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WA’ S H I G H E S T Q U A L I T Y S T R E E T P R E S S • T H U R S DAY 2 9 M A R C H 2 0 1 2 • 2 8 1 • F R E E

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THE DRUM MEDIA • 3


4 • THE DRUM MEDIA


DJANGO DJANGO

debut album out now -Q

-mojo

“the best band you’ll hear in 2012”- the guardian “The weirdest most way-out new band in Britain” – NME

THE DRUM MEDIA • 5


FOREWORD LINE

NEWS FROM THE FRONT

IN BRIEF

KARNIVOOL

Organisers have confirmed that the Good Vibrations Festival will not be happening in 2012, due to “Competitive demand for artists resulting in higher artist fees, unpredictable weather and a shifting live music market.”

FRESH BLAST The 10-legged beast that is Karnivool has arisen from its slumbers, announcing the Melodias Frescas tour this June/July. Translating to ‘Fresh Tunes’, the tour will reveal some of the band’s new material, which has been agonised over in Perth over the past year. They play Mermaid Hotel, Dampier Friday 22 and Saturday 23 June and Prince Of Wales, Bunbury Wednesday 27, tickets via Heatseeker and venues. They then return with guests Redcoats and sleepmakeswaves Friday 27 July to play Rosemount Hotel, tickets via Heatseeker and the usuals.

Che-Fu’s WA tour has unfortunately been cancelled. Head of NZA Music Brian Terry stated, “This is due to poor presale numbers on all shows. It was a hard decision but we feel it is the right thing to do for all involved. Promoting concerts is no easy task and in order for businesses like ours to survive we need people to support the shows.” You heard the man! admin@ oztix for refunds. Eskimo Joe are now official ambassadors for the Close The Gap campaign that aims to close the Indigenous life expectancy gap by 2030. The top 30 contenders for the 2012 APRA Song OF The Year Awards have seen locals San Cisco (Awkward), Abbe May (Design Desire), Eskimo Joe (Love Is A Drug) and Jebediah (She’s Like A Comet) all making the cut.

REEF

REEF ROCKERS It’s been 12 years since Brit-rockers Reef graced Australian shores, and they finally return Friday 1 June at Metropolis Fremantle with their live show that has gained them a huge following across the globe. They’re celebrating a new nine-CD, one-DVD box set that includes never-before-seen pictures of the band, a 12” vinyl of their newly arranged fifth album (Lucky #5), a vintage poster and a replica demo of their Purple Tape sessions. Place Your Hands on tickets via Heatseeker, Oztix and Moshtix.

Mat McHugh celebrates 10 years of The Beautiful Girls by releasing his new album Love Come Save Me for free April 4, or show the love back by purchasing a deluxe edition. Jet have called it a day with a message thanking fans for the journey. The new album from Bloc Party will be released through Bloc Party Frenchkiss Records/ Cooperative.

LISA MITCHELL

HEAVENLISA SOUNDS Last year’s Heavenly Sounds tour sold-out shows across the country with Seeker, Lover, Keeper, and the series returns in June, featuring Lisa Mitchell with band and a choir to celebrate her new single, Spiritus. Tickets $52.50 plus BF from Monday via Ticketek for the ALL-AGES Friday 15 June show at St Joseph’s Church, Subiaco. Sydney-based duo Georgia Fair support with their low-key harmonies and sophisticated acoustic folk-pop. PEDRO AKA EFREN RAMIREZ

A new Swedish record label by the name of Ingrid was launched last week. It’s owners include some of the country’s most influential musicians such as Miike Snow, Lykke Li, Peter Bjorn And John, Coco Morier, Jocke Åhlund, Johanna Beckman, Jonas Torvestig, and Tomas Nordmark. Splendour In The Grass last week announced that Oxford indie five-piece Zulu Winter were the first act confirmed for the 2012 event, while Tiesto has let slip he’ll be joining the Stereosonic 2012 tour. Bobby Womack was admitted to hospital with pneumonia over the weekend, after which it was announced that the legendary vocalist has colon cancer. His first album release in more than ten years, The Bravest Man In The Universe is due in June.

VOTE DJ PEDRO Rooftop Movies’ supreme second season has been announced, and Napoleon Dynamite fans need to mark Friday 13 April in their diaries. First the film itself screens at Rooftop HQ above the Roe Street Carpark in Northbridge. Following that, the titular character’s Mexican offsider Pedro aka Efren Ramirez will be rocking a DJ Set! Word is he has some actual skills unlike past visitors cashing in on their comedy fame, *cough* Naboo, and he’ll be in full Pedro attire! Supported by Willy Slade, Lightsteed and Dangerous Dan D. Lyons. $25 plus BF via rooftopmovies.com.au for the film/DJ set double. 6 • THE DRUM MEDIA

themusic.com.au

Michael K. Williams, (Omar from The Wire, Chalky from Boardwalk Empire) has been cast as Ol’ Dirty Bastard in a film about the final years of the legendary rapper’s life called Dirty White Boy.

THE HARD-ONS

SMELLY FINGERS One of the most unlikely rock‘n’roll bands to reach hero status in Australia and beyond is The HardOns. Originating from the underprivileged suburb of Punchbowl, the multi-racial trio of high-school kids stormed the suburb’s party-scene, then Sydney, Australia and the world’s underground. They’re re-releasing Smell My Finger, part one of a five part re-issue series, and celebrate Thursday 11 May at The Civic Hotel; Friday 12 at Prince Of Wales, Bunbury; and Saturday 13 Indi Bar.

KIM CHURCHILL

GOING THE DISTANCE World-renowned guitarist/singer/songwriter Kim Churchill releases his second album Detail Of Distance next month through Indica Australia, featuring the new single Season’s Grind. And after a hectic global touring schedule, Churchill is pretty pumped to bring it down under. Joined by central coast folk-pop duo Microwave Jenny, he plays Settlers Tavern Wednesday 16 May; Dunsborough Tavern Thursday 17; Prince Of Wales Friday 18; Norfolk Basement Saturday 19; and the Indi Bar Sunday 20. Presented by Street Press Australia, tickets via Heatseeker and Oztix.

MORD FUSTANG

FORD MUSTANG Recently announced as Beatport’s 2012 Breakthrough Artist Of The Year after rocking around for only a year or so, Mord Fustang describes his music as “an adventurously nude, fluctuant, immaculate, rainbowcoated thunderstorm with arpeggios, one-up mushrooms and disco basslines. Plus a wobble or two.” So oil up your engines and drive down to Ambar Friday 11 May where he’ll be supported by Dead Easy, Philly Blunt and Beatsmack, $20 via Boomtick, $25 door.

BLACK DUST With their next studio album Dust & Dirt set for release on April 13 through Remote Control Records, New Zealand reggae-soul heavyweights The Black Seeds are leaving the land of the long white cloud to give us Aussies a taste of the new tracks live. They’re also celebrating a brand new video clip for the single, Pippy Pip, out now. Catch their globally renowned and epic live show Thursday 14 June at The Bakery, tickets via Now Baking and the usuals.

RELAPALUXED BEATS Hailing from two of electronic music’s most exciting labels, Lapalux (UK/Brainfeeder) and oOoOO (USA/ Triangle) bring their unique brand of beatcraft to Perth for a co-headline show at The Bakery, Saturday 19 May. Lapalux brings sensuous discordant melodies and hypercolour synths that are drizzled with pop, while oOoOO deviates from standard electronic conventions by taking shoegazey beats into eerily ethereal territory. $29 plus BF via Life Is Noise and the usuals.

SUMMERS’ SOIREE Former Perth, now Sydney-based jazz singer Cathrine Summers is returning Saturday 28 April to host a special Jazz & Dinner Charity Soiree at The Naked Fig in Swanbourne to raise money for the Multiple Sclerosis Society of WA. The funds go towards research, education, programs and support for people with MS and their families. Tickets $125 per person and include luxe canapés and a glass of bubbly on arrival, a three-course dinner and quality live jazz.


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THE DRUM MEDIA • 7


FOREWORD LINE MASSIVELY LOUD Given the already impressive career of the Danish dance producer, it’s surprising it took Kid Massive so long to release his debut solo album. After releasing A Little Louder, the first single from the album of the same name, Massive released his second album single Don’t Cry, to be followed by Yawn, a collaboration with UK pop starlet Sam Obernik and Dutch MC Jay Colin. Hear them all Easter Thursday 5 April at Flawless.

PUNJABI HIT MEN Since its inception in 2007, Vaisakhi Bhangra has been entertained by the world’s finest performers such as RDB, Bally Sagoo and Dr Zeus, to name a few. 2012’s edition will feature BBC UK award winning DJ/MC duo Panjabi Hit Squad, Tuesday 24 April at Shape. They’re supported by a huge line-up for a night of mega-desi madness, including Mixtabishi & J-Sky with Dholi dancers; Xclusive Sounds; Denny; DJ Modi; DJ Don Migi; Brown Majik; ElectroSim; B-Star; and Rajit. $25 via Moshtix.

JEFFERSON BLUES AIRPLANE Australian Blues artist PJ O’Brien’s new album Jefferson Blues debuted at #1 on the Australian Blues & Roots Airplay Chart in February this year. The LP is underpinned by O’Brien’s signature muscular guitar work and soulful vocals, offering the listener a diverse range of exciting, all original blues/roots songwriting. He brings the long-player to Hyde Park Hotel Saturday 5 May with his full band, plus special guest Chris Mawer.

BASS DOMINATION

NEWS FROM THE FRONT

LOCAL LOVIN’

There’s some mighty fine happenings going down right now in WA, and we don’t just mean Lisa Scaffidi’s Facebook food outbursts… After the sudden passing of Pyramid Of The Coyote frontman Gary Cornell, the Civic Hotel hosts a massive charity event raising funds for his two daughters featuring Baby Jane; Craig Skelton; Mightnight Boulevard; We Build Pyramids; Jupiter Zeus; Joy Elevation; Stone Circle; Diamond Eye; One Armed Scissor; Something Humble; Gazman’s Crown Jewels; Damien Thornber & The Orphans; Ichora; Mud Guts; Walker; Ben Blend; To The Depths; and Beyond Never. $20 at the door. Check the feature in Live for more of the story. Returning from a successful east coast tour, SMRTS launch their new LP Have Friends & Visit Them At Night at The Bakery Friday 20 April with a full band show, supported by Craig McElhinney, Pallas Athena, Andrew Sinclair Ritual Band and Water Temple. $10 plus BF via Now Baking. To celebrate Record Store Day, recent b’day celebrators Fat Shan Records have 20 percent off new vinyl and 50 off second-hand, from 10am ‘til 6pm Saturday 21 April. Plus there’s live music all day from Amanda Merdzan, Big Old Bears, Fall Electric, The Flower Drums, Jacob Diamond, Lucy Peach, Natasha Shanks, Our Man In Berlin, Todd Pickett and Will Stoker. Saturday 14 April at Ya Ya’s many-tentacled four-piece Shock Octopus launch their debut EP, supported by The Disappointed, Head Full Of Steam and The Foxman, $10 from 8pm, $15 with EP. With a bus and his loop gear, Sam Perry takes his crazy beatbox and effects madness around the country to do some busking. He begins in Margaret River this Sunday, Albany Monday 2 April and Esperance Tuesday 3. Thursday 5 April Mojo’s hosts a big blues and indie-rock party to kick off the Easter break, featuring Red Engine

The dark side of Perth electronic music, the PDMAnominated Dominate returns Saturday 7 April to its home at Gilkisons featuring a typically huge line-up headlined by dark drum’n’basser J Switch, plus special Melbourne guest Bassraiderz. The latter’s track Goa Trance Revisited has received support from the likes of ASYS, Scot Project and KloneZ. Tekneeqz, ST, Splinta, JT, Josh Cube, Maloonatic and Cyberstruct support, with Slap N Tickle on MC duties for $10 from 10pm.

www.houseofmarley.com.au

T THE PAIN AWAY Friday March 30

Pockets of Resistance + 26 Parallel

YESYOU

(8pm, entry $8)

Saturday March 31

“Scarred For Life” Rose Tattoo tribute

feat. In The Now + Babyjane + Ultrasound (8pm, $10 entry)

Sunday April 1

Custom Royal + The Insatiables

+ State Of Order + Evergone + Astropig + The Branson Tramps + The Corner + The Shakeys + 10 Past 6 + Satan Himself + Honeywheeler + Die Human + Atacama Giants + Head Full Of Steam + Fletcher Joyce + Lummix + Darren Guthrie (TWO STAGE SHOW 12-10pm, $15 entry)

8 • THE DRUM MEDIA

BABY JANE

GIVEAWAYS

Amplifier/Capitol sure know how to put on one bangin’ party, and Easter Thursday 5 April Limelite and JumpClimb combine forces for an indie vs. dance explosion in Hot Cross Buns. Across both venues, Tonite Only, The Medics and YesYou head this way to cover all tastes

CREDITS

Local non-profit association Trilobeat is aiming at promoting local underground electronic artists in WA, and they’re hosting a family friendly weekend-long party Friday 4 ‘til Sunday 6 May at Woodman Point Recreation Camp. It features two stages, a silent disco and mini market, plus lighting, lasers, yoga, activities and electronic workshops. Artists playing include Molecule-Up; CtrlD; Beni C; Daisycutter; Terrafractyl; Micksir; Hypnagog; Kinshin; Shie’Ox; French Dave; Ed Motive; Mr Hazington; Decibell; The Powder Monkey; Sven; Fluoro and more TBA. Head to trilobeat.net for full info and tickets.

EDITORIAL

in musical touring acts, while locals The Brow Horn Orchestra, Mind Electric, The Halo Effect, Death Disco DJs, Scenic, Kno Agent, Sun City, Stillwater Giants, Tapeheads, FTW, Jus Haus? and DJ Cody keep you hoppin’ along 9pm til 3am. Want to win one of THREE DOUBLE PASSES to the show? Hop onto Drum Perth’s Facebook page. Read this week’s cover story to see why Machinedrum is an unmissable act for fans of forward-thinking electronica, while Jacques Greene’s remixes and releases have mesmerised, and his DJ sets are something to behold. They both grace The Bakery Easter Thursday 5 April, with support from Nik Ridikulas vs BenTaaffe, Ylem vs Rachael Dease, Rok Riley, Kit Pop, Solar Barge, Clunk, Modo, Oni Cash and Sleepyhead. Facebook.com/drumperth to win one of TWO DOUBLE PASSES to the show.

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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. ©

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Matt Davis, Kieryn Hyde

DEADLINES

ADMINISTRATION Editorial Friday 5pm

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CONTRIBUTORS

Street Press Australia Pty Ltd. 1/205-207 Bulwer St Perth 6000

Elle Borgward, Shane Butler, Graham Clark, Beau Davis, Ebony Frost, Callan Gibson, Cybele Malinowski, Drew Mettam, Anthony Tran, Aaronv

Friday 25 May to Sunday 3 June it’s the Argyle Diamonds Ord Valley Muster, rollicking in to Kununnura in the East Kimberley. The event includes a total of 27-specially themed events and concerts across 38 programmed activities. Main features include the Airnorth Kimberley Moon Experience, The Kimberley Kitchen featuring Poh Ling Yeow, The Melbourne International Comedy Festival Roadshow and the Kimberley Fine Diamonds Corporate Circle. For all the relevant info head to ordvalleymuster.com.au.

Harnessing a sound deeply rooted in both brash experimentalism and improvisation, Galapagoose is Melbourne’s primary export of soul-drenched Australian beat music. Well regarded in underground circles for his developments in live performance-based software and spontaneous vocal sampling, he launches his debut solo album Commitments at The Bird Thursday 26 April, supported by Kit Pop, Zehnmee, Sleepyhead and Ben M & Ben T, $10 from 8pm.

MADE IN MANHATTAN Adelaide punk-rockers Manhattan Jinx released their debut album Death.Saviour.Life in January this year, and after various reviews acknowledged the LP’s strong collective of well-constructed bluesy punk-rock, they’re heading west. Friday 18 May they play The Civic Den, and Saturday 19 The Railway Hotel. The album was written and recorded by singer/songwriter Matt Gelsi and he’s now packing a full live band in tow for some tough and loud shows.

METAL FEAST

Best, Mike Bowring, 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, Chantelle Gabriel, Olivia Gardiner, Baron Gutter, Rueben Hale, Simon Holland, Craig Hollywood, Christopher H. James, Jason Kenny, Angela King, Mac McNaughton, Tom OíDonovan, Nic Owen, Gabriel Pavane, Katie Rolston, Ted Schlechte, Michael Smith, Andy Snelling, Aimee Somerville, Anthony Williams, Mitchell Withers

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

MUSTER UP

GALAPAGOOSE ISLANDS

Australian festival favourite T-Pain is joining the already massive Supafest 2012 line-up; so you can now him add alongside the likes of Chris Brown, P. Diddy, Kelly Rowland, Missy Elliot, Lupe Fiasco, Rick Ross, Ice Cube, Trey Songz, Naughty By Nature and Big Sean. If ever a festival lived up to its namesake,

+ Skin Flint + Paltiva

Worldwide street performer and studio recording artist from St Kilda, Dub FX is returning our way alongside his fiancée Flower Fairy after blowing crowds away at Southbound, playing the Rosemount Hotel Tuesday 24 April (ANZAC Day eve). His trademark is creating live music using only his own performance aided by live looping and effect pedals combined with his voice. Tickets $25 plus BF from Planet Video, Mills Records and Moshtix.

Friday 13 April – the perfect setting for a freaky Force Majeure at Ambar featuring monster Sydney bass bangers Doctor Werewolf. In a satanic celebration Ambar will be transformed into a house of horror for a fancy dress party, so get out the fangin’ vampire teeth for a gorefest to remember. Fresh off mixing the latest Ministry Of Sound dubstep compilation, they’re supported by Gran Calavera, Jon Ee, 4by4 and Philly Blunt. $15 door, presales via boomtick.com.au.

BEAT BASS CAMP

FESTIVAL NEWS

DUB FAIRIES

DR’S OF HORROR

this is surely it. All Bling Ring tickets have sold out nationally, so best be gettin’ on to $149 GA tickets via Ticketmaster, Sunday 22 April, Arena Joondalup.

M A R L E Y

44 T YDEMAN RD, NORTH FREMANTLE PH: {08} 9335 2732

Caves, Shimmergloom, The Crooked Cats, The Vans, Misty Mountain, Wrongtown, The Beers and Sirens Of Sounds. Doors 6.30pm, free ‘til 8.30 and $10 after. The KickstART Youth Festival’s main hub opens from Friday 13-Saturday 21 April on the corner of William and James Street in Northbridge, featuring workshops, urban art, contemporary dance, comedy, hip hop and more. Saturday 14 the Perth Cultural Centre hosts the KickstART Youth Market featuring bands, stalls and more. Kickstarfestival. wordpress.com for more info or to get involved. Emcee Slackjaw launches his Fremantle’s Finest Remix EP Saturday 14 April at The Bird, supported by Knoe FM, LSD & The Missus, Episode, DJ Realms and Boy Prince. $10 from 8pm, $5 EPs available on the night. Friday 13 April four unsigned local bands light up the Black Friday Shocker at The Railway Hotel, with a high voltage line-up consisting of recent Gozzy Rock’n’rollers Blind Highway, Something Humble, Silver Grenade and Violet Scene. Ernie Gruner is Australia’s leading Klezmer (Eastern European Jewish Celebration, wedding and dance music), violinist and teacher and he’ll be on hand Tuesday 17 April as Kulcha hosts two classes – Nigun (Jewish) Singing, and Klezmer Music. Kulcha.com.au for more info/tickets.

Marnie Allen, Marisa Aveling, Paul Barbieri, Zoe Barron, Steve Bell, Jackson

themusic.com.au

PUBLISHER

Featuring the godfather of death metal Chris Barnes, Six Feet Under have been delivering their brand of unapologetic metal since 1993. Their latest album Death Rituals delivers bludgeoning slabs of death, doom and destruction, only enforcing their position as one of the most important bands in death metal history. Catch them now with Devildriver and Darkest Hour, Wednesday 9 May at Capitol.

BLU MAN GROUP Prepare to be gob-smacked by a totally new musical destination. Josh Bennett, Andrew Clermont and Parvyn Kaur are all members of the Dya SinghWorld Music Group, who have been twice awarded by the World Music Group of Australia for their Sikh devotional music. They also play in Australia’s most out-there bluegrass band, The Lawnmowers. Playing together as Blu Guru, catch them at Kulcha in Fremantle Saturday 7 April. $20 via kulcha.com.au.

PO Box 507 Mount Lawley 6929 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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SUPPORTED BY THE DRUM MEDIA • 9


INSIDE THE MACHINE

COLLABORATION IS KEY

Travis Stewart’s passion for working with others was cultivated early in his career. Moving to New York, he joined up with DMC Champion IE.Merg to help build the Normrex label, producing for vocalists such as Theophilus London (including providing the beats for his pivotal This Charming Mixtape), Mickey Factz and windy city soul singer Jesse Boykins III. He’s also collaborated with Foreign Beggars, Yo Majesty, Azealia Banks, Addiquit, Tiombe Lockhart and many more. So what does he look for in a musical partner and preferred process? “For me the best collaborative work I’ve ever done has always been in person, in the studio, working together, instead of sending back a capellas and beats and stuff like that, because nine times out of 10 there’s gonna be no connection,” Stewart explains. “So if I’m in the studio with somebody and they’re kind of like, ‘Hey, I kind of want a beat like this,’ and they play me some shit I’ve never heard of on Youtube or something and I get inspired, then so be it. But, you know, it’s less about deciding, ‘Hey im gonna change my sound,’ and more of it just being just a natural thing.”

THERE’S A REASON 31-YEAR-OLD TRAVIS STEWART WARNS INTERVIEWERS AGAINST ASKING HIM QUESTIONS ABOUT “BASS MUSIC”. AFTER ALL, HE HAS SO MANY ALIASES AND VARIETIES OF SOUNDS MASTERED THAT PIGEONHOLING HIS MACHINEDRUM MONIKER IN ANY WAY WOULD BE FOOLISH. AAROM WILSON DELVES DEEPER INTO ONE OF 2011’S MOST HERALDED ELECTRONIC STAR’S COGNITIVE RECESSES.

2

011 was a big year for Travis Stewart. For starters, he released a supremely well-received album under his solo moniker of Machinedrum in Room(s), which went on to take out #2 in Resident Advisor’s 2011 Best Album poll. Then his collaborative project with Praveen Sharma, Sepalcure, released a self-titled debut LP late in the year, just in time for it to pop in at #47 on Pitchfork’s Top Albums Of 2011 list. So scrap this story’s first sentence and please replace it with this: 2011 was a ridiculously massive year for Travis Stewart. So if you’re still asking ‘Who is Travis Stewart?’ it’s time to do your ears a favour and get acquainted. Raised by harmonica, piano and even miniature bagpipe-wielding “hippies” in North Carolina, his multiinstrument-happy parents instilled within Stewart a love of creating diverse music soon after he could crawl. Catching the attention of Miami tastemaker Merck, Stewart already had his first album released by the age of 18 – Triskaideka, under his Syndrone alias on Merck Records. A year later, his Machinedrum alias had its first baby, Now You Know, on Merck/P-Vine Records (also responsible for releasing albums by the likes of Múm and Low that year). Even then Pitchfork was heralding his praises like nobody’s business, Malcolm Seymour III (yep, they were just as Pitchforkentious back then) proclaiming the 19-year-old’s album to setting the “standard by which the next wave of imitators aspires.”

Stewart. “I kind of would lose myself in those moments and then come away with it and look back at what I did. It was almost like a dream-like thing, so I would get somewhere, like finally have some off-time and be able to listen to all the stuff – all the ideas that I started whilst I was on the road – and they all had this kind of natural sound that went together, and it was really exciting to just see it come out of nowhere in a way, without trying too hard to force anything. “I think it’s necessary for artists to learn how to abandon their art and not hold on to it so strongly over time, because the more time you add to the actual release of the art, the more you start over-thinking it,” Stewart adds. Despite his prolific output from even early on in his career, perfectionism has been a trait that Stewart, like so many brilliant artists throughout history, has battled with. However, his obsession with refining has been cured to some extent by somewhat of an unexpected source; the author of the book Eat Pray Love (yes, the one responsible for Hollywood in turn ruining Bali’s Ubud), Elizabeth Gilbert.

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Countless aliases, remixes, collabs and hard work later, the production machine that is Travis Stewart is now also a highly respected DJ, to the point where his last few years have been spent almost entirely on the run, leaving a trail of decimated dancefloors across the globe. Touring with the likes of SBTRKT and Hudson Mohawke, dominating venues such as Fabric and Tresor and playing Sonar Festival are just a few examples of what Stewart’s last year’s worth of touring dates have included. Considering this, it’s a wonder how he’s had time to produce many quality songs at all, let alone two of electronic music’s most critically acclaimed albums in the one year. Yet Stewart sees it differently. In fact, he sees his constant movement as an integral part of last year’s breakthroughs. “I just basically had time to write tracks on trains and planes and stuff like that, so it was a very in-the-moment kind of process,” explains a calm and considered

“She gave this pep talk about the idea of genius and creativity and she basically mentioned all these things about how people kind of think of the idea of genius as being this kind of internal thing, where 500 or thousands of years ago people moreso considered the idea of genius to be an external thing that kind of changed through them during these moments of genius. I think that kind of inspired me in a way to not put so much pressure on myself to think, ‘Where is this next idea gonna come from?’ and have to think really hard about what I’m gonna do next because it’s really important and it’s up to me. And, you know, I kind of realised that it’s more important to just practice and learn more about my craft as much as I can, and let the ideas come when they come instead of trying to force them out. It’s a pretty inspirational speech, you should look it up!” While he may be working on curing the negative impacts that his perfectionist streak may have on creating things naturally, his busy schedule still seems at odds with creating such innovative and sublimely produced forms

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of music, without the use of a Tardis. “I’ll just be doing stuff off-time, riding on trains, sometimes people wanna go out on my off-night and I wanna basically stay away from clubs as much as possible ‘cause that’s where I live more or less, so I find chances more than you would think.” So is he the stereotype of a beat-producing nerd? “Kind of,” Stewart laughs. “I mean, I’ve always got my laptop with me, it’s like an extension of me, and if an idea comes at a moment I wanna be there to be able to get it down as quickly as possible. I think also, with this new sort of approach to writing tunes, I try to get out the most important part of the song within the first two or three hours that I work on something just so I can have that to go back later and dissect it and make it into a full song.” Whilst his production obsession might be sounding a little like he could make for a character on The Big Bang Theory, his DJing schedules would make Leonard and Sheldon’s heads explode. It’s also necessitated the move from the Big Apple to the techno capital city of the world. “I started getting booked more in Europe, and the shows were generally bigger and better, guaranteed, so the move to Berlin just kind of made sense. I have a lot of friends there, almost as many as I did in New York, and I just really enjoyed the vibe there. It was cheaper than New York, and at this point in my life I’m trying to play as many shows as possible before I get too burnt out.” Lined up soon is his next Australian tour. With his sound primarily swirling from the emotional atmospherics of Burial to the intelligent drum patterns of Four Tet, tech-tinges of Rustie, glitch hop of Prefuse73 and experimentalism of Aphex Twin, but then house, 2-step, hip hop and drum’n’bass also coming into many of his equations, it’s no surprise his sets generally take in a rather varied smattering of tasty genres. With new EP SXLND out and a mysterious New Beats Teaser 2012 freshly thrown up on his Soundcloud, you can probably expect a good dose of the tunes to be dished on the platters that matter to be his as well. “You can definitely expect new jams from me,” Stewart confirms, “and new stuff from friends, remixes, VIP versions of tunes, some a capellas thrown in; just a mix of everything, but very high energy, very high tempo. You’ll hear some 90s rave shit in there, who knows!” Perhaps we’ll even see him singing on the mic, as he did just recently at one of his glowingly received SxSW showcases.

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So out of Machinedrum’s Room(s) and Sepalcure’s selftitled LP, which of his 2011 albums is Stewart proudest of? “That’s a hard question ‘cause they both are very unique kinds of things,” Stewart ponders with a deep breath. “I’m proud of both equally – they just seem like completely different situations on their own. Whereas for the Sepalcure release, obviously I have another person to celebrate that with and we kind of remind each other what we’re doing it for. When I’m doing it solo and I’m reading a different review I can pat myself on the back, but I tend to lose perspective without that second person. And I think that’s basically what it comes down to – the big difference between the collaborative process and solo work is just having that perspective changed.” WHO: Machinedrum WHAT: As Sepalcure - Sepalcure (LuckyMe/Hotflush) WHEN & WHERE: Thursday 5 April, The Bakery, Northbridge

SUN APR 1

SUPER EXTENDED

SEASON

SUNDAY SESSION

DJ Sean Pollard (Split Seconds) Presented byy free in the beer garden jg D jugs $12TED

As for remixes, his list of highlights includes Scuba’s M.A.R.S, Johnny Cash’s Belshazzar (and yes, an official, endorsed one), Bonobo’s Eyesdown (as found on his recent Black Sands Remixed compilation), Solange’s Sandcastle Disco and Gang Colours’ Fancy Restaurant. Oh, and Jacques Greene’s The Look, the young house innovator and highly tipped producer also touring Australia together with Machinedrum, including their Perth date. “He’s a really good producer, he’s a good friend of mine, he’s actually on his way over…,” begins Stewart, with the respect he has for the young gun obvious, before the phone cuts out… Guess you’ll just have to find out for yourself why these two artists are leading forward-thinking beats into a whole new future.

SUMMER

Tonight! Thurs day November 3rd

kt ils 0Selected Cockta $10

A fellow New Yorkian, Stewart’s intimate work with Little Miss 212, Azealia Banks, warrants the question: is she really worth all the hype, or just a one-hit wonder who’s popularity will diminish once she loses a Certain expletive from her songs? “You know, it’s hard for me to say what will blow up and what won’t ‘cause I don’t immerse myself in the pop world enough to know what’s going to blow. But if it was based on talent, definitely; she is one of the most talented people I’ve ever worked with, and for her age, it’s just really exciting to see where she’s gonna go.”

DJs in the Beer Garden from noon / Breakfast $10 / Cocktails available all day

z $14 Schnitzel

Sons of Rico DJs free in the beer garden from 7:30pm

WED APR 4 student

night

free pool

indie djs

outside

in the garden

LIVE BANDS INSIDE CHEAP DRINKS $14 STEAKS Dibiase (US) + Electric Sea Spider (VIC) + James Ireland + Zeke + Rorschach (VIC) $20 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

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THE DJ FACTORY

THE DRUM MEDIA • 11


ONE MAN ARMY

STICKIN’ IT TO THE MAN

You might be sick of hearing about illegal downloads, iTunes, and the death of CDs, but for musicians it’s shaking up their livelihood on a daily basis. The decline of CD sales and the increasing popularity of digital music consumption is proving that, in order to reach a large audience and make money, you don’t need a big label behind you. Here are just a few of the many artists that have come to that realization and are now pumping out music through their own means:

JOHN BUTLER Fremantle fave John Butler started his record label Jarrah Records in 2002 in collaboration with The Waifs and Phil Stevens, their manager. Since then both acts have reached an enormous amount of success and proved that you don’t need an army of suits behind you to make a living out of music.

OK GO SIX ALBUMS INTO HIS CAREER, INTERNATIONAL FOLK SENSATION SETH LAKEMAN HAS DITCHED MAJOR LABELS, RECORD PRODUCERS AND TRADITIONAL METHODS OF RECORDING. IN THE LEAD UP TO THE MERCURY NOMINEE’S FIRST AUSTRALIAN TOUR, DANIEL CRIBB FINDS OUT WHY BREAKING FREE FROM THE CORPORATE MACHINE IS ONE OF THE BEST THINGS HE’S EVER DONE.

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ith a freshly brewed coffee in front of him, and pen at paper, UK singer/songwriter Seth Lakeman rises to the day with a muse for new material. “I’m writing a song about a lady, called a Bal maiden, who would have lived around here about 200 years ago,” Lakeman explains, on the line from his UK home. “It’s a spinoff from my album; an idea that came from it,” he elaborates. The record in subject is Lakeman’s sixth, Tales From The Barrel House, which was written in and around his residence in Devon and focuses on the hard-working miners, sailors and craftsmen who worked hard to build up his town for little reward. The area surrounding his humble abode, which has a rich heritage, also gave way to an unorthodox and unique recording method. “I spent about a year writing the songs and the stories and there was a definite, concise concept to go for. I tried a few areas to record in, actually. An engineer and I went down to a heritage centre called Morwellham Quay and tried three rooms there and eventually found The Barrel House,” Lakeman recalls. “It’s got a very tall ceiling and flagstone floors and all these old tools hanging around. It just felt like a perfect environment. Listening back to it, the acoustic instruments were coming alive in that room. When we started using percussion, it was a way of drawing the listener into those trades, using chains as a tambourine, a tool sharpener as a shaker and a pickaxe to emulate a snare drum. It was a very fascinating record to make,” he says.

“We went down the mine to record the first track on the record called More Than Money, and that was a pretty spooky affair. That song is all about miners and the conditions they work in. We went down there to try and get the spirit of the song. That was quite an experience. We ended up getting quite a ghostly laughter at the end of the record. We didn’t leave it on the record because it was a bit freaky actually,” Lakeman says, laughing. “I probably wouldn’t do another concept record,” he admits. “I certainly wouldn’t do something quite as stripped-back and focused as Barrel House. It was almost like stripping everything back after leaving a major label and it’s time to build it back up again.” While being signed to EMI had its perks, the constraints placed around Lakeman whilst he was signed to them would have never allowed him to experiment and explore his creativity to such an extent. Thus, Lakeman gave birth to Honour Oak Records (named after an oak tree near his house), which signals new life in his career. “I like the fact that you’ve got more control. It’s something I haven’t done before. In a way you can steer it wherever you want it to go. Before it was more about compromising and making other people happy – 12 • THE DRUM MEDIA

especially when you’re in a massive machine like EMI and other labels that I’ve been with before. It’s obviously fantastic working with them because of the size of their wallets and the opportunities, but it’s definitely more of a compromise. Whereas a small label feels far more controllable,” he says. “Thankfully I’ve been able to build up a big enough team, with a publicist and a great manager, who can keep the record and label floating. Having the right team is the key for any label and I was pretty much aware of that. So far, so good!” he laughs. The same time that his small team was working behind the scenes to keep things above water, an even smaller one was putting together Tales From The Barrel House. Keeping things as stripped-back as possible was a way of finding his feet in new territory and securing a milestone for his new beginning. This meant that he had to take on the role of songwriter, producer and musician all at the same time, playing every instrument on the recording. “I kept thinking about bringing other people in: girl singers, maybe some other musicians, but when I was chatting to people they thought it was just so strong, doing a concept record all produced and put together by one person. A singular vision, it was important keep that,” he explains. “It’s tough to take the production hat and then start trying to be a songwriter as well, and trying to improve some of the writing when you’re recording, and then performing on top of that. It was

it received. In fact, it was almost too popular for his liking in some ways. “The whole thing has done much better than I thought it would. As the left-field record that it started out as, it seems to have taken off really well and now it’s getting some great reviews. People are really into it, which I wasn’t expecting because it was an experiment,” he says, with a tone of satisfaction. “It sold out so quickly before Christmas and we had to make a decision because it was getting sold on eBay and people were making quite a lot of money out of the fact that it was limited, which is silly really. So we made the decision to release it.” Starting fresh and trying out new ways of writing, recording and distributing music fits in well with touring countries he has never been to before, such as Australia. “We were invited to play the East Coast Blues [and Roots Festival], which opened the doors. The fact that we have the opportunity to do that has given us a great chance to go around the country and do other shows. Carus Thompson has very kindly helped us put that [the tour] together. It’s all very exciting; it’s almost like a holiday to us. “[Thompson] has been on tour over here with us probably four, five times,” Lakeman says of the ex-Perth singer/songwriter, who’s no stranger to visiting his old hometown, but this time will be bringing a friend. “He’s a good mate of mine. He comes and stays at mine when he’s over and I know him and his family quite

IT’S OBVIOUSLY FANTASTIC WORKING WITH THEM BECAUSE THE SIZE OF THEIR WALLETS AND THE OPPORTUNITIES, BUT IT’S DEFINITELY MORE OF A COMPROMISE.”

a tough one, but I have to say it was one of the most enjoyable in about four years for me to make,” he says. “There’s always the danger, when you’re sitting in the studio mixing something, to start polishing it up. That sounds like a car going into a garage,” he laughs. “There’s always the danger of doing that, but with this it was important to keep it raw and keep it rough and ready. I had to stand back quite a lot and just let moments that were captured within that workshop carry themselves.” While the idea of such a strong concept album didn’t originally conjure up images of popularity (thus the release at first being a limited edition pressing), Lakeman was pleasantly surprised by the reception

well. I worked with him back in the day. Before I got popular over here in Europe I was working with him as a fiddle player. I did about two tours around Ireland and stuff, so that’s how I first met him,” Lakeman pauses before laughing, “We were both looking for girls!” WHO: Seth Lakeman WHAT: Tales From The Barrel House (Honour Oak Records/Plane) WHERE & WHEN: Thursday 12 April, Clancy’s Fish Pub, Fremantle; Friday 13, Hyde Park Hotel, North Perth; Saturday 14 & Sunday 15, Fairbridge Festival, Fairbridge

themusic.com.au

OK Go parted ways with Capitol/EMI in 2010 and started their label Paracadute, which OK Go say is humanity’s second most-fun word to say. A statement on the band’s website reads “being OK Go just got a little bit easier”. They described their departure from EMI as a way to be themselves – it also meant that they didn’t have anyone diving into their pockets.

ALKALINE TRIO Because major labels tend to look at figures over anything else, certain genres can find it hard to be creative as well as keeping their labels happy. US punkers Alkaline Trio left Epic to create their own label, Heart & Skull, which gave birth to their seventh studio album This Addiction in 2010. On a press release on the Epitaph website, singer Matt Skiba said: “Taking control of our own label situation was something we always wanted to do but never thought was possible.” When an artist has their own label, it also means that they have easier access to their fans. They can decide how much they’ll charge, if anything, and when/how their product is delivered. People are realising that downloading is becoming a part of the industry; once you remove the middle man you also remove a lot of the problems for the artist. Once bands such as Radiohead and Nine Inch Nails released music for free, it caught on like wildfire with others all over the world, big or small, following suit and finding other ways to make money as musicians.


THE DRUM MEDIA • 13


WANNA FREAK OUT FOR THE FIRST TIME SINCE THE RELEASE OF LAST YEAR’S KILLER CIRCUITAL LP, AUSTRALIA GETS A TASTE OF KENTUCKY-BRED ROCKERS MY MORNING JACKET. GUITARIST CARL BROEMEL TELLS DAN CONDON ABOUT THE MAGIC OF SPONTANEITY.

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y Morning Jacket’s most recent visit to Australia was with the Big Day Out tour as well as opening for the great Neil Young all across the country. But there was one town on Australia’s east coast that had Carl Broemel and his bandmates besotted. “We took a day and went surfing in Byron Bay and while we were there. Our friends were telling us about the Bluesfest – ‘You guys should come back and do that’ – and I was like, ‘Man, if I can come back here I will do anything!’” Broemel gushes from his adopted home of Nashville. He’s speaking on the eve of the tour which, yes, does include a slot at Byron Bay’s Bluesfest, alongside their own shows and Perth’s West Coast Blues ‘N’ Roots. It was released close to ten months ago, but Broemel is happy to discuss the band’s

latest record, Circuital, a killer addition to the considerable My Morning Jacket canon that he says was met with great warmth. “It’s always fun to check back in. When you’re making a record you’re so involved in it you almost can’t see what you’re doing. It’s really hard to get any perspective. In hindsight I’m really happy with it; I’m really happy with how we did it and how it turned out and the response we got from people was really positive. The songs seemed to be digested and enjoyed the fastest out of any record we’ve done. The first show we played I looked out and people were singing and acting like they knew what was happening. Either people were stealing the songs and sharing them really fast – quicker than last record – or they like them more. I kinda don’t care either way.” Circuital was Broemel’s third studio record with My Morning Jacket since joining the band in 2005. He says things have certainly changed since his early with them. “We’re all growing together. When Bo [Koster, keyboards] and I were working on Z we were definitely the new guys. Not in a bad way – not like we didn’t participate – but now we all know each other a lot better and we know how to work together better.” The band recorded in a church gymnasium in Louisville, Kentucky, a space Broemel praises for its lack of facilities, allowing the band to get their hands dirty in the studio as they went about the business of playing. He said it was also a decent breeding ground for experimentation – sometimes uncomfortably so. “In a way it was even more spontaneous [than previous records], because we hadn’t really rehearsed the music before we got there. While we were working through the songs for the first time, we’d

There’s more to this story on the iPad be recording. So a lot of times we’d get a take that everybody loved that was our first try at it and, warts and all, that became the song or the take; whatever you were making up at the time became the part of the song. That was the hardest part of the record. We were all fiddling around and finding stuff and then once in a while we’d hit it together and the song would all of a sudden be done… even if a couple of us weren’t ready for that to happen!” He recalls sheepishly. “On that song Circuital, I was like, ‘Really? Are we done? Are you kidding me? I’m just trying to figure out what to do!’ “That’s what I’m talking about knowing each other better; we all trust each other. Even if in my brain it’s not computing, if three or four of the other guys are computing I know eventually I’m going to understand.” The band is renowned for smashing out sets of epic lengths and it’s not surprising for a My Morning Jacket club show to tick in at over the three-hour mark. “It’s just one of those things that sort of happened,” Broemel explains. “I think we just sort of grew into it. What felt good to us was just a little bit longer or leaving some space in the show for something to get extended and not have to think, ‘Oh man, we have a curfew, we can only play 14 songs’ or whatever. “I’m thankful that people are into our show for that long. It takes some serious effort to participate in a concert over two hours long, I know that. When I go see bands, after ninety minutes I’m tired! But I kinda feel like a baseball player – when you go to a baseball game or a cricket game, you’re sitting in the stands and you’re like, ‘Man, this is so long,’ but if you’re in the game it doesn’t seem like it’s very long at all. It goes by pretty fast when we’re in the moment.” Do they relate then to being called a jam band? “Yes and no,” Broemel says. “I don’t think it’s a bad thing to be labelled a jam band at all. I just don’t think we necessarily fit in to what I consider to be a jam band, which is basically are you a lot like the Grateful Dead, Phish and Widespread Panic? I don’t think we are necessarily, but there’s probably elements of it that would appeal to people who like that music. I mean people can describe us that way. It doesn’t hurt my feelings or make me upset, it just kind of doesn’t make sense to me.” When it comes to taking a song from the studio and bringing it to the live stage, the process is an organic one within the My Morning Jacket camp. “We kind of just let it happen; we might work on some segues or something, but usually the songs change on the go. A lot of times the song will end and Jim will keep going and we all look at each other and be like, ‘Okay, we’ll keep on going!’ We just feed off each other and see what happens. It’s so fun to be able to pull off something without talking about it beforehand. That is kind of like the jam band aspect of us. We don’t want to rehearse spontaneity; you wanna be free to fuck up, to have it go wrong in the chance you might catch something cool and unexpected.” Alongside frontman Jim James, Broemel was named one of the “20 New Guitar Gods” by Rolling Stone magazine a few years back. People have certainly taken notice of his talent and he now finds himself employed for session work semi-regularly, which is a challenge he thrives on. “That’s one of my favourite things about being in Nashville; after I moved here it just kind of clicked. I really value that, not only the connection with talented people, but it’s very challenging to be in the studio with people you don’t know very well. Being in the studio with your best friends is really fun and then being in the studio with crazy amazing musicians from Nashville is a good challenge for me. Doing projects it all comes back and kind of re-educates us for the next record or next tour.” WHO: My Morning Jacket WHEN & WHERE: Sunday 1 April, West Coast Blues ‘N’ Roots, Fremantle Park, Fremantle 14 • THE DRUM MEDIA

themusic.com.au


NOT FOR THE FAINT-HEARTED SYDNEY ELECTRO-SOUL-POPPERS SNEAKY SOUND SYSTEM ARE CELEBRATING ALBUM NUMBER THREE AND ANGUS MCDONALD TELLS CYCLONE, WHILE THEY’RE AS PUMPED AS EVER, THERE’S A LOT GOING ON OUTSIDE THE GROUP AS WELL.

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as Sneaky Sound System’s From Here To Anywhere 2011’s most underrated album? With its euphoric, melodic and soulful house songs (yes, songs), From Here To Anywhere would seem to provide a magic remedy to all of that monotonous trancey electro in the charts. Angus McDonald, preparing for Sneaky’s upcoming tour, is philosophical about its comparatively modest crossover fortunes (it did get to #11). “There’s so much stuff out there, isn’t there?” he sighs, responding rhetorically. “People have such short attention spans.” McDonald and charismatic singer and songwriting partner Connie Mitchell, now aligned with Steve Pavlovic’s Modular Recordings, are plugging the album’s third single, Really Want To See You Again. They have shot another memorable filmclip, albeit one less controversial than the cheeky first single We Love. “It’s our ode to an early nineties dance video.” And the Sydney combo’s shows are going off. They’ve appeared at Mardi Gras and, oddly, the Australian Open Of Surfing. “We’ve got such a loyal, great fun fanbase out there,” McDonald extols. “You feel it when you’re out there playing live, that’s for sure.” It could all be worse. “Look at every guy in a rock band – think about them for a second,” he quips. “At least we get played on the radio and we get to keep touring relentlessly and get to play in clubs and all that kinda thing. Go and try to find a rock song on the radio!” Sneaky may yet be ahead of their time. As with their labelmates Azari & III, who’ve remixed Really Want To See You Again, they’re reformulating ‘80s techno and ‘90s dance just as classic (deep) house is making a resurgence in the underground. “I think you’ve just gotta be a little bit patient and stick to your guns and not keep chasing every trend, because if you do that you can go around in circles. We’ve got our own thing going on – and we certainly have no shortage of shows. Sure, we’re probably not selling multi-platinum albums like we used to do, but who is?” The ‘Sneaky Sound System’ has its origins in Sydney’s long-standing house club Sneaky Sundays. McDonald, a DJ and MC Daimon Downey formed a countercultural electro-pop group with Mitchell, who they stumbled upon strumming a guitar in Hyde Park. The rock chick had fronted the ‘90s outfit Primary. In 2006 Sneaky presented an eponymous debut, led by I Love It, on their own label. It was a runaway hit, striking double-platinum – and winning ARIAs. Sneaky consolidated their mainstream profile with the chart-topping 2 – home to Kansas City – a couple of years later. But Downey, chiefly involved in Sneaky’s live show, began to drift away. He’s now a visual artist in Bondi. “[We] don’t see him as much as we used to,” McDonald divulges. Sneaky released From Here To Anywhere internationally in October. This year the duo, who’ve long joined elite European festivals like Glastonbury, will be touring solidly abroad behind it – whetting American appetites with gigs during the Miami Winter Music Conference. “Modular is a very small label outside of Australia – let’s make no secret about it,” McDonald states. “They do not have a big reach outside of Australia. So it’s very much an independent slow-burn type thing over there. You’ve really gotta be there on the ground to push it along.” Sneaky do have connections. McDonald met Kanye West on his first Australian tour – and Mitchell has laid down vocals for him, most famously on Flashing Lights. Sneaky supported the Chicago MC at his recent Big Day Out sideshows, McDonald wondering why ‘Ye didn’t think to have Mitchell guest with him on stage. Has the hip hopper heard From Here To Anywhere? “Look, where do you start with that guy?” McDonald asks laconically. “He’s a tripper. He’s just done his second fashion collection in Paris – I mean, he kinda cares about Kanye… He thinks about himself and what he wants. He’s got an incredibly busy schedule, he’s trying to conquer the world – fashion, music, you name it. So I don’t know. I think at their shows here when they were doing BDO they dropped one of our tracks and gave it a big shout-out, so there’s some love there. But whether he sits there and listens to the album from start to finish is another question.” Mitchell has had other overtures from MCs – not always welcome. Obie Trice invited her to the US, purportedly for a collab. “He just wanted her as his love interest,” McDonald rues. “In the end she went, ‘You know what? Maybe not’.” Both Sneaky members have diversified, even teaming with Dutch trance superstar Tiësto for I Will Be Here – something, McDonald admits, they initially “resisted”. Mitchell has hinted at a solo project. McDonald might potentially pursue production work (he nearly wrote material for Kylie Minogue). In fact, it was “always part of the plan” for Sneaky to moonlight, McDonald says. “Once we did this record, we felt like we both wanted to do some other things. But, at this stage of the game, we’ll keep doing it together. There’s a very natural draw between the two of us – we enjoy working together, we bounce off each other very well, we know how each other works… But I also think it’s very important for us to separate and go and do our own thing for a little bit, just to explore other ways of doing things and get inspired to do things a little bit different to Sneaky – because, unwittingly, we’ve developed such a unique sound. So I guess it’d be good to go and do something different. [Mitchell has] been working on a bunch of stuff and I have been, too – so who knows how that’s gonna turn out? And then, on the other side, we’re doing a whole bunch of collaborations with lots of big dance people, just to see where that goes.”

there’s no plans to release albums in the immediate future. We wanna focus on our own stuff and then be putting out one-off things – ‘cause I just don’t think the market or the people or the kids or the clubs or anyone really gives too much of a stuff about albums these days [laughs]. At some point you’ve gotta go, ‘Alright, as artists we get it – you don’t want them, you just want really cool songs all the time’.” Sneaky will unveil a ‘mischievous’ new show for this tour, the band promising to dip into their entire catalogue, performing current songs plus fresh versions of old favourites. “We’re really excited about it,” McDonald enthuses. “We’ve got some dancers and all sorts of special things coming along with us this time. It’s gonna be a pretty bangin’, in-your-face hour-and-a-bit of power. It’s not for the faint-hearted.”

EASTER LONG WEEKEND THURSDAY 5 APRIL

VILLA TURNS THREE FEATURING

THE FREESTYLERS WITH

MARTEN HØRGER DNGRFLD, BLACK & BLUNT

TICKETS: $35+BF AVAILABLE FROM WWW.MOSHTIX.COM.AU VIP: $45 FROM THE BOOMTICK SHOP FACEBOOK.COM/FREESTYLERSOFFICIAL | SOUNDCLOUD.COM/FREESTYLERS | FACEBOOK.COM/MARTEN.HORGER FACEBOOK.COM/VILLANIGHTCLUB | WWW.BOOMTICK.COM.AU

Indeed, Sneaky have cut two songs with cred Brit DJ Riton. Erick Morillo is sitting on a tune that was finished at his “mate” Craig David’s home studio in London. As for future Sneaky albums? “The reason we called the album From Here To Anywhere is that we don’t want it to be a bookend,” McDonald explains. “We want to continue, just keep going. We wanna keep putting out singles – and singles beyond this – but WHO: Sneaky Sound System WHAT: From Here To Anywhere (Modular/Universal) WHEN & WHERE: Saturday 14 April, Villa, Perth

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THE DRUM MEDIA •15


COVERING ALL BASES

REMAINING RAW AS FUCK AFTER MORE THAN 15 YEARS IN THE BUSINESS, YOU MIGHT THINK THAT THE FREESTYLERS HAD SEEN EVERY TRICK IN THE BOOK. ASTON HARVEY, ONE HALF OF THE UK PRODUCTION DUO, EXPLAINS TO TOM BRAGG HOW THEY’VE THROWN OUT THAT BOOK AND ARE WRITING A NEW ONE.

HOLLY THROSBY REVEALS TO TYLER MCLOUGHLAN WHY HER CURRENT NATIONAL TOUR WILL BE THE LAST TIME YOU’LL SEE HER FOR A WHILE.

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rom their b-boy hip hop origins to experimenting with an 11-piece band, there is no denying that the Freestylers have a unique and diverse sound that draws upon more than 15 years of shared experiences, and a passion for remaining original. When it comes to their ability to continue to search for new ways to sonically develop, Aston Harvey is one of those rare few who seems to never quit redefining themselves. ”We are always trying to do something different with our music, otherwise people would say it sounds like the last one,” enthuses Harvey. ”You gotta keep making it fresh!”

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or someone who has released three very different records in a relatively short period of time, Sydney’s Holly Throsby is clear and collected as she runs through her list of creative achievements of the past 18 months, beginning with ARIA-nominated children’s album See! Her fourth solo album Team followed to critical acclaim, and then of course Seeker Lover Keeper became a 2011 highlight as Australia’s newest supergroup. Throsby looks back at the period in which she was also a part of the national They Will Have Their Way Finn brothers’ tribute concerts and begins at perhaps her most surprising accomplishment to date. “It started out as a kind of a joke because I have a goddaughter who’s five now and, you know, she’s very important to me, and she has a little brother who’s three,” Throsby explains of her inspiration to make a children’s album. “I spend a lot of time with them and I find them really entertaining and fascinating because I haven’t spent a huge amount of time around kids in my life, and I guess it started as an idea to write some songs for them because if I was like borrowing the car and driving them around and listening to the kids’ music they had in the car, I always found it really patronising and it drove me crazy… I thought it was probably the dorkiest idea in the entire world. But then I started talking to Tony Dupe about it – he’s produced a lot of albums for me before – and he’s got such an interesting mind, and he’s just very illustrative with music and with sounds and loves illustrating words with different sound effects and stuff, and I just knew that he would be the perfect person if he could harness that part of his imagination to make the record with.” Some people employ elaborate strategies to stay on-track when dealing with a full workload of varied tasks, though Throsby seems to have switched her creative hats with little effort, even though the writing for all three projects overlapped. “We did the children’s album first and then when we did Team, we had to be careful that a crazy elephant noise wouldn’t fall out a trapdoor or something,” she giggles, “but you always kind of know where you are I think with that kind of stuff. I think it was good for me because I’d done four albums of my own, and I guess I’d always been doing this one thing, exploring this one side of myself musically which is writing my own songs. Making the kids album, which is just like a pop album that had lots of crazy sound effects and weird lyrics, and Seeker Lover Keeper as well, I got to really explore writing pop songs which I found really enjoyable.” Following on from four weeks touring Europe alongside Spunk labelmates Tiny Ruins and Jordan Ireland, Throsby is pleased to be finally touring her project proper nationally before she retreats for some well deserved down time. “I haven’t actually done my own tour in Australia for like a year which is why I’m doing this one, because I feel like I really need to take a long break from doing shows because it’s been a lot of travelling and a lot of playing,” she says in a spritely tone with no indication of weariness. “I really love it but I kind of want to be able to sit down and write new songs and stuff like that. It was a really busy time recording the kids’ album and then Team, then the Seeker Lover Keeper album and releasing them all in quick succession. It’s so interesting because the three records were so different and appealed to completely different people.” Expect a smattering of all projects when she brings her many aliases this way.0 WHO: Holly Throsby WHEN & WHERE: Saturday 31 March, Norfolk Basement, Fremantle 16 • INPRESS

It is this attitude of perpetual innovation that is synonymous with the legendary duo. Originally bonding over an affinity for hip hop and breaks whilst sharing a studio in West London, Harvey and production partner Matt Castor began to produce records as Freestylers in 1996. Over the intervening 16 years, the pair have released four studio albums and have a plethora of collabs and remix collections, and have developed an eclectic and dynamic live act. Their initial records were heavily instrumental and a reflection of their early influences, however they tracks increasingly featured vocals, to the point where Harvey proclaimed, “We can’t keep making instrumentals anymore!” This is evident in their 2004 crossover release Push Up, a track laden with innuendo, and a reflection of the duo’s developing attitude. The most recent single, Over You, featured Ami Carmine on vocals. When pressed about the departure from their original sound, Harvey muses that it was a multitude of factors that have led to their current releases, including changing the way they recorded and the music they themselves are listening to; “adding drum’n’bass and dubstep into the style that we are known for.” It is at this point that Aston Harvey becomes pensive, and reflects upon how the process of recording has changed

drastically since he cut his teeth, and the attitude of young wannabe DJs and producers. “When I first started making music I always thought you would have to work for ages in a studio, making music for bands, you know, kicking shit. But now that is all different because everyone can be a musician, and you can have a studio in your bedroom.” When pushed for more on the matter, including the availability of webinars and YouTube courses on how to DJ/ produce, Harvey reflects upon his own origins, and uses a strange, albeit fitting, analogy. “It is good that there are all these courses, but it’s all about how people take it and develop it and not just be a robot; really take this knowledge and use it. It’s like learning to drive; everyone learns to drive, and once you pass the test there are good and bad drivers.” So what then are the implications of all of these ‘qualified’ kids out there? This is clearly a topic that Harvey has considered about as much as the average 15-year-old school kid has contemplated what Jen Hawkins looks like without her clothes on. And it is the final insight that Harvey provides on the matter that is really elucidating: “You can learn about the whole aspect of it, but obviously only a certain percentage are going to have the talent to take it to the next stage. I know plenty of guys that are amazing at mixing a record, but have not idea about how to put a tune together. They might be technically gifted but cannot put a tune together. It’s great there are these things now; there was nothing like that when I was coming through.” It is clear that both Harvey and Cantor have the ability, and have taken it to the ‘next stage’, but being a kid in primary school when they first started releasing music, one can’t help but ponder what it was like when they first started recording, and if their has studio changed. Harvey almost chokes with laughter at this thought. “The change in making music I have seen has been massive.” His reflections are an insight into his passion for music, and for continuing to remain original in what he does. When asked about his studio setup, he elicits another chuckle and responds, “It is well different. Up until last year I had a big mixing desk that we had used since we began The Freestylers. You had to put everything through different channels, and make sure it was all balanced. When I first started making music the sampler I had had something like an eight-second sampling time. So you used to have to put the vinyl up to 45 and then record onto tape, and put that on channel one, and work your way through the channels.” This laborious process has been replaced now with everything largely done on the computer sans a “bunch of old keyboards and

proper synths.” This change in itself is indicative of the sonic development of the duo, although Harvey is quick to reassure, “I make the music not as technically as you can get involved, so the end product still sounds like the Freestylers.” After contemplating the past, Harvey speaks of the future with the same vigor that might be expected of someone half his age. “We have loads of tracks on the go, and some that just need finishing.” Could this mean that Freestylers are edging towards their first studio release since 2006’s Adventures In Freestyle? “I’d like to have [the new record] done by May. Three more tracks need vocals and that’s it.” With the new record almost complete, and a stated desire to stop producing instrumentals, attention logically turns to the 2011 single Over You, which featured Ami Carmine on the vocals. The track was a commercial success, and begs the question whether Carmine will feature on any other tracks on the impending release. “She has worked on another track for our album. With these vocalists sometimes the record label sends someone over and it doesn’t work out. But when you meet someone it tends to be more natural.” Armed with new material, and a number of commercially successful tracks, the Freestylers return to Perth for Villa’s third birthday this Easter long weekend. When asked what we can expect, Harvey is a little cagey in his response. “We will be playing some new stuff from the album. But for the past couple of years Matt would play an hour and I would play an hour. But now we combine our strengths. Matt will cut the beats, I’ll scratch, find the a capellas and effects. It is not done by computers, it is all manual. It is never going to be the same set as before.” WHO: Freestylers WHEN & WHERE: Thursday 5 April, Villa’s 3rd Birthday, Villa, Perth

TOUGHEN UP TWO OF AUSTRALIA, AND AT TIMES LA,’S BIGGEST PRODUCER/DJS IN SAM LA MORE AND GROOVE TERMINATOR HAVE BEEN COMBINING FORCES AS TONITE ONLY FOR A WHILE, AND THE FORMER GIVES ALEX KINTNER A LITTLE INSIGHT INTO HOW TOGETHER THEY RUN THE NITE.

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t’s funny to think that the current clubbing generation who are chanting along to Tonite Only’s We Run The Nite and, more recently, Haters Gonna Hate, probably aren’t aware that the duo of Sam Littlemore (aka Sam La More) and Simon Lewicki (Groove Terminator) already had a couple of massive collab singles in the mid-2000s. In 2006 Danger (The Bomb) and Where The Party’s At were all the rage in club land, which the duo then backed up with some huge remixes for the likes of Sneaky Sound System (Pictures) and The Similou (All This Love). After that Tonite Only went a little quiet before the recent aforementioned tracks, with their anthemic, child-chanting vocals and banging four-four beat once again capturing dancefloors around the country. Drum catches Littlemore on a studio break in Sydney, working on his own productions while waiting for Lewicki to return from Los Angeles (his home away from Sydney) to get cracking on Tonite Only’s next single. On how the unholy union began in the first place, Littlemore says, “We were just party boys in Sydney before moving to LA. And we had a couple of weekends where we thought we might wanna get in the studio and make a record, and out of those two weekends came the first two Tonite Only singles. “So it was pretty instantaneous and then we both moved to LA, not together, but at the same time, and that’s where we did our remixes...which ended up being quite big remixes. And they established us as maybe more of a band than just an excuse to put out some records; we thought it could be a long term thing off the back of that.” It’s an interesting combination of sheer production class. Groove Terminator is responsible for a string of Australia’s biggest clubbing hits, while Littlemore has added his golden touch to such artists as brother Nick’s band Pnau (the siblings co-wrote and produced Pnau’s breakout self-titled 2007 LP), Gwen Stefani (What You Waiting For), Empire Of The Sun, TV Rock, and The Potbelleez’s mega single Don’t Hold Back. How it all comes together in the studio

for the duo is quite simple, although maybe more intensive for Littlemore. “I tend to come up with the ideas, and then present them to Simon and say ‘What are you feeling?’, and he’ll jump onto one or another. And then we’ll get into the studio together and finesse them, generally make them a bit tougher, and then co-write a vocal for them and finish them off. Most of the time we’re in the studio together but I tend to write the chords from scratch myself.” It’s a theme throughout the chat that crops up quite a bit – while it’s unfair to say Littlemore is the brains behind the operation, he appears to be largely in control from the ground up, with Lewicki adding that senior head to the finished product. “Well, his skill is more in the… He’s more hands-off, back of the room. He tries to keep it from being cheesy or too self indulgent, too deep or anything where I might become too self-indulgent. Which, you know, may only be 10 percent of the effort sometimes, but it’s that 10 percent that makes the records. It’s just the way it is; I’ve gotta put in the vast majority of the time and the effort, but without his input I’m likely just to make flowery crap that no one wants to hear,” he laughs.

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This ethos extends into Tonite Only’s live shows and DJ sets, where the relatively greener Littlemore is spent hovering over the decks, making sure musically everything is perfect, while Lewicki jumps around behind, making sure the crowd is perfect. “We’re doing lots up there. I’m doing the visuals as well as making sure the sound is right. Simon’s more the vibe guy, making sure everyone in the crowd feels engaged with us, and he’ll use the t-shirt guns and streamer guns and so forth to make sure there’s a bit of theatre while I’m just stressing up there,” he jokes again, self-deprecation another running theme. So Lewicki is the party man? “Yeah, basically because that’s how I am when I DJ as well; I always look like I’m angry,” Littlemore chuckles. “And he’s always the guy who’s no-sweat, having a good time, fist-pumping the air. It’s just our different approach to the gig. Plus he’s an expert DJ. He’s been DJing for 20 years and I’ve only been doing it for about five. Maybe he’s just that comfortable in the DJing and I’m still freaking out if anything is going to go wrong or if I push the wrong button.” It’s an interesting dynamic, and while throughout the interview Littlemore never bemoans how Tonite Only works, one definitely gets the sense it’s just how he

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works, whether it’s with Tonite Only or his solo work as Sam La More. “Well [doing Sam La More] is quite stressful because I don’t get to play music that I want to. I’d be playing deep house if I played my favourite stuff. So I end up being quite stressed because I’ve gotta try and read what the 19-year-olds want, and that’s not easy. Whereas with Tonite Only, it’s just such an intense show, people don’t have time to get bored or question what we’re doing, you know? It’s very arrogant. We just sort of go out and blast people and don’t even consider the possibility that they’re not going to enjoy it.” And to be fair, by and large they’re struggling to find a crowd that doesn’t enjoy it. Their last two shows here – Sets On The Beach last year and Big Day Out a few weeks ago – had thousands in raptures. And if their track record is anything to go by, it looks set to continue with their next single. “The new track is a solo vocalist, I can probably reveal that it’s a solo female but I don’t wanna give away too much… We don’t wanna make records just for the clubs. We don’t make generic club fodder, we try to make records that are a bit more anthemic; you know, when they come on people pay attention because it does sound different. We’re just trying to continue toughening up the sound but at the same time making it more accessible.” He’s also refreshingly frank when it comes to their follow-up to We Run The Nite. “I’m just starting to come to terms with Haters [Gonna Hate],” he laughs. “That took me a while; that was a bit of a rushed record. It wasn’t a mistake but I’m sure we could have done better with it. Hopefully the next one does that.” WHO: Tonite Only WHEN & WHERE: Thursday 5 April, Hot Cross Buns, Amplifier/Capitol, Perth


MUSIC MACHINE

ALL GOOD THINGS

AHEAD OF LAUNCHING THE LOCAL BAND’S UPCOMING ALBUM OTIS, DANIEL CRIBB IS SURPRISED THAT THE MEMBERS OF THE MORNING NIGHT FIND TIME TO SLEEP IN-BETWEEN THEIR RELENTLESS WRITING AND RECORDING.

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t doesn’t matter what time of day it is, you’ll probably find The Morning Night frontman Adrian Hoffmann scribbling down song ideas or strumming away at his guitar. The problem he faces with such a productive creativity is the delayed period between writing music and the time it’s released into the world, especially when his band doesn’t take shortcuts. The end result of the group’s perfectionist nature is ten well-refined “works of art” that weave between one another to create a solid album. “I’m hoping that people will really enjoy [Otis] and take it seriously as an album, as opposed to just a single or an EP. I want people to sit down and listen to it start to finish, because it’s designed for that. It’s definitely like a story. That’s the way I see it, so I hope people get that and take the time to listen to the whole thing,” Hoffmann says, as the call ironically gets disconnected. A minute later he returns to continue, “It’s written in a way that people can take their own meaning from it.” Producer Ricky Maymi (once from The Brian Jonestown Massacre and close friend and collaborator with The Church’s Steve Kilbey) played a huge role in Otis. He wasn’t just a seasoned musician providing some direction; he became the sixth member of the band. “When Ricky came over he joined the band for a few months, even before we went into the studio. He played guitar at a few gigs and came to rehearsals, so when we came into the studio he was like a band member to us and we all fed off each other and liked each other’s suggestions and it just worked organically,” Hoffmann describes. “We called the album Otis because [Maymi] was in Perth at the time – he lives in San Francisco – because he was having a kid called Otis. We wouldn’t have done the album at that time and in that vibe and it wouldn’t have sounded like it did if it wasn’t for Otis being born. We feel like Otis is a big part of the album.

WITH A NEW ALBUM READY TO HOWL OUT WITH, PERTH-BASED ROCKERS WOLVES WILL BE CALLING IT A DAY AFTER THEY LAUNCH IT. VOCALIST ADAM BURFORD GIVES DANIEL CRIBB ALL THE DETAILS.

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“He comes over a lot, so we’ve seen him quite a bit and we’ve already done another album. We’ve got another one ready to go after this one. It’s really strange actually. The first one took so long to do and we were so precise and the second one just went smack bang and is pretty much finished already. We took so long at first, now we’re ahead of time,” he laughs. “The two albums… I know I shouldn’t be talking about my second one,” he laughs, again. “They’re totally different and they both have their own themes.” Mystery takes control of Otis, allowing listeners to form their own meanings of songs; even their latest music video Calm Me Down, which on the surface seems simple enough, can be read a lot deeper. “There’s a few ways that you can perceive that video,” he says. “It was directed by Aaron Moss and David Smith. They came up with a great concept of an older lady realising she’s old but saying ‘I’m not going to worry about that; I can still do what I did when I was younger’, and she throws out the age thing and gets up on a table and starts dancing. It’s about realising that life’s not all bad. You can be down a lot, but you’ve just got to break out of it and be young and enjoy it,” he explains. This is exactly what The Morning Night plans on doing for the rest of the year. “We’re just really excited about exposing the record to people live and we want to do as many shows as we can and have fun and just get the album in peoples’ hands before the next album comes out, probably towards the end of the year.” WHO: The Morning Night WHAT: Otis (Walking Horse/MGM) WHERE & WHEN: Saturday 31 March, Mojo’s Bar, North Fremantle

AMERICAN ORIGINALS

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Their latest opus is 2011’s American Goldwing, their fourth release through Sub Pop, which sees Earley and the band delve into the past more than ever before, and he believes that the album is truly indicative of how he has grown as a songwriter. “I think I have been able to achieve a level of honesty in writing that I didn’t give much thought to when I started playing music,” he says. “These songs are all about something specific and are personal; I know what each song is about, that’s the type of songwriting that I like to do. I think that comes with time, being comfortable to write about yourself or those close to you, to give a voice to that, and to be able to enjoy writing about these personal things.” When music begins to take on that personal nature though, it requires the level of reflection that, when events are dissected and put under the cold harsh light of hindsight, can be pretty damaging. Earley assuages that his personal reflection remains ultimately hopeful though. “This album is about where I grew up, people I knew, and there is always going to be that wistful notion of wondering what things would have been like if I had gone in a different direction, traveled out on a different street. But I think that is always the case with songwriting – you are writing about what you know. The difference this time around was I was being more literal and honest with myself about these experiences 18 • THE DRUM MEDIA

Their trip to the states to record with legendary producer Sylvia Massy for a month – who has worked with Tool, Cog and Red Hot Chilli Peppers to name a few – came about through a series of conveniently-timed events. “A friend of mine approached Sylvia and gave her a couple Wolves demos and we got in touch that way,” Wolves vocalist Adam Burford recalls. “She was over during a WAMi conference or something. She really dug what we were doing and gave us a pretty sweet discount, so we kind of figured for the same amount of money that we could do an album over here, we could do one over there with a fairly well-renowned producer. It was a bit of a no-brainer for us to do it that. “It was the first time we actually recorded anything properly. We did a three or four-track live demo in Osborne Park, but we kind of skipped the whole EP process and just went straight to the album,” Burford continues. “We kind of did it backwards. We used the album to secure management and that. When we went to California we didn’t have any representation or management or touring agents or anything like that. We went over there to get that kind of stuff. We ended up securing management out of it fairly quickly, a management company in Brisbane called Teamtrick.”

With ten polished tracks and strong management, Wolves was a force that was on its way to take over the world and couldn’t be stopped – or so it seemed. “Most of the infrastructure and networking for the band is kind of over there and [Teamtrick] basically felt that there was a limited amount of things they could do for us while we were based over here. If we were over there they felt that they could do a lot more for us,” he explains. “It got to a point where, a couple of months ago, we were asked to move over east and it brought up a few things within the band. Some could make the commitment, some couldn’t. It basically became something that we couldn’t get past and it put an end on the band; a feeling as to what we could actually achieve with it. So we decided that, instead of kicking about and not doing too much, we would just call it a day. “We’re extremely thankful for everybody who has supported us. None of what we’ve done would have been possible without their support. We wouldn’t have even been able to get to California if it wasn’t for the fundraising gig that we did. All the support we’ve had from friends and family, when we were away on tour and things were hard, we couldn’t have done any of it without them, so many many thanks to everyone who’s supported us.” WHO: Wolves WHAT: Thieves & Lovers (Independent) WHERE & WHEN: Friday 30 March, Amplifier, Perth

THE BEST HE CAN BE

AFTER MORE THAN A DECADE IN THE BUSINESS, BLITZEN TRAPPER FEEL THEY ARE FINALLY IN THE GROOVE. LEAD SINGER ERIC EARLEY EXPLAINS TO BRENDAN TELFORD HOW WRITING HONESTLY COMES EASIER WITH AGE. ortland alt-country band Blitzen Trapper have been crisscrossing the globe for more than a decade, and in that time have amassed a plethora of accolades for their unabashed love for pastoral Americana circa 1970. Little has changed since the band – currently Eric Earley (guitar/harmonica/vocals/ keyboard), Erik Menteer (guitar/keyboard), Brian Adrian Koch (drums/vocals/harmonica), Michael VanPelt (bass), and Marty Marquis (guitar/keyboards/vocals/ melodica) – formed in 2000, yet subtle variations segue from that original blueprint to see the band fortifying a definitive sound with each stellar release.

fter forming in 2009 and quickly finding their feet in the Australian music scene, it looked as if Wolves were on an express train heading straight to Bigtown. Equipped with only a few demos, they managed to score an invitation to California to record their debut album Thieves & Lovers. From there they landed numerous supports with the likes of Dead Letter Circus, Closure In Moscow and Gyroscope, seeing them play to sold-out crowds all across the country.

THE REIGNING KING OF CHICAGO BLUES, BUDDY GUY, MIGHT BE IN HIS MID-’70S, BUT HIS SPIRIT AND WORK ETHIC IS STRONGER THAN EVER. HE TALKS ALL THINGS BLUES WITH DAN CONDON.

I had. Some songs are about my childhood; some are about recent relationships and stuff like that. For me I can’t really write these songs unless I know where I am coming from. I have to know what these things mean to me, something that is more apparent now than maybe it was before. These memories come from a very concrete place for me. So now the songs I end up writing are the ones that I care about, or truly know, otherwise I can’t really see the point of writing it.” This also mirrors the genetic make-up of the lyrics, which eschews the more narrative-driven pastiches for a more personal, exploratory tone. “A couple of songs are still driven by narrative – it is hard to break away from when that is what you are used to writing,” Earley states. “And I think I will always write songs like that, to an extent. I just think that if a song is too hard now, I’m not gonna write it! If it isn’t coming naturally it’s best to throw it away. I don’t wanna keep at songs that kinda lead me on, you know? There has to be a better way!” The band has visited Australian shores numerous times in their history, yet there seems to be added fire in the belly when it comes to this particular tour. “The current record is a good one to play live, which is always a plus. It’s been two years since we have been down there, and we always seem to get great responses, which is always beneficial,” Earley laughs. “It’s all about having a good time, and the shows are great. Plus the fact that we are on such a great festival means there will be time to relax and take some other music in, which is always nice. A good way to spend a working holiday!” WHO: Blitzen Trapper WHAT: American Goldwing (Sub Pop) WHEN & WHERE: Sunday 1 April, West Coast Blues‘N’Roots, Fremantle Park

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e started as a protégé of the great Muddy Waters, but before long Buddy Guy had established himself as a larger than life figure deserving of his own page in the blues history books. He’s always placed an emphasis on fun with his brand of blues-rock, which is an element he still considers vital to this day. “I was brought up in the Baptist church and we didn’t have instruments,” Guy recalls. “My mother and grandmother and all the people around me, the people I was related to would just have fun. They couldn’t stand still; they look like they were enjoying it so much. That’s the way I feel when I play, I’m so happy. If they tell me to sit in a chair – I know BB [King] does it – but I can’t do it! I might jump up and kick the chair off the stage when I feel good. I can’t sit there, man. This is too good to sit down on. I gotta get up and let everybody know how I feel.”

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He certainly has a lot of energy, and at 75 years of age, Buddy Guy maintains a fairly hectic performance schedule. When asked how he feels about keeping it up so late in life, Guy just sounds too gracious to ever stop. “It’s sad to say but there’s only a few of us left,” he opines. “Me and BB was talking about that about three weeks ago. We are blessed to still be able to go out and make someone happy with our music. I remember when I wasn’t invited to the parts of the world that you’re talking to me from and I was wondering what was wrong. What did I do wrong to not be invited? And then all of a sudden somebody cares or likes you enough to invite you over there and I’m just overjoyed with that.” Last month Guy was part of a group of blues royalty who performed a special concert at the White House in Washington D.C. While this is a man who has clearly

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done a lot over the years, you get the feeling this performance was something of a crowning achievement. “Well, you know, that’s a dream,” he beams. “To be invited to play in front of the Commander In Chief, man, I don’t have words to explain that. I just hope I don’t make him angry! [I hope I] played the right notes for him! I saw a smile on his face when I asked him to come up and sing Sweet Home Chicago. And he did! I thought, ‘Oh Buddy, you goin’ down in history now, man. You got the President to sing a blues lyric!’” Buddy Guy’s love for Australia is shown through frequent visits over the past decade or so. Though it’s his first visit he recalls immediately when thinking about our country. “I got invited to Australia… I think it was 1972. I had never met Arthur Crudup and that’s where I met him – in Australia – and he was one of my idols because he was one of Elvis Presley’s idols,” he recalls. “Those were the good old days. I love the country and I love the people and to keep being invited back by the people down there, it tells me I must have done something right.” What does Buddy Guy have planned for Australian audiences this time around? “I don’t know nothin’ else but Buddy Guy,” he says. I know somebody’s gonna be there [who] probably [has] never heard of me and will go away saying, ‘I didn’t like him but I know he gave me everything he had’, so that’s my plan. I can’t hold back. I’m too happy to be invited down there to say, ‘Well I can’t give it all to you now, I’ll save some.’ I ain’t got nothin’ to save, man. You gonna get everything I got.” WHO: Buddy Guy WHEN & WHERE: Sunday 1 April, West Coast Blues ‘N’ Roots, Fremantle Park


THE DRUM MEDIA • 19


SINGLES/EPS WITH DANIEL CRIBB

ON THE RECORD

HEYTESBURG PYR

Independent

D

VD

D

SNAKADAKTAL

VD

Carnival (Lobster Monster) I Oh You

TRACKSUIT

Beat Up Radio Independent Tracksuit’s latest single Beat Up Radio wastes no time in catching attention, with verse melodies that have the same memorable intensity as a strong chorus. With such well-built verses it’s surprising they managed to make the chorus even stronger. You listen to this song once and you’ll be humming the chorus for a week. The only problem you would find is this release leaves you wanting more; hopefully an album will surface sooner rather than later.

ALLBROOK/AVERY

DAWES

Liberator/Universal

Spinning Top

Warner

Orbital cost me $100. Y’see, caution was wisely employed approaching Wonky after their badly malnourished 2004 Blue Album, but whoever expected their return to blaze such a fiery trail provoking overzealous throttle usage on Kwinana Freeway? Not I. The Hartnoll brother’s eighth studio album starts off with One Big Moment, drenching the ears in analogue synthesizer madness. And it just gets better from there.

Released digitally a few months back, it’s only recently that Big ‘Art’s received a physical release. The bloodspurting heart cover art is bang on in showcasing the romantic lo-fi rock uncovered in this stack of nine songs. Self-described as “gunk”, everything that filters through this funnel is absolutely abuzz with sonic. Guitar and drums mix with beautiful static to create less clarity on individual elements leaving behind a mush-up, rather than mash-up.

Lead single New France (featuring Zola Jesus) gave grand hope that things were back on track and Wonky’s refusal to bend to genre conventions is refreshing. Just two tracks feature vocals, giving one ample opportunity to get lost in the textures. Nods to their past pepper pleasingly throughout. Stringy Acid borrows vibes from classic Chime, while Never imprints a passing memory of Walk Now.

Empty is the key to a door through which a fuzzy, layered world of sentimental synths and phasers await laden with Allbrook’s wavering. Avery speaks momentarily at D V the start of Wait ‘Til Morning and you can hear his soulful backing vocals making it a melodious summer surf-rock song to skate to in a concrete wonderland. The Man’s Not Me injects pop into a steady score of country folk and makes you want to kick around dusty gravel with nothing on one’s agenda. The only-dungarees-and-cotton attitude sound sets up the following track Big Black Crack In the Sky, kept grounded with blues guitar so as not to drift away on a zephyr of white noise. When Heavens Heavy Hammer Cometh Down suffocates you so much with whiney vocals you’ll want to cut yourself out of a loose singlet with a letter opener, although everything lyrically seems to light up with glamorous naivety.

Post-punk-cum-new-school-country-folk-rockers Dawes return with their second album, Nothing Is Wrong. Hailing from the Laurel Canyon neighbourhood of California, you can hear Crosby, Stills & Nash and Neil LIVE Young influences in the quartet’s Americana, West Coast ‘70s sound. The jingle-jangle guitar chords and pulsating harmonies of time spent in Los Angeles are interweaved effortlessly with Taylor Goldsmith’s rich vocal delivery. The delicate beauty of My Way Back Home and Moon In The Water in the record’s core contrasts beautifully with the more upbeat and Youngesque That Western Skyline. The way the Goldsmith siblings gel together so wonderfully makes me wonder what it would be like if my older and wiser brother was in a band with me. Although a keen music aficionado, he wouldn’t know which end of the axe to strum. Maybe he could play the triangle? Aaah, I can only dream.

Wonky

Big ‘Art

The beats stay fast and euphoric, lulling only momentarily on Distractions, but the entire second half is a flawless home-run with three astonishing achievements. Past triumph Satan gets a radical and complete dubstep overhaul and a new name (Beelzedub). Purists can rest their distrust – it’s like The Prodigy going back to murky basics. The title track features vocals from Lady Leshur that zip and dart like an epileptic humming bird while Orbital go nuts on pop-rocks. If commercial radio dared get hold of it, the kids would go bonkers! It finishes on Where Is It Going, which revs up, not winds down the last moments demanding another hit of the repeat button. After 20 years, the techno-baldies have not just returned to form, they’ve delivered a masterpiece. And cost me a speeding fine. MAC MCNAUGHTON

Nothing Is Wrong

D

The single Carnival (Lobster Monster), taken off Snakadaktal’s debut self-titled EP, not only works as a great party tune on the weekends, but also one to chill out to during the week. A single’s job is to try and sum up a band, and the release it comes from, as best it can in only a few minutes. This track captures everything fresh and unique about Snakadaktal in that short period of time; the playful atmosphere surrounding their music and the great songwriting abilities they have been graced with.

ORBITAL

D

LIVE

VD

There’s something hauntingly unique about Heytesburg’s new EP PYR. They’ve managed to capture a weird energy in this recording that places them into a new realm of industrial psych-rock. The use of depth, accompanied by great production quality, is what makes the songs come alive and has a lot to do with the new direction the band is taking the genre in. With lyrical content to match, the dark feelings portrayed by the music and strong instrumentation, this release is a solid all-round package.

This release is not electrifying, nor is it soul shaking. In truth it’s just another stripped-back project from the Pond/Tame Impala/Mink Mussel Creek jamboree that has the power to lay down tracks for self-satisfaction. Although boring and repetitive at times, the freedom to record it makes these Gummi Bear-eating, duck-watching “tight bros” an all the more charming collaboration. INÈS VELOUR

Soon to embark on east coast dates with My Morning Jacket and Justin Townes Earle, as well as their own headliners, Dawes have taken a tried and tested classic rock formula and made it accessible to modern ears. Endorsed by The Band’s Robbie Robertson and Jackson Browne, they’re an emerging act set to break through from underground anonymity. Nothing Is Wrong is a record that’s easy to kick back to and let your mind wander, with whiskey in paw. However, it should still be appreciated for its accomplished songwriting and intricate instrumental arrangements. Like a rich chocolate cake, you will be left wanting more. Just savour the delectable aftertaste! TOM O’DONOVAN

GALLOWS

Death Is Birth Shock The departure of Gallows vocalist Frank Carter and arrival of Alexisonfire vocalist Wade McNeil had potential, but Death is Birth isn’t anything special. If they play their cards right and give their next release 110 per cent, Gallows has the potential to prevail successfully. If you’re new to Gallows and like hardcore-punk you’ll probably enjoy this EP without a second thought, however, it’s long-time fans that will be torn in two.

LANTANA Red

Independent When you put on a band you’ve never heard before, you’ll often find yourself waiting to hear the vocals before forming an opinion of the band. The opening track on Lantana’s Red kicks off with a strong drum beat and some grungy guitar and for the first 30 seconds or so it’s nothing that special. Then the vocals kick in. Vocalist/ guitarist Hanna Osman has one of the best rock voices to come out of Perth in a long time and because of it this EP has a strong dynamic. For a two-piece, it’s impressive how solid they sound.

SUPER BEST FRIENDS Handshake Independent Straight off the bat, Canberra’s Super Best Friends win major points for having a band name that references South Park. When you’re tucked away in what some might call the boring capital of Australia, what else is there to do but party and jam with your mates? Super Best Friends have used such activities to kill their boredom and make a good grunge-punk listen. Handshake doesn’t slow down for a second, which is great until you’re at the end of the CD and are left with the same feeling you have after watching the first movie in a series and knowing you have to wait for the next one.

LOST IN THE TREES

THE ROSIE BURGESS TRIO

POND

ANTI-/Trekky

MGM

Modular/Universal

It would be easy to mistake Lost In The Trees’ new album for a soundtrack to a movie. Something fairly epic, with great sweeping shots of landscapes and dramatic scenes on dark street corners, probably with a lot of suspense, and maybe a moral epitome or two. With great orchestral sweeps, simple intros of lightly-picked guitar or piano soaring quickly into thickly arranged compositions, A Church That Fits Our Needs is no simple procedure.

The new album from Melbournian roots three-piece The Rosie Burgess Trio perfectly fits the mould of the road album. Made in a month, it captures the nomadic free-for-all casualness that the band uses as a source of connection. At times, it does produce a few naff cuts of derivation and, to be honest, boredom, but it still stands as a solid album.

Any insinuations that Pond should live perennially in the shadow of sister project Tame Impala should be disregarded like a Jason Russell psych evaluation. The local quintet’s fourth offering, and first on Modular Records, Beards, Wives, Denim is distinct from any of their other individual work, and something quite unique. Beards... is a record full of pop tracks that somehow got sidetracked in their construction and instead showcase the individual and collective creativity of the group.

A Church That Fits Our Needs

Before I Set Sail

Though the band technically consists of six members, Ari Picker is the main man – the one who does the bulk of the writing and composing, as well as the singing and much of the playing of the instruments. He’s also the impetus for the direction of this record, which was composed after his artist mother took her own life in mid-2009, when the band was busy releasing their first album. And it’s a beautiful piece of work – the composition complex, the lyrics conflicted, the music more uplifting than you might expect from something inspired in grief by untimely death. But it also definitely doesn’t escape the cheesy; Andrew Lloyd Webber made modern and vaguely folky, with violins and cellos and violas and piano soaring up and then too often going terribly fluffy. For all the instruments and musicians involved – and there are at least 15 of each – it’s not a cluttered album. Picker is a symphony composer at heart, and the many elements have been blended and woven to produce a full, rather than crowded, sort of sound. But it does kinda get a bit much by the end.

Burgess’ talent in guitar-playing is constantly on show, with tracks like Humble Pie and Solid Ground laying over her tight strumming with gorgeous harmonies, while Half A Girl and Step By Step sit on more complex bending, picking and other assorted guitar maneuvers. The interplay between Burgess, drummer Sam Lohs and bassist Tim Bennett keeps the songs taught, the musicianship displayed by all three in top form in this recording. What ultimately makes – and breaks – the record, however, is Burgess’ own lyrics and vocals. At times enchanting (Glass, Half A Girl), at others irritating (Before I Set Sail, Typhoid Mary), there’s just too much uncertainty to class this as a no-filler record. Burgess sometimes deviates into urban spoken-word smatterings or drawn-out country drawls, such as in closer This Time, but simultaneously sits by a comfortable singing voice in many other tracks, one that often hearkens to that of the much-maligned Missy Higgins. All said, Before I Set Sail is a charming album (just read the little notes next to the lyrics for an immediate sense of “awwwwwww”), which is let down at times by a few hiccups. CAM FINDLAY

ZOE BARRON 20 • THE DRUM MEDIA

Beards, Wives, Denim

From the outset, it is evident that Pond are not adhering to any structure, but rather are jamming out and extending each of the tracks as they simply have a good time. Opener Fantastic Explosion Of Time transports you to an ethereal place where you are surrounded by catchy hooks and ‘70s guitar riffs, and while the album begins with a splash, the remainder does not disappoint. It conveys the energy and entertainment that they obviously had in recording in a “ramshackle old farmhouse” in Eagle Bay. This is never more evident than on Dig Brother, when someone utters “that was shit” followed by amused chuckles. It is the freedom of the recording process, and the high-energy vocals that carry the vibe of the record. The explosive drums, and engulfing riffs of Sun, Sea & You, as well as the good times feel of Leisure Pony, exemplify the popmeets-rock nature of the album, whilst Moreno’s Blend ensures that attention is captured right to the end. Pond may not be aiming for any technical or structural prizes for Beards... but that doesn’t preclude them from producing an engaging and fascinating record, that inevitably not only requires but begs repeat listens. TOM BRAGG

themusic.com.au


THE DRUM MEDIA • 21


FRONTROW@DRUMPERTH.COM.AU

THIS WEEK IN

ARTS

THURSDAY 29 Animator’s Hour – a showcase of local animators through eight free screenings, happening each Thursday night until 12 April. Northbridge Plaza, 8:30pm. Barbarella – Psychadelic FrancoItalian sex-kitten super-camp sci-fi, starring Jane Fonda. Rooftop Movies, City of Perth Roe Street Carpark, Northbridge; entertainment commences 6pm, screening starts 8pm.

the play jumps back and forth between centuries. Closing night. Heath Ledger Theatre, State Theatre Centre of WA. Rooftop Movies Sunday Classic: Some Like It Hot – when two musicians witness a mob hit, they flee the state in an all-female band disguised as women. Rooftop Movies, City of Perth Roe Street Carpark, Northbridge; entertainment commences 6pm, screenings start 8pm.

FRIDAY 30

MONDAY 2

Rooftop Movies double: Blow / Fear And Loathing In Las Vegas – How a small town boy made $100 million with the Medellin cocaine cartel and lost it all (Blow), and Johnny Depp as Hunter S. Thompson in Terry Gilliam’s batshit crazy Fear And Loathing In Las Vegas. Rooftop Movies, City of Perth Roe Street Carpark, Northbridge; entertainment commences 6pm, screenings starts 7pm. Sink: A Group Exhibition – artists exhibiting include Damian Audino, Will Schorer, Josh Garner, Michael Banting, Tyron Hug, Ash Reader, Scott Mellor, Luke Miguel, Layton Webber, Sam Bromwich, Adam Del Borrello, Aaron Webber, and Foe. Closing day. Kurb Gallery.

Tom Malone Prize 2003-2012 & Translucence: Contemporary Glass – 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. Closing day. AGWA.

SATURDAY 31 Artists On The Walkpath – the Singleton Bird Sanctuary at Riverside Gardens, Bayswater will be brought to life with a series of sculptures from local artists. This year’s artists include Paul Caporn alongside Selga Esots, Peter Dallimore, Josephine Flynn, Richard Foulds, Amber Harries, Julie Jackman, Jed Lever, Elizabeth Marpole, Cherish Marrington, Gabby Mazalevskis, Annie Q Medley, Matt Moore, Chris Reimer, Rebecca Sheardown, and Joanna Sulkowski. Singleton Bird Sanctuary today and tomorrow. Blackbird – inspired by a true story, Blackbird is a riveting play that raises challenging questions about society, morality and how the past irrevocably affects the present. Written by Scottish playwright David Harrower, Blackbird exposes the story of two people who shared a forbidden relationship fifteen years earlier. Closing night. Studio Underground, State Theatre of WA. Luminaire – Luminaire considers light as a performer on stage, using experimental techniques and effects to create lighting sculptures and ‘lumiscapes’ that punctuate a vivid narrative. Closing night. Blue Room Theatre. Red Silk – in the 1960s Pulitzer Prize winner Anne Sexton was the highest paid poet in the US. To her many friends and lovers she was beautiful, witty and engaging. But there was a dark side to her life, alluded to in her writing. Perth-born stage and screen actor Roz Hammond returns to The Blue Room Theatre to play the pivotal role of Anne in a fictional view of what may have happened in that room. World premiere Red Silk production. Closing night. Blue Room Theatre. Rooftop Movies double: Carrie / Fight Club – a friendless teenage girl with latent psionic power is abused by her unstable Christian fundamentalist mother and has a very bad prom experience (Carrie), while a ticking-time-bomb insomniac and a slippery soap salesman channel primal aggression into a new form of therapy (Fight Club). Rooftop Movies, City of Perth Roe Street Carpark, Northbridge; entertainment commences 6pm, screenings start 7pm.

SUNDAY 1 Arcadia – a look at the confusing and disruptive force that is sexual attraction. Set in Sidley Park, Derbyshire 1809 as well as 1989, 22 • THE DRUM MEDIA

Edward Scissorhands – an uncommonly gentle young man, who happens to have scissors for hands, falls in love with a beautiful teenage girl. Rooftop Movies, City of Perth Roe Street Carpark, Northbridge; entertainment commences 6pm, screenings start 8pm.

TUESDAY 3 Jaws – when a gigantic great white begins to menace the small island community of Amity, a police chief, a marine scientist and grizzled fisherman set out to stop it. Rooftop Movies, City of Perth Roe Street Carpark, Northbridge; entertainment commences 6pm, screenings start 8pm.

WEDNESDAY 4 Rooftop Movies’ Bulmers Comedy Wednesday: The Castle – a Melbourne family is very happy living near the Melbourne airport. However, they are forced to leave their beloved home by the Government. Rooftop Movies, City of Perth Roe Street Carpark, Northbridge; entertainment commences 6pm, screenings start 8pm.

ONGOING The Contemporary Australian Family Photographic Project – showcasing the socio-cultural landscape of Australian family lives and relationships, featuring 58 curated photographic prints by 29 photographers from across Australia. The Bakery until 15 April. FotoFreo 2012 – a month-long biennial festival of photography that showcases the work of Australian photographers alongside leading international photographers. FotoFreo 2012 will include two photographic projects, one by esteemed Magnum photographer Martin Parr, the other by Western Australian photographer Bo Wong. Various locations until 15 April. See fotofreo.com for details. 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. PICA until 8 April. Tribute Night – artist Patrick Miller’s first solo exhibition, an exploration into the multi-layered history of light. Miller examines it from different perspectives including light as a physical force, a cultural phenomenon, and a philosophical proposition. The show includes three discrete sets of related objects and examines both literal and figurative illumination and reflection. OK Gallery until 29 April.

CHARLOTTE’S WHISPERS CHARLOTTE GAINSBOURG HAS FORGED A HEALTHY CAREER IN BOTH FILM AND MUSIC. HERE SHE TALKS TO ANTHONY CAREW ABOUT HER BEGINNINGS, HER FATHER, AND WHY SHE’S SO LATE TO PERFORMING HER MATERIAL LIVE. Charlotte Gainsbourg is in Berlin, serving on the Mike Leigh’s jury at the Berlin Film Festival. “After hanging up with you, I’m going to quickly go downstairs, and we’re off to a secret place to deliberate,” says the 40-year-old actor, singer, and descendent French pop-cultural royalty. She, as juror, has sworn oaths of secrecy (and signed nondisclosure contracts), so Gainsbourg can’t discuss what films she’s about to ‘fight for’, and whether that included the eventual winner, the Italian documentary Caesar Must Die. But she’s glad to be “going back to theatre again” after a nine month hiatus after the birth of her third child, Joe, in 2011. Gainsbourg didn’t develop a formative love of film in theatres, though; her pathway into cinema came from a childhood spent on sets, with her mother, Jane Birkin, and father, Serge Gainsbourg. “From the first time I saw my mother work, I got an idea of how wonderful it was to be on set,” Gainsbourg recounts. “Because I was so young, it was really about the excitement of being a child in an adult’s world. It was just the best holiday I’d ever had: being on my own without my parents, being treated as a child but able to engage with adults on their own terms. I remember wanting to work in every department. I was trying to go with the electricians. Being away from home but being part of a group, that’s what appealed to me, at first.” Gainsbourg was just 12 when she made her own film debut, in Élie Chouraqui’s Paroles et Musique, and she remembers her only goal, at that age, being “trying to please a director”; the budding thespian operating with no formal training. “At the beginning, I was just doing it in such a spontaneous way, with no fear, also,” offers Gainsbourg. “There was something completely innocent about it, not too much thought. It was very instinctive. Today, I hope I still have some instinctiveness, and that spontaneity hasn’t changed too much, but I do enjoy preparing a part, and getting into a part in a different way. There’s so much more reflection on the work as an adult. Sometimes, I wish I could go back to that sort of innocence. But there is one real similarity: just wanting to be submerged by the material, and just forgetting about yourself.”

C U LT U R A L

Gainsbourg submits that moments of physical struggle – “go[ing] through violence under the protection of the film” – are, in her experiece, the easiest place to ‘forget’. Perhaps this explains her recurring relationship with Lars von Trier, with whom she’s already made the brutal Antichrist and cold Melancholia, and, “if all goes to plan”, will work with again on the ‘quasi-pornographic’ Nymphomaniac, due to be shot mid-2012. Gainsbourg’s work with von Trier has been the only cinematic constant – along with a shoot on location in South Queensland for Julie Bertucelli’s The Tree – in the past three years. That’s due in part to new-motherhood, but also to Gainsbourg committing herself to her adopted singing career. She made her debut, as 15-year-old ingénue duetting with daddy, on 1986’s Charlotte Forever, but – due in part to the controversial single Lemon Incest, and the semi-scandal it attracted in England – waited 20 years to make a second LP. That came in 2006 with 5:55, which found Gainsbourg collaborating with retrofuturist synth-muzakists Air. Even still, it felt like another digression alongside acting; especially given the songs were

never performed live. “I turned down touring for 5:55 because I knew I wasn’t going to be able to perform with Air,” Gainsbourg says. “And that was the whole purpose of that album; I had made this record with them, so I couldn’t imagine going and touring with them not there. That idea made me feel very, very shy. Too scared. So I turned it down, and then I felt frustrated about that.” After suffering a cerebral hemorrhage in 2007, Gainsbourg found thematic inspiration for another LP – 2009’s IRM (the French translation for ‘magnetic resonance imaging’), made in collaboration with Beck – and the conviction that she was going to overcome her fears. “For me it was much more difficult than acting, and really, really different,” offers Gainsbourg. “Because, performing, you have to acknowledge the audience; it’s very obvious that you’re in front of them, looking at them. And there’s no hiding: I couldn’t pretend to be a character just for a camera, I just had to be myself, and that felt so exposing to me.” Gainsbourg felt doubly exposed because, in her mind, she was sure her performances were going to be scrutinised. “I had to reassure

myself that people weren’t judging me as harshly as I was judging myself,” Gainsbourg says. “I thought that, because of who my parents are, that people would come at me with this sceptical eye; that I’d have to prove to them that I was worthy of doing this, that I was capable of doing this. That’s what I was trying to prove to myself, and I was comfortable with that, but thinking that I had to try and prove that to other people was scary.”

FotoFreo 2012 has a range of exhibitions being held all over Perth (even in Mandurah!) and this year a focus has been placed on works from India. A standout would have to be the solo exhibition My India from Raghu Rai, which is exceptional. Featuring black and white photographs, the collection allows you to see the heart and soul of not just the people in front of the lens, but also behind it as well. The exhibit is being held at the WA Maritime Museum in Fremantle and if you can only make it to see a couple of exhibits then this is one that you cannot miss.

at Fremantle Prison is also one to hit up, featuring 10 images taken by 10 Australian photographers, with the images coming all from the same camera.

The recently-released live CD/DVD set Stage Whisper was made as documenting proving, to its maker, that she’d overcome her hang-ups about being a singer, on stage. “It was a very, very big step for me, I felt like I needed it commemorated,” say Gainsbourg. “Because it’s going to the complete opposite of who I think I am, and my own persona. It’s wonderful for someone who is as shy as myself to be able to experience this different way of performing, now, which is sharing myself with an audience in a very open, direct way.” WHO: Charlotte Gainsbourg WHAT: Stage Whispers CD/DVD (Because/Warner)

CRINGE

WITH MARCIA CZERNIAK I love looking through photographs. They capture a moment in time that for someone, somewhere, carried enough significance that they wanted to remember it forever. It can be like looking into someone’s private memory bank, giving you an insight into their thought processes or at least, allowing us to try make our own judgements on what they could have been thinking or trying to convey at that exact moment of time. So with it being FotoFreo time, you can imagine my excitement. If you’re not familiar with this exhibition, then here are the Cliffnotes. FotoFreo is a photography festival that has been held every two years since the inaugural festival in 2002. It showcases the work of photographers from all over the world and is made up of

a range of program elements. So whether you want to see the work of an international photographer or a local one, you can. If you want to attend film screenings about photography, you can. If you want to attend workshops and discussions, you can. Kind of like a one-month all-you-need photography stop. So by now you may be thinking, ‘wow, this sounds freaking awesome’, and that’s because it is. To enjoy all that FotoFreo has to offer, all you need to do is figure out what kind of exhibition you need to see – either a Core or Open exhibit. Core exhibits are exhibits that are like the ‘official’ festival exhibits, ones brought over or commissioned by the festival director. Open exhibits are what used to be called Fringe exhibits and are ones that people have submitted for consideration into the program. And surprise, surprise, they are all worth having a look at.

Another one on the must-see list is the Fremantle Markets Project by Bo Wong, an exhibition that was undertaken for FotoFreo under the guidance of festival director Bob Hewitt. It captures the essence of the Fremantle Markets and the people that visit them. 10 x 10 Australian Photographers showing

The Open exhibitions are spread all over Perth. With over 90 exhibitions, there is bound to be one close to you that tickles your fancy. These exhibitions are held in galleries, cafes, bars and restaurants and even on our favourite local island paradise. Michael Wilson’s Along the Way is featured at the Salt Store on Rottnest Island, one of the oldest and most iconic buildings on the Island. Every FotoFreo exhibition is bigger and better than the last and 2012 is no different. With most of the exhibitions still going for a few weeks yet, be sure to see this wonderful festival for yourself; it truly is a feast for the eyes.


FRONTROW@DRUMPERTH.COM.AU

THE METHOD OF THIS MAVERICK

FILM

GUY DAVIS TALKS TO PRODUCER JEREMY THOMAS (BERTOLUCCI’S GO-TO GUY) ABOUT A DANGEROUS METHOD, HIS LATEST COLLABORATION WITH CANADIAN DIRECTOR DAVID CRONENBERG. “Who wouldn’t want to make a film about Jung and Freud with David Cronenberg?� asks Oscar-winning producer Jeremy Thomas. The question is rhetorical, because only a fool would pass up such an opportunity. But in an entertainment industry seemingly dominated by adventures of superheroes, adaptations of young-adult novel franchises, and movies based on board games, Thomas’ trademark brand of intelligent filmmaking would appear to be an endangered species. While Thomas recognises this, he remains confident that he can continue getting his kind of project up and running. After all, he does have the lengthy track record – 40 years in the business, beginning with the home-grown Dennis Hopper bushranger epic Mad Dog Morgan – and the accolades, including an Academy Award for Bernardo Bertolucci’s The Last Emperor. And he’s got good taste in material and collaborators. As he says, “if you have the right script and the right director, you can get good actors without having to mortgage the house�. And that’s certainly the case with his latest production, the Cronenberg-helmed A Dangerous Method. A smart and subtly absorbing drama about the early stages of psychoanalysis viewed

through the prism of the relationship between Sigmund Freud and Carl Jung, it boasts marvellous performances from Viggo Mortensen as Freud, man-of-the-moment Michael Fassbender as Jung and Keira Knightley as Sabina Spielrein, who went from being Jung’s patient to his lover before becoming one of the first female psychoanalysts. It’s material that has been circulating around Hollywood for years – years ago, Julia Roberts had planned to star in a biopic of Spielrein – but it wasn’t until Cronenberg approached Thomas with Christopher Hampton’s stage play The Talking Cure that a film was able to gain any traction. “I’d made two films with Cronenberg before – Naked Lunch and Crash – and this certainly fit into the idea of the kind of film I want to make,� says Thomas. “It’s not an obvious mainstream film but it was made for a modest price and it’s managed to touch some sort of nerve around the world. It’s not a blockbuster but we never intended it to be or thought it would be.� Still, even a modest production can face a few pitfalls, and A Dangerous Method faced one when Inglourious Basterds star Christoph Waltz, originally cast as Freud, dropped out of the film just prior to the beginning of shooting. Having sourced the budget from European investors – “You wouldn’t even take this to the

REVIEW

ELENA Elena, set in Russia, is the story of a docile and aging housewife that has spent the last ten years in a marriage to a wealthy businessman. Her existence is mundane and ordinary but she remains comfortable. Her parasitic son represents a common breed of cockroach that is unwilling to work to improve a life that they feel they deserve. They require money and the obvious target for the cash is Elena and her association with her husband of which they compel Elena to act. This story really investigates the disease known as a ‘Culture of entitlement’ – I exist, therefore I deserve. Elena reverts back to her do-what-it-takes attitude in this story and that is really the key transformation. The really scary part is the ease in which she flips and how realistic this story feels. Elena affects the viewer in ways that you wish it didn’t. It makes you think deeply about human nature and the behaviour in times that lay ahead. Well worth watching. WHERE & WHEN: Screening at Somerville Outdoor Cinemas Monday 9 April to Sunday 15

Hollywood studios; it’s got words in it!� – the departure of Waltz nearly put the kibosh on German investment. “We were in turmoil for a couple of weeks but luckily David had a wonderful relationship with Viggo, having worked with him on his two previous films, and even though Viggo was on sabbatical and didn’t want to work, he decided he’d do it,� says Thomas. “He was 1,000 percent committed and he did an incredible job.� Thomas is something of a maverick among today’s producers, he admits. He considers himself hands-on when attached to a production, although he stresses he performs his duties without being “a pain in the ass� to the director. “I absolutely adore film and I know a lot about the history of cinema,� he says. “And I know about every aspect of making a film, from loading a camera to distribution. It may be an unusual thing today to have a producer like that. I get a lot of people offering me material because I follow my taste and there are not a lot of people doing that now.� WHAT: A Dangerous Method WHEN & WHERE: Screening in cinemas from Thursday WHERE & WHEN: Screening in cinema now

SIMON HOLLAND

THE RAID The backstreets of an Indonesian ghetto are no place for the faint-hearted. Atop a high-rise slum sits a warlord drug manufacturer. His keen eyes and iron fist control the heartbeat of all citizens within. A crack team of SWAT-like troops from the Jakarta police are assigned the task of bringing him to justice via any means possible, however since this is ghetto Indonesia they need to play by house rules. Ultra-violence is the name here, however the action fits the story so seamlessly it feels like and authentic and genuine ride into a computer game. The team starts at the bottom story and needs to work its way through the plethora of minions to reach the final boss. However, unlike a game, you have no control over the event or the outcome, which leaves you with no option but to sit back and gasp as the events unfold. What a ride it is. Cutting-edge cinema for a new generation. WHERE & WHEN: Screening in cinemas now SIMON HOLLAND

Western Australian Academy of Performing Arts

NOTHIN’ BUT THE BLUES TUES 3, WED 4, THURS 5 APRIL 7.30PM THE GEOFF GIBBS THEATRE ECU MT LAWLEY MUSIC DIRECTOR JAMIE OEHLERS PERFORMED BY WAAPA JAZZ STUDENTS

Order your copy of AMID now!

The blues has become the cornerstone of almost all forms of popular music worldwide. It’s influence on jazz brought it into the mainstream. WAAPA’s jazz students present this homage to the blues, from Louis Armstrong, to the jungle sound of Duke Ellington, the cool style of Miles Davis, the wailing guitar of BB King and everything in between.

W NE ION IT ED

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DECEMBER

2011

ORD ER NOW

VISIT WWW.THEMUSIC.COM.AU/STORE

TICKETS $24 FULL, $19 CONC/FRIENDS WAAPA BOX OFFICE TEL 9370 6895 waapa.ecu.edu.au THE DRUM MEDIA • 23


i l l u s i v e , e l e fa n t t r a k s , p r e m i e r a rt ists & s h m p r es e n ts

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THU 29 MAR BUNBURY PRINCE OF WALES FRI 30 MAR HILLARYS BAR 120 SAT 31 MAR PERTH HYDE PARK HOTEL SUN 01 APR FREMANTLE NORFOLK BASEMENT TICKETS: $20 (+BF) FROM PLANET, 78S, MILLS, WWW.RTRFM.COM.AU & THE RTRFM OFFICES SUBSCRIBER TICKETS: $15 FROM WWW.RTRFM.COM.AU AND THE RTRFM OFFICES MORE ON THE DOOR IF AVAILABLE. 18+ EVENT, ID REQUIRED

24 • THE DRUM MEDIA


ALL PHOTOS BY GRAHAM CLARK

TOUR GUIDE ADAM ANT

BRIAN SETZER’S ROCKABILLY RIOT! FREMANTLE ARTS CENTRE 24/03/12

With perfect weather, vintage cars on display, three-foot high quiffs and fishnets galore, the mood was right for the get-down ahead. Serving as last minute saviours of the support role, replacing the illness-stricken Lanie Lane, Day Of The Dead stepped to the stage in sharp, matchingblack attire. An instrumental outfit, we were to quickly find out that this was their last-ever show, and so they revelled in a wide selection from their back catalogue. While displaying variety in song-title perhaps, and proficiency as players, their ‘70s surfer vibe, Spaghetti Western and The Shadows hybrid can get a little tiresome after a while. A brief intermission, an exultant banner raised, and the Brian Setzer riot of rockabilly hit stage. Equipped with a shimmering green guitar, a strong-armed double-bassman and a drummer in full suit and bow-tie, they launched straight into Drive’s Like Lightening (Crash Like Thunder), a classic that immediately got the crowd bopping and polka-dot dresses twirling. For a man travelling into his 50s, Brian Setzer has lost none of his edge, fingers deft as the strafed up and down the guitar neck, keeping up with the fast pace the drummer demanded as he propelled them

from song to song. Setzer’s voice pushed the limits and met the challenge as well, taking on high flourish yowls and even a yodel or two, before exploring a slower baritone with a cover of Johnny Cash’s Folsom Prison. To little announcement, the band line-up changed. With Slim Jim Phantom taking over drums in a standing position behind a stripped back kit, this incarnation of the band took on a jazz influence as they tackled old Stray Cats classics to the crowd’s sheer delight. The only anti-climax of the night came in the form of a doublebass duel, a head-to-head that, despite its best effort at showmanship, took on the appearance of a parody. Even when Brian later entered the fray with a double-bass of his own the whole affair seemed overly-rehearsed and uninspiring. In a fine recovery, however, all the band members of the night took to the stage for the encore, unleashing an enthusiastic version of Rock This Town, a crazy-good tune that left three generations of audience members still gyrating as they headed home. MIKE BOWRING

FRONTLASH

BACKLASH

TASTE OF HER OWN REALITY

ASSISTANCE, PLEASE

Kim Kardashian being flour-bombed at her own perfume launch was gold. Silver was the fact that she’s named it True Reflection – rich coming from a person that’s so fake she makes reality TV look like a pathetic attempt at sitcom.

The Dockers’ Assistant Coach quitting a few days before the season begins begs the question: is there something sinister he knows that we’re about to find out? Add the fact that Enrique Iglesias’ I Like How It Feels keeps blasting at us as the TV promo theme song, and the AFL season is off to a very rocky start even before WA’s teams have played a game.

JET HAVE QUIT Jet have decided their time is up and thanked ADALITA fans for the journey. We thank them for finally realizing what we had ages ago…

FAT LOCAL LOVE Packing out The Bakery for the second time in less than a month with a locals-only line-up, Fat Shan Records’ birthday reflected the overflowing love for our talented artists that we hold, and of course the great lengths the Fat Shan crew have gone to supporting them. Well done everyone involved; punters and Fatties alike.

CLUELESS We’re not sure what we’re more weirded out by - the fact that Alicia Silverstone posted a video of her feeding her baby using a mouth to mouth technique, or that she named the kid Bear Blu in the first place.

POLITICAL AB’-CRUNCHING We donít profess to know much about Queensland politics or why the Liberals were voted into power and Labor unceremoniously dumped there, but if everyone does this across the board as revenge for Labor, can we just remind you that Tony Abbott will end up as LANIE LANE Prime Minister? Now, you donít want that, do you? PIC BY CC HUA

GIG OF THE WEEK: ADAM ANT @ THE ASTOR THEATRE

While we know there’s a rather large blues’n’roots festival going down on Fremantle Park on the same day, you can check our little West Coast Blues’n’Roots wrap up in the live section to see just how amazing that is. But as for the ‘Gig’ Of The Week… Adam Ant & The Good, The Mad & The Lovely Posse striding into The Astor Theatre may tickle your nu-romantic fancies and fantasies, Sunday 1 April. Adam & The Ants scored 10 Top 10 UK hits in the ‘80s, including number ones Ant Music, Goodie Two Shoes, Prince Charming and Stand & Deliver. His comeback really started in 2010 and continues with new album Adam Ant Is The Blueblack Hussar In Marrying The Gunner’s Daughter due June… He’s joined by Georgie Girl & Her Poussez Posse, part of his Blueback Hussar Records roster. Georgie Girl bumped into Adam Ant outside a cafe in London and from there the two got together and wrote some songs before they put together a ‘posse’ of killer ladies to play the songs live. Limited tickets still available, proudly presented by Street Press Australia.

DRUM MEDIA IS PROUD TO PRESENT SHOWS INCLUDING: THE COMMUNITY 8TH B’DAY: MAR 31 The Bakery ADAM ANT, GEORGIE GIRL & HER POUSSEZ POSSE: APR 1 Astor Theatre HOT CROSS BUNS: TONITE ONLY, THE MEDICS, YESYOU and more: APR 5 Amplifier/Capitol PASSENGER: APR 13 Fly By Night SNEAKY SOUND SYSTEM: APR 14 Villa LAST DINOSAURS: APR 14 Amplifier INCUBATE: SONPSILO CIRCUS, WOLVES AT THE DOOR, LUCY PEACH, SLACKJAW, AMANDA MERDZAN, NATASHA SHANKS, JAMES HALL & more: APR 15 Kings Square, Fremantle JAY & SILENT BOB: APR 18 The Astor Theatre BLUEJUICE, LOON LAKE, THE CAIROS: APR 19 Settlers Tavern; APR 20 Capitol BIG SCARY: APR 20 Amplifier IN THE PINES: BENEDICT MOLETA, DROWNING HORSE, THE GHOST HOTEL, THE LOVE JUNKIES, SMRTS, SUGAR ARMY, SUNSHINE BROTHERS and more: APR 22 Somerville Auditorium, UWA 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 GOSSLING: MAY 2 Little Creatures Loft; MAY 3 The Bird FU MANCHU, BLACK COBRA, MATT SONIC & THE HIGH TIMES: MAY 5 Rosemount Hotel BOY & BEAR: MAY 10 Albany Entertainment Centre; MAY 11 Bunbury Entertainment Centre; MAY 12 Fremantle Arts Centre

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DEAD LETTER CIRCUS, FAIR TO MIDLAND, TWELVE FOOT NINJA: MAY 11 Metropolis Fremantle; MAY 12 Capitol + KIM CHURCHILL, MICROWAVE JENNY: MAY 16 Settlers Tavern; MAY 17 Dunsborough Tavern; MAY 18 Prince Of Wales; MAY 19 Norfolk Basement; MAY 20 Indi Bar ANDREW WK, ALEISTER X: MAY 17 The Bakery GROOVIN’ THE MOO: ANDREW WK, BIG SCARY, BLUEJUICE, CITY & COLOUR, THE GETAWAY PLAN, GOLD FIELDS, KAISER CHIEFS, MATT CORBY, PARKWAY DRIVE, SAN SISCO, WAVVES, 360, ADRIAN LUX, BENI, BALL PARK MUSIC, DIGITALISM, HERMITUDE, HILLTOP HOODS, MUSCLES, MUTEMATH, NAYSAYER & GILSUN, PUBLIC ENEMY, PURPLE SNEAKERS DJS and locals: 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

LOON LAKE THE DRUM MEDIA • 25


OVERDRIVE

DOING WHAT HE LOVED

BEARS & DOLLS

ALL THINGS PUNK AND HARDCORE WITH LUKE BUTCHER.

DRUM MEDIA PAYS OUR RESPECTS TO GARY CORNELL, WHO PASSED AWAY DOING WHAT HE LOVED, UP ON STAGE PERFORMING WITH HIS BAND PYRAMID OF THE COYOTE.

BREAK EVEN

ARTY CRAFT March truly was a month when many music fans were spoilt like rich kids on Christmas. Whether Bon Iver tickled your fancy or Taylor Swift ticked the boxes, March was a mammoth month that had the pleasure of hosting Soundwave, the headlining event of the year for many. Yet again the festival failed to disappoint; whether it was Steel Panther or Limp Bizkit inciting mammary exhibitions, Marilyn Manson just generally sucking, the eccentricities of Circa Survive, Enter Shikari and Dillinger Escape Plan, the nostalgia of System Of A Down and Slipknot, or the face-melting heaviness of Machine Head, Devin Townsend and Lamb Of God; Soundwave 2012 was again a day full of magic. Despite the queues, costs and commotion of “festival season”, events such as Soundwave (and to a lesser extent nowadays, Big Day Out) are always jam-packed with plenty of memories cherished for a very long time. Beyond the memories, festivals such as these also serve a very important purpose in exposing young audiences to live music. By assuming such a role, festivals not only contribute to, but rely upon the support of a prosperous local scene that will support the individual tours of the many bands who may wish to return to our city. On a slightly sour note, Soundwave saw the final visits to our city for several international acts including Thursday, and after several years of stage diving themselves to the top of the Australian hardcore scene, hugely successful locals Break Even also called last drinks at Soundwave. On another, even sourer note, the Claremont Council is now trying to ban the festival, as well as Big Day Out, due to “excessive noise complaints.” Um, a little noise two days a year? Get real people! Looking a little further over our shoulders, late February saw many, many spectacular shows including Sydney’s Sleepmakeswaves debut album tour and the launch of locals Foxes’ self-titled EP and Only Hope’s demo all in one night. March refused to go down lightly though, with those lucky enough to be in attendance at Closure In Moscow’s show being treated to one of the finest shows of the year. Introducing their new rhythm section to Perth audiences, the band again blew the minds of those in attendance with their progfest of pop-chivalry. Not to be topped, last weekend saw the paradox of emotion that was the debut album launch and last show of much loved local outfit Wolves. The band will be remembered through their full-length Thieves & Lovers and no doubt many future projects. Secrets In Scale also popped in for a visit at the aforementioned show to whet Perth appetites ahead of there soon-to-be-released debut album. Ahead of the release of their three-track EP Rations, We Are The Emergency launched a mighty fine and locally produced spanking new clip for their track Splinters that is well worth many exposures, whilst Monuments have released a video that will excite the pop-punk fans out there. On the international scene, new releases have either commenced or been wrapped up for Reel Big Fish, The Offspring, Linkin Park, Hatebreed and The Early November. On the local front a plethora of shows will be happening each week at Oh Snap, Runaways and Wired, whilst gigs are fast approaching from August Burns Red supported by Blessthefall, Dead Letter Circus, Deez Nuts and Karnivool, who have just announced a national tour ahead of album number three that rocks Dampier and Bunbury late June before a Rosemount show Friday 27 July. Let’s hope we can all get out and support our local bands week in week out, not only because they are awesome, but because that way more international bands will be encouraged to take the risk on touring our way outside of a festival.

26 • THE DRUM MEDIA

Four visual artists’ works will be adorning the walls of The Bird throughout the day and into the night on Saturday 31 March for Craft, whilst Cow Parade Cow, Sugarpuss and Bears & Dolls provide the soundtrack to the evening. Wares from all craftspeople will be available for purchase and all profits raised will be supporting the Arts Management Student Organisation. Free from 2pm, $10 after 8.

NO GUNS, PLEASE

Sword-fighting rockers Children Collide hit WA for their Monuments album tour, supported by Sydney’s Deep Sea Arcade who will also be celebrating their debut album Outlands. The tour rocks Capitol Friday 30 March; Players Bar, Mandurah Saturday 31; and Mojo’s Sunday 1, tickets via Oztix. Fellow Sydney-siders Palms open the shows.

NEW TALES

Fans snapped up tickets to John Butler’s Tin Shed Tales tour so fast he had to announce extra shows, including Thursday 29 March at the Astor Theatre, after his soldout Fremantle Arts Centre show. Felicity Groom supports, tickets via BOCs. For a full list of his regional dates and extra shows, head to johnbutlertrio.com.

RUSSIANS IN INDIA

After a big finish to 2011, Russian Winters keep the ball rolling with new single Execution By Electrocution, supporting British India at Civic Hotel Friday 30 March. The group has been getting some rad feedback for said single, a song inspired by the first man sent to death by electric chair.

ROUND THE TWISTED

When Pyramid Of The Coyote marched on stage Saturday 17 March at The Civic Hotel, they had no idea it would be a performance that would change their lives forever. Two songs into their set frontman Gary Cornell collapsed and became unconscious. Despite the best efforts of punters, friends and the bar staff, he was unable to be revived and passed away due to a suspected heart attack, leaving his long-term partner Julie Turner and their two children, ten-yearold Trinity and eight-year-old-Madison, behind. After his sad, untimely death, a sea of condolences flooded Facebook, with friends and family posting fond memories and sharing stories about the 34-yearold. Turner, Cornell’s partner of 13 years, has been strong over the past couple of weeks, replying to those sending condolences and sharing memories of her own. “It’s times like this when we as a music community in Perth band together to shine in the collective musician’s spirit that is no doubt covering Gary as he rocks out from above,” she said on one Facebook tribute. His bandmates also shared their feelings via Facebook in the days after his death. “My deepest sympathies to those closest to Gary, this is a truly tragic event. I have lost my best friend and brother of 17 years. RIP. You’ll be truly missed,” guitarist and one of his best friends Kely Barcia posted from the band’s Facebook page. “Gary was a great performer/singer/song writer/ drummer/musician/event promoter, a great mate to all that knew him, had a sincere lust for living life to its fullest and was a great genuine person with a warm and very human side,” the post continues. From there, stories kept flowing, proving how much respect those who knew Cornell had for him, and just how much the band meant to all four members. Forming in November ‘09, Pyramid Of The Coyote was about old friends rocking out on stage and having fun with it. Even the origins of the band’s name reinforced their fun attitude towards rock‘n’roll, as Cornell

After playing their first gig late last year, punk-rockers Twisted Affection are ready to take themselves east for a heap of shows, but not before a quick send-off Friday 30 March at YMCA HQ. Besides the tour, they’ve got cause for celebration in their brand spankin’ new album Twisted Affection.

explained in an interview with TheRockPit.com in October 2010: “The name came from a vision that Ben [Barrett, Bass] had after eating some great cookies and watching an episode of The Simpsons.” From there he went on to explain how life should be lived: “The meaning of life to me is making the most of every moment, always giving without expecting anything in return and continually pushing limits and boundaries, and unconditional love to all around. This will bring you happiness and make your life fulfilling!” Which is exactly how those close to him are remembering him during these tough times; how he will always be remembered. Keeping his memory alive and trying to hold things together isn’t an easy task for Turner, and that’s where Perth’s generous spirit comes into play. Perth rockers Stone Circle have teamed up with DC Productions to put together a benefit show for Cornell’s family at The Civic Hotel, Sunday 1 April. Stone Circle frontman Jeremy Harris has also put together a trust fund to help ease the financial burden placed upon Turner. “It will be a massive night and hope to see everyone there,” Pyramid Of The Coyote’s Facebook reads. “Special thanks to Jeremy for his selfless involvement for the great cause of raising funds for Gary and Julie’s two beautiful girls, Trinity and Madisan, and of course for our main man’s memory. Will be a night to remember.” If you would like to donate to the Madisan & Trinity Trust Fund, the details are as follows: BSB 016498 & Account number 531167555. Or rock up to the show from 4 ‘til 10pm.

WHAT: Madisan & Trinity Trust Fund Benefit Show WHO: (in random order, the bands donating their time for the night) Baby Jane, Craig Skelton, Mightnight Boulevard, We Build Pyramids, Jupiter Zeus, Joy Elevation, Stone Circle, Diamond Eye, One Armed Scissor, Something Humble, Gazman’s Crown Jewels, Damien Thornber & The Orphans, Ichora, Mud Guts, Walker, Ben Blend, To The Depths and Beyond Never. WHEN & WHERE: Sunday 1 April, The Civic, Inglewood

WAAPA’s acclaimed music theatre students will perform Broadway hits, solos, duets and all-stops-out choruses, with piano accompaniment by course director David King.

NEW WEAPONS

SPINNING AROUND

Psychedelic dub experience The Weapon Is Sound grooves Friday 30 March into The Fly Trap. The Weapon Is Sound is quickly garnering a reputation for dynamic live performances and a fresh take on studio dub-reggae. Supporting are psychedelic rockers Sonspilo Circus. Doors at 7.30pm, $13.50 presale by flybynight.org, or $18.50 door.

The Spin You’ve Got Me In is the new single from Death & A Cure, and Ben Blondel launches his new work Friday 30 March at Ya Ya’s. It comes from the forthcoming album Oceans, Lovers & Empires, and local friends Black Birds, Sheryn Binks and Tyto Kings will all perform acoustic sets from 8pm, $10.

STONE SOUNDS RIDDLE ME THIS

This Saturday 31 March Reaper’s Riddle will be performing an hour-and-a-half set consisting of songs from their original self-titled album through to A Touch Of Death, plus some new gear from the future full-length The Ballad Of Tristan Daye. For $10 from 8pm, the show will be recorded live, with support from Homebrewe, Delusions Of Grandeur and Perry Ormsby spinning rock and metal, DJ-style.

After a rollicking Charles Hotel show, Stone Circle play Pioneer Village Primary School, Armadale Friday 30 March to raise funs for the school’s music department, and Saturday 31 at the Civic Hotel Bandroom, then back there for the Gary Cornell Tribute show, before touring South America. Not content with rocking the stage, they’ve been tucked away writing new material for another studio album.

DEFYING BROADWAY

Student group WAAPA Direct is joined by Defying Gravity at Fremantle Arts Centre Friday 30 March for a night of music theatre hits and scintillating percussion.

themusic.com.au

SPACE PIG

Travis from Sound Collective and the band Astropig bring a unique double-stage event to the Railway Hotel featuring the stylish new electro outfit Die Human, blazing metal, punk and the heavy guitarpop of The Shakeys and Honeywheeler. Closing out the evening will be the multi-instrumental party supergroup Astropig.


THREE’S THE CROWD

Traversing their way around the world with an original blend of gypsy-folk-roots, The Rosie Burgess Trio are back on home soil to announce their brand new album, Before I Set Sail. Thursday 29 March they play Ya Ya’s; Friday 30 Prince Of Wales, Bunbury; Saturday 31 Settlers Tavern, Margaret River; and Sunday 1 April Settlers again at 3pm.

THE ONE THAT GOT AWAY WE REVIEW A CD THAT CAME OUT IN THE LAST YEAR AND ‘SOMEHOW SKIPPED’ BEING REVIEWED, UNTIL NOW…

DANCE THE NIGHT AWAY

ROCK NOW

Original Aussie rockers In The Now will head a rock’n’roll assault this Saturday 31 March at The Railway Hotel ahead of recording their debut album to be released later this year. The night, ‘Scarred For Life’, plays out as a tribute to Oz rock legends Rose Tattoo, and special guests will be Babyjane and Ultrasound. All bands will be playing Rose Tattoo covers alongside their own originals, $10 from 8pm.

Historical dancers The Morris Men are performing at the Angove Street Festival in North Perth, Sunday 1 April at 1.45 and 3pm. The Perth-based side performs traditional English Morris dancing from the Cotswold Hills and other regions of England and are the oldest in Australia, first performing in the Hay Street Mall in March 1974.

GETTING A HANDEL

For the first time since the inception of St George’s Cathedral Consort, the Consort will be presenting Handel’s Messiah in a venue outside the Cathedral. During Holy Week on Tuesday 3 April, St Georges Cathedral Consort performs Handel’s Messiah – the Dublin Version from 1742, as Handel intended – at the Perth Concert Hall. Tickets via BOCs.

HOT LOCAL GIG SPOTLIGHT STRAY DOGS OF ATHENS

SHANNON NOLL A Million Suns Universal There are many things in life that improve with age, like fine wine. And there are some things that just get worse, like Shannon Noll. It’s been a long time since the nationwide rivalry against Guy Sebastian – nine years to be exact – and Shannon Noll’s music is in a very similar place. The debut single Switch Me On opens the album, setting an accurate tone of commercial pop with a very deliberate attempt at

LITTLE SHOWS

Having noticed current trends in entertainment, The Little Stevies have decided to remain relevant and cutting edge they’ve decided to go 3D. Leaving the drum kit at home, they play a very special acoustic trio performance Thursday 29 March at the Little Creatures Loft in Fremantle.

rock‘n’roll. The hearty Australiana vocals, ringing reminiscent of Barnesy, leave a slight scent of sawdust in the air and a faint taste of beer on the tongue. From the outset, it’s easy to guess the tracks that will fall victim to radio overkill or selected for daytime television advertisements; My Place In The Line will probably play during the football replays before the evening news, Come Home will accompany the poignant soap opera love scenes, and Long Way Home might even make the Biggest Loser soundtrack if we’re really lucky. Furthermore, while there is a healthy mix of slow and fast songs, there is no detectable progression within the layout. The tempo jumps unexpectedly from one song to the next, unceremoniously tossing the listener from happy to sad to deeply philosophical. Of course, this is a minor worry in the grand scheme of A Million Suns, which is essentially just under 44 minutes of predictable lyrics combined with predictable riffs, conducted by an ockeraccented, power-stanced, wife-beater-wearing Idol runner-up. Truth be told, A Million Suns isn’t very far off the big black shiny car or the recovered working class man. While he may have shaved the goatee, he didn’t shave any cheese. Are people playing it now? Who cares. SARAH SCAIFE

READY TO GO

After getting some j-lovin’ for their new single Be Ready When I Say Go, Emperors support British India this Friday 30 March at The Civic Hotel Backroom, along with Russian Winters and Custom Royal. Doors open 8pm and tickets are available from heatseeker.com.au, Planet Video, Mills Records, 78 Records and Star Surf.

STAGE FRIGHT! Who’s playing your event and who should punters be most excited about seeing? Stage Fright! is an open mic night, so each and every instalment is a melting pot of emerging talent. Open to all styles of music and performance, you never know the hidden gems you may stumble across. For our launch night we have Andrea Von Bertouch, Leanne 7 Andrea Von Bertouch, 50ml Terumo, Little Fire, Stray Dogs Of Athens and A Different Kind Of Blue. What gave you the idea for this show? The Fly By Night Musician’s Club is all about giving musicians an opportunity to perform and Fremantle is bursting

with creative people so it made perfect sense to begin an open mic night in our newly renovated room, The Fly Trap. What does your gig offer that others don’t? Not only does Stage Fright! offer an opportunity for performers to get out of the garage and onto a stage, entry is free, so if your wandering around Freo on a Sunday evening pop on in to The Fly Trap and check some local talent. WHEN & WHERE: Sunday 1 April (and fortnightly thereafter), The Fly Trap, Fremantle

STEAM TRAIN BLUES

Thursday 29 March the Rosemount Hotel hosts a cracking night of rock’n’roll featuring ‘90s alt-rocker loving Honeywheeler, Cyclone Tess and their unique fusion of jazz, folk and blues, Perth’s purveyors of paranoid pop Sanssangria and Head Full Of Steam – who are out promoting their first single for the year, Devil Train Blues.

themusic.com.au

THE DRUM MEDIA • 27


FEEDBACK CLOSURE IN MOSCOW

AMPLIFIER, PERTH 23/03/12 The pilgrimage to the USA in search of bigger audiences and bigger exposure is a rite of passage very few Australian bands have successfully conquered, let alone up and relocating stateside permanently. Such is the quality of tonight’s headliners that each and every show in this city is treated like a “homecoming” for the many die-hard fans they have accumulated. Further Earth opened up to said audience, and after warming into the opening slot, displayed the professional execution that has taken them to many headlining shows of their own. Contrasting delayed melodic textures with a cutting, precise rhythm section, the ever-improving vocals of the band rising above the music whilst accenting their pop sensibilities proved a defining feature in a genre rampant with imitators. Launching straight into newly released single Splinters, We Are The Emergency came out and did what they do better than most. Whether executing three-way harmonies, tremoloed-guitar angst or irresistible pop hooks, each release from the band is taking them forward; how far they can go is anybody’s guess. With the hooks and versatility this band has in their arsenal, the consistently impeccable tones and frontman Ryan Lake channeling Anthony Green more with every show, I say pretty far. Speaking of far, to say Closure In Moscow pushed the boundaries of pop songwriting and musicianship “far” tonight is just plain wrong; as with every show, they redefined them. The virtuosity on display (despite the PA shitting itself) was again word-class. Treating us to three new songs that melted the brains of every one in attendance, the funk-infused prog-pop was perfect. I don’t have enough space to say what they played or how amazing it was, but to put it simply, these five dudes can write, play and perform music a butt-load better than pretty much every single band making music today. LUKE BUTCHER

DURAN DURAN

SANDALFORD WINERY, CAVERSHAM 24/03/12 Duran Duran frontman Simon Le Bon tweeted on the morning of the show: “Time for change. I don’t know what it is or when it’s gonna happen, but something’s gonna change…” It felt like an omen for the 10,000 plus Gen-Xers that might not have seen the band play since their show at the Perth Entertainment Centre in 1983, or maybe in the case of the younger folk – V Festival in 2008. Unfortunately though, Le Bon wasn’t referring to a change to the support band, Radio Ink – an electropop trio out of Sydney. With a line-up that included two house DJs and a Robyn-wannabe, Miss S, the act played tracks from their EP as well as butchering some ‘80s classics by The Police and Eurythmics with cheesy dance remixes and less-than-pitch-perfect vocals. But all was forgotten by the time Duran Duran hit

the stage. Opening tamely with Before The Rain off their latest (and 13th) studio album, All You Need Is Now, we were quickly reminded this show was in support of a new album and wasn’t a greatest hits tour, as they churned through over half of the new album in-between some of their glorious pop hits of the last 30 years. With an ultraslick stage set-up of lights and visuals, and all the original members of the band bar guitarist Andy Taylor, plus a saxophonist and back-up singer, the band sounded as good as they ever have. But the playlist of tunes new and old resulted in a lack of momentum (and that’s despite the 20-minute “intermission” because of a generator failure). The new tracks, except for Girl Panic!, fell flat, not because they’re bad songs; they just didn’t stand-up stylistically against the likes of Planet Earth and Careless Memories off their first self-titled album, which ended up being the highlights of the show. Singles A View To A Kill and Is There Something I Should Know were welcomely included, but there was a severe lack of songs from their best album – Rio. Le Bon and keyboardist Nick Rhodes gave some long-winded ‘dad’ speeches about their relationship with Australia, the weather and charitable interests, and there were some entertaining crowd interactions like getting an audience member to introduce The Reflex off their third album, Seven & The Ragged Tiger. Surprisingly the band included the dodgy cover of White Lines (Don’t Don’t Do It) off their eighth album, which should be buried and forgotten, but the closure totally made up for that embarrassment. Cue Hungry Like The Wolf, (Reach Up For The) Sunrise and The Wild Boys intermixed with Relax by Frankie Goes To Hollywood, then an encore of Girls On Film and Rio; and the realisation hits that we had just seen a two-hour stadium show from a legendary band that will perhaps never play live in Perth again. BUDDY TYLER

FAT SHAN RECORDS FESTIVUS

THE BAKERY, NORTHBRIDGE 25/03/12 Against all odds Fat Shan Records managed to survive their first year and to celebrate, held a birthday Festivus at The Bakery with some of Perth’s best local talent. The crowd started filling up the venue early showing the enthusiasm and dedication of all and by the first act, High Horse, the scene was evidently set. This fourpiece took to the stage a powerful driving attitude with vocals that held no limits and catchy riffs. Working For A Living showed off Timothy Nelson’s voice best and the band pulled together a strong finish. The funky and energetic vibe of The Seals was quick to entertain. Disappointingly, they were missing the drummer and therefore lacked stamina, but they still were able to give a performance of raw emotion. Fiddler Pipper Lester’s vocals added dimension and they covered Alex Lloyd’s Amazing, bringing up The Apprentice to infuse a first time of bluegrass and hip hop for an unexpected ending. Next up were the Fat Shan crew, awkwardly thanking folk for supporting their record store, label and beyond. Not fans of the public spotlight, what they’ve brought to Perth’s music industry speaks much louder than words. Sonpsilo

Circus took longer to get the crowd going but pulled through in the end with their drummer positively giving off the most vitality. The Floors then gave a strong performance with killer solos and raunchy vocals, and their typically gritty dirty brand of blues was delivered with aplomb yet again. The vibe was toned right down with The Novocaines. Although they were still able to entertain, it was not their highenergy live performance they are renowned for. The Chemist finished off the night with a captivating set that was quick to pull you in. They delivered an entertaining contrast of idyllic moments with a fractured darkness, solid guitar shreds and intense, haunting vocals. Almost everyone could appreciate the skills and imagination behind this band, and they ended the birthday Festivus with a bluesy bang. JAYDE FERGUSON

THE NECKS

THE BAKERY, NORTHBRIDGE 26/03/12 For musicians, the disparity between record and performance can be a very difficult thing to negotiate. Stick too closely to what’s been laid down in the studio and you’ll be accused of a lack of inventiveness; play it too loose and free on stage and you risk losing the audience in a sea of selfgratification. Sydney trio The Necks, whose live shows generally consist of two-hour-long sets of improvised ‘jazz’, suffer no such problems. Each performance is unique, a musical expression that evolves in real time from the impulses of pianist Chris Abrahams, double bassist Lloyd Swanton and drummer Tony Buck. Crowds regularly come back for more because they know what they will get, and paradoxically what they won’t – while the music is never the same, the emotional pull that the band creates is always incredibly strong. It’s also highly addictive. Abrahams began tonight’s first set with a piano flourish that quickly settled into a dark, nagging rhythm. His accomplices swiftly picked up on the mood and together they created a cyclical hum that slowly swelled but, until the last ten minutes or so, contained little melodic shift. For that last stanza, however, a change in tone descended and the light shone through – it was an exultant finale. The second act began in an almost whimsical fashion, with Buck’s rolling percussion and Swanton drumming against his bass. Abrahams was similarly loose until he hit a melody and sat on it for an age while intensity grew around him. When all three were at the heights of their fervor, with Buck showing particular force, the crowd was in full submission. They extricated themselves from this show of power with predictable deftness, and by set’s end piano key strokes were matched only by single cymbal taps. Tonight was The Necks at their best – a band whose communication is subliminal, and whose performances are transcendental. RICK BRYANT

SEAN POLLARD

BOOM BAP POLLARD

Thursday Nights are all about original music at The Mustang Bar, and March 29 they welcome trashy doo-wop pop’n’soul group Boom! Bap! Pow!, featuring the amazing vocals of Novac Bull as well as live sax and explosive call-response dynamics. They’ll be supported by Split Seconds’ frontman Sean Pollard in solo mode, which if you haven’t seen yet then you better be sure to make it down for this free entry show.

SNAK ON THIS

2011 turned out to be quite a year for Snakadaktal after taking out the triple j Unearthed High competition. After an EP release late last year and sell-out east coast tours, the group embarks on their first ever national tour, and fans who pre-purchase tickets (via Moshtix) receive a five-track remix EP for free. Friday 30 March they play Speakeasy at Villa. 28 • THE DRUM MEDIA

HAVE YOU HEARD

BRITISH BITS

Indie champions British India were holed up writing/recording new songs late last year and we will be privy to a host of those new songs when they hit The Civic Back Room on Friday 30 March supported by Emperors, Russian Winters and Custom Royal, and The Kalgoorlie Hotel on Saturday 31. Tickets via Moshtix, Heatseeker, Oztix and the usuals. The lads also appear at Joondalup Festival Sunday 1 April.

themusic.com.au

JAY HOAD Your sound: The live show is a very funky and high-energy performance that sees Jay sitting in a cockpit of instruments including didgeridoos, Weissenborn lap steel, dulcimer, guitar, harmonica, ocarina, percussion, loops, djembe, voice and then some. Mouth, hands and feet work in harmony as Jay fuses many genres and unusual instruments to create a sound that’s hard to believe comes from just one person. Effortless incorporation of loop stations allows Jay to go from one instrument to the next, creating a dramatic visual for the listener portraying a sound that can be compared to a large band. Jay’s shows are always unique from one night to the next; he has a vast range of repertoire and prides himself on his consistent high energy ‘play every night like it’s your last’ vibe, always giving his audiences complete respect and a deeply heart felt performance. Around since: 2007. Band’s greatest strength? Touring non-stop around the globe, covering as many genres of music as possible. Worst gig ever and why? Pubs where they spill heaps of beer on your equipment. Sucks because it’s great when people rock out right up to the stage, but between getting electrocuted and paying for everything to get fixed the next day… not so cool! Best gig ever and why? Touring with The Wailers, just cause they are so cool and inspirational. Also Fiji, Caribbean and south east Asia ‘cause the people are so lovely and unbelievably grateful that you have come to play for them. Best achievement? Being an independent musician and going where ever we want to tour and record anytime. Any gig in history which would it be and why? Toss up between Hendrix at Woodstock, or a Led Zeppelin show with Bonham. Fave hangover cure? A beer. Fave Perth bands? Rose Parker ‘cause her voice completely inspires me. Fave bands from your state? The Kavaholoics from Pacific Harbour in Fiji. The Transatlantics and Adam Page from SA. Biggest bands you’ve supported? The Wailers, The Temptations, The Drifters, Carbon Leaf. Our ultimate groupie would be…anyone that really digs my tunes. Fame for your band would mean…doing bigger and better shows and more music festivals, which is always a great thing. Any members play in other bands? Always freelancing with any bands I can. Any releases out? Stories For The Soul is my second and most recent album, released in October 2011 by MGM. Any releases on their way? New EP out later this year, first single called Like Gremlins out mid May. More info: Jayhoad.com. WHEN & WHERE: Friday 30 March, Denmark Civic Centre; Saturday 31, Healthy Buddha, Denmark; Sunday 1 April, White Star, Albany; Friday 6, Leapfrogs Café, Wanneroo; Saturday 7, Clancy’s, Dunsborough; Sunday 8, Dunsborough Hotel; Friday 13, Espy, Busselton; Saturday 14, Swan Basement; Sunday 15, Newport Hotel; Wednesday 18, Mojo’s; Thursday 19, Mustang Bar; Friday 20, Dunsborough Hotel; Saturday 21 & Sunday 22, Settlers Tavern, Margaret River; Thursday 26, Gypsy Tapas, Fremantle; Friday 27, Velvet Lounge, Mt Lawley; Saturday 28, Leapfrogs Café, Wanneroo; Sunday 29 April, Indi Bar


WALTZING MATILDA

DANA VULIN

Diploma students from Leederville’s Central Music Institute of Technology will be performing Australian classics from the ‘60s, ‘70s, and ‘80s at the Golden Mile on Oxford Street, Thursday 29 March. Come all you Jolly Swagmen and Waltzing Matildas, shove a jumbuck in your tucker bag, and sit in the shade of the Coolabah tree as you enjoy an afternoon of free music.

JAZZ GIANTS

The first Wednesday of each month The Ellington Jazz Club sees fresh and exciting collaborations between established local musicians. Wednesday 4 April will feature two giants of the WA jazz community in guitarist Ray Walker and pianist Tom O’Halloran, performing a mixture of originals and standards. Table tickets $15, bar $10 via ellingtonjazz.com.au.

HOTEL HILL

Alt-country rockers The Ghost Hotel play at the Joondalup Festival this Saturday 31 March along with the likes of Old Man River and many more. It’s free entry and all-ages, plus it’s also the band’s last show before they head off for an east coast run of dates for their recently-released album Maiden Hill.

GIZZARD SPRAWL

Friday 30 March is definitely the right time for you to step out of your shell and into the Rosemount Hotel for a night of experimental rock excellence on a huge local line-up. Catch The Watermelons, Hokusai, The Gizzards, Sprawl, Zeks and Harm’s Way for $5 from 8pm. First band 8.10pm, running right through ‘til 1am.

FRIDAY LOVE-IN AIDING DANA

To aid the recent burning victim Dana Vulin’s family in medical, legal and future rehabilitation costs, The Ellington Jazz Club are holding a Survivor concert Thursday 29 March. Tickets $35 each and all proceeds go towards her foundation. Playing on the night will be Amanda Dee, Solomon Pitt, Jerrie, Cian and Elise with DJ Bounce dropping old school classics. More info at faceboook.com/weheartdanavulin.

Solitude is bliss for installment number ten of Friday I’m In Love at Fat Shan Records, March 30. Featuring three highly talented solo acoustic acts in acoustic blues’n’roots singer James Hall, Split Seconds/New Rules For Boats alumni Benjamin Golby and the ukulelewielding Lucy Peach, chilled out vibes are guaranteed. $10 from 7.30pm.

themusic.com.au

WAM UPDATE CONTEMPORARY MUSIC INDUSTRY NEWS WITH JUSTINE THORNLEY.

SCHOOLS LOGO COMPETITION The WAM Schools Alive Program needs a new logo! High school students are encouraged to submit an original logo design for a chance to win an iPad for yourself – compliments of Healthway Smarter than Smoking, plus a live concert at your school with one of WA’s hottest young bands – compliments of WAM! Entries close midnight Thursday 5 April – so enter now at wam.asn. au/schools. KISS MY CAMERA 2012 Held as part of the WAMi Festival, the Kiss My Camera exhibition & competition invites West Australian photographers to submit WA music-related images, or other music-related themes situated in a WA location. Kiss My Camera submissions open 9am Monday 19 March and close midnight Friday 13 April. Submissions are free and accepted only online at wam.asn.au/ kissmycamera. WHAT CAN WAM DO FOR YOU? Supporting local live & recorded music is WAM – your not for profit, membership based music association, existing to develop the WA contemporary music industry. Annual subscriptions stay in WA to help your local industry grow with programs throughout the year, while entitling you to exclusive offers, competitions, events and Annual Kiss My WAMi compilation. Visit wam.asn.au or call 9227 7962 to join today!

FRETS GALORE

Joining forces at Kulcha Saturday 31 March, Errol H Tout & Sam Blight put on a night of extraordinary guitar to launch their albums. Tout makes a rare public performance with the launch of his innovative new album Great Big Guitars. Blight’s new album, The Boya House, shows the influence of his involvement with Celtic music in recent years. Presale $20, door $25.

THE DRUM MEDIA • 29


GRACE KNIGHT RISES

ROOTS’N’ALL

PLAYING TIMES AND ESSENTIAL INFO FOR WEST COAST BLUES’N’ROOTS THIS WEEKEND? SORTED:

PARK STAGE: 7.50–9.50pm

GOLD PROSPEKTING

Perth power trio Nevsky Prospekt will be showcasing their impressive alt-rock prowess on Tuesday 3 April at Mojo’s Bar. Joining them on the night will be Lantana, Zeks and Next Big Thing finalists The Brown Study Band. With their forthcoming debut EP set for release in July, the band will be performing some new songs from the recording, $5 from 7.30pm.

PATIENT OLD MAN

Folk-pop brother and sister duo Patient Little Sister play their first show in WA since returning from the Adelaide Fuse Festival last month. The twosome will be supporting Sydney artist Old Man River at the Norfolk Basement Friday 31 March 31, along with duo-by-name, not by nature Simone & Girlfunkle.

6.15–7.15pm 4.35–5.45pm 3.05–4.05pm 1.40–2.40pm 12.40–1.20pm 11.50am–12.20pm 11.10 – 11.35am

John Fogerty (Creedence Clearwater Revival) The Specials Crosby, Stills & Nash Keb’ Mo’ Steve Earle Gin Wigmore Felicity Groom Ruby Boots

BIG TOP STAGE: 8.45–9.45pm 7.15–8.15pm 5.35–6.35pm

4.05–5.05pm 2.35–3.35pm 1.25–2.05pm 12.25–1.00pm 11.35am–12.05pm 11.00–11.20am

My Morning Jacket The Pogues Trombone Shorty & Orleans Avenue Buddy Guy Blitzen Trapper Husky The Sheepdogs Zydecats The Seals (Breakthrough Winners)

TAKE NOTE: • Patrons under 18 must have a valid children’s ticket and be accompanied by their parents at all time. • Organisers recommend using trains, with increased trains running before and after the event. Head to transperth.wa.gov. au to plan your trip. If you do want to drive there are car parks at Beach Street, Parry Street, Queensgate, Point Street, Fremantle Prison and East Fremantle Primary School. Fremantle.wa.gov.au for more info. The entry is via James Street, and if you are coming with children under 18 please you visit the Family Registration Point, which is located near the Ticket Box before the festival entrance. • Picnic rugs, low chairs, small eskies and hampers are cool. It’s a good idea to bring enough cash to get you through the day to avoid those nasty ATM/eftpos lines, plus sunscreen and/or something warm for later when it gets a bit chilly. No umbrellas. • Bags will be searched on entry, so leave all the obvious things at home (illicit substances, sharp knives/objects, video recorders). Guide dogs are cool, the rest aren’t, and leave your bad vibes at home too. • It’s a Smoke Free event, so if you need a drag head to one of the designated smoking areas. • Put the right rubbish in the right container, and help the eco warriors out where you can. You can do some of your own recycling and get some green money, good to spend at the festival. • There’s also a silent auction featuring artist-signed paraphernalia at Music Store/Signing Tent. • Gates open at 10.30am, and beverages start flowing at midday before stopping at 9.30pm. • Most importantly, have a good time with your bluesy friends!

WHEN & WHERE: Sunday 1 April, West Coast Blues‘N’Roots, Fremantle Park

With ARIA nominations and chart-topping recordings in each of the past three decades, Grace Knight is acclaimed as one of the Australia’s finest interpreters of popular music. After wowing audiences in the ‘80s as lead singer of the Eurogliders, she’s writing her seventh studio album, and plays Fremantle Arts Centre Thursday 29 March with her trio, and Friday 30 at The Ellington, solo.

DANCE EXPLOSION

ALL AGES AND YOUTH NEWS WITH SHILPA SRINGAR. OLD MAN RIVER

The supersonic instrumental sounds of the Johnny Nandez Hammond Explosion are back at Devilles Pad for a non-stop dance party over two nights this weekend. Joined by the Mondo Inferno disc jocks, the les Sataniques GoGo girls and more, the fun times start from 5pm Friday 30 and Saturday 31 March, both $10 after 8pm.

ROCK STEADY EDDI

Back in 2010 Eddi Reader performed for the first time in WA, captivating and enchanting audiences, and in 2012 she makes her return in quartet mode. From the heady days in the ‘80s with Fairground Attraction and the worldwide hit Perfect, to her interpretations of the Songs Of Robert Burns for which she was awarded an MBE, Reader continues to shine. Saturday 31 March at The Fly By Night.

ROCK TO PARADISE

Australia Day comes late when An Evening On The Green hosts a night of classic Oz rock featuring Noiseworks, Daryl Braithwaite, Richard Clapton, 1927 and Choirboys, Saturday 31 March in the Kings Park & Botanic Garden. It promises to be a five-hour musical feast, celebrating the Aussie rock music history these bands helped define. $89.90 via Ticketmaster.

HELLO TEAM

After a great year of collaborations, including Seeker Lover Keeper and They Will Have Their Way, as well as excellent experiments such as the ARIA-nominated children’s album See!, Holly Throsby and her band The Hello Tigers will perform a run of intimate shows in March, including the Norfolk Basement, Saturday 31 March, tickets via Oztix, supported by Hang On St Christopher and Amanda Merdzan.

KIDS OUT ON THE STREET

Celebrating the award winning cafés, restaurants, fashion retailers and cultural diversity that creates the unique community around Angove and Fitzgerald Street, Angove Street Festival returns to the street Sunday 1 April and will again showcase the exciting talent and diversity of Perth’s musicians, artists and designers. Angovefestival.com.au for more info.

GRIMBERVILLE

Having just returned from recording their debut EP in NSW, Emberville launch the first single from it, Hi, I’m Grim, Friday 30 March at Rocket Room with Cupidfalls, The Milkshake Strategy, Hooks4Hands and We Run With Wolves. $10 from 8pm. The posthardcore outfit are not to be underestimated, with an ever-growing fan base and hectic live performance.

music 30 • THE DRUM MEDIA

THE KIDS ARE ALL RIGHT

themusic.com.au

With school almost over and the holidays fast approaching, it’s safe to say that we all need a break, aka going out and stopping your brain from exploding… Well it’s as if the gods have finally woken up and answered our pleas with a whole bunch of events after realising that there are a group of Perth teenagers who are in desperate need of entertainment. To start off with, the city of Melville and Propel Youth Arts WA have teamed up to present Art Spark 2012 during March and April and will play host to a series of free arts workshops for youth including body art, photography, drama and sculpture, so if you’re interested make sure you check out their Facebook page. In what seems to be one of the more exciting events planned, Joondalup Festival is taking place again this year on Saturday 31 March and Sunday 1 April, promising entertainment for the masses with touring acts Old Man River and British India, plus locals Split Seconds and Boom! Bap! Pow! all playing for free! So there is really no excuse not to check out The City of Joondalup’s website for more details. As always Northbridge Piazza is host to free outdoor movie screenings on most nights (such as Jane Eyre and Avatar) which is great for those of us who are too poor to deal with the ridiculous prices at Hoyts. For any hardcore metal fans out there, YMCA HQ in Leederville has plenty of gigs to satisfy your needs with Twisted Affection playing Friday 30 March; Antagonist Friday 6 April; Avastera’s EP launch Saturday 7; Deadwank’s 2012 relaunch Monday 9; We Can Breathe In Space’s final show ever Saturday 14; Deez Nuts Sunday 22; D At Sea Saturday 18; Resist The Thought Sunday 6 May; Meridian’s EP launch Friday 18; Dream On Dreamer Sunday 20; and last but not least Bitter End Sunday 27. For more details and an even more extensive list of all of the gigs being held at HQ make sure to check their website. The KickstART Youth Festival takes place Friday 13 to Sunday 22 April during national youth week at the Perth Cultural Centre. There’ll be plenty of free entertainment, workshops, and markets to keep you occupied so check out the Facebook events page or Propel Arts website for all the details. Arena Joondalup is the host to another Supafest this year, so if you’re a fan of hip hop, make sure you purchase tickets from the Supafest website. You can be sure that you will be part of the frenzy that artists like the justannounced T-Pain, Chris Brown and Missy Elliot will be creating on Sunday 22 April. You’ll need to have an adult accompanying you if you’re under 15. If all you feel like doing is dancing, then Shake’s Under 18 Lazer Party is just for you, taking place Friday 27 April at the Sicilian club in Balcatta, tickets can be bought at the door or from oztix.com.au. Groovin’ The Moo has had a line-up change with indiepopsters Ball Park Music taking the place of hip hoppers Chiddy Bang. Nevertheless, the exciting line-up of artists like 360, Kimbra, Matt Corby and local favourites San Cisco should provide us all with enough incentive to pop down to Hay Park in Bunbury Saturday 19 May. Florence + The Machine’s almost sold-out concert at Burswood dome takes off Thursday 17 May, so visit Ticketek to make sure you don’t miss out. And finally 360 has also announced his national tour which managed to sell out in 24 hours, but don’t fear, the final all-ages show on Sunday 24 June at The Astor theatre still has a few tickets left, so get in quickly before they sell out once again.


THE DRUM MEDIA • 31


29 MARCH

2012

FLOORED

THE COMMUNITY FACT FILE MATHAS

KRS-ONE

BOOST HERO MAN

METRO CITY, NORTHBRIDGE 23/03/12

MEI SARASWATI

LOCAL ART/FILM/ MUSIC/ANYTHING COLLECTIVE THE COMMUNITY CELEBRATES ITS EIGHTH BIRTHDAY THIS WEEKEND AND DRUM CATCHES UP WITH A FEW OF THE PLAYERS. MATHAS What yo’ bring to The Community? I’m one of the main organisers of The Community Squad, I also co-designed thecommunity.com.au as the main hub for all our artists. Aaand I rap pretty good… Brief history? In September 2009 I released an album called 10lb Hairless Sasquatch, I dropped a film clip last year for a song called White Sugar and I am currently working on a few new EPs simultaneously. A few projects are set for release this year. What’s The Community brought to Perth over the past eight years? It’s been extremely important for something like The Community to stay in Perth. Over the past few years we’ve seen a lot of development here, new bars, art and stores all being run by young people who stuck around and tried to make something of it. The Community has given new young artists a platform and support network to get projects off the ground and it has launched artists who have changed the face of WA music in their own right. Fave artist in The Community family? Ooo, that’s a toughie. The artist I’m most excited about and listen to the most is Mei Saraswati. Her music is beautifully low-fi but still of a world standard in my opinion. She’s clever… What were you listening to when you were eight years old? I probably would have been choreographing a dance routine in my underpants to Electric Blue by Icehouse. Don’t tell anyone. What will you be bringing to the gathering this Saturday? I have a few new songs and a completely new set. We’re also bringing a giant pass-the-parcel. Following the communal cake throwing, what’s next? Expect a lot of new music from Mathas this year, as well as a few online spits.

MEI SARASWATI What yo’ bring to The Community? I make cinematic, world beat music and weave vocal melodies through it. 32 • THE DRUM MEDIA

Brief history? I’m a newbie, but the stand-out so far was supporting Kuçka releasing their first EP. That gig was sonic and visual exploration excitement! What’s The Community brought to Perth over the past eight years? A community. Musicians with a beautiful community backing them, increasing their reach and strength by 100-fold! The Community has brought friendship, joy and soul into the Perth music scene. Fave artist in The Community family? You can’t have favourites in your family, ha! They’re all bo$$, though The Weapon Is Sound is up there. They played this weird endurance gig at the dark, tiny Governor’s Bar on Rotto, lit by a creepy green light – they played for like four hours. S&B (sweat and bass)! And Naik is ridiculous. Diger is ridiculous. Ok, I have to stop. Jenn Garland’s work is outta this world too. What were you listening to when you were eight-years-old? Deep Forest and Marvin Gaye; with their powers combined I fell in love with music. I used to dance to Deep Forest after school, make up dance routines in the front room and perform it to the whole cul de sac. I wish I knew the lyrics. What will you be bringing to the gathering this Saturday? Will be playing a new song called Master Fu. Made up nearly entirely by samples from this supernatural kung fu that was on late night SBS.

THE EMPTY CUP What yo’ bring to The Community? Hip hop with a live band. I also co-host the CoLab nights at the Moon Café every month. Brief history? Released The Mixtape in November last year, I’ve supported Akil from J5, Pez, 360 and even Sade. What’s The Community brought to Perth over the past eight years? Hip hop without the preset attitude, and experimental electronic styles that are intrinsically musical. What were you listening to when you were eight-years-old? Honestly, my earliest musiclistening memory is slamming the Mendelssohn violin concerto on tape, while vacuuming the lounge room. What will you be bringing to the gathering this Saturday? My sets always feature very immediate and direct freestyles. But I’ll also be playing some new tracks off the upcoming album. I’m excited about these, the production on them is beautiful. What’s next? Single release, then album release, then tour, then another mixtape. Rinse and Repeat.

YLEM What yo’ bring to The Community? I have been with The Community for about five years making music, playing gigs and generally just helping out whenever I can. Occasionally I help out some of the guys with post-production. Brief history? Producing for about five years. I’ve been involved in organising local and international dubstep gigs. Now focussed on developing a ‘sound’ and collaborating with other artists. Also, slowly chipping away at my digi-label WattHz Records. What’s The Community brought to Perth over the past eight years? A DIY attitude to being a muso in the modern world. Fave artist in The Community family? They’re all good! In terms of artists, Jenn Garland. For musos… The instrumentals that Mathas is making are lately next-level. Naik’s new stuff is also killer. …eight-years-old? Geez, I was probably singing along to some old INXS or U2 tapes. Though I was also a constant at my parents’ rehearsals who had a couple of bands in the ‘80s/’90s, so they were also a big influence. This Saturday? I’ll be doing a set of my tunes from the last few years, so a bit of hip hop, downtempo, dubstep and some new crunchy/ wonky beats I’ve been working on lately. Following the communal cake throwing, what’s next? I’m supporting Machinedrum and Jacques Greene on April 5 at The Bakery. I will also be teaming up with Rachael Dease, whom I’ve been collaborating with lately. We’ve had some great feedback, so really looking forward to working more with her. Plenty of forthcomings in the next few months, stay tuned.

DIG ROKWELL Brief history? Diger Rokwell is the chameleon of the Perth creative scene. As co-founder of influential crew The Community, Dig has aided the growth of independent electronic music in Perth. What’s The Community brought to Perth over the past eight years? The Community started in 2004 as a two-man street project and since then it has grown into a 30-strong collective featuring beat producers, musicians, singers, emcees, photographers, artists, crafters, a market stall, a record label, two radio shows, innovative nights, a flagship website and a model for other crews to follow. Fave artist in The Community family? Mei Saraswati – she brings soul, innovative live performance and beautiful visual art. Ylem –

The night kicked off with performances by local MCs Leonidas and Oath. They played to a small crowd but still gave nothing less than their all. Following them was a performance by MC Cortext, who poured his heart into his performance. All three artists were backed by local DJ and hip hop veteran L-Street, whose knowledge and love of hip hop was palpable. DJ sets from Perth Pioneers including Money-J, Cut-Nice and Armee followed with MCs Skank1 and Sugar Ray taking over the mic and B-boys Maze and Mega showcasing their skills on the floor. Again, these DJs displayed their knowledge of hip hop by dropping well known tracks that hyped the crowd up for what was to come… After a short set from KRS’s DJ (who also happens to be his son) comprising of more crowdpleasing tracks, the moment the eager crowd had been waiting for finally arrived… The Teacha himself took the stage. As this was his first performance in Perth, KRS-One fans certainly expected a lot from the charismatic MC’s performance. And he did not leave them disappointed. Performing a one-and-a-half hour set backed by some amazing lighting and an awesome DJ to a packedout venue, the hip hop legend left the crowd eating out of his hand. Performing classics such as South Bronx, Step Into A World, 9mm and Sound Of Da Police, KRS had the crowd blasting out every lyric they knew. It was one of those hip hop shows that you look back on and

PAUL MASTER

think there is so much love within this community. There was nothing to fault about KRS’s performance. From the recital of his major hits to his freestyling over well-known tracks such as Dead Prez’s Hip Hop, his skill, as well as his intelligence, shone through from beginning to end. KRS made sure that he engaged with the crowd, even inviting local b-boys to grace the stage during his performance. The theme of the night was hip hop with a positive message. Hip hop being something that this community lives, not something that they do. ‘Preaching’ to the crowd about how the Internet is taking over our lives and other contentious issues, and humouring them with questions such as “When you type LOL on your computer screen, do you really laugh out loud?”, there were many lessons taught and not a dissatisfied face in sight. There is a reason behind KRS-One being an acronym for Knowledge Reigns Supreme Over Nearly Everyone, and that lesson was definitely learnt. CHANTELLE GABRIEL

RTRFM FULL FREQUENCY SHAPE, EAST PERTH 24/03/12 Electrodes converged at Shape for the year’s first Full Frequency hullabaloo, featuring a roster taken straight from RTR’s weekday excursion into all things electronic. Disco soul twins Miranda Menzies & Jo Lettenmaier welcomed punters on the downstairs stage ‘til 11.20pm, meeting and greeting with an easy, midtempo set that

put away those crucial first four shots of Bacardi. Teetering upstairs, Rok Riley took command at 12.20am, and proceeded to show off a crunchy hip hop urban riot that lovers could readily recognize from her always sassy Friday afternoon set, with this scribe snatching a few more rounds of lager from the bar before Coyote Clean Up escaped from the speakers. Dart & Sardi carried on upstairs dancefloor duty, bringing in a dumpster-load of drum’n’bass including London Elektricity’s Just One Second. Bonobo was meshed with work from Apex’s latest EP; showcasing the arsenal of new d’n’b these two are devoted to deploying. Optiv & BTK’s latest banger Over The Edge was given a spin, while Komatic brought their set to a soft landing. Ambar’s emperor Micah signed off in Shape’s upstairs for the second half, turning out a serious mix of breaks and four-four ‘til the clock struck four. Refracture’s Blue was pulled inside out by the sound warlock, and Nick Thayer’s hybrid-step Totalitaria was also up for grabs (electronic artists have such socially informed track titles). But the compromise at any jamboree with more than one stage is the declaration of loyalty to one over the other; and this humble reviewer had to sell short the sets of Ru-Kasu, FTW and Ben Mac. What were we missing out on? A helluvalot; tune in to Full Frequency, 3-5pm Monday, to Friday to find out. GABRIEL PAVANE

TEN THINGS YOU DIDN’T KNOW ABOUT N’FA JONES 1. N’fa was born in London to a West Australian mother and a West African (Sierra Leone) father. 2. Grew up in Kalamunda, Swan View and Bayswater. 3. Represented Australia in the 110m hurdles. 4. Doesn’t really collect a lot of vinyl or sneakers (though he loves them), but does collect hats for his shiny dome. 5. Still has his first original song recording from age 10, with his older brother’s crew Deadly Fresh. Track is heavvvy! 6. Is still tight with loads of his high school friends… which is rare these days. 7. Hates rushing, but always finds he has to… usually ‘cause he’s running late. innovative producer and great mixing techniques. What were you listening to when your were eight-years-old? Kylie Minogue, techno-house, ‘80s stuff. What will you be bringing to the gathering this Saturday? New songs from upcoming releases, liveness.

THE BOOST HERO MAN What yo’ bring to The Community? A diverse depiction of space in the form of “astral-beat” hip hop. I’m a producer who takes inspiration from the cosmos and chisels it into Ableton to create hitherto

themusic.com.au

NFA

8. Is one mean-ass coffee barista. Really, it’s true, test him some time. 9. Feels a quite deepened sadness when a ‘pub’ doesn’t serve Guinness on tap. 10. Is excited to be releasing the

new EP Babylondon this April, complete with a heap of remixes.

unheard-of beat production.

This Saturday? Going to be bringing a few new tracks to the night, as well as building some on the spot. I’ll be building atmospheres and soundscapes. Playing a selection of original beats and creating a cosmic voyage. Following the communal cake throwing? I’m planning an EP release later on this year. Probably consisting of five to eight cosmic astral-hop style beats. Looking into heading to Melbourne next year to hang out with some other musical buddies and maybe on again to Europe. We’ll see. WHEN & WHERE: Saturday 31 March, The Bakery, Northbridge

What’s The Community brought to Perth over the past eight years? I think it’s given Perth a strong “home base” for many artists, whether they are a part of it or not. It has helped give Perth a stronger art community, and subsequently, reduced the competition within it. The Community allows artists to easily work together with a common goal. …eight-years-old? I’m pretty sure I had headphones stuck to my ears 24/7 listening to Michael Jackson’s Bad on cassette. Such an amazing album.

WHEN & WHERE: Friday 30 March, The Manor, Leederville; Thursday 5 April, Super Thursday, Claremont Hotel


TRANCE-FIXED EVERTHING TRANCE WITH RUEBEN HALE. Melbourne DJ MaRLo seems to have hit the big time, receiving a personal invitation from Armin van Buuren to play at A State Of Trance in Del Bosch in the Netherlands. He must have been stoked to look down the list and find the virtual who’swho of the genre playing over five stages named Blue, Green, Yellow, Red and Pink (for the female artists). His star seems to have risen sharply of late on the back of his recent remix of Angger Dimas feat Polina’s Release Me charting extraordinarily well in Australia after its release on Beatport drew mass attention. After initially racing up the EDM charts, the track also managed #20 on the Qld mainstream charts, just one week after its release. This will top off a superb year for the Victorian after hitting #1 on Beatport in 2011 with The Island, remixing Armin van Buuren, and mixing the MOS Trance Nation Australia compilation for the second year running. I’m sure it won’t be too long before this DJ breaks into the DJ Mag Top 100 poll! MaRLo will be playing Creamfields in Perth next month alongside the likes of Above & Beyond, Sied Van Riel and worldstorming trance newcomers W&W. Speaking of trance-dominated festivals, many of the Armin van Buuren brigade were recently implicated in an upset on sacred ASOT soil. The State Of Trance 550 stage at the Beyond Wonderland Festival in the US was a centre of shock and disbelief when fans spat their lollie after being exposed to

GIVEAWAY!!!

DJ MARLO

DJ FRESH

an ear-shattering set of dubstep, courtesy of local DJ Fei Fei to open the stage for trance heavies Arty, Gareth Emery, Aly & Fila and AvB himself! Apparently Ms Fei decided it would be cool to warm up the rainbow surfers with some Nero and Skrillex remixes. Think again! In an aftermath of social media rage, loyal and devoted purists relentlessly broadcasted their displeasure with a barrage of insults against the female DJ. Fei Fei remained unrepentant however, commenting that she would play whatever she liked in much less diplomatic terms. And the ASOT outrage certainly flies in the face of what Chad Cisneros from up-and-coming trance newcomers Tritonal says

is happening with trance fans worldwide. During a recent chat with Cisneros, he claimed that many of the van Buren camp were really embracing a “cross-pollination� of trance with hip hop, house, dubstep or whatever with their beloved pure trance. He says the fans these days tended to be festival hardened multi-genreists that were happy to move from trance to rap in a beat. So much for his theory, it seems. Tritonal will also be making their maiden voyage to Perth for Creamfields in April. Grammy-nominated artist and world acclaimed DJ Paul van Dyke will finally drop his first new album since 2007 with the release of Evolution in early April. It will be interesting

to see how popular the strictly anti-drugs artist’s new release will be after the incredible success of his last release In Between, which hit No. 2 on the Billboard EDM charts. In fact, his last album was so big it lead to the most prolific period in his career culminating in the following year with a legendary concert in Rio de Janero, where he played to over a million fans at a New Year’s concert. Little know about the new release, but Trance-Fixed understands the album will feature 15 tracks, with the first release, Eternity, made in collaboration with Adam Young of Owl City fame.

One of the originators of drum’n’bass, DJ Fresh began his career as a founding member of the supergroup Bad Company. In ’98, when Fresh was still 19, the group released The Nine – a track later voted best d’n’b tune of all time by D&B Arena. He’s bringing his Fresh/live experience to Metro City Friday 30 March, with the precisely rad MC Messy, Texas DJ High

Maintenance and Wellington duo The Upbeats. Supported by Johnny Quest, Diamond D & MC Assassin, Voltron & MC Styee and MC Xsessiv, loadeddice. com.au for tickets. Or you can win one of FIVE DOUBLE PASSES simply by jumping on facebook.com.au/drumperth and hitting the Giveaways tab on the left.

BAR9 @ SHAPE

FLUXX @ AMPLIFIER

I LOVE 90’s @ CAPITOL (UPSTAIRS)

FAMILY @ REPUBLIC

FRAT HOUSE FRIDAYS @ METROPOLIS FREMANTLE

OPIOU @ CAPITOL

    

    

 

 

BITROK

MR B, TEE EL, BLACK & BLUNT FRI 30 MAR

  

                

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BUDA | MICAH | DEAD EASY | TEE EL

SAT 07 APR

 

     



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THE DRUM MEDIA • 33


28 MAR - 4 APRIL

2012

THURSDAY 29/3 BASS CULTURE/CULTURE CLASH @ NEWPORT HOTEL

DANCEFLOOR OF THE WEEK

LUCID DREAMING BOAT PARTY LD pack a boat with Happy Endings, Kid Deep, James Francis, Richard Lee and Jake & Kane Winter. aarin@luciddreamingproductions. com for tickets.

DIAFRIX, JOELISTICS @ PRINCE OF WALES

KYNAN TAN @ THE BIRD Local electronica wonder Kynan Tan launches his album Rætina, performing live, supported by Kučka, Leaving and Brett Murray from 8pm.

ROAR @ BOLT BAR ROAR brings the bassline fever with Rinski, Muller, Mental, Gooch and MCs Treppa, Haste and Fro.

R’N’R KARAOKE @ DEVILLES A hell of a night for your vocal cords.

THE AVENUE Jon Ee gets you ready for the weekend.

THE CRAFTSMAN Roger Smart gets ready for the weekend with commercial chart toppers and classic party anthems.

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

ROSEMOUNT HOTEL Sons Of Rico DJs takes over the decks outside while bands play inside.

FRIDAY 30/3 HERMITUDE

THE UPBEATS

DJ FRESH, HIGH MAINTANENCE, THE UPBEATS @ METRO CITY

One of the originators of drum’n’bass, DJ Fresh began his career as founding member of the supergroup Bad Company. In ‘98, when Fresh was still 19, the group released The Nine – a track later voted best d’n’b tune of all time by D&B Arena. You know the man, and will be excited he’ll be bringing some new killer dubplates like his so-hot-right-now track Louder, along with all the old faves to Metro City Friday 30 March, with MCs Messy and Tali, Dallas, Texas DJ High Maintanence and Wellington, UK duo The Upbeats. Supported by local heroes Johnny Quest, Diamond D & MC Assassin, Voltron & MC Stylee and MC Xsessiv, head to loadeddice. com.au, DJ Factory or Mills Records for tickets.

SLOWED & SCREWED @ SHAPE (DOWN) A Throwback Edition spinning dirty south rap, R’n’B ghetto jams and party hip hop all night with DJs Stylz Ali, CiCi Snappz and more, free till 11pm, $10 after.

THE CUBE @ SHAPE (UP) Drum’n’bass/dubstep destruction with Rregula, J Switch, DVise, Gran Calavera and Neo, $5 before 11pm, $10 after.

BOOMBOX OLD SKOOL BOAT PARTY It’s a Boombox old skool/breakbeat hardcore river cruise with some of Perth’s original Old Skool DJs in Darren Brias, Menis Vs Leroy and Hutcho Vs Kev. $39 plus BF via Moshtix.

PEO DE PITTE @ AMBAR If you find yourself regularly getting down to the likes of Krafty Kuts, Sinden and Plumps, Peo De Pitte is the Swede to feed you. Mr B, Tee El and Black & Blunt support, $20 door.

HERMITUDE, SIETTA @ MOJO’S Following the success of lead single Speak Of The Devil, Hermitude release of their fourth album, Hyperparadise, they bring labelmates Sietta for a party, tickets through Oztix, Moshtix, 78’s, Mills and Planet. MANIK

MANIK @ VELVET LOUNGE Young New York City born and bred music producer/DJ MANIK celebrates latest single She Watches Me, supported by Aarin Fraser, Dan McNab, Craig Hollywood and Cam Duff. $20 plus BF via Moshtix. ALISON WONDERLAND

N’FA @ THE MANOR Having spent most of 2000-2006 with 1200 Techniques, N’Fa has spent the last few years branching out as a quality solo act, and rocks a full live set to celebrate new EP Babylon.

Speakeasy pull in big (and young) guns in Melbourne rising triple j darlings Snakadaktal, and Sydney’s Alison Wonderland. Supported by Antonio Paul and Morgan Bain, plus the Metric DJs. Presales via Moshtix. 34 • THE DRUM MEDIA

Satisfy your ‘90s desires with DJ DTuck rocking the best pop from The Backstreet Boys to the Vengaboys from 11pm.

FRAT HOUSE FRIDAYS @ METRO FREO The Death Disco DJs bring the bangin’ indie-dance, plus red cups, cheerleaders and college-themed craziness.

PLUSH @ GEISHA From 11pm ‘til late, James Smith, Aarin F and Tom Drummond give you broken down dirty underground for $5 before 12.30am, $10 after.

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

EXTREME AGGRESSION @ ROCKET ROOM Malignant Monster frontman DJ Cain Cressall plays nothing but high-voltage rock and metal, with requests and CD giveaways.

SATURDAY 31/3

Don your best outfit and get down and dirty as She Party Rockin’ hosts two luscious ladies of dance, DJ Gemstar and MC Lady Lauryn. Supported by Flex, TimBee, Sir Clancelot, Feminem, Hannah Conda and Ruby Jewels, $10 from 9pm.

DIAFRIX, JOELISTICS @ BAR 120 Two of the country’s most eclectic hip hop acts Diafrix and Joelistics join forces to celebrate new singles Running It and The Shining respectively.

Free entry and mind-massaging rhythms at this house party not at a house, with The Move family – Viv G, Nik R, Ben M and Ant S from 8pm.

AMPLIFIER/CAPITOL Cowboys & Indie Kids Fox spin indie/alt classics from midnight at Amps, while Caps serves up a Retro Mash from 10pm.

I LOVE ‘90S @ CAPITOL (UP)

Club Unkown DJs Mith, X-Hate and Drastic spin tracks from Brooklyn heavy metallers Type O Negative, marking the second anniversary of frontman Peter Steele’s death, plus the usual mix of EBM, Dark Wave, Goth, Industrial and beyond.

DISCOINCORRECTO! @ HONEY LOUNGE BAR Honey Lounge Bar is born and the discoINCORRECTO! DJs come to whisk you away to a honey-soaked disco-fuelled galaxy of Love. DJs Rob dB and Paul Payne bring you disco/deephouse/funk/soul/ vintagehouse/’80s-edits and so much more.

JAPAN 4 @ AMBAR DNGRFLD, Oli, Tee EL, Philly Blunt and Mono Lisa bring the right tunes and the right ‘tude to the home of the underground, $12 til midnight, $15 after.

COMMUNITY B’DAY @ BAKERY Rad local collective The Community turn eight with a line-up too big to print here, so check our feature in MO for all the deets. Tickets via Now Baking.

DEATH DISCO/PURE POP @ CAPITOL/AMPLIFIER Indie-dance and disco bangers from Death Disco DJs, The Great RV spinning ‘80s classics upstairs and Eddie Electric indie/at classics from midnight in Amps.

METRO FREO DJs Dtuck, Wazz and Darren Briais keep the party tunes rolling in the big house.

SATURDAY SOCIAL @ YA YA’S The Kings Of Cheese DJs plus a very special guest bring soul, disco and dancing choons, $5 from 11pm. James A, Paul Malone and Lee Wilson bump out some deep house till dawn. $6 before 12.30am, $12 after.

THE WEMBLEY MOS CLUBBERS GUIDE @ VILLA The Ministry Of Sound Clubbers Guide To 2012 loads up for the annual tour, rocking Villa with Melbourne duo Denzal Park and Brisbane’s Danny T. Supported by Mind Electric, Chiari, Wasteland and Ace Basik, $25 plus BF. SIETTA

Lokie Shaw spins the best of the best right across the board in full on good times party style.

THE CRAFTSMAN Abstar delivers the music for the masses in Cannington’s fave night spot.

EAST END The most popular night in Freo this week plays host to Az-T – electro classics with a funky tech edge.

CLUB BAYVIEW Little Nicky heats up Clubba with club classics and current anthems.

BEAT NIGHTCLUB The Beat Nightclub brings the rock and the party, this week featuring Tim Gordon & Band, Lanark, Foam and Dead Owls live upstairs, with PLAY downstairs.

TYPE O NEGATIVE/PETER STEELE TRIBUTE @ GIKISONS

ELEMENT @ GEISHA

DENZAL

SHE PARTY ROCKIN’ @ COURT HOTEL

RHYTHMATISM @ THE BIRD

SPEAKEASY @ VILLA

ROTATION @ VELVET LOUNGE Krule, Philly Blunt, Cavalier, Allstate and Mr McBrine let the tunes on rotation do the talking from 8pm.

For lovers of dubstep, drum’n’bass, wobble and a good night, free from 8pm with Death Disco’s Anton Maz in the back room, while Cobz vs T-Mac vs Doc Spin, Joe Macc, Illusive vs Dvise and a Battle Royale feature in the front room.

Two of the country’s most eclectic hip hop acts Diafrix and Joelistics join forces to celebrate new singles Running It and The Shining respectively.

join forces to celebrate new singles Running It and The Shining respectively.

SUNDAY 1/4

HERMITUDE, SIETTA @ AMPLIFIER

DIAFRIX

Following the success of lead single Speak Of The Devil, Hermitude release of their fourth album, Hyperparadise, they bring labelmates Sietta for a party, tickets through Oztix, Moshtix, 78’s, Mills and Planet.

DIAFRIX, JOELISTICS @ HYDE PARK HOTEL Two of the country’s most eclectic hip hop acts Diafrix and Joelistics

and The Shining respectively.

THE LOFT @ GEISHA It’s a night of Irreverence with a flying circus of the weird and wonderful mixed with the usual classic indie and alternative sounds, $5 before 9pm, $10 after.

THE AVENUE Az-T brings the funky/chunky beats for a soothing Sunday sessions.

WEDNESDAY 4/4 DIBIASE

DIBIASE @ ROSEMOUNT South Los Angeles native Dibiase brings his early ‘90s lo-fi G-Funkmeets-early-era-Nintendo sounds, supported by Melbourne’s Electric Sea Spider and Rorschach, and locals Zeke and James Ireland, with the Cowboys & Indie Kids keeping the beer garden party going.

ROULETTE @ VELVET LOUNGE Weekly bass music at the Velvet Lounge, free entry from 8pm.

RAPTURE @ METRO FREO From 9pm til late, DJs Andy Reid and Kenny L hit the decks with a cool blend of house, electro, commercial dance and hard house.

DTF @ THE BIRD Break it down with The Exploder and friends. Down to fuck that is. 8pm.

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

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

UPCOMINGS

EASTER @ LEEDERVILLE HOTEL Easter Thursday 5 April the Leederville Hotel is packing some seductively dancing bunnies to help you boogie down to the beats of DJ Reuben, free from 7pm. Prizes for best dressed bunnies/bunnettes.

ROLLER Another killer edition of the Roller Easter Thursday annual at Rosemount Hotel. Free entry with Ekko & Sidetrack, Dart, Devo, Kent, Deflo. After party at Ambar!

HOT CROSS BUNS @ AMPLIFIER/CAPITOL Headlining Capitol will be Tonite Only, while The Medics and YesYou live rock sets in Amplifier, supported by The Brow Horn Orchestra, Mind Electric, The Halo Effect, Death Disco DJs, Scenic, Kno Agents, Sun City, Stillwater Giants, Tapeheads, FTW, Jus Haus? and DJ Cody. Tickets via Moshtix for this Drumpresented show, Thursday 5 April.

BITROK @ AMBAR Bitrok, the Brisbane-bred, Sydneybased DJ production duo are Japan 4 at Ambar’s guests Saturday 7 April. Supported by Buda, Micah, Dead Easy and Tee EL, $15 door.

BAG RAIDERS, CASSIAN@VILLA

DIAFRIX, JOELISTICS @ NORFOLK BASEMENT Two of the country’s most eclectic hip hop acts Diafrix and Joelistics celebrate new singles Running It

themusic.com.au

After mixing the fourth of Modular’s Leave Them All Behind compilation CDs, Bag Raiders land at Villa Nightclub on Easter Saturday 7 April to throw down their own breed of electronic goodness, supported by fellow aural pleasers Cassian, The Halo Effect and Mr Of. Tickets via Moshtix.

UPCOMINGS DIAFRIX, JOELISTICS: MAR 29 Prince Of Wales; MAR 30 Bar 120; MAR 31 Hyde Park Hotel; APR 1 Norfolk Basement N’FA: MAR 30 The Manor MANIK: MAR 30 Velvet Lounge DJ GEMSTAR, MC LADY LAURYN: MAR 30 Court Hotel ALISON WONDERLAND: MAR 30 Villa PEO DE PITTE: MAR 30 Ambar DJ FRESH, MC MESSY, HIGH MAINTANENCE, THE UPBEATS: MAR 30 Metro City HERMITUDE, SIETTA: MAR 30 Mojo’s; MAR 31 Amplifier DENZAL PARK, DANNY T: MAR 31 Villa DIBIASE, ELECTRIC SEA SPIDER, RORSCHACH: APR 4 Rosemount Hotel + KID MASSIVE: APR 5 Flawless TONITE ONLY: APR 5 Capitol M.A.N.D.Y, STACEY PULLEN: APR 5 Shape FREESTYLERS, MARTEN HORGER: APR 5 Villa MACHINEDRUM, JACQUES GREEN: APR 5 The Bakery HAVANA BROWN: APR 5 Metropolis Fremantle + BASSRAIDERZ: APR 7 Gilkisons HONEY DIJON: APR 7 Geisha BAG RAIDERS, CASSIAN: APR 7 Villa BITROK: APR 7 Ambar VAN SHE TECH: APR 7 The Aviary GRIZZLED: SKISM, TC, ZOMBOY, BEATACUE, INSPECTOR DUBPLATE: APR 8 Capitol + DOCTOR WEREWOLF: APR 13 Ambar + DJ PEDRO (NAPOLEON DYNAMITE): APR 13 Rooftop Movies 4 STRINGS, DANIEL KANDI: APR 13 Shape THE HERD, THUNDAMENTALS: APR 13 Settlers Tavern; APR 14 Rosemount Hotel SNEAKY SOUND SYSTEM: APR 14 Villa ROGER SANCHEZ: APR 20 Villa VIPER: SHOCKONE, METRIK: APR 21 Villa SUPAFEST: T-PAIN, P. DIDDY, CHRIS BROWN, BIG SEAN, MISSY ELLIOTT, NAUGHTY BY NATURE, ICE CUBE, KELLY ROWLAND, RICK ROSS, LUPE FIASCO, TREY SONGZ: APR 22 Arena Joondalup + DUB FX & FLOWER FAIRY: APR 24 Rosemount Hotel + PANJABI HIT SQUAD: APR 24 Shape + GALAPAGOOSE: APR 26 The Bird DERRICK MAY: APR 27 Ambar CLARK: APR 27 The Bakery RUFUS: APR 27 Villa THE FUNKOARS: APR 27 Bar 120; APR 28 Rosemount Hotel BEN UFO: APR 28 Secret Warehouse KID KENOBI, SURECUT KIDS: APR 28 Villa SUB ZERO, MC EKSMAN: MAY 5 Villa CREAMFIELDS: DAVID GUETTA, ABOVE & BEYOND, DIRTY SOUTH, ALESSO, GIUSEPPE OTTAVIANI, W&W, SIED VAN RIEL, TRITONAL, MARLO, CONGOROCK, EXCISION, DOWNLINK, BOMBS AWAY, DOWNLINK and more TBA: MAY 5 Supreme Court Gardens + MORD FUSTANG: MAY 11 Ambar ATMOSPHERE, EVIDENCE: MAY 11 Villa


THE DRUM MEDIA • 35


THU 29 Bernadine Belgian Beer Cafe Chris Gibbs Brook Bar & Bistro The Other Guys Como Htl Dana Vulin Fundraiser Ellington Jazz Club Grace Knight, Trevor Jalla Fremantle Arts Centre Howie Morgan FUSE Bar Dirty Scoundrels Kalamunda Htl Little Stevies, Lucy Peach Little Creatures Loft Nathan Gaunt Lucky Shag Mat Gresham Mojos Nth Fremantle Boom! Bap! Pow!, Sean Pollard Mustang Bar Old Man River, Simone & Girlfunkle, Patient Little Sister Norfolk Basement Dr Bogus Paddy Hannan’s, Burswood Sanssangria, Head Full Of Steam, Cyclone Tess, Honeywheeler Rosemount Htl Clayton Bolger Rosie O’Gradys Fremantle Fenton Wilde Rosie O’Gradys Northbridge David Fyffe Sovereign Arms Kynan Tan, Kucka, Leaving The Bird Jen de Ness The Boat Crusaders Trio The Boulevard Tavern Better Days The Gate Murder Mouse Blues Band The Shed The New Beast, Quick Brown Fox X-Wray Café Rosie Burgess Trio, Simon Kelly Band Ya Ya’s

FRI 30 Midnight Rambler 7th Avenue Bar Wolves Amplifier Bar Mod Squad Bailey Bar & Bistro Wooden Shjips Bakery Northbridge Jamie Powers Bally’s Bar The Other Guys Balmoral Tim Gordon, Lanark, Foam, Dead Owls Beat Nightclub Feisty Burlesque Belgian Beer Cafe Everlong Acoustic Belmont Tavern Dove Bentley Hotel

36 • THE DRUM MEDIA

J Babies Black Bettys Damien Cripps Broken Hill Hotel Tod Woodward Brook Bar & Bistro Children Collide Capitol Bluebottles Captain Stirling Slack Alice Castle Htl Greg Carter Chase Bar & Bistro British India, Emperors, Russian Winters, Custom Royal Civic Htl Backroom Spoonful Of Sugar Clancys Fremantle Aires Linares, Nick Sheppard, Maximillion Claremont Hotel Travis Caudle East 150 Bar Gotham City Edz Sports Bar 1 Grace Knight, D Money & The Dynamites Ellington Jazz Club Halo Empire The Weapon Is Sound, Sonpsillo Circus Fly By Night Fremantle Simon Kelly Fremantle Art Markets Kontraband Glengarry Tav The Organ Grinders Gloucester Park Pretty Fly Greenwood Hotel Qynn Beardsman Hotel Rottnest Nathan Gaunt, One Trick Phonies Hyde Park Htl Vdelli Indi Bar Hermitude, Sietta Mojos Nth Fremantle Adam Hall & The Velvet Playboys, Cheeky Monkeys Mustang Bar Party Rockers Newport Htl Howie Morgan (duo) Osborne Park Htl Stu Harcourt Paddingtion Ale House Flyte Paramount Nightclub Pockets of Resistance, Paltiva, Parallel, Skin Flint Railway Htl Emberville, Still Water Claims, Cupid Falls, Hooks4Hands, We Run With Wolves, Milkshake Strategy Rocket Room Harms Way, Zeks, Sprawl, The Gizzards, Hokusai, The Watermelons Rosemount Htl

Miche Suite Settlers Tavern Margaret River Murder Mouse Blues Band Steve’s Bar Helen Shanahan Stirling Arms Guildford P Is For Pumpernickel, The Government Yard, Stray Dogs of Athens Swan Basement Dirty Scoundrels, Greg Carter Swinging Pig Pop Candy The Boat Vanilla Fox Duo The Boulevard Tavern Adrian Wilson The Brass Monkey Smoking Section The Gate Nathan Gaunt The Principle Micro Brewery Kickstart The Shed Jack & Jill The Vic Hotel Retriofit Universal Bar Ivan Ribic Victoria Park Htl Clayton Bolger Wanneroo Tavern Dr Bogus Woodvale Tavern Rabbit Island X-Wray Café Death & A Cure, Black Birds, Tyto Kings, Sheryn Binks Ya Ya’s

SAT 31 Hermitude Amplifier Bar The Community B’Day Bakery Northbridge Adam Morris Bally’s Bar The Kickstarts Balmoral Chris Murphy Belgian Beer Cafe One Trick Phonies Brook Bar & Bistro Hi-NRG Burswood Casino Sophie Jane Duo Captain Stirling Stone Circle Civic Bandroom The Morning Night Clancys Canning Bridge Matt Gresham Clancys Fremantle Pete Busher & The Lone Rangers Claremont Hotel Bronwynn Sprogowski, Stratosfunk Ellington Jazz Club Eddi Reader Quartet, Boo Hewerdine Fly By Night Fremantle Qynn Beardsman Hotel Rottnest The Other Guys Indian Ocean Brewing Company Errol Tout, Sam Blight Kulcha Rhythm 22 M On The Point Kontraband Mighty Quinn Tavern The Morning Night, Lucy Peach, The Deep River Collective, The Fremantle Ukulele Collective, The Big Old Bears, Richard Lane, Elk Bell Mojos Nth Fremantle Marco & The Rhythm Kings, 10 Cent Billionaire Mustang Bar Kizzy, Gravity Newport Htl Holly Throsby, Hang On St. Christopher, Amanda Merdzan Norfolk Basement Nathan Gaunt Osborne Park Htl Electrophobia Quarie Bar & Bistro Retriofit Queens Tavern

In The Now, Babyjane, Ultrasound Railway Htl Kickstart Rocket Room Reapers Riddle, Homebrewe, Delusions of Grandeur Rosemount Htl Better Days Sail & Anchor Rosie Burgess Trio Settlers Tavern Margaret River Adrian Wilson, Christian Thompson Steve’s Bar Off The Record Subiaco Htl Storm The Shores, Armada Vale, From Isolation, The Fall of Man, A Haunting On Ravenswood Swan Basement Cow Parade Cow, Sugarpuss, Bears & Dolls The Bird One Step Ahead The Boulevard Tavern The Others, Wild Sense, Tikdoff, Cabin Fever, Foul Mouth, Deranged The Den Dirty Scoundrels The Gate Huge The Shed Chris Gibbs Duo The Vic Hotel Jamie Powers Wanneroo Tavern Renegade Woodvale Tavern Robbie X-Wray Café BugHunt, The Watermelons Ya Ya’s

SUN 01 Greg Carter Bally’s Bar Cranky Balmoral Nathan Gaunt Broken Hill Hotel Greg Carter Brooklands Christian Parkinson Captain Stirling The Shinkickers Carlisle Htl James Wilson Chase Bar & Bistro Baby Jane, Stone Circle, Diamond Eye, Midnight Boulevard, We Build Pyramids, One Armed Scissor, To The Depths, Beyond Never, Jupiter Zeus Civic Htl Backroom Zarm Clancys Dunsborough The Zydecats Clancys Fremantle Sunday Driver Claremont Hotel Adrian Wilson East 150 Bar The Gavin Kerr Quartet Ellington Jazz Club Xavier Rudd Fly By Night Fremantle Mike Nayar High Road Tavern Simon Kelly (Arvo), Sophie Jane Hyde Park Htl Boston & Chevy, Mor Bain, Logan Crawford Indi Bar Retriofit (Arvo), Dove Indian Ocean Brewing Company Alitia Martin Kalamunda Htl Jamie Powers Lakers Tavern Parker Avenue M On The Point Children Collide, Deep Sea Arcade, Palms Mojos Nth Fremantle

Rock Scholars Mojos Nth Fremantle (afternoon) Tim Nelson, Cal Peck & The Tramps, Blazin’ Entrails, Bonehouse Newport Htl Dirty Scoundrels Pig & Whistle Jack & Jill Quarie Bar & Bistro Mister & Sunbird Queens Tavern, Highgate Custom Royal, The Insatiables, State Of Order, Evergone, Astro Pig, The Branson Tramps, The Corner, The Shakeys, 10 Past 6 Railway Htl PJ n H Rubix, Perth Shawne & Luc Sail & Anchor Howie Morgan Project (Arvo), Mike Nayar Saint Rosie Burgess Trio Settlers Tavern Margaret River Blackheart & Strangelove South st Ale House Christian Thompson Springs Tavern Adam James Swinging Pig Brown, Frozen Ocean, Tomas Ford, Nonlinearcircuits The Bird Violet Scene, Painted Birds, Midnight Mules, Hostile Little Face The Boulevard Tavern Better Days, Chris Gibbs Trio The Gate Bar and Bistro, Success Stella Donnelly The Principle Micro Brewery The Healys, Blue Hornet The Shed Retriofit Universal Bar

MON 02 Marco & The Ally Cats Mustang Bar

TUE 03 Nathan Gaunt Balmoral Howie Morgan Lucky Shag Nevsky Prospekt, Lantana, Zeks, The Brown Study Band Mojos Nth Fremantle Stu Harcourt Paddingtion Ale House

WED 04 Ray Walker, Tom O’Halloran Ellington Jazz Club Jay Grafton Indi Bar Ben Merito Lucky Shag Mat Cal, Dream Tree, Jordan Danah Mitchell Mojos Nth Fremantle Ash Hendriks, Davey Craddock, Mel Hall Moon Cafe Paperfish, Custom Royal, Dylan McCoy Paddingtion Ale House 5 Shots Paddy Hannan’s, Burswood Cowboys & Indie Kids Rosemount Htl Greg Carter South St Ale House James Treacy, Badger & The Fox X-Wray Café Line At Infinity, Kaya Brothers, Fliptop, The Whores Ya Ya’s

themusic.com.au

TOUR GUIDE

DEEP SEA ARCADE THE ROSIE BURGESS TRIO: MAR 29 Ya Ya’s; MAR 30 Prince Of Wales; MAR 31 Settlers Tavern; APR 1 Settlers Tavern JOHN BUTLER: MAR 29 Astor Theatre THE LITTLE STEVIES: MAR 29 Little Creatures Loft GRACE KNIGHT: MAR 29 Fremantle Arts Centre; MAR 30 Ellington Jazz Club GOSPEL ACCORDING TO ELVIS: MAR 30 Astor Theatre SNAKADAKTAL: MAR 30 Villa WOODEN SHJIPS: MAR 30 The Bakery BRITISH INDIA: MAR 30 Civic Back Room; MAR 31 Kalgoorlie Hotel; APR 1 Joondalup Festival CHILDREN COLLIDE, DEEP SEA ARCADE, PALMS: MAR 30 Capitol; MAR 31 Players Bar; APR 1 Mojo’s AN EVENING ON THE GREEN: NOISEWORKS, DARYL BRAITHWAITE, RICHARD CLAPTON, 1927, CHOIRBOYS: MAR 31 Kings Park & Botanic Gardens HOLLY THROSBY: MAR 31 Norfolk Basement EDDI READER: MAR 31 Fly By Night GEORGE MICHAEL: MAR 31 Sandalford Estate, Swan Valley PETULA CLARK: MAR 31 Mundairing Weir Hotel; APR 1 Albany Entertainment Centre TURA NEW MUSIC FESTIVAL: MAR-DEC Various Venues ADAM ANT, GEORGIE GIRL & HER POUSSEZ POSSE: APR 1 Astor Theatre WEST COAST BLUES’N’ROOTS: JOHN FOGERTY, CROSBY STILLS & NASH, THE POGUES, THE SPECIALS, MY MORNING JACKET, BUDDY GUY, KEB MO, STEVE EARLE, TROMBONE SHORT & ORLEANS AVENUE, HUSKY, BLITZEN TRAPPER, GIN WIGMORE and more: APR 1 Fremantle Park YES: APR 5 Riverside Theatre THE MEDICS, YESYOU: APR 5 Amplifier XAVIER RUDD: APR 5 Astor Theatre; APR 7 Palandri Winery, Margaret River ANTAGONIST AD, DRIVEN FEAR: APR 6 YMCA HQ; APR 7 Civic Hotel DEAD MEADOW, PINK MOUNTAINTOPS: APR 7 The Bakery COLD CHISEL: APR 7 Sandalford Winery, Swan Valley

WOODEN SHJIPS + BLU GURU: APR 7 Kulcha BALL PARK MUSIC, CUB SCOUTS: APR 7 Amplifier; APR 8 Newport Hotel JAY HOAD: APR 7 Clancy’s Dunsborough; APR 8 Dunsborough Tavern; APR 12 Prince Of Wales; APR 14 Swan Basement; APR 15 Newport Hotel; APR 18 Mojo’s; APR 19 Mustang Bar; APR 26 Gypsya Tapas; APR 27 Velvet Lounge; APR 29 Indi Bar SKARFACE: APR 8 Mojo’s VEIL OF MAYA, THE STORM PICTURESQUE, STORIES: APR 8 Capitol; APR 9 YMCA HQ VUSI MAHLASELA: APR 11 Fly By Night SUBLIME WITH ROME, MAT MCHUGH: APR 11 Metropolis Fremantle HI-5: APR 11 & 12 His Majesty’s Theatre; APR 13 Bunbury Entertainment Centre THE NEVER EVER: APR 12 YMCA HQ (Early), Villa (Late) SETH LAKEMAN, CARUS THOMPSON: APR 12 Clancy’s Fremantle; APR 13 Hyde Park Hotel PASSENGER: APR 13 Fly By Night + THE BLACK SEEDS: APR 14 The Bakery LAST DINOSAURS: APR 14 Amplifier THE HERD: APR 13 Settlers Tavern; APR 14 Rosemount Hotel SEAL: APR 14 Sandalford Estate, Swan Valley JUSTIN TOWNES EARLE: APR 14 Fly By Night; APR 15 Rosemount Hotel FAIRBRIDGE FESTIVAL: PAUL BRADY, SHANE HOWARD, SETH LAKEMAN, MY FRIEND THE CHOCOLATE CAKE, THE CHIPOLATAS, SHOOGLENIFTY, CHIRIS WHILE and more: APR 13-15 Fairbridge Village MICHAEL BOLTON: APR 17 Riverside Theatre WERNER DAFELDECKER, VALERIO TRICOLI: APR 18 Spectrum ECU SHOOGLENIFTY, THE CHIPOLATAS: APR 18 Fly By Night ROGER DALTREY (THE WHO): APR 19 Riverside Theatre AMON AMARTH: APR 19 Capitol BLUEJUICE, LOON LAKE, THE CAIROS: APR 19 Settlers Tavern; APR 20 Capitol EMILY BARKER: APR 19 Transmission Lounge, Denmark; APR 20 Emporium, Bridgetown; APR 21 Fat Shan Records

CALLING ALL CARS: APR 19 Indi Bar; APR 20 Prince Of Wales; APR 21 Rosemount Hotel BIG SCARY: APR 20 Amplifier THE SNARSKI BROTHERS: APR 20 Velvet Lounge; APR 21 Norfolk Basement BEN SALTER, JOE MCKEE (SNOWMAN): APR 20 The Fly Trap; APR 22 The Bird SAMUEL DASS: APR 21 Kulcha DEEZ NUTS, PHANTOMS: APR 21 Amplifier; APR 22 YMCA HQ LOU BARLOW: APR 22 Rosemount Hotel BURT BACHARACH: APR 23 Riverside Theatre BLEEDING KNEES CLUB, DUNE RATS: APR 25 Indi Bar; APR 26 Prince Of Wales; APR 27 Amplifier; APR 28 Mojo’s AN HORSE: APR 25 Rosemount Hotel AUGUST BURNS RED, BLESSTHEFALL, NORTHLANE: APR 25 Amplifier 1897 SESSIONS: WHITLEY: APR 26 Newport Hotel RUFUS, THE RUBENS: APR 27 Villa SAN CISCO: APR 27 Mojo’s + CATHRINE SUMMERS: APR 28 The Naked Fig, Swanbourne HOODOO GURUS, REDD KROSS, THE FLESHTONES: APR 28 Astor Theatre HOODOO GURUS: APR 29 Hotel Rottnest THE MOUNTAIN GOATS, CATHERINE TRAICOS: MAY 1 The Bakery GOSSLING: MAY 2 Little Creatures Loft; MAY 3 The Bird TIJUANA CARTEL: MAY 2 & 3 Mojo’s; MAY 10 Liddell Reserve, Girrawheen DZ DEATHRAYS: MAY 3 Prince Of Wales; MAY 4 Amplifier; MAY 5 Mojo’s HUSKY: MAY 4 The Bakery + PJ OBRIEN: MAY 5 Hyde Park Hotel FU MANCHU, BLACK COBRA, MATT SONIC & THE HIGH TIMES: MAY 5 Rosemount Hotel DEVILDRIVER, DARKEST HOUR, SIX FEET UNDER: MAY 9 Capitol FRANK TURNER & THE SLEEPING SOULS, WILLIAM ELLIOT WHITMORE, THE SMITH STREET BAND: MAY 9 Amplifier BOY & BEAR: MAY 10 Albany Entertainment Centre; MAY 11 Bunbury Entertainment Centre; MAY 12 Fremantle Arts Centre


THE DRUM MEDIA • 37


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Drum Media Perth Issue #281  

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

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