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Je ‫ה‬d a  t. W t’s ? ‘I was taking time off my job. I wasn’t myself at all. I was sitting at home, watching a documentary called ‘Home’, and it was basically about what we’re doing to the planet, the science behind it, and what we as human beings are doing. It was unbelievable. It just made it clear that we need to do something to stop what we’re actually doing. At that point I thought to myself, I need to do something like that.’

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IN BRIEF Bob Welch, guitarist for Fleetwood Mac in the early 1970s, was found dead at his home last week. It is reported that he took his own life after learning a spinal injury he suffered was not going to improve. CRISPIN HELLION GLOVER

BACK TO THE FESTIVAL Announcing its highly anticipated 2012 program, this year’s Revelation Perth International Film Festival promises to be its most exciting and audacious yet, showing nightly from 5-15 July at The Astor Theatre. The 15th annual Festival will play host to iconic Hollywood actor, director and screenwriter of contemporary cinema, Crispin Hellion Glover (Back to the Future, The Doors) and Australian comedienne Judith Lucy as Revelation’s inaugural patrons alongside national and international filmmakers, musicians, screen artists, academics and distributors, proudly presented by Drum Media.

On Wednesday 27 June and Thursday 28 The Flaming Lips are going to attempt to play eight gigs between Memphis and New Orleans, breaking Jay-Z’s record of seven shows in a 24-hour period.

GOODBYE GIRLS To celebrate and conclude 10 years as a band, The Beautiful Girls are doing one final Australian tour. An Evening With The Beautiful Girls sees the band on one last unique adventure: each show will contain an acoustic set to warm the heart, followed by a second set plugged in and electric to warm the bones. Catch the boys on their last tour at the Prince Of Wales Wednesday 15 August; Thursday 16 Settlers Tavern; and a final double-header at Fly By Night, Friday 17 and Saturday 18. In TBG-related news, after serious illness forced frontman-cum-solo venturer Mat McHugh to cancel his sold-out Mojo’s show last week, McHugh has rescheduled to Tuesday 26 June at the same venue. All tickets for original show remain valid, if you are unable to attend on this date, refunds can be obtained from point of purchase. VAN SHE


8PM $5




VANTASTIC In support of their forthcoming sophomore album Idea Of Happiness, Van She has announced a string of dates across the country. The lead single from the album, also titled Idea Of Happiness, has been getting serious love, added to high rotation at triple j, over 150,000 streams on Soundcloud and Youtube, hitting #1 position on the Hype Machine charts, and a stellar video directed by Andreas Nilsson. The tour kicks off in Perth at Capitol Thursday 5 July – the eve of Idea Of Happiness’ official release. Tickets via Moshtix. KIM SALMON







Little-known Tasmanian singer/songwriter Dewayne Everettsmith is the voice of Tourism Australia’s latest advertising campaign, which was launched in China last week by Tourism Minister Martin Ferguson. Carry Me Back, the brand new record from Old Crow Medicine Show, has finally been finished and will be released through ATO/ Shock on Friday 20 July.

Calexico will release their new album Algiers through Spunk Records on Friday 7 September.



After captivating Australian audiences with a powerful live show in ’08, Philadelphian post-metal entity Rosetta are set to return to Australia this July/August for no less than 15 dates with Brisbane-based and self-proclaimed ‘sunshine metal’ group Nuclear Summer. The tour will be professionally filmed and included in the band’s forthcoming documentary release. The tour hits the Rosemount Hotel Wednesday 25 July with support from Perth doom lords and WAMi Metal Act Of The Year Drowning Horse. AJAX

TREASURE TIME This year Hidden Treasures goes old school, taking over the old Fremantle Boys’ School building, better known as FTI, Thursday 19 July, Friday 20, Thursday 26 and Friday 27, playing themed nights including Freo House Party, Back To Cool, The New School Sirens and Teacher’s Favourites. An eclectic and exuberant lineup includes Kim Salmon, Rooster Police, Richard Lane and friends, Kate Kelly & Pete Stone’s behemoth new band The Trophy Wives, Dianas, Edie Green, Ensemble Formidable, Amani Consort, Gunns, Greyjoy, Funilin Gus, Tim Gordon, The Justin Walshe Folk Machine and The Morning Night. Presented by Drum Media, keep your eyes peeled on this mag as more details come to light.

BUSY BEE No stranger to WA shores, Ajax has just announced a very welcomed national tour. Being the co-founder and member of the original debauchees Bang Gang and the Sweat It Out music agency, he truly is Australia’s prince of party mash-ups. Winning numerous awards over the years, he is sure to keep the good times going all night. Ajax hits Ambar Friday 13 July with support from Audageous, Mo’fly, DNGRFLD and Meet Mark, $20 entry, $15 presale through Boomtick.

Moody indie-rock purveyors Grizzly Bear have finally announced details of their new album, a follow-up to 2009’s massive Veckatimest, with the as-yet untitled album to be released through Warp/Inertia on Friday 14 September.

The new seventh album from Grinspoon will be called Black Rabbits. The band are currently recording it in LA.


8PM $5

Missy Higgins has scored her third number one album in a row with the release of last week’s The Ol’ Razzle Dazzle.

Shock Records announced a new label imprint, Halfcut Records, which will focus on punk and hardcore artists, last week. The first records released will come from the UK’s Gallows and While She Sleeps and Sydney’s Heroes For Hire.



Local singer/songwriter Travis Caudle has won the $15,000 Nashville Songwriter Residency grant that paves the way for him to spend three months living, networking and making music in Nashville.


American metal masters High On Fire have withdrawn from this year’s 26-date Rockstar Energy Drink Mayhem Festival in the US as frontman and guitarist Matt Pike checks into alcohol rehabilitation.



Darryl Cotton, lead singer with Zoot – a prominent rock act in the ‘60s and ‘70s – has been diagnosed with liver cancer.


Lady Gaga has suffered from what is suspected to be a concussion after being hit in the head with a pole at her final New Zealand show on the weekend. The accident occurred at the hands of one of her backup dancers. She’s in Perth next month.


ROCK ACADEMY II After a hugely successful opening night (check all the action in our Feedback section), The Academy returns this Wednesday 20 June, keeping the same sweet drink prices, the same awesome DJs, and of course the bands. This week sees Melbourne lads Boris The Blade coming down to party, featuring ex-members of The Red Shore and riding a big wave of hard-rocking hype flowing from their EP Tides Of Damnation. Local lads Anchored and Aveira Skies rep the support action, entry still $15 or $12 if you know the codeword. HUNTING GROUNDS

HAPPY HUNTING It’s been just two weeks since Hunting Grounds unleashed their hypnotic new single Flaws on the world, in that time the single has notched up rotation adds on triple j and a plethora of community radio stations. In true Hunting Grounds style, never wanting to do anything by half, the boys are straight out of the gate and ready to announce that they will hit the road this August in support of their debut album release In Hindsight. The tour rolls into town Thursday 16 August at Prince Of Wales (free entry) and Friday 17 at Amplifier – tickets via moshtix.

BREAKING BEATS One of Australia’s leading exports in the broken beat world, Karl Sav is teaming up with London based breakbeat producer Beta, who heading is to Australia at the end of the month. Beta started out DJing breaks at the start of this century and has since been entertaining crowds across the globe using his own exclusive material, bootlegs and mashups. You can catch them both at Geisha Bar Friday 29 June, with support from local breakbeat duo Dead Easy & Roxright. Tickets $15 plus BF via Moshtix.


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There’s some mighty fine happenings going down right now in WA, and we don’t just mean cleaning the leaves out of...everything.

bass styles and tempos. $12 from 10pm. After a long absence whilst studying and playing music in Melbourne, Freya Hanly makes a brief return to Nukara to perform at their annual Sunday Lunch & Tunes, Sunday 8 July. Off the back of their third WAMI award, The Brow Horn Orchestra launch their brand new EP Two Fires Friday 13 July at The Rosemount Hotel, Saturday 14 for an under 18’s arvo show at The Vault and then Mojo’s that night, and finally Clancy’s Dunsborough Sunday 15 July.

The Flying Scotsman has put together a swingin’ new night at Defectors Bar every Wednesday. Beaufort Bop kicks off Wednesday 27 June with The Jamie Oehlers Trio live and DJ Anton Maz spinning blues, soul, funk and more, free from 8pm.

To farewell a couple of their members, Rachel & Henry Climb A Hill are putting on a show at the Norfolk Basement, Thursday 28 June with Patient Little Sister, Chloe McGrath and Sarah Pellicano.

Perth-based bandleader, trumpeter and vocalist Adam Hall returns to Perth after a successful overseas tour. He’s back in action Friday 22 June at the St Mary’s Anglican Church for a set to benefit students at Armadale Senior High School.

Having played festival and club dates across Australia, USA, Europe and Asia over the past fifteen years, Trevor Jalla launches a stellar six-piece lineup with shows at Ellington Jazz Club Wednesday 20 June and The Charles Hotel, Tuesday 26.

You can catch the Sleeping Giants under their new name Damage Kings live at the Rocket Room Friday 22 June with Gombo, Animal and Brutus. Returning from Melbourne, The Devil Rides Out are home to lay it down locally at the Rosemount Hotel Thursday 28 June with help from Wizard Sleeve, Ol Bouginvillea and Victoria’s Dom Di Blasio. $8 from 7.30pm.

The super-duper new wave ska aficionados Special Brew launch their new album at Deville’s Pad, Friday 22 June. Support from swampsters Rocket To Memphis, The Mondo Disc Jocks and Les Sataniques GoGo Girls.

Perth indie-pop-tronic artist Carl Fox is back with a new single called Pencil Warrior and a brand new live set, which he’s playing for the very first time at Mojo’s Bar Friday 29 June, supported by MmHmMm, Leure and Umphetico (DJ Set), $10.

As of Sunday 8 July Geisha Nightclub’s quadraphonic soundsystem shall be used for the raw sound that is niche styles of live music including post-rock, electronic pop, garage rock and more. Geisha’s live music night kicks off Sunday 8 July with Mink Mussel Creek, followed by Sunday 15 with Bastian’s Happy Flight.

District hits Ambar again Friday 6 July, hosted by Japan Stripes. This time sees Zeke, Get More, Philly Blunt v Meet Mark, Riot Class, Genga and Benny P letting loose a huge range of underground

Perth trio Opia has had some down time to search for a new bass player and without any further delay, they are happy to announce and welcome their new bassist Dan Zarb. A return show is on the cards – stay tuned.

to ‘like’ both to be eligible. While you can hear the line-up announce on the j’s that morning, we’re pretty sure a few cheeky beverages, DJ-provided beats and some tasty Mexican will make it all the more sweeter.





The line-up for Parklife (Monday 1 October, Wellington Square) is announced this coming Tuesday 19 June, and Parklife Perth and Drum Media are giving you the chance to win two tickets to the official Perth launch party at El Publico in Mt Lawley that night. All you have to do is post on Parklife Perth’s Facebook wall (and @Drum Perth) your top five predictions for this year’s line-up – don’t forget

ARTISTS COLLIDE With their WA shows slowly creeping up, Children Collide have announced Brisbane’s Dune Rats and Adelaide up-and-comers Bad Dreems will join them around the country on the Monument Tour this August. Dune Rats have promised to bring the party with their surfy garage pop, while Bad Dreems will play quality guitar pop that is rarely matched. Children Collide has also released a video for their tune Sphere Of Influence. The tour hits the Prince of Wales Hotel Thursday 2 August and Friday 3 at Amplifier Bar. Tickets via Oztix.

PLAY HARD International DJ and model, former Playboy Bunny and Playboy Club Resident DJ Sarah Robertson jets in for one night only to host Independence Day celebrations at Air Nightclub Wednesday 4 July. With over ten years of musical experience, Robertson is as comfortable behind the decks as she is in front of the camera. Handpicked to be one of the elite 16 Playboy Bunnies to open the prestigious Playboy Club in Macau and the Resident DJ at the Playboy Club in China, this girl knows how to start a party. $10 entry.

YES HE CAN Melbourne party-starter Mat Cant has been DJing for over seven years across Australia, settling in Melbourne in ‘08 and holding down many residencies around the city, pushing his wide range of sounds wherever he can. Cant is one of the most in-demand Australian club DJs out now, and continues to push the boundaries in his sets. He’ll be back in Perth Saturday 23 June at Ambar for Japan 4, supported by Bezwun, Oli, Philly Blunt, Micah. $12 before midnight, $15 thereafter. 6 • THE DRUM MEDIA


The City of Swan will showcase artworks by local young people at its HyperVision Exhibition & Workshop at Midland Gate Shopping Centre as part of this year’s Hyperfest (Sunday 7 October, Midland Oval). The exhibition will include artwork in the form of digital, photographic, fashion, sculpture and 2D art. Anyone aged between 12 and 25, who lives in the City of Swan and would like their artwork exhibited at HyperVision can apply via before Friday 29 June. As part of Hyper Vision there will also be free interactive workshops and events for young people aged between 12 and 20 every Thursday from 6 ‘til 9pm at Midland Gate.




The fourth annual Rottofest (Rottnest Island Saturday 8-Sunday 9 September) celebrates the finest comedy filmmakers, stand-up comedians and musicians from Western Australia and across the country. They’re asking for filmmakers to submit short films via before Friday 20 July. Stand-up comedy and musical line-ups for this Drum-presented event will be announced very soon.

concert program of live performance works in surround sound, an exhibition program of spatial-temporal works, artist talks and workshops. You can score one of TWO DOUBLE PASSES to the event by emailing giveaways@ with the subject line “LIQUIDS”.


The 13th annual Liquid Architecture Festival takes over Perth 25 and 26 of June. Liquid Architecture is a sense-specific festival, as opposed to art form specific. The national program comprises a performance


Bustamento is the latest brainchild of one of Australia’s busiest and most highly respected musicians, Nicky Bomba, and their latest single Mañana, originally recorded by Peggy Lee in the ‘50s, turns a classic into a ska-reggae hybrid that delivers a smilin’ punch and a ticket to dance. Intrepid Adventures To The Lost Riddim Islands is their debut album and you can win a copy as well as one of TWO DOUBLE PASSES to their show at Fly By Night Saturday 23 June by emailing giveaways@ with the subject line “BUSTAMENTO”

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 Cassandra Fumi



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

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


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ADMINISTRATION Editorial Friday 5pm

Accounts Loretta Carlone


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

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


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

Off the back of his new smash single Heard It All, snowballing emcee Illy has announced a huge national tour. He plays here Friday 31 August at Metropolis Fremantle for Frat House Friday and Saturday 1 September at Capitol, fans’ first chances to hear material from his soon-to-be released third album Bring It Back, live and in the flesh. Joining Illy on his Australian quest will be Chasm Soundsystem, featuring Scryptcha. Tickets via Oztix from Tuesday.


The Beaufort Street Festival is currently looking for people to join the committees that make the decisions on what arts, music, fashion, food and children’s programs happen in this year’s Street Festival. Do you have a penchant for painting? Are you culinarily competent? Is your band the next big Beaufort thing? If this sounds like you then email



The 13th annual Liquid Architecture Festival takes over Perth 25-26 June at the Hackett Hall Gallery in the West Australian Museum. Liquid Architecture is a sense-specific festival, as opposed to art form specific. The national program comprises a performance concert program of live performance works in surround sound, an exhibition program of spatial-temporal works, artist talks and workshops. Monday 25 June features artists Philip Samartzis, the Monolith Project, Lawrence English, Werner Dafeldecker and Scott Morrison trio, while Tuesday 26 sees Robin Fox and Douglas Quin.

DARK DEBUT The ghouls and ghosts of WA have been calling and Horrorwood Mannequins have answered. Crawling out of the festering suburban sprawl, the Sydney deviants make their Perth debut Friday 20 July at Cue Bar, for one show only, bringing with them their dirty mouths and taste for debauchery, straight off the back of the Dead Of Winter festival in Brisbane. With a stage show that borders on psychotic and a sound that can only be described as a beast that tears your head, this is show that will no doubt garner some new west coast love.

LUCKILEE Where would electronic music be without one of Finger Lickin’s favourite alumni, Lee Coombs? Where would the Ambar be without his many legendary sets? Lucky for fans, Coombs is returning and if last year’s set is anything to go by, this is an essential, classic night out. His most recent album, Light & Dark, is considered Coombs’ most ambitious to date, topped only by his cracking single, Ambar – named after his favourite venue in the world. He takes over that very place, supported by Marty McFly, Ben Mac and Micah, Friday 27 July. $15 via Boomtick.

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Brutus + Battle Of The Planets + Animal + The WitchHunt (8pm, $8 entry)


THIS IS THE SLOW RUSH since the album certainly swallows the listener whole in kind. Some have gone so far as to make allegories to a powerful avalanche, an image association with which Holm doesn’t disagree. If anything, he thinks that pretty much perfectly encapsulates the album. “I would have to say that that must be the title song off the record,” he says. “It was one of the last songs that we finished on this record, because we kept scratching our heads with that song. We didn’t understand it. We really liked it, we really enjoyed it, but it was so heavy and so slow and… there was something beautiful about it, and eerie, but we didn’t know how to finish it. In the end, we thought, ‘Do we need to finish it? Is it good as it is?’ because it doesn’t have any structure to it. It doesn’t have a classic pop song or rock song structure to it. It just… it is what it is. And in the end, I think we just thought, ‘This is what it is; it needs to be what it is, because this is how we like it. We don’t need to focus it anymore. It’s good as it is.’ It is a bit of an avalanche, and it’s one of the reasons why it’s called Valtari, valtari meaning ‘steamroller’, because it just rolls over you and continues and doesn’t stop for anything. You like it, or you don’t. It doesn’t really matter. It just continues.” And it stays with you. It’s certainly stayed with Holm. In fact, Valtari holds the special honour of having been the only Sigur Rós album to have graced his home entertainment system. “It is true,” he admits. “I don’t come home and put on a Sigur Rós record. I never do. One reason is, you spend probably several hundred hours working on a piece of music, and the last thing you want to do when you get home is put it on the record player and keep on listening to it. But this record sort of continues to surprise me. I’m finding elements that I kind of didn’t know were there, and I think, for me, this album creates more emotion and more mental images in my head than any of our records. I go on a little trip every time I listen to it, and I really enjoy it.”

To be fair, Icelandic post-rock luminaries Sigur Rós never meant to make us wait four years for their sixth full-length album, Valtari. It’s not like they didn’t have good intentions; time just gets away from people. And, as bassist Georg Holm tells Mitch Knox, the extra wait was probably for the best.


t the cessation of their tours in support of 2008’s Með suð í eyrum við spilum endalaust, the members of Sigur Rós said their temporary farewells, congratulated each other on a job well done, and parted ways, only to reconvene a year later to start work on their sixth LP, the much more conveniently titled Valtari. In a perfect world, anyway – that year-break soon turned into four years, with small interludes in the form of films and compilations. So what gives?

There’s more to this story

on the iPad

“It’s been a long time, yes,” bassist Georg Holm concedes. “It’s weird. With this album, we did start working maybe three months after we finished the tour of the last record. So we have been working on-andoff ever since we came off the last tour. It’s just been complicated and unfocused and bizarre, the whole process. But otherwise, we’ve been having children and being stay-at-home dads and things like that. “I think it was very necessary for us to have a break from touring and being in the studio recording albums. It’s been a bit of a rollercoaster ever since the year 2000. It’s been a lot of work. Almost… you know… almost only work. It’s always the band doing something. So I guess it felt like it was time to take a break. This break was maybe a little bit longer than we expected; we did decide, after the last tour, we said we would take a year off, and it became

four years really. But we did some work in-between, so we’re always working a little bit, even though it’s been slower, these past four years, than normal.” That slowness is no doubt, at least in part, attributable to the bizarre aura surrounding the album’s gestation to which Holm makes reference. And although he says every studio experience is different, Valtari’s was notably a difficult one to navigate. “I think every time we do record an album, the process changes somehow,” Holm explains. “It’s not necessarily something that we decide to do; it’s usually something that just happens. Which is good, because you don’t get stuck in the same place. But this record, it was bizarre because it was a record that we started working on and then gave up and then started again and then gave up again, and it kept on going like that, probably because we were feeling that the music that we had recorded for something that we wanted to call a record was so unfocused and everywhere. It didn’t sound like a whole album. It sounded like bits and pieces, here and there. We were finding it difficult to find some sort of – well, using that word again – focus. It needed to sound like one album. We didn’t know where to go with it. We didn’t know which direction to go. “It did sort of slowly become more focused, but not until the last session that we did, when we finally just went in and said, ‘We have to finish this. We have some good music here; we need to finish it.’ At the same time, we said, ‘We need someone to help us do it,’ and we got Alex Somers, who’s Jonsi [Þór Birgisson]’s boyfriend, to

help us with it, and I think he was definitely a huge help on this. I think he managed to focus all of us together and realise what we had. He was definitely a very big part of this album, and in focusing us together.” It’s a strange notion, a band that has been together for nearly two decades still needing an external prod to find a tangible, communally acceptable target on which to concentrate. But, then, perhaps the important thing is not the tribulations of the journey so much as how those experiencing such hurdles navigate their way through to their destination. Holm is philosophical about how the members of Sigur Rós managed to eventually pull off what they were attempting to do with this record, implying that if the band had stared down such uncertainty ten, or even five, years ago, that the end result may not have been as positive. Blessed be the present, then. “I guess we’ve just grown up,” he says, laughing. “People change with time, and with it, the music, I think. Even though the core of the music is always the same for us, we all know what we like and what we enjoy playing together, but obviously as people we evolve and, like I said, grow up, in a way. So maybe our music is growing up a bit.” As the listener moves through the album, it’s not difficult to hear the focus and maturity of which Holm speaks. There’s something about Valtari – which is perhaps admittedly not as “epic” as some of their earlier records – that permeates a sense of refined prettiness, no less dense than any of Sigur Rós’ previous material, but nonetheless easier to grasp in one gulp. That’s fortunate,

Tonight! Thurs day November 3rd

Which is not to say it’s the album he’s been waiting his whole life to make. It’s a fair and impressively honest assessment given his involvement in its creation: Valtari is unquestionably a beautifully crafted piece of work, but how it speaks to each listener, at least according to Holm, will vary drastically from person to person. “For me, personally, I think this is more like the album I was afraid to make,” he says. “I don’t know; it’s so out there. It’s such a beast. It’s not like you can walk onstage and play the whole album through and people will sing along. It’s nothing like that. It’s more like an album that you have to sit down and listen to. Headphones are good, obviously. For me, personally, it takes me on a trip, like I said, and it’s very introverted, and I think it’s a good word to describe it. I think this album is gonna mean something different to each person that listens to it, and I think that’s fantastic. I think this is an album that has some meaning.” Holm is sincere when he says that Valtari is a personal journey, bristling ever so slightly at a provocation as to what the album means to him as a musician, a member of the band that made it, and – most importantly – as a human being. “Uh, I don’t know – I guess that’s personal,” he says hesitantly. “Because if I say what it means to me, then it might mean the same thing to another person, and it might ruin the meaning. But I do think it’s something you listen to, and you have a response, you just go, ‘Oh, yeah, this reminds me of something.’ It could be anything. It could be a future thought, or a reminiscence, or anything, and I think that’s great. If people get some meaning out of it, then I think we’ve succeeded.” WHO: Sigur Rós WHAT: Valtari (Parlophone)


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TIM AGAIN OPENING THE ARTBAR Tim Finn will only be playing one show when he comes to Perth, but it won’t be at your typical music venue. The Art Gallery Of Western Australia is opening its fourth season of ARTBAR: a string of evenings from July until November, featuring a line-up of international and national acts, of which Finn will be the first. “It’ll be three-piece, sort of semiacoustic, and we’ll be doing a range of old and new stuff,” he says. “I’m looking forward to it.” ARTBAR is set to start a bit later this year – Finn will be opening the season on Thursday 5 July – so that it can coincide with the Picasso To Warhol: Fourteen Modern Masters exhibition, which opens this Saturday 16 June. A ticket to the gig includes entry into the exhibition, which is open from 6.30pm until 8pm, when the main act begins their set. The events also include the sale of food and drink. So it’ll be a rare chance to see musicians in a unique setting, and a grand mixture of food, booze, art and music. After Finn, the rest of the year will see three more performances: triple j darling Owl Eyes in August; theatre and cabaret musician Paul Capsis in October; and Australian singer/ songwriter Josh Pyke in November, when the weather should have lightened up enough for his outdoor performance.

Tim Finn has been in the music industry for longer than many readers of this magazine have been alive. He talks to Zoe Barron about a career in retrospect, and all the stuff yet to come. Tim Finn’s music career began in Auckland back in the early ‘70s, before he and his band Split Enz moved from New Zealand to Melbourne to garner more of an audience. Forty years later and Finn is still releasing music – The Hill Is Worth The Climb, his most recent solo album, came out last year. He describes the extent of his career this way: “I think Joe Camilleri said to me once in a sauna in Melbourne, ‘You’re lucky if you get one bite of the cherry. And if you’re really lucky, you might get a couple’.” Finn agrees that he has probably had about four. Between Split Enz, his appearance in Crowded House in the ‘90s, his highly successful solo career that still continues to this day, and the collaborative work with younger brother Neil, Tim Finn has had a lot of cherry. Fortunately for his fans, there are no signs of him tiring of the taste. “I don’t want to let it go,” he says. “I still find, particularly in songwriting, a great, great amount of pleasure. It’s something I can do completely out of the limelight, just in my home environment. Or if I’m travelling or whatever, I can be writing. So it’s just something that’s almost organically fused with my being. “And I’ve never become disenchanted or disillusioned or jaded or anything,” Finn continues. “I still find it really exciting to have a new song on the go. So there’s that part of it. But then the other part of it is existing in the business side of it, existing in the public eye, existing in the, you know, the ups and downs, the peaks and the valleys and all that.” Back when he started, it was a very different industry. “It used to be so cumbersome,” Finn recalls. “I always remember being backstage with the early Split Enz, and it was before they even had tuners, you know? And we’d be standing there with a tuning fork, trying to tune acoustic guitars, mandolins, violins, and it was a complete nightmare. And there’d always be a bit of out-of-tuneness. But, in a way, that was part of the

charm. Whereas now everything is ruthlessly in tune. You will never hear an out-of-tune voice. I’m not even talking about the gimmicky kind of use of Auto-Tune, I’m just talking about the fact that everything is ruthlessly flatlined, A440. And it’s not really that human.” Reading about Finn’s career, there’s a lot of mention of chart positions and accolades, ratings and other general measures of popularity. Both he and his brother Neil were granted the Order Of The British Empire by the Queen. Split Enz were inducted into the ARIA Hall Of Fame in 2005. And Finn has been a frequent visitor to the top positions on various charts over his long career. And certainly, at the beginning, these were important things to think about. “Every band that I’ve known or read about, including all my idols from the ‘60s – the great bands like The Beatles and The Kinks and that – I mean, everybody

oldest person backstage. And that was interesting, because most of the bands were in their 20s – you know, the Fleet Foxes and The Kooks and that. But the audience really enjoyed what I did. I mean, I played a lot of songs that they might even know, or have vaguely heard their parents or their uncles playing, or just songs they’ve heard themselves, because some of them still get airplay and they still are kind of in the ether somehow. So you play a song like Weather With You or I See Red and the crowd goes nuts, and age differences kind of just melt away.” So, for the time being, there’s no sign that Finn will be foregoing the peaks and valleys any time soon. He mentions a few projects in the works, including another Finn Brothers collaboration. “Neil and I are still going to inevitably do something together,” he tells me. This isn’t all that surprising, considering the extent of their


wanted to have hit songs. Everybody wanted to be the biggest band in the world,” Finn says. “It’s just a feeling that young bands have. And maybe it gets you through those initial years of people’s indifference or people’s patronising attitudes towards you. I always remember that it’s always a bad sign when someone says, ‘Aw, they’re a great little band!’ No band wants to be a great little band. They want to be a great big band.” As his career has progressed, however, that need has faded. It can get exhausting, focusing so much on every outcome. Luckily for Finn, he’s had the advantage of precedent, which sees him at the other end simply enjoying the process of making music. And he’s also enjoying being the old guy backstage. “I played the Falls Festival over the summer and I was by far the

musical collaboration in the past. Professionally, it’s a musical relationship that dates all the way back to the days of Split Enz, when Neil Finn took Philip Judd’s place in the late 1970s. Tim Finn, in turn, ended up joining Neil’s band Crowded House for a brief stint in the early ‘90s, after some material the brothers had written as a duo ended up feeding into the band’s catalogue. Personally, music for the Finns has been a family affair since they were kids, which might go onto explain why one household managed to produce two successful musicians. “There was a lot of music in our family,” Finn tells me. “Mum was Irish and, you know, there was always the idea of people singing in the house and that on a Friday night, having a few drinks. There’d be someone in the corner playing

the piano and people dancing and just jumping around. So we grew up with that, sort of.” The idea of singing in the house, the piano in the corner, parents teaching kids to sing harmonies while washing the dishes, which Finn says his mum did – none of this has abated. When the Finn family get together, the music comes out. “We’re a very close family,” he continues. “And dad’s still alive, thank goodness. He’s 90 now. So, we enjoy getting together, having family gatherings, and beyond that Neil and I will always pull out a guitar and sing a few tunes. It’s as natural as that for us. We’ve always done it; we’ve done it as kids, we do it now.” Finn has also been working in theatre. He currently has two projects in the works, one a little further along than the other. Though both are still very much in the development stage, Finn and his collaborators have been playing with the idea of combining theatre with music. “Whether it’s a play with songs, or a straight-out musical, or just a show, you know, that has songs in it and spoken words and stuff,” Finn explains. “So, yeah. I’ve always been interested in the theatre. Somebody said to me that they weren’t surprised that I was interested in theatre because a lot of my songs, especially in the early days, were very theatrical. So it seems like a natural thing.” Until then, he’s got a brief tour in Australia coming up – a one-off show in Perth, to open the Art Gallery Of Western Australia’s ARTBAR season, followed by a few shows over east on the way home to New Zealand. All of which he’s very much looking forward to. “I think of Australia as my second home,” he says. “I lived there for decades and my wife’s Australian, our first child was born in Sydney. You know, we have very strong ties to Australia.” WHO: Tim Finn WHEN & WHERE: Thursday 5 July, ARTBAR, Art Gallery Of Western Australia


OPENING NIGHT PARTY THURS 5 JULY (7.30PM) Your Sister’s Sister An excellent new multi award winning indie three hander featuring Emily Blunt and Mark Duplass. Great script, great performances and an outstanding new ďŹ lm.

Crispin Hellion Glover One of the legends of independent cinema comes to Perth for two special live performances and and screenings. You must, must see him in action.

Following the ďŹ rst screening the Opening Night Party swings into action with crew and special guests inside the Astor Theatre.

George MĂŠliès Project A very special event for the entire family, featuring a live score to the incredible fantastic ďŹ lms of pioneer George MĂŠliès. Presented by ECU.

Rampart Woody Harrelson stars as the baddest baddass cop you’ve ever seen in this searing crime drama also featuring Sigorney Weaver, Steve Buschemi and Ice Cube. Presented by The Wire.

25th Reich B-movie mayhem as ďŹ ve heroes travel through time to kick Nazi ass! A remarkable achievement in low budget SPFX.

Beauty is Embarrassing A glorious, joyous, irreverent yet utterly essential and deeply inspiring documentary following the life of free thinking designer, artist, and puppeteer Wayne White. Presented by Future Effect.

Wonder Women Part celebration and part exploration of the superheroine as both a cultural icon and an inspirational ďŹ gure. Presented by Planet.

Mongolian Bling A total surprise package World Premiere that discovers Hip Hop’s roots in the heart of Asia. Presented by RTRFM.

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THE DRUM MEDIA â&#x20AC;˘ 11

PROTECTING THE FUTURE Californian rapper Fawshawn is on the up and up, and Cyclone chats to the man about exactly what’s pushing that incline.


alifornian MC Fashawn, touring with super-producer Exile, is fascinated by Australia’s past as a penal colony. “Actually, I come from a long line of criminals, so I might feel right at home once I get to Australia,” says the twenty-something Santiago Leyva. Note to customs officials: he’s joking (we think). In fact, on the subject of his inaugural trek Down Under, the MC behind 2009’s opus Boy Meets World emits all the elation of a kid going to Disneyland. “I’ve never been there, this’ll be my first time, and I’m really excited.” Our hip hop scene has a good rep. “I haven’t heard much – I’ve just heard that they embrace artists like myself really well and that they love it. But I can’t wait to see what it’s all about.” Leyva is chilled - saying things like “all gravity, all good” - yet thoughtful and



curious. And he’s possibly the biggest hip hop act to emanate from Fresno in central California – discounting, of course, Planet Asia, who gave the MC his break, inviting him on tour. The teen Leyva had just dropped his premiere mixtape – this was 2006. (Bizarrely, onetime wannabe rapper Kevin Federline is also from Fresno.) Fresno has a hip hop circuit but, says Leyva, the city isn’t associated with a particular ‘sound’, being “in the middle of two big empires” – the Bay Area (think: Too $hort) and Los Angeles (NWA). “We kinda never had an identity ‘cause we’re just stuck in between these two places that have so much flavour and so much style,” he elucidates. “But, just because of that, we try different things.” Fresno’s artists may sound a little Bay Area or a little LA – the city, the fifth largest in Cali, is “a microcosm of everything”. “It’s usually never distinctive – like, ‘Yo, that sounds like a Fresno artist’.” As for Leyva? “People say I sound like an East Coast artist – or a something else.” Leyva’s debut, Boy Meets World (BMW), was critically-acclaimed, the MC compared to Nas. He teamed with Exile, AKA Aleksander Manfredi. The LA beatmaker was originally half of Emanon with rapper Aloe Blacc. As Blacc reinvented himself into a neo-soul star, Manfredi cut Below The Heavens with Blu. He’s also laced Mobb Deep. Issued independently, BMW was, by all accounts, a huge learning curve. “I didn’t understand the politics of what it took to put an album on the shelves,” Leyva says. He couldn’t just release the album, then tour. “I learned that you have to work extra hard... I learned that my journey had just begun when I put out my first album, even though it was technically my seventh album ‘cause I put out all these different projects – all the projects that were practice for me, just for me to find my style.” There were other lessons. For the first time Leyva toured widely – and his worldview changed. He now sees the Fashawn of BMW as “this naive young man.” Engaging with disparate cultures was humbling. “I learned that my words actually have power. I didn’t know that until I put ‘em out there and saw how it impacted [on] the people.” At points that experience was “overwhelming”, but in an affirming way. Leyva is progressing on the follow-up, The Ecology. (He had a track entitled The Ecology on BMW.) And, again, Manfredi is behind the boards. “Me and Exile stopped working on it for a second. We got into a creative zone that we didn’t wanna stay in, so we’re trying to get out of it now.” Lyrically, The Ecology will deal with Leyva’s becoming a global hip hopper. “It’s just really my perspective after seeing the world.” He’s grown-up. “It’s a more mature version of Fashawn.” Leyva is inspired by Manfredi’s music. “It’s on another level. I’m just trying to supply the lyrics that can equate to his level of production – it’s really incredible this time around.” Leyva’s rapport with Manfredi is easy, the pair sharing an “open-mindedness”. “We don’t like to confine our music.” They’re good friends. “I could talk to him about anything – and that resonates in the music ‘cause I can rap about anything... [as] opposed to a lot of different producers or beatmakers.”


Surprisingly, Leyva has toured with Wiz Khalifa. In 2010 the two ‘freshmen’ picks appeared on the same cover of XXL (together with another Leyva studio chum, J Cole), but their audiences couldn’t be more divergent. Leyva admits that on tour “some nights were rough”. His steez is “boom-bap”, while Khalifa is closer to the electro-hop so pervasive in the urban mainstream hip hop. But, being on home “turf” in Cali, Leyva’s fans came out to support him. Plus he worked to win over any haters. Leyva can “relate” to Khalifa’s style. “He doesn’t rap like ‘super-lyrical’, I guess – he just gives it to you straight, like taking a shot of vodka with no chaser.” Beyond that, Leyva is fond of the Black And Yellow MC. “Wiz Khalifa’s a cool dude – that’s one of the only guys in the industry I could say, That’s my friend... He’s a good guy.”



Erykah Badu has expressed concern that hip hop is losing its identity, at least commercially, being subsumed into EDM. It’s almost a stylistic monopoly. Does Leyva ever worry about hip hop? “Sometimes I do, ‘cause I feel like hip hop and house music and all this dubstep stuff, it’s all becoming real synonymous with the name ‘hip hop’ in America. It’s just weird to me. When I hear the word ‘hip hop’, I don’t think of that stuff.” But he is “open-minded”. Afrika Bambaataa sampled Kraftwerk – German electronic pioneers – on Planet Rock. Dubstep is a DJ-created hip hop offshoot. “Hip hop’s future – I can only try to stay around and protect it.” Aside from defending that legacy, Leyva has paid tribute to it. With DJ Green Lantern’s encouragement, he released the mixtape Ode To Illmatic, modelled on Nas’ seminal debut, two years back. He didn’t hear from Nas. “I’ve never met Nas in my life, I’ve never talked to him, so I don’t know how he feels about it,” Leyva says. “I know [Slum Village’s] Elzhi put out [a homage] very similar not too long after I did mine – but he did something different, he actually remade the beats and everything and I just stuck to the actual production of the original album. But, hopefully, [Nas] likes it. I don’t know. I have yet to meet him, but we will be on the same tour this year – Rock The Bells – so hopefully I bump into him and pick his brain.” Indeed, Leyva is joining RTB with another collaborator, Murs. Before that, he’ll be in Oz with Manfredi. Leyva hopes that he and his cohort will perform material from The Ecology – ”if he says it’s cool” – for the first time anywhere. “It’s gonna be fun! You can expect a lotta surprises. I haven’t got to tour with Exile in a while, so we’re just gonna have a great time and give the audience everything we got.” WHO: Fashawn WHEN & WHERE: Friday 22 June, The Bakery


TOWER OF SONG Perth balladeers The Siren Tower deliver an album that embraces their heritage and ancestry, as Jason Kenny discovers.


here’s no easing into the debut record from The Siren Tower. The opening track throws you straight into the boot, locks it behind you and tears down the highway into some anonymous town in the Australian bush. There’s no mistaking it – this is a record that embraces that landscape. In recent years there’ve been a swag of Australian musicians pushing what it means to write about Australia and Australian mythology, taking stories of the bush and the landscape beyond John Williamson. With this release, The Siren Tower find themselves in the company of The Drones, Kill Devil Hills, Augie March and fellow Perth muso Justin Walshe, whose last album firmly claimed his place as an Australiana balladeer. “It’s becoming pretty clear that that’s something people have aligned us with and that’s really flattering to us,” says frontman Grant McCulloch. “I grew up hearing stuff like Paul Kelly and the Oils singing about our country and people, and stories that were so relatable, but that seemed to go away for a long time; one of the things we wanted to do from the outset was try to bring that back.

There’s no slowing down after the release of the record. It comes after three singles and the band realise that now the work is beginning. Single Flood has already found play on triple j and the road is opening up for their East Coast tour. “You always think after this next single, we’ll take our foot off the gas or after the next tour, but that down time has a funny way of never appearing.” No doubt there will be more tales to tell from the road when they play in those anonymous outback towns. WHO: The Siren Tower WHAT: A History Of Houses (Firestarter) WHEN & WHERE: Thursday 14 June, Prince Of Wales, Bunbury; Friday 15, Amplifier

“As I’ve gotten older I’ve become increasingly interested in history. Across the board really, but when you have some direct connection to a time and place, there’s a real romanticism about it. I guess that’s why there’s a certain Aussie mythology-feel to a lot of our music.” The three musicians at the heart of The Siren Tower cut their teeth around the Perth scene in very different bands. McCulloch was in Heavy Weight Champ; Brody Simpson played in Anti-Static and Mark McEwan still plays in Nix. Those bands might be far from the loud folk balladry of The Siren Tower – and it is loud – but it gave the trio a strong foundation to build from and to know exactly what they wanted to do with this project. One of those things was to build a whole lot of strong narrative-driven songs. “It’s funny, you’ll get artists who will kill themselves for their music, working the parts out, arranging, re-arranging, slaving over production, and yet the lyrics are a stones throw from Roses Are Red. It’s something we always concentrate on in The Siren Tower, and it’s about getting specific, getting inside the stories; touching the true grit that sits in the background of your characters’ lives, that’s the good stuff. Roses Are Red doesn’t really cut it, you know? I want to hear about the old vase the roses are sitting in, the one your grandmother was given as a gift on her wedding day by the guy she should have married.” The depth and history of American folk and blues, with their Guthries, Leadbellys and Johnsons, seems a much richer tradition from which to draw. For many musicians, it’s easier to sing about the Mississippi than the Murray. The newer wave of Australiana ballads aren’t completely starting from scratch but there. “I suppose American folk, country and blues has a much richer history due to a combination of elements and peoples unique to that country,” McCulloch says, recalling the exposure to our nation’s folk history in primary school. “I think one of the greatest riches to be found in the early Australian ballads is the emphasis on narrative. Characters and their stories are paramount. But I too remember getting it shoved down my throat as a kid. I hated it at the time, but here I am trying to incorporate some of those ideas into my art years later, so maybe it wasn’t a complete waste of time.” When it came time to record A History Of Houses the band enlisted the help of Forrester Savell. He’s known more for his work with heavier bands like Karnivool and The Butterfly Effect rather than folk rock, but considering the band’s lineage it made sense. “We actually had a dream list of five or six Australian producers we wanted to approach about the album, which Forrester was on, but before we could contact anyone, he actually got in touch with us saying he had heard our double A-side and was really keen to produce the record. So, we had a few conversations about what the band was, and what sort of record we wanted to make and everyone was on the same page, so it was a good fit from the start.” The group spent a bunch of time demoing the songs in a studio. It meant that when it came to hit the studio in earnest, a lot of ideas were already fully formed. “We spent a lot of time managing our own conflict in the production of the record just because we’re all incredibly particular about complete quality control over all aspects of the band,” McCulloch says. “But we also know there’s a very organic spirit in our music, and sometimes the best way to represent it is by letting things just hang out there a bit, rough edges and all. So every track was a discussion; ‘Do we leave this raw and exposed?’, ‘Do we layer this up and make a grand canvas?’, and hopefully we’ve found a good balance between the lush, layered section and the intimate and exposed sections.” Ahead of the release, the band released a series of videos showing their time in the studio. It’s part of the band’s inclusive philosophy when it comes to their audience. “Again it’s the connection we want people to have with these songs and these stories,” McCulloch says. “That also translates to the way we interact with the people who have taken an interest in our music; we didn’t want to sit in our cocoon building this thing and then just say ‘it’s in stores now, feel free to check it out.’ We wanted to let people into the process and give them some insight into what each song is about, and in turn what A History Of Houses is about.”

Using even a small amount of cannabis can seriously affect your physical and mental health, and well being. This can have a major impact on your social life and your ability to perform daily duties. 13 to 17 year olds that use cannabis are 3 times more likely to experience depression compared to those who don’t. This risk increases the earlier you start and the more you use.

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THE DRUM MEDIA • 13 6/11/12 2:25 PM

BADDEST BEATS Pretty content to stay out of the immediate spotlight, Ian Carey tells Cyclone he’s well down with urban-dance music crossover, and wants to use it to highlight the old skool.


he American house DJ/producer Ian Carey doesn’t attract the media attention of his compatriots Kaskade and Steve Aoki, but he’s enjoyed monster crossover hits like the electro-rock Get Shaky, double-platinum in Australia. Carey even convinced Snoop Dogg to guest on 2011’s Last Night (alongside Cali singer Bobby Anthony) – platinum here. Could it be that the thirtysomething Carey simply prefers to labour behind the scenes than to floss about? “Yes and no,” muses the low-key superstar. “I like to keep a balance of it. I mean, I like to go out and DJ, but I like spending time in the studio, too, and working on other projects. I try to keep a balance of that to still live a comfortable life.”

Live Nation & Modular present

Carey grew up in Maryland, his Dad, not insignificantly, an audio engineer. Carey learnt drums, playing in a school marching band. He’d get into hip hop – and turntablism. Carey fully embraced house in his college years. Indeed, he landed a strategic record store gig. Soon Carey began producing. His breakthrough record was 1999’s garage Rise, cut with Jason Papillon as the Soul Providers. It was huge in the UK. Recognising that dance music’s epicentre was in Europe at this time, Carey moved to The Netherlands and, later, Spain. In 2008, going by ‘The Ian Carey Project’, he unleashed Get Shaky, his biggest record yet. Carey just missed out on an Australian No. 1. Fortunately, the American won an award for the film-clip at the MTV Australia Awards. He’s since dropped the ‘Project’ bit. Three years ago Carey rued that US majors were still “hesitant” to invest in dance. Today things have changed – EDM has never been bigger Stateside and, for some, as corporate. Dance and urban music are virtually indistinguishable. No one is more incredulous – or chirpier – than Carey, now based in Miami, his favourite American city. “Yes, there is a big difference – I would say probably in the last two years it’s just blown up here. I think it’s all started because of the scene in Las Vegas. All the clubs in Las Vegas started playing dance music – and that’s where all the big celebrities come from LA on the weekends to party. So they all go to Las Vegas and they hear dance music and they start tweeting about it, putting it on Facebook, and now it’s the biggest thing,” he says with a chuckle. Carey himself has collaborated with US urban stars. After the Snoop hook-up, Timbaland, whose early experimental production was much admired in electronica circles, hopped on Amnesia. “They’ve both been really cool guys to work with. A lot of these urban artists now – the rappers and people in hip hop and R’n’B – are really interested in the dance music scene, I guess because of the general popularity of it. It’s cool to be able to work with these legends who I grew up listening to – so it’s been a cool thing both ways.” In some respects, Carey is returning to his urban roots. “I did grow up with hip hop music, and playing hip hop music, and kind of changed over to dance music in the late ‘90s/ early 2000s, but I like how now the fusion is coming together.” Traditionally privileging singles, Carey has long spoken of an album – and it’s approaching. “The album is written [but] the production just needs to be finished, so within a month or two it should be all together.” Ironically, Carey has been distracted by the promotion of tracks (plus he provided a mix for the Vicious Cuts 2011 package). His latest single is Baddest Chick, featuring Ray J, Brandy’s R’n’B-singing younger brother – better known as the dude in the Kim Kardashian sex tape and the late Whitney Houston’s lover. (Bizarrely, Mr J is currently a spokesperson for Prince Reigns, an ingrown hair serum, along with Aussie Sophie Monk.) While Carey is furthering his own urban-dance fusion, he’s not abandoning his beloved big room house. “Recently, I’ve done quite a bit of that urban and dance crossover – I’m continuing to do some records like that – [but] I’m also working on some different things. Some of my new singles coming up are a little more pure dance, back-to-basics kinda stuff, which is where we come from with dance music, so [I’m] just bringing back more of a slightly underground sound into it. But I also have some big collaborations planned to go along with that.” David Guetta has expressed disquiet that the electro-hop he pioneered should be so pervasive. He’s now airing underground club tunes, too. But, then, dance music has always been about reinventing itself. Does Carey, host of the Muzik Liberated radio show, have any predictions for dance? “I think the best direction to go [in] is more of a pure sound, more of a ‘real’ dance music – without tonnes of influence maybe from pop music or even R’n’B and hip hop. Now that we have the [mainstream’s] attention, basically – which doing all these collaborations has brought us, in a way – we should use that attention to go back to say, ‘Hey, this is where we come from, this is what it really sounds like, now listen to this’.”



For many, the new sound is already here – thanks to Skrillex, dubstep is rapidly becoming ubiquitous. Is Carey a fan? “I’ve listened to dubstep since the late ‘90s when it used to be the B-side of twostep records – it’d be like a slower mix of two-step records coming from London back then – and it had a lot of real urban and reggae influence. I really like that. The stuff that I hear now is very rock and very noisy. It’s a whole different sound – it’s not really for me. But, again, I do like the roots of dubstep. I’m actually incorporating those original sounds of dubstep – not really the nu-skool, but the old skool – into some of my new productions.” Ask Carey about his ambitions and he reveals designs to write and produce more for other artists – and develop acts. He also fancies venturing into different genres. The DJ has a special relationship with Australia, Get Shaky a contemporary classic. “I think that my music always goes over really well in Australia – the crowds are good, the tours are always really good… So I think the Australian audience enjoys my music – and I enjoy playing it for them. It’s a mutual thing.” Carey follows our dance music-makers, too, his ears opened by Dirty South. And Carey is preparing memorable sets for his upcoming trek. “I’ve got my new singles that are coming out I’ll be playing and I’ve got a lot of cool remixes that I’ve done recently – plus lots of little goodies that I’ve picked up along the way and some personal edits and mash-ups and little things. It’ll be good.” WHO: Ian Carey WHEN & WHERE: Saturday 16 June, Villa


DOUBLE D “A simple peeled orange is awfully sexy if you finger it properly,” Tenacious D frontman Jack Black assures Bryget Chrisfield. His bandmate Kyle Gass laughs along, later admitting he’s paid for dental work in exchange for a blowjob.


wo funny guys, both on different phone lines. In Hollyweird, where we lay our scene. From ancient grudge… If you caught Tenacious D supporting Foo Fighters last December, you would have experienced their special brand of comedic rock’n’roll with generous lashings of berating banter in between. During the show this scribe attended, Tenacious D frontman Jack Black called his bandmate/sidekick/lead guitarist Kyle Gass “clammy fingers Magoo”. “Oh my god,” Gass feigns outrage. “That’s so mean!” “You know, sometimes I get nervous and I lash out,” Black defends. The diss was delivered after only one song. “Oh my god, that’s right,” Gass recalls, “and then I think I had to quit.” Black continues, “That was – wait, that was the night that you quit the band. I remember. That was a legendary night.” Gass must have developed a thick skin to protect against such verbal abuse over the years. “I really have. I’m numb to it,” he admits. When asked whether there were any crazy happenings on this tour, Black offers, “Well we caused an earthquake in New Zealand and there was quite a good rap party at the end of that show. We all went over to someone’s hotel room and I remember somehow we ended up trying to carry a piano down the stairs.” Gass chuckles, “Was there some drinking going on before that?”

When asked whether there are any topics too unsavoury to explore through song, Black shares, “There’s an invisible line in the sand and everybody knows [when] there’s too powerful a taboo. There’s a lot of things where the unsavouriness is just a matter of time, it’s like, ‘Oh, too soon!’ And there’s other things that are just too harsh to be funny. Our next album is the stuff that was too hot, too dirty and too unsavoury on all of our albums. We’ve compiled them all and it’s called…” Gass interjects, “D-licious.” “It could just be called ‘Licious,” Black muses and then one-ups himself, “I think it would be called ‘Spicable: Tenacious D – ‘Spicable.” Gass approves, “Mmm-hmm, mmm-hmm.” WHO: Tenacious D WHAT: Rize Of The Fenix (Sony)

“There was some drinking, yeah. It was one of those crazy nights.” Hopefully no pianos were harmed during this post-show revelry. “[The piano’s] fine,” Black stresses. “It’s functional. Thankfully there were no broken bones and no broken piano keys.” Roadies are “the REAL rock’n’rollers” according to Black, so what of groupies? “Groupies!?” he baulks. “No. You see it’s 99% sausage fest out there.” Gass agrees, “Yeah, there’s a lotta dudes. A lotta dudes.” Black clarifies: “It’s possible to wrangle some groupies, but there has to be a person who’s special job it is to just go out there and find them and bring them back. But, you know, those days are gone for me – I’m married with children now, I don’t fuck around.” It has to be said that Tenacious D’s visual presence is instrumental to their appeal and accompanying video clips have been filmed for a whopping five out of the 14 tracks on their latest Rize Of The Fenix set. “I could’ve gone at least one more,” Black opines. “I would’ve liked to’ve done one for Señorita.” Gass agrees, “Mmm-hmm, mmm-hmm.” The band’s manager, Michael Michaels, was so excited about the guest stars Tenacious D lured into the fold for these upcoming videos that he placed a call ahead of this interview to provide an extremely animated heads-up. Black and Gass are particularly pumped about the star of their Roadie clip. “We got Danny McBride,” Black extols. “It was quite a coup. We were a little surprised that we got ‘im. We just asked him and he said ‘yeah’. And it was a double coup: not as many people would know or care, but the director of most of the episodes of Eastbound & Down, Jody Hill, was the director of the video and that was equally thrilling for us ‘cause he’s so fucking funny.” Gass boasts: “Well I think that’s a good reflection on us.” Some fittingly freaky shit goes down in the duo’s clip for Low Hangin’ Fruit. “Well, you know, it’s very provocative and there’s lots of fruitplay,” Black reveals. “There’s a lot of fingering various fruits and licking fruits.” “You might not have thought that fruit was so sexy, really,” Gass contributes. Black concurs: “It’s amazing how provocative a piece of fruit can be.” What’s the sexiest citrus? “Well a simple peeled orange is awfully sexy if you finger it properly. It was a fun shoot. It was strictly me and Kage. There was a tremendous amount of provocative dance. Kyle’s got the moves.” “Let’s just say you were moving pretty good yourself,” Gass praises. “We had some pretty good wardrobe for that too – we were pimping it out.” Now that Rize Of The Fenix has dropped, how far would Tenacious D say they’ve come in their quest to become the best band in the world? Gass responds quickly: “It’s one of the best albums ever.” But Black has a lot more to say on the subject: “Quite honestly, it’s less about being the best band right now and more about saving rock’n’roll. Because let’s face it, rock’n’roll is laying down on the gurney right now, it’s flatlined.” This is true. “I’m not done with my analogy. The surgeons are looking at each other and saying, ‘Is it even worth it? Should we just put off – what’s that electric thing? The defibrillators?” “Mmm-hmm,” Gass confirms. And Black’s off again: “And that’s when we – surgeons Kage and Jables – come in the room and say, ‘Step aside, we’ve got this,’ and bring it back to life. It’s nothing less than a heroic rescue mission. We’re like field team six going in to rescue sweet, innocent rock.” There’s a bit of adlibbing on album track Deth Starr and after claiming, “We’re basically having sex. I think there’s some love making,” Black divulges his source of inspiration. “You know how in the heyday of Van Halen when Diamond Dave would, you know, just be talking in the middle of a song? [Busts out the slow, sexy Panama riff] ‘Reach down, beneath my legs and ease the seat back.’ [Then, from Hot For Teacher] ‘I brought my pencil! Give me something to write on, man’.” Of the skits littered throughout the album, Classical Teacher is a standout. “It was terrifying I have to say,” Gass reflects on the ‘experience’. Black elaborates, “Well the lesson with the classical teacher was less about learning guitar technique and more about tapping into some hidden passions that Kyle wasn’t even aware of. You’ll notice when next we play in your town that Kyle plays with a kind of abandon only seen in the wild. He plays like a jaguar.” If you’re searching for LOLs, give 39 a few spins. Here’s a lyrical sample: “She needs a dentist appointment quick/I pay for it and she sucka my dick.” Is this song based on a real ‘lady’? “It was loosely based on someone Kyle was dating for a time,” Black handballs. Kyle? “Ugh, well, you know, it was kind of a tough break up. It was more based on my ongoing midlife crisis, I think.” Black adds, “The names have been changed to protect the innocent.” Was a dentist appointment paid for though? “Excuse me, we have to wrap it up,” announces the phone conference operator. Much laughter. Black jokes, “We told her to interrupt if a dentist was asked about.” So did Gass in fact sort out a dental bill? “That part was true,” he chuckles. “But there was no agreement like [puts on a weird accent], ‘In exchange for the dentist you must x, y and z’.”

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BREAK ON THROUGH It’s a matter of struggle and triumph connecting the past and the present for Nadia Ackerman on her new record, as Jason Kenny discovers.


bout a decade ago, Nadia Ackerman moved to New York to sing jazz. She packed her bags in North Sydney and moved to the big apple, found herself singing jazz standards, and then things changed. “Long story short, I had a breakdown, an emotional, mental breakdown, about six years ago,” Ackerman says. “I did an EMDR, which is a rapid eye movement therapy, and when I came out the other side I started writing songs. I’d never written a song in my life so it was this hilarious situation where I was a jazz singer and I didn’t write and then all of a sudden within the first year I’d written 350 songs.” The first product of those songs was The Circus Is Back In Town. Originally released independently, it will be re-released after her next studio album. Ackerman kept writing and working

as a session singer around New York. Most of the world might recognise Ackerman’s voice from her work on commercials. The UPS commercial has taken her voice around the world and, as a major sponsor of the London Olympics, only continues to do so. “I sing commercials, which is what you do in America while you’re waiting for your record to take off. I’ve been living off UPS for two years. It’s a worldwide campaign,” she says, “everywhere except Australia.” Beyond commercials, her day job is lending her talents to backing singing for major artists in New York, on one off shows or morning shows. It’s a gig that’s seen her appear alongside Sting, Elton John, Billy Joel, James Taylor and a whole swag of other big names. She recently sung at Sting’s Rainforest benefit at Carnegie Hall for the fifth time. “The first time I met Sting my mouth fell open,” she recollects. “I couldn’t hold it together. He’s a really good looking man, and really nice and really shy.” The opportunity to work with some of the biggest artists in the world also provides a view into an otherwise mysterious world, where budgets aren’t an issue and beyond the world of struggling to put together enough money to finish a record and then promote it. “You get to see the truth of what’s going on,” Ackerman says, “and you get to see how much money there is and you get to understand that they’re people too. But you can really see who’s a good person and who isn’t. That’s obvious straight away.” Ackerman’s art stretches beyond the music to a growing artistic portfolio. Her first gallery show was a week after we spoke. The music and art are connected in some ways with many pieces based on songs from her record. “The strange thing is that it’s connected, but I’ve been finding that when I’m drawing large bodies of work, I’m not songwriting. I’m finding that the parts of the brain that do the songwriting and the drawing don’t function at the same time. And that’s disturbing.” Since she’s been finishing the twenty-five artworks for the gallery show, songwriting has been pushed to the side. It doesn’t worry her since she’s already got the next record, and more, already written. “I’ve written so many songs that I’m not too worried,” she says. “I’ve got my third record already written, that we’re starting now. I’ve got a few records lined up, so I’m not too worried that I haven’t written a song in two weeks.” Ackerman’s jazz background means she’s used to cutting a record quickly. “I usually work coming from jazz-land, where we go to the studio for two days and we all play live and we do the record in two days – seven songs a day. Which is a lot. We do three takes of each song and then pick one, and there’s no cutting and pasting, it’s straight performance.” The Ocean Master was different, taking a year to record. It sits nicely between Cat Power and Feist with an alternative pop sensibility, on a bed of a minimalist but melodic arrangement. This record took longer to record, “mostly because I didn’t realise I was making a record,” she says. “The Ocean Master was different because I recorded a lot of it at home. I would do the songs as demos and they weren’t demos at all, they were the real deal. My producer would record it here, say ‘it’s just a demo.’ So we’d do the basics and sing and play piano in my bedroom and then we would start adding bits. We would have the cello player over and he would play his parts. The guitarist would come over and he would add his parts. So it was a situation where we built the record at home.” The record explores Ackerman’s journey post-break down, through struggle and triumph. She was determined that it would have that positive side to it, that triumphant side. “I think the record is really about looking back and looking forward. There’s a lot of shout-outs to my past, and struggles. Then there’s triumph. It’s a record that has to be listened to from beginning to end because there’s a story of... not depression, but struggle, hope and triumph,” she says. “It’s about coming out the other end of the breakdown and thriving.” Even so, while recording the album she realised she wasn’t quite through it all. “There’s a song on there called Underground that when I wrote it... I was out of therapy at the time, but when I wrote it I realised I had to go back, because I wasn’t well. The record really does go through that transition.” Although there’s the struggle, it’s the light at the end of the tunnel that Ackerman wants to focus on. That became a major point when it came to giving the album a title. “It was going to be called In The Middle Of The Sea but then I thought that was a very ‘poor me’ title, like a victim. And I didn’t want it to be like that.” The title comes from her childhood on the north New South Wales coast. It was over a conversation with a friend about her late father’s old fish and chip shop that the connection came. “And I just went, ‘Gasp, that’s the name of the record’. It sounds like someone who is in control. The ocean is your emotions, so it’s being in control of that.” She pauses. “Wow, I’m just working this out now.” WHO: Nadia Ackerman WHAT: The Ocean Master (Spectra) WHEN & WHERE: Wednesday 27 June, The Ellington, Highgate.



JAMAICAN ME CRAZY Nicky Bomba was searching for the essence of what turns him on with music via new project Bustamento. He tells Izzy Tolhurst, “It’s like Gilligan’s Island meets Kramer!”

Worldly beats group Tijuana Cartel have recently made some new additions to the group including touring members and destinations, songs and producers, Paul George tells Troy Mutton.


hile Tijuana Cartel are on the tail end of touring their third – and arguably best-received – studio album, M1, they’ve a new single out called Offer Yourself and singer/guitarist Paul George, along with his bandmates, is warming to the idea of hitting the road again on one of their patented national tours. “I’ve just been talking to the guys this week actually [about the tour],” he says. “It’s kind of like a love/hate relationship I think. We really love what we do, and even if things go wrong like we’re stuck in an airport or something we generally like the whole ride of it. Certain things do get to you like sharing rooms with four guys constantly and not really having any of your own space… but it’s definitely overridden by how much we love what we do. The pluses outweigh most things.” And the pluses are on the up-and-up, the group whose popularity seems to coming ahead in leaps and bounds over the past 12 months – their hard working tour ethic playing a big role – especially due to their willingness to get outside of the capital cities. “Yeah every [regional] town has its own quirk I think. Regional towns definitely drink a little bit more,” he laughs, one sensing George has been on the receiving end of a few hard nights out in the country. “And it’s cool, they really get into it, Maybe they appreciate it a bit more and get less bands through there. So it might be easier for us in a sense… And we find we can pull good crowds in regional areas so it’s fine.” Given the last tour may still be pretty fresh in many fans’ minds (depending perhaps on how hard they boogied/ partied), George understands that with the new single has to come some new ideas for the show, and in that spirit they’ve added a couple of new members. “We’ve just added a Middle-Eastern percussionist and a new trumpet player and that seems to be going really well. It feels really natural on stage now for the band – kinda just playing together and enjoying it… “A lot of our new stuff is coming out with a bit more of a Middle-Eastern tint. And we wanted to make


sure we gave people something new because it wasn’t that long since we toured, so we wanted to give something for people to come back to.” Offer Yourself is itself a somewhat new direction from the band, an uplifting and groovy psychedelic number that’s fast becoming a live favourite. Part of the new flavour can be attributed to new producer Scott Horscroft. “We recorded it with Scott Horscroft who worked with The Presets, Empire Of The Sun, 360… So that was pretty cool,” George tells, before going into their new recording process, which will now involve Horscroft as full-time producer, and recording a heap of songs and then picking out the best. “We’ve always aimed for it, but we kinda tend to procrastinate a little bit and then freak out when we have a deadline or something. The theory is if you have 40 songs, there’s gotta be some good ones in there,” he laughs. “And we’ve got a producer now that we really like working with, and we’re really looking forward to bringing them to him and adding new sounds to them as well. We feel like we’re on a pretty good wicket at the moment.” This will also be the last chance to catch the guys for a while before exploring the European and American touring circuit, with one particular festival being right up their alley. “[After Europe] we head to America for Burning Man festival and a couple others. Doing that festival is one that’s been on our bucket list for years so we’re all really stoked to do it. It’s a seven-day festival in the desert, I think we’re just gonna be naked hippies in the desert for seven days, it’ll be great.” WHO: Tijuana Cartel WHEN & WHERE: Friday 15 June, The Bakery

Frenzal Rhomb vocalist Jason Whalley tells Daniel Cribb about singing in tune 80 percent of the time and being blocked on Twitter by Russell Crowe.

“It feels like we could do it all in three weeks, but I like spreading it out,” Whalley explains of the band’s weekend tour structure. “And I also like only playing on Friday and Saturday nights. It gives you much more of a bigger party vibe and you don’t end up playing in Warrnambool on a Tuesday night. We used to tour for seven months of the year and that can be a little bit of a drag, when you’re just kind of going through the motions every night. I feel this way we can put more of an effort into the actual shows and everyone’s got more energy.” Now that their latest record Smoko At The Pet Food Factory has had several months to breathe, Whalley looks back at it with fresh eyes. “It was a horrible, miserable failure,” he jokes. “Nah, it went pretty good I think, all things considered. And I like the sound of it. It sounds better than our other ones, thanks to the top notch team at Blasting Room Studios in Fort Collins,

Earlier in his career, at a musical conference in Essen, Germany, Bomba realised much of his attraction to reggae and roots music was the presence of “the same immediate happy and cheeky elements as Maltese music.” “I love reggae,” he says, “I’ve loved it all my life. But I wasn’t particularly well versed in what it was or where it was from; my first experience with it was with bands like The Specials, so I didn’t realise that this was the second wave, because in the ‘50s and ‘60s there was this massive amount of music made in Jamaica. When I discovered that, it resonated strongly with me… It was spontaneous, and that’s a very big thing in the Maltese culture. I felt a connection.” A recent pilgrimage to Jamaica solidified this connection, as Bomba recalls that he “became a part of a family there, and was catapulted deep into the culture.” The name of this latest musical offspring also pays tribute to Jamaica – clearly a constant source of inspiration for Bomba and band. “We needed a name to kick it off and Barry (Deenick, double bass/vocals) mentioned Prince Buster, one of Jamaica’s recording pioneers,” he says. “I had just read that he was named after Alexander Bustamente, the island’s first prime minister. It wasn’t too long before

Despite the mischievous and jovial nature of Bustamento’s calypso sound, the lyrical content is deep. “When I write lyrics it’s actually very cathartic,” says Bomba. “If you wanted to have an in-depth, you could read my life through the lyrics in my songs. It’s like therapy for me. I’m sure I’m saving myself bucketloads of money on psychoanalysis!” Issued as a brightly illustrated CD-lyric book, the album is about rediscovering the spontaneity and splendour of music often lost in the production phase. “It’s a whole little journey of lyrics and the band coming together and discovering something. And the intrepid journey is about that constant search for the essence of what turns me on with music. And a lot of that is lost – in the way things are recorded, in the intention of writing a song or performing something. And there’s ambition and frustration with that as well. So for me it was getting back the things that are lost. “And when you see the connection that was established with the artist, it’s just great. It’s like Gilligan’s Island meets Kramer!” Amidst a tour that will take him from Fremantle to Mt Hotham and everywhere in between, Bomba modestly concludes by saying, “I love being a student of music. That’s never-ending. I’ll never be able to learn everything that you can in this lifetime, but just feeling like a little kid discovering everything… I really appreciate that.” WHO: Bustamento WHAT: Intrepid Adventures To The Lost Riddim Islands (Vitamin Records) WHEN & WHERE: Saturday 23 June, Fly By Night Musicians Club

Cam Findlay chats to Mezzanine frontman Corey John Rist about finding a happy medium between rocking the fuck out and engaging the minds of listeners.


But you won’t find bassist Tom Crease sailing Sydney Harbour; rather the coastline of South Australia. The only two members of Frenzal Rhomb that live in the same state are Whalley and guitarist/ triple j’s Lindsay McDougall, aka The Doctor – with drummer Gordy Freeman residing in Victoria. The separation, and thus somewhat intense commute to unite as one single unit, can render simple tasks, such as jamming, a difficult one. Which usually isn’t a problem – it’s only when it comes time to record or prepare for a tour that said distance requires the Rhomb rhythm section to head for NSW.

Having played music for over 40 years, Bomba has been on a wild array of musical adventures. He founded and fronted Bomba, plays drums for John Butler Trio, is a recipient of the Australia Council’s Music Fellowship Award and, as a child, was part of a family band that he recalls were “the Maltese version of The Jackson 5.” Bustamento, however, “captures the things I love. It’s about the energy of the musicians,” Bomba says fondly.

one of us said Bustamento… It sounded good and, for added value, a ‘bustament’ in the Maltese language means ‘a very big boat’. We love boats. There it was.”


WEEKEND WARRIORS atching boats sail around Sydney Harbour, Frenzal Rhomb vocalist Jason Whalley ponders life as a sailor: “I’m thinking, ‘Should I get a boat?’” the frontman begins. “And I think, ‘Well, I can’t afford a boat, but even if I could, I don’t know if I want a boat.’ Our bass player likes sailing. He sails those little tiny boats. He’s very good at it, but I don’t know if that really appeals to me. Anything that you could die from if you make a mistake doesn’t really appeal to me,” he explains.

alling from his favourite Maltese island, Gozo, Nicholas Caruana, known to most as Nicky Bomba, is “writing songs and gathering thoughts,” in preparation for several shows in the Mediterranean archipelago. But it’s unlikely to be all rest and relaxation as Bomba prepares his new band, Bustamento, to tour their debut album, Intrepid Adventures To The Lost Riddim Islands around our currently much chillier island.

“M Colorado, and I like the songs – I like about 70 percent of the songs, which is a higher ratio than most of our records. I like a few songs off most of our records, but this one I feel is quite consistent from start to finish. “I didn’t really want to use Auto-Tune or anything, so I figured, if there’s one thing that I can do, I’m not the world’s best singer, but I can sing in tune at least 80 percent of the time. Even if it takes me like 20 or 30 goes, I want to be able to try and get it right… I actually got the shits because some reviewer afterwards was like, ‘By the end of the record you get a bit sick of hearing all the Auto-Tuned vocals,’ and I’m going ‘Fuck you! I did that fuckin’ a thousand times to get that right’,” he laughs. One can’t help but assume Frenzal’s ode to Russell Crowe’s band, off their ’03 release Sans Souci, is one of the tracks that has made his favourite list. Over the past little while Whalley has been chucking Crowe the odd retweet here and there. “I’m probably missing some as we speak,” he says. “Frenzal Rhomb followed him on Twitter and he blocked us straight away. I don’t think he’s made the connection with me yet, and I actually haven’t said anything controversial. All I do is give him a little retweet of his gym stats every couple of days. Hopefully we can forge a new relationship into the future.” WHO: Frenzal Rhomb WHEN & WHERE: Thursday 14 June, Settlers Tavern, Margaret River; Friday 15, Prince Of Wales Hotel, Bunbury; Saturday 16, Rosemount Hotel

ezzanine” (noun): “A low story between two other stories of greater height in a building, especially when the low story and the one beneath it form part of one composition.” So sayeth the dictionary. Not an entirely remarkable term by any means, but one may be able to draw out any number of inferences by its meaning. At first glance, all it really means is that bit of balcony between two others. But use your imagination: could it not refer to any number of things, based on its Latin roots as meaning “from the middle?” Not to hamper on too much, but that would be just the key to understanding the identically named local band, who have just released their second EP, Vile Horizons, and are ready to prove to you that the old adage of “don’t judge a book by it’s cover” is especially apt in their case. “I know that, at least instrumentally, we still sound like a regular, full-on rock band or indie-rock band,” says frontman Corey John Rist, who is chatting while enjoying a bottle of red at home. “But that’s definitely not what we’re all about. We love that simple rock aspect of our songs, but I do go much more in depth when it comes to writing the lyrics. It’s not just throwaway stuff; if people like the band just for the rock parts, that’s fine. But there’s this whole layer of lyrical context that’s lying under all of that.” During our casual interview, Rist rattles off a few influences (Brian Jonestown Massacre, Sonic Youth, The Pixies) and it becomes clear that he’s serious about the dynamism that comes from including honest, self-referencing lyrics with heavy rock tunes. “I do really enjoy those musicians and songwriters that can cover a whole range of ideas and stories,” Rist continues, “but it’s never been something I could do. I’ve never been able to talk about anything that isn’t directly affecting me. I guess that could be a bad thing in many ways, but it’s always been that brutal honesty that’s interested me, and when I sit down to write songs, that’s what comes out.”

This, in effect, leads to what Rist terms as “unhappy content”, an ongoing theme that has pervaded both this latest EP and their debut of last year, Novella. While you could argue that Mezzanine’s music sits too far in maligned territory, Rist argues that there’s no better way to remain honest with the audience. “That’s all I’ve ever wanted to be – honest. For me to write a song about how much I love poodles or something, that’s not me being entirely direct with whoever’s listening to it. “The happiest moments of my life have always been little things, and the unhappy moments are the parts that I feel are worth writing about. Because we all feel them at different points in our lives, we all have those moments that are much more, I guess, stark and powerful than others. And that’s all I’m trying to get at, those times that are just so much more intense. The rock music really helps to fuel that as well, so I hope that people can really enjoy the music, but really understand the deeper side to Mezzanine as well.” WHO: Mezzanine WHAT: Vile Horizons (Gun Fever) WHEN & WHERE: Friday 22 June, Rosemount Hotel THE DRUM MEDIA • 17






Dirt Farmer

Just in case anyone missed it, there is a new supergroup of sorts milling around the Perth scene. Encompassing members of Minute 36, Mezzanine and Generals & Majors, with the lead coming from Ghost Anyway frontman Michael Strong, The Disappointed hold a lot of promise before they even get a chance to massage your ears. As it turns out, single Dirt Farmer is anything but disappointing; a quirky pop-fuelled melody and upbeat groove, vocals weighed down by self-deprecating sarcasm, and an obvious penchant for structural experimentalism. It’s pretty obvious these lads are no newcomers.


Big Bright World Liberator

Picking up this single, there was a distinct feeling of trepidation: ‘Please, please, PLEASE don’t ruin my childhood in some kind of contrived attempt to sound modern and relevant…’ Well, good news everybody! Big Bright World, taken off upcoming album Not Your Kind Of People, is the same post-grunge, electronically tinged, alt. pop Garbage us ‘90s kids grew up with! Right from the start, fears are put to rest with a corny post punk synth sound and Manson’s sexy lo-fi drawl. Glitchy vocal effects filling out the huge sing-along-in-your-car choruses and synthy guitar accents set the nostalgia into overdrive as the inner child rejoices. Beautiful garbage.

Shock Records The wholesome and charming Here is the second album from Edward Sharpe & The Magnetic Zeros and is a true celebration of Americana music. A humble nine songs make up an album reminiscent of the roots music that became a permanent part of the American national consciousness in the ‘50s. The contemporary curveball comes in the form of hippy vibes and layered harmonic textures in a vein similar to that of The Polyphonic Spree or The Soggy Bottom Boys. We are introduced to this collection with Man On Fire, an invigorating song that makes the most out of Alex Ebert’s vocals. Ebert, the man behind the alter ego Edward Sharpe, is no stranger to the music scene, previously leading power group Ima Robot. This production shows an experienced musician, songwriter and producer that isn’t afraid of the highly personal element of the lyrics. A total of 16 musicians are recorded as contributing to this album, and therein lies the potential for the bluesy vocals of Jade Castrinos and Ebert to disappear behind a mass of hype and instrumentals. As Dear Believer proves however, it is possible to maintain musical splendour and minimal quality in the light of maximum participation. Here has an understated and highly polished sound that encapsulates the mood of communal living and takes you to a cornfield in Indiana where pigtails are prevalent and want is determined by need. That’s What’s Up, a song with beautiful layered harmonies and an a capella bridge, energised by some old school systematic hand clapping, is the essence of these themes and the album’s ambience. Lynn Mc Donnell


Big Dada Recordings


Talent, x-factor or je ne sais quois is that most elusive and commonly misdiagnosed of attributes. You only need to turn on Channel 7 to see that. Too often people are convinced of their talent, only to find that it is nothing but braggadocio, a mental health problem or that they are as deluded as Kyle Sandilands. Liverpool MC Bang On! tells us on Got IT, the third track from his debut album [Sic], that he has whatever ‘it’ is, but by then the claim is redundant. We already know beyond any doubt we are listening to something special.

Romancing is the debut effort from Brooklyn native Devin Therriault. He has been called “the meeting point LIVE between Jack White and David Johansen (New York Dolls)” by Time Out New York. NME took on a different point of view, describing Devin as having “screamy Casablancas-esque vocals”. Whichever way you look at it though, Devin certainly brings something unique to the solo stage.



Ask any Southern Brit about Scousers, and they will trot out the unfair stereotype that, amongst other things, they steal car stereos. It’s poetic that Bang On! has created this music that is so insulated against any claim of plagiarism. Big Dada have form in backing pioneers who have gone on to change the game, having released Diplo’s debut album and introduced Roots Manuva to the world, and it feels like Bang On! could be the next artist to justify their bravery and foresight. While the album as a whole defies meaningful comparison, the first (Teeth) and last (The Whinge) tracks have The xx chromosome in their instrumentation and are notable by the absence of the bass wobble that ties the hip hop, dubstep and drum‘n’bass of [Sic]’s other beats together. Bang On!’s flow is by turns witty, aggressive and poetic, but always vital and always surprising. Fair warning: the Scouse slang comes thick and fast throughout. References will go undeciphered and words get smothered under the weight of local dialect. It doesn’t matter though; this record is boss. Tom Birts

Each of the album’s 12 songs are high-energy,

classic rock tracks with a punk twist. All were VD written and sung by Therriault, who also plays lead guitar on each track – not bad for a 20-something with a monster quiff. The album was recorded in Devin’s home before being worked on by Chris Zane of Les Savy Fav and The Walkmen fame.











Sam Carmody’s been knocking around the local LIVE scene for a while now with his warm vocals and canny lyricism. The three-track EP, Sally, comes as his latest effort with his Warning Birds, and it is one hell of an offering. Nicely understated guitar, rich, catchy melodies and warm strings throughout make for some dense sonic textures perfect for a rainy day. Title track, Sally, features a very catchyD melody and an upbeat pace, kind V of early Eskimo Joe, whilst The of reminiscent Lane features some lovely boy/girl harmonies and Ripcord brings to mind Dallas Green’s solo work, both in guitar and Carmody’s vocal stylings.

Romancing is one of those albums that need a few listens before the songs can be distinguished as separate entities. After you’ve given the album a decent chance, tracks like I Don’t Think I and I Was Your Boy stand out as highlights that would fit raucously on an indie dancefloor. Slower tracks like White Leather and In My Solitude give Devin a chance to show off his songwriting skills and prove he’s no one trick pony. The first track, Masochist, provides some of the most fun yet relatable lyrics that you’re likely to hear for a while. This is the kind of album that is perfect to listen to when you need a pick me up or a new view on your latest dating disaster. According to Devin, “it’s about running around with the one you love, doing whatever you want”. Sure, why not? Melissa Coci

SIDEWALK DIAMONDS Every Season Inside Independent

Rich folk textures and harmonies are the centre of this well-rounded release from locals Sidewalk Diamonds. With a strong focus on melody and an evident love of ending songs on vocal refrains, sentimentality and introspection seem to be frontman Damien Goerke’s bread and butter. Dealing well in metaphor, Goerke’s lyricism draws us along through the ups and downs of love and all that stuff as intelligent guitar hooks and upbeat call-and-response choruses get the ol’ foot jigging. Track four, Tomorrow, is a standout with its evolving, percussive intro, which grows ever more frantic before revealing one hell of a catchy melody and some hidden post-punk sensibilities.


Independent Coming as the single to Those Wretched Horses’ soon to be released debut album, Rabbits announces itself as a strong frontrunner, as of course is the purpose of any single. Starting with some lazy palm-muted guitar that soon morphs into a loud, string-infused, wooden melody reminiscent of Sixpence None The Richer’s Kiss Me (yes, more ‘90s!), the track suddenly emerges as a boot to the head with frontwoman Clancy Jones’ vocals towering above grungy guitars and epic, reverbladen solos. Some tasty breaks in percussion and well-placed guitar interludes add flavour to the track towards the end as well. Haunting stuff.







On Dedicated, legendary Booker T & The MG’s guitarist Steve Cropper pays tribute to one of his biggest influences, The 5 Royales – a relatively obscure ‘50s R&B group who were a significant link between early R&B and soul, despite attaining only modest commercial success.

When Millencolin performed 2000’s Pennybridge Pioneers in its entirety at last year’s Soundwave, the crowd went wild. But the reaction was not so strong for the newer songs in their set. It has been a decade since Millencolin’s last truly decent album, 2002’s Home From Home, and it seemed the band had long since plateaued.

My favourite Gossip story was when the Bush administration used Standing In The Way Of Control as part of their re-election campaign, not realising it was a protest song against their own anti-equality policies. The band walked away with a tidy purse of royalties... Which they promptly ploughed into funding the fight for gay rights. Good old Gossip, always doing things their own bloody way.


The Melancholy Connection

The album features well-known guest artists covering songs by The 5 Royales, backed by Cropper and a skilled session band. With guest artists, there’s almost always hits and misses when it comes to re-imagining someone else’s work. While BB King and Shemekia Copeland show great chemistry and spark on Don’t Do It, Lucinda Williams’ raspy Southern voice doesn’t seem to gel with the band on Dedicated To The One I Love; the song as a whole seems unbalanced. Similarly, Dylan LeBlanc’s vocals sound thin compared to the power of Sharon Jones on Come On & Save Me. On the other hand, Brian May nails I Do, blending the song with his signature Queen guitar sound and vocals by creating a Night At The Opera/ Blues Brothers mash-up that somehow works perfectly. Sharon Jones trades vocal licks with Cropper’s guitar on Messin’ Up, one the funkiest highlights of the album. Cropper’s playing shines throughout, particularly on instrumentals Help Me Somebody and Think. It’s no wonder he’s known as one of the greatest guitarists alive. Dedicated is a great album and reminds us how influential Cropper has been. Simultaneously it introduces us to one of the many bands from that era that wrote a heap of classics yet without getting the recognition they deserved at the time. And, as the years go by and artists pass away, albums like Dedicated will ensure their music and legacies don’t.

The Melancholy Connection, a collection of B-sides released to celebrate the two decades Millencolin have been making music, sees the band looking firmly to the past - it is named after their first B-sides album, The Melancholy Collection, after all - and the cover art is basically Pennybridge Pioneers with older heads. B-side albums usually seem to be boring compilations put out to end a contract a band no long wants to be a part of, filled with songs not good enough to be on their other albums. But this album isn’t; although it is a B-sides album, Melancholy Connection is Millencolin’s best release in almost a decade. The album opens strongly with new compositions Carry You and Out From Nowhere, and does not lull in quality until almost halfway through the album, and even then quickly gets back on track. The Melancholy Connection is not perfect – Bull By The Horns and Junkie For Success are duds, E20-Norr (Battery Check in Swedish) is redundant, and the album is too long. It is, however, an enjoyable and nostalgic listen. Seeing how most of the material is at least four years old, it will be interesting to see how the band follows this up. Simon Rundin

Scott Aitken 18 • THE DRUM MEDIA

A Joyful Noise

Beth Ditto may declare herself an unabashed punk but five albums into her career, her voice now sounds ready to cut loose from the confines of a power-pop group. The absolutely heartbreaking Casualties Of War channels Madonna at the height of her powers when it seemed a future on the stage wasn’t out of the question. When she sings “I’d like to stay and party but I’ve got to go to work” (in Get A Job), one wonders if she’s actually thinking about her future with the band. Every other second on A Joyful Noise sounds meticulously spit and polished to maximize pop-impact, thanks to the symbiosis of the three members providing cracking songs to Xenomania’s Brian Higgins (Kylie, Sugababes), who sits behind the control panel. And that’s where it comes unhinged. Gossip (there’s no ‘The’, if you don’t mind) work best with an element of danger and unpredictability, and Xenomania provide none of that. Lead single Perfect World breaks free as an unstoppable force of urgency but the support material seems almost drowned in over-production. Killer guitar riffs are surgically removed and replaced with Castro-appeasing retro-rave bounciness. What’s left is an album falling some way short of greatness; of disposable music for pleasure. Mac McNaughton



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STILL SOMETHING TO SAY WAAPA’s third-year acting students are taking on Ray Lawler’s classic Summer of the Seventeenth Doll under the direction of Marcelle Schmitz. She speaks to Aleksia Barron about modernising two of theatre’s most challenging female characters.


THURSDAY 14 The Cabin In The Woods – co-written by Joss Whedon and Drew Goddard. In clichéd horror fashion, a group of friends visit a remote, isolated cabin in the woods, and awaken zombies. Opening night festivities, Luna Leederville, 6.30pm. Hello My Name Is… – a new work from the maker of At the Sans Hotel, Nicola Gunn. Set in a community centre combining live performance with an online documentation and exchange project, inviting the audience to participate without performing. Opening Night, Blue Room Theatre, 8.30pm, until 30 June. Friday 15 Buffalo Girls – from the directing debut of Todd Kellstein comes a dark exploration of the child boxing industry in Thailand. Kellstein’s aim for the documentary is to open the audience eyes to become more socially aware of overseas cultures. Part of the Human Right Film Festival, Cinema Paradiso, 7pm.

SATURDAY 16 MoMA in Conversation – a forum from Glenn D. Lowry, Director of The Museum of Modern Art, New York with Stefano Carboni, Director of the Art Gallery of Western Australia. Gain insight into MoMA’s mission and the role the institution plays around the world. AGWA, 8.15am

SUNDAY 17 Gigantic Vintage and Vinyl Sale – featuring the work of the The Ginger Fox, who allows us access to some of Perth’s hidden treasures through her more then dedicated attention to some of Perth’s vintage taste. Bakery, 12pm.

MONDAY 18 A night with Two Irreverent Beasts – playwright David Stevens and director Mark DeFriest will linger at the Old Mill Theatre for a interactive night of discussion and questions. Audiences can expect some first hand tips on writing and directing. Old Mill Theatre, 6.30pm Leederville Double / Wish You Were Here & This Must Be The Place – In This Must Be The Place, Sean Penn plays a retired rock star ready to settle some family mystery and pin down a ex-Nazi war criminal responsible for his father’s past humiliation. Second in line is the already hyped-up Australian drama Wish You Were Here. This is a tragic story that goes to the heart of human error and failed responsibility, as friends soon learn one member of the group is missing after a night of partying in South Eastern Asia. Luna Leederville, screenings start 7.30pm.

ONGOINGMonster – an exhibition revolving around the concept of the monster. Featuring thirteen artists, this exhibition promises a wide range of interpretations on a topic many would be cautious to define. The Oats Factory until June 22nd. Jeff Wall Photographs – popular and influential Canadian photographer Jeff Wall brings 26 of his best photographs to Perth. A must-see for anyone wanting a rare first hand glimpse into this proclaimed master of photography. Art Gallery of Western Australia, 10am.

Like so many Australians who love the world of theatre, director Marcelle Schmitz has a long history with Ray Lawler’s Summer Of The Seventeenth Doll. Ever since she first encountered the play in the 1980s, Schmitz has been fascinated by the story of the unconventional living arrangement shared by barmaids Olive and Pearl and cane-cutters Roo and Barney. “It was the story, really – the story of this unusual relationship where they’d cultivated this new way of living,” says Schmitz, explaining what impressed her about the play. “I remember being quite struck by how unconventional that was, and how interesting it was.” In Lawler’s play, Roo and Sydney spend seven months of the year cutting cane and then return to Melbourne for the other five, during which they stay with local barmaids Olive and Nancy. The arrangement has worked for sixteen years, but in the lead-up to the seventeenth, Nancy has gotten married, so Olive invites her co-worker, conservative single mother Pearl, to take Nancy’s place. Now, Schmitz is directing WAAPA’s third-year acting students in Summer Of The Seventeenth Doll and is navigating the trials of presenting a script written in 1955 to a modern audience. The character of Pearl, she notes, can be particularly tricky. “When the play first came out, audiences actually saw the relationship through Pearl’s eyes, and they were as conservative as her and found it quite challenging to come to terms with this unconventional arrangement,” she explains. “Pearl was kind of representative of the majority of the community at that time. Over the years, that’s changed entirely, and by the middle of the

1980s, audiences were seeing her as a wowser.” To tackle this issue, Schmitz is establishing Pearl’s motivations for joining Olive for the summer. “We’ve kind of invented a background for [Pearl] where she feels a little bit as if she’s dropping down a step in class by agreeing to do this, but she’s got to do it because she’s really looking for a relationship. The trap with that role is to judge her as a production; we’re not judging her.” The other female role, Olive, has provided the other significant challenge for Schmitz. “I suppose the thing that I’m pushing for more than anything is to make sure that the character of Olive is not perceived as a woman who won’t grow up,” she says. “It can be an interpretation, and it has been an interpretation.” However, Schmitz sees Olive as a visionary, and the true hero of Summer Of The Seventeenth Doll. “It’s a much more interesting story if Olive, rather than being simply immature, is a woman who’s got this extraordinary ability to imagine a life where independence and a strong, loving relationship can co-exist,” she explains. “She’s got this vision and she’s struggling to maintain it, and it works. It’s worked for seventeen years.” It’s Olive’s plight that has led Schmitz to consider the Doll, for all its comedic moments, a tragedy. “The reason that I think of it as a tragedy is that, in true heroic style, [Olive] is the only one who believes in [the arrangement],” says Schmitz. “She is under the strong, visionary idea that marriage is actually what they’re fighting against, and what she wants to


retain is her independence and his independence.” In a society where the idea of the “nuclear family” is almost in flux, it seems that Summer Of The Seventeenth Doll may still have something to teach its audiences.

WHAT: Summer Of The Seventeenth Doll. WHEN & WHERE: Opening Friday 15 June, 7.30pm, until 23 June, Roundhouse Theatre, WAAPA.

LIVE R E V I E W PICASSO TO WARHOL: FOURTEEN MODERN MASTERS FILM FESTIVALOPENING GALA This opening was the perfect precursor for what the AGWA has in store for the incredibly fortunate people of Perth city. Within a few short days AGWA will be unveiling a collection of works that have come straight from the Museum of Modern Art in New York, works that have never ventured to the southern hemisphere and that are exclusive only to Perth. Anticipated artists include Picasso, Duchamp, Warhol, Matisse, Pollock and many more exciting names. Thus, for the opening of the film festival which will run concurrently with the exhibition of modern masters, it is no surprise that Picasso was the chosen theme of the night. In New York fashion, the gallery opened its

doors to friends and fanatics for drinks, tapas and a little socialising before the guests took to their seating in the main concourse of the gallery for a captivating performance by Spanish dancer Nicola de la Rosa and her accompanying guitarist Jose Giraldo. Following this the director of AGWA Dr Stefano Carboni gave an emphatic and very insightful talk on the works of Picasso, before finally the lights were dimmed and patrons enjoyed a screening of Picasso And Braque Go To The Movies, a documentary that explores the influence that motion picture had on the work of artist Picasso and Braque. There will be three more themed film screenings at AGWA to look out for occurring over the coming months. Olivia Gardner WHAT: Picasso to Warhol: Fourteen Modern Masters Film Festival WHEN: Monday 27 August, Monday 24 September and Monday 12 November


Stanislav Ianevski, Harry Potter’s Viktor Krum is in Australia for the SUPANOVA Pop Culture Expo. He chats to Bethany Small about about being discovered and struck with cinematic luck. Given Viktor Krum’s severe delivery of the admonition, “You have business here! This tent is for champions, and friends,” one might be somewhat wary of approaching Stanislav Ianevski, who played the international Quidditch star and Durmstrang school champion in the Triwizard Tournament in Harry Potter And The Goblet Of Fire. But fans hoping to meet him when he appears at the upcoming SUPANOVA Pop Culture Expo can be assured that Ianevski has a less forbidding manner than the character he brought to life on film. Unlike Viktor Krum, who is already internationally famous and has been thoroughly groomed for the role of Triwizard champion, Ianevski came into his part in a classic stroke of cinematic luck. “It was quite wild,” he explains in English that is heavily accented and very precise. “Some people came to my school in England and they noticed me. I was literally dragged to the auditions.” It’s not hard to imagine why casting were so enthusiastic: for the role of a young Bulgarian sports star, they 20 • THE DRUM MEDIA

had just found a young Bulgarian athlete, who looked like the one the book described. And from there it was simple. “I went to an audition, and to another audition, and I met the director and I guess he liked me,” Ianevski chuckles. Thus, a kid who had no big acting ambitions and new to the world of Harry Potter (“I think it is better if you do not ask me too much about that,” is his answer to a question about how familiar he was with the series), Stanislav Ianevski was seemingly unaware of the significance of his character in this major cultural phenomenon. “I didn’t know what I was getting into,” Ianevski laughs when asked about playing a character who already existed in the minds of millions of fans, and throughout the conversation its lovely to hear a voice that familiarly has such a stern tone sounding relaxed. When Ianevski talks about the responsibilities of taking on the role, it’s evident that he didn’t have to go far to channel the character’s intensity of focus. “Mike [Newell,

the director of Harry Potter And The Goblet Of Fire] really trusted me with the role,” he says seriously, “and I really wanted to prove him right and live up to it. He worked with me a lot for each scene, and I listened closely to what he wanted. There was a pressure to get it right, and I was stimulated to do my best.” As well as developing an understanding of the character in order to play the part well, Ianevski found a real affinity with and affection for Viktor Krum that is still evident. “Every day I was this character [for 11 months], so, you know, of course I will become like him in the end. And we had a lot in common, actually. For sure, he had some good moments!” Krum has helped Ianevski onto other good things, too: the high-schooler, who describes being cast as an international sportsman as “a weird feeling, being brought into something you kind of dreamed of becoming,” has turned an unexpected chance at acting into a career in film and TV that’s spanned seven years so far.


WHAT: Meet Stanislav Ianevski at the SUPANOVA Pop Culture Expo WHEN & WHERE: Friday 22 June - Sunday 24 June, Claremont Showgrounds

Ambition is among the most noble and forgiveable of faults, so I’m inclined to cut Ridley Scott’s science-fiction/horror/philosophy hybrid Prometheus a little slack. But ambition isn’t Prometheus’ only fault, which is why I can’t cut it too much slack. This is a big, bold endeavour, vast in its scope and (at first glance, at least) expansive in its thinking. But it’s also unwieldy and kind of incoherent at times, either unwilling or unable to meld together the deep ideas it raises and the sharp shocks of its ancestor, Scott’s 1979 sci-fi thriller Alien. There’s

no denying the connection – to my mind, this is Scott’s attempt to both answer some questions posed by the original Alien and spin the story off in a new direction. And it’s far from a total bust; its imagery is often stunning, as you might expect from a Scott movie. It has some terrific performances, with the gifted Fassbender bringing a beguiling sense of menace and inquisitiveness to his portrayal of David. And it does frequently offer hints of a deep, fascinating mythology that, sadly, goes unexplored here. Guy Davis




Growing up on a dairy farm, comedian Wil Anderson has used his relentless work ethic to become outstanding in his field. As Simon Holland discovers the cream always rises to the top.

WITH MARCIA CZERNIAK As mentioned in the first Cultural Cringe column of 2012, this is the National Year of Reading. While my New Year’s resolution of reading more novels hasn’t been going as well as it possibly could be, this latest run of Perth weather is perfect for sitting inside, curled up on the couch with a blanket and a book. But if that doesn’t tickle your fancy, you could do something a little different courtesy of the Perth Winter Arts Festival’s Movies Based On A Book series. Because hey, if you’re not going to read a book, why not go and see a film based on one?

“The first person I met in show business was me,” he states. “I was always just making it up as I go along. I had no idea how it was meant to work, and I still don’t really understand how it’s meant to work.” His voice lowers to dispense the sage-like quality one gathers after eighteen year in the business. “Here’s the big secret; no one has any idea how it’s meant to work. The more you do showbusiness, the more you realise no one knows anything, and so y’know, you might as well just have a crack. My theory has always been if you find something that you love to do for free, just find a way to get someone to pay you for doing it and you’ll be just about as happy as you can be. I like doing stand-up and I like telling jokes and if I work hard at telling jokes then I’ll be able to keep doing it.”

When Wil Anderson decides to write some new material, no-one is safe. The Anderson way is to inspect the nuances of life and destroy them with a smile in every manner possible. Husbands will hide their smiles from scowling wives, mothers will cover their child’s ears, but one thing is for certain; it will continue to become a global smash hit. “I’ve always been one of those people that thinks that you have to start with an idea,” says Anderson from the warmth and comfort of his London bed. “You start with an idea of something that you want to do and you just build the rest of it from there.” If you set out thinking ‘I wanna have a TV show or I wanna have a radio show,’ then that’s kind of missing the point, having that as a goal. What you should say is ‘I have this idea that I want to express, what is the best form for me to express that in?’ What you’ll find then is that you’ll end up doing a shitload of things because each idea you have has a better way to express it. If you just keep coming up with ideas and keep hanging around for long enough then I guess you build something of an empire,” says Anderson with a laugh. The appeal to Australian audiences stems from his genuine sense of humanity and his core values, stemming from a childhood spent in the traditionalist dairy farm game.

Indeed, Anderson has picked the toughest of callings, one subjected to the battering opinions of the masses. It’s here that the strength of Anderson’s character is revealed. “I think wanting everyone to like you is the biggest mistake you could make.” US comedian Bill Cosby was the one that said ‘I don’t know what the key to success is, but the key to failure is trying to please everybody.’ “Comedy is inherently subjective. One person’s Seinfeld is another


person’s Kevin ‘Bloody’ Wilson. You don’t need everyone to like you. I think that’s the mistake that most mainstream comedy makes. The minute you go out to try to get everyone to like you, no one likes you. Do what you want, make the sort of work that you’re interested in

and hope there will be an audience out there for what you like.” WHO: Wil Anderson WHEN & WHERE: Tuesday 12 June Friday 15 June, 7.30pm, The Octagon Theatre, University of WA.

Held at the State Library of WA, there will be one Australian film shown per month from June to August and best of all, the screenings are free! Kicking off the series is Picnic At Hanging Rock. If you didn’t catch the film when it was screened during the Rooftop Movies season, then here is your chance. Based on the 1967 book by Joan Lindsay, the film tells the story of a group of girls from Appleyard College who go to Hanging Rock for a picnic on Valentine’s Day in 1900. The picnic ends in tragedy, after three of the girls and one of the teachers disappear. Mystery surrounds their disappearance and even when one of the girls returns she has no memory of what has taken place. The book spurred on many discussions and the film, made in 1975, was critically well-received.

From one classic story to another, the next film in the series is The Man From Snowy River. Based on the iconic 1890 poem by Banjo Patterson, it tells the story of Jim Craig and his journey to earn the right to inherit his father’s station. Tales of capturing runaway colts, cattle mustering and men named Clancy Of The Overflow. Along with the amazing scenery and horse chase, this film is a fitting adaptation of a poem that is inbred into Australian history. From stories of the Australian outback to mental asylums, the final film in the series is Cosi. Based on the play by Australian playwright Louis Nowra, It was first performed in 1992. The story tells of Lewis, a young man who takes a job at a mental asylum in Melbourne, directing patients in a production of Mozart’s opera Cosi Fan Tutte. Hilarity and sentimentality ensues as he teaches the grand Italian opera piece to English-speaking mental patients. Plus, the film has a great cast. If the rain has settled or if you just want to experience something a little different, head outside to the Perth Cultural Centre Screen where you can catch the Umbrella Screenings. These Umbrella Screenings offer a selection of animation, short dramas, documentaries, short talks and lectures. Films from the world of international independent underground filmmaking. Just don’t forget your umbrella... ella, ella, ay, ay, ay...


shows only




















An Australian singer who moved to Paris, Nadéah bewitched the French music scene, joined the Nouvelle Vague juggernaut and is now set to tour her home country with an impressive debut solo album, Venus Gets Even. In France she’s known for her TV appearances, her sold-out gigs and as a festival favourite, including this year’s Le Printemps de Bourges. Her songs are steeped in fantastical imagery but also tell autobiographical stories of the Australian who, born to immigrant parents (her mother is Indian, Portuguese, English and Serbian, her father Italian), was never able to stand still. On stage she previously resembled rock tigresses PJ Harvey and Juliette Lewis, but she also just as easily slips into the role of femme fatale. Like any traveller, Nadéah has plenty of stories to tell when she comes home to Australia. Only her stories are her songs – surprising, fiery, moving, unforgettable. Supported by King Wasabi, she plays Fly By Night Saturday 16 June, tickets via


There are few occasions that could lure over one thousand people from their warm homes during a torrential downpour: a natural disaster, a nuclear war or a performance by Matt Corby at the Astor Theatre. The show hit the ground running, with support band Bedouin Sea delivering a solid set of folk-rock enhanced by layered vocal harmonies. Its lack of any stark originality did not hinder its impact on the crowd; it seemed that anything too challenging would have only antagonized the Corby cravings. Meanwhile, main support Alpine were less predictable. The dose of femininity was welcomed, and placed strategically between the two male acts. The highpitched vocals and theatrical Karen O movements captivated the crowd, and though they did lose them eventually, Alpine successfully roused the punters from their paralysis of anticipation. When Matt Corby’s delayed appearance was near, signified by light on the stage, the screams and jeers had progressed to damaging levels. By the time his endearingly disheveled frame stepped into view, eardrums were beyond any remedial repair. Interestingly, however, the moment Corby’s lips parted, the noise was silenced immediately as though it were automated. Each melancholy chord he strummed only seemed to enhance the eerie silence, his voice reverberating through the

still atmosphere. One single spotlight encaged him. There was an interesting contrast between his stage predecessors, to see an artist project power simply with music. His first two songs were angelic, like a gospel choir, as though you were sitting in the dome of a roman cathedral and not the clustered seats of the Astor Theatre. The vocal vibrato Corby achieves is a technique many have attempted, but few have mastered. At times it even sounded as though he was singing underwater.


The “television event of the year” simply proved what we already knew – a pretty face doth not interesting television make. Unfortunately our love of trashy TV prevents us from changing the channel.

XAVIER RUDD: SEP 25 Goldfields Arts Centre, Kalgoorlie; SEP 26 Esperance Civic Centre; SEP 28 Albany Entertainment Centre; SEP 29 Fremantle Arts Centre; SEP 30 Caves House, Yallingup


JOSH PYKE: NOV 8 Artbar, Art Gallery Of WA



Sarah Scaife

Is it just us or did social networking make this week’s storm seem more like the end of days than the slightly above-mild inconvenience that it was?

If you’re anything like the Drum office (i.e. have the maturity level of a 12-year-old), you would have been excited about Tim & Eric’s Aus’ tour in September, for your health. Wait, no WA stop? Ya blew it! Petition time…

OWL EYES: AUG 16 Artbar, Art Gallery Of WA

The performance was theatrical not physically but emotionally. Although the pace barely changed, the show remained captivating. Unlike many artists that fall under the same umbrella of genre, Corby captures his crowd and does not release until the final heartfelt blow.

After 32 years, four inquests, a royal commission, Lindy Chamberlain-Creighton’s stint in prison and a seemingly endless number of telemovies, it seems like it’s finally time to let (long) sleeping dogs lie.


GASOLINE INC: JUN 15 Rocket Room

EVEN, THE FAUVES: AUG 9 Prince Of Wales; AUG 10 Rosemount Hotel; AUG 11 Mojo’s; AUG 12 Indi Bar





SMASHING PUMPKINS: JUL 26 Challenge Stadium

Inevitably, badly executed renditions of his debut single Brother’s “ooh ehhh ooh” resonated through the crowd, summoning Corby to play his hit. Like a gentleman, Corby complied, and not surprisingly Brother made the loudest impact. From that first primal cry, the audience was in raptures. The beauty of his voice is that when eyes are closed and impressions are forgotten, it is ambiguous in both sex and race. There are traces of African soul to the inflexions and hints of androgyny in his pitch.




JULIA STONE: SEP 28 Astor Theatre

MOUNTAIN: JUN 29 The Bakery

PAUL CAPSIS: OCT 11 Artbar, Art Gallery Of WA

TIM FINN: JUL 5 Artbar, Art Gallery Of WA



FLIGHT OF THE CONCHORDS: JUL 18- 20 Challenge Stadium

GIGNITION: Upcoming band showcases 5-9pm fortnightly on Sundays at Swan Basement


CULTURE CLASH & BASS CULTURE: Rotating Thursdays at The Newport Hotel



A ban on all Australian media taking photos/ videos on the Born This Way Tour, who do you think you are Lady Gaga, Prince? Guess we’ll just have to stick to shoddy phone videos of back-up dancer mishaps then…


Apparently if you are within the 18-25 demographic, you’re a lazy roustabout who couldn’t give a shit about politics. If this is an attempt at reverse psychology Ms Mirabella, it’s a massive fail; our main focus is T&E petitions. LANIE LANE PIC BY CC HUA






Experienced a 2012 WAMi Festival Event? If so, let us know your thoughts before midnight Friday 29 June... There’s an iPad 16GB Wifi Black 3rd generation, valued at AU$539, for one lucky respondent to win! Whether in metropolitan Perth, regional WA, or perhaps streamed online anywhere in the world, feedback is very important for planning future events, and takes around five minutes to give. For your chance to pick up the brand new apple iPad, head to

SPRAWL WITH EDRIC MATVIEV (GUITAR/BASS/KEYS/VOCALS) Give a brief rundown of the history of your act from day one to now: Sprawl is the live incarnation of a recording-based, ad-hoc adolescent project of Ben’s (Guitar/Keys/Trumpet/ Vocals) and mine. It was a folk/electronic mess called Toby & The Family Values, with songs that we wrote in careless abandon for any on-stage translation. It wasn’t until the auspicious additions of Dan (drums) and Caz (guitar/bass) that we had to actually learn our instruments. As a four-piece, our songs snowballed into greater aggression, while still being seeped in the possibilities of the digital ether. Oooh. Tell us about your release: Lolligag is a scrapbook of voices, samples, keys, guitars, actual banged drums and a trumpet, all smeared across five tracks. How did you go about recording it? We sweated it out in an improvised home studio across the summer. Tell us about your launch party: Our EP party will be held this Sunday at the Velvet Lounge, with support from Ermine Coat, The Gizzards, Ourobonic Plague and Race To Your Face. We’ll be bringing out our projection show, as part of a visual marathon that will run all evening. Free entry is offered to all who drop by early (before 6pm) to graffiti the onstage screen. Drawing utensils provided! What’s next for your act? More shows! And a return to songwriting. This release was a parabolic learning curve – expect something new before the year is out.




All good things must come to an end and Thursday 14 June will mark the final ever Oh Snap!. Going out in style, Oh Snap! has obtained the musically skills of Thick As Blood (US), NSW’s Renegades and locals Cabin Fever and Hook4Hands. A solid lineup will help punters dance the night away one last time, while cheap drinks fuel the party. $15 at the door, or $12 if you know the right people.

SPOON SLAPPIN’ SUNDAY Stoney Joe rock a Sunday Special at The Newport Hotel Sunday 17 June, supported by Nevada Pilots and The Suntones, free from 6pm.

HOMECOMING Australian singer Nadéah moved to Paris, bewitched the French music scene, joined the Nouvelle Vague juggernaut and is now set to tour her home country with an impressive debut solo album. She plays Fly By Night Saturday 16 June as part of her Venus Gets Even album tour, supported by King Wasabi. Tickets $35 via or $40 door.

WHEN & WHERE: Sunday 17 June, Velvet Lounge

KISS THIS They look like KISS, they sound like KISS, and recently were crowned second Best Kiss Tribute Act in Vegas – KISSTERIA are direct from Sydney, and have been blasting audiences with their shows since 1996. They play the Roebuck Bay Hotel, Broome, Friday 15 June and the Charles Hotel Saturday 16.

ELECTRIC ENERGY FDBK at Seizan Karaoke Bar on Hay Street features the electronica sounds of Usurper Of Modern Medicine, Kučka and Salamander, Thursday 14 June. $10 from 8pm.

DUBLIN THE CHANCES Fremantle band The Dublin Jazz Aunts will perform at The Norfolk Basement as part of their monthly residency, Thursday 14 June. Doors open at 8pm with a $10 door charge. The Aunts will be supported by The Prevues, Jade Stevens (BURNhabit) and DJ Cookie (Loungerama). 24 • THE DRUM MEDIA


Dallas Frasca embarks on a huge tour to celebrate the release of Sound Painter, playing Settlers Tavern Friday 15 June with Rick Steward; White Star Hotel Saturday 16; Clancy’s Dunsborough Sunday 17 with RS; Indi Bar Friday 22 with RS; Prince Of Wales Saturday 23; and Mojo’s Sunday 24 with RS. Tickets $12 via Oztix.


I’m gonna have to look at my iTunes for a second. Okay, I really love Catch A Fire, the album by Bob Marley, which might be kinda weird but I looooove the way it’s recorded. It sounds beautiful, it’s some of the best bass and drum sounds you’d ever hear and the songs are just amazing. It’s a killer record.


Saturday 16 June Eli Wolfe will step into Fat Shans to show punters a thing or two about folksy country blues. Accompanied by locals Sean O’Neill and James Teague, it promises to be a wonderful night. \ $10 from 8pm.

Rhythmic beats and afro-roots take over Kulcha Saturday 16 June with African Stylez, including Kwassa Kwassa, Roots Reggae, Soka Beat, Jit, Chimurenga (Mbira Music), Sungura and Soukous from Shangara Jive.

song called Revolution Blues, which is about Charles Manson: not really stuff you wanna think about when you’re coming down. And I love the whole story, like, as a comedown album it’s cool ‘cause they made the whole album while on these horrible drugs and, I dunno, it just has this really beautiful sort of heaviness to it that I love.

WHAT: Lolligag (Independent)




WHO: Sprawl

After selling out his initial EP Launch at Ya-Ya’s, alternative folk singer Jacob Diamond is doing it all again at Mojos Friday 15 June. Jumping on the bill is The Autumn Isles, The Flower Drums and Amanda Merdzan. $10 entry, $15 with a CD.

Already renowned as a raconteur between songs, Tim Freedman will link tunes together with some extended yarns at The Ellington Thursday 14-Saturday 16 June. His songs of charming well-crafted cynicism can sound as if Randy Newman had joined Crowded House. The Whitlams’ frontman will perform two shows each night – one at 6pm and another at 9pm.

THE FIRST ALBUM I BOUGHT WITH MY OWN MONEY I think, to my parent’s disgust, it was In Utero by Nirvana. My parents liked Nirvana, but before they knew Nirvana they were just kind of concerned that I was buying an album called In Utero, you know? And I got the guitar book for it as well: I could play any song from that album. I think I’ve lost it [now], but back then I was the In Utero king.


THE ALBUM I’M LOVING RIGHT NOW I’m really into... I don’t know if you know Richard Hawley? He’s kind of getting around a little bit right now, but he’s an older guy. He’s played in Pulp – a bunch of Britpop bands – and he’s just put out this album called Standing At The Sky’s Edge and it sounds incredible.

MY FAVOURITE PARTY ALBUM I’ve been looking through my computer and I’ve just discovered that I’m not the biggest party music kinda guy. I was thinking the closest thing – my idea of a party that might not be everyone else’s idea of a party would be, like, The Jimi Hendrix Experience or something like that, which I love. I could totally rev up for that. Or I was even thinking, and I haven’t listened to it for a while, but James Brown’s Funky People (Part Two). I used to listen to that record heaps and it’s basically James Brown producing a bunch of other people.

MY FAVOURITE COMEDOWN ALBUM I’ve got heaps of those! Probably On The Beach by Neil Young I especially love this

I think I was about 14 and it was – you know how they used to have those all-ages afternoons on the weekends at the Metro in Sydney? And I went to Regurgitator supported by The Avalanches. I saw [The Avalanches] a couple of times. I saw them later on after they released the album and it was a festival somewhere, and that was cool, but this was three guys playing guitars with heaps of pedals everywhere and a few loops going on. But it was basically, like, a really weird rock thing. I remember going, ‘Wow, this is cool! I wonder what this is?’ And then everyone found out a little bit later.


We went to Spain last year and we did this really weird gig on TV in Madrid. I dunno, TV performances are weird as it is, ‘cause it’s not like a gig: it’s a pretty sterile environment to play in. And they’d hired this audience of Romanian people who had no idea who we were and were just there because they’d get a free buffet lunch. So our dressing room was like basically – you know in old recording studios how they were obviously putting reverb on records? It’s something that’s often done digitally now, but back in the ‘60s and stuff they used to have these things called reverb chambers, which were like big rooms that you could basically put a speaker into and then record the sound of the room and that’d be reverb. So they get this little tiny room that sounds like the biggest room you’ve ever been in somehow – it’s really cool! It’s how they shape the walls and stuff like that and it just makes this amazing reflection. So this

WAM’s pilot initiative to develop a new regional contemporary music touring circuit in the Wheatbelt region is back this month with Cal Peck & The Tramps and Rachel Gorman. Third weekend February to July has WA’s brightest acts sharing the stage with the Wheatbelt’s recent harvest of original musicians. The tour bus stops Friday 15 June at The Commercial Hotel in Merredin, Saturday 16th at Grass Valley Tavern, and Sunday 17th at Ye Olde Quindanning Inne for a Sunday afternoon session. Shows offer FREE entry as part of WAM’s audience development strategy, and promote RAC road safety messages - such as Driving Tired Can Kill. Head to for more. 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. or call (08) 9227 7962 to join today!

tiny room that was our dressing room was actually a ridiculous reverb chamber, it was amazing.


Probably film; we’re all really big sci-fi movie buffs. Actually Nic McKenzie [vocals] in particular is very into lots of ‘60s sci-fi stuff: a lot of his ideas are based around all that. I really, really love the original Alien, the Ridley Scott Alien. I find that thing blows my mind. There’s a movie that’s a really big deal for Nic that I’ve only checked out really recently called Fahrenheit 451, which is a ‘60s sci-fi movie that’s – you gotta check it out, but it’s like a really dystopian idea of the future, which is really cool.


I met Mick Fleetwood! He’s so cool. I was just helping out playing bass for a friend’s band and he scored the support for Mick Fleetwood’s blues band that he was touring with, and he came backstage and met us and was the sweetest dude on earth. And he was like the size of a phonebooth, you have no idea – he’s just huge! He must be over seven foot tall and he’s just massive, but so nice – he’s just really cool and hung out with us all. He just walked in. Everyone was a little bit terrified: it’s hard to converse freely with a seven-foot-tall god.


Definitely the Jurassic period. I’d just be hanging out, ‘cause to see dinosaurs in their natural habitat – I saw the robotic T-Rex at the Museum Of Natural History in London, that was cool. The T-Rex, like, it sees if a little kid’s just walked into the room, it’s got a sensor and it just turns and roars at these kids. It’s so funny. They just shit themselves!


Oh, I’d be a palaeontologist of course. Honestly, when I was a little kid I really wanted to be a palaeontologist. I was really into dinosaurs and I used to always tell my mum that I was gonna have a helicopter and, you know, go looking for dinosaur bones and I reckon that’d still be sweet. So that’s my back-up plan. WHO: Deep Sea Arcade WHAT: Outlands (Liberation) WHEN & WHERE: Friday 15 June, Indi Bar; Saturday 16, Amplifier; Sunday 17, Mojo’s


lovers. “There’s this really beautiful scene in it where they run away on Halloween, and they first get together. It’s a really heavy film, and it really clicked with me. So, after I watched that, I wrote this really heavy song with just Dann [Hume] on drums and me on a really overdriven electric [guitar]; so it’s really heavy both sonically and emotionally.

Three years after releasing her debut LP, Wonder, to a chorus of praise, Lisa Mitchell has returned in full force. She talks to Anthony Carew.

“When a song like that comes into the mix, it made me re-look at what the whole vibe I was going for was,” Mitchell countinues. “I like that there’s really dark and annoyed areas to it, because there’s real dark, annoyed moments of my life. And, contrasting with that, there’s these real moments of joy. I feel like it’s a good, honest account of my life.”


isa Mitchell’s new single, Spiritus, has just been released digitally and is due out as an EP on Friday. It sets the table for her second-full length – due September, and effectively finished. So how does she feel with the album done? There’s a long pause. “I don’t really know what to say,” Mitchell answers, eventually. “But I’m just smiling as I’m not saying anything. So I guess I’m feeling really excited. It’s like I’ve got this secret that I want to tell everyone. I’ve got this really expectant feeling, like I’m pregnant or something. I can’t wait to tell the world all about it.” The 22 year-old is not saying anything whilst travelling in a car, en route from Sydney to

Goulburn, where she’s shooting a giant-dress-anddancer-filled video for Spiritus in an open field. Mitchell describes her new single as “a real moment of extroverted joy and expression… full of energy and light and hope and joy,” and the video’s “loose choreography” is meant to convey a sense of freedom.

Another source-of-inspiration came from minimalist French composer Erik Satie, to whom Mitchell tips her hat with Erik, a tune found on the Spiritus EP. The piano playing on the album itself, though, is not nearly so delicate and minimal. “There’s a lot more songs on the record with more of a driving, fuller band sound. And a lot where I’m playing on the piano. I find when I’m writing on piano it feels a lot more cathartic. The physical action of hammering a piano is, for me, much more forceful, more passionate.”

Mitchell is full of semi-mystical sentiments when talking about Spiritus, but the as-yet-untitled LP doesn’t carry the same kind of happy platitudes. “Right near the end, I wrote a lot of heavier songs, and that totally changed the dynamic of [the album].”

Mitchell recorded the album at The Stables, a studio built by the Hume brothers of Evermore on a property in Gisborne South, an hour outside of Melbourne. “I have a feeling it could turn into one of these iconic Australian studios,” she suggests. “It’s built into the shell of an old stable; they’ve built it themselves within that structure. And their dad was an interior designer, so he has an amazing sense of how to use the space, so it just looks so beautiful. It’s an amazing space to be in.”

One of those songs is Halloween, for which Mitchell took inspiration from a viewing of Gus Van Sant’s youth drama, Restless, which starred Mia Wasikowska and Henry Hopper as star-crossed

Having grown up in Albury, Mitchell easily took to the almost rural surrounds. “Because I’m from the country, being out there made me feel really at home, really safe, really at one with the cosmos,”

she laughs. “We’d just get out of the studio, go for a walk, get inspired that way.” The ‘we’ in this equation largely boils down to Mitchell and Dann Hume, who served as producer and multi-instrumentalist on the record (“I think he’s almost overqualified for Evermore; for just being the drummer in a band”). The pair first collaborated on her debut album, Wonder, that found Mitchell finally shaking off her teenaged Australian Idol baggage and finding critical acclaim, credibility, and platinum-selling local success. Befitting that narrative, it seemed more telling that Mitchell won the Australian Music Prize in 2010, than it did that she scored three ARIA nominations. All that commercial and critical success meant that, when time came to follow up Wonder, Mitchell “definitely” felt the weight of expectations. “I definitely went through this period, at the start, when I was just writing, of feeling so pressured, and really quite trapped. I felt unspontaneous – if that’s even a word.” Eventually though, Mitchell came to a liberating conclusion. “I realised this was just one of several – or ten or twenty or fifty or a hundred – albums I was going to make, or projects I was going to embark on, and that I shouldn’t get so hung up on it. That felt like this real revelation to me, and even now I keep thinking that way whenever I’m doing something; it’s a real freeing perspective to have.” WHO: Lisa Mitchell WHAT: Spiritus (Warner) WHEN & WHERE: Friday 15 June, St Joseph’s Chruch, Subiaco





BEE GOOD Matt O’Neill discovers that Room40 signee and experimental artist Bee Mask thinks about music as busily as a, er, bee. have made a few close friends in the world of old synth-heads, and the bulk of what I know now has come from my success in prying bits of information loose from them. That and reading “Electronotes”. As for the “why”, I was motivated in the first place by a belief that artists have a responsibility to continually develop their understanding of their tools and materials. The bottom line is the production of the work itself, rather than DIY for its own sake. I try to make sure that when I use any tool, I do so because it’s the right one for the job.


Kosmic are hosting a free re-string and re-skin day today, Thursday 14 June at their Osborne Park store in support of children’s charity Strike-A-Chord. Bring your guitars and drums down (no bass sorry) for some free re-stringing. The re-string and re-skin offer is limited to one guitar or snare drum per customer. You must register though – phone 9204 7577 or email Gold coin donations to Strike-A-Chord will be welcome on the day.

BEATLES BOYS Celebrate 50 years of The Beatles Saturday 16 June at The Astor Theatre with Australian music legend Marty Rhone and the Beatle Boys for the music and the magic that defined a generation. Tickets from $79.90 via BOCs.

ARMAGUYDON For the first time in two years Guy Sebastian will be headlining his own tour across the country to coincide with new album Armageddon. Tuesday 19 June he plays His Majesty’s Theatre and Wednesday 20 the Mandurah Performing Arts Centre. Tickets via BOCs/

SURE-FIRE PARTY Celebrating the birthdays of their sisters of rhythm, Kylie & Abby Soanes, The Sure-Fire Midnights will take over Mojo’s Saturday 16 June. It will be one hell of a birthday bash with the help of friends The Caballeros, The Dirty South and Hurricane Fighter Plane. $10 entry.

BUNVEGAS Perth hills quartet Deep River Collective are heading to Bunbury Saturday 16 June to take over the Prince of Wales Hotel with their brand of psychedelic blues rock. Get down early to catch Stunning In Red open the show.

THREE FOR FREE Come Down to Ya Ya’s Friday 15 June to be treated to the talented sonic sounds of Sarah Pellicano of Pins & Ladles, Bears & Dolls and Tracksuit. Drinks kick off at 5pm, with music starting at 8pm. Free entry all night.

SPOOKY SOUNDS Just when you thought it was safe to go back to choir practice, along come The Spooky Men Of The West - an all-male 17-piece a cappella group. The western chapter of The Spooky Men’s Chorale, they are brainchild of Stephen Taberner. They play Kulcha Friday 15 June.


Tuesday 19 June at the Perth Blues Club in the Charles Hotel, Toby will bring her well-refined blues to the stage. Touring the world and playing music her whole life Toby knows the stage better than most. With support on the night from Ivan Zar and Lovebites, the Perth Blues Club is set to come alive. $15 entry, $10 for members.

GAME PLAN Based on the assumption that the average punter in Fremantle wouldn’t want to have a shit Saturday night, The Shallows are teaming up with The Lammas Tide and Rae Saturday 16 June at Clancy’s Fish Pub for an evening of non-stop party fun.

FINE DINE Alanna Eileen will bring her gentle performance to the Song Lounge at The Ellington Jazz Club Monday 18 June. $15 general admission. Doors 7pm.

LOVE SICK After a smashing performance as part of the Saturday Spectacular, The Mustang Bar welcomes back the alternative grunge-blues sound of The Love Junkies Thursday 14 June.

FIRE FIGHT Perth rockers The Spitfires take over the Hyde Park Hotel’s weekly student night Thursty, Thursday 14 June. Cheap drinks all night. Free entry.

HAPPY HOTEL After a cracking set at State Of The Art, The Ghost Hotel hit Amplifier Bar Friday 15 June in support of The Siren Tower who’ll be launching their debut album. Husband, Boom! Bap! Pow! (acoustic) and The Loved Dead are also on the bill. Tickets via


Firstly; how’s life in the world of Bee Mask? How are you feeling about the upcoming Australia dates? In one word: busy! Taking care of all my last minute pre-tour stuff, working on bookings for the Fall, and continuing to chip away at a record that I’ve been obsessively reworking behind the scenes for about two years now, which I hope to have finished by the end of the summer. I’m thrilled to be heading to Australia and very grateful to have the opportunity. Feeling good about the shows as well, provided that I can hold up under the forthcoming jet lag! How did you initially get into building your own devices? My grandfather was sort of a classic tinkerer who used to get me mixed up in his projects. As a teenager, I had a friend and bandmate who essentially got himself struck by lightning indoors while trying to build a Tesla coil and went on to make a drum machine that immediately burst into flames. Much later on, I took a few classes at the School of the Art Institute of Chicago, looking at the technical foundations of the David Tudor/ Sonic Arts Union approach, which is what got me making things that actually made sense in my own work. Since then it’s been my good fortune to


To celebrate the birthday of a close friend, Enforce (featuring Jarrod Curley of Malignant Monster for the night), a band whose live energy can’t be summed up in words, will bring the party to the Civic Hotel backroom Friday 15 June. Heavy rockers Reapers Riddle will get the party in motion before Blunt Force Trauma and Cold Fate ensure the good times don’t slow down for a second.

What can audiences expect of your live show, at this point? The exact specifications change with mood and circumstance. For now I work live with a sequencer/sampler, a synthesizer, and some effects. I may or may not travel with anything handmade depending on what I end up feeling that I need to do. Lately the performances have been a way for me to develop and test ideas about works in progress, so audiences can expect to hear some ideas about where the project may be heading rather than a reflection of where it’s already been. WHEN & WHERE: Saturday 16 June, Pica Bar


Round two of Fat Shan’s Open Mic night signals the first edition was a success. Tuesday 19 June at The Bird catch solo performances from Joe Graham, Hart, Michael Savage, Jack & Queen, Mat Cammarano and Lee Schneider. Guest MC Tim Nelson will host the night and play a few of his own tunes throughout the evening. Email openmic@fatshanrecords. com to register for the next edition. Free entry.

Recently releasing a video for their extremely catchy single Beat Up Radio, Tracksuit is gearing up for a mini WA tour before heading over east in August. You can catch them at Ya Ya’s Friday 15 June with support from Bears & Dolls and Sarah Pellicano as well as Sunday 16 at Mojos when they support Dallas Fresco.

TEAMWORK This month, Cal Peck & The Tramps are teaming up with Rachel Gorman of Rachel & Henry Climb A Hill as part of WAM’s Wheatbelt Touring Music Circuit. You can catch them Friday 15 June at The Commercial Hotel, Merredin with Gaughe Harder, Saturday 16 at the Grass Valley Tavern with Field Trip and Sunday 17 at Ye Olde Quindanning Inne with Jase Norton.

EASY ESCAPE Throwing a party for those wanting to escape the horrors of exam study, Place Of Indigo have enlisted the talent of The Shallows, Sparks Vertigo and Adam Burford for one hell of a party at Mojo’s, Thursday 14 June. Turning away from the sounds of the sun bleached west coast, $5 entry.


Beat On The Punk is coming at you Friday 15 June at the Beat Nightclub (formerly Bar Open). Headlining this event will be Chilling Winston who have recently released there new EP Pessimistic. They’re supported by old skool video game favourite Alex The Kid, with comedy punkers Blindspot and ska cover band Ants At A Picnic rounding out the bill. $10 from 8pm.

music 26 • THE DRUM MEDIA

You seem to have a very academic or intellectual perspective on music making. Have you always viewed music in such terms? Yes, I think my engagement with sound has always been basically intellectual and generally about decoding things. If I had to chalk that up to something, it might be that I come from a family of classically-trained musicians who listened to virtually nothing else around the house, so my initial habituation was to the sort of music in which the real action lies in puzzling out how all the moving parts fit together, so to speak. I suppose it wouldn’t be a stretch to say that I’ve tended to look at most music through that lens ever since.


To coincide with the release of the second single Shock, former Perth-now-Melbourne-based rockers Gasoline Inc are tackling a national tour, which sees them return to their old haunt Friday 15 June, playing the Rocket Room. Shock is taken from the band’s new five-track EP The Wanted One, and again demonstrates the band’s ability to write straight-up, driving, feel-good rock songs. Presented by SPA.




Welcome To The Academy was a fitting name for The Academy’s first night in action, as they indeed made punters feel welcome. As doors opened and the crowd began tinkering in, just like the rain outside, it was looking like the cold and wet conditions would deter a few. Shortly into Amend’s set, the place began to pack out and extinguished any fears of a dminished attendance. Amplifier’s outdoor bar area was transformed into an almost unrecognisable room where DJs cranked music just as loud as the bands playing in the other room, and provided an area that not only gave party goers somewhere to cut loose between bands, but delivered visual awesomeness in the form of a projector playing one of the greatest films known to man – BASEketball. Mandalay Victory was next on the bill and watching these local lads in action, it’s hard to believe they weren’t an international act just passing through our small town. The talent excreted by each band member left punters’ eyes darting from side to side the whole set. Once Thy Art Is Murder hit the stage the vibe and capacity made it feel although it was a Friday or Saturday night. Treating fans to a set of old favourites, which saw audience members grabbing the mic as often as possible, and a sneak peak of tunes off their upcoming album, they promised to bring their seven-stringed guitars and fivestringed bass back towards the end of the year. One could question the merit of another midweek alternative club, with Oh Snap!’s finale the following week, and although the new fortnightly event has a lot of the same elements as Oh Snap! it somehow gives it a fresh and exciting new perspective. The real question now: can The Academy sustain such a powerful evening on a fortnightly basis? Only time, many drinks and some more great bands will tell. Daniel Cribb


The Bird was already close to capacity when Ash Hendriks of Wolves At The Door played under her solo moniker Leure. Hendriks performed with a series of drum loops and samples that

THY ART IS MURDER PIC BY ELENA MARCON combined with her husky, stripped back voice to produce a wonderfully ambient set. Adhering to the old adage ‘a family that plays together, stays together’, relative newcomers Pallas Athena lightened the mood with their summery harmonies. Highlights included Shaker, complete with a fun cowbell solo by percussionist Mike Ford. Slower songs like Cold Comfort Stage were impressive, reminiscent of a sonically busier She & Him. By the time Anton Franc hit the stage, the bar was well and truly packed. Made up of med school pals Josh Bowyer and Jamie Kuzich, the set opened with a screening of the music video for the band’s first single Letting Go. Directed by Bowyer, the clip is set in the unique surrounds of the Kimberley, where the duo first decided to combine their talents and write songs together. The audience responded enthusiastically to each song in the set with thoughtful explanations of the song meanings provided by Bowyer throughout. The night was extra special as the duo was complemented by a full band. Vocals were pitch-perfect, resonating throughout the venue, offsetting instruments like the ukulele and saxophone to great effect. Even without the song explanations, it would be easy to recognise that some of the music was inspired by the Kimberley. Lady Of The Night felt so Australian, this duo could be the forerunners for resurrecting the Australian folk scene. Reacting to the energetic vibes coming off the audience, Kuzich announced the next song Oh Darling would be a “fun, dancey one”. The crowd agreed, letting loose and even singing along. The set ended in the same way it started – with the full band playing new single Letting Go. The crowd erupted into cheers and welcomed an encore which the band was more than happy to oblige to. Looks like Anton Franc have a lot to thank the Kimberley for. Melissa Coci


To quote a certain and suddenly popular television series, “Winter is coming”. And while rough weather might be on the cards lately, last Saturday thankfully parted the clouds for yet another quality Life Is Noise gig at the Rosie, this time hosting an eclectic mix of experimental sounds. First up, and with a typical lack of fanfare, Craig McElhinney stepped on stage, opened up his case

and started doing what he does best. With just a little flitting around with knobs and pedals, McElhiney builds abrasive yet engaging soundscapes from scratch. Halfway through his set, he pulled out his twelvestring acoustic to filter the sounds through organic, Middle-Easternesque riffs, which he eventually turned around into a countrified dirge over static noise.

out addictive new single Relationship Denial early before his voice gave way, frontman Will Slade and company have hit some magnificent form, and were incredible tonight. With the dark grime of Vodka Ginger, the irrepressible Dancing and breakthrough My Love, the band are developing quite a playlist to a party they do better than many.

The Silent World next completely changed up the mood, but kept that experimental tune going. With a heady triple-guitar barrage, they plowed through a set of songs that rode in and out of various melodies and rhythms. With a few new songs thrown into the mix, the band showed that they have much more going for them in their future.

Luke Butcher

Now a go-to band to quell the ever-existent “Perth is boring” argument, Usurper Of Modern Medicine provided their typically explosive best, with tracks sliding in and out of psychedelic platforms, while somehow tying funk, metal and tribal rhythm together in a big clump of offbeat catchiness. Usurps have never disappointed, at least for as long as this scribe can remember. Their set was so good, the fire alarms went off! (An over-excited smoke machine may have helped with that.) The headliners for the night, Laura are a Melbourne six-piece that have never made it to WA. Whilst they were to explain why this was the case, their set more than compensated for any perceived slights. Battling around a loud-soft dynamic that is the bread and butter of any quality post-rock band, Laura steeped the night into a deep and dark vortex of tight rhythm, soaring front-end melodies and crushing riffs. Whilst the cello accompaniment sometimes was lost in the cavalcade, it’s always interesting to see such classical instruments incorporated into the mix, and it really showed off Laura’s care in songwriting and melodic balance. All in all, they let their tight instrumentation drive the set, but weren’t afraid to rock out. Let’s hope it doesn’t take another ten years for them to re-visit our shores. Cam Findlay


A host of disco boogie enthusiasts migrated to the Norfolk Basement for the launch of Bastian’s Happy Flight’s latest single Relationship Denial. Leon Osborne was given the duties to warm the crowd up with some disorienting tunes that steered from bassheavy bangers to mashed up mixes, culminating in his remix of the night’s launched track. A very good set from a relatively unknown young jockey, even more impressive was the fact that majority of his tracks were originals. Big things expected from this one. Greyjoy were the first act to take to the homely decorated Norfolk stage. Not quite complimenting the headliners, their wintery synth-pop appeared a bit of a strange choice. Failing to offer anything that hasn’t been heard many times before, the underdeveloped sound of the band did nothing to deter the applause of a darn full room giving a tick of approval to their j-friendly indie-pop. Announcing themselves with an instrumental opener, a few tracks in it was as if primary support Place Of Indigo had proclaimed to their predecessors, “We’ll see your melancholy post punk, and raise you an Ian Curtis”. Showing where the previous band could be with some miles in their legs, the act delivered some bloody good moments amongst a few blander ones. As the indubitably full room increased to a caressing sway, Bastian’s Happy Flight took to the stage inciting dancing that ensured that any row with relative proximity to the stage would become a dangerous place. With a truly sincere sound like no other, the band create a soundtrack to a porno where a tongue-in-cheek (literally if you choose) Mick Hucknall bends over Phillip Bailey, the love child of the two a sweet product of brooding disco-pop. Pulling


SWAN BASEMENT : 10/06/12 On a night when ducking for cover from one of the worst storms in history would be the smart thing to do, those brave enough to shun the bad weather were in for a treat deep down in the depths of the Swan Hotel Basement. Starting the night off, solo guitarist and singer/songwriter Matt Cammarano’s first song Whispers showed off the delicate and expressive voice that would be prevalent throughout his set. Looking at ease on the stage, Cammarano mixed in a few covers along with his own storytelling songs, and was well-received by the small audience. Next band Lillium Stargazer looked the part and started their set with a mellow 1990’s garage rock-influenced sound. First song Ladybird was their best, as it displayed all the elements this hopeful act have to offer. The lead guitarist had the audience fascinated with his skilled use of effects and inclination to drop to the floor and thrash the guitar strings with a screwdriver. The two bassists and drummer added massively deep and driving rhythms, which sometimes overwhelmed the sweet wispy voice of vocalist Lillium. The band’s tendency for loquaciousness between songs was distracting, yet being their debut show this was mostly likely an indication of nerves. Possibly influenced by the controversial novel by Jerzy Kosinski of the same name, The Painted Bird, who are a (dark) folk-rock band, took over the stage with remarkable flair. The mesmerising Celtic-like tones from lead singer Jessica Moyle were truly incredible, her profound lyrics and acoustic guitar being delivered with poise and style. The five-piece band included: organ, piano (and violin), bass and the solid skills of drummer Ben Stacy (from experimental band Tangled Thoughts Of Leaving). The epic songs they performed were full of mystery and emotion that took you away on a journey of audio bliss. This is a band well worth paying some attention to. Last up and sadly to a now diminished audience, with a skull and crossbones backdrop and wearing pirate attire, the hard-rock act Wicked Wench gave it everything they had and performed a stunning set which filled the Swan’s lower decks with stern power chords and Slash-styled guitar solos. Amid her sexy charm, voluptuous vixen lead singer and bassist Sophia Marie sang full-tilt to the heavy on-beat rock sounds, with loud and sustained vocal prowess. She connected with the audience and ensured by using her emotionally driven lyrics and vibrato filled high notes that everyone was along for the voyage. This band are worthy of a bigger stage, but even in the small basement their musical wow factor hits you hard and fast. Michael Caves



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The crowd was sparse at the Bakery as early birds took full advantage of the empty space to casually wander around as local DJ Ndorse (of Brow Horn Orchestra fame) took to the decks to pump out some quality beats. With the crowd still small, electro-pop outfit Crooked Colours, undeterred, launched straight into their set. Of the crowd that were there, many seemed to enjoy the band’s synth-laden numbers and partyappropriate beats, including their j-friendly track Anywhere, as well as a cover of Muscles’ breakout hit, Ice Cream. Already a well established artist in Perth’s gig scene, DJ Charlie



Bucket promptly set up on the decks, ensuring that punters didn’t have to go tune free. As always, Bucket demonstrated that he can mix, scratch and pump out jams effortlessly, keeping those spirits and hands held high. Those who have witnessed the first-hand wonderment of local Sam Perry elsewhere would have already preempted that they were in for a treat. Using only effects and loop pedals, his amazing vocal range, and some visuals, Perry provided once again a captivating and strong set, appearing to leave the audience in awe. By this time in the night, the crowd at The Bakery had reached almost maximum capacity and had transformed the venue into a sea of people all eager to find a good spot inside before the headlining act begun. In the meantime Charlie Bucket returned to the decks to deliver some tunes again, only this time there was a large crowd readily lapping it up.

With no time to muck around, Sampology busily set up for his Apocalypse-themed set. Mixing a vibrant assortment of clips from many iconic films (many of them starring Bruce Willis), the music videos and various contemporary and retro tracks undoubtedly took a lot of skill and co-ordination to master, but amazingly, he made it look all too easy. Delivering a superbly seamless performance with a witty sense of humour to boot is definitely worthy of praise, which is exactly what he got, with the audience digging every moment of a set that traversed genres fluidly – electro, disco, hip hop, dubstep… the journey had it all. With spirits high, the party vibe had well and truly set in, as Ndorse returned yet again to ensure that people had some serious fun until the very end.


Naomi Dollery

Emily Mullen chats to DJ Nino Brown, launching his new compilation at Eve this weekend.


Congratulations on your latest Blazin’ compilation. Can you give us some insight into what exactly the process is for you when putting a mix like this together? Thanks! I try to get the hottest tracks and classics, so when choosing new tracks, I have to think which ones I feel will be hot from Feb-July when then album sells the most, while choosing them in November, then I submit songs to Universal.


You’re very onto the social networking side of things, how important is it now for artists such as yourself to be over those mediums? It’s very important, but more important than that is that they’re A LOT of fun. I’m an Instagram junkie, and I’ve got apps on apps on apps! I’m a little obsessed with it. I even have iPhone camera lenses. Facebook is king and Twitter and Instagram I kind of link now. It’s dope to be able to chat and mess around.

CHASM THIS IS HOW WE NEVER DIE History in brief? Produced two Chasm albums – Beyond The Beat Tape (triple j feature album) and This Is How We Never Die. Produced two albums as part of Astronomy Class – Exit Strategy (triple j feature album) and Pursuit of Happiness (ARIA nomination, Best Urban Release). Produced Dialectrix’s debut album Cycles Of Survival. Produced Skryptcha’s debut EP Left To Write. Describe your sound: A mash-up of reggae, soul and funk samples layered with synth lines and bass; hip hop. Tell us about the album: This Is How We Never Die is a 14-track producer album with a plethora 28 • THE DRUM MEDIA

of guest rappers from Australia, UK and the US on each track, including Brad Strut, Solo (Horrorshow), Hau (Koolism), Delta, Lazy Grey, AG, Guilty Simpson, Blak Twang, Fashawn and many more. Recording process: It was a mega task trying to organise so many guest MCs; it took a lot of co-ordinating to make it happen. Also, because of the various locations across Australia and overseas that people were recording, trying to make some of the recordings sit together on the same track and sound cohesive was difficult. Danielsan from Koolism really had his work cut out for him, he mixed the album and had to really work to make some of the verses sound like they fit right.

Collaborations? Like I said above there’s a large showcase of Australian and international rappers. There’s cuts on two tracks from 2buck and co-production on Soldier & A Thinker by Sir Robbo, who I produced all the Astronomy Class stuff with. The rest of the production I handled myself.

Fifteen years is a long time in this business, and there is no sign of you slowing down. How do you kept things fresh? I really

love what I do, people don’t seem to get that I LOVE to DJ, I LOVE to make radio mixes, do albums, I love this stuff, so I always enjoy being fresh and trying to stay ahead of the pack.

I used to. I’ve slowed down in recent years. I have a lot of Star Wars and Transformers collectables. I own some life size Star Wars Boba Fett helmets which are dope.

How hard do you think it is for up-and-comers to get noticed? For new artists to be noticed they have to be AMAZING and really make a mark, which is a good thing.

Recent years have seen the urban and dance music merge more than ever, if we could ask you to look into your crystal ball for a moment, what’s the future of urban music? I think it’s going back to the urban stuff again, such as the new N.O.R.E feat Busta & Waka Flocka Flame record Legggooo . But the dance stuff works, people forget that hip hop started by rapping over the looped beat of pop songs, so hip hop over dance makes sense right now.

What is it about the urban scene that you really vibe on? I really vibe on urban music, from the underground to the mainstream. That’s my lifestyle. You’re involved with numerous high-profile brands – might we see your own branding taking a stronger focus in years to come? Maybe. That’s in the plans, but right now I rock Joker Brand, Soul Assassins, Mighty Healthy, Diamond and other gear, and Nikes. How do titles such as the ‘Master of the Turntable’ and ‘Australia’s Number One Urban DJ‘ make you feel? Does they add some pressure to your performances? It actually does. It makes me work everyday to deliver a dope show. I want people to see me perform and see the hype is real. Word on the street is that you collect toys, how about that? What are some of your most prized possessions? [Laughs]

And more crystal ball action – what’s coming up for you in 2012 and beyond? Well firstly, I hope to be Australia’s #1 Urban Instagrammer, so more secret apps. I’m working on some exclusive music with international artists, with my production partner Number One. We call ourselves the Bodega Bullies; he just did a Timomatic Remix and some Chiefrocker shows with DJ Samrai & Naiki. Also Blazin’ 2013 comes out in January! WHO: Nino Brown WHAT: Blazin’ 2012 (Universal) WHEN & WHERE: Friday 15 June, Eve Nightclub


What’s the deal with your live shows? A party-oriented set with different guest MCs jumping up in each city.

Thanks to EMI we’ve got five copies of the new Alison Wonderland and Sam Sparro albums to give away. Sam Sparro’s new record Return To Paradise is full of his distinct, scale-defying vocals, but also shows him as a visual artist and style icon, while Wonderland’s Welcome To Paradise features an eclectic and unexpected mix of party tracks. For your chance to win a copy of Return To Paradise, which feature hits Happiness and I Wish I Never Met You, just email with the subject header “CAPTAIN SPARRO”, or to win a copy of Welcome To Wonderland put “MAD HATTER” in the subject header.

What’s on the horizon? More touring to promote the album and starting work on the next one. WHO: Chasm WHAT: This Is How We Never Die (Obese Records)




of the fastest mixers I know – he can mix a tune every 1-2 minutes and keep the dancefloor rocking. He’ll be appearing alongside me at Geisha.

Daytime name: Erica Myers-Davis. From: Wolverhampton, UK, but now I live in Melbourne.

Best set by a Perth DJ you’ve seen? Greg Packer is a fantastic DJ, musically and technically. I love all his sets but use to enjoy a retrospective night he did back in the ‘90s.

How did you get your DJ name? MJ Cole said I was a “classy bird, a real lady!” What you play… UK garage, old school US house/garage and dubstep.

Funniest thing that’s happened to you when DJing? I once gave first aid to a girl suffering from an asthma attack between tracks.

What residencies do you have and crews do you belong to? Resident at Atticus Finch, Melbourne.

Best all time gig? Cross Club in Prague, Czech Republic in 2008 – they were so up for it and I played alongside Benny Ill from Horsepower Productions, it was an awesome night. But really, every week at Double O was the best.

Career highlight: Established and DJ’d at Australia’s longestrunning weekly UK Garage night at Double O, Melbourne 1998-2002. Hosted my own radio show on 3RRR for six years, Underground Flavas. Playing alongside MJ Cole and having Roots Manuva as our support.

Funniest record you’ve ever played out? The theme from Dallas.

What was so memorable about your first set? On pirate radio Fantasy FM UK back in 1991 – I was shit scared! First set in Perth in 1995 – I played a Jungle set while Greg Packer and all other DJs played happy hardcore. I cleared the dancefloor!

In real life you: Work for a charity as fundraiser, am a royal author (wrote a book with Princes Harry & Philip) and am related to Olympian Usain Bolt. Production releases: Two Steps To Love remix – Atari Baby, Launch Records.

All time favourite 12”? The How It Was EP – Paul Benjamin and Jeremy Sylvester. Fave DJs and why? DJ Playboy – a wicked DJ who not only knows and plays the history of Jamaican music from 1950s onwards and has the most incredible dubplates, but is also my dad! These days anyone who still plays and loves



More info? Facebook: DJ Lady Erica. vinyl, mixes live and doesn’t try to hoodwink the crowd with a premixed set!

you move. Qualifide – steppy vibes, so simple yet so infectious. MJ Cole – king of the smooth UKG sound.

What should people expect from you when you tour here? Lots of dancefloor classsics!

Fave producers and why? DMZ – they make proper dubstep; atmospheric, with subs that make

Best set by an Australian DJ and why? AC23 – he’s like a young Greg Packer but more militant! He’s one

WHEN & WHERE: Friday 15 June, It’s A London Thing: Garage Reunion, Geisha


CLUB NIGHT SPOTLIGHT THE LICK Where, when and how often is it is it happening? This Friday and then every second Friday at Shape bar, both levels. Who’s behind it? The people behind Origin NYE, Big Ape, Grizzled and Bassnotion.



laidback house party vibes. Cool cats and stone-cold foxes! Only a munter would miss the launch because… Their clothes were eaten by a plague of locusts.

What styles and resident DJs should people expect? Expect to see some internationals as well as locals Phetsta, Ekko & Sidetrack, Gran Calavera, Genga, JS (Formally Pearly Whites), Ol Wright, Notorious MIG, Charlie Chan and more.

Anything else we need to know? You should probably know about our competition: What would you lick for a $50 bar card and free entry for life at The Lick (yes, that means every time you come to The Lick)? Lick something and send a photo or video to for your chance to win!

What kind of vibe? Everything bass-heavy, plus some more

NEXT NIGHT: Friday 15 June, Shape




14 JUNE - 20 JUNE




he’s returning to Get Shaky at Villa, supported by Wasteland, Ace Basik and Chiai, tickets are $35 plus BF via Moshtix and Boomtick.



A night of pure fashion indulgence showcasing 10 local designers, with beats from People Who Play, Light & Shade, Paul Malone, Marko Paulo and Valle Zoo, tickets via Moshtix.



Bee Mask emerges from the DIY underground in a personal sonic world of pulsing waves, control voltage emissions and haunting melodic phrases, supported by Adam Trainer, Craig McElhinney and DJ Ben Taaffe, $10 from 4 ‘til 8pm.

With their new studio album Dust & Dirt out now, The Black Seeds bring their globally renowned and epic live show to the west. Tickets via Now Baking and the usuals.



RED BULL THRE3STYLE DJ COMP @ AIR BASS CULTURE @ NEWPORT HOTEL For lovers of dubstep, drum’n’bass, wobble and a good night, free from 8pm with Death Disco’s Anton Maz.

LEEDERVILLE LOUNGEROOM @ LEEDERVILLE HOTEL The Empty Cup, Anton Franc and Nyanda J play live, plus comedians and MC Tomas Ford, free from 8pm.


DJ competition Red Bull Thre3Style is back in its second year, pitting DJs against each other to unearth the nation’s best party rocker. Competitors must play at least three genres in a 15 minute set to get the party started, with the WA qualifiers held Wednesday 20 June at Air Nightclub. The winner gets $1,000 plus the chance to compete in the final, with that winner going on to Chicago to rep Aus’ in the world final in September. This round features Rekab, Wasteland, Zeke, Klean Kicks, Junior and Ace Basik against one another. The hype generated from last year’s innovative sets, jam-packed floors and fierce competition means the pressure is on. Not only that, party mash kings Yacht Club DJs also play a headline set to top off the night. Head to to get involved. Wednesday 20 June at Air, free entry before 9.30pm. POTBELLEEZ


HIP HOP KARA”YO!”KE @ THE BIRD Perth’s seminal monthly hip hop karaoke night returns for a special East vs West Coast edition. Free before 8pm, $5 after.

ANIMAL BALLET @ VELVET LOUNGE DJs Travis Doom, Petrohex and J.Box rock synth, dance, witch, tech, industry, house, minimal and whatever-wave.

CULTURE CLASH @ NEWPORT Mills Culture crew rock the Newport with T-Mac vs. Cobz, Willinger, Aday and a final Battle Royal.

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


Australian APRA award-winning dance demons The Potbelleez bring their live show exclusively to Frat House Fridays with the Death Disco DJs, tickets via Moshtix and Oztix.

AC23, LADY ERICA @ GEISHA It’s A London Thing: UK Garage Reunion returns to Geisha with special guests from Melbourne, AC23 and Lady Erica, supported by Duane A, Rhys D, Rufkut and Ru-Kasu. $10 before midnight, $15 after, presented by Drum Media.


Jon Ee gets you ready for the weekend.



Roger Smart gets pumped for the weekend with commercial chart toppers and classic party anthems.

A new night that promises to have your mouth watering. A fortnightly event, tonight features surprise headliners. $15 from 10pm.




Slamagotchi takes over The Bird with his much raved-about beats. Support from Diger Rokwell (The Community) Raaghe, Elcue (DJ set) and Starks, $10.


DIRTYLOUD @ AMBAR Dirtyloud return to the underground supported by Killy Dyl, Philly Blunt, Beatsmack vs. FTW and Hammer & Tongs. $20 door or $15 via the Boomtick shop.

The Freakz of The Nature keep kickin’ it live, this time with JR and FG plus 6.0 Krew and DJ Krazie Kraze between sets. $5 entry.

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



PERSONAL REASONS @ THE BAKERY Heat things up for your own Personal Reasons, featuring Kucka, Rachael Dease vs Ylem, Ourobonic Plague, The Underground Sound Solutions System, Rok Riley, Travis Doom, Clunk and Sleepyhead. $5 before 10pm, $10 after. DJ SLICK

Kickstart play live cover tunes and DJ Brett Rowe spins rock, metal and punk. 12am until late.

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




After rolling around the country for most of 2011 celebrating epic third album M1, Tijuana Cartel return with new single Offer Yourself, and a new live show featuring extra members. Tickets via Now Baking.

THE AVENUE Fiveo rocks ‘til the sun comes up.


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


The Mondo launch party kicks off with a tropical dance theme featuring sounds from Shazam, Diger Rokwell, Ash Pedrick, The Metric DJs and Dr Space, Friday 22 June.

SYRUP @ IRWIN ST LANEWAY Syrup returns Friday 22 June, midnight til daylight, bringing double the bass, bars and cups, with DJs Zeke, Ben T, DYP, Sauss Bauss, Sleepyhead and Raaghe. $10, entry via Irwin Street Laneway in the CBD.

BOMBS AWAY, KID KENOBI @ VILLA The newest series from Ministry 0f Sound is redlining into Villa Friday 6 July, and it’s the Addicted To Bass Tour featuring Bombs Away and Kid Kenobi, celebrating MOS’ new Addicted To Bass compilation – full of speaker crunching dubstep, bassline electro, drum‘n’bass and moombahton. Supported by Ace Basik and Wasteland, tickets $25 plus BF via Moshtix.




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



THE POTBELLEEZ: JUN 15 Metropolis Fremantle





Blank Wednesdays are a new weekly student night firing up downstairs at Shape, with free pizza all night, drink specials, half-price student entry, good DJs and great music.



Apparel label Gfted turn three and to help celebrate, Klean Kicks will keep the tunes spinning all night.

Tammy Stevens bangs out the pub and club anthems.




James A, James Smith and Manda Power out some deep house till dawn. $6 before 12.30am, $12 after.


A Rewind hosted by Rockwell, with retro hits from the ‘80s and ‘90s.

Ladies Night features DJs Matty S, Makka, Angry Buda, Stevie M, Slick and Ruthless, $5 before 11pm, $10 before 12am, $15 after. Ladies free.

DJ competition Red Bull Thre3Style is back in its second year to pit DJs against each other to unearth the nation’s best party rocker, plus Yacht Club DJs play a headline set to top off the night.


+ AJAX: JUL 13 Ambar



Get Electrified at Gilkison’s Saturday 30 June with 22 DJs over two arenas bringing the best in hard dance. Featuring Damien Blaze, Rinski, Paul Robertson, Hutcho, JT, Ball-Z, mOment, Jason V, Clint Scott, Greg Packer & MC Assassin, Terrance & Phillip with MC LosD, Invictus & MC Rtilary, NVS, Beni C, Auscore & MC Slape N Tickle and Steve Rg & MC Whiskey, plus host MC Whiskey. $10 from 9pm.

James Nutley brings ‘On Tap’ house music all night long.

It’s time to get totally rad at The Bird in honor of the greatest fabric ever invented - denim. Come party down with Bastian’s Happy Flight, Shazam, Catlips and Lighsteed. Super awesome prizes for best dressed, $10.



‘60s and ‘70s soul with Stratosfunk, DJs Big Ear Chad add Lil’ Franco Berry spinning vintage tunes ‘til late. $10 from 6pm.


Dylan Hammond fires up with full-on dancefloor destroyers ‘til late.

Fdel, Tee EL, Dead Easy, Blend and DNGRFLD bring the right ‘tude to the home of the underground, $12 ‘til midnight, $15 after.


DJ Jamie Mac and Shannon Fox spin indie/alt classics from midnight at Amps, while Caps satisfies your ‘90s desires with DJs from 11pm.

Malignant Monster frontman Cain Cressall plays nothing but rock and metal from midnight.


DJs DTuck, Darren Briais and Wazz keep the party tunes rolling.


DJ Nino Brown returns to Perth with a massive Blazin’ 2012 set, supported by Don Migi, Skooby and Dannybo, free entry before 10pm.


WEMBLEY HOTEL Lokie Shaw brings the best in ghetto funk, soul, hip hop and R’n’B.

A hell of a night for your vocal cords with a special Rocky Horror Show theme. Gold coin entry from 6pm, prizes for best dressed.

The Luchadores fight, flip, fly and perform breathtaking acrobatic feats while fiercely battling each other, plus Burlesque, crazy Circus acts, flamboyant drag and more. for tickets.

WED 20/6

Josh Tilley spins the best of the best right across the board.

THE CRAFTSMAN Tammy Stevens delivers the goods in Cannington’s fave night spot.

THE CLINK Az-T shakes the foundations from R’n’B to electro and everything in between.

Ian Carey is a multi-platinum artist with worldwide Top 10 hits, and

Growing up on a self-prescribed musical diet made up of equal parts guitar-based compositions from bands such as RATM and down tempo efforts from labels like Mo’ Wax, Logistics finally acquired a taste for drum’n’bass through the Full Cycle Music Box LP, and he hasn’t looked back since. Celebrating his new album Fear Not, the UK producer/DJ rocks Shape Friday 6 July. $25 presales via, $30 door from 10pm, with local lads Ekko & Sidetrack and Jezza & Symmetry banging the support.

NGUZUNGUZU @ PAPER MOUNTAIN Between tour DJing for MIA’s shows and soundtracking the Kenzo showcase at Paris Fashion Week to sound like it took place on Jupiter, Asma Maroof and Daneil Pineda, aka Nguzunguzu have emerged as top shelf LA DJs. They’ll be rocking anything from house-infected UK bass to Kuduro to Juke when they play new Northbridge space Paper Mountain, Saturday 21 July. Supported by Savoir (live), Clunk, Sleepyhead, Nik Ridikulas, Miranda Menzies and Jo Lettenmaier. $20 plus BF via Oxtix.

HOUSE OF SHEM: JUL 12 Wanneroo Tavern; JUL 13 Eliot St Bar; JUL 14 Rosemount Hotel; JUL 15 Leisure Inn SKREAM, SGT. POKES, JOKER, PLASTICIAN: JUL 18 Villa KID MAC: JUL 20 Mojo’s; JUL 21 Settlers Tavern

NGUZUNGUZU: JUL 21 Paper Mountain LADYHAWKE: JUL 24 The Bakery DMC WORLD DJ CHAMPIONSHIPS: KUYA, JUNIOR: JUL 27 The Bakery CLUBFEET: JUL 27 Villa + LEE COOMBS: JUL 27 Ambar DOORLY: JUL 29 The Bakery BELL BIV DEVOE, GINUWINE: AUG 9 Astor Theatre HILLTOP HOODS: AUG 17 Challenge Stadium; AUG 18 North West Festival PITBULL, TAIO CRUZ, TIMOMATIC, HAVANA BROWN: AUG 23 Burswood Dome + ILLY: AUG 31 Metropolis Fremantle; SEP 1 Capitol EIFFEL 65, N-TRANCE, MR.95: SEP 28 Metropolis Fremantle





THU 14 The Black Seeds Bakery Northbridge Adrian Wilson Belgian Beer Cafe Courtney Murphy Como Hotel Tim Freedman, Rocksteady Ellington Davey Craddock and the Spectacles, The Trophy Wives, Todd Pickett Fly By Night Fremantle Chris Murphy High Wycombe Hotel The Spitfires Hyde Park Htl Easy Tigers Inglewood Hotel James Wilson Lucky Shag Spritzer Merriwa Tavern Place Of Indigo, The Shallows, Sparks Vertigo, Adam Burford Mojos Nth Fremantle The Love Junkies, James MacArthur, Sugarpuss Mustang Bar The Aunts, The Prevues, Jade Stevens, DJ Cookie Norfolk Basement Thick As Blood, Renegade, Cabin Fever, Hooks4Hands Oh Snap Alex The Kid, Coronal Sky, Ichora, One Armed Scissor Rosemount Htl Clayton Bolger Rosie O’Gradys Fremantle Bill Chidgzey Rosie O’Gradys Northbridge Frenzal Rhomb Settlers Tavern Margaret River Fenton Wilde Sovereign Arms One Trick Phonies The Gate Bar and Bistro, Success Off the Record Universal Bar Two Plus One Woodvale Tavern Those Wretched Horses, The Wishers, Thee Goldblooms, Disintergrates Ya Ya’s

FRI 15 Midnight Rambler 7th Avenue Bar Siren Tower Amplifier Bar Tijuana Cartel Bakery Northbridge Christian Thompson Bally’s Bar Dirty Scoundrels Balmoral

Dove Bentley Hotel Everlong Black Bettys Tod Woodward Brook Bar & Bistro Miss Chief Brooklands Bluebottles Captain Stirling Chasing Calee Chase Bar & Bistro Enforce, Reapers Riddle, Cold Fate Civic Htl Backroom The Limelights Clancys City Beach Ensemble Formidible Clancys Fremantle Trevor Jalla Como Htl Johnny Law & the Pistol Packin’ Daddies, Mondo Disc Jocks Devilles Pad Luke Dewing East 150 Bar Tim Freedman, Meg Mac and the Squeeze Ellington Halo Empire Applebite, Rockit Fly By Night Fremantle Greg Carter Greenwood Hotel David Fyffe Hale Rd Tavern The Damien Cripps Band High Road Htl Riverton The Renzullo Project, Salv, The Kickstart Cadillacs Hyde Park Htl Nathan Gaunt Hyde Park Htl (Arvo) Ben Merito Indian Ocean Brewing Company Andrew Winton Kalamunda Htl The Spooky Men Of The West Kulcha Grant Hart Last Drop Tavern The Organ Grinders Legends Bar Jacob Diamond, The Autumn Isles, The Flower Drums, Amanda Merdzan Mojos Nth Fremantle Peter Bibby Mojos Nth Fremantle (afternoon) Dakota Moon & Sixpence Oz Big Band, Cheeky Monkeys, James MacArthur Mustang Bar Loose Lips, Addison Axe Norfolk Basement Michael Power Novotel Vines Resort Simon Kelly Paddingtion Ale House Flyte Paramount Nightclub

Living Dying, Needles Douglas, Southern Cross, Wicked Wench Railway Htl Gasoline Inc, Homebrewe, Aztech Suns Rocket Room Resist The Thought, Hallower, Still Water Claims, Afraid of Heights Rosemount Htl Neil Colliss Rosie O’Gradys Northbridge Howie Morgan (duo) Sail & Anchor Dallas Frasca Settlers Tavern Margaret River Lisa Mitchell, Georgia Fair St Joseph’s Church Helen Shanahan Stirling Arms Guildford Nightmare Effect, The Coil, Longburn, Mother Nightmare Swan Lounge The Mojos Swinging Pig Greg Carter Swinging Pig (Arvo) Bernadine The Brass Monkey Smoking Section The Gate Bar and Bistro, Success James Wilson The Principle Micro Brewery Tod Woodward The Rose & Crown Nightmoves Universal Bar Kate Gilbertson, Bedouin Sea, Mel Hall, James Redman Velvet Lounge Sarah Pelicano, Bears and Dolls, Tracksuit Ya Ya’s

SAT 16 Deep Sea Arcade Amplifier Bar Kucka, Rachael Dease, Ourobonic Plague, Rok Riley, Travis Doom, Sleepyhead, Clunk, YLEM, Underground Solution Crew Bakery Northbridge Hans Fiance Bally’s Bar The Recliners Balmoral Flyte Bar 120 Howie Morgan Belgian Beer Cafe John & Shaun Sandosham Burswood Lobby Lounge Zarm Clancys Canning Bridge The Urban Gypsies Clancys City Beach The Lammas Tide Clancys Fremantle The Zydecats, Jon Ee, DJ Fiveo Claremont Hotel Luke Dewing Como Htl Stratosfunk, Big Ear Chad Devilles Pad Tim Freedman Ellington Nadeah, King Wasabi Fly By Night Fremantle Local Heroes Greenwood Hotel Morgan Bain Rottnest Hotel Ashoka, Still Frame Mind, Nevsky Prospekt, SuperSalt Hyde Park Htl The Mojos Indian Ocean Brewing Company Hot Suga Kardinya Tavern Shangara Jive Kulcha Steve Hepple Leopold Htl Bicton Rhythm 22 M On The Point Easy Tigers Metropolis Fremantle The Sure-Fire Midnights, The Caballeros, The Dirty South, Hurricane Fighter Plane Mojos Nth


Fremantle The Continentals, Milhouse, James MacArthur Mustang Bar Kizzy, Gravity Newport Htl Boston Switch, Lionel Hertz, Hopscotch Norfolk Basement Cyclone Tess, Richard Lane, Leon Ewing, Lindsey, Morning Light, Brown Dog Saloon, DJ Benny Legg, Traffic Stoppers, The Witness North Fremantle Bowls Club Nathan Gaunt Osborne Park Htl Sean Scott Port Kennedy Tavern Electrophobia Quarie Bar & Bistro Brutus, Battle of the Planets, Animal, The Witch Hunt Railway Htl Kickstart Rocket Room Frenzal Rhomb, Agitated, Negative Reinforcement Rosemount Htl Blue Gene Rosie O’Gradys Northbridge Kickstart Sail & Anchor Blackboard Minds Settlers Tavern Margaret River Christian Thompson Steve’s Bar Greg Carter Swinging Pig Bastian’s Happy Flight, Lightsteed The Bird The Organ Grinders The Boat At Depths, Storm The Shores, Severtone, Dawn Of Leviathan The Den Dirty Scoundrels The Gate Bar and Bistro, Success Huge The Shed Lush The Whale & Ale Soul Corporation Universal Bar Greg Carter Wanneroo Tavern The Damien Cripps Band Woodvale Tavern

SUN 17 Greg Carter Bally’s Bar Cranky Balmoral Switchback Broken Hill Hotel Christian Thompson Captain Stirling The Shinkickers Carlisle Htl James Wilson Chase Bar & Bistro Dallas Frasca Clancys Dunsborough The Zydecats Clancys Fremantle Sunday Driver, DJ Double Dee Claremont Hotel Ali Towers East 150 Bar Saffron Sharp Ellington Neil adams Gosnells Railway Markets Bernadine High Road Htl Riverton Retrofit Indian Ocean Brewing Company Electrophobia M On The Point Allen Smith Malaga Markets Deep Sea Arcade, The Cairos, Woe & Flutter Mojos Nth Fremantle Gerard Maunick, Tina Simone Moon & Sixpence Big Old Bears, Tyto Kings Moon Cafe

Peter Busher & the Lone Rangers, Rockin Rhys Mustang Bar Stony Joe, Nevada Pilot, The Lovetones Newport Htl Sugarfield Pig & Whistle Double Take Quarie Bar & Bistro Big Bamboo Queens Tavern, Highgate Shawne & Luc Sail & Anchor Howie Morgan Project Saint Eli Wolfe Settlers Tavern Margaret River Sean Scott South st Ale House Sophie Jane Springs Tavern Lipstick Pickup, The Basement Sea, Michael Triscari Swan Lounge Adam James Swinging Pig Luke Dewing Swinging Pig (Arvo) The Weapon Is Sound, Mmhmmm The Bird Better Days, Chris Gibbs Trio The Gate Bar and Bistro, Success Dove The Principle Micro Brewery Retrofit Universal Bar The Charisma Brothers Xwray Café

MON 18 Johnny Law & the Pistol Packin’ Daddies Mustang Bar

TUE 19 Veryan Weston, Trevor Watts Ellington Christian Thompson Lucky Shag Burst & Bloom, Sarah Rain, Rank & File, The Froctaves Mojos Nth Fremantle Simon Kelly Paddingtion Ale House Hart, Michael Savage, Jack & The Queen, Mat Cammarano, Michael Schneider The Bird Joe Graham, Shameem Taheri-Lee, Amrit Sidhu, Jessica Lawrence Ya Ya’s

WED 20 Boris The Blade Amplifier Bar Black Market Cabaret Bakery Northbridge Nathan Gaunt Balmoral Trevor Jalla Ellington Junior Bowles, Lucy Peach, Matt Southon Fremantle Blues & Roots Club Bernadine Greenwood Hotel Howie Morgan Lucky Shag Naked News, Gilroy, Caleb Entrails Moon Cafe Dove, Boston & Chevy, The Suntones Paddingtion Ale House 5 Shots Paddy Hannans Burswood Ashoka, Neutral Native, Epsilon, Bears and Dolls Rosemount Htl Wicked Wench, Sons Of Savior, The History Of, Nymph Honey Ya Ya’s


BUSBY MAROU THICK AS BLOOD: JUN 14 Villa THE BLACK SEEDS: JUN 14 The Bakery + TIM FREEDMAN: JUN 14-16 The Ellington FRENZAL RHOMB: JUN 14 Settlers Tavern; JUN 15 Prince Of Wales; JUN 16 Rosemount Hotel TIJUANA CARTEL: JUN 15 The Bakery GASOLINE INC: JUN 15 Rocket Room LISA MITCHELL, GEORGIA FAIR: JUN 15 St Joseph’s Church, Subiaco LENNY HENRY’S CRADLE TO THE RAVE: JUN 15 Burswood Theatre KISSTERIA: JUN 15 Roebuck Bay Hotel; JUN 16 Charles Hotel DALLAS FRASCA: JUN 15 Settlers Tavern; JUN 16 White Star; JUN 17 Clancy’s Dunsborough; JUN 22 Indi Bar; JUN 23 Prince Of Wales; JUN 24 Mojo’s DEEP SEA ARCADE: JUN 15 Indi Bar; JUN 16 Amplifier; JUN 17 Mojo’s BEE MASK: JUN 16 Pica Bar + ELI WOLFE: JUN 16 Fat Shan’s, JUN 17 Settlers Tavern NADEAH: JUN 16 Fly By Night MARTY RHONE & THE BEATLE BOYS: JUN 16 Astor Theatre WAYJO FEAT. SARAH MCKENZIE, MIKE STEWART: JUN 17 State Theatre Centre GUY SEBASTIAN: JUN 19 His Majesty’s Theatre; JUN 20 Mandurah Performing Arts Centre AFRICA UMOJA: JUN 19-24 Burswood Theatre + THE ACADEMY: BORIS THE BLADE: JUN 20 Amplifier CELTIC DIVAS: JUN 20 Albany Ent. Centre; JUN 21 Bunbury New Lyric Theatre; JUN 22 Mandurah Performing Arts Centre; JUN 23 Octagon Theatre CAMILLE O’SULLIVAN: JUN 21 Astor Theatre CHARGE GROUP: JUN 22 Mojo’s; JUN 23 Dada’s Carpark KARNIVOOL: JUN 22 & 23 Mermaid Hotel, Dampier; JUN 27 Prince Of Wales, Bunbury DEXTER JONES: JUN 22 Settlers Tavern; JUN 23 White Star Hotel; JUN 24 Newport Hotel; JUN 28 Breakers Bar; JUN 29 The Beat; JUN 30 Prince Of Wales NICKY BOMBA BUSTAMENTO: JUN 23 Fly By Night

DALLAS FRASCA BURIED IN VERONA, THE PLOT IN YOU, SILENT SCREAMS: JUN 24 YMCA HQ (Early), Amplifier (Later) + MAT MCHUGH: JUN 26 Mojos NADIA ACKERMAN: JUN 27 Ellington Jazz Club DAMO SUZUKI (CAN): JUN 28 The Bakery I AM GIANT: JUN 28 Amplifier IMPIETY: JUN 29 Amplifier JUDITH DURHAM: JUN 30 Riverside Theatre CEREMONY: JUL 3 Civic Den; JUL 4 YMCA HQ TIM FINN: JUL 5 Artbar, Art Gallery Of WA + VAN SHE: JUL 5 Capitol THE BAMBOOS: JUL 6 The Bakery RAISE THE FLAG: JUL 6 Players Bar; JUL 7 Charles Hotel BUSBY MAROU: JUL 6 Prince Of Wales; JUL 7 Rosemount Hotel; JUL 8 Newport Hotel JONATHAN BOULET: JUL 7 Amplifier LADY GAGA: JUL 7 & 8 Burswood Dome SAY ANYTHING, THE GETAWAY PLAN: JUL 11 Amplifier TERROR: JUL 12 Amps HOUSE OF SHEM: JUL 12 Wanneroo Tavern; JUL 13 Eliot St Bar; JUL 14 Rosemount Hotel; JUL 15 Leisure Inn SET SAIL: JUL 13 Rosemount Hotel; JUL 14 Melville Youth Centre (early), Mojo’s (later); JUL 15 Clancy’s Dunsborough FLIGHT OF THE CONCHORDS: JUL 18-20 Challenge Stadium AUSTRALIAN CHAMBER ORCHESTRA PRES. THE REEF: JUL 18 Perth Concert Hall + HIDDEN TREASURES FESTIVAL: KIM SALMON & MORE: JUL 19-20 & 26-27 FTI MELISSA ETHERIDGE: JUL 20 Riverside Theatre + HORRORWOOD MANNEQUINS: JUL 20 Cue Bar BAND OF SKULLS: JUL 23 The Bakery LADYHAWKE: JUL 24 The Bakery METRIC: JUL 25 Capitol + ROSETTA: JUL 25 Rosemount SMASHING PUMPKINS: JUL 26 Challenge Stadium THE TEA PARTY: JUL 26 Metro City CLASS OF ’59 TOUR: JUL 26 Albany Entertainment Centre;

JUL 27 Mandurah Performing Arts Centre; JUL 29 Astor Theatre KARNIVOOL, REDCOATS, SLEEPMAKESWAVES: JUL 27-29 Rosemount Hotel KIM SALMON: JUL 28 The Bakery INTERNATIONAL PIANO COMP WINNER RECITAL: JUL 30 Perth Concert Hall MARK GARDENER, JAE LAFFER, SEAN POLLARD: AUG 1 Fly By Night + CHILDREN COLLIDE, DUNE RATS, BAD DREEMS: AUG 2 Prince Of Wales; AUG 3 Amplifier MONIQUE MONTEZ, DENI HINES: AUG 2 Bunbury Entertainment Centre; AUG 3 Astor Theatre; AUG 4 Mandurah Performing Arts Centre EMPRA: AUG 3 Rocket Room; AUG 4 Prince Of Wales THE BRIDE, TRAINWRECK: AUG 4 C5, Metropolis Fremantle; AUG 5 YMCA HQ ED SHEERAN: AUG 6 Riverside Theatre JINJA SAFARI, OPOSSOM, WHITE ARROWS: AUG 8 Astor Theatre TIM BARRY, JOSH SMALL: AUG 8 Civic Den EVEN, THE FAUVES: AUG 9 Prince Of Wales; AUG 10 Rosemount Hotel; AUG 11 Mojo’s; AUG 12 Indi Bar KATE MILLER-HEIDKE, THE BEARDS: AUG 11 Astor Theatre NASUM: AUG 15 Amps + THE BEAUTIFUL GIRLS FAREWELL TOUR: AUG 15 Prince Of Wales; AUG 16 Settlers Tavern; AUG 17-18 Fly By Night. OWL EYES: AUG 16 Artbar, Art Gallery Of WA + HUNTING GROUNDS: AUG 16 Prince Of Wales; AUG 17 Amplifier NORTH WEST FESTIVAL: HILLTOP HOODS, THE LIVING END, THE CAT EMPIRE and more TBA: AUG 18 Port Hedland Turf Club JAMES MORRISON: AUG 18 Perth Concert Hall KENNY ROGERS, GLEN CAMPBELL: AUG 21 Riverside Theatre BURNING LOVE: AUG 22 Civic Den PENNYWISE, THE MENZINGERS, SHARKS: AUG 29 Metropolis Fremantle SLASH, MYLES KENNEDY & THE CONSPIRATORS: AUG 30 Metro City


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Profile for

Drum Media Perth Issue 292  

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...

Drum Media Perth Issue 292  

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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