfect travel instrument. You’ve collaborated with a heap of acts, it’s obviously something you enjoy? At the moment I’m having so much fun with my band OKA. Touring with the other two guys is always hilarious and we manage to find ourselves in the most ridiculous situations. My friends from Tijuana Cartel are always so much fun, ending in hangovers but also smiles. Nicky Bomba has been a great friend; I always love gigging for him. Currently I’m gearing up for a performance at the prestigious Byron Bluesfest with afro-reggae band Kooii and another North American tour with OKA. Hooray. What can we expect from your upcoming tour to the west? Get ready for some island style. My music is heavily influenced by my Polynesian roots and I’ll be bringing some new log drums I acquired on my last trip to Samoa. Aussie roots reggae is a definite influence of mine, but I’d like to think we do it differently. We just like to have fun. It’s something I’ve noticed playing in the west. The peeps in WA really know how to get down and have a rad time.

IContact: NTERESTED IN PLAYING? luke@sweetmate.com.au

SNAPBACK


SLAM DUNK TODAY IS NATIONAL SAVE LIVE AUSTRALIAN MUSIC DAY AND DRUM GETS A BIT OF BACKGROUND FROM SLAM ORGANISER HELEN MARCOU, BEFORE DETAILING WHERE YOU COULD AND SHOULD BE HEADED TONIGHT TO SUPPORT ALL THINGS LIVE AND LOCAL. ALI TOWERS

On 23 February 2010 the Victorian public marched to the steps of Parliament House in a 20,000-strong show of support for a live music community under threat. It was the largest cultural protest in the nation’s history, and the message was clear: we do not accept that live music is in any way associated with violence and we expect live venues to be treated as the cultural hubs that they are, not lumped in with seedy beer halls and gambling dens by association through alcohol alone. And, it seemed, the government listened. An accord was drawn up recognising the non-association between live music and violence and, accordingly, an exemption process was established whereby venues could apply to have their ‘high risk’ status lifted, thus relieving the financial burdens associated with security and insurance costs. Two years on and the SLAM (Save Live Australian Music) organisation responsible for the Victorian march are taking the initiative to every state and territory in the country by way of a national SLAM Day celebration, where venues

and artists are encouraged to register gigs in a show of solidarity for a cause that touches each of us in and of the music community. “Part of the reason we have gone national is that after the SLAM rally we’ve constantly received letters and emails from all around the country and other cities around the world asking for help with their own campaigns,” says SLAM organiser Helen Marcou. “There’s similar problems of gentrification, land values rising, artists being forced into the peripheries of society, and the same themes of no protection for these cultural clusters.” In the same way politicians took note only when confronted with 20,000 angry voters, the concept behind SLAM Day is to mobilise the gig-going public en masse in a celebration of all things live music. “As a continuum of the SLAM rally we’ve seen that governments respond very strongly to numbers, they’re incredibly poll driven,” Marcou says. The SLAM organisers are also looking at the day as an opportunity for the public to voice concerns surrounding the health of live music. “It’s a great opportunity for people up there to come together and voice their concerns to their state government and their local councils,” Marcou continues. “Ultimately it is a great celebration of our great small venues and our musicians but we also have to raise awareness as to what it needs to continue.” If nothing more, SLAM Day is a good chance to reflect on what live music means to you. Whether you make it down your favourite venue, write a letter or call up your Minister, pass the info on to a friend or buy a bit of locally produced music, it’s

about engaging with your surroundings and being part of a community. Even a stroll around your neighbourhood will reinforce what you or potentially stand to lose, or perhaps have already lost. “They’re a soft target, live music venues,” concludes Marcou. “It’s much cheaper to just put on a big telly screen or run poker machines or sexually explicit [entertainment] or just straight drinking than to run live music. People tend to drink less in these venues, they have a cultural focus and it’s a little community that teeters on the edge. We can’t see our culture planned out of existence.” SLAM TIME And without further adieu here are some of the SLAMendorsed shows on tonight, Thursday 23 February. If they don’t tickle ya fancy, head out somewhere else involving live music! And most importantly, don’t make this the one special day of the year you decide to get away from Facebook/Home & Away, go out and see some quality live Australian music regularly, ‘cause lord knows Perth’s got a tonne of it: Solo blues-man Matt Gresham has earned no shortage of praise recently with his powerful acoustic songwriting, most notably having received the personal commendations of Australia’s blues/roots/folk master, John Butler. Mojo’s will play host to his captivating performance with Tonchi & The Lonely Horse Band also in attendance, rounding out the night’s entertainment with a set of country-tinged tunes and outback balladry. $20 tickets are available at the door from 8pm onwards. Singer/songwriter Ali Towers’ solo folk and blues tunes will be supported by local power-pop quartet The Stanleys, who are back on home turf after a successful world tour in 2011, and the newly solo multiinstrumentalist Julius Lutero. $5 entry at The Paddo, Inglewood. The formerly Freo-based blues artist Loren will be returning to his hometown with a SLAM show at Clancy’s Fish Pub, Fremantle, at 8pm. Part of his first solo WA tour since the release of his debut last year, Loren will be sure to captivate the audience alongside rising local folk-rocker

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Jordan McRobbie and the jazzy, chamber-folk sounds of The Lonely Brothers. Starting at 8pm, $15 at the door. The Brow Horn Orchestra will be playing at Murdoch University as a part of orientation day festivities in more SLAM goodness. The high-octane, genre bending WAMi award winners will be taking to the stage in the Murdoch tavern, with support from three-piece Parker Avenue, whose repertoire encompasses everything from Stevie Wonder to Fallout Boy, so there’s bound to be something for everyone – even if you’re not an excitable first year student. To atone for those Stonefield fans devastated by their absence at the Perth Big Day Out, the lovely lasses will make their own way here unassisted by the festival juggernaut, hitting the Rosemount Hotel. After a bunch of high profile shows that included a slot at Glastonbury in the UK, these young ladies have proven undeniably that they’re destined for big things both at home and abroad. They’re support from psychedelic locals Sonpsilo Circus and Sugarpuss, tickets can be sourced through Moshtix, Oztix and Heatseeker for $18.40. For more info, head to slamrally.org. MATT GRESHAM

SUGARPUSS

THE DRUM MEDIA • 29


23 FEBRUARY

2012

FLOORED BALAM ACAB THE BAKERY 17/02/12 Supporting swiftly rising, electronic prodigy Balam Acab, Zowaski enticed with a set of fidgety, left of centre beats that featured imploding kick drums and sounds that collapsed in on themselves. Andrew Sinclair’s as yet unnamed three piece band then enthralled, as a coquettish pixie in a shiny white jacket cooed over genetically mutated R’n’B, layered with broken rhythms and phased keys that passed through the room like street walking ghosts. Discrete yet assured, the trio exhibited a solid understanding of sonic architecture, balance and composition; capping an accomplished bow with an unexpectedly optimistic groove that conjured ripples of bopping amongst the early arrivals. Diger Rokwell’s set was sandwiched with two cameos by Clunk, whose mixing didn’t always employ intricate finesse, but consistently demonstrated a good ear for understated post-dubstep wobble, before the aforementioned beatsman Diger Rokwell then flaunted his versatility; peeling off some Eastern-sounding scales on his electric guitar over material from his righteously funky Sri Diger EP. His enthusiasm certainly affected the crowd, with displays of some extreme head-nodding that bottomed out somewhere near his waistline. As the toast of Perth’s beat-making scene, now is the time for the big push toward national recognition. Fresh-faced with outwardly exploding hair and thick rimmed glasses, Alec “Balam Acab” Koone looked something like the grandson of a mad professor as he took to the stage with vocalist Morgan Elizabeth. Koone’s productions shimmer with a glacial beauty that deserves a showcase of the highest quality. Aside from some awkward singing, Koone’s live input seemed minimal, as tracks from his iPod Touch were routed through a mixing desk, although occasional tweaks and caresses did contribute to the extraordinary atmosphere. Disappointingly the spellbinding vocal processing on tracks such as Oh Why was not replicated onstage, but as a young artist rapidly thrust into prominence, his embryonic live show should be given time to find its full potential. Declan completed the night with some well-chosen futuristic funk; ending an epic feast where the entrees probably edged out the main course. CHRISTOPHER H JAMES

THE ORB & BOMB THE BASS THE TREASURE CHEST, PERTH 17/02/12 This writer must confess to major fanboy excitement for this packed double-bill and one of the brilliant Fringe World Festival’s final shows. Synonymous with smiley badges and the early days of acid-house, Tim Simenon’s Bomb The Bass made their mark with big productions for Neneh Cherry and Depeche Mode. After a lengthy hiatus, Simenon returned in 2008 and has been back to making progressive electronica with new bandmate/vocalist Paul Conboy. The reenergizing has served Simenon well with this Fringe appearance being used to road-test six new songs (from an imminent as yet-untitled new album, mostly armed with Conboy’s growly vocals) and showcase highlights from his post-’08 reinvigoration. Finishing with heavily updated reworkings of Beat Dis, Megablast and Bug 30 • THE DRUM MEDIA

TOP OF THE RAGGA RANKS

PAUL MASTER

Powder Dust that heightened the crowd’s euphoria, this was a triumphant and welcomed return. Anyone with memories of The Orb’s ambient heyday in the early ‘90s must fondly recall much time spent in hazed beanbags, as it was with this writer who wasted many late nights in gouched-out bliss listening to Adventures Beyond The Ultraworld. A 12.30am start seemed just dandy for Dr. Alex Paterson and Tom Fehlmann (looking like Wurzel Gummage’s stoned dad) to ease us into Spanish Castles In Space. One might have expected the next 90 minutes to be loaded with stoned dubbiness but The Orb delivered a friskily-mixed set of electronic sweet treats from all nooks of their vast catalogue. Paterson and Fehlmann’s symbiotic DJing style made for occasional playful tweaks and diversions with a sense that this really was a ‘make it up as we go along’ bit of fun. Be it mixing The Blue Room with audio from 2001: A Space Odyssey to create a sense of paranoia, to accentuating the lunatic gobbledigook in Perpetual Dawn, to projections of sinister ‘50s toy commercials, by 2am there were a lot of us left with a major case of the munchies. More, please! MAC MCNAUGHTON

CUT & PASTE DVD COLLABORATIONS THE BAKERY, NORTHRBRIDGE 18/02/12 As one of the final shows for this year’s killer Fringe World, Cut & Paste collaborations would be the first live installment of a music and visual project, with collaborations between some of WA’s most forward-thinking artists. Those who arrived early were treated to local remixes by King Jon Ill followed by Sibalance with Andrew Weir and Orbonic Plague. Dim colorful lights with the red old-fashioned lampshade hanging directly above the stage set the mood, and the deep sexy bass beats pumping right through your heart were quick to roll in. The Weapon Is Sound featuring Hayley Beth and Brendan Jay followed, introducing to the scene a mix of psychedelic dubstep infused with groove and reggae. The atmosphere presented a smooth change and was jazzed up with sax, funky drumbeats and each member flaunting great amounts of energy for an impressive set. Although Beth’s voice seemed to get lost in the first half, the vocals still complimented each other well. The band ended their set with Isolation Dub, and then a song by Beth that “will make you flip!” The ambiance mellowed out with Felicity Groom & Diger Rokwell bringing to the stage haunting vocals and guitar which seemed to hold the once-dancing crowd into an almost trance-like stand. The second track, only finished that afternoon, was performed for the first time and throughout the remainder of the set shifted the vibe to a funkier style. Rachael Dease & YLEM continued with the mellow feel. Whilst Dease’s voice at times came across as overly orchestrated, there was something quite mesmerising about the Schvendes frontwoman in this form. However, though the talent was still evidently there, the energy seemed to have slowed down a bit too much. NAIK with Pat from Sugar Army gave the evening another boost of liveliness as the four-piece rocked out with a tasteful mix of drums, guitar and tambourine, an impressive debut that’s sure to give Future Music Festival punters a surprise or two. The night finished up with The Empty Cup featuring

a range of local talent including Luke Dux, Timothy Nelson, ASAP and host of the evening Mathas. Improvised hip hop/rap with a variation of instruments, the lyrics were sourced from the crowd - innovative being an understatement, with the flow battle giving an exciting twist of new interpretations. Bringing out music and talent from all genres, this was definitely a mind-blowing night.

GAPPY RANKS

JAYDE FERGUSON

SETS ON THE BEACH VOL. 6 SCARBOROUGH BEACH AMPHITHEATRE 19/02/12 Temperatures soared into the mid-30s with sunstroke a surefire possibility last Sunday. AB+ kicked off the afternoon’s festivities around 1.30pm, but for only 15 minutes, which felt slightly pointless. Punters could have held out until 1.45 for Greg Packer, a vinyl and d’n’b connoisseur who’s produced beats dipping into funk, soul and ragga. Throwing in some of his own tunes dripping with chilled drum‘n’bass and dub electronic made for perfect beachside party chic. Nina Las Vegas busted some more recognisable tunes as she sampled her savvy knowledge of popular indie, hip hop, dance and everything she wanted from Kanye to Cut Copy – basically her triple j House Party in a live context. Electro-funk, disco ‘70s and retro ‘80s DJ Greg Wilson had you thinking about Prince jumping around in barely-there underwear. Disappointment ensued from first listen with the Ting Tings and the over-played Pink Floyd Another Brick In The Wall remix, but the mash-up that evolved was the best heard in a long time. Prince’s I Wanna Be Your Lover, The Clash’s Rock The Casbah and Fleetwood Mac’s Everywhere made star appearances, giving the clientele a more, dare I say, cultured appeal. The sun slowly set as Soul II Soul circa 1989 hit the stage taking everyone back to Club Classics with Get A Life and Keep On Movin’. Jazzie B was legendary on the decks and ended the set in his style mixing James Brown, Public Enemy and David Bowie’s Let’s Dance. This added fresh flavour but you couldn’t help but wonder whether these mixes were played because they had already exhausted the hit list. They were the best thing all day and peaced out with the trademark: “Remember, a happy face, a thumpin’ bass, for a lovin’ race.” Flight Facilities then kicked off after a short interval and played hits Crave You and Foreign Language – the latter of which had vocalist Jess singing live, both making jiggling junk in the trunk mandatory. Their remixes of Holy Ghost! and Cut Copy saw everyone silly, especially those stomping cheek-chewers who tried hard to keep moves ‘groovy’. The Glimmers concluded with their disco-house, club and electro keeping most occupied, although some headed for the gates, thankful that the night sky could hide their inebriated state and manic sunburn. At the end of the day, you’d want to have aloe at home because the heat from Soul II Soul be leavin’ ya’ll blisterin’. KATIE ROLSTON

DANCEHALL SUPERSTAR GAPPY RANKS IS BACK THIS WEEKEND, ROCKING MOJO’S AFTER A KILLER SHOW THERE LAST YEAR. TROY MUTTON GETS SOME BASS-IC RAGGA TRUTHS FROM THE MAN HIMSELF.

What’s been going since we last saw you in Perth in 2011? Since I came to Perth I went to the USA for 18 shows with Collie Buddz and have done a lot of shows in Europe and UK, and I was lucky to perform and spend Christmas in Grenada. Last year was your first trip this way, how’d you find the experience? It was great ‘cause it’s always great to discover new countries, meet new people, sing my songs and put a smile on peoples’ faces. I am looking forward to returning but I have to give the glory to all the people that make it possible for me to tour – the

promoter, the DJ, the sound man, the radio that supports Gappy Ranks music and keeps reggae relevant in their cities for artists like myself to be able to come to perform in those places. Have you been working on any new material since Thanks & Praise? Thanks & Praise is still getting a lot of love and I love to perform those songs on stage. This week I will release my second digital EP called Cookies – six tracks produced by various producers, all songs about the natural herb – we say no to drugs, but yes to plants. Cookies is a grade

THE OLD SCHOOL UK DANCE MUSIC CHAMP LEE BURRIDGE KNOWS A THING ABOUT DJING AFTER TWO DECADES IN THE GAME, AND HE GIVES TROY MUTTON A LESSON OR TWO. You’ve been on the EDM scene for over 20 years now, do you still get as excited about it as you did back then? Of course. I still hear tracks when I’m in the record shop or shopping online that make the hairs on my arm stand up. It’s the same excitement for music that I’ve always felt. I have always said that the day (or should it be night?) that this becomes a job for me, rather than a passion, I’ll stop. I wish some of the other dinosaurs of this scene would abide to this way of thinking too, as there are quite a few that seem to me to have lost their sparkle and the passion. It reflects in how tired, lazy and uninspired their sets are these days. I’ve always tried to constantly evolve with music while still retaining a familiar thread to my sound. You’re renowned for some lengthier sets, what is it about the challenge of controlling a dancefloor for extended periods of time that gets you going? I’ve always thought about my sets as a story or a roller coaster ride. Some sort of tale that can be told with the feeling music creates. I’ve noticed many, many DJs just bang it out these days. The musical experience is no longer about music. It’s just about energy. This bores me senseless. Anyone can

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LEE BURRIDGE

go on Beatport and buy the latest 20 tracks out of the top 100 that are drums and bassline loops. You can neatly join them together using the auto synch on Traktor. Where’s the fun and challenge in that? I guess it’s scary to some people trusting in your own taste. It’s harder to make it and have people understand you but ultimately it’s much more rewarding. I’ve always been somewhat of a black sheep in whatever genre people have placed me in, but that’s okay. Is a lot of it trying to give as much back to dance music as you can with the various nights and projects you help run/organize? Unless you’ve not noticed DJs are constantly dressing up the same whore in different clothes. Ultimately we stand in a room and play records. We all come up with these crazy concepts and names for what we are doing but it’s just touring and re-branding the tour again and again. Organizing events does allow me to support DJs and producers I’m in to, which I like. What started your love of touring, will it ever slow down? You call it touring. I call it being on the run. Too many parking tickets… It seems like EDM is becoming more mainstream than ever, how do you think it reflects on the already established scene? It’s always been this way. It was like it in the late ‘80s and early ‘90s.

The charts were full of dance music. It’s okay though. It allows new people to discover the 4/4 ‘sound’. Hopefully some of them progress after a while, as chart music is very disposable pop. I like to keep an open mind and not fall in to that state of mind where you somehow feel superior as your taste is broader or more developed. I’ve been shouted at online and told I’m boring or shit, and you know what, in that person’s world and with the experience they have had so far, I probably am. You can’t please all of the people all of the time. I’m not sure who was the world’s number one DJ in that laughable chart that DJ Mag put out every year but I’d hazard a guess at David Guetta. To me he’s the epitome of commercialism. A massive PR machine and an industry. It’s not my taste at all. To be honest from my position in the dance music scene he’s the lowest common denominator, but that’s just my taste. I know many people go along to the night and have a great time. And surely that’s all that matters. We all go out to escape and have fun. If you actually like that music then good for you. Just try to keep an open mind as there’s so much amazing music out there. WHEN & WHERE: Friday 24 February, The Likes Of You, Shape, East Perth


popular in San Francisco, it’s two kush mixed together. Any collaborations you’ve got coming up you can tell us about? Yes, I’ve done a track with an African artist from Zimbabwe called Winky D produced by Special Delivery and a few other collaborations coming soon with J Boog. What kind of message are you trying to spread with your music? Reggae is a rebel music and the music of the people. We sing about world issues and try to uplift the people and put a smile on their face. We’re also young and love to party so keep that energy for the clubs too, but anything we do we give Jah the glory. While there’s obviously a strong reggae/dancehall presence around the world, how does it differ from country to country? It don’t differ much, I must have the best fans ‘cause everywhere we go the people are nice to me – there are different vibes and atmosphere in the same city sometimes so it’s hard to compare any countries. In my country, dancehall is more hyped than ever, and I am very happy with what’s going on at home. What’s your view on reggae infiltrating some other genres of dance music? Of course reggae influenced most of the music we are hearing on the urban radio; either hip hop or R’n’B or grime or dubstep… Reggae brings bass to this world – it changed the game. What can we expect from your 2012 shows? How will the Gappy Ranks live experience go down? You know I love to interact with the people, so a lot of interaction, a lot of energy and many new songs ‘cause I’ll be performing songs from my new EP, plus some new singles and tracks from my two albums and first EP. Big up all the massive from Australia, NZ and South Pacific Islands, looking forward to see y’all again! WHEN & WHERE: Saturday 25 February, Mojo’s, North Fremantle

TRASH TALK

SINGLE STORY

WHITNEY HOUSTON

MARISA AVELING TRAWLS THROUGH ALL THE TRASHY MUSIC GOSSIP SO YOU DON’T HAVE TO. The Grammys almost always provide great fodder for before, during and after-the-fact facepalms and semi-related social commentary. The 2012 awards – apparently the most-watched installment since 1984 – were reliably packed with enough moments (The shock! The horror! The hilarity! But mainly the cringe!) to fill this entire column, which is what brought us to the creation of a dedicated Grammy edition of Trash Talk. (Note: all artists mentioned are Grammy-related, but all nuggets of gossip are not.) Since the advent of Twitter has made it easier to gauge the mood/ intelligence of the population at large, we could interpret the reaction of some to Paul McCartney’s performance (our favorite being @thisisrory: “Who is this Paul McCartney guy? Bring out @LilBTheBasedGod”) as the demise of, well, something.

Probably slightly more forgivable is the Tweetosphere’s response to Bon Iver winning Best New Artist, which was, “Who is Bonnie Bear?” (Fun fact: Bonnie Bear is actually the cutesy pinafore-wearing star of a series created by “the first site for little ones”, BabyFirst TV.) While McCartney and “Bonnie” were invariably mystifying the public, Adele was wiping everybody else out with her six-Grammy win. Seeing as though she outsold every other artist by a few million in 2011, one can assume that everybody knows who she is, despite her lack of a last name. People outside of her immediate domain of music have been discussing the merits of the now-23-year-old, including fashion designer Karl Lagerfeld, who recently gave her a backhanded compliment by way of, “The thing at the moment is Adele. She is a little too fat, but she has a beautiful face and a divine voice.” Which is a bit rich, seeing as though Lagerfeld himself was about 30 kilos heavier some ten years ago. She’s said she’ll be giving her pipes a rest for five years now, so plenty of time for revenge… Also forever stirring controversy is Chris Brown, who had three moments of Grammy glory: as the opener to the dance tribute to

COWBOYS AND INDIANS @ AMMPLIFIER

the late Soul Train creator Don Cornelius, winner of the Best R’n’B Album category, and to show everyone he can actually ‘sing’ by way of performing the single off his forthcoming LP. The thing that has had the Internet wringing its hands, though, is that the Grammys actually mark the third-year anniversary of his very-public beating of thengirlfriend Rihanna. Everyone deserves a second chance, that’s true, but was it necessary to give him so much airtime – two thirds of which were actually scheduled by the Grammys themselves? Maybe they intended on reminding us three times that domestic violence should not be trivialized. Or perhaps it was to help prep everyone for his apparent guesting on an upcoming track with, wait for it, Ri Ri [*shakes head*]. Further sad news surrounding this year’s Grammys was the death of remarkable R’n’B presence, Whitney Houston. The 48-year-old was found partially submerged in the bathtub of her room at the Beverly Hills Hilton, where she was scheduled to perform at the pre-Grammy party of the man who discovered her, Clive Davis. (Weird aside: photos released by TMZ show a gravy boat to be at the bottom of the tub.) While cause of death at time of writing is unknown, TMZ also reports that it is looking increasingly likely that Houston may have fallen asleep/unconscious and drowned. The element of heartbreak is only increased with word that Houston’s only child, Bobbi Kristina, has been placed on suicide watch, after being admitted to hospital twice after her mother’s death. Tributes from fans, peers and friends have come rushing through for the singer best known for singles such as I Will Always Love You and The Greatest Love Of All. “Whitney Houston had the greatest voice in the world. We truly lost an angel,” Diddy said. For once, the man is right.

SAM PERRY

SAM PERRY RELEASING HIS LATEST SINGLE THE WORLD WON’T WAIT THIS WEEKEND, SAM PERRY GIVES US THE STORY BEHIND THE TRACK. The World Won’t Wait is the A-side of a three-track single with computer game-based artwork, recorded in my bedroom on faulty

computer software. It consists of two very depressing topics and a remix from my first release. The World Won’t Wait is based on a movement called The Invisible Children, a horrible story where kids are stolen from their families by a rebel army around Africa and trained to fight with their first steps. It’s a movement about creating global awareness on this issue that my brother Wil Perry and I have been involved in from and early age; Wil features on the track. Like all of my music, it’s a complete vocal project. using only an sm58 microphone and a load of finely-tuned effects. I recorded/wrote it last week in two 28-hour sittings. I do this with all my songs. I see it as the best way to capture how I’m feeling at the time, plus you never know what it’s going to sound like. It keeps it interesting. After the launch I’ll be releasing the album Urban Decay within the next two months hopefully, ready for my first national tour in April with UK plans later in the year. WHAT: The World Won’t Wait (Fat Shan Music) WHEN & WHERE: Saturday 25 February, Fat Shan Records, Perth

HOT LOCAL GIG SPOTLIGHT THE FUTURE OF FUTURE Who’s playing your event and who should punters be most excited about seeing? A diverse, handpicked selection of Perth’s up-and-coming DJs. From over 100 entrants we narrowed it down to just eight: Boris, DJ Genga, Lazy Daze, Oliver Fenner, Sam Spencer, The Protagonist, Uncle Chang and Wasteland. What gave you the idea for this show? We wanted to find talent that wasn’t necessarily around the Perth scene at the moment, the concept was born and the reaction has been really amazing! What does your gig offer that

others don’t? New talent, 15-minute mix-for-your-life-offs, a shitload of Future Music 2012 tickets to be given away, free entry into Capitol for the comp and onwards to Death Disco, and one very excited brand new Future Music Festival 2012 artist. What made you pick this venue? Capitol’s sound system and lighting made it a perfect arena for the new kids to really get excited about, plus Death Disco DJs playing straight after we announce the winner! What’s next for your band/promo company? Electonic are hosting Hot Cross Buns at Capitol and Amplifier, Easter Thursday. WHEN & WHERE: Saturday 25 February, Capitol, Perth

WEEKEND @ MINT

B OO MTI C K P R E S E NT S

SAT 25 FEB - THE BAKERY WITH

MARTY MCFLY & JUNIOR 233 JAMES STREET NORTHBRIDGE. DOORS OPEN AT 9PM. $25+BF. AVAILABLE FROM WWW.NOWBAKING.COM.AU | WWW.MOSHTIX.COM.AU

www.thecubanbrothers.com www.facebook.com/thecubanbrothers www.boomtick.com.au www.facebook.com/BoomtickEvents

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THE DRUM MEDIA • 31


23 FEB - 30 FEB

2012

THURSDAY 23/2 CUT CHEMIST @ FESTIVAL GARDENS

DANCEFLOOR OF THE WEEK

Cut Chemist unleashes his envelopepushing cut’n’scratch audio-visual blowout Sound Of The Police – freeflowing with East African, Nigerian Afrobeat, Cuban percussion and Brazilian Tropicália.

BACK TO SCHOOL @ METRO CITY DJs Slick, Ruthless, Makka, Matty S, Soso, Slick and Brett Costello ease the pain of returning to school. Prizes for best school outfits.

CLAREMONT HOTEL DJ DD brings the bangin’ party tunes all night with Matt & Millie.

METRO FREO DJ Wazz, DJ Dtuck and Darren Brais keep the party tunes rolling.

TROPICAL FUNK @ THE DEEN

Jon Ee gets you ready for the weekend.

R’N’R KARAOKE @ DEVILLES A hell of a night for your vocal cords with hosts Magnus Danger Magnus and Queen Feminem.

FRIDAY 24/2

BLOCK NESS MONSTERS FRAT HOUSE @ METRO FREO The Death Disco DJs expand their good times empire. Round one features special guests Bloc Ness Monsters: two dudes from a certain scientific Aussie electro trio. DESIGNER DRUGS

ERYKAH BADU @ BELVOIR AMPHITHEATRE

Force Majeure is back and they’ve invited electro-industrial punks Designer Drugs, with support from D-Funk, Philly Blunt, Jus Haus? and The Tapeheads, $25 plus BF via Moshtix and Boomtick. HEDFLUX

Rimshot: A Celebration Of Neo Soul with DJs Charlie Bucket, Zeus Roc and Dannoyboi, plus a special live performance by Deuces. Free entry for this house party not at a house, with The Move family – Royce, Bilsby and Ben Taaffe from 8pm. Jamie Mac and Shannon Fox spin indie/alt classics from midnight at Amps, while Caps serves up a Retro Mash from 10pm.

TIGER LILS Paul Malone spins electro beats, plus Adam Kelly, with Alex K on the bongos. Free entry.

Special guest Ben Mac blends the best in breaks, house and electro with Punchy & Juicy supporting.

THE AVENUE

BOOMBOX BOAT PARTY @ BARRACK ST

Fiveo will be letting the funk fly with funky jackin’ house and breaks.

Featuring Dair vs. Frantik, Dvise vs. Deflo, Sempy vs. Conxept, Mental vs. NVS and Terrance & Philip, plus MCs Xsessiv, Assassin and Stylee. Tickets via Moshtix, 8 til 11pm.

Funky Bottoms and Jon Ee bring the best in ghetto funk, soul, hip hop and R’n’B.

LEE BURRIDGE, JAMIE STEVENS @ SHAPE Lee Burridge plays for The Likes Of You, joined by Infusion legend Jamie Stevens. Progress Inn and Mono Lisa support, $30 via Moshtix.

WEMBLEY HOTEL

SATURDAY 25/2 JD SAMSON

HIGHER FYAH @ BAR ORIENT Get all ragga with new weekly night Higher Fyah, featuring General Justice, The Empressions, Mumma Trees, Sista Che, DJ Gridlox and DJ Kevzblaq, with special guests and surprises. Free 8pm ‘til 1am.

URBAN DESI @ SHAPE The latest electro desi, funky bollywood and UK Bhangra tracks with DJs Mixtabishi, Denny, Brown Majik, B-Star, Rajit, DJ Nfx and DJ Modi, $20 from 9.30pm.

BOOGIE DOWN UNDER @MANOR The official Erykah Badu Pre-Party,

32 • THE DRUM MEDIA

Perth Festival presents MEN with free pre- and post-show parties featuring a Voix de la Ville performance, plus DJs J’amiez Bruine, Butch Queen, Rex Monsoon and a special DJ set from JD Samson (MEN/Le Tigre/Peaches).

TIGER LILS DJs Bojan and Ben Sebastian drop house, funk, soul, breaks and beyond, with Alex K on the bongos. Free entry.

SATURDAY SOCIAL @ YA YA’S

Kickstart play live cover tunes with DJ Brett Rowe spinning rock, metal and punk between the sets.

THE WEMBLEY

HEAT @ VILLA America’s Dieselboy and NZ’s biggest d’n’b export Concord Dawn, supported by Killswitch, Voltron, Illusiv & Dvise and MCs Xsessiv and Stylee. $30 plus BF via Moshtix, Planet, Mills and The DJ Factory.

Lokie Shaw spins the best of the best right across the board.

THE CLINK Az-T supplies the upfront pressure with R’n’B to electro and everything in between.

THE AVENUE

DANNY DAZE

Jon Ee brings the funk, hip hop, house, breaks and everything in between.

SUNDAY 26/2 DANNY DAZE @ DOUBLE LUCKY

ARAABMUZIK

Danny Daze hits Double Lucky for a night of big-bass ghetto house. Tickets via Moshtix ($25 plus BF, $30 door), support from Aarin Fraser, Cam Duff and Dan McNab.

SINNER’S BALL @ GILKISONS Dress depicting lust, sloth, envy, vanity/pride, greed, gluttony or wrath for a mix of hardstyle tracks of industrial, EBM, aggrotech and more! Tickets via Heatseeker.

CUBAN BROTHERS @ BAKERY Perth’s favourite Central American siblings The Cuban Brothers rock their zany cabaret serving beats, soul and sex – shaken and stirred. DJs Buda, Charlie Bucket and Tee El support. $25 plus BF via Now Baking, Moshtix and Boomtick.

FUTURE OF FUTURE @ CAPITOL Eight contestants battle it out to see who wins a set at Future Music Festival, free from 7pm.

GAPPY RANKS @ MOJO’S

MEN @ FESTIVAL GARDENS

All kinds of party beats to keep you funkin’, with DJ Vicktor, DJ Richie G, DJ Riki and more.

ROCKET ROOM

Party down with DJ Whoa! plus guests from 11pm til 2am after the bands wrap up earlier.

THE CARINE

MKT @ THE LIBRARY

The Kings Of Cheese DJs bring soul, disco and dancing choons, $5 from 11pm, with bands live earlier.

CONCORD DAWN

JUNK @ YA YA’S

A late night punk-rock and metal soiree with Holly Doll and Jessica Kill, midnight to beyond. Hedflux integrates chunky tech-funk with refined psychedelia, producing laser-precision engineering and liquid-tight grooves.

Eddie Electric spins indie/alt classics from midnight in Amps.

RHYTHMATISM @ THE BIRD

SEARCH & DESTROY @ ROCKET ROOM

HEDFLUX @ GEISHA

PURE POP @ AMPLIFIER

Proudly presented by Drum Media, we’re already calling this one of the best gigs ever to be held at Belvoir Amphitheatre. Originally ‘only’ announced as neo-soulstress Erykah Badu and New Zealand party starters Fat Freddy’s Drop, the later addition of soul superstar Mayer Hawthorne turned it into the triple threat of 2012. The ‘Queen Of Neo-Soul’, as Badu has become known over the years, blew us away at Good Vibes a couple of years back, and this is her first ever headline tour around the country. Drum Media in Sydney said of her Opera House show last weekend, “It was a performance to be remembered – the lady is a modern soul genius.” Don’t miss it, tickets through Ticketmaster.

AMPLIFIER/CAPITOL

DESIGNER DRUGS @ AMBAR

Bezwun, Ben Mac, Oli, Micah and Diistortiion bring the tunes, $12 til midnight, $15 after. X-Hate and Mith kicking you in the crotch with all the best in trad, goth, alt-‘80s, and more from 10pm.

It’s a d’n’bbq with DJs iDrop, N1, Sardi, Last Minit, Lost Tempo and Conundrumz, Thursday 23 February.

THE AVENUE

JAPAN 4 @ AMBAR

CLUB UNKNOWN

BASS INVADERS @ NEWPORT

Featuring live reggae band Zarm, DJs D’Coconut Funksta and Flex.

party, with residents spinning all the Future artist’s tracks, all night long.

Uber-reggae/dancehall artist Gappy Ranks returns with support from Earthlink Sound, Sabata Sound, Iron Pal and Kriti-Cal, with MC Benitton on the mic. $30 from 8pm.

SAM PERRY @ FAT SHAN’S Beat box wonder Sam Perry launches new single The World Won’t Wait, with The Empty Cup and Ylem supporting. $15 via tickets@fatshanrecords.com.

FUTURE MUSIC LAUNCH @ CONNECTIONS Connies host a Future Music launch

DJs in the beer garden from 3pm for the Rosie’s Super Summer Sunday Session.

MONDAY 27/2

INDUSTRY MONS @ NEWPORT Weekend working warriors get an extra night to party: Free from 8pm, catch DJ Jewel bringing the tunes, plus ping pong and more every Monday.

WEDNESDAY 29/2 TW!ST @ YA YA’S

Twist to the Beat with tear-jerkers, snowball dances and spin the bottle (to win a free drink), all to the sounds of Agent Double O Soul and Big Ear Chad.

FLUXX @ AMPLIFIER Dubstep, grime, wobble, moombathon, d’n’b, indie remixes and party classics courtesy of Death Disco and friends.

STUDENT NIGHT @ ROSEMOUNT Cowboys & Indie Kids brings you post-punk, indie-pop and rock outside in the beer garden for free.

PARTY @ THE BIRD DJs Sleepyhead and Zeke bring the hot dance floor action. Free from 8pm.

NORTHERN LIGHTS @ BOULEVARD TAVERN Northern suburbs party night with DJs mixing up the best electro, rock, pop, indie and dubstep.

UPCOMINGS

FRESH PRODUCE @ AMBAR Ambar’s Fresh Produce is blooding some female talent Friday 2 March, with Lemon Lime N Love Town, Lizness, Lady L, Carla and Kat Gray taking over for $12 before midnight, $15 after.

OUTLOOK LAUNCH @ SHAPE Loving the look of Croatia’s Outlook Festival but have no means of getting there? Well you can get a taste Friday 2 March with Kryptic Minds, Spectrasoul, Icicle and Ulterior Motive from the UK, plus Zanetic. $35 plus BF via Moshtix, Planet and Mills, 10pm ‘til late.

ODDISEE @ THE MANOR Amir ‘Oddisee’ Mohamed rocks a special MC Set at The Manor Friday 2 March, supported by Kit Pop (live) and Klean Kicks. $15 plus BF.

ARAABMUZIK @ THE BAKERY If you were to Google the name AraabMUZIK (and we suggest you do), you would discover a lot of videos showing this music producer hammering on an MPC with more precision than Travis Barker on the drums. He plays The Bakery for Bassnotion, supported by Kit Pop and Zeke. $20 via Now Baking.

SUNDAY ROAST @ LUXE BAR Luxe Bar opens the bamBOO outdoor amphitheatre for a Sunday roast, with tunes from DJ Paul Raphael and Jus Haus?.

THE LOFT @ GEISHA Calling all indie kids, alternative lovers, Goths and ‘others’, The Loft goes live tonight with new-wave indie-rockers Place Of Indigo. $8 before 9pm, $12 thereafter.

SUNDAY RECORD HOP @ DEFECTORS From 4 til 7.30pm, Razor Jack flicks through his vinyl collection for an eclectic mix of all things old school… you know the score!

THE AVENUE Az-T brings the funk, hip hop, house, breaks and everything in between.

SUNDAY SESSION @ ROSEMOUNT HOTEL

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PACIFIC VIBES @ RED HILL Sunday 4 Red Hill Auditorium hosts Pacific Vibes Festival, from 4pm ‘til midnight and featuring a pure Polynesian line-up of Rebel Souljahz, House Of Shem, 1814, Three Houses Down and Sons Of Zion. Redhillgigs. com.au for tickets.

BONOBO @ CAPITOL It’s been 12 years since Bonobo’s debut Animal Magic pulled heartstrings across the globe, and since then Simon Green has developed his emotive brand of electronica in to one of the world’s most captivating live electronic bands. Now, for the very first time, he’s bringing the whole six-piece experience including vocalist Andreya Triana, celebrating the release of Black Sands Remixed. Friday 9 March at Capitol sees him complete with his live band. Tickets via Moshtix.

JAMES LAVELLE @ AMBAR Described once as the Hunter S. Thompson of DJs, James Lavelle’s career has spanned 18 years, and at 32 he remains as individual a figure in contemporary music as he was as a teenager, when he first gatecrashed his way in with the genre-shattering MoWax records, and now with UNKLE. Friday 9 March, tickets via Moshtix.

UPCOMINGS

CUT CHEMIST: FEB 23 Festival Gardens + BLOCK NESS MONSTERS: FEB 24 Metropolis Fremantle LEE BURRIDGE, JAMIE STEVENS: FEB 24 Shape DESIGNER DRUGS: FEB 24 Ambar HEDFLUX: FEB 24 Geisha DIESELBOY, CONCORD DAWN: FEB 25 Villa GAPPY RANKS: FEB 25 Mojo’s DANNY DAZE: FEB 25 Double Lucky THE CUBAN BROTHERS: FEB 25 The Bakery ERYKAH BADU, MAYER HAWTHORNE, FAT FREDDY’S DROP: FEB 25 Kings Park Botanic Gardens MEN: FEB 25 Festival Gardens ARAABMUZIK: FEB 26 The Bakery NEON INDIAN, SLOW CLUB: FEB 26 Festival Gardens Perth Cultural Centre + J.WASTE: MAR 1 Villa KRYPTIC MINDS, SPECTRASOUL, ICICLE, ULTERIOR MOTIVE, ZANETIC: MAR 2 Shape ODDISEE: MAR 2 The Manor + TIJUANA CARTEL: MAY 2 & 3 Mojo’s; MAY 10 Liddell Reserve, Girrawheen HUDSON MOHAWKE, RUSTIE: MAR 3 The Bakery LADY MISS KIER (DEEE-LITE): MAR 4 Connections PACIFIC VIBES FESTIVAL: REBEL SOULJAHZ, HOUSE OF SHEM, 1814, THREE HOUSES DOWN, SONS OF ZION: MAR 4 Red Hill Auditorium FUTURE MUSIC FESTIVAL: NEW ORDER, SWEDISH HOUSE MAFIA, FATBOY SLIM, PAUL VAN DYK, TINIE TEMPAH, THE WOMBATS, CHASE & STATUS (LIVE), SKRILLEX, JESSIE J, THE RAPTURE, FRIENDLY FIRES, GYM CLASS HEROES, PROFESSOR GREEN, SVEN VATH, DIE ANTWOORD, KNIFE PARTY, ZANE LOWE, JOHN O’CALLAGHAN, ORJAN NILSEN, TYDI, DUBFIRE, OLIVER HUNTEMANN, FLUX PAVILLION, KILL THE NOIZE, PORTER ROBINSON, RUBY ROSE, TIMMY TRUMPET, APHEX TWIN (LIVE), THE NAKED & FAMOUS, GARETH EMERY, JAMIE JONES, JAMES MURPHY & PAT MAHONY (LCD SOUNDSYSTEM), HERCULES & LOVE AFFAIR, AZARI & III, FRANK OCEAN, ALEX METRIC, HOLY GHOST!, THE JUAN MACLEAN, BENOIT & SERGIO, HORSE MEAT DISCO, ANNA LUNOE and locals: MAR 4 Arena Joondalup JESSIE J, PROFESSOR GREEN, RUBY ROSE: MAR 5 Challenge Stadium JAMES LEVELLE (UNKLE): MAR 9 Ambar SEANY B, DJ HELENA: MAR 9 The Deen BONOBO: MAR 9 Capitol KERSER: MAR 9 Civic Hotel ANTHONY PAPPA, ROLLIN CONNECTION: MAR 10 Geisha CHARLES BRADLEY: MAR 14 The Bakery 360, SEVEN, VEGAS ACES: MAR 15 & 16 Rosemount Hotel SEEKAE: MAR 17 The Bakery; MAR 18 Mojo’s AQUA: MAR 18 Metropolis Fremantle APHRODITE: MAR 23 Villa KRS-ONE: MAR 23 Metro City + OPIUO, SUNMONX, RUSS LIQUID, JPS: MAR 24 Capitol


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2012 Saturday 3rd March 6pm till Midnight The Empyrean 12 Lake Street, Northbridge (opposite Hogsbreath Café)

Standard Tickets: $85

VIP Tickets: $120

Includes Open Bar* from 6pm-9pm

Includes Open Bar* from 6pm-12am

All tickets include: Free mask on arrival Canapés all night 2 DJs playing upstairs and downstairs Jugglers and Fire Breather Entertainers all night For further information visit www.kmdj.com.au/mask2012

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THE DRUM MEDIA • 33


THU 23 Bernadine Grigson Belgian Beer Cafe The Crusaders Trio Blvd Tavern, Joondalup Jen de Ness Boat Chris Gibbs Brook Bar & Bistro National SLAM Day: Loren, The Lonely Brothers, Jordan McRobbie Clancys Fremantle The Other Guys Como Htl Music Of Marcus Miller feat. Michael Matamua Ellington Jazz Club Howie Morgan FUSE Bar One Trick Phonies Gate Raw Hyde Open Mic Hyde Park Htl Bex’s Open Mic Night Indi Bar James Wilson Lucky Shag Electrophobia Merriwa Tavern Matt Gresham Mojos Nth Fremantle Custom Royal, The Cabarets, Paperfish Mustang Bar Stonefield, SonPsilo Circus, Sugarpuss Rosemount Htl Van Walker Settlers Tavern Margaret River Caroline J Dale, Young Man Grey, Ben Wilson, Miranda & Gordo Swan Lounge The Chemist, The Sun Orchestra, Runner The Bird Wing It, Amberdown, Juwana The Shed Off The Record Universal Bar Vincent Gallows, Stop Motion, Melma, The Government Yard Ya Ya’s

FRI 24 Arms Like Branches, Foxes Amplifier Bar sleepmakeswaves Bakery Northbridge Jamie Powers Bally’s Bar The Other Guys Balmoral Feisty Burlesque Belgian Beer Cafe Sophie Jane Bentley Hotel Chris Gibbs Duo Brook Bar & Bistro Matt Corby, Hang On St. Christopher Capitol

34 • THE DRUM MEDIA

Bluebottles Captain Stirling James Wilson Chase Bar & Bistro Nails Of Imposition, Khariot, Empires Laid Waste, Reapers Riddle Civic Htl Backroom Joe Black Trio, Ensemble Formidible Clancys Fremantle Aires Linares, Nick Sheppard Claremont Hotel Trevor Jalla East 150 Bar Libby Hammer Quintet, Poise Ellington Jazz Club The Platters, Monroe Powell Fly By Night Fremantle San Cisco, Sugarpuss Fremantle Arts Centre James Wilson (Arvo), Smoking Section Gate In the Groove Greenwood Hotel Qynn Beardsman Hotel Rottnest Nathan Gaunt (Arvo), Ragdoll Hyde Park Htl Dave Mann Indi Bar One Trick Phonies Kalamunda Htl Kathryn Rollins Luna Outdoor Cinema Leederville Kontraband Mighty Quinn Tavern The Floors, Matty Blade, High Horse, The Belle Ends Mojos Nth Fremantle Adam Hall & The Velvet Playboys, Cheeky Monkeys Mustang Bar Party Rockers Newport Htl Jonesez, Wolves At The Door Norfolk Basement Howie Morgan (duo) Osborne Park Htl Stu Harcourt Paddo Bluebottles Paddy Maguires Flyte Paramount Nightclub Minky G, Rosco Dwyer Pickled Fig The Hemingway Collective, Spoonful Of Sugar, Lucy Peach Railway Htl Twisted Affection, The Decline, Kill Teen Angst, Here Come The Cavalry Rocket Room Coerce, Grim Fandango, Drowning Horse, Coveleski Rosemount Htl Howie Morgan Duo Sail & Anchor The Domnicks Settlers Tavern Margaret River

Dirty Scoundrels Springs Tavern Fliptop, Mourning The Collector, The Partisan Approach, Sarah Pelicano Swan Basement The Young Jailbreakers, Lain Alex Adam Swan Lounge Sean Scott (Arvo), Better Days Swinging Pig Switchback The Principle Micro Brewery Tod Woodward The Rose & Crown Kickstart The Shed Jack & Jill The Vic Hotel Nightmoves Universal Bar Benedict Moleta, Andrew Ewing, Davey Craddock, Pex Velvet Lounge Dam Few, Shimmergloom, Broken Royale Ya Ya’s

SAT 25 The Bob Gordons Amplifier Bar Stu Harcourt Bally’s Bar The Recliners Balmoral Mike Nayar Belgian Beer Cafe Erykah Badu Belvoir Amphitheatre Tod Johnston & Peace Love Blvd Tavern, Joondalup Hi NRG Burswood Casino Howie Morgan Duo Captain Stirling Abbe May, 44th Sunset, Blazin’ Entrails, Gombo, Stillwater Giants, Paltiva, Stop Motion, The Take Over Centennial Pioneer Park The Meaning Of, Animal, Sleeping Giant, Brutus, The Loved Dead, Ben Merito, Nevsky Prospekt, We Build Pyramids, Ozmonaut Civic Htl Mister Duo Clancys Canning Bridge Toby Clancys Fremantle The Zydecats, Dan Butler Claremont Hotel Timeout Elephant & Wheelbarrow Marnie Kent Quintet, Deep Blue Soul Band, Howie Morgan Ellington Jazz Club Shannon Noll, Stone Circle Endeavour Tavern Hyte, State Of Order, Queens Blvd Fly By Night Fremantle Dirty Scoundrels Gate Pretty Fly Greenwood Hotel Rooster Police Hyde Park Htl Blue Shaddy Indi Bar Rhythm 22 M On The Point Easy Tigers Metropolis Fremantle Kontraband Mighty Quinn Tavern The Continentals, 10 Cent Billionaire Mustang Bar Kizzy, Gravity Newport Htl Qynn, Vdelli Norfolk Basement Nathan Gaunt Osborne Park Htl Felix Paramount Nightclub Ryan Adams Perth Concert Hall Bernadine Port Kennedy Tavern

sleepmakeswaves Prince of Wales Bunbury Electrophobia Quarie Bar & Bistro FoulPLAY, Copious, Born On The Bayou, Bad Shannon Railway Htl Kickstart Rocket Room Trigger Jackets, The Scotch of Saint James, The Vincent Gallows Rosemount Htl Sophie Jane & The Chilly Bin Boys Sail & Anchor Boom! Bap! Pow! Settlers Tavern Margaret River Jook Joint Band South Beach Hotel David Sofield Steve’s Bar Off the Record Subiaco Htl The Lungs, SSA, Dreg Squad, The Nighthawker, Agitated Swan Basement Luke, Big Dumb Sex, Living & Dying, Needles Douglas Swan Lounge Greg Carter Swinging Pig Pond, Jonesez, SonPsilo Circus The Bird A Nameless Fear, Adverse Reaction, Applebite, The Beggars On Acid, Sleepfreak The Den Huge The Shed Soul Corporation Universal Bar Greg Carter Wanneroo Hoot ‘n Howl, Neutral Native, Violet Scene, Rich Widow, Rachel & Henry Climb A Hill Ya Ya’s

SUN 26 Greg Carter Bally’s Bar Cranky Balmoral Annabelles Acoustic Courtyard, Open Mic Blvd Tavern, Joondalup Nathan Gaunt Broken Hill Greg Carter Brooklands Scott Nelson Captain Stirling Electrophobia Carine Glades Tavern The Shinkickers Carlisle Htl Dilip N The Davs Clancys Dunsborough The Zydecats Clancys Fremantle Sunday Driver Claremont Hotel Adrian Wilson East 150 Bar Paddy Fitzallen, Mal Jennings, The South Perth Lions Band, Pugsley Buzzard Ellington Jazz Club The Red Embers Feral Brewing Van Walker, Liz Stringer Fly By Night Fremantle San Cisco, Sugarpuss Fremantle Arts Centre Chris Gibbs Trio (Arvo), Better Days Gate Chris Gibbs Duo Greenwood Hotel Mike Nayar High Road Htl Riverton Karin Page, Natalie Rae, Lucy Peach Hyde Park Htl The Seals, Jacob Diamond Indi Bar Retriofit (Arvo), Dove Indian Ocean Brewing Company Jamie Powers Lakers Tavern The Bluebottles M On The Point

Dave Graney, Tomas Ford, Odette Mercy, Adam Brown Mojos Nth Fremantle Peter Busher & The Lone Rangers Mustang Bar Tim Nelson, The Autumn Isles, Wes Fuller Newport Htl Bernadine Grigson Quarie Bar & Bistro Grace Barbe & Band Queens Tavern, Highgate World A Fuzzy, Something Humble, Temes, Custom Royal Railway Htl Shawne & Luc Sail & Anchor Threeplay, Mike Nayar Saint Short & Curly Settlers Tavern Margaret River Blackhart Strangelove Southt Ale House Adam James Springs Tavern Gignition feat. Deth Traktor, Snapback, Banana Theory Swan Basement Christian Thompson Swinging Pig The Weapon Is Sound, Hayley Beth The Bird Sophie Jane The Principle Micro Brewery Level XI The Rock Inne The Healys, Blue Hornet The Shed Simon & Garfunkle Tribute Theatre Gardens, Subiaco Retriofit Universal Bar

MON 27 Chamber Jam Ellington Jazz Club Wide Open Mic, Bruno Oliver Booth Mojos Nth Fremantle Marco & The Ally Cats Mustang Bar

TUE 28 Roxette Challenge Stadium Six Appeal Ellington Jazz Club Nathan Gaunt Lucky Shag Sam Buckingham, Insatiables, Merle Fishwyke, Jason Ayers Mojos Nth Fremantle Danza Loca Salsa Night Mustang Bar Stu Harcourt Paddo Barefaced Stories The Bird

WED 29 Nathan Gaunt Balmoral Roxette Challenge Stadium Phil Hatton & &he Madhattons Ellington Jazz Club Dan Mangan Fly By Night Fremantle Bobby Arlou Indi Bar Howie Morgan Lucky Shag Faye Blais, Benny Walker Mojos Nth Fremantle Rabbit Island, Pete Bibby, Naked News Moon Cafe Helen Shanahan, The Stanleys, Elk Bell Paddo Red Sky, Forstora, Nevsky Prospekt Rosemount Htl

themusic.com.au

TOUR GUIDE KAISER CHIEFS

IL DIVO: FEB 23 Kings Park & Botanic Garden STONEFIELD: FEB 23 Rosemount Hotel; FEB 24 Prince Of Wales COERCE: FEB 23 Prince Of Wales; FEB 24 Rosemount Hotel VAN WALKER: FEB 23 Settlers Tavern; FEB 24 Indi Bar; FEB 26 Fly By Night MATT CORBY: FEB 24Capitol OLIVIA NEWTON-JOHN, WASO, JON ENGLISH: FEB 24 & 25 Burswood Theatre SLEEPMAKEWAVES: FEB 24 The Bakery; FEB 25 Prince Of Wales, Bunbury BONNIE PRINCE BILLY: FEB 24 Festival Gardens, FEB 26 Jewel Cave, Margaret River SHANNON NOLL: FEB 24 Charles Hotel; FEB 25 Endeavour Tavern, Lancelin; FEB 26 Ravenswood Hotel JOHN WILLIAMSON: FEB 24 Swan Yacht Club; MAY 16 Albany Ent. Centre; MAY 17 Bunbury Regional Ent. Centre; MAY 18 Mandurah Performing Arts Centre; Saturday 19 Queens Park Theatre, Geraldton GIMME SHELTER: JILL BIRT, ALSY MACDONAL (THE TRIFFIDS) and more: FEB 25 Fremantle Arts Centre ALFREDO MALABELLO: FEB 25 Rigby’s Bar ERYKAH BADU, MAYER HAWTHORNE, FAT FREDDY’S DROP: FEB 25 Kings Park & Botanic Garden RYAN ADAMS, JASON ISBELL: FEB 25 Perth Concert Hall (PIAF) ENNIO MORRICONE: FEB 26 Burswood Theatre SWAY MACHINERY: FEB 27 Festival Gardens ERIC BIBB, STAFFAN ASTNER: FEB 28 Wignall’s Winery RUSSEL WATSON, GRETA BRADMAN: FEB 28 Burswood Theatre ROXETTE, 1927: FEB 28 & 29 Challenge Stadium CHAIN: FEB 28 Charles Hotel; MAR 1 Stirling Club, Albany; MAR 2 Burlington Hotel; MAR 4 St Helena Tavern DAN MANGAN: FEB 29 Fly By Night BOBBY ALU: FEB 29 Indi Bar; MAR 1 Mojo’s; MAR 2 Prince Of Wales; MAR 3 Settlers Tavern; MAR 4 Nannup Festival DUTCH SWING COLLEGE BAND: FEB 29 Mandurah Performing Arts Centre; MAR 2 Bunbury Entertainment Centre; MAR 3 Perth Concert Hall THE MAGNETS: MAR 1 Festival Gardens

WAVVES

TAFELMUSIK: MAR 1 Perth Concert Hall GOSSLING: MAR 1 The Bird; MAR 2 & 3 Nannup Festival STICKY FINGERS: MAR 1 Indi Bar; MAR 2 Settlers Tavern; MAR 3 Ya Ya’s; MAR 4 Norfolk Basement TAYLOR SWIFT, HOT CHELLE RAE: MAR 2 Burswood Dome NANNUP FESTIVAL: LANIE LANE, ADALITA, KAVISHA MAZZELLA, LOU BENNET, NEIL MURRAY, SIETTA, FREYA HANLY, LOREN, THE GYPSIE HOWLS, OKA, SWEET JEAN, MOJO JUJU, TONCHI, TINPAN ORANGE, GOSSLING and more: MAR 2-MAR 5 Nannup BON IVER, SALLY SELTMANN: MAR 3 Red Hill Auditorium PARKWAY DRIVE: MAR 3 Naturaliste Community Centre, Dunsborough; MAR 4 Eaton Recreation Centre, Bunbury UNEARTH, IN THIS MOMENT, KITTIE, HEAVEN SHALL BURN: MAR 4 Amplifier PACIFIC VIBES FESTIVAL: REBEL SOULJAHZ, HOUSE OF SHEM, 1814, THREE HOUSES DOWN, SONS OF ZION: MAR 4 Red Hill Auditorium FUTURE MUSIC FESTIVAL: NEW ORDER, THE WOMBATS, FRIENDLY FIRES, THE RAPTURE, THE NAKED & FAMOUS and more: MAR 4 Arena Joondalup OKA: MAR 4 Nannup Festival; MAR 5 White Star Hotel, Albany; MAR 7 Indi Bar; MAR 8 Mojo’s; MAR 9 Prince Of Wales; MAR 10 Settlers Tavern; MAR 11 Mojo’s SOUNDWAVE: SYSTEM OF A DOWN, SLIPKNOT, LIMP BIZKIT, MARILYN MANSON, HOLE, BUSH, THE BLACK DAHLIA MURDER, HOLY GRAIL, HYRO DA HERO, THESE KIDS WEAR CROWNS, IN THIS MOMENT, BLACK TIDE, KIDS IN GLASS HOUSES, FIREWORKS, CONDITIONS, CHERRI BOMB, A DAY TO REMEMBER, MACHINE HEAD, LAMB OF GOD, TRIVIUM, ALTER BRIDGE, LOSTPROPHETS, ANGELS & AIRWAVES, COBRA STARSHIP, THE USED, YOU ME AT SIX, DEVIN TOWNSEND PROJECT, UNWRITTEN LAW, COAL CHAMBER, DASHBOARD CONFESSIONAL, THURSDAY, FOREVER THE SICKEST KIDS, DILLINGER ESCAPE PLAN and more: MAR 5 Claremont Showgrounds

MARILYN MANSON: MAR 6 Metro City ADAM COHEN, GOSSLING: MAR 6 Fly By Night WILD FLAG: MAR 7 The Bakery TRAPPED UNDER ICE, RELENTLESS: MAR 7 Rosemount Hotel; MAR 8 YMCA HQ DECLAN KELLY: MAR 7 Indi Bar; MAR 8 Mojo’s; MAR 9 Prince Of Wales; MAR 10 Settlers Tavern; MAR 11 Mojo’s JACK CARTY: MAR 8 Ellington Jazz Club ST VINCENT: MAR 8 Rosemount Hotel BLACK LIPS: MAR 8 The Bakery BONOBO: MAR 9 Capitol DIRTY THREE: MAR 9 Astor Theatre THE STILLSONS: MAR 9 Clancy’s Fremantle; MAR 10 Quindanning Hotel; MAR 11 Fremantle Arts Centre THE BEARDS: MAR 9 Settlers Tavern; MAR 10 Fly By Night; MAR 11 Indi Bar JOHN SCOFIELD: MAR 10 John Inverarity Music & Drama Centre +THE SWEET: MAR 10 Regal Theatre CHIC: MAR 10 Fremantle Arts Centre JOHNNY CLEGG, NANO STERN: MAR 13 Burswood Theatre UKELELE ORCHESTRA OF GREAT BRITAIN: MAR 13 Perth Concert Hall CHARLES BRADLEY: MAR 14 The Bakery TIM MCGRAW, FAITH HILL: MAR 14 Burswood Dome THE GO SET: MAR 15 Clancy’s Fremantle; MAR 16 Indi Bar; MAR 17 Nukara Festival, Geraldton TANIA DOKO (BACHELOR GIRL): MAR 16 BamBOO TENORS UNLIMITED: MAR 16 Octagon Theatre DIESEL: MAR 16-18 The Quarry Amphitheatre BELINDA CARLISLE: MAR 16 Mandurah Performing Arts Centre; MAR 17 Astor Theatre MICK THOMAS: MAR 16 Friends Restaurant; MAR 17 Norfolk Basement; MAR 18 Nukara Music Festival, Geraldtonl MAR 19 Oxford Hotel JOHN BUTLER: MAR 17 Fremantle Arts Centre; MAR 29 Astor Theatre NUKURA MUSIC FESTIVAL: THE GO SET, MICK THOMAS, BLIND LEMON, MINNIE MARKS and more: MAR 17 Chapman Valley, Geraldton BOMBAY BICYCLE CLUB: MAR 18 Astor Theatre


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ustralian Musician magazine, Australia’s longest running publication for musicians of all levels goes monthly! The colour quarterly you’ve found in instrument stores since 1994, will still be distributed in March, June, September and December, but under the control of Street Press Australia, will now be available in venues, studios and many other additional outlets, as well as being available for iPad. In the months between the quarterly issues, this supplement will run in Street Press titles nationally, each with a specific theme in mind. This month we bring you LIVE, a look at what’s involved in getting a show on the road. We speak with three of Australia’s busiest sound engineers, road test a PA, chat to Zakk Wylde about playing live and offer you news on the latest sound, lighting and stage gear available. In the following months you’ll find features titled Hardcore, Accessories, Geek, DIY, Fretted, Recording, FX, Listen and Xmas! A recent survey conducted by SPA found that more than 50% of readers of their weekly street mags are musicians. It makes sense then that Australian Musician and Street Press come together to support Australia’s gear industry and our beloved musician community by offering you even more coverage ... and how karmic that we launch the Australian Musician features during SLAM (Save Live Australian Music) week! However, some things don’t change. We’ll still go that extra mile to bring you the exclusive stories, coming from creative angles, and achieving access to the big names at soundcheck, backstage and beyond, We’ll also keep up the tradition of personally involving our rich pool of local musicians by getting likeminded artists together in conversation and offering them guest writing opportunities, The licensing of the AMA’s flagship magazine Australian Musician to SPA benefits everyone in the music industry. We hope you enjoy our introductory feature and embrace this exciting new concept. Plug it in, turn it up and rip into it! GREG PHILLIPS Australian Musician Editor

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ixing a pub gig is one scenario a sound engineer can face, but what about when it comes to a major concert venue? Just how different could it be? “One is like driving a fourcylinder car and the other is like driving a V8,” is how Craig Abbott describes the difference between working the mixing desk for a band in a pub and an international act in an arena. “With a concert, you’re trying to reach a greater number in the audience over a wider area. You still get feedback. You still get issues with lead singers complaining. It’s very similar in how it works.” Abbott is a respected sound engineer who works as a Technical Representative for Jands’ production audio division. For Craig, keeping up with sound technology is vital and continues to be a learning curve for him, but surely your ears are still the most important gauge of a good sound? “I’d like to say your ears are the most important instrument of an engineer but it is not that simple. Trying to time align and phase align everything within the PA... you can’t sit at every probe point around the room at all times... it’s difficult to gauge if everyone in the room is getting hit with the same amount of sound at the same time. Therefore the digital consoles or what they call the DSP (Digital Signal Processing)… all that has taken a lot of the work away from us. There’s also the software packages like Smaart and MAP which monitor the PA at all times to see what it is doing and how the sound is hitting certain microphones that could be situated 36 • THE DRUM MEDIA

MIXING IT BIG TIME CRAIG ABBOTT FROM JANDS HAS MIXED A WIDE RANGE OF LOCAL AND INTERNATIONAL ACTS FROM NOISEWORKS TO GEORGE MICHAEL. AM INVESTIGATES THE WORLD OF MAJOR CONCERT SOUND. around the room. We have schematics of a room before we even get there. We can calculate how many speakers we need to hang per floor and we can get dispersion of pressures and frequencies we can expect to hear within that room, all stuff you can’t get from your ears. So a lot of it is done on a computer prior to even getting to the venue.” With more at stake, you’d expect a concert engineer to be on their toes, but what are they looking out for? “Feedback is an obvious one,” says Craig. “Also, watching for the limitations of the system and monitoring your outputs at all times. With the digital consoles these days, if they go into distortion … digital distortion is horrible to your ears compared to analogue distortion. It can be like a crossed line on a mobile phone or very high rate fax machine in your ear. The number one thing you have to do is to make sure that the act people have come to hear … they can hear! If you’re at a concert where the drummer has got a bit excited and knocked the tom mic off the drum with a stick, it’s not as diabolical as losing the vocals. You can hide a lost tom a lot easier than a vocal.”

I’D LIKE TO SAY YOUR EARS ARE THE MOST IMPORTANT INSTRUMENT OF AN ENGINEER BUT IT IS NOT THAT SIMPLE.”

Like any musical instrument, a PA system needs to be tuned, but how exactly do you tune a PA? Abbott explains. “I’ll give you an example of tuning a PA at a really basic level. If you set up a really simple system where you have two speakers on either side of the stage on stands, and If you had a comedian on for instance... you’d turn the microphone on. Then, without anyone talking into it and being as quiet as you possibly can, you get on stage. Turn the microphone up as loud as possible before it starts feeding back. When it does start feeding back, it’s up to the sound guy to find those frequencies within that EQ. That’s where you start with your EQ... at absolute unity, so it’s dead flat. Then basically you find the offending frequency and slowly pull it down until it dissipates. By the time you’ve done that, you have EQ’d the room so your speakers will suit the room’s natural ambience. A lot of people think you have to tune your PA to get the best out of your speakers. No, you have to tune your speakers to suit the room you are working in. These days a lot of it is done by computers with feedback eliminators, notch filters and they will monitor the system at all times. In regard to achieving a great instrument sound, Abbot views the gain structure set up as vital. To explain, gain is the amplification of the signal. When you extend the voltage level of the signal, that’s what is called gain. The structure refers to the voltage levels in your PA and the gain it takes to get them to the required levels.”It’s the same as spray painting a car,” is Abbott’s analogy. “If you don’t prepare the body underneath, you’re not going to get the nice look on top! Then it comes down to the microphone you choose, making

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sure it has the correct pattern... whether you’re using cardioid or super cardioid. Microphone positioning is important, making sure your guitar mic is not too close to the speaker if you are not di-ing it and that it’s a little bit off, so it enables the sound to develop from the cone so that you’re not pulling it straight off the centre of the driver of the amp. Let it develop a little bit first so you are getting the full frequencies coming out of the driver. You can check out the Shure website on microphone positioning and choosing the correct mic for your situation.” Of course any young band with three chords, the truth and an inordinate amount of attitude is going to want to play loud! However, it’s not simply a matter of just turning the volume up. “You’ve got to understand the limitations of the amps that you have as well as the venue you’re in and the PA system you are running into,” says Craig. “There’s no point having a 200 watt guitar amp going flat out on stage when you’ve only got 100 watts front of house because you are outside the limitations of your PA. Also do you want loud on stage or loud front of house? If you want it to be loud out front, then let the person who is the engineer get the loudness. They should have the control. You don’t want a war between yourselves on stage with one turning up, then the other turning up and the lead singer can’t hear him or herself through the monitors. You have to work within the limitations of what you’re using. If you want to go louder, then you’ve got to get a bigger PA.” At some point a developing act may consider purchasing their own PA. There is merit in having a consistent sound each time you play a gig and it also takes away the surprise factor when you arrive at a venue without prior knowledge of the system you’ll be playing through. How the hell do you know what to buy though? Abbott suggests that the sound quality is only one of the considerations when buying a PA. “What do you feel comfortable with using and have best knowledge of,” is another, says Craig. “One of the best ways of getting the best sound out of your gear is being familiar with how it works. Worth saving a little extra to buy better quality gear because you will appreciate it in the long run. Even a good quality cable can effect your sound big time! Depending on how long you have to run your cable… each cable has a certain resistive value over a certain length. The more you increase resistance, the more output from the amp you’re using.” For the record, Craig’s mixer of choice is the Soundcraft Vi6 digital desk.


T AUSTRALIAN PRESONUS ROADSHOW NAS, has recently taken on the Australian distribution of the PreSonus brand and is taking their gear to the street. To promote PreSonus’ product updates, new pricing and progressive software, they’ll be touring around the country showing what the PreSonus range can do. Shows will feature demonstrations of the StudioLive console range, StudioOne 2 recording software and the amazing new QMix Control Software for iphone and iPad. Home studio enthusiasts will love that one. Attendees will also have the opportunity of picking up some gear but you’ve got to be there to have a chance. It’s recommended that you register a spot however, walk up regos are fine too. Melbourne and Sydney have already had a taste of the show. Remaining dates include: Brisbane on Wednesday 22 February and Perth on Thursday 23. Register via email at presonus@nationalaudio.com.au

CX ROADSHOW Too much stage gear is never enough! CX magazine is also hitting the road the same week as the Presonus guys in conjunction with a whole bunch of gear distributors including Jands, Amber Technology, CMI, Bosch, ULA, LSC, PRG, Show Technology, Syntec, TAG, and Production Audio Technology. The CX show will feature demos and seminars with key addresses by John Maizels and Thomas Lund. Register at cx-tv.com or you can register at the door. Dates remaining include: Sydney on Wednesday 22 February, Melbourne on Monday 27, Adelaide on Wednesday 29 and Perth on Tuesday 6 March.

o those who are unfamiliar with Germany’s HK Audio, they are a company dedicated to providing superb sound re-enforcement solutions to their customers, whilst constantly challenging industry standards with their radical design and creative approach. This has never been more apparent with the arrival of the new HK Elements PA systems. Essentially the “Elements” are a series of portable line arrays that couple active and passive components to achieve stunning results. The 10” sub enclosures (active or passive) are combined with a wide-range, passive 4 x 3.5” mid/high box (E345), which is powered by an active sub or additional E600 amp. Different parts of the PA are linked together with HK’s amazing E-connect technology, which does away with any need for physical cables, and adding specific HK stands and bases also changes how each PA throws its sound, adding further flexibility for users. I road tested a basic set up comprised of one E110A active sub powering two E435’s, with a speakon cable split off to power the passive version of the same rig on the other side. All up there were two subs and four E435’s running at 600 watts in mono, which was practical enough to get an idea of how this system sounds. I tested the pint-sized rig using my Line 6 Variax instead of bringing along a stock acoustic due to the vast array of tones it conjures up and also opted not to bring a vocal mic, as my voice is only reserved strictly for backing vocals (due to its crappy nature). The first thing that was immediately apparent was how sweet the top end was across a wide variety of different guitar sounds, from jazz to acoustic and beyond, all the harmonic content was very present and notably sweet, without the piercing tone that cheap horns give you in most active PA boxes. A nifty XLR/ ¼” input on the back of the active sub meant I could plug directly into the PA,

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If there’s a pattern which emerges in Clint and Lloyd’s advice, it’s preparation. The more the performer is organised, the more time the sound guy can spend on tweaking sound. In fact, both are continually surprised at how unprepared bands can be. Lloyd has lost count of the amount of times musicians show up to a gig without the basic needs such as leads. “They bring all their pedals and not have them plugged together, so it takes longer to set up. No leads, powerboards, batteries. It happens more with bands starting out, they expect the sound guy to have everything. Music stands are another one, they’ll say ‘we had one supplied last year when we were here’.

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switch down to -10dBu to boost my signal and play to my heart’s content. The subs provided heaps of low-end rumble, whilst still staying solid and tight and actually seemed roll off quite high in comparison with other subs I’ve tried out. This translated to a smoother crossover between the 435’s and the sub and a smaller frequency gap between the two than what you’d imagine. It’s obvious that the HK Elements have set a new standard in portable PA technology, and the “mix and match” concept they’ve brought forth, makes it so clever and flexible that it’s finally possible to provide people with between 600 and 3600 watts of crystal clear, high definition portable audio.

have a big effect on how the room sounds. One of my favourite venues to mix in Melbourne is the Northcote Social Club. It is a medium sized room that has perforated acoustic roof panels, a stage that is surrounded by heavy curtains and the entire room has carpet over wooden floorboards (something not many venues like the idea of because of not being able to mop up spilt drinks or sweep up broken glass easily).”

loyd Barrett mixed sound for Australian singer, songwriter Mia Dyson for a decade. It’s a job which took him to many places, working in a variety of rooms and outdoor venues. After his stint with Mia finished, he took up residency at Melbourne’s soon to be deceased East Brunswick Club. His sound gig now is even more eclectic, moving faders for a blend of comedians, burlesque acts and rock bands at Red Bennies. Barrett believes that a major factor in achieving a great sound out front of stage, is to firstly get the sound right on stage. It may seem obvious, however Lloyd is not necessarily talking about performance levels but the balance of volume between band members. “If a guitarist is louder than the other or the band is louder than the singer, it’s a problem,” says Lloyd. “If a guitarist wants to be loud, angle the guitar amps across stage or to back of stage or even off stage.” Clint Sigmund agrees. “Get your stage volume right. If the sound engineer asks you to turn down your amp, don’t take offence. I promise, we are trying to make your band sound better, not worse!” Clint should know, his long list of mixing credits includes Alpine, Amanda Palmer, Ennis Tola, Kimbra, Rat Vs Possum, The Galvatrons, Gunn St Girls, and 67 Special to name a handful. “With pedals, try and get the volume difference between different effects sorted before the show,” he added. “Boosts should be minimal. I regularly have to inform guitarists that their clean sound is way louder than their dirty sound.” It’s not just guitarists that need to get their house in order early in the night either, Clint recommends that keyboard players ensure that the different patches don’t have massive volume jumps. For instance, fizzy synth sounds will be more efficient than a smooth sounding soft pad.

REVIEW

THE PUB MIX SPARE A THOUGHT FOR THE SOUND CREW NEXT TIME YOU HEAD OUT TO A PUB GIG. THEY’VE BEEN THERE WELL BEFORE YOU, SETTING UP AND TUNING THE PA SYSTEM SO THAT THE ACT YOU’VE COME TO SEE SOUNDS AS GOOD AS THEY SHOULD. THEY’LL BE THERE WELL AFTER YOU’VE GONE TOO. AUSTRALIAN MUSICIAN SOUGHT ADVICE ON HOW TO ACHIEVE A GREAT GIG SOUND BY CHATTING TO TWO SOUND ENGINEERS WHO HAVE MIXED THEIR FAIR SHARE OF PUBS AND CLUBS. Beyond what the band does on stage, the size and a shape of a room are major considerations for the sound engineer, particularly when the venue hasn’t done their homework or consulted a credible audio professional. “Unfortunately this is one of the most expensive things to address from the venue’s point of view and is often overlooked when planning a band room,” says Clint. “I know of a few band rooms around Melbourne that have what should be a fantastic sounding PA system, only to be let down by poor room acoustics. On the other end of the spectrum, there are some band rooms that have good room acoustics and cheaper PA systems, that probably shouldn’t sound as good as they do. The materials that the room is made out of also

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Think back to any gig which has remained in your mind as a one of the best you’ve experienced. Performance values obviously come into play (as well as the company you kept that night) but chances are the quality of sound had a lot to do with your enjoyment. Lloyd Barrett recalls a recent Joe Cocker gig at A Day On The Green as the best sounding he has heard for a long time. For Clint, it was a St.Kilda Festival Kimbra gig. “Johnston Audio had the PA sounding great,” said Clint. “The band performed really well and I somehow fluked what I thought was a great sounding mix with a 20 minute line check and a band I had only mixed once before.” Unfortunately, things don’t always go right for the sound guy and Sigmund still has nightmares about the bad ones. “I won’t name the venue, but I’d never mixed there before this gig and probably won’t take another booking there. I did the usual setup of mics, stands and leads then went to tune front of house. The entire left side of the PA wasn’t working. After telling the bar staff of the problem, I was soon on the phone to a sound guy that regularly worked at the venue. He seemed to be aware of the problem, hadn’t bothered to attend to it and it wasn’t able to be fixed before the show. I ended up using one of the fold-back monitors as the left side of the PA. It worked out alright and got the show on the road, but it just wasn’t quite right.” In the course of research for this story, another sound engineer told Australian Musician that his crew had once spent a whole day setting up a 1,000 seater room for a corporate gig, only to discover 10 minutes before show time that it was the room next door which was the actual venue. As for Lloyd’s tools of trade, he prefers the Midas Heritage desk. Clint is a Midas man too. “I feel most at home on Midas consoles, haven’t tried their digital consoles yet, but have heard good things.” THE DRUM MEDIA • 37


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ll the great bands have fans, but there are a rare few whose fanbase take their worship to another level. Take Zakk Wylde’s Black Label Society for example. Wylde possesses a worldwide family of no bullshit, hard rockin’ metal devotees. It’s easy to see why. Wylde is the quintessential heavy rock guitar hero. As guitarist for Ozzy Osbourne for around two decades, he wasn’t afraid to step into the revered shoes of Randy Rhoads and make them his own. The guys worship his killer guitar riffs, blokey persona and take no prisoners attitude, and the bad-guy-lovin’ girls are attracted to Wylde like moths to a light globe. Image however can be a deceptive thing. Despite the imposing facade, Wylde is also one of the nicest guys in rock’n’roll. He’s also one of the busiest. It wasn’t long after the release of his current rock album Order Of The Black, that he presented us with an acoustic version of some of those same songs under the moniker The Song Remains Not The Same. Yet another acoustic-based project, an Unblackened DVD, featuring a bunch of guest artists is to be tackled as soon as he wraps up his Australian tour as part of Soundwave. Wylde is quick to deny he’s going soft, rather he’s just satisfying the requests of his followers. “Well we did do The Song Remains Not The Same but we have also been out on the road doing the heavy stuff for almost 15 months now,” he says. “We’re talkin’ about doing another live DVD and we’ve already done two with the heavy stuff.” Zakk Wylde gear nerds will be thrilled to know that Gibson has released yet another signature model Zakk guitar. This one is an all-maple Les Paul Vertigo design. Wylde had been been using a prototype on his recent tour supporting Guns N’ Roses and broke it out at the Winter NAMM show in Anaheim in midJanuary. Also at this year’s Winter NAMM, the big man was bestowed with the honour of being the inaugural ‘roastee’ at Guitar World’s first ever Rock’n’Roll Roast with Ozzy Osbourne’s wife Sharon playing Roastmaster and fellow hard rockers Anthrax’s Scott Ian, Slipknot/ Stone Sour vocalist Corey Taylor, and Fozzy frontman Chris Jericho among others, firing barbs at Wylde. But back to the axe chat, the folks at Gibson have gone to great lengths to create guitars for Wylde that he is comfortable putting his name to. Of all the factors going into the guitar build, I ask Wylde if there was

stand that. I like Zakk Wylde but I don’t like him that much! That’s the running joke on stage. It’s like Zakk Wylde, I dig him, he’s cool and everything but I don’t like him THAT much!”

BLEEDING BLACK FEW CAN INSTILL SUCH ALLEGIANCE IN THEIR FANS AS HARD ROCKIN’ GUITAR HERO ZAKK WYLDE. WHEN HE HITS THE STAGE, HIS FANS COME ALIVE IMMEDIATELY. WYLDE IS A HELL OF A GENEROUS GUY WITH HIS TIME, LOVES A CHAT, AND HE’S ALSO SAVVY ENOUGH TO KNOW THAT THE MORE THE ZAKK WYLDE NAME GETS OUT THERE, THE MORE HIS BRAND IS ENHANCED. A GLANCE AT WYLDE’S RELENTLESS AUSTRALIAN PHONE INTERVIEW SCHEDULE PROVES JUST THAT. GREG PHILLIPS SPEAKS TO THE MEGA GUITAR GOD PRIOR TO HIS ZAKK WYLDE’S BLACK LABEL SOCIETY SHOWS AT THIS YEAR’S SOUNDWAVE. one particular quality they just had to get right? “Put it this way,” he says. “Every guitar I use… with my signature guitars… I could pick one of these off the wall of a store and take it on stage and play that thing. Gibson have done an amazing job with them and all of the Epiphones that they’ve made for me as well – the Flying Vs’ the LPs, SGs – but usually it’s the shaved back and neck, the higher fret wire, the EMG pickups… but they’re all amazing guitars.” Obviously playing the style of rock Wylde does so well, to feed the need of his disciples, it’s gotta be loud, but I wondered what Wylde has learned about volume over the years… ‘Usually with me and even playing with Ozzy, I’ve always gone to the bottom cabs. There’s a difference between painful loud and loud where it’s not piercing your ears like an ice pick. There’s good loud and there’s… well, it’s like putting hot sauce on food. You know, the difference between being overpowering or adding to the overall meal of what you’re eating. It adds another colour. I don’t play to the point where I want to kill myself. I can’t

That Wylde can emit the most wicked of guitar licks is undeniable, but what’s often overlooked is his incredible set of rock’n’roll tonsils. His coarse-grade sandpaper voice complemented with a generous serve of bottom end creates the perfect rock vocal and in the studio he puts as much time and effort into capturing it as he does his guitar takes. “Whether we double the vocal or just do it single or line by line, we just make sure everything is slammin’,” says Wylde. “It’s pretty much like the guitar stuff, I double the guitars and all of that. That’s the beautiful thing about the studio, it’s a controlled environment and you’re painting a picture. So you can step back from it and say, well maybe we can make the sky a little darker or a little more blue or whatever. Live, it’s just a free for all… one shot and that’s it.” Wylde has recently been having a ball supporting Gun N’ Roses on their US tour and there’s a great YouTube clip of him jamming with Axl Rose on the AC/DC classic Whole Lotta Rosie. It’s a band he’s had a long association with. “Highway To Hell was one of the first songs I ever learned on electric guitar,” claimed Wylde. “I remember when Back In Black came out ‘cause everybody and their mother had that album. You’d go to parties and Back In Black would be cranking all the time. AC/ DC is amazing… and they’re still killin’ it!” I left Wylde to prepare for his Soundwave Zakk Wylde’s Black Label Society “blitzkrieg” and he asked to me to pass on a message to his Zakk Wylde’s Black Label Society Australian family… “Stay strong and bleed black.” WHO: Zakk Wylde’s Black Label Society WHEN & WHERE: Saturday 25 February, Soundwave Festival, RNA Showgrounds, Fortitude Valley; Sunday 26 February, Soundwave Festival, Sydney Showground; Tuesday 28 February, Forum Theatre, Melbourne; Thursday 1 March, Metro Theatre, Sydney; Friday 2 March, Soundwave Festival, Showgrounds, Flemington; Monday 5 March, Soundwave Festival, Showgrounds, Claremont

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hile most Australians ducked and heard the global financial crisis whizz by our ears, our American friends copped it square in the face… and are still suffering the effects of it. Local music retailers and wholesalers will tell you that the crisis has finally caught up with us, but if Winter NAMM (the annual American music trade fair held in Anaheim, California) is anything to go by, then things are looking up. The 110th NAMM show hosted a record 95,709 attendees, a six percent increase on last year and an all-time show record. What this indicates is that the music gear industry is defiantly going about its business with confidence. The manufacturers and distributers are making a lot of new gear available and the retailers are keen to check it out… as we are! Australian Musician investigates some of the gear released at this year’s NAMM show. Gibson guitars released the Signature Series Ace Frehley ‘Budokan’ Les Paul, a recreation of the famous guitar which first appeared on stage with Kiss in 1977. Another signature model unveiled at NAMM by Gibson was the Joe Bonamassa Aged Les Paul Goldtop. Bonamassa stopped by the Gibson booth along with Brian Wilson, Dave Navarro, ‘60s icon Donovan and many others. Meanwhile, the folks over at the Fender booth were excited about the signature model guitar for British guitar legend Johnny Marr. The 50th Anniversary Fender Jaguar also debuted, as well as the Kurt Cobain Fender Mustang. In yet another collaborative effort, Fender and Roland were thrilled to release their new hi-tech G-5 VG Stratocaster and GK Ready Strat. Celebrating their 25th anniversary year, Ibanez offered the RG1XXV FYE and RG1XXV FPK, flouro-coloured metal monsters as well as a couple of striking new S Series shred machines. Ibanez also celebrated a 25 year association with Steve Vai with the release of the JEM-EVO. Speaking of metal guitars, not to be outdone, ESP showed off their new Kirk Hammett KH-DC, LTD KH-DC and LTD KH-25 signature models. PRS added to their signature range with three new models including one for Neal Schon, Dave Navarro, and Australia’s Orianthi. Canadian-based company Godin premiered two new additions to their Godin Series as well as three new left-handed guitars, the Multiac SA Nylon, Multiac Encore Nylon and the Session from their Performance range. Peavey introduced the AT-200, a guitar that features Antares AutoTune technology which means it never goes out of tune. ESP made a bold showing this year with 21 new instruments including the HRF series, new Eclipses & Horizons plus Slayer, Metallica, Anthrax, Suicide Silence signatures and more. On the acoustic side, Takamine celebrated their 50th anniversary by presenting seven new models in their G Series; the EG340DLX, EG536SHB, EG430SC-WR, EG755S, EG455SC, EG355SCTB and G406S-VS. It was also with some pride that Takamine released the T50th, a beautifully crafted guitar of which they have only produced 50 units in total. Martin guitars, who have a new distributor in Australia

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(ELFA) displayed the 00-45SC John Mayer signature model, limited to only 25 pieces. One of the most intriguing releases this year was Washburn’s Paul Stanley model acoustic, the PSAV, which takes the shape of an electric Flying V. From the amp world, Fender gave us two curios including the Greta and Excelsior, which are extensions of their esoteric Pawn Shop range. Orange joined the small amp trend offering the Micro Terror, and UK heavyweight Marshall gave us the 50th anniversary range of one watt amps. Celebrating each decade of popular Marshall models, at NAMM they gave us head and combo versions of the JTM1, JMP1, JCM1, DSL1 and JVM1, all in mini mode. Jet City unveiled the Earhart 50, a hand-wired two-channel 50-Watt

THE NAMM SHOW 2012 IT AIN’T GONNA HAPPEN FOR YOU LIVE ON STAGE IF YOU DON’T HAVE THE GEAR TO CUT IT. AUSTRALIAN MUSICIAN TAKES A LOOK AT THIS YEAR’S NAMM SHOW RELEASES TO SEE WHAT INSTRUMENTS COULD SOON BE PUMPIN’ THROUGH YOUR PA. head. Also of note was the Ampeg Micro-CL Stack, delivering 100 Watts of blissful Ampeg tone. The Vox Limited-Edition Blue-Covered AC Series was quite tasty, and creating a lot of talk down at the Ashdown booth was the Classic Tube Magnifier 300. Italian-based company DV Mark offered six new pedals including DV7 Booster, DV7 Distorsore, DV Fuzzer, DV Mini Boost, DV Mini Dist, and DV Mini Drive. For the metal guys, Blackstar released their awesome HT-Metal all-valve pedal. Vox gave us the Delay Lab pedal, offering 30 presets and a 28-second looper. Keeping with NAMM 2012’s fascination with all things mini, TC Electronic displayed the PolyTune Mini. The always-innovative folk at Digitech trumpeted their iStomp, a pedal which connects to your iPhone, iPad, or iPod touch, allowing you to browse a selection of 24 stompboxes. Korg chipped in with their PitchBlack Poly, their new guitar and bass pedal tuner featuring ‘String Seeker’. Source Audio debuted their new Soundblox 2 range of pedals which include

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the Multiwave Bass Distortion and Dimension Reverb. The Gretsch people knew how to attract a crowd with their amazing massive all-chrome custom drum kit. Also impressing many was their Brooklyn USA series, Energy series and entry-level Renegade series drum sets. Yamaha’s successful Stage Custom Birch kit was seen in two new colour finishes, Matte Black and Honey Amber. Roland brought their SuperNATURAL® technology to the V-Drums, V-Pro TD-30KV and TD-30K kits, and released the HD-3 V-Drums Lite, as well as DT-1 V-Drums Tutor software for PC and Mac. As usual, Roland provided some great new keyboard releases with their BK-5 backing keyboard and AT-900 Atelier organ. Casio put in a strong showing with their slick looking XW-P1 and XW-G1 synths. Korg championed their new SV1-73 and SV1-88 in a sleek black finish and also offered a limited edition release of the SV173 and SV1-88 with reversed keys. The list of brilliant new gear on show at NAMM this year is endless. Here are few more isolated finds we couldn’t fail to mention. The world’s first powered pedalboard from SKB took our notice. SKB have been designing innovative pedalboards for guitar enthusiasts for more than 15 years and have developed the world’s first AC/DC pedalboard with a built-in combo amp featuring a 6” Eminence speaker. The 1SKB-FN-8 FootNote®Amplified Pedalboard is a fully powered pedalboard that will accommodate up to eight 9-Volt DC pedals and can be taken anywhere. Shure revealed their new ULX-D digital wireless microphone system. Zoom presented the G5 guitar effects and amp simulator, offering 120 effects including 20 amp models. Another neat little release this year came from Hohner, the John Lennon Sig. Series harmonica. Hohner has had a long relationship with John Lennon and The Beatles, dating right back to the early days of Beatlemania. Now, by special arrangement with the John Lennon estate, Hohner presents a limited edition John Lennon Signature Series harmonica. The instrument features reproductions of John’s signature and five-colour selfportrait on a specially engraved white cover plate. It also features a transparent acrylic comb, screwed construction throughout and MS-style reed-plates. Available in the key of C only. We were also pleased to see Audio Technica’s ATM510 and ATM610a dynamic handheld microphones and ATH-M50WH pro studio monitor headphones… reliable, quality gear. Most, if not all of the above products will find their way into Australian music stores over ensuing months. Go and check it all out!


BEHIND THE LINES WITH MICHAEL SMITH

SONG SUMMIT 2012 Early bird registrations are now open for Song Summit 2012, a premier music event dedicated to supporting composers, songwriters and the wider music industry with conferences, workshops, performances and networking running Saturday 26 through Monday 28 May at the Sydney Convention & Exhibition Centre, Darling Harbour, presented by APRA/AMCOS and the NSW Government through Destination Australia. Among the speakers, both local and international, confirmed to attend are Grammy Award winning singer/songwriter Imogen Heap, legendary fellow American, guitarist Steve Cropper, our own Paul Kelly and too many more to mention here, so check into the Song Summit website for full details and to register. Early bird registration offers the first 200 registrants up to $60 off the three-day pass, with discounts also available for single-day passes.

THE STEVE LUKATHER MUSIC MAN Ernie Ball has just announced the latest innovation in the signature Steve Lukather Music Man guitar series. The new Luke III model features a larger alder wood body, 22-fret full rosewood neck and new passive DiMarzio pickups with a custom Music Man active preamp, while on the electronics side of things, the III includes a dual humbucking or H-S-S pickup configuration, volume control and a passive tone control with a new push/pull switch for an adjustable 12dB volume boost. We should see the Luke III hit Australian retailers in June.

SOUND BYTES Cancer Bats once again utilised Vespa Studios in Toronto and producers Eric Ratz and Kenny Luong for the recording of their fourth album, Dead Set On Living, due in April and of which the band’s singer Liam Cormier has said, “We really strived for that raw, off-the-floor vibe this time around.” Perth five-piece Rainy Day Women recorded all but one track of their debut EP, Sleigh Bed, at Debaser Studios with producer Andy Lawson (Eskimo Joe, End Of Fashion), who also mixed it before sending it to Studios 301 in Sydney for Steve Smart to master. Last year’s Judges Award winners in the National Youth Week Songwriting Competition, Brisbane four-piece electro-rockers Fushia, worked with fellow Brisbanite, engineer Jeff Lovejoy on their new EP, Open Invite, at Studios 301 in Sydney. BTL@STREETPRESS.COM.AU

SKB ROAD CASES

PHONIC’S NEW SAFARI 3000 MOBILE PA Released at Winter NAMM 2012 was the impressive Phonic Safari 3000, a 320 Watt Mobile PA System with 3-Channel Mixer. It’s a fully self-contained all-in-one portable audio system with slick moulded speaker cabinet with handle and wheels for easy mobility. The system packs 320 Watts (peak) of power through high performance class D amplification. It features 2-way output through 10” long-throw woofer matched with a pure-titanium compression driver, Two mono 1/4” & XLR combo inputs, plus a stereo input with 1/8” and RCA connectors, and 2-track RCA outputs for connecting to external devices. You can also connect additional passive speakers via Speakon speaker output with 80W output. There’s an onboard tone control for enhancing high and low frequency audio and provides 12V phantom power available on combo inputs. The Safari 3000 includes built-in battery with 4-stage status monitoring and switching power supply reduces weight and enables multi-national operation. Two storage slots are available for handheld microphones and there’s an optional anti-shock CD player with MP3 playback and USB port. www.cmi.com.au

POSSE PERSONAL MONITOR MIX SYSTEM

LINE 6 LAUNCHES XD-V SERIES DIGITAL WIRELESS MICROPHONE

Your gear is your lifeline to your music. Why wouldn’t you want to protect it? SKB provide an amazing range of cases for all your stage needs. For example, the SKB keyboard hard cases on wheels offer snuggly-fitting keyboard space with polyester foam supporting the bottom and six layers of slab and convoluted foam adjusts for board thickness. All models are available with built-in wheels and the exterior bumpers protect valance and hardware from impact damage. SKB also offer some brand-specific cases such as the Roland AX synth case. Other brand-specific cases include the SKB Flying V & Explorer / Firebird Cases and Bose PA cases among others. Plus there’s your general guitar protection in soft and hard case, SKB Studio Flyer Laptop Type Cases, SKB Amplifier Utility Cases SKB U.S Roto Rack Cases, SKB Drum Hardware & Cymbal Cases and more.

Released at Winter NAMM this year, Line 6, Inc. introduced the XD-V75, XD-V55, and XD-V35 series digital wireless microphones. Featuring sophisticated microphone modeling technology, XD-V systems deliver the sound of the world’s most popular wired mics combined with a proven 4th-generation digital wireless platform. With 24-bit, 10Hz–20kHz, compander-free performance, XD-V series digital wireless systems provide unmatched, full-range audio clarity and license-free operation worldwide.

www.promusicaustralia.com

www.musiclink.com.au

PRESONUS ANNOUNCES MONITOR MIX CONTROL VIA IPHONE/IPOD TOUCH

POSSE AUDIO launches an amazing, affordable and compact system for musicians, recording artists, and music venues, eliminating the need for a monitor mix sound technician and allowing for easy customization of ear monitors on stage or in the studio. The POSSE system (Personal On Stage Sound Environment) seamlessly interfaces with wireless earphone and instrument systems and comes with an acoustic gooseneck mic for the unelectrified. You can also use a built-in phantom power supply, record all your performances, play music during the break, and tune with a line-of-sight tuner—all. POSSE is great for private practicing too.

Up to 10 musicians can simultaneously control their StudioLive monitor mixes using an iPhone® or iPod touch® and PreSonus’ free QMix™ app. QMix builds on PreSonus’ original Virtual StudioLive (VSL), which provides bidirectional computer control of PreSonus StudioLive™series mixers via FireWire. QMix works by networking one or more iPhones wirelessly with a Mac® or PC, enabling QMix to remotely access VSL to control one or more FireWire-connected StudioLive mixers. As each iPhone connects to the network, its copy of QMix will discover all StudioLive mixers on the network, enabling each musician to quickly and easily create an aux mix that includes all mixer channels. And QMix lets the engineer set permissions so that each iPhone on the network only controls a specified mix.

For information visit www.trc.com.au

www.nationalaudio.com.au

Designed for professional vocalists and performers, the new flagship XD-V75 line includes handheld, lavalier, headset and bodypack digital wireless systems. The family offers pure, 24-bit sound with unparalleled reliability and a full complement of professional features including signal encryption, dynamic filters, gain control, channel scanning and more to handle the most complex applications.

YAMAHA RELEASES THE MGP SERIES COMPACT MIXERS Yamaha has provided an impressive range of lineups in professional audio since the release of the PM200 in 1972 and their first digital mixer, the DMP7 in 1987. With both the 40th and 25th anniversaries of these landmark achievements landing in 2012, it is no coincidence that they have released a product which draws from their rich past and looks far into the future. The new series comprises two models with two different channel configurations – MGP12X and MGP16X. The series features newly-refined discrete Class-A microphone preamps that use an inverted Darlington circuit design delivering a fat, rich, smooth tone. For superior sound-shaping capability, Yamaha’s proprietary X-pressive EQ manages to capture ultimate analog authenticity by reproducing the unique frequency characteristics of sought-after classic EQ modules. At the heart of the MGP’s compact configuration, they’ve taken an innovative new approach to the utilisation of digital technology in an analog mixer—adding highresolution effects, iPod/iPhone integration and the functionality of their new Stereo Hybrid Channel to the warmth and musicality of premium analog sound. www.yamahamusic.com.au

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THE DRUM MEDIA • 41


IPAD 2 HOLDER AND STAND HOLDER

IS YOUR SHURE MICROPHONE GENUINE? The folks at Shure go to great lengths to ensure that their products are produced to the same lofty manufacturing standards time after time. You can imagine how peeved they are to discover an increase in counterfeit Shure gear being sold around the world. While some of the bogus Shure microphones may have visual similarities to the original product, the sound and build quality are nowhere near the quality of those built by Shure. Unfortunately, the counterfeiters are targeting some of Shure’s top selling microphones, in particular, the SM58 and SM57, two of the most famous mics on the market. Given the poor quality of the counterfeit models, it makes you wonder why the bogus market has taken off, however at first glance the models may seem to be genuine. In response to the glut of counterfeits, Jands, the Australian distributor of Shure gear has taken steps to ensure that customers know exactly what they are buying. First of all, they suggest you make your Shure purchases from authorised dealers. Secondly, they have introduced the Shure anti-counterfeit sticker on 4 of their top selling mics in their range: SM58, SM57, BETA58A and PG58XLR. Look out for the silver mylar stickers on these microphone models. Each sticker carries its own serial number which you can key into the product validation service on the Jands website to confirm it is a genuine Shure microphone. If your Shure product is not authentic, a page will appear with the appropriate details of who you should contact. The product validation service can be found at www.jands.com.au www.jands.com.au

AFFORDABLE STAGE LIGHTING FROM LIGHT EMOTION Adding stage lighting to your performance may have been an exercise for the big bands in the past, but the folks at Light Emotion make it an affordable option with their wide array of products. Their Moonstar 3 for example, is a spectacular mixed laser and LED effect. It features 100mW Red, and 40mW Green Laser diode and can be purchased for under $300. The Thunderbolt range includes blue and green single colours with red green yellow, red violet pink and green violet cyan available in three-colour combinations. The Thunderbolt G features 40mW Green Laser diode and comes in under $200. Both Thunderbolt and Moonstar range are DMX controllable, and can be either stand alone or master/slave and include a digital LED display control system.

STAGESCAPE™ M20D FROM LINE 6 StageScape™ M20d is the world’s first smart mixing system for live sound. Utilizing a groundbreaking touchscreen visual mixing environment, StageScape M20d streamlines the way you mix to get your sound dialed in quickly and stay in the creative zone. Massive DSP power delivers comprehensive, professional audio processing on every channel including multi-band feedback suppression. Pristine audio quality will impact your stage performances, and multi-channel recording allows you to easily capture every rehearsal or show, with or without a computer. The entire system can be controlled remotely from the stage or audience with one or more iPad® devices. StageScape M20d is the integrated professional mixing system that delivers great live sound, so you can focus on what’s most important: your performance.

Konig & Meyer present a clever way to display your iPad. The new connector holds an iPad securely and comfortably. Whether on stage, in the rehearsal room or at home and stage; the strong prismatic element with its ergonomic clamping screw allows the iPad holder to be attached quickly and easily to any tubes up to 30 mm diameter. The iPad 2 is snapped in or out of into holder effortlessly. The pivoting range is second to none, allowing the user the iPad 2 position of their choice. The swivel movement can be adjusted from free to resistant. Naturally, the iPad 2 can be rapidly switched between a vertical and horizontal format. The adjustment is easy and slip prevented. Working in tandem with the K&M holder is the stand holder! The new mount is guaranteed to hold the iPad 2 effectively and safely on stage or wherever you’re making music. www.trc.com.au

There aren’t too many local manufacturers in the Australian music industry, and those that do operate on home turf don’t get anywhere near the recognition they deserve. Jade Sound Systems has been in operation since the 60s and continues to produce a high quality, affordable range of gear from guitar amps and mixers to microphones, instruments and accessories. Anyone who attended last year’s Entech show would have witnessed Jade’s Rare Audio range which includes the impressive Tour ‘Combo’ Series. The Tour ‘Combo’ Series are single-sub, compact versions of the standard ‘Tour’ Systems. Designed as small lightweight PA Systems, they are easy to operate and feature a powerful punchy sound. The Subwoofer contains Active Bi-Amps with seperate Sub Volume & Twin Volume controls for the left and right speakers. Perfect for solo entertainers, small bands, corporate functions and DJ applications. The systems comes with 3 year warranty. www.jadeaustralia.com.au

www.musiclink.com.au

MACKIE DL1608 16CHANNEL DIGITAL LIVE SOUND MIXER WITH IPAD CONTROL

REVOLUTIONARY NEUTRIK “TIMBREPLUG”

The Mackie DL1608 turns live mixing on its head by combining the traditional power of a full-featured digital mixer with the ease and flexibility of an iPad. With 16 Onyx mic preamps and the performance of 24bit Cirrus LogicAD/ DA converters, you have unparalleled sound quality. Seamless wired to wireless iPad control means you can mix from anywhere in the venue. This gives you the mobile freedom to control not only the mix, but powerful plug-ins such as EQ, dynamics, effects and more. The sleek DL1608 even supports up to 10 iPad devices. Imagine a world free of bulky consoles and racks of gear! Other features include; 6 aux sends for monitor mixes, master L/R output for mains, touch-sensitive plug-ins, 4-band EQ, gate and compression on inputs, and wireless mixing.

For the busy musician with songwriting, gigs, gear and recording on their mind, often the smaller, but important things get forgotten ... like a decent 1/4 inch jack! The Neutrik timbrePLUG is a 1/4 jack plug that has been developed for performing musicians – and the idea behind it as brilliant as it is simple. Neutrik’s engineers recognised that an electric guitar’s sound is not only influenced by the instrument itself (pickups, strings, timber etc) but also by the choice of connection cable and amplifier. Different types and lengths of instrument cable can noticeably influence a guitar’s characteristic sound. Fitting the timbrePLUG to the instrument end of the cable allows musicians to adjust the ‘timbre’ of their guitar sound from a neutral, clear sound to warm characteristics in four steps by simply turning a knob on the top of the plug.

www.musiclink.com.au

www.ambertech.com.au

www.lightsounds.com.au

42 • THE DRUM MEDIA

LOCALLY MADE RARE AUDIO TOUR SERIES

SOUNDCRAFT SI COMPACT 24 DIGITAL LIVE SOUND CONSOLE UPGRADES At Winter NAMM in January, Soundcraft enhanced their already impressive Si Compact 24 Digital Live Sound Console with a whole bunch of new features via a free V2 software upgrade. The addition includes over 23 major new updates. The new version offers eight additional DSP channels, expanding the Si Compact 16 and Si Compact 24 to 32 and 40 inputs to mix, respectively. The Si Compact 24 features 24 recallable mic pre amps plus 4 stereo returns, AES in and 64 input option slot with a capacity to combine up to 40 of these inputs to mix. www.jands.com.au

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POWERED BY

POWERED BY STREET TREET PRES PRESS SS AU AUSTRALIA STRALIA TRALIA STREAMING THIS WEEK

STREAMING THIS WEEK

GUIDE

HIT THE LIGHTS’ INVICTA THE POP PUNK OUTFIT FROM OHIO, KICK IT UP A NOTCH, WORKING ON THEIR THIRD ALBUM WITH PRODUCERS MACHINE (FOUR YEAR STRONG, COBRA STARSHIP) AND MIKE SAPONE (TAKING BACK SUNDAY).

OUT 24 FEBRUARY ON 3WISE

PASSENGER’S ALL THE LITTLE LIGHTS UK SINGER/SONGWRITER MIKE ROSENBERG ADOPTED THE NAME PASSENGER AND MADE A NEW HOME IN AUSTRALIA. SINCE THEN HE’S RECORDED WITH BOY & BEAR AND LIOR AND TOURED WITH JOHN BUTLER AND JOSH PYKE. ALBUM NUMBER THREE HAS DRAWN COMPARISONS TO CAT STEVENS.

OUT 24 FEBRUARY ON IE THROUGH INERTIA

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LAST WEEK YOUR DAIL LY SPA WAS FIRST WITH: • A LOOK AT THE HI-FI’S NEW SYDNEY VENUE • STREAMING NEW ALBUMS FROM THE MENZINGERS & THE SMOKING HEARTS • NEIL FINN COVERING BOB DYLAN

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• AN ONLINE HUB FOR THE ANNUAL AUSTRALIAN MUSIC PRIZE • • THE OFFICIAL ENTRY POINT FOR ARTISTS • • TRACK THIS YEAR’S PARTICIPATING ALBUMS • • UPDATED AMP NEWS • • ARCHIVE OF PREVIOUS SHORTLISTS AND WINNERS •

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WHAT WOULD YOU HIDE TO PROTECT YOUR FAMILY?

Strong coarse language and violence

IN CINEMAS FEBRUARY 23


Drum Media Perth Issue #276