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Murray St, Perth City. Tickets at door from 8pm. THE DRUM MEDIA • 3



IN BRIEF Metric have cancelled their Splendour Sideshow (July 25, Capitol) due to “circumstances outside their control.” Refunds available at point of purchase. Rockwiz have added a second date to the upcoming tour now playing Friday 26 as well as Saturday 27 October at the Riverside Theatre.

PRESET TO PARTY The end of hibernation is in sight as Australia’s kick-off festival Parklife has revealed its 2012 line-up this week, which is guaranteed to make music heads buzz and make dancing feet jump in excitement. The cracking list is a corker, and includes the return of Aus’ electro kings The Presets (whose new album Pacifica is due September 14); Justice (DJ Set); Swedish femme fatale Robyn; dubstep/electro heroes Nero (Live), Rusko, DJ Fresh (Live), Benga (Live), Jack Beats (Live), and Modestep; Flume; dance-poppers Passion Pit; returning local heroes Tame Impala; indie charmers Chairlift; buzz band Citizens!; St Lucia; Charli XCX; Alison Wonderland; Plan B; Chiddy Bang; Labrinth; Wiley; Hermitude; Rizzle Kicks; Jacques Lu Cont; Parachute Youth; Art Department; and Lee Foss and more, playing Monday 1 October at Wellington Square. Head to for ticket info including early bird and VIP offers, beginning today. General early birds are $118 plus BF, before becoming $138 plus BF from July 3. Proudly presented by Drum Media, check our Festival News section over the page for the full local line-up!

Rob Swire has stated Perth drum’n’bass world-beaters Pendulum are no more, and he instead will be focusing his energies into the “more fun” Knife Party. Amanda Palmer has raised over $1 million on Kickstarter. She’s using it to release her new album Theatre Is Evil, due September 7. WAM’s Song Of The Year is taking submissions for the 2012 awards, songwriters head to for details on how to submit your entry before July 30. Australian jazz legend Australian composer, pianist and bandleade Graeme Bell died at the age of 97 last week after suffering a stroke. ¡Uno! is the name of the new record from Green Day – their ninth and the first in a trilogy that will include ¡Dos!, due in November, and ¡Tré! early in 2013 – and it will be released on Friday 21 September.


SOLID FOUNDATION Rock and rollin’ four-piece The Medics’ story started in Cairns, far North Queensland, and has seen their emergence as one of Australia’s most genuinely exciting new bands. Their debut album Foundations has received much praise from fans and media. They are excited to take the album on the road for a Street Press Australiapresented tour and hit Amplifier Saturday 8 September. Music is at its best when it’s unpredictable. Truly great music has always been about challenging convention, and that’s exactly what The Medics’ live show is all about. Tickets via











KING OF BEATS The DJ’s DJ, originator of the mash-up style, Z-Trip returns to Oz with his all new AV Show. No stranger to our shores, DJ Z-Trip is Zach Sciacca, an avid music collector who has worked tirelessly to take the foundations of hip hop to the furthest reaches of the galaxy by way of his ingenious blends and defying skills. Don’t miss Z-Trip as he makes his triumphant return to Australian shores this August, his first shows in over two-and-a-half years, and plays The Bakery, Saturday 11 August. Tickets via Now Baking.









A stage collapse has left Radiohead’s drum tech dead ahead of an outdoor concert in Toronto’s Downview Park last weekend.


HEALTHY BALANCE This coming July catch Nic Fanciulli as he heads down to Australia for the official launch tour of the Balance 021 compilation, following on from Deetron’s brilliantly executed Balance 020 project. The Saved Records boss has delivered a stunningly intricate mix that highlights his ethos as DJ and label owner. Its intelligent arrangement really paves the way for an overriding sense of permanence that is so often missing in many of today’s compilations, and transforms well into a live arena. You can catch him Sunday 15 July at The Court Hotel’s Garden Party. PASSENGER

IN THE FAST LANE This August will see Mike Rosenberg aka Passenger return to Australian shores to embark on a week-long tour, performing songs from his album All The Little Lights, as well as some new tracks and a few old favourites. Since selling out a string of shows across Australia in April this year, Passenger has been busking and gigging his way through Europe and the UK, selling out shows and sharing his unique stories and songs with an ever-growing audience across the world. Catch him at the Rosemount Hotel, Wednesday 22 August, for tickets, presented by SPA. KATCHAFIRE

After eight weeks at the top, Gotye has been knocked off the top of the US charts, with Carly Rae Jepsen’s Call Me Maybe hitting the pointiest end of the chart this week. The new album from The Temper Trap has debuted in the US charts at 81, beaten out by fellow the abovementioned Knife Party, whose Rage Valley EP debuted at 75.

This year’s Australian Music Prize – commonly known as The Amp – will be free for artists to enter. Last year’s entry fee was $95.



To mark the recent release of their album Listen And Forgive, Transit will embark on their first Australian tour this August. The north shore Boston outfit consistently expresses an arresting degree of honesty and individuality in their music. Their first Australian shows are in WA, and you can welcome them to the country Wednesday 15 August at YMCA HQ (all-ages) and Thursday 16 at Amplifier. Tickets via

Subscription music network [V] has announced that the station’s most highprofile host Jane Gazzo will be moving across to sister network Max.




Sydney’s The Beautiful Girls have announced they are splitting up after ten years in the game. Frontman Mat McHugh will continue to focus on his solo material.

The status of the reformed The Stone Roses was looking a little shaky last week as drummer Reni left the venue before the band could perform their encore in Amsterdam last week. Frontman Ian Brown returned to the stage solo and said, “What can I say, the drummer’s a cunt.”



BEARING SUCCESS Having just completed a massive national tour supporting The Jezabels in some of Australia’s finest and largest venues, Snakadaktal are set to impress fans and critics around the country with their impressive live show once more on the Dance Bear Tour this August. Joining Snakadaktal are Sydney pop quartet Sures, who recently penned a deal with Ivy League records. Sures’ new single Stars is currently getting some great love on radio across the country. Bastian’s Happy Flight support both when they play the Astor Theatre, Saturday 4 August. Tickets via BOCs.

EMI Music Publishing Australia and Wonderlick Entertainment have signed a worldwide joint venture agreement which allows them to co-publish songwriters and gives Wonderlick access to EMI’s administration services.

SPRING SOUNDS One of the hardest working and most respected collectives to come out of New Zealand, Katchafire return to Australia this August and September with their iconic reggae sound, lighting the way out of the winter chill. The eight-piece band, that hosts five extraordinary singer songwriters, deliver one of the most authentic reggae shows around today. You can check them out in WA Friday 14 September at the Astor Theatre with Jah Moko, Saturday 15 at Settlers Tavern, Margaret River and Sunday 16 at the Prince Of Wales, Bunbury. Tickets via

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There’s some mighty fine happenings going down right now in WA, and we don’t just mean trying to figure out how to win The Voice next year and sell a bucketload of singles. It’s been a long wait for The Joe Kings debut album, and to launch Strange Individuals, they’re hitting the road for an SPA-presented tour. It kicks off at home, when they play Thursday 5 July at Fly By Night, then White Star Hotel, Albany Friday 6; and Settlers Tavern, Margaret River Saturday 7. Celebrating the launch of his debut album Out West, Robert Zielinski will play The Fly By Night Friday 6 July with special appearances from Mick Doherty on bouzouki and guitar from Phil Waldron. Saturday 7 July sees the launch of the muchbuzzed-about Shy Panther’s debut EP Dozen Clouds Wide at The Bakery with support from Kucka, Sugarpuss, Ben Witt and Leure. You’ll want to head down to Geisha Bar Sunday 8 July, because DJ Douche Unit and Gunns will be spinning wax between sets from Fucking Teeth and Mink Mussel Creek for the first ever edition of new Sunday night, Innerspace. $10 entry.


Twerk, a night of footwork, juke, trap and ghetto tech music, is coming to The Bakery, Friday 20 July, with tunes selected by the likes of Nebula, SaussBauss, Modo, RobiHusslin, Oni Ca$h and BoyPrince.

Perth prog-rock trio Hyte launch their debut EP Friday 3 August at the Rosemount Hotel with support from The Devil Rides Out, The SureFire Midnights and Between Oceans.

Playing their take on Radiohead’s greatest hits and B sides, Tomás Ford, Stillwater Giants, The Love Junkies, Sugarpuss, The Dissapointed and DJ Ndorse all rally together for a Radiohead tribute night at the Rosemount Hotel, Saturday 21 July. Tickets via

Kicking off Monday 30 July at The Ellington, A Saucy Little Secret runs nightly until Saturday 4 August and sees five of Perth’s premier jazz and blues musicians come together to celebrate the lives of those who influenced the development of modern music.

To launch their EP Suburban Wilderness, The Flower Drums take over The Bird Saturday 14 July with friends Greyjoy, Dianas and Leure. $10 entry.

It’s been a big year for local rockers Emperors, and they’ve just been announced as support for Ladyhawke when she plays The Bakery Tuesday 24 July.

A double launch goes down at The Bakery Friday 10 August when Diger Rokwell releases his EP Build My… and The Community releases a beats compilation. Live performances from Diger Rokwell, YLEM, Mostarsk, The Weapon Is Sound, Boost Hero Man and FG.

Another edition of Bootleg sets up shop at Ambar Friday 20 July with DJs Mind Electric, Joe Revell (NZ), Tapeheads, The Bootleg Brothers (Philly Blunt & Ben Mac) and DNGRFLD. $12 from 10pm.

Melodic hardcore rockers Saviour are hitting 15 venues over east before playing The Academy at Amplifier, Wednesday 25 July; C5 Bar, Friday 27 and YMCA HQ Saturday 28 (all-ages).

For their first headline show since their album launch in March, The Ghost Hotel are joined by guests The Warning Birds and Luke Bostelman at The Bird, Saturday 11 August 11. $10 entry.

Back in WA from a ripping tour of the East Coast, Aussie activist and multi-instrumental troubadour Nathan Kaye aka Lucky Man will be doing his famed beat-box routine and underground brand of sun-baked, blues-driven roots live for his Roast Your Rump Tour, Wednesday 4 July at Mojo’s and Thursday 5 at Didgeridoo Breath. Thereafter he will be running performance workshops around the state: Friday 6 at The Cidery, Bridgetown; Saturday 7 at Cape Wine Bar, Bridgetown; Sunday 8 at Redcliffe On The Murray, Pinjarra; Wednesday 11 at the Indi Bar and Thursday 12 at Prince Of Wales.

WEATHER WARNING As promised, Sydney’s House Vs Hurricane have announced WA dates – their first in nearly 18 months. The dates will come off the back of the release of their second album Crooked Teeth, which hits shelves Friday 13 July and sees the launch of new vocalist Dan Casey. The Western Australian dates will include Confession, Byron Bay favourites In Hearts Wake and local lads Foxes. The tour starts Friday 10 August at the Prince Of Wales, Bunbury then hits Amplifier Saturday 11 before concluding Sunday 12 for an all-ages show at YMCA HQ.

FUTURE FORCAST Tiesto, Gesaffelstein and Destructo are already confirmed, and you can now include moobahton madman Dillon Francis on the bill. More details are TBA, including a venue for the Perth show.




PARKLOCAL We didn’t forget the local love for the massive Parklife 2012 announcement, so along with the killer international/national acts announced, get their early for Black & Blunt; Audageous;

BLACK & BLUNT Lightsteed; Gran Calavera; Dr Space; Kastel; Ace Basik; Killafoe; J.Nitrous; Marko Paulo; Zeke; Kit Pop; Bezwun; DNGRFLD; Get More; Morgan Bain; Stillwater Giants; Crooked Colours; Shy Panther; Sun City; Dallas Royal; and Riot Class.

SONIC SOON Thursday 5 July will see the line-up release for this year’s Stereosonic (Sunday 25 November), although acts continue to trickle out. Until then.

TIRELESS TRIO System shattering electronica outfit The Substance are back on the scene with a tearing new EP Audio Bushido. Consisting of 2Ray (vocals) and brothers Brock and Steele Carter (modules and keyboards), the trio has been working tirelessly in the studio and are now ready to unleash Audio Bushido at a showcase event on Saturday 14 July at Villa Nightclub, with special guest Deacon Rose (triple j). This no-doubt bangin’ night will be topped off with performances from world class (and renowned) DJ’s and producers: Phetsta, Black & Blunt, and Get More.

IS POWER Break out of your winter hibernation and join Philadelphian beatmaker Knxwledge when he brings his crunchy hip hop beats seasoned with dusty soul samples to Perth for the first time – Thursday 19 July at The Bird. With releases on All City, Tres, Klipmode and Hit+Run, he’s also caught the ears of tastemakers such as Mary Anne Hobbs and Benji B. Come check it out live as Knxwledge throws samples, productions and influences into the beat-blender, creating an interconnected cloud of vibe support by Raaghe, Ben M & Rok Riley and Ben Taaffe. $10 entry. 6 • THE DRUM MEDIA

FIRST TIMERS The first of The Academy Presents nights comes in the form of UK act Basement. Basement are making a huge name for themselves with their own brand of pop-punk and have been jumping on some of the biggest festivals and tours you can imagine. Having music royalty approving of them, they’re bringing it all to Perth. Supports for their show at Amplifier, Thursday 5 July, are Sydney’s Endless Heights and Perth’s own Monuments. $15 entry, $12 if you know the codeword. Doors 9pm.


I’M ON A BOAT With a lifelong obsession for fast and furious music, Alex Kidd (UK) is renowned for being one of the true innovators within the hard spectrum. He brings a two-hour set to Perth Sunday 1 July for the Kiddfectious Boat Party, featuring an Air Force 1 sound system, full colour lasers and live visuals. An AK set is more than just your average DJ set. It is an experience and an education in harder music. Local support from Josh Cube and Splinta. Tickets are $40 and limited to 100 so get in quick –

The dates have officially been set for next year’s Southbound - Friday 4 and Saturday 5 January 2013, once again at Sir Stewart Bovell Park, Busselton. The 8th annual Southbound earlier this year saw a return to the festival’s core values of freedom and fun in the sun. The shift in format back to a two-day, two-night even, coupled with over-18s vibes worked perfectly for both new and returning attendees, and it continues in 2013.

An inspired night of cutting edge bass music featuring Brookes Brothers (UK) and Bare (USA) goes down at Villa Nightclub, Friday 20 July. The drum’n’bass icons and Los Angeles dubstep heavyweight, respectively, are two artists that represent the best of what the future holds for the unstoppable bass music revolution. Support on the night from Killafoe, J Switch, Joust and MCs Xsessiv, Armee and Bear. Tix $30 plus BF via

new and game-breaking material. With their newest album Aufheben currently tickling the brains of fans worldwide, A Recordings have reissued two more of the Massacres’ great recent albums – 2008’s My Bloody Underground and ‘10s Who Killed Sgt. Pepper? We have TWO triple-packs of these CDs to give away, email au with “JONESY” in the subject header to win.

GIVEAWAYS If you managed to make it down to Metropolis Fremantle a few weeks ago and see them, then you’ll know that The Brian Jonestown Massacre are still kings of eclectic psych-experimental-poprock-whatever else, even after 20-odd years. Anton Newcombe’s rockout posse continues to pour out


We, in this wide brown land, are quite lucky to have such a quality music video program as Rage. And, while that iconic opening sequence may be getting a little aged, it’s due course to celebrate 25 years of the show, with the Rage Silver Jubilee 25 Years CD and DVD just released. There’s a veritable shitload of quality tracks from Rage’s history on the discs: Sinead O’Connor, Transvision Vamp, The Beastie Boys, Pulp, R.E.M and many, many more pop up in either audio or video form. Email giveaways@ with “RAGE ON” in the subject header for your chance to win one of FIVE COPIES. Jackson 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

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


Matt Davis, Nick Hopkins


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,

Hailing from Geelong and originally New Zealand, Bonniwells play garage songs about religion, bad health, solidarity and girls. They combine a marriage of drums, guitar and bass and occasionally a second guitar. Bonniwells bring their cracking live shows to Perth for the first time ever and will perform Friday 24 August at The Velvet Lounge with Frozen Ocean and SMRTS; Saturday 25 at Dada Records with Ermine Coat and Painkillers; and Sunday 26 at Mojo’s with the High Learys, The Shakeys and Hurricane Fighter Plane.

WHERE THERE’S FIRE With a renowned live set, Alex Smoke returns to Australia this July for a not-to-be-missed tour. He’s hungry to explore new electronic ground and prefers never to trace his careful steps. While his music may reside on the dancefloor along with his renowned live sets, it also resonates so much further than this. He stops over in Perth for one show only, playing Geisha, Saturday 7 July with support from Flex, Darren J and Luke Who?. Doors open at 9pm and the party continues until 5am. $15 entry. PO Box 507 Mount Lawley 6929 Phone (08) 9228 9655 General Editorial Arts/Film Editorial Club/Dance Editorial Gig Guide Live Editorial Advertising Sales Accounts/Administration Artroom Distribution Office hours 9am to 6pm Mon to Fri.


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Controversy is something that never seems to leave Billy Corgan’s side. The often outspoken alt.rock legend has had to face up to that fact, and Cam Findlay learns just what it means to be the one remaining element of The Smashing Pumpkins and, in a way, the 90’s alternative music scene as a whole.


ll piss on Radiohead.” So goes the headline published last week in NME, which quickly made it’s way around the world in terrifying rapidity. And of course it did; Billy Corgan has become one of the most outspoken musicians of the last 25 years. Every little quote said by the Smashing Pumpkins frontman and effective centre has been constantly published to the extent that the myth belies the man. Billy Corgan – the media personality – has become the go-to resource for all information regarding The Smashing Pumpkins, even to the extent that his music is largely ignored, in many respects. Which is a shame, because since becoming big with the original incarnation of the Pumpkins, all Billy Corgan has strived to do, in his own words, is be honest. Corgan is in the middle of press duties in support of his new album, Oceania, when Drum catches up with him. “It’s crazy busy at the moment,” he begins in a casually friendly tone. “I’ve been overwhelmed, honestly. It’s the good kind of busy, because the response to the album has been so positive. I’ve been under a lot of demand, but in between all of that I’m still trying to rehearse with the band and take care of my dogs,” he laughs. “You know, I’ve still got a life going on in between trying to rebuild some kind of public image.” And that public image has once again taken centre stage in Corgan’s life as he prepares to launch Oceania and once again tour the world. Whilst he’s been working on his epic Teagarden By Kaleidyskope project in recent times, he’s been quietly releasing singles online, and has not garnered a huge amount of attention. Oceania is set to change that. “It’s probably my biggest album in 15 or 20 years,” he admits. “I don’t think it would have existed without me taking Teargarden on because the process of doing one song at a time allowed us to guage either the ambivalence or interest of our audience. I would put out a song, and not necessarily think it was the greatest thing I’ve ever written. But I would see fans destroy it because it wasn’t what they wanted. The whole project has allowed me to understand the psychological nature of our audience in a way that an album doesn’t.”

It is that nature that has seen Billy Corgan constantly reacting to the pressures of the music industry and media. It’s something that has gradually changed for him during his career, thanks in particular to the challenge of fronting two completely different versions of The Smashing Pumpkins. “It’s a little bit like apples and oranges,” he contemplates when asked how his current work differs from the band that put out albums like Siamese Dream and Mellon Collie And The Infinite Sadness. “Beyond the obvious thing of working with different people, there are different objectives and different cultural pressures now. The simplest way to answer the question would be that I feel that the original version of the Smashing Pumpkins was the right band for the time, and this band is the right band for this time. I don’t think this band could’ve done what the old band did back in the day, and the old band couldn’t have done what the new band’s doing today. “[The old band] was going for years, and I would’ve preferred that we stayed together, because I think that’s something that happens with any long-term relationship,” he admits. “But the relationship really started falling apart in the mid-‘90s, so whenever people talk about the old band, from my perspective… I mean, I haven’t been in that band for about 16, 17 years. It was a great time, we made a lot of great music, and I honestly really appreciate that people are still so interested in that. It makes me proud and I’m glad that we worked hard to make strong records that can still hold up to modern ears.” That being said, Corgan has always maintained the notion that music should not be compared to it’s past, and that he will keep following his path despite any criticism. “I really love the situation I’m in now, I love the music we’re making, and I think that’s ultimately all that matters at the end of the day,” he continues. “What existed of the old band, whether it’s on video or CD or whatever, there’s plenty there to explore while I’m still having a completely different experience today. So I don’t think one thing negates the other in any way.” The attribute of longevity, as expressed by Corgan himself and those that would pay attention to his work,

has played a large part in his life and has come under fire numerous times. Following the very public breakup up of the original Pumpkins in 2000, Corgan went on to form the short-lived Zwan, which was almost unanimously panned by the media. For a while, he was largely forgotten by the public, until 2005 when he posted an ad in Chicago’s Tribune and Sun-Times, admitting that he wanted his band back. And so followed Corgan’s return, a process that was surely due to his tenacity. “Well, I think the root of that is that my father was a musician,” Corgan tells when asked what’s kept him going for so long. “I think if I hadn’t of had that growing up, I might’ve had a different view of music and what it means to be a musician. My father had a very particular set of opinions on how a musician should think and how they should live. I think that sort of guided me through the ups and the downs, which of course are inevitable in any kind of career. I think at the centre of my philosophical direction is that a sense that I’m a musician first and everything else second. “In the world I grew up in – working-class Chicago – you took pride in your work, and you deserved a good wage, and you deserved to be recognised for doing a good job,” he argues. “There was no shame in being a skilled carpenter or something. I had an uncle who worked on the Sears Tower, which at the time was the highest building in the world. He got paid some crazy amount of money per hour because he was willing to walk on a steel beam a mile up in the air,” he states, before bringing the conversation back to the current state of the industry. “You find you get caught in between these two worlds which really don’t care about music as much as they care about how to portray music. If you’re just a musician, it’s not any different to the guy who plays his guitar in the street and puts his hat in front of you. If you want to give him some money, great; if you don’t, then you just walk on by. Somehow, it’s been twisted around so that’s now a bad thing.” So, with such an opposed view of the music industry as a whole, one could assume that Corgan is as willing as anyone to

As mentioned in the main story, Oceania slots, effectively as a “record within a record”, into the ongoing Teargarden By Kaleidyskope project, which Corgan and co. have been working on since 2009. Teargarden is a chancy undertaking in a long history of chancy undertakings for Corgan, but with it he set out to break down the conventional idea of an album cycle. In interviews conducted while he was starting the project, Corgan repeated the fact that he was “done with albums”. “It’s a new kind of album... you can hear while it’s being made,” he told shockhound. com in December ‘09. Based on the Tarot, Corgan is constructing the project on a long and varied concept of psychological and spiritual theories. The project is being recorded on a mix of analog tape and Pro Tools, with production duties handled by Corgan, Kerry Brown and Bjorn Thorsrud, both veterans of earlier Pumpkins recordings. The main idea behind Teargarden, in Corgan’s own words, is to, “release one song at a time, over a period of 2 to 3 years, with it all adding up to a box set or album of sorts that would also include an art movie of the album... My thinking is that if I focus on one song at a time I would approach them as beautiful, distinct paintings that would each require the attention they deserve. This would also mean I would choose what I am recording quite carefully as there would be tremendous internal pressure to get it just right, and that is the kind of pressure I like, which is to make the most beautiful thing possible.” Whether Teargarden By Kaleidyskope will be as beautiful as Billy Corgan hopes will be a matter of time, but there’s no doubt that it’s a novel and momentous undertaking. separate himself from the constant cycle of marketing and media coverage. In fact, he admits that it is a necessary part of his career. “I think at the end of the day, you still have to figure it out, because the world is moving too fast,” he considers. “You can do something of incredible quality, but if you don’t figure out how to interface with the mainstream system on some level, it’s just going to blow right past you. It’s not personal; it’s not like somebody’s ignoring you on purpose. There’s just too much going on. “I think the new buzzword for the music business would be ‘marketing’. Which is code for, ‘How do we get people to know that this exists and create a situation where they might be interested in buying it, without spending a whole lot of money?’” Corgan laughs. “So what do most people do? They do dumb shit; they create headlines. They light themselves on fire, they run down the street naked, they pull down their pants at a concert. Anything to get a headline so people can read it or click on it. I feel like I’m one of the few people willing to stand up in the middle of it and say that it’s all full of shit. And, of course, what do they do? They don’t attack my ideas, they attack me. They attack my crooked teeth or whatever. They can’t actually attack my ideas, because I’ve been around long enough to know the difference. “All that negativism doesn’t have a point. It’s like walking down a street, and a girl walks by you who’s 20 pounds overweight, and you go, ‘Oh, you fat cunt’. You just learn to ignore it.” WHO: The Smashing Pumpkins WHAT: Oceania (EMI) WHEN & WHERE: Thursday 26 July, Challenge Stadium

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Cowboys & Indie Kids DJ Set in the beer garden Wednesdays from 7:30pm cnr angove & fitzgerald , north perth 8 • THE DRUM MEDIA



OMITTED FOR CLARITY We Keep The Beat Found The Sound See The Need Start The Heart might be a frontrunner for the year’s longest album title (and that’s not even with the second stanza Boulet wanted to include: You Dropped The Lot Lost The Plot Kill The Will Die Inside) but it is by no means the height of thorough elucidation, and Boulet’s actually good at what he does. Here’s a few doozies, with the caveat addendum that, if we were to publish the full titles, we wouldn’t have any more room in the magazine. T. REX: My People Were Fair and Had Sky in Their Hair... But Now They’re Content to Wear Stars on Their Brows This title barely covers the weirdness that Mark Bolan typically brought into its recording. John Peel + Inca-themed fairytales = wtf? Word count: 20

Three years since his self-titled debut, Jonathan Boulet has returned with an album that has a title too long for this intro. He chats to Troy Mutton about it, being back in his parent’s garage and another of his bands, Snakeface. e Keep The Beat, Found The Sound, See The Need, Start The Heart. That’s the title of Sydney folk-pop-rocker Jonathan Boulet’s follow-up to his much lauded self-titled debut. The story behind it isn’t the most exciting – it’s simply an old song lyric Boulet had written a long time ago that stuck – but the album itself is. Chanting choirs, rumbling percussion, driving, rhythmic basslines, and soaring harmonies abound on album that, above all else, bursts with energy.


“For me, I like the word energy,” begins a lackadaisical Boulet at home, getting back into the swing of album promo. “Definitely musically a lot of it sounds happy, but for me the songs are about other things. They’re

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not all about having a good time; they’ve got different messages to them. I think through that kind of music, I’m just trying to get as much energy out as I can. So that’s what we’re trying to do live. We just try and make it loud and full-on for people to get into it.” It has been a few years since Boulet burst onto the scene – backed by ‘Aus heavyweight record label Modular – with a debut album adored by many, and famously put together almost entirely by Boulet within the surrounds of his parent’s garage. For album number two, the setting remains the same. “Yeah, it was the same thing again. I was trying to move and then it was like, ‘Well I need to do the second record, so maybe I’ll just do this first really quick and then I’ll move out’, so it was still in the garage. I just got some extra gear this time around and just went for it,” he tells, going on to explain it’s a process he’ll probably keep coming back to. “It’s so different, you get a lot more time. When you’re in a studio you’re paying by the hour, and there’s a pressure there that you have to get it done and get everything finished. Doing it yourself means you can just take your time and if you’re not feeling like it you can come back the next week and try something else. It just allows for a lot of experimentation and it also costs a lot less. And it helps to learn. I’ve learnt a lot about sound, and that translates a lot to live shows and just how to mix bands. It’s a good learning experience.” The album itself didn’t actually take that long to get together, it was just a matter of finding time between touring and playing with other bands. “It was kinda 10 • THE DRUM MEDIA

after the first one and some touring that I just started to think of some ideas and put some stuff together. I went through a big list of songs and demo’d a bunch of stuff and then I’d listen to it the next day and go, ‘Ahh, this sucks’. And I kept trying to push it and get it better and better. Over a period of six months we were writing it and recorded it early last year, and it was done then.” As for highlights over the recording process, one in particular stands out for Boulet. “We just got the band and all their friends [together] and it was really fun doing [the chanting parts]. We had everyone in the room trying to scream out these vocals and trying to read it off the whiteboard with really dodgily scrawled-on lyrics and one pair of headphones, so everyone had to lean in to this one pair so they could hear where the beat was. It was really weird.” Given that the album has been ready to go for a while now, the actual adding of many of the songs into the Jonathan Boulet live shows has already taken place, although it’s still a constant process that can sometimes end not so well. “The new ones that we have been playing we’ve been getting a lot more comfortable with now. There’s still a couple on there that we haven’t tried yet. There’ll be a point in the shows where we start trying the new ones and it’ll be like the set will be going great, then we’ll try a new one and the set will just

doing stuff. It’d be great to be able to do it more, we’re just not sure when we can get together.” The enthusiasm in his voice when talking Snakeface is easily explained by the fact that it’s an outlet for him to explore the heavier sounds that he enjoys; ones that, while not as explicitly on display in his own works, are definitely there. “Yeah, it’s perfect. It’s just good to have that difference and variation. “And it’s definitely affecting the solo stuff as well. I’m trying to get certain vibes that you can only get in those shows and that you can’t get anywhere. So it’s like a challenge. Like, I wanna get this sound with our gay pop music,” he laughs. “There’s a lot of characteristics that I’m trying to get over [into Jonathan Boulet] as much as I can.” Boulet has developed a rather unique sound, first with his debut, and it’s now been extended further with We Keep The Beat... This scribe was curious to see where he feels Jonathan Boulet fits on the Australian musical landscape. “I dunno, I’m not sure…” he pauses to consider. “I’d like to fit in the music part,” he jests, clarifying: “There’s a lot of people that are in bands and they’re not playing music, you know, they’re just playing somethin’ else; they’re playing someone else’s music, and I’d love to be one of those bands that’s just playing


die,” he laughs. “But we’ll figure it out. There’s always a period where it’s not gonna sound that great, so we’ve just gotta get that out of the way as quick as possible.” While it’s fairly common knowledge that Boulet is a part of Sydney indie-rockers Parades, he also rocks the bass guitar in another Sydney outfit, Snakeface, whose name pretty much sums up their sound. The power-violence punks just released an album called Oberon, and all has been going swimmingly – when they can get together to play. “Yeah, lately we just put out a record and played a bunch of shows, which was the most fun ever. We had a really good time and a really good response from crowds,” Boulet enthuses. “With that band you’re not sure when you can get everyone together, everyone’s got jobs and always

their own music, you know? They’re not like, ‘Oh, that’s just this band again’. I like to be our own band.” And has he achieved that? “Maybe. It’s hard to judge because I’m so close to it. But I hope so, I’m trying as hard as I can. And at the same time it doesn’t matter, as long as I’m doing music I wanna do.” So far, so good. WHO: Jonathan Boulet WHAT: We Keep The Beat, Found The Sound, See The Need, Start The Heart (Modular/Universal) WHEN & WHERE: Saturday 7 July, Amplifier

YOUTHMOVIE SOUNDTRACK STRATEGIES: Hurrah! Another Year, Surely This One Will Be Better Than the Last… Proving that overexcited elongation shouldn’t just be limited to album titles (seriously, check out their back catalogue), this British post-rock – duh – act throw out a six minute-long song… as their shortest on the album. Word count: 23. FIONA APPLE: When The Pawn Hits The Conflicts He Thinks Like A King… Probably the one you all know about, the title was an infamous reaction to bad press Apple received for her first album. She went on to maintain her haughty aloofness, and not many shits were given. Word count: 90. CHUMBAWAMBA: The Boy Bands Have Won, And All The Copyists And The Tribute Bands… Aaaah, to be a socially aware anarchist. The go-to “rebel against the industry that gives us jobs” band of the ‘90s and noughties, Chumbawamba penned a politically-charged poem as a title, taking inspiration from Apple’s success with the same tactic, in the process confirming there’s a reason they’re only really known for Tubthumping. Word count: 156.


FUNK? SOUL? BROTHER… No longer interested in soul purists’ notions of good and bad, and with the help of some high-profile guest vocalists, The Bamboos are taking some big steps out of the funk/soul pigeonhole, band leader Lance Ferguson tells Liz Giuffre.


elbourne band The Bamboos regularly get rave live reviews and high profile screen soundtrack gigs (films such as Crazy Stupid Love, and TV shows Grey’s Anatomy, One Tree Hill, Ugly Betty and local fave Underbelly). But their niche is one that they don’t necessarily sit in happily. “The Bamboos’ music is what it is and, I’m not an idiot, when you put on the record you can hear a soul side, but I think there’s a different intention behind it, too,” begins The Bamboos’ bandleader (and ringleader) Lance Ferguson. “The soul kind of funk thing, as a label, as a pigeonhole, it seems like the hardest to escape from. Of course you can say someone’s a death metal band or whatever, but to me some of the great bands out there, my favourite bands, they don’t get those genre labels anymore, it’s just ‘That’s Foo Fighters’ or ‘That’s Radiohead’, or whatever. Now of course these are huge bands and I’m not saying we’re as big and as known as them, but I think it’s always good to aspire to whatever the best stuff is and the best standard is and to me, I aspire to having people just say, ‘That sounds like a Bamboos’ record’. I don’t want the band to be so genre driven; I just want us to be the band. I think this album [newbie, Medicine Man], as much as it’s got all these soul tracks on it, I think there’re a whole lot of other influences on it as well.” Ferguson doesn’t want to pay disrespect to the soul/ funk set (and indeed, he acknowledges how that scene has done him and his roster of The Bamboos well over the last five albums and decade), he is clear that it’s not all that he listens to. “When I write I don’t listen to funk and soul, I try to listen to other genres to get a different sound and while writing this time I was listening to a lot of psychedelic stuff, as well as just some ‘80s pop as well,” he says, conjuring up a curious idea for an iTunes playlist. “It’s not the genre so much, but more that the purists of soul and funk music are – and many of them are my friends so I feel I can say this – but they have a really strong set of criteria for what makes something good or bad or not and I guess I’m not interested in that criteria anymore. I really used to be, but now I just want the band to be what that is.” If you haven’t come across The Bamboos until now, it might be because they have recently got

their indie Aussie Rock Pig on. Most notably, their gigs with the likes of Megan Washington and Tim Rogers as guest vocalists have gotten them out of the soul/funk ‘hood, but also helped provide their fantastic guests with a chance to rock out without needing to worry about their own words. “Megan’s been with us twice… We did a track which was a cover version – a cover of James Blake’s Wilhelm Scream – and it’s obviously a gospel-ly, soul take on the tune. But I didn’t want to have the same type of vocal on it, the soul diva type thing. I didn’t think at first that Meg would be available because she was moving overseas, but it worked out. Then I also had another song – all the music, a melody, some lyrics and some chords there – and then Megan came in like a whirlwind, as she does, with John Castle who also produced the album with me. She showed up in a whirlwind two days before she went to New York and did the cover and then she also said, ‘What else have you got?’ And so we worked on this other song that became Eliza, also on Medicine Man. And it’s a fantastic way to work because it’s really quick. It’s like, ‘Let’s write lyrics right here on the mixing desk’.” As for getting The Bamboos down with Tim Rogers, Ferguson also led with a relatively organic, but speedy, approach. “I went to Tim with the song but kept the creative book open, saying, ‘Look, if you want to change any of this, feel free. It is a song, but it’s a starting point’. Because Tim is a legend, he’s a living legend of Aussie music, I’d been hanging out with him a bit, especially when we were touring with Megan with the Big Day Out and stuff and he’s a lovely, charming guy. And I feel a bit a weird to go to him and say, ‘Here’s my song, just do that’. I didn’t want to come off as arrogant, I really wanted his input. But he thought it was great and said it really suited the headspace he was in at the time and so he of course, as you say, ‘Tim Rogered’ it. We’d recorded it before he came into the studio and I’d demoed it up in a falsetto and I didn’t know how he’d do it, but it sounded best for him to put it in falsetto too and there’s something so special about his voice. People don’t always know it’s him, but it’s great, he is a soul man, really. And he really owned.”

Not counting indie rock vocalists on loan (as well as other guest vocalists on the album including Daniel Merriweather, Aloe Blacc, Bobby Flynn and Kylie Auldist), The Bamboos are currently a nine-piece touring troupe. It makes for a huge stage presence (and a logistical pain, no doubt). But it’s a size and sound that Ferguson continues to be excited about. “It is pretty massive. And that’s probably why we haven’t toured as much as we’d like to date, but hopefully with this record that will happen,” says Ferguson. “Having a horn section is the thing; that’s what blows the budget out. And we have an extra vocalist in the band now too – Ella Thompson – and I’ve recorded with her before and I think she covers the side of vocals that Megan does and she’s great; a really nice person to have in the band on a personal level as well. If nothing else, it’s great to have another girl in the band. Kylie [Auldist] is there as well, but she’s tougher than some of the blokes, so two girls on the stage, it’s great,” Ferguson says. Indeed, The Bamboos are becoming their own law, however they do remain a united front with a clear

leader. It’s a role Ferguson takes purposefully and practically, but also one he does for the good of the collective. “The Bamboos as a band have tried writing a song together in a studio and that sort of thing can work and can be done, particularly if you have a fourpiece. But with numbers like ours, it can get pretty weird being pulled eight or nine ways. It’s not that it’s my way or the highway, but I think that if someone has a clear vision then at least we have a place to start and work from there.” The “from there” is Ferguson’s want to keep it fresh. “It would be the easiest thing in the world for this album to just rehash what we’ve done in the past and do festivals and have that be it, but I feel like every album has to be a progression and I feel like I have to get in and be excited by the music. That sounds obvious, but I think the music has to keep advancing and I guess that’s it – we keep advancing it.” WHO The Bamboos WHEN & WHERE: Friday 6 July, The Bakery

SYNTHETIC DREAMS Classically trained trumpeter turned Metric axeman Jimmy Shaw believes “a very integral part of the rock’n’roll experience” is when the onstage action “seems unhinged and on the edge of collapse at all times”. Bryget Chrisfield braces herself.


ow that Metric’s latest Synthetica set has landed, Jimmy Shaw, the band’s guitarist (who also plays synth and theremin), acknowledges that regulating the quality of material shared via YouTube and social networking sites is challenging. “People want you to put out music all the time and you have to have something to say on Twitter ten times a day, and photographs on Instagram, and updates on Facebook and, I mean, it’s like you have to constantly supply the world with as much information as you can,” he opines. “And sometimes there just isn’t that much happening, you know? It’s like: there’s only so many lobbies of hotels I could photograph without it becoming extremely boring… A lot of the mystery is gone, so the more that you can play little games and create whatever sort of mystery you can, the better.” Since the album’s lead single is called Youth Without Youth, Shaw is asked to reflect on his formative years. The multi-instrumentalist chuckles and then offers, “Put it this way, if you’d seen my report card it would’ve looked something like this: music 99 and then a series of 51s after that.” We’re tipping Physical Education would have been one of the “51s”. “Absolutely! Pool – you know, swimming – was one of the classics and I just refused to do it. I was a really, really skinny little kid and I just didn’t wanna get in a bathing suit and get in this gross pool with, you know, 2,000 other kids: it was nasty to me. So I just refused to go in the pool. I didn’t swim once the entire time I was in high school and they used to hate me for that. Every single week it’s like, ‘Up to the principal’s office.’ I spent a lot of time in the principal’s office. But usually the music teacher would come and rescue me and go, ‘No, you can’t get this kid in trouble, he’s the star music student and we need ‘im’.” Shaw started his musical life as a classical trumpet player, attending “a school in Philadelphia called Curtis” and then “The Juilliard Institute in New York”. “When I was 12 and 13, I was playing in a brass quintet and I played at probably about 120 concerts in the two years and I travelled all over North America. I went on a two-week tour of Japan,” he elaborates, as if it’s nothing. Shaw then wound up playing in the New York Philharmonic at an age he admits was exceptionally young for such an 12 • THE DRUM MEDIA

achievement. “But by the time I was kind of 19 or 20, I realised that it was not my calling at all,” he reveals. “I didn’t wanna be part of that and I found the classical music world very uptight and stuffy, and you just sort of play the same pieces of music over and over and over again for the next 50 years. It just wasn’t the life for me. I needed more artistic freedom than that. That’s when I started listening to records and I sold a lot of my trumpets when I was at Juilliard and bought an eight-track, and a guitar and synthesiser, and started making pop music.” On how this classical training aided or impeded his transition into rock’n’roll, Shaw reflects, “I’ve definitely had to unlearn some things in the process, you know, because rock’n’roll isn’t about being right: a lot of the time it’s actually about being wrong and it working anyway. It’s way more about attitude than it is about playing the right note and, as a guitar player especially, I really had to learn that aspect of playing. When we first started touring I was a very safe guitar player and Josh [Winstead, bass] and Joules [Scott-Key, drums/ percussion] in the band used to say to me all the time, they’re like, ‘Dude, you need to unhinge a little bit. Like, go crazy!’ And I remember when we were playing shitty little punk bars and whisky-fuelled, really down and dirty rock’n’roll, man, when I first started playing guitar solos like that, I used to think it was the worst thing, like, ‘Jesus, that was absolutely horrible!’ And the two of them would always come backstage afterwards and go, ‘That was amazing, do that again!’ So I definitely had to learn the other aspect of making music with an attitude as opposed to just being correct.” Describing the distinction between listening to recorded material and the live gig experience, Shaw shares, “It’s like the difference between reading a screenplay and watching a movie itself”. “When I go see a concert I wanna see something transpire, you know, I wanna see something happen: I don’t wanna just see the person play the record, I wanna see an event… I think it’s up to the artist to make sure that the live experience is its own thing completely.” Metric ensure every performance is unique and gratifying by including “a couple of pieces of music within a live set that [they] would never, ever, ever

play the same twice”. “For years it was the two songs Dead Disco and Empty – I don’t think I’ve ever played the same guitar solo ever, not even close to the same thing. And sometimes the solo happens in a different place; sometimes it goes on forever, sometimes it doesn’t. Back in the earlier days we were definitely really, really into doing that, you know? A couple of years ago I was just sort of browsing through YouTube and I found this version of Dead Disco that we played at the Great American Music Hall in San Francisco – which is the amazing, legendary venue – and this version was 26-minutes long. And Emily [Haines, frontvixen] is ranting and flying up and down the stage. I mean, it’s not as though we don’t do it anymore, you know? But there were a few years there in the middle where we were just totally overindulging in the idea of freeform improvisation within a rock’n’roll show and, in a way, I think it’s what we became known for as a live act a little bit, ‘You never really know what’s gonna happen’.” Haines has “tamed down a little bit” now, according to Shaw, “because she used to jump off 20-foot speaker stacks and crowd-surf and she’s torn down barricades and done some crazy shit in

her time”. “But all that was in the pursuit of this transcendental experience. And the whole thing just sort of seems unhinged and on the edge of collapse at all times. To us that’s very exciting: that’s a very integral part of the rock’n’roll experience.” These moments of visceral connection can certainly be felt from the crowd and it’s what makes live music such a rewarding communal experience. “Oh, absolutely, “ Shaw enthuses. “It’s really only those concerts where every single person in the room – the four members in the band and every single audience member – are truly connected that it really spirals up and transcends. If the audience is not really there then the band’s not really gonna be there either. I mean, it’s a conversation between the stage and the audience every single night, and it’s when that conversation is fluid and you’re communicating with each other that it really has the ability to just blow everyone’s minds, us included.” WHO: Metric WHAT: Synthetica (Create/Control)



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.

My Brothers A beautiful new feature following three brothers on their quest to recapture one of their father’s favourite moments. Presented by Boheme.

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.

The Color Wheel Voted the #1 Best Undistributed Movie of 2011 by the Village Voice & Indiewire. Follow brother and sister as they argue, ďŹ ght and give each other the shots across America.

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.

The Interrupters Steve (Hoop Dreams) James and Alex (There Are No Children Here) Kotlowitz’s powerful documentary of violence and redemption in Chicago’s mean streets.

Vigilante Vigilante: The Battle for Expression Anti-grafďŹ ti activists ďŹ ght back in the battle to clean up neighbourhoods across America with a paintbrush and all manner of twisted logic. Presented by Drum.

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LOGISTICAL CHANGES On his new album Logistics might have shaken things up, but there is nothing to fear, as Jason Kenny discovers.


or the best part of a decade, Logistics has consistently put out some of the most acclaimed soul-influenced d’n’b records you’ll find. And he’s been prolific, too. Since signing with the label only eight years ago, Logistics has been racking up a string of well-received records and well over a hundred tracks. It’s quite a sizeable back catalogue. “To be honest, I try not to think like that,” he says. “I’ve made a lot of music since I started so I’ve definitely got quite a big catalogue of tracks, but for me the real challenge is trying to make something that stands the test of time. I’m always most excited about the new tunes that I have on the go.” That discography certainly has its share of standout tracks. But Logistics got restless. And so Fear Not is something of a departure from the previous Logistics releases. The album’s title is a little message to fans who might have worried he’d stray too far. “I think it’s quite important to have a unique sound as a producer,” Gresham says. “So in that respect trademark production techniques are quite necessary to achieve that. Having said that, there is definitely a fine line between having a distinctive sound and repeating the same idea over and over again.” There’s a move away from samples to the level where everything you hear on the record, even if it sounds like a sample, was created from scratch by Gresham in the studio. It was a change in the studio that pushed the Logistics down the Fear Not path. “I think that one of the main factors was changing my studio setup,” he says. “I went from working on a PC using the Reason software to using a Mac with lots of hardware synths, compressors, effects units, etcetera. Changing my studio set up instantly had a change on my sound and I immediately felt really inspired with the new way of working. I’m really pleased with how the album sounds. For me it’s the most satisfied I’ve been with an album so far.” And rightly so. The early reviews are calling it nothing short of a masterpiece. Not that Gresham takes much notice. “That’s always great to hear

good feedback and it’s really nice to know that other people are enjoying it,” he admits. “I’m quite a perfectionist when it comes to my music and I’m always looking ahead to the next track, so I try not to take too much notice of reviews if I can. For me making music has always been more of personal challenge rather than trying to keep the listeners happy. Maybe that sounds a bit weird or selfish but it’s just the way I’ve always worked.” Gresham’s early years were spent listening to guitar bands like Rage Against The Machine before he caught the d’n’b bug. He wasn’t one instantly taken by the dance music path like his brother, fellow Hospital Records artist Nu:tone. Soon enough, Gresham adopted the Logistics name and signed with Hospital to deliver what label founder Tony Coleman aka London Elektricity at the time labeled the most anticipated debut in the label’s history. Perhaps that guitar band background is somewhat responsible for the Logistics approach; perhaps it has some influence on how Gresham approached the studio this time around.


“I’ve always enjoyed the creative aspect of making music much more than the technical side of things,” he says, “so writing the tracks was really, really enjoyable, the mixing side of things felt a bit more like work!” It was that writing approach that also left Fear Not more of a cohesive and structured album of music in Gresham’s mind. “The album was pretty much written start to finish and there were very few tracks

left over. In the past I’ve always had tonnes of ideas or song sketches that didn’t make it. I feel like it’s a bit more direct than my previous albums, which are definitely more like a collection of works. The album is not too dissimilar to the way I structure my DJ sets, although I tend to play a few harder tunes in my sets.” Gresham’s background isn’t all musical. He was studying graphic design when he decided to tackle d’n’b full time. His father was involved in the screen-printing business and it’s that background that’s reflected in the artwork on Fear Not. It’s not only a nice design to look at on a 12”, it’s also been adapted for a special edition Rubik’s cube. Gresham’s skills on the cube are not comparable to his skills on the decks. “I’ve never actually managed to do one!” he confesses. “I guess I should probably figure out how to complete one at some point.” Like a discarded, half-finished Rubik’s cube, the Logistics musical palate is mixed, diverse and colourful. There are a few other artist releases that he’s hanging out for later this year. “I’m really excited to hear the new Sub Focus album,” he shares. “I’m also really keen to hear some new Breakage tracks, his music never disappoints for me. I read recently that

Daft Punk have been working with Nile Rodgers from Chic and Giorgio Moroder. So if that actually happens I’m sure that’ll also be a real milestone for dance music.” For the rest of the year, Logistics is on the road, spreading the Fear Not word to the good people in the clubs and festivals. Europe and the UK have already seen the album live since it was released in April. Now all things Logistics comes to the southern hemisphere. “So far this year I’ve just been touring lots of Europe and the UK,” he says. “For the rest of the year I’m obviously really looking forward to playing in Australia and New Zealand and I’m also doing a mini-tour of South Africa for the first time later in the year, which I’m really excited about.” With so much more time booked on the road for the rest of the year, it might give Gresham a chance at finishing his own Rubik’s cube. WHO: Logistics WHAT: Fear Not (Hospital) WHEN & WHERE: Friday 6 July, Shape Bar

FINDING THE SWAMP “I haven’t done jack shit yet!” says 73-year-old Lil’ Band O’ Gold saxophonist Dickie Landry. The man who has played with everyone from Phillip Glass to Bob Dylan to Talking Heads tells Dan Condon why he’s let Louisianan swamp pop into his heart.


ow can I help you sir?” saxophonist Dickie Landry asks sharply after the most minimal of pleasantries are exchanged, mere seconds into our conversation. He’s in his loft apartment in downtown Lafayette, Louisiana, an area he refers to as DisGraceland.

“It’s not over yet! It’s not over yet! Like Dylan said in an interview some time back, I woke up one morning in Switzerland and realised I couldn’t play anything and I realised it was a little bit too early for me to retire because I haven’t done anything yet. That’s how I feel; I haven’t done jack shit yet!”

Landry is a vital piece of the unique tapestry that makes up Louisianan swamp pop group Lil’ Band O’ Gold. He, by all reckoning, is a terrible choice for a band that plays the kind of music that this band plays, in fact, he’s never even really liked it.

But there aren’t too many other musical styles he feels he needs to tackle.

“Not at all, I was into jazz,” he says of his musical upbringing. “I never listened to swamp pop in the early days, I didn’t listen to Cajun music. I started listening to classical music and jazz in the ninth grade, swamp pop and Cajun music was like a lower class music as far as I was concerned, I had no interest in it at all. Nothing. Yet here I am 40 years later playing with a great swamp pop band. “I left Louisiana 40 years ago not to play this music. I went through jazz – you know, Charlie Parker, Ornette Coleman, Coltrane to Stravinski, Bach, Beethoven… but this band is fun and it’s a great band. If it would be boring I wouldn’t be here. And if Warren [Storm] wasn’t playing drums then I wouldn’t be playing in the band.” Landry’s story is a fascinating one; he was on probation for a number of years in the mid-‘50s for growing pot, but as soon as he could ditch town, he did, seeking the bright lights of New York City where he hooked up with the legendary Phillip Glass and played in his ensemble for a number of years. “Once I left Louisiana I didn’t look back,” he recalls. “I went to New York and fell into the Phillip Glass thing and the art world and Louisiana music was the furtherest thing from my mind. I was finally in the place where I wanted to be, [playing] the music I wanted to play and liked to play. I was very involved in the art world and with the Phillip Glass Ensemble; it was what I wanted to do.” When asking questions about Landry’s past achievements, he’s very firm in saying he’s by no means hanging up his horn any time soon. 14 • THE DRUM MEDIA

“I already play punk, zydeco, rock’n’roll, reggae, classical… what else is there? I don’t play Cajun music, I just don’t, that’s the only music I don’t play. I’d love to do some work with the Indigenous people in Australia, with didgeridoos and all that kinda stuff.” Landry’s work in the jazz and avant-garde worlds didn’t exactly prepare him well for the swamp pop of Lil’ Band O’ Gold, but he adapted quickly. “I had to learn how to do my solo, how to do a 30 second solo instead of an hour solo,” he says. “That took me a while, but I’m a fast learner. But it was easy, the other saxophone player Pat Breaux is a good friend of mine and I know he’s a great saxophone player and everyone in the band, it’s not like you have to teach anyone anything. Everybody knows what they’ve got to do, there’s no slouching, no bad notes, it’s all good.” Besides his incredible musical aptitude, Landry played a large part in getting the band to form. The band’s younger guns CC Adcock and Steve Riley wanted to start a swamp pop band with the legendary Warren Storm, one of the kings of the genre, on drums. Storm, who’s now 75, sought Landry’s advice. “Warren came up to me and said, ‘Are you gonna be in the band?’ and I said I probably would, so he said, ‘Well, if you’re in the band then I’m in the band.’” The respect each member of the band has for Storm is obvious when Landry speaks; they clearly see playing alongside this musician as a real privilege. “Most of us [play music] for money but sometimes the money’s not so great with this band. But playing with Warren Storm and all the great musicians… it’s an all-star band.

“You have to understand that the first time we went [to Australia] we had no idea what to expect, but after the concerts, people were lined up – not one or two, a dozen or more – waiting with albums and photographs of Warren Storm, they know their history of South Louisiana music very well. It’s interesting. Warren has said he’ll have to bring more photographs to sign.” The band return to Australia with a new record on the shelves; Plays Fats is, as it says on the label, 13 Fats Domino songs covered by Lil’ Band O’ Gold in truly stellar fashion. When asked how the idea to make this record came about, Landry says it was simply natural. “We’re all admirers of Fats Domino, I used to steal my mom’s car when I was 14 or 15 and drive to the local nightclub about ten kilometers away and listen to Fats Domino. Of course I was too young to get into the club but I was behind the club behind the back door listening,” he recalls. “We have a connection through Bobby Charles to Fats Domino and we’ve always admired his music and it was natural for a band like

this to cover Fats, it was a natural thing to do. We grew up with these songs; they’re like nursery rhymes for us.” As far as their return performances go, Landry is cooking up something special. Literally. “I’m trying to put together some kind of cooking thing at one of the venues; meet, greet and eat,” he says. “I don’t know where or when but I’m sure that word will get out. I’m a great cook and I love to cook.” As far as the future goes, Landry says it’s just too hard to plan ahead with a band of their size and with members as in demand as they are. “With this band, everybody’s got their own schedule,” he says. “Putting shows together for this band is a nightmare, so you’ll be one of the lucky ones to see us live. Y’all are very lucky. And y’all get to see Warren Storm. He’s the man.” WHO: Lil’ Band O’ Gold WHAT: Plays Fats (Dust Devil/EMI)

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

Cannabis messes with your mind. Quit Now. HADP1156C

THE DRUM MEDIA â&#x20AC;˘ 15



Ready to take their tilt at the top, Luke Butcher talks Swedes, breakdowns and divorce with Buried In Verona’s Brett Anderson ahead of their 25-date national tour.


ydney’s Buried In Verona have come a long way with the release of their third full length Notorious – not only did they return to Sweden to record with acclaimed producer Fredrik Nordstrom (In Flames, Opeth, Arch Enemy) but the six-piece made a pretty substantial change in their sound and replaced 50 percent of the band’s line-up, a change that lead singer Brett Anderson believes makes Notorious what it is. “It was almost needed, everyone in the band needed to be 100 percent.” Having your producers 100 percent on board proved to be an essential ingredient for the band as well, one the singer does not discount in its importance to the album’s quality. “We’ve become really good friends with Henrik [Udd, who works at Nordstrom’s recording studio, Studio Fredman] and Fredrik; really, really comfortable with them which helps us because we always get better performances out of ourselves.” Performances that apparently haven’t been appreciated by everyone as Anderson explains: “The general consensus is quite positive. We’re still quite heavy, but definitely a different feel to this album. I think some of the diehard metal fans have been a bit more negative cause maybe there’s not enough breakdowns or whatever.”

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Honouring a more cohesive form, the group has pushed towards a sound more akin to The Amity Affliction, Deez Nuts or some of the more reflective moments of Unwritten Law. Armed with a sense of belief that Australian heavy bands can make it on the international scene and having laid a deeply entrenched foundation through previous releases, relentless tours, supports and recognition from some of the biggest names in the game, it seems everything’s coming up Milhouse for B.I.V. When questioned on whether the band is ready to join the upper echelon of Australian heavy acts, Anderson is adamant: “We’ve always had the aspirations to go as big as we can take it, and there’s proof now that if you’re an Australian hardcore or whatever band, you can do it.”

Paul Matthews, bassist for Kiwi-cum-British four-piece I Am Giant, talks tackling the world with Benny Doyle on the eve of the band’s second headline tour for 2012. For B.I.V. turning towards more traditional vocals and song structures was not something the band took lightly, but an evolution they felt was needed. “We tried to go back to sort of a rock structure, something you can connect with. I think that connection is what makes you ‘their favourite’ band. That’s the biggest compliment anyone can give you,” confesses Anderson. What the band have removed in technicality or heaviness, has been replaced with emotion, the underlying element that manages to assimilate Notorious into the arresting product that it is. “We’ve had quite a massive change over the last six months and experienced a lot of different things. That helped a lot with the writing process because you can sort of base the song of an actual event; carry the emotion,” Anderson admits. Experiences none more traumatic that a phone call the frontman received late in 2011, “When we were in Sweden, New Year’s Eve, it wasn’t the best phone call from my sister, crying. I find out my parents we’re getting divorced and the family is breaking up.” So Anderson took the only plausible route in such a testing time, channeling what he was feeling into his music. Many other experiences have been addressed on Notorious, often in a not so eloquent way; see Maybe Next Time, a brutal track of extreme HC-style aggression directed at an anonymous foe. Lyrics such as “If I found you burning, I wouldn’t stop to piss on you,” bluntly smack the listener in the face. Anderson discusses the track: “There’s a lot of metaphors in there that one particular person will know exactly what I’m talking about, but I didn’t want to make that generalised too much, I really wanted to be pointing the finger. I think it turned out well.” If the old mantra is true and Buried In Verona would rather be at the bottom of a ladder they want to climb, then the top of one they don’t, Notorious should push them up a fair few rungs.

WHAT: Notorious (UNFD) WHEN & WHERE: Sunday 24 June, YMCA HQ (1pm), Amplifier (8pm)

The Happiness singer, who last gigged in Oz more than two years ago, hoped to reacquaint audiences with him – but how could we forget Sam Sparro? Nevertheless, Falson has maintained a low profile since 2008’s eponymous album, with its wonky electro-soul runaway smash Black And Gold. Now, after parting from Island Records, and restrategising, Falson has struck a worldwide deal with EMI Australia. Falson is known to regret his debut, but he learnt from the experience. “Yeah, I felt really rushed,” he affirms. “I felt sort of pressured into certain situations that I wasn’t entirely happy with. But it’s your first album, so you don’t have the clout to do anything else.” Falson spent his first ten years in Sydney. His dad, a muso and Christian minister, determined to move the family to Los Angeles. Falson sang in church (which conceivably accounts for his ‘Sparro’ nickname), once impressing Chaka Khan. Yet Falson felt estranged in glitzy California and, quitting church, then school, he returned to Sydney to stay with his grandparents. He eventually headed to London, revelling in its club culture – and coming out. In 2004 Falson flew back to LA. By now his father, responsible for the ‘bar-church’ phenomenon, was hosting warehouse parties – his ideal of an ultra-modern ministry – and here Falson, long experimenting with bedroom electronica, befriended producer Jesse Rogg. The soul boy penned the existentialist Black And Gold while holding down a coffee shop job, airing an EP on Rogg’s indie label. Soon Radio One DJs Pete Tong and Annie Mac were programming it. Falson found himself at the centre of a UK bidding war. The crossover kid signed to Island. BAG reached number two in the UK, Falson’s album going top five. The single was nominated for a Best Dance Recording Grammy. 16 • THE DRUM MEDIA

“At first, it was like, ‘Wow, we are here now, we are in the centre of it’,” Matthews reminisces. “Then it was more about how do we get stuck into the action and start doing the same thing. And it’s hard to make your presence felt because people are just being inundated with live music. Like our first gig in London, it was a pretty small gig, but on the same night we had Green Day playing in one place, and The Eagles playing in another place; there’s just so much choice, so it took a while to get used to.” It didn’t take the band long to make an impact though. In fact, the first song that the quartet wrote together was City Limits, one of the group’s most popular tracks. The soaring vocals of frontman Ed Martin, reminiscent of our own Ian Kenny, combined with crisp, on-point riffing which quickly grabbed the attention of the action sports community. It’s led to I Am Giant being featured on a slew of DVDs and the band receiving support from industry heavyweights.

unfortunately, it’s pretty hard when you are touring. But we go snowboarding when we get a chance, although there’s no amazing riding talent in our band.” Australian Forrester Savell (Karnivool, The Butterfly Effect) was behind the production work on their debut The Horrifying Truth, a move that Matthews acknowledges has helped them connect Down Under. “Oh yeah, definitely,” he agrees. “Australia’s almost like our second home because we recorded the album there and we worked with a very talented individual. There’s a lot of other bands that he’s done which people are familiar with, so I think it gives them a point of reference as to what we’re going to sound like. But again, it really comes down to the music doing the work.” And now, with The Horrifying Truth getting released in Europe and the US later this year, the real hard work has only just begun. “We just keep plugging this album and playing these songs, and as it gets released in more places we have to tour those places,” he says. “We’ve getting airplay on this massive Polish radio station called Eska Rock, so we’ve just started to see an influx of support from Poland. So we’ll get over there later on in the year and play some shows there. That’s the way that The Horrifying Truth has worked; it’s an introduction to our band, so we’ll just see how many places around the world we can make ourselves known.” WHO: I Am Giant WHAT: The Horrifying Truth (Sony) WHEN & WHERE: Thursday 28 June, Amplifier


Splitting from his first serious boyfriend, and the exaggerated sexuality and “corny” love songs of the late-’70s/early-’80s US dance scene, inspired the new album from LA-based Australian soul maestro Sam Sparro. By Cyclone.


Far from strangers to the stage though, the band have some serious notches on their straps, having done time with multiplatinum selling New Zealand acts Blindspott and Tadpole, as well as British 2-step icons The Artful Dodger. However, it didn’t make getting amongst it in the UK capital any easier.

“Quicksilver were interested in us which was great,” he admits. “They’re a really cool label and brand, and they’ve been supportive to snowboarding, surfing and skating so it was just a natural fit – we were more than happy to roll with that. Sheldon and I used to skateboard when we were younger; I don’t skate any more

WHO: Buried In Verona


am Sparro (born Samuel Falson) is primed for the comeback of the year with his opulent Return To Paradise, unveiling a new look best described as ‘Jay Gatsby hits the disco’. The Australian soulster, based in Los Angeles, recently performed showcases in Sydney and Melbourne. Falson also appeared at Mardi Gras, which, he enthuses, was “a riot”. “The crowds responded really well, considering they’d never heard most of those songs before, so it was really fun,” Falson recalls of the mini-tour.


ave you heard this one? Three Kiwi musicians set up home in London; the aim, to form a new band. They audition 150 potential frontmen, eventually stumbling across a British garage vocalist. He sings, they love it, they all jam happily ever after. Not funny? It’s not meant to be. It’s simply what led to the formation of I Am Giant, one of the hottest New Zealand rock prospects to rise in recent years.

While the storm that was (incorrectly) slated to erase our small town from existence rolls in, Cam Findlay talks to one half of Voltaire Twins, Jaymes Voltaire, about a much more metaphorical storm endured to reach success.

Between albums, Falson cut some ‘features’, notably on Basement Jaxx’s Feelings Gone. And he worked on music for other artists. Falson has writing credits for two songs on buddy Adam Lambert’s US number one Trespassing – one, Shady, also featuring Nile Rodgers. Return To Paradise is less conceptual than thematic. Falson, reteaming with Rogg, references the R’n’B, funk and disco of a “very specific point in time” – 1978 to 1984, the album’s title an allusion to Larry Levan’s feted New York club Paradise Garage. The music is live-oriented – and deliberately not overproduced. “What I’m fascinated about with that era is mostly American pop culture of that time, because there was so much happening in this country socially – you know, there was a huge melting-pot of races and sexual orientations, especially in places like NYC, Chicago and Detroit, and people really fighting for their freedom and their right to express their identity. But there was also an innocence about it and a romance. There was totally exaggerated sexuality in that area, too, but people were singing about love – I Feel Love, Donna Summer, Prince’s I Feel For You… Today those sentiments in pop music are so rare, they’re almost considered corny.” RTP is also a break-up album. (“That’s quite nostalgic as well!”) Falson’s split with his first serious boyfriend inspired the current single I Wish I Never Met You, Princely electroboogie. Adele has mined personal heartache – why not Falson? (The Tottenham soulstress had him support her in 2008 and actually covered BAG.) “It was really cathartic – I needed to write those songs, for my own sake.” But, Falson figures, if nothing else, the lyrics are nearly universally relatable. Still, soul-baring songs can be tricky. “I find that singing them every night is more challenging than I thought it would be,” he divulges. Play it again, Sam? WHO: Sam Sparro WHAT: Return To Paradise (EMI)


onducting an interview while sitting in your car might be awkward at the best of times, but it’s especially the case while watching the storm of the ages roll in. So it was when I sat behind the wheel to chat to Jaymes Voltaire, one half of Perth’s much-lauded electronic outfit Voltaire Twins. He seems completely relaxed, though – a sure sign that he’s happy with the current state of his music, and one that defies the ominous predilection of grey clouds.

orientated stuff than what was going around at the time. I remember our manager telling us heaps of times that she really struggled to get people to listen to us after a bit, because at first everyone was really enthusiastic about the Voltaire Twins because it was like, ‘We’re in this electro boom’. Then, when it was over, everyone was like, ‘Oh, Voltaire Twins are just like an electro band,’ so it was about nine months there where we really had to work really hard to try and get noticed.

It wasn’t always so sweet for the Voltaire Twins, though. Coming into the scene in 2008, when the new wave of electro reigned supreme, the then-duo of Jaymes and Tegan Voltaire rode that very specific wave to acclaim, only to see the whole movement collapse around them. “That whole electro thing really just helped us get up and running and really helped us catch some people’s attention and respect, but in my mind it probably didn’t really help us that much early on,” he begins. “The attention we received then was way, way before we were really ready to be doing the kind of stuff that we were doing at the time. I think we kind of got pulled in to it because that’s what really everyone else was listening to. We kind of got panicked.”

“We kind of had a semi-policy where when we booked gigs, and were offered gigs with electronic acts, we wouldn’t take them,” he continues. “We would only take gigs with, like, rock bands. It was definitely more of a challenge, and I know a lot of people really work hard for those ‘electro’ credentials, but I kind of think if we hadn’t been called into the electro thing to start with, we still would have had to do that anyway. We still would have had to justify our place.”

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Following their single D.I.L., the twins found themselves stuck between the demons of rapid success and ongoing critical appreciation, which led to almost a year of constant touring in order to hang on to the audience they had so quickly built. Thankfully, they were able to harness their sound and abilities and ride out the storm, something which Jaymes pins down to avoiding the genre classification of “electro” as much as they could. “Like, for my ears, the music that we make doesn’t really sound much like many other of the electro bands,” he argues. “We were always doing a lot more song-

Now that they have well and truly justified their place as a unique group, Jaymes, Tegan and bandmates Jack Doepel (synth, samples) and Matt Gio (drums) are completely willing to further their ideals of creating new and challenging music. Their upcoming EP, Apollo, is the next stepping-stone in the band’s development – which also includes a lauded spot at this year’s Bigsound Showcase in Brisbane – as Jaymes explains. “I think the writing process has changed a lot, in that when Tegan and I sat down to start writing it, we wanted to do something that sounded pretty different from the last EP. And we wanted to break away from some of our comfort zones, because I think we were starting to feel like… One of the things we felt about the last EP that we wanted to improve upon was having a bit more variety. We really tried to do something a bit more unpredictable.” WHO: Voltaire Twins WHAT: Apollo (Green/MGM) WHEN & WHERE: Saturday 23 June, The Bakery










Hear Some Evil Casa Del Diablo

TZU The Beginning Of The End Liberation This was not what I was expecting. TZU have always been the least tiresome of the Aussie hip-hop fraternity, mainly due to egos being checked and tongues planted firmly in cheeks. So returning after four years with a concept about time travelling and the end of the world via use of a drug called Chronos (they’ve produced a comic strip to help tell the tale) that ditches rapping for blokey chorus chanting is quite the surprise. The forthcoming album should shut up those bloody Hilltop Hoods once and for all!





Rise Above/Metal Blade

No ‘tricky second album’ here – Celebration Rock is a booze- and enthusiasm-powered rocket, flying the listener, lager in hand, to a pre-smoking-ban rock club populated by all their friends. You can almost feel the resistance of shoe upon sticky carpet.

If you have read anything about Daughn Gibson you’ll probably have noticed the excessive James Blake comparisons. Where Blake injected contemporary R&B into the pre-Skrillex dubstep scene, Gibson curates a collection of country noir torch ballads seeped in dubbed-out electronica by using ghostly song samples from old-weird America to provide the backbone of each song.

Celebration Rock (Special Edition)

Japandroids barrel out of the gate with The Nights Of Wine & Roses, a toast to living, drinking and smoking in the moment. Standout among standouts Younger Us pinpoints the moments we miss from a relationship’s beginning with disarming accuracy – “Remember that night you were already in bed/ Said fuck it, and got up to drink with me instead.” By the time Continuous Thunder rounds off the album’s original eight tracks, two things are obvious: Brian and David are two thirsty Canadians; and, like real androids (note: check androids are real), Japandroids are more than the sum of their parts. At some point in the genesis of the group, Brian King and David Prowse decided that adding a third member would be nothing short of indulgent, and forged ahead as a twosome. The eventual result was 2009’s critically acclaimed album Post Nothing. The less-is-more ethos unfortunately doesn’t extend to the track list on the Australia and New Zealand Special Edition of Celebration Rock, and there is a gaping fault-line between the album proper and the seven bonus tracks nailed on the end. They are too raw, and lack the charm and focus of the album proper. There’s no resenting a double measure though, especially as they’re only a postscript to what is an exceptional serving of punk on the rocks. Tom Birts

All Hell

Second Assault

So where James Blake’s self-titled debut LP sounds staunchly minimal, synthetic and avant-garde in terms of song composition, Gibson’s effort is much more straightforward and full. However, All Hell feels more experimental conceptually. Old American country already has a haunting quality, and Gibson adeptly uses studio wizardry to enhance the effect of the instruments already present; the steel string guitars warmly reverberate, the drums solemnly walk into the dead of night and Gibson’s formidable baritone sounds possessed with the commanding and reverent spirit of Johnny Cash.

Music doesn’t come out of Sweden in waves, it hits in avalanches, rolling down from the frozen north with aLIVE ferocity that reverberates all the way down to Australia via Lee Dorian’s always-reliable Rise Above Records. In between digging up lost gems from the ‘70s, Rise Above have been hunting down a plethora of bands that have re-envisioned all that was muttonchopped and fuzz-soaked from that era of rock that’s never really died, and the latest slab from Horisont embodies everything any kid who grew up rocking out to dad’s Zeppelin and Sabbath records could wish for. VD

The love songs really ache and the songs of grief actually disturb. Rain On A Highway is a standout track with its almost Velvet Underground-like guitar riff that gently oscillates over the longing vocals. Tiffany Lou sounds as defeated as it does desperate. In stark contrast, the title track is menacing with its anxious bursts of marimba and sudden tempo change in the last third of the song. Gibson really takes you on a midnight road trip through a dark and desertous emotional terrain. Overall, All Hell is an opus of cracked balladry where each song is a musical spectre that is anchored by Gibson’s deep croon and his simple elegies. This is an album that deserves to shed the lazy comparisons and be admired entirely on its own merit.

Horisont are riding the crest of a wave that’s already deafened rockers with hits out of the blue from Graveyard and Witchcraft. If you’ve tuned into Horisont’s fellow countrymen then Second Assault should be right up your alley. The thundering Time Warrior and frenetic Road To Cairo kick off the ten-track long-player before things mellow out with the darkly psychedelic interlude Crusaders Of Death. Sure, that warm authentic ‘70s tone can be brought with the right tubes and a knowledgeable engineer, but Horisont have Axel Söderberg, and even if he overdoes the falsetto at a few points, there’s no denying his skilled vocals are a welcome relief from some of the gravel throated wannabes. The title track hits in the middle of the whole affair and it’s one to turn right up as the blacktop speeds, preferably beneath the wheels of a Charger, but any muscle car will do, it’s just that sorta track. Hang in there ‘til the end; Thunderflight is as much as that title would suggest.


Some years back, Perth’s New Invincibles must’ve traded souls at some midnight crossroads with the devil for the spirit of rock’n’roll, and have been treading beer sodden stages across Australia ever since. Yet recordings have been a rare gift, so these seven tracks here are a riproaring treat. It’s a gamble to open with an instrumental (Barnaby) but it tears out the gates like early Rocket Science and Jon Spencer before being backed by dirty, sexy, funk-blues in Money, Rubber Lovely and With You. More, please!





Having made ripples from the West with Romulus last year, the Voltaire’s Tegan and Jaymes return with an EP that finally shows what the rest of us knew they were always capable of. Occupying a darkened yet warm electro space that puts them in good company with Crystal Castles and M83, both Solaris and Young Adult should be enough to get the rest of Australia to take notice. Jump Cuts and Silhouettes dive deeper into a new-wave vibe but a further remix of the latter would really make it smoke.

Tristan Broomhall

Kosta Lucas

TRENTMØLLER My Dreams hfn/In My Room Let us all give thanks to the DJ gods that Trentmøller hasn’t ‘done a Guetta’, capitalizing on feverish interest to squander his talents, puking up slime to slip and flail on the dancefloor to. Nay, My Dreams (featuring vocals from Dane Marie Fisker, who sounds strikingly like Planningtorock) is a darkdancing cover of a Gun Club classic. That it is backed by a murderous version of Chris Isaak’s Blue Hotel makes this worthy of the admission price.

POP ETC Keep It For Your Own Rough Trade Mercifully changing their name from The Morning Benders, this Californian trio have settled on a moniker that befits their tweeness much better. This first single (from their third album together) is a wimpy slice of radio-friendly dream pop which neither offends nor inspires, merely leaning up against the wall behind the couch at a party waiting to be noticed. Let’s hope their forthcoming self-titled album spikes the punchbowl.

CIRCLE Fashion Me A Drum Independent/Monday Records Damn you, Circle, for exploiting my weakness. You know I’m a sucker for five minute power-pop songs that build up gradually. The Sydney-siders really scored with a little help from producer Mike Stavrou, whose resume reads like a Hall Of Fame guidebook (Kate Bush! Bowie!). Fashion Me A Drum sounds much like a return by The Postal Service but with a slightly psychpop edge. It’s perfectly *ahem!* rounded.





Welcome To Wonderland




One from the I-thought-you-were-dead file, it seems the DeLorean of reformed ‘80s bands continues to roll with the group that bought us that-song-you’d-knowfrom-a-karaoke-bar with a late 30-something drunkenly howling “Oh, Vien-uuhhhhhhh...”. Singer Midge Ure also penned Do They Know It’s Christmas, so Ultravox have proved they can write a decent song or two. Their first album (with their ‘classic’ line-up) in 26 years thus deserves to be given at least a fighting chance.

Over the past four years WA local artist Joel Barker has traversed the globe from Mongolia to New York City, recording his thoughts and ideas as a basis for his first full-length solo effort, Traces. The album is a pure mix of contemporary folk-rock, held together by Barker’s likeable, familiar voice. It’s a great first effort that’s sure to make a big impression on the local music scene and abroad. Dom Coyote and Shaun Sibbes (Young Revelry, ex-Eskimo Joe and Sneaky Sound System) add a rich, earthy vibe to the album, seamlessly tying together Barker’s sparse acoustic numbers with the lush orchestration and full band arrangements of others.

This is the debut compilation album from Sydney DJ Alison Wonderland after she scored an EMI contract last year coming runner up in the She Can DJ competition. Her presence and unique style gained the attention of those at the label so much that they were hooked. A career behind the decks was not an automatic choice for this highly accomplished cellist-turned-bassistturned-DJ, but such an eclectic taste in music is evident in this collection and her live sets. Welcome To Wonderland is an unexpected mix of genres and eras, celebrating new tunes and old dancefloor favourites.


So while peers such as Duran Duran have returned in recent times refreshed by trendy producers, Ultravox have gone the other route, roping in Frankie Goes To Hollywood knob twiddler Stephen Lipson. The result is a record that sounds so bona-fide, it’ll take some convincing that this wasn’t ‘time capsuled’ 30 years ago. Using Roland synths the size of tanks and drumbeats that suggest no skins were beaten in its making, Ultravox 2012 sound exactly as they did in 1982. There’s nothing as anthemic as Vienna or even Dancing With Tears In My Eyes to be found, but the likes of Change and Remembering (one word titles only, here) are drenched in sepia, evoking the melancholic moments of OMD and Howard Jones very nicely. There is pep in opener Live and the title track, but the shock is that the old dogs have pulled off old tricks rather successfully. If you’re a cleaned-up New Romantic or simply chasing some authentic ‘80s synth-pop, Brilliant will brighten your day to no end. Mac McNaughton


Kicking off the album is Into The Storm. With a stirring string ensemble and harmonies, it sets the melancholic, orchestral feel of the first half of the album. It then descends into slower, blues-influenced songs like The Nuance Of Your Love. With twangy guitar, beautiful harmonies and lyrics evoking distance and isolation, it’s one of the best and most honest songs on offer. The sparse, minimal Shields features Barker’s lone finger-picked acoustic guitar and voice, conjuring up similarities with Ned Collete and Damien Rice. Terelj is the best of the two instrumentals and a beautifully calming tune with sweeping dobro and a gentle melody that lightens up the mood at the end of the album.

This is a great party album that keeps the listener interested, impressed and shaking their arse. It is also one that went straight onto this reviewer’s exercise playlist, highlighting the ability of the compilation to keep those legs moving. The fluidity of the mixing is evident early in the album as Major Lazer’s Original Don, a hypnotic jumpstyle and reggae tune, melts into Wonderland’s own remix of 360’s Boys Like You, the popular dancefloor filler. This continues as OutKast’s The Way You Move is introduced flawlessly by Love Theme.

Overall Traces is a very personal, intimate collection of songs that will impress fans of Barker’s previous work and any newcomers. With his first solo album, Barker has created a solid foundation for what will hopefully be a very promising career with great things to come.

The extraordinary ambush comes about when the breezy chorus of People Everyday goes straight into Chemical Brothers’ Galvanise. This is true genre-bending and is evident of this DJ’s exciting ideas but, in this instance, it feels a little slapdash and is lacking the mixing creativity that Alison Wonderland is more than capable of. In fact her original remixes on the album emerge as the strongest, including her remix of Little Dragon’s Shuffle A Dream and the aforementioned Boys Like You.

Scott Aitken

Lynn Mc Donnell

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HOW TO SUCCEED IN THEATRE WHILE TRYING PRETTY HARD From the bright lights of the stage, leading lady Georgina Walker takes time out to speak to Simon Holland about the challenges of of a role written five decades ago.


THURSDAY 21 Marley: The Definitive Story – we all know the cultural and social icon that is Bob Marley. Well now director Kevin Macdonald has taken a stab at illustrating Marly on screen. You may remember Macdonald as director of The Last King Of Scotland: a truly successful film centering on oppressive Ugandan dictator Idi Amin. What’s more intriguing is the rare footage which will be included in the film which will provide the first-hand insight not many films can often access. Lets all hope this academy award winning director will honour our beloved musical icon. Opening night, Luna Leederville, 8pm.

FRIDAY 22 Vignettes: Ryan Boserio –Ryan Boserio’s new exhibition will display the newly unique works of an artist outside of any genre. Contemporary and whacky is what seems like his style. Boserio is an artist who comes from street art and multimedia design sounds. Opening night, Hole In The Wall Gallery until July 14. Chocolate Cooking Classes at Rochelle Adonis – Winter’s chill is likely fixed with chocolate. Well isn’t everything? Here is the perfect opportunity to get your culinary skills up to MasterChef standard and it seems like a rather creative way to have some fun. Who needs raging clubs? Rochelle Adonis will help you become the delicate baker you always wanted. Rochelle Adonis, 6pm.

MONDAY 25 Girls – get involved with this coming-of-age comedy focusing on a group of 20-something women in New York and their adventures in post-collegiate floundering. Two years out of liberal arts school, Hannah (Lena Dunham- creator, writer and director of the show) believes she has the talent to be a successful writer even though she has yet to complete her memoir (she has to live it first). Episode 8 Season 1, Showcase, 8.30pm.

WEDNESDAY 27 Nadia Ackerman – returning home to Australia, the Melbourne-based singer/songwriter is delivering her Aussie tour The Ocean Master. With over 150 compositions to her name and backing the likes of Billy Joel, Ackerman’s Jazz roots will certainly inspire some well needed soul vibes. The Ellington Jazz Club, 8pm.

ONGOING: Picasso to Warhol : Fourteen Modern Masters – getting your eyes on some of the gems of the past is something the art fanatic or even general lover of history should not miss. This is an exhibition which will give you the best avenue to do just that, with the likes of Piet Mondrian, Fernand Léger, Marcel Duchamp and Giorgio De Chirico. We all know the social significance of some of these artists, and who doesn’t love Warhol’s colourful masterpieces? The Art Gallery of Western Australia until December 3.

Making its debut on Broadway in 1961, Frank Loesser’s How To Succeed In Business Without Really Trying was an overnight sensation. The uproariously funny musical was an adaptation from a best-selling book of the same title written in 1952 by Shepherd Mead; the humour in that title was embraced by the crowd for the stage show through to the revivalist incarnation three decades later. The legacy has extended to the latest run at the Regal, developed by Perth’s own Jason Langley and featuring some of the industry’s brightest stars. Leading lady Georgina Walker was raised in a sports-mad family before falling in love with theatre after an amateur production of Gypsy. Walker refined her craft at the Western Australian Academy Of Performing Arts. The role of Rosemary Pilkington, a dame smitten with the magnificently-named protagonist J. Pierrepont Finch, came as a challenge to the young Walker, considerably unfamiliar with the times. “Our interpretation was guided by our director Jason Langley,” says Walker, “whose vision was to keep the piece rooted in its original, 1960’s America setting. This was before the rise of feminism and human rights, where men were the sole breadwinners and a woman’s only acceptable position in society was to be homemaker for her husband and children. With most of the cast aged 18 to 21, you can imagine how foreign this world was to most of us when we first started working on this show – the blatant displays of sexism, typewriters, rotary phones and mimeographs. There are no iPhones or App stores here!” The process of educating oneself with a foreign generation became the fundamental truth for developing the performance. “We spent several days in our first week of

rehearsal researching the period as intricately as possible to get a grasp of what everyday life was like for people in corporate America at the time,” Walker says. “For me personally, it was challenging to channel a woman who wanted nothing more than a hard-working husband, the picket-fenced home in New Rochelle, and an apron! But, at the time, having those things would put her at the very pinnacle of the social ladder. Women were considered poorly educated if they were employed, an ideal that has certainly shifted significantly in today’s society. “My favourite aspect of acting is actually allowing that human aspect in; my ultimate goal is to portray a living woman as truthfully as possible, with all her complexities, as that is what makes theatre engaging for an audience. What we do as actors is an artifice, but it is important that it does not come across that way. That’s where my inner child comes out, and I allow my imagination to take over and do the work for me! With research and practice, it becomes easier to leave yourself behind for three hours a night and be someone else for a little while.” How to Succeed In Business is one of only four musicals to be awarded the Pulitzer Prize for drama, and for good reason. Although it is set in the 1960s, it has timelessness about it, because, although the world has changed greatly in the past 50 years, human nature remains the same – complex, fascinating, and endlessly entertaining. “How To Succeed... is not your average musical,” shares Walker. “Featuring a less than conventional romance between our protagonist J.Pierrepont Finch, the young, eager ladder climber, and my character,

IN THE CAVE OF CABARET Camille O’Sullivan has made a name singing Brel, Waits, Cave and Yorke and now she’s back in Oz to put her dark, changeling heart on the line once more. Cabaret correspondent Paul Ransom listens in. It’s hard to imagine a more FrancoIrish name than Camille O’Sullivan. Born of a French mother and an Irish father, O’Sullivan is a chanteuse with a penchant for mood swings and narrative songwriters. Across her career she has mined the catalogues of Jacques Brel, Tom Waits and, most notably, Nick Cave. Her latest album, Changeling, features tracks by Cave, Radiohead and Arcade Fire along with originals penned for her by Snow Patrol’s Gary Lightbody, and like her stage show it showcases her self-confessed chameleon cabaret style. From the lobby of her hotel in Adelaide, she says simply, “People who know me will recognise my hyperactive need to express myself in several different ways. So, with the album and the show it’s all about revealing different aspects of yourself. There’s not just one song that represents the show.” Camille O’Sullivan, it seems, is not afraid to bring her heart to the party in her performance. “I suppose the thing that’s the most like me, if you will, is when I sing 20 • THE DRUM MEDIA

Nick Cave’s more desolate love songs, his tougher, more angular songs. In a way the whole album and the shows stand around those songs.” However, she is prompt to point out that she is not a well of melancholy, stating that she does not wish to “lead people down the path of sorrow.” Indeed as someone versed in the art of acting, (after stints with the Royal Shakespeare Company and in Stephen Frears’ Mrs Henderson Presents), O’Sullivan is more interested in storytelling. “I’m not just covering these songs but interpreting them. I like to find a reason to sing them.” It is hardly surprising to learn that O’Sullivan has a particular passion for strong lyrics. “Ever since I was little I was attracted to them. I was brought up on Jacques Brel and Irish folk songs – quite long five or six minute songs, and also quite sad and depressing – but I always found them cathartic. I also loved reading and theatre so I was attracted to characters and complex ideas.” With a list of musical heroes that includes Kurt Weill, Bob Dylan,

Rosemary Pilkington, who spots Finch in the very first scene of the play and decides then and there she will find a way to make young Finch her husband, it’s about her bold quest to fulfil the American Dream.”

WHAT: How To Succeed In Business Without Really Trying WHEN & WHERE: 7.30 pm, Thursday 21 June – Saturday 23 June, matinee on Saturday at 2pm, Regal Theatre, Subiaco

EXHIBITION R E V I E W PICASSO TO WARHOL: FOURTEEN MODERN MASTERS Art Gallery of Western Australia / MoMA Within an isolated continent, in an even more isolated city, there is a certain level of perpetual disconnection from international culture. Every so often, however, something monumental occurs, yanking us from our complacent daze. The Picasso To Warhol: Fourteen Modern Masters exhibition has offered Perth a much-needed taste of history beyond our own. As the first of six exclusive exhibitions belonging to New York’s Museum of Modern Art (MoMA) to be held at the Art Gallery of Western Australia, this carefully curated selection of works was a strong and profound start. In the words of the MoMA curator Glenn Lowry himself, the exhibition “tells the story of twentieth century art through the eyes of fourteen critical artists, and is presented in a broadly chronological sweep.” The idea that through this broad scope of varying perspective, one can begin to understand the social, economic and political issues of the time, not to mention the personal issues of the artists themselves. Hence, Lowry worked in conjunction with the director of AGWA, Stefano Carboni, to transport some of MoMA’s most prized possessions to the other side of the world and expand the horizon of modern artwork. Such artists include Pablo Picasso, Henri Matisse, Piet Mondrian, Constantin Brancusi, Fernand Léger, Marcel Duchamp, Giorgio de Chirico, Joan

Miró, Alexander Calder, Jackson Pollock, Louise Bourgeois, Romare Bearden, Jasper Johns and of course Andy Warhol. It is indeed inspiring to find that the notion of sharing is still existent even in the art world, where ownership is often valued higher than partnership. Over the next three years, this particular partnership will cultivate five more shows from MoMA’s extensive collections, budding a prolific and profound progression for AGWA as the only venue in the southern hemisphere to host the exhibition. While MoMA’s loss is AGWA’s gain, it is likely that this loan will expand the modern art fan base in Western Australia, encouraging many to venture overseas to explore further historic creations. It is surreal to behold pieces of artwork that have become iconic figures for multiple generations. From Anthony Warhol’s Installation of Campbells Soup Cans, to Picasso’s Night-Fishing at Antibes, to Jasper John’s The Map of the United States. While appreciation is impossible to measure, there is an undeniable sense of privilege permeating from Perth in the midst of works such as these. During a press conference early last week, a member of the media asked Glenn Lowry what compelled him to choose AGWA as the recipient of such an extraordinary honour, to which he simply responded, “why not?” And indeed, he makes a valid point. If appreciation increases exponentially according to isolation, then Perth was in fact a perfect choice. Sarah Scaife


Leonard Cohen, Lou Reed and St Nick, O’Sullivan has forged a career out of singing songs written by men. “I really like that male way of looking at things,” she explains. “I particularly like the way that writers like Cave deal with lost love and love gone wrong. There’s a toughness to it that attracts me.” As a performer with a voice that has won her admirers around the world, O’Sullivan is more interested in what she calls the ‘natural’ voice. “I used to think that everybody should be properly trained but then when I looked at the likes of Waits or Cave, they’re not everybody’s cup of tea but I love that they sing with a kind of truth. And even the likes of Arcade Fire; they’re wonderful wordsmiths and truly brilliant performers.”

“But I find that no matter what mood I’m in, it’s always best if I just let myself go and be totally present. I mean, the audience can tell if you’re faking it.”

Although O’Sullivan eschews neat little nutshell explanations her choice of songs does, more often than not, require of her an emotional readiness. “Yes, it is difficult sometimes,” she laughs.

WHO: Camille O’Sullivan WHAT: Changeling (Little Cat Records) WHEN: Thursday 21 June, Astor Theatre

BRAVE Pixar/Disney Pixar have finally hit double figures with the release of their tenth feature film, the Scottish epic Brave. The film follows Princess Merinda, a wee lass with flowing red hair to match her fiery temperament. Her role as a princess, according to her mother Queen Elinor, is to marry a neighbouring prince in order to bring unity to the kingdom of DunBroch. Merinda is having none of it. She strikes off into the wilderness where she discovers and subsequently makes a poorly-thought out deal with a sinister old lady to change her

mother’s mind. Brave was produced using a brand-new animation system from Pixar, completely overhauled for the first time in 25 years. The result is a sumptuous feast of luscious colour and dynamic textures that often requires double takes to confirm their sub-reality. The film features the token star-studded cast of voices – including the timeless Billy Connolly as King Fergus – which sets the tone for the movie. A grand adventure of classic form presented with cutting edge technology. Brilliant. Simon Holland In Cinemas Now




Barry Morgan is a very close friend of comedian and musician Stephen Teakle. He chats to Simon Eales about his album, Touch You, which is about to drop, his Hammond Aurora Classic and Camparis. Barry Morgan is Australia’s foremost proponent of the “onefinger” organ-playing method. If you ever speak to Barry, he’ll tell you, in his distinctly Adelaidean accent (pronouncing “sides” “sahds,” for example), that he can oftentimes be found pottering round his organ shop, Barry Morgan’s World Of Organs in Adelaide’s Sunnyside Mall. Barry is pretty excited. His debut album, The Touch Of You, consisting entirely of organ music, is about to drop. “I was doing a couple of groovy demonstrations somewhere – I can’t remember where, they’re all fading into one big party – and there was a lovely producer there from the Spicks And Specks,” he describes how he was ‘discovered’. “You know those groovy people with those sort of rectangular-shaped architecture glasses?” he asks rhetorically. “I went to their office, and they were record people and they were very groovy. They had groovy padded stools. They allowed me to take the organ into the recording studio and we ‘cut some sides’, as they say in the industry.” And thus Barry Morgan’s album of organ-grinding wonder (“with no words!”) was born. Until now, Barry has only woven his organ magic at his Hammond Aurora

g of An Evenin S S WORLDCLA



Classic. “The reverb spring gives it that reverentiality. You’re in the privacy of your own loungeroom, but you could be in any cathedral in Europe. Or an Adelaide church, as a matter of fact.” Bazza’s working with premium gear. “When I tour now I’m running twin Leslies. There’re two big Leslie speakers on the roof, and I strap it onto the top of the Toyata Crown Royal Saloon: you should see it! And then I run into some ‘groover’ in a Tarago coming from a festival and he’s got all the same equipment on a 4GB USB stick! … There’s no hiding it. I pack a lot of wood.” And rather than taking his cues from other organ lovers like Baby Cortez, The Doors or Sheryl Crow, Barry is “actually quite inspired by the technicians in that lovely period of time in the late ‘70s and ‘80s. They were making these machines. Hard-wired, pre-digital… Some of the bass lines and some of the grooves that they’ve wired up inside the organ to play, if you show them to your musician friends they say, “My goodness, that’s so groovy! “I don’t think these guys were necessarily musicians as such. They were technicians with soldering irons, and I love that … Sometimes when I’ve had a couple


of Camparis I really start to imagine those musicians inside the organ, grooving it out together!” “I’d say it’s probably a good record to put on while you’re warming the garlic, getting ready to pop a Pinot. And afterwards, when you’ve had a few Pinots and you’re feeling a bit

glee, then you can have a nice little Bossa Nova. Push the kitchen table against the wall, let your hair down and away you go.” WHAT: The Touch of You (Perambulator/MGM) Out Now.

Pop culture nerds of Perth unite, this weekend is the one time of year where spurting out quotes from your favourite shows won’t be met with weird looks and playing dress-up is encouraged. Yep, it Supanova time! Celebrating its tenth year since its inception in Australia and fifth year since coming to Perth, Supanova is heaven on Earth for fans of science fiction, fantasy film and TV, anime, collectibles, trading cards, comic books and gaming. Held over two days, Supanova brings all of these elements under one roof for fans to enjoy, and this year the line-up on offer is fitting for a convention celebrating being a decade oldg One of the most attractive elements of the Supanova program is the Supa-s,tar guests, and this year the guest list is impressive to say the least. Fans of the Back To The Future Trilogy have a chance to see Emmet ‘Doc’ Brown in the flesh with the one and only Christopher Lloyd attending. Lloyd doesn’t appear at too many conventions, so this is your chance to get an autograph and maybe ask him a question through the public Q&As. For fans hooked on Game of Thrones (which if yo,u’re not – get onto it, now), you can see Theon Greyjoy in the flesh. Alfie Evan Allen saved the day for Supanova after Hayden Pannettiere (Heroes) had to cancel her appearance because of some pesky TV show rescheduling. But seriously, Allen kicks ass over Pannettiere, so organisers actually lucked out there.

Buffy and Angel fans get to see Mercedes McNab aka Harmony and Verne Troyer is also attending to give us a real-life glimpse of Austin Powers’ Mini Me. You can also catch Eric Roberts (The Dark Knight), Tricia Helfer (Battlestar Galactica), Natalia Tena (Game of Thrones), author Matthew Reilly (Scarecrow) and many, many more famous faces. If you need more than the celebrity factor to entice you, how about some comic book master classes? Or maybe an anime trivia game show, or even karaoke? You can even listen to seminars on how to get into publishing, voice acting, comics and collectibles and how to perfect your fantasy writing. You can hear talks from actors, authors and illustrators and of course attend Q&As with the people behind your favourite ‘make believe’ worlds. But what would all this goodness be without the convention staple; cosplay? Oh, how entertaining this can be as an audience member as you watch people dress up and act out scenes from their favourite shows. The eye for detail on some of these costumes is amazing, with the utmost effort put into recreating a character. Supanova, like other pop culture conventions, is a chance to embrace your inner nerd and celebrate that beloved TV show or actor. It is a way to look back on iconic works of yesteryear, as well as current-day hits, and see how they have impacted the way we look at pop culture and the direct and indirect influences it has on our lives.

Stand-up Comedy ESTD.2009


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Alright, so it’s not technically a ‘gig’ per se, but the inner (see: outer) nerds in us are just a teeny bit excited about the tenth Supanova convention at Claremont Showgrounds this weekend. Kicking off Friday night with a preview from 6 ‘til 10pm, then running 10am ‘til 6pm Saturday 23 and Sunday 24 June, it’s a who’s who of sci-fi babes, fantasy warriors and comic book champions. Top billing goes to Christopher Lloyd (Back To The Future), plus there’s folks like B-movie villain Eric Roberts (The Dark Knight); ‘60s Bat-girl Yvonne Craig; Battlestar Galactica’s sexy Cylon Tricia Helfer; Mini-Me himself, Verne Troyer; Game Of Thrones alumni Alfie Allen and Natalia Tena; and heaps more delving into the world of cinema, comics, video games, anime and everything in-between. Head to au for info/tickets. Of course after each day you can check out some killer local EP/album launches from the likes of Mezzanine, Voltaire Twins, Tim Gordon, Trevor Jalla, Ziggi Mabeye Diagne and more.



MEZZANINE EP LAUNCH: JUN 22 Rosemount Hotel FASHAWN & EXILE: JUN 22 The Bakery


You know you’re at a Frenzal Rhomb gig when the first thing you see upon arriving at the venue is a punter vomiting in a car park. But in their 20 years as a band, Frenzal Rhomb have secured more than just a dedicated, party-ready fan base – amongst an impressive discography and unique charisma, they’ve perfected their up-and-coming bands radar, which was working nicely when they selected supports for this show. The night kicked off with a slightly staggered music flow, Negative Reinforcement smashing out an energetic hardcore set an hour after doors opened and finishing 20 minutes early. Although their set was brief, it packed an enthusiastic punch that opening bands rarely deliver. Playing to a sold-out and intoxicated Frenzal Rhomb crowd is a potentially dangerous feat, but luckily Agitated had just the right amount of punk rock-infused hardcore to tame the beast. Forty minutes of music three hours into the show – you can imagine the amount of alcohol consumed by the time the headliners came on. Twenty years is a long time for a band, and if nothing else Frenzal Rhomb sure know how to make an entrance, strutting through the stage door and gearing up to Earth, Wind & Fire’s Just Groove. Opening their set with a disclaimer – warning punters about vocalist Jay


With this week’s killer Parklife announcement, ADALITA dates for Southbound, and the Stereosonic line-up not far away, festival season truly never dies.


It took a long fight to get the film showing in Perth, but Joss Whedon’s The Cabin In The Woods is hands down the smartest, coolest, funniest and scariest horror movie we’ve seen in years.


With Julian Assange requesting asylum from Ecuador, maybe we can finally stop having to listen to excruciating interviews with his mother.

Whalley’s loss of voice, no doubt from intense partying in Bunbury the night before – they managed to cross an album’s worth of material off their setlist quicker than patrons could get through a drink, which was surprising considering the rants their stage banter often turns into. Whalley’s voice issues were easily resolved by frequent trips to the barrier, which saw him engulfed in a sea of sweaty male love, and bassist Tom Crease taking on the role of lead singer from time to time. Tailoring their humour towards WA, they joked about winning a WAMi award for their song I Know Why Dinosaurs Became Extinct and referenced Jebediah on numerous occasions, guitarist Lindsay McDougall rattling off bits of their hits in-between songs. By the end of their set Whalley’s voice had just about had enough, but the crowd’s collective voice for Never Had So Much Fun and Punch In The Face was a remedy that showed why this band sells out most WA shows. Drummer Gordy Forman took control of McDougall’s mic to urge the crowd to check out the openers when they next played and jumped back behind his kit as the stage fairy lights turned on for Home & Away and You Can’t Move Into My House. Daniel Cribb


SMASHING PUMPKINS: JUL 26 Challenge Stadium EVEN, THE FAUVES: AUG 9 Prince Of Wales; AUG 10 Rosemount Hotel; AUG 11 Mojo’s; AUG 12 Indi Bar OWL EYES: AUG 16 Artbar, Art Gallery Of WA + PASSENGER: AUG 22 Rosemount Hotel + THE MEDICS: SEPT 8 Amplifier 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 JULIA STONE: SEP 28 Astor Theatre + PARKLIFE: THE PRESETS; JUSTICE; ROBYN; NERO (LIVE); RUSKO; DJ FRESH; BENGA; JACK BEATS; MODESTEP; FLUME; PASSION PIT; TAME IMPALA; CHAIRLIFT; CITIZENS!; ST LUCIA; CHARLI XCX; ALISON WONDERLAND; PLAN B; CHIDDY BANG; LABRINTH; WILEY; HERMITUDE; RIZZLE KICKS; JACQUES LU CONT; PARACHUTE YOUTH; ART DEPARTMENT; LEE FOSS and locals: OCT 1 Wellington Square PAUL CAPSIS: OCT 11 Artbar, Art Gallery Of WA BASTARDFEST: ASTRIAAL, FUCK…I’M DEAD and more: OCT 27 Civic Hotel JOSH PYKE: NOV 8 Artbar, Art Gallery Of WA

ONGOING: GIGNITION: Upcoming band showcases 5-9pm fortnightly on Sundays at Swan Basement CULTURE CLASH & BASS CULTURE: Rotating Thursdays at The Newport Hotel


RUMBLE IN THE URBAN JUNGLE And we thought our storm was bad, did you see those shopping aisles in Melbourne?


So Taylor Kitsch reckons filming sex scenes with Blake Lively was “awkward”. No Taylor, watching every major blockbuster you’ve starred in this year lose millions of dollars has been much more painful.


Guess a few sold-out Belvoir shows don’t warrant a return, hey Gotye? We heard there’s a new arena in town… LANIE LANE PIC BY CC HUA




songs from his solo album, Australian Idle, but the gig certainly seemed more retrospect than promotional.

Early on a wet Friday night, fans started filling St. Joseph’s church in Subiaco, the venue for the Perth leg of Lisa Mitchell’s Spiritus Tour. This tour is a feature of Heavenly Sounds, a concept allowing musicians to play in the unique concert environments of churches and cathedrals.

In the absence of a fire, there was chat. Freedman spoke to us in nearly every pause – explaining songs, telling us stories, talking about his relationship with triple j and the way The Whitlams found their way to ‘90s Australian fame. He’s mates with his former band’s namesake, Gough Whitlam, and we heard a little bit about him. It was an intimate gig in an intimate venue and Freedman played accordingly. By the time it was over, and we were guided back out into the rain, the night seemed just that little bit warmer.


Before long, the secular congregation had filled the venue with a positive hum and in the confines of the divine altar, Georgia Fair treated the warming sold-out crowd to folk tunes and acoustic love songs. Jordan Wilson and Ben Riley became part of the concert experience, and rather than purely filling the status of hors d’oeuvre, the New South Wales pair reappeared regularly throughout the night assisting Mitchell with her own show. As Lisa Mitchell and her band appeared on stage it became apparent that they have engaged the celestial theme and ran with it, almost to the point of exaggeration. Ethereal white dresses, dazzling suits and gold costume halos added to the sweet and innocent angelic character. The soft-spoken songstress appeared natural on stage and her ease of performance created a sense of comfort in the pews. She played an assortment of songs from her debut album Wonder and also from her upcoming album due for release in September, the teaser single from which, Spiritus, received much approbation. Diamond In The Rough struck a chord with this listener as a J. R. R. Tolkien reference “Not all those who wander are lost” echoed beautifully around the pillars of the church. A uniform heartbeat was manifested throughout the crowd during these songs with plenty of finger-clicking and clapping. The show left many wanting more as the confinements of playing in a church saw Mitchell play for only 70 minutes (including a duet encore with half of Georgia Fair). Although the quirky, soft voice of Mitchell fitted well in the acoustic setting of the church, it was hard to get past the almost pantomime effect of the celestial costumes. It was refreshing to attend a venue whereby its nature determined an absence of iPhones, cameras and incessant bar queues. Lynn Mc Donnell


There’s no mucking around with support bands for Tim Freedman; it’s just him and us and the piano, all through the evening. Instead, the support slot was filled by the 40 minutes it took him to get on stage, but then he did, and played a set that was sustained and substantial. By the time it was over he had been there for more than two hours, on his own, without a break. It was a Whitlams’ track that started it off – Beauty in Me, a single from the sixth and final Whitlams studio album, Little Cloud – and this was a pattern that persisted. We made our way through the classic No Aphrodisiac, Charlies, You Sound Like Louis Burdett, and Blow Up The Pokies, among others. These were peppered with a few new




FLY BY NIGHTCLUB: 16/06/12 Opening act King Wasabi led the assembled crowd down the rabbit hole of expectations with their surreal, multicultural folk. What the band seemingly lacked in visual spectacle or slick polish, they made up for with their beautiful songcraft. King Wasabi’s set sewed together elements of cabaret, Arabic, gypsy, Klezmer and flamenco and the small audience seemed to genuinely soak up the cinematic atmosphere created by the band during their set. However, it certainly didn’t prepare anyone for Nadéah. Part-Courtney Love, part-Velma Kelly (Chicago), partBrigitte Bardot, Nadéah is a gloriously hot mess, her eclectic fashion matching her clashing musical style. After her introduction via a thunderous rendition of I Burned A Cowboy At The Melbourne Airport, it became apparent that the more tasteful chamber-pop arrangements of her solo album, Venus Gets Even, were going to be turned into noisier, punkier, electric guitardriven ones, gleefully turning the idea of Parisian chic on its head. Nadéah is an effortlessly forceful presence who commands your attention whether she is wryly sharing her tragically comic anecdotes, shredding hard on an electric guitar or challenging the audience not to be “pussies” and to cut shapes with her. Her voice, with its charming imperfections, convincingly deviates between powerful and delicate where necessary. She is also hilariously uncouth (at one point joking about advertising her CDs on her underwear as a result of sitting spread-legged at the awkwardly heighted keyboard) and just a little nuts. The turning point from ‘good’ to ‘great’ came early on with An Asylum On New Year’s Eve, a song about Nadéah being involuntarily committed in 2005. Frantically performed in pyjama pants and a straightjacket, the singer seemed to really relish the freedom that comes with sharing something intensely personal. That sense of reckless abandon translated into an excitingly unpredictable performance from an artist who just happens to have fantastic creative impulses. Other highlights included her go-go dancing freak-out during Humdrum; the beautifully sparse ballad Suddenly Afternoons; the rollicking pitch-perfect renditions of the cheeky Odile; and the surf-rock flavoured Whatever Lovers Say. By the end, the crowd could not get enough of this startlingly unique and exciting talent, who smashed expectations and replaced them with something more captivating. Venus got even, and then some.

AN EVENING WITH ADAM HALL What cause are you raising funds for: The concert is being held to raise money to support Anglicare’s Stepping Stones program, a schoolbased relationship education course which is run at Armadale SHS where it has been delivered to all Year 8 students by qualified youth counsellors for four years. Participants learn how to cope with life changes, relationships and family issues, with topics including self-esteem, anger management, conflict resolution, stress, and support networks. Stepping Stones is now funded by the Anglican Parish of St Mary’s South Perth. How did this show come about? The first fundraiser for Stepping Stones was held last year and was very successful. The programme is so important to everyone. Despite his busy schedule, Adam Hall is keen to lend a helping hand – or in this case, his voice and trumpet – to assist the school-based Stepping Stones programme, of which his mother is a part of. Big shout out also to Narelle Hall and to the Revd. John Meagher who organise this amazing gig. Who’s playing and why did you select those acts? Adam Hall (trumpet and vocals), Lenny Whittle (keyboards) plus swing dancers and guest vocals – we want to get you dancing in the aisles… quite literally! Hall will take the audience on a nostalgic journey through the sounds of 1920s to 1950s swing, jazz and rock‘n’roll, influenced from his recent trip to New Orleans and Harlem and gigs in Germany. He expects his music to evolve following the tour, adding a heavy influence from New Orleans and Las Vegas and the big names he met on the road. How do people get tickets? Tickets $35 adults, $30 concession – online at, or call Narelle Hall on 0412 637 531. Door sales $40. Is there anything people can do post-gig to support the cause? If you can’t come but would like to support the St Mary’s fundraising concert then contact Revd John Meagher at St Mary’s Anglican Church to make a donation. The Parish Office number is 9367 1243. WHEN & WHERE: Friday 22 June, St Mary’s Anglican Church, South Perth

Kosta Lucas

HELPING HAND Joining forces in the name of charity, Lanark, Mulder, Mostarsk and Rayza team up at The Bird Friday 22 June to raise funds for six-year-old Fingal Wandoo, who has Autism. This event is hoping to raise funds to focus on Wandoo’s communication difficulties, and aims is to raise enough money to purchase an iPad as well as Picture Exchange Communication System so he can learn to communicate effectively with others. Art display from 6pm and bands kick off at 8pm. $5 entry.



After touring the world and soaking up every last influence, singer, kora player and percussionist extraordinaire Ziggi Mabeye Diagne will launch his CD Vibes at Kulcha, Friday 22 June. Born into a griot family, Mabeye was trained as a griot and a craftsman of musical instruments. The night will consist of predominantly West African rhythm and song, with influences from across the African continent and beyond. 24 • THE DRUM MEDIA


Bringing in a world of charming, ambient music, Archer & Light put on one last night of fun before getting serious and moving into the studio to record their debut EP. They hit the Norfolk Basement, Saturday 23 June with The Autumn Isles, Spoonful of Sugar & Lucas Jones. The band will have their demos for sale, with each one featuring handdrawn artwork by a member of the band.


Heavy grunge rockers Damage Kings had to change their name from Sleeping Giant to ease the concerns of a certain bed company. Luckily, they’re not leaving their huge stadium rock sound behind and are gearing up for the imminent release of their full-length debut album later this year. Catch them Friday 22 June at the Rocket Room with Gombo, Animal and Brutus in support.

NADIA BACK IN TOWN The Ocean Master is Nadia Ackerman’s sophomore album, and is named after her late father’s fish and chip shop. To mark the 20th anniversary of his passing, Ackerman is returning (she now calls New York home) to tour the record and scatter her father’s ashes. This new instalment evokes beautiful childhood memories, and her band joins her Wednesday 27 June at The Ellington Jazz Club.

ALL THINGS PUNK AND HARDCORE WITH LUKE BUTCHER. As the middle of the year forces its slightly weathered hand upon us all, the world of loud music never stops. Seemingly the ones with the most on their plate are the lads at Australian indie record label We Are Unified, who have just added Sydney’s Hands Of Mercy to their roster, preparing for an August 17 release of Last Lights. Building some serious momentum, the label recently welcomed the debut of Buried In Verona’s Notorious to number 20 on the Aria charts, just ahead of Lana Del Ray and Coldplay. The six-piece are promoting the shit out of the album through a huge national tour that hits Perth this Sunday with support from Mandalay Victory, Anchored and Aveira Skies. The label is also gearing up for their July 13 release of House Vs Hurricane’s second full length Crooked Teeth. The boys will be doing a West Australian tour with support from Confession (Drum assumes a benchpressing keynote address from the man himself), In Hearts Wake and Foxes. They play Prince Of Wales Friday 10 August; Amplifier Saturday 11; and YMCA, HQ Sunday 12 (All-Ages). Australian hardcore has also seen some pretty significant landmarks past and ahead with the release of Parkway Drive’s globe-trotting travel diary Home Is For The Heartless. Taking in 42 countries, the film goes far beyond your typical iPhone concert bootleg. On a sadder note, Break Even’s final shows will be taking place in Bunbury and Perth in just a few moons with some damn fine supports; not one to be missed. Punks The Decline have also announced their national Disas-tour taking in several dates across July. Also, more announcements of the Annual Poison City Records Weekender – taking place in Melbourne in September – have been provided, with Perth represented this year by Extortion and Grim Fandango. The festival is a who’s who of the Australian punk community and has another damn fine bill organised this year. A string of local supports have also been announced for upcoming international tours including The Others and Vanity who will be supporting Terror, as well as those crazy eclectic cats at Say Anything, who have announced supports for their July national tour, with pop-punkers The Main Attraction earning the Perth spot alongside the band and primary support The Getaway Plan. On another sad note, the final instalment of the most successful regular punk and hardcore club-night Perth has played host to, Oh Snap! occurred a couple of weeks ago. The topic of vast interweb conversations, the night polarised the opinions of many, but suffice to say, the weekly night provided a buttload of opportunities for local bands to play big stages to big audiences; and for that it will be sorely missed. However, as one door closes, another opens in the form of the more manageable fortnighter The Academy, which will be held at Amplifier Bar every second Wednesday night and will continue on the legacy of Oh Snap!, providing regular heavy music to the masses, alongside niche player Runaways, which has continued to come into its own with its intimate floor shows and welcoming Saturday night party vibes. Speaking of party vibes, this edition of Overdrive will end on a note of elation, with the announcement that Reel Big Fish have completed their latest skaga, the recording of Candy Coated Fury, due for release later in the year.


A four-piece alt-rock band, Rotaxus draw from influences including this week’s cover stars The Smashing Pumpkins, Nirvana and Pixies. After beginning live shows last year and taking out the Market City Tavern Battle Of The Bands, the group are busy recording their first EP. Get a taste Sunday 24 June at Drum’s Gignition, $5 from 5pm at The Swan Basement.

WAM UPDATE CONTEMPORARY MUSIC INDUSTRY NEWS WITH JUSTINE THORNLEY. iWANT YOUR WAMi FEEDBACK… Want to win an brand new iPad WiFi 16Gg and a 2013 WAMi Festival season pass? WAM is running a survey to review how we do business, including the WAMi Festival. We’re also reviewing how we can best support WAM members. Did you attend or participate in the 2012 WAMi Festival? Are you a past or current WAM member, or someone who needs to be brought into the fold? We’d like to hear your thoughts on your WAM experience, including WAMi Festival participation, business outcomes, and any other points you wish to make that will help WAM in its mission to develop the WA music industry, by Sunday 8 July! Have your say at CONTEMPORARY MUSIC GRANTS SESSION WAM and APRA|AMCOS announce the second instalment of the 2012 Music Industry Sundowner Series, taking place 6-7.30pm on Monday 25 June at the Rosemount Hotel. The session focus is Contemporary Music Grants, presented by Pete Guazzelli (Project Officer at the DCA) and Brendon Humphries (Manager, The Kill Devil Hills). The event is free for pre-registered WAM and APRA members, otherwise $5 at the door. Head to wam. before midnight Sunday 24 June for more info and for free member registrations. WHAT CAN WAM DO FOR YOU? Supporting local live and 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 or call 9227 7962 to join today!

A FESTIVAL FOR YOU One of the organisers of Our Festival, Ben Pattion of Wash, talks Drum Media through what it’s all about.

THE SPITFIRES Just exactly what’s it all about? The beauty of Our Festival is that it does what it says on the tin: It’s a union of nine of Perth’s best new guitar bands, all under one roof, on one night, all in the aid of getting people who don’t normally go to gigs out of their normal haunts and into town to demonstrate the excellent standard of local music to those not yet in the know. Where did this idea stem from? Perth is not a small place. We’re a city of 1.7 million people. Never before has Perth had so many bands. Never before has it had so many venues. Yet somehow, never before has there been so little a gig-going public or culture to support these venues and bands. Sure, there’s a great musical and artistic presence in this city, served by many niches and proactive people, but the reality is that the bulk of the audiences to local gigs across the entire city every weekend don’t equate to more than a thousand (generally musically affiliated) souls out of 1.7 million. One way or another, the general public of Perth aren’t realising or identifying with the exceptional quality of what is out there every night and every weekend. Everyday people need



to realize how much better it is to go out to a gig and dance to guitars rather than pay to stand in front of some nobody behind a deck! I don’t think it’s the fact that people are lazy or unwilling at all; I think they’re simply not being delivered the proof of how good the produce of this city actually is. Our Festival is here to breed a new mentality. What do you think the solution is to achieve this new mentality? Ultimately, people’s perceptions need to be altered and that needs to happen through a variety of things. Firstly, people – young people in particular – need to know the truth. Bands should get no prizes for participation or sheer existence. The good need to be acknowledged and the bad, laid waste to. Western Australian’s should be anticipating their musical kicks not from some laptop-warrior in Brooklyn or through the strum-a-longs of a Montana cabin dweller, but from the music-makers in their own city and state first and foremost. It’s just like football isn’t it? It’d be downright absurd and morally bankrupt for a Western Australian to support the Swans before the Eagles, wouldn’t it? Perth needs musical patriotism, forged through honesty and self-awareness: that’s what got London

and Manchester thriving with a proper gig-going culture and an inbuilt cultural and critical awareness of what’s admirable, excellent and likewise the decorum to call it when it’s not. At the end of the day, it’s about confidence in your city, your people and yourself: self-awareness and selflessness. Bands and punters alike. Because our people aren’t stupid, deep down they know this is the best place in the world and I know they’re someday very soon gonna crack onto the fact that the best music for them is from right here. Our Festival is the first step in the right direction and its gonna be a great chance for people who aren’t in the know to see some of the best new bands this city has to offer.

Who’s going to pull us onto the guitar-rocking dancefloor? The line-up is massive, and goes a little something like this: Wash, The Morning Night, Foxes, The Tumblers, 44th Sunset, Lanark, The Spitfires, Misty Mountain and The MDC. WHAT: Our Festival WHEN & WHERE: Friday 29 June, The Bakery



THE UPS & DOWNS Rootsy rock’n’roller Dallas Frasca overcame plenty of hurdles to release her new album Sound Painter. Ashlee Heale finds out more. me through my darker moments, it’s been the light in my life and always allowed me to express myself, heal and overcome without judgement. Music is such an important, powerful and incredible thing on this planet, what would we honestly do without it? It is everywhere we turn; pubs, taxis, TV, elevators, film, supermarkets, nature! It is the vital tribal vein to humankind. Through my own life experiences, it has opened up a channel that allows me to download, regurgitate, write, feel and share. It makes me feel whole.

LIQUID ARCHITECTURE FESTIVAL 2012 – ANTARCTIC CONVERGENCE Who’s playing your event and who should punters be most excited about seeing? The Antarctic Convergence is a specially-curated program by Lawrence English and Philip Samartzis. Both curators are outstanding in their fields, but the one to watch will be Robin Fox who is continually developing the dynamic between the performer, space and his computer. You can expect to see a spectacular show when he presents an audio-visual of the mappings he found on his recent adventure of the Southern Ocean. What gave you the theme for this show? The Antarctic Convergence has been conceived by the curators as a way of investigating the philosophical, social and environmental ramifications of the growing human presence in Antarctica through the activities of a diverse set of artists who have produced works from first-hand encounters of the continent. What does your gig offer that others don’t? Celebrating the 13th annual festival presented by Liquid Architecture, this national program comprises a performance concert program of live performance works in a multi-channel surround sound performance supported by multi-screen projections. What’s next for your company? Tura New Music and the Australian Chamber Orchestra have joined forces to create a tour to across Australia like no other. The Reef Tour is a rare opportunity to see the nation’s leading violinists with members of the Australian Chamber Orchestra and ACO2 in collaboration with Indigenous artists Mark Atkins and Steve Pigram. The Reef is a new multimedia performance inspired by the rugged surf and tough desert landscape of the Ningaloo Coast. The Reef Tour celebrates the sheer wonder of the Australian landscape and soul, travelling through Broom (July 11), Port Hedland (July 12), Canarvon (July 14), Geraldton (July 25) and Perth (July 18). Not to be missed: WHEN & WHERE: Monday 25 & Tuesday 26 June, Hackett Hall Gallery, WA Museum

Congratulations first up on Sound Painter, can you tell us a bit about the album? Sound Painter was a collection of almost 100 ideas/ songs over a two-year period. We feel like we have overhauled the whole band’s sound. Jeff (guitar) and I have been playing together for over six years now, and we made the decision that this album would be about capturing everybody’s true strengths as musicians. So Jeff had his last alcoholic drink, we got serious about what we wanted to achieve and when Pete (drums) came into our lives, it was like our stars had aligned. How was the experience recording in New York and how did it impact on your processes? I think we would have made a very different album if we had of only travelled two suburbs away to record. Because we were taking such a big risk financially as a proudly independent act, we had to make this one count. After all, we were flying internationally to record! We stayed in Soho and borrowed pushies to ride seven kilometres through Manhattan every day across the Williamsburg Bridge and into Brooklyn from our accomodation to the studio, and then back again at night. It sounds like you’ve had a bumpy ride just getting the album to see the light of day, were there any breakdown moments during these trials and tribulations? And ultimately did it just make the final result more satisfying? Firstly, following a run of national shows to help pay for the record, we arrived back at the Melbourne airport to pick up our gear only to have realised all the takings from the entire tour had been stolen. We ended up going public about it and our fans raised over $5000 for the band, which meant Sound Painter could actually be finished and released on time. For us it was a chance to connect with our fans again after feeling like we had been ‘away’ for so long working on the record. At the end of the day, it turned out to be quite a positive experience and I just hope the thief needed the cash more than us. Is music something of a driving force for you personally in navigating life’s ups and downs? Music has always definitely helped

SILVER LINING Local indie-pop troubadour Tim Gordon has had a stellar year, with many falling for his honest perception of human interaction conveyed by lullaby melodies and juxtaposed by heartfelt wails and brash guitar tones. He launches his Burn The Clouds EP at The Bird, Saturday 23 June. Support comes form the exceptional Big Old Bears, The Flower Drums and Patient Little Sister.

POINT TO DEXTER Fresh from their Clipsal 500 support for Aussie rock icons INXS, Dexter Jones hit the road on the WA leg

How are the new tracks translating into your live sets? Our strength has always been in our live performance, which is why we wanted to capture that on this record by recording the whole thing live. When it comes to recreating it live every show is about bettering the last, adding and challenging ourselves musically. We have never had this kind of response to our music before from our audiences. It feels so amazing to see what serious hard work can to do to enrich people’s lives for the better. The track All My Love is accompanied by a great video clip, do you maintain the creative control of clips? How did this one come to fruition? The weekend after we had the money stolen I went home to my family home in N.E Victoria to work out what we were going to do in a bit of a slump. On the Sunday I received a phone call from my guitarist Jeff Curran begging me to come back to Melbourne as he had a surprise for me and I wouldn’t regret the 2.5 hour drive. When I pulled into Carlton and knocked on the door early that arvo, Jeff greeted me at the door in a gigantic papier-mâché love heart that he was inside of… I have never laughed so hard in my life. Jeff said he made it to cheer me up and surround the band with love… For the rest of the day we travelled around the city of Melbourne, filming it on our iPhones and almost wetting ourselves from laughter at people’s reactions. You’ve got a big tour coming up to promote the album, are you looking forward to getting back out on the road? The road is where our hearts belong. We have spent so many years touring Australia and now internationally, we feel like we living the dream. This tour consists of a 30-date national tour and get butterflies and a rush of adrenalin every time I get in the tour van.. I love this shit… And following the tour do you know what’s coming up for Dallas Frasca in 2012 and beyond? In September we will begin work on the next album, but our focus for now is spending most of our time in Europe next year.


WILL IT BLEND Who’s playing your event and who should punters be most excited about seeing? The night is an eclectic mix of genres as four Central Music Institute Of Tafe Diploma of Music bands showcase their preferred music style and songs. From the catchy pop-rock of Colour Of Indigo to the ambient krautrock of Branches Of Berlin, the experimental meanderings of Robo-Ant and the in-your-face metalcore of Mirror Mirror, the night will be a diverse treat with something for everyone. And while every band brings their own swagger to the stage, Robo-Ant will be the most interesting band of the evening with their unique brand of experimental cat-related musings and their penchant for wearing dapper hats. What gave you the idea for this show? Each year, budding Diploma students from the CMIT make their way out into the wide and wonderful local music scene to put on performances as part of their course. It’s an initiation rite for them, as all four of these bands are coming straight out of the CMIT Diploma of Music course for their first public viewing. Each band is bringing a different genre to the metaphorical table, which we’ve “blended” into a tasty evening of a fine physical and audible degustation. What does your gig offer that others don’t? A metric tonne of sex appeal delivered straight to your upper pesophageal sphincter. What made you pick this venue? The lecturer made us pick it. Or rather picked it for us. But we feel The Bird offers a relaxed vibe that will contrast nicely with the premature nervous excitement of its performers as many bust their local scene cherries. What’s next for your promo company? The frickin’ moon maaaaaann. WHEN & WHERE: Sunday 24 June, The Bird

WHO: Dallas Frasca WHAT: Sound Painter (Spank Betty/MGM) WHEN & WHERE: Friday 22 June, Indi Bar; Saturday 23, Prince Of Wales, Bunbury; Sunday 24, Mojo’s

of their national tour to celebrate their latest offering, The New York EP. Friday 22 June they play Settlers Tavern; Saturday 23 White Star; Sunday 24 the Newport Hotel with The Spitfires and The Insatiables, with more next week – check LIVE for details.

BEAUTY BACK 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.

music 26 • THE DRUM MEDIA



One might not immediately perceive a 33-year old Perth-based Malaysian as being a torchbearer for a brand of music deeply entrenched in African-American history and culture, but Trevor Jalla is not your average musician. Having showcased his amazing blues abilities at festival and club dates across the world, he launches his new stellar six-piece line-up Tuesday 26 June at the Charles Hotel. $20 on the door.





Albany acoustic ensemble The Pepperjacks are set to unleash some fine harmonies on a bouncy bed of blues at Kulcha, Saturday 23 June. The band uses a range of fine acoustic instruments that support close-harmony singing, delivering a joyful sound that crosses all age barriers. The Pepperjacks move from upbeat, toe-tapping dance tunes to song-stories that reflect life experiences.

Get your dancing shoes on, as Felicity Groom has booked a headlining show at Amplifier Saturday 23 June. Special guests on the night include GUM (band), Doctopus and The Dianas. Head down when doors open at 8pm for a night featuring some of WA’s finest musicians at one of the state’s fave venues.


You may have heard that WA Roller Derby recently made their way to Adelaide to participate in The Great Southern Slam. Well, they’re back in Perth and are ready to show the local fans what they’re made of in their first home bout of the year, the Phi Slammer Jammer. Head down to Kingsway Indoor Stadium, Madeley on Saturday 23 June to see your favourite WARD girls hitting the track.


Melbournian queen of rockabilly, punk and all things in-between, Dallas Frasca will soon be making her way to WA in support of her sophomore album, Sound Painter, and local lads Tracksuit have hooked touring duties for the three shows in the state: Friday 22 June, Indi Bar, Scarborough; Saturday 23, Prince Of Wales Hotel, Bunbury; and Sunday 24, Mojo’s Bar, Fremantle.


The Ellington Jazz Club’s Young Lions series continues Wednesday 27 June with The Abbey/Foster/Falle Trio, who have developed an identifiable group sound through their shared love of modern piano trios, improvised European music and rhythmic experimentation. Tal Cohen supports. Tix $12 PJS members/$10 standard.


After a hugely successful gig in February, Rockit make their way back at the Fly Trap for an “up close and personal” evening. Get down to enjoy some classic rock songs – updated, the Rockit way. Its raw, uncomplicated eclectic rock from a huge threepiece band fronted by one of Perth’s top female rock singers. It all goes down Friday 15 June, with the desert rock styles of Applebite in solid support.


Ex-Stems frontman Dom Mariani and Greg Hitchcock once again unleash their newest psych rock incarnation, Datura, tonight, Thursday 21 June at Mustang Bar. Their most recent collaboration takes them right back to their heavy psychedelic garage rock’n’roll roots. Supported by Black Board Minds with DJ Phat Pat on the decks ‘til late.

You can catch the exciting and powerful sounds of Fremantle’s The Aunts (formerly Dublin Jazz Aunts) at Clancy’s, Saturday 23 June. An electric cello rock sound, tight rhythm section and unique vocal sound has seen the group develop into a real roots based rock band with an edge. Support from One Tiger Down and Jade Stevens.



The Fly Trap! sees another edition of Jugular, Thursday 21 June. This month’s Jugular moves from its usual sounds to give space to the acoustic. Have some soup and listen to some of Perth’s best new artists – Campbell Ellis, Caroline J. Dale and Alanna Eileen Lucy Peach. Elegant. Hairy hosts MC Hobo and Stu will ensure no dull moments in between THE acts.


Local Perth band Wrath Of Federer draws upon the essence of superior performance from the warm broken English of sport’s greatest champion and sum up his brilliance in a furious set, delivering a electrifying volley of serves from the depths of the backcourt, into their frontcourt and back again. They play Gignition at the Swan Basement Sunday 24 July at 6pm.


Come check out one of Australia’s finest guitarists, Freddie Grigson, performing with his new quartet Thursday 21 June at The Ellington. His new band - Tal Cohen (piano), Karl Florisson (bass) and Jacob Evans (drums) - feature on Freddie’s recently-released album Past And Present. His seminal CD, Blue Zone – that was recorded a few years ago – still packs a punch, as do his live performances.


Warm up the second half of your week with some fine alcoholic beverages and the sounds of DAVE, Amanda Merzan and Three Hands One Hoof at Ya Ya’s, Thursday 21 June. Need other reasons to come? DAVE have new songs, it’s their first show in about a year, and you probably don’t have exams! $5 entry.


One of Australia’s busiest and most respected musicians, Nicky Bomba, has jumped on his musical boat again to deliver his new band Bustamento. The Intrepid Adventures Tour hits Fly By Night Saturday 23 June and their new album Intrepid Adventures To The Lost Riddim Islands finds Bomba sourcing both classic and rare tunes, covering the calypso, mento, early reggae and ska styles. $33.50 entry.


The EOFAT Sale at Fat Shan Records kicks off Saturday 23 June, so head down for some fat savings. Here’s the go: 50% off second-hand records, 20% off new records, 20% off jewellery and clothing. Wear more colours, smile at strangers, eat more chocolate, and listen to more records. The deals wrap up Saturday 30 June so make sure you find some time to head into the store.


The winter solstice is upon us and it’s time to rock the official longest night of the year in true pagan ritual style! Thursday 21 June at The Rosemount Hotel brings us a selection of powerful original rock and metal bands. Kicking the night off is The Branson Tramps, then modern rock trio Needles Douglas, before the famous Reaper’s Riddle and headliners Legacy Of Supremacy. $10 entry.

Band history in brief? The ‘Brew started in 1989 as a ska cover band and evolved from there into its current nine-piece line-up. Describe your sound: Two-tone ska, the Coventry sound. Influences include Madness, The Specials, The Beat. Tell us about the album: The album is called ‘It’s Your Move’ and contains ten tracks of upbeat new-wave ska originals. Recording process: Our first time in a proper studio, with Andy Lawson at Debaser. That guy sure knows how to twiddle knobs. Tell us about the launch: Support from swampsters Rocket To Memphis, Mondo DJ’s spinning records, GoGo dancers, best dressed competition, best dancer competition, giveaways and our own limited run brand of beer. What’s on the horizon? We’re really looking forward to playing Ska Nation 5 in Melbourne, with The Toasters, later in the year. WHO: Special Brew WHAT: It’s Your Move (Independent) WHEN & WHERE: Friday 22 June, Devilles


One of Australia’s most accomplished jazz bands, the Corner House Jazz Band, will perform at the Northbridge Piazza, Sunday 24 June. The classic jazz band will kick off the day at 1.00pm with a hard driving style, and will play well-known tunes from the ‘20s and ‘30s that will provide a bright start to the day. Also on the bill is the Magic Dream Band.


The Civic Hotel back room and The Den will be joined as one and transformed into an epic musical arena for Your Civic Duty 2, Saturday 23 June. Heading all the way from the US is Macabre, plus NSW’s Beyond Terror Beyond Grave. From 2pm until midnight you’ll be able to catch the likes of Chainsaw Hookers, Empires Laid Waste, Born On The Bayou, Cold Fate, Befallen and heaps more do their thing.


Indie-rockers Mezzanine are gearing up to launch their second EP, Vile Horizons, Friday 22 June at the Rosemount Hotel. Recorded at Debaser Studios by Andy Lawson (Eskimo Joe, End of Fashion), the new EP finds the band expanding on their critically acclaimed debut Novella, refining their signature sound to the nth degree. Support comes from The Love Junkies, Trigger Jackets, Dead Owls and Foam, presented by Drum Media.

The long-awaited second album from Sydney cinematic art-rock antiheroes Charge Group has received an abundance of dashing reviews and support, and now even has a brand-new video for the single from self-titled LP Broken Sunlight, the follow-up to cult hit Run. They’re hitting the road with Joe McKee, and play Mojo’s Friday 22 June (Oztix for tickets) and Dada’s Carpark Saturday 23 (entry by donation).



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FLOORED THE BLACK SEEDS, THE CHEAP FAKES THE BAKERY: 14/06/12 There was no denying the abundance of Kiwi accents on Thursday night as Perth’s New Zealand contingent made their way through the doors of The Bakery for The Black Seeds’ sold out show. First on stage, Brisbane’s The Cheap Fakes donned their best suits and waistcoats and established themselves as a more than worthy amuse bouche. Blasts of infectious reggae and ska got the crowd moving in a highly co-ordinated fashion. The token New Zealand drummer was granted a lengthy solo to entertain the



homesick crowd. The gap between support and main act then drew out a bit longer than usual and created a definite sense of anticipation in the crowd. This enabled the growing atmosphere created by the ‘Fakes to cultivate further to a point whereby it was highly tangible. The room inevitably exploded as the seven-piece The Black Seeds hit the stage with an air of class and a hint of mischievous intent. The ‘Seeds played a variety of old and new, including many songs from their new album Dust & Dirt, such as Pippy Pip. Upon request from the crowd the lyrics of old-time favourite Cool Me Down from their 2007 album Into The Dojo turned The Bakery into a communal sing-along.

There was a decent mix between traditional slow reggae beats and more upbeat electric rhythms incorporated into new songs that old ‘Seeds fans may not be accustomed to. The fluidity of the gig was a positive representation of the experience and professionalism of The ‘Seeds. Their ability to get the crowd moving is second to none as many revellers refused to let the limits of their personal space or that of the people around them confine them. It is easy to see from their live shows how The Black Seeds have established a large and loyal support across Australia and New Zealand. Lynn McDonnell



Forward thinking drum’n’bass & dubstep with Angela King.

Where, when and how often is it is it happening? Every Wednesday night from 8pm, starting this Wednesday at Defectors Bar, upstairs at The Flying Scotsman. Who’s behind it? Chris and Zac Vivien have wanted some live jazz for a while and they knew I worked at WAAPA and know a lot of those jazz cats. And I know a few DJs, so the match was made. What styles and resident DJs should people expect? Funky shit. Anything with soul and substance. When we talk about R’n’B, we mean rhythm and blues; not overproduced pop music. We’ll also be playing plenty of funk, blues, classic disco… music of black origin really… the good stuff! We’ve got some of WA’s best jazz musicians – professional and amateur – playing two live sets every week and in between myself and Tedro will be various vinyl freaks digging in them crates for the finest selection of jazz, funk, blues, soul, rare groove and downbeat tunes to get the party jumping. For the launch we have The Jamie Oehlers Trio. Jamie is one of the most respected and in-demand saxophonists in the country, touring and recording with people like Paul Grabowski regularly. He also runs WAAPA’s acclaimed jazz program. What kind of vibe? We want lots of dancing, but we’re happy with a bit of chilling, drinking, chatting and hanging out… heck, we’re even happy with a bit of chin-stroking… But not too much! Who shouldn’t come? People in thongs. Seriously, everyone is welcome. If you have a brain you’ll get what we’re doing. It’s just good old honest, heartfelt music that makes you feel warm and fuzzy on the inside.


NEXT NIGHT: Wednesday 27 June, Defector’s Bar 28 • THE DRUM MEDIA

for the first time alongside Deflo and Motown. Fluid 13.0 opens from 9pm at The Velvet Lounge Saturday 7 July. As always, entry is free. If one thought the aural disturbances of Skrillex were the ultimate bastardisation of dubstep, think again. Rusko has teamed up with Cypress Hill for five-track EP Cypress x Rusko. Eeek. They are offering a free track, creatively titled Roll It Light It, on their website (download at your own risk). Not content with Tweenworld-domination, Justin Bieber has jumped on the dubstep bandwagon too, but I think the less said about his new track with Big Sean, As Long As You Love Me, the better. Hospital Recordings lad Logistics is touring next month for his latest album Fear Not. He’ll be visiting Shape on Friday 6 July and playing alongside Jazza & Symmetry and Ekko & Sidetrack. Presale tickets are available now from For any producers looking for a challenge, the first Viper Recordings remix competition has been announced. The track in question is All I Know, ft. Luke Bingham, by Matrix and Futurebound and the winner gets a release on Metro/Viper through Beatport. The competition is free to enter and all the details can be found at Good luck!

house, hard trance, psy, breaks, drum’n’bass and UK hardcore. Plus anything else that fits the policy. We have too many DJs to list, but several of Perth’s finest we have on rotation are JT, Damien Blaze, Rinski, Greg Packer & Assassin, Terrance & Phillip, Invictus and loads more of Perth’s local superstars!

should keep well away. Only funloving happy people are welcome.


Where, when and how often is it is it happening? Monthly starting next Saturday.

Only a munter would miss the launch because… Beaufort Bop’s adding another great alternative to Perth’s mid-week party vibe. The Scotto already has their longrunning Uni-que night with indie/ alternative anthems and cheap drinks and out the back in Velvet Lounge they have Roulette for the bass heads and now you’ve got funk, jazz and soul music upstairs… So three rooms of fun. We encourage punters to wander about and just get into it. Anything else we need to know? It’s free entry!

New drum’n’bass show, Bass Flex Radio, began on Perth digital station BackYard Project Radio ( au) last month. Hosted by Q-BiK and Sempy, the show is on every second Thursday from 7 ‘til 9pm and features interviews, tunes and ticket giveaways. The next June show will be on the 28th, check out their Facebook page for details. Aussie gals Kito and Reija Lee have hooked up to form a new production duo, FAUX NO. Their first single, Velma Kelly, is coming out June 26 on Mad Decent, and features remixes from Feadz and Slick Shoota. A new night at Gilkinsons Dance Studio starts next Saturday night. Electrified will feature hard dance and trance, with Greg Packer & MC Assassin, Terrance & Phillip and MC LosD representing drum’n’bass on the 30th of this month. It’s $10 on the door from 9pm. Dutch trio Black Sun Empire are releasing their fifth LP in midSeptember. From The Shadows is a 100 per cent drum’n’bass album coming out on the group’s label

BSE Recordings. But for those who can’t wait that long, there will be a remix EP/album sampler out in August which features Mindscape and Jade, among others. Drum’n’bass albums just released include Dirty Tricks, the debut collaboration between Optiv and BTK as well as Characters by Nymfo, out via Virus Recordings and Commercial Suicide respectively. SKisiM’s label Never Say Die has released their first compilation LP. The double CD boasts many exclusive tracks from the likes of Zomboy, SKisM and Skeptiks as well as several remixes, notably one from Perth’s own Phetsta, while the second CD is a DJ mix by SKisM. The forthcoming album from Concord Dawn, Air Chrysalis, is released today. The album is being released in digital format only and available to download free from Big Ape are bringing some dubstep heavyweights to town next month to celebrate their first birthday. Skream, Sgt Pokes, Joker and Plastician will pay a visit to Villa on Wednesday 18 July. Local DJ Rekab will support the event, and tickets are available from Moshtix and Though the next Fluid night is sansDart, d-vo promises it will be a special one. Brotherly duo Ekko & Sidetrack will be gracing the decks

Who’s behind it? The Elektrix crew who ran the Tranzistor and Infexious parties are behind it. These guys also ran XS Productions, who put on some mega parties over the years including the Intensity parties, They Came From Mars and the Dekwrekka series.


What styles and resident DJs should people expect? Our music policy is all about melodic dancefloor-friendly tunes with an energetic vibe. Expect a variety of styles including trance, hard

Only a munter would miss the launch because…it’s going to set a new standard in Perth clubbing, with quality music, DJ’s and production, bringing back the vibe we all love and miss.

What kind of vibe? We’re all about fun, energy and having a great time to awesome tunes in a fantastic venue. It’s about making everyone who comes along feel part of our clubbing family.

Anything else we need to know? We want everyone to see how good electrified is, so we’re offering free VIP entry to the event. All people need to do is email their full name to and we’ll email you a ticket back. Nice one, sorted!

Who shouldn’t come? People with bad attitudes and aggression

NEXT NIGHT: Saturday 30 June, Gilkisons





Whatâ&#x20AC;&#x2122;s happened with the club night in the last year? It has been business as usualâ&#x20AC;Ślots of new faces and friends. This second birthday is the end of weekly Lofting as it becomes a monthly event. We have a new Sunday Night launching in July called Innerspace. Live bands like Mink Mussel Creek and Bastianâ&#x20AC;&#x2122;s Happy Flight have everyone really keen for what lies ahead. What do you put the success of your night down to? The people. Such an eclectic bunch of people who are passionate about music and having fun. Zero fights or dramas in two years is a testament to a great night. Many people come alone and just make new friends at The Loft. Itâ&#x20AC;&#x2122;s not full of people just there to see and be seen, which is a change from the mainstream venues. Has anyone ever worn their birthday suit at your night? Yesâ&#x20AC;Ś once *blushes* in a lost bet, I did a streak at the end of the night. It wasnâ&#x20AC;&#x2122;t pretty. We had a guy in angel wings and not much else. As an ex-ballet dancer he was much better to look at! Whatâ&#x20AC;&#x2122;s the weirdest thing in the last year youâ&#x20AC;&#x2122;ve found when the lights have come on? One of the staff asleep at the top of the stairs next morning because it was all too hard to keep moving. If your night was a stripper, what would your stage name be and why? Busty St Claireâ&#x20AC;Ś or Hooty McBoobs. It would have to be Simpsons related â&#x20AC;&#x201C; we are Simpsons worshipers here. Duff Beer on special every week



until Fox had a problem with the licencing. In fact the only thing we worship more than the Simpsons are The Muppets. Who takes the cake for the best/ craziest set in your club in the last year? Tomas Ford is hard to go past at the best of times for his wild antics which is why we love him so much. But for pure craziness it would have to have been the Pandemooreum DJ Set. Erin hadnâ&#x20AC;&#x2122;t slept for three days and was on God only knows what to keep her eyes open and busted out a set that included lesbian Russian trance from Tatu, some harcore metal,

psytrance, old school goth and some Ron Burgundy to top it off. Whatâ&#x20AC;&#x2122;s the thing youâ&#x20AC;&#x2122;re most proud of that your nightâ&#x20AC;&#x2122;s contributed to the music scene in the last year? With all the world economic dramas of the last year a lot of bars/clubs have gone straight to the mainstream in hopes of increasing their patronage in tough times. The Loft and Geisha are dedicated to the underground and alternative music scenes and I am proud of keeping these scenes alive. What other shows/tours have you got coming up? As I


said before the New live night Innerspace on Sundays has me excited the most. Some of the bands playing are awesome and they are really looking forward to playing in a venue unlike any other. What sort of celebration is in order? It will be loose as always, eclectic and fun. Tomas Ford for some electro punk. Place Of Indigo for some alt-rock. Also the weird and wonderful Loft DJs playing all their favourite indie, alternative and j-classic songs. WHEN & WHERE: Sunday 24 June, Geisha


Live and direct from California the critically acclaimed MC Fashawn and super-producer Exile are touring Australia for the first time together, and the party hits the west coast this weekend; the duo rocking The Bakery Friday 22 June. The twosome first collaborated on Fashawnâ&#x20AC;&#x2122;s breakout debut album Boy Meets World, and havenâ&#x20AC;&#x2122;t looked back since. With a strong hip hop pedigree - think Rakimâ&#x20AC;&#x2122;s





merciless rhymes plus 2pacâ&#x20AC;&#x2122;s outlaw spirit and Nasâ&#x20AC;&#x2122; effortless flow, Fashawn is poised for the long haul - only aided by the talents of the old-fashioned, yet avant-garde stylings of producer Exile. We have TWO DOUBLE PASSES to the show tomorrow night, simply email giveaways@ with the subject header â&#x20AC;&#x153;FASHAWN & EXILEâ&#x20AC;? and your name.




Benny P, Wasteland, 4by4, Axon, Elkymbo

FRIDAY 27 JUNE      




FRIDAY 13 JULY      


FRIDAY 27 JULY      


THE DRUM MEDIA â&#x20AC;˘ 29

20 JUNE - 27 JUNE





Stache are hosting a onezee party so get creative with your onezee to win prizes and there will be drink specials all night. Find Flawless on Facebook for more info/tickets.

SEVEN DEADLY SINS @ METRO CITY With the club themed and geared for a crazy Winter Wonderland experience prizes for best dressed, it’s the perfect way to stay warm and out of the cold. $5 before 11pm, $10 before 12am, $15 after.



Tyto Kings, Japanese Tongue Sister and Lilt play live, plus comedians, Tomas Ford and more from 8pm.

360’s The Flying Tour features Boys Like You vocalist Gossling, plus Hermitude and Bam Bam. Older kids shows at Villa tonight, Under-18 at Astor.

INTERNET RAP… @ THE BIRD F*** up your social life, free from 7pm with Clunk, Sleepyhead, Booty Collins and Ashwall on a 100 per cent internet-rap-nerd flex.

R’N’R KARAOKE @ DEVILLES A hell of a night for your vocal cords with host Magnus Danger Magnus. Gold coin entry from 6pm.

BASSMENT @ NORFOLK BASEMENT Beats and bass downstairs with The Witness, Elli Schoen, I Of Ra and The Fantastic Mr Fox. $10 from 8pm.

MULDER @ MOJO’S Mulder are joined by Turin Robinson, The Bosons and Bastian’s Happy Flight.

ROSEMOUNT HOTEL Sons Of Rico DJs on the decks, Legacy Of Supremacy, Reapers Riddle, Needles Douglas and The Branson Tramps play inside.

THE AVENUE Jon Ee gets you ready for the weekend.

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

EAST END BAR Az-T headline the best and busiest Thursday night in Fremantle.

CLAREMONT HOTEL DJs DD, Matt & Millie and James Thorne bring the bangin’ tunes.



The Flying Tour is an incredibly appropriate name for current Aussie hip hop prince 360’s latest trip around the country. You’d be hard-pressed to find an Aussie artist soaring as high and mighty as the rapper, who hasn’t looked back since releasing his album Falling & Flying last year, which features hits Boys Like You and current killer Child. In fact, back when this tour was announced, he had yet to play in Perth for the previously announced tour, which had already sold out. Likewise this one is sold out, even though he added extra dates. Helping the cause is his stellar support line-up, featuring Hermitude and Bam Bam, plus special guest and vocalist on Boys Like You Gossling makes the trip over. They play Villa Friday 22 June, The Astor Theatre (ALL-AGES, afternoon) and Villa again (night) Saturday 23; and back at The Astor Sunday 24 for another ALL-AGES afternoon show.

FASHAWN & EXILE @ THE BAKERY Exile and Fashawn take over The Bakery, supported by Marksman. $25 door sales, or $20 from Highs & Lows, presented by Drum.




METRO FREO DJs DTuck, Darren Briais and Wazz keep the party tunes rolling in the big house. Kickstart play live cover tunes and DJ Brett Rowe spins rock, metal and punk between the sets. 12am until late.

RATED X @ AMBAR Loaded Dice host an exclusive ‘loyalty’ night at Ambar, featuring an exclusive international act TBA just before the show. au for more info/tickets.

FHF @ METRO FREO The Death Disco DJs bring the bangin’ indie-dance and collegethemed craziness.

JAPAN 4 @ AMBAR Melbourne party-starter Mat Cant continues to push the boundaries in his sets. He’ll be back at Ambar for Japan 4, supported by Bezwun, Oli, Philly Blunt, Micah. $12 before midnight, $15 thereafter. SUNSHINE BROTHERS

DJs Cowboys & Indie Kids spin indie/alt classics from midnight at Amps, while Caps satisfies your ‘90s desires with DJs from 11pm.


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

HIGHER FYAH @ BAR ORIENT The reggae club hosts the official first-screening after party for The Marley Movie. Another stellar line-up featuring General Justice, Ras Mwas, Mumma Trees, Sista Che, The Empressions and DJ Rray.

SOVEREIGN ARMS It’s a Rewind hosted by Rockwell, with retro hits from the ‘80s and ‘90s.

CORNERSTONE SUNSHINE BROTHERS @ MOJOS The Sunshine Brothers unleash their big dub reggae sounds at WA’s most successful reggae night, Fisherman Style, along with hosts Earthlink Sound and more, $10 entry. ZELIMIR

Tammy Stevens bangs out the pub and club anthems for the peak of the weekend.

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

THE WEMBLEY Once again Az-T fires up the Saturday night soundtrack.

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


Tastes Like Chicken brings ‘On Tap’ house music all night long.

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

Malignant Monster frontman DJ Cain Cressall playing nothing but high-voltage rock and metal from midnight. Dylan Hammond fires up with full on dancefloor destroyers ‘til late.





Syrup returns with double the bass, DJs Zeke, Ben T, DYP, Sauss Bauss, Sleepyhead and Raaghe. $10, entry via Irwin Street Laneway in the CBD.

Indie-dance bangers from Death Disco DJs, The Great RV spinning ‘80s classics upstairs and Eddie Electric indie/at classics from midnight in Amps.

360’s The Flying Tour features Boys Like You vocalist Gossling, plus Hermitude and Bam Bam. Tickets via Oztix, Moshtix and BOCs.

Claremont’s worst kept secret keeps the Friday night party rocking till the sun comes up with Az-T.






The Mondo launch party kicks off with sounds from Shazam, Diger Rokwell, Ash Pedrick, The Metric DJs and Dr Space.


A night of 70’s Global Dancefloor Grooves. Disc jock the Italian stallion dropping disco dance bombs all night long. Cocktails and dinner served from 6pm, dress your stylish best.

360 @ VILLA

Pimps Of Sound hit Fremantle with support from Ngati, RAE and Freqshow. $15 from midnight.




MAIKO @ GEISHA Geisha transforms itself into MAiKO once again and DJs Marko Deric, Rob Sharp, Luke P, Carl Drake and Zel bring the chunk and the funk to the home of house music. 11pm until sunrise.

VOLTAIRE TWINS EP LAUNCH @ THE BAKERY Voltaire Twins launch their new EP Apollo, supported by Bastian’s Happy Flight, Place Of Indigo, Leure, Rex Monsoon and Salut Barb. Tickets via Now Baking.


Australia’s quality desi night out showcasing the latest Electro Desi, Funky Bollywood & UK Bhangra tracks. Featuring DJs MixtaBishi, Denny, Brown Majik, B-Star, Rajit, ElectroSim, Modi and Xclusive Soundz.


360’s The Flying Tour features Boys Like You vocalist Gossling, plus Hermitude and Bam Bam.



The duo launch their debut EP in Perth, with Neal Titus on the beat and Don Giovanni on the mic.

Get on down to the Fly by Night for a great night of classic soul and Motown. $13.50 entry.


Electro-weirdo Tomas Ford is taking his An Audience With Tomas Ford album around the country, coming back to WA to play The Loft’s 2nd birthday, supported by Place Of Indigo.


Luxe Bar’s Love Sundays Sunday session turns three, and they want you to join them, So Feea, Fem and Michelle to sing happy birthday... and make lots of party of course.

THE AVENUE Az-t rounds up your Sunday Sesh in full on green light mode.

BACKYARD DISCO @ AVIARY Chilled disco beats to ease out the weekend, free from 2pm and streamed lived to The Backyard Project.


It’s been a year since Speakeasy and they’re celebrating the only way they know how, with another huge party featuring Flume and his side project with Emoh Instead, What So Not - birthday crazy stuff ensues Friday 29 June. Flume also plays a secret location the following night.

HELP JAMES IRELAND @ THE BIRD ames Ireland has recently been diagnosed with Sudden Hearing Loss. To lighten the load of ongoing medical costs, The Bird host a fundraiser Saturday 30 June featuring MmHmMm, Savior, HAMJAM, Ben M & Ben T, Nik Redikulas and Jo Lettenmaier. $10.

NOCTURNAL BALL @ METRO CITY The 16th Annual Nocturnal Ball is back for peeps in the industry Monday 2 July with a Myths & Legends theme. Plenty of details TBA via and in the future pages of this magazine.

DIRTYPHONICS @ ROSEMOUNT HOTEL Dirtyphonics are headed back to Perth Thursday 5 July, hitting the Rosemount Hotel to show off their ability to innovate several types of bass music, back so soon after tearing the roof off the venue like never before. They’ve been around the world partying for the past year and want you to witness the future of d’n’b performance, supported by Terrance & Phillip, Ekko & Sidetrack and Dart & Sardi. $35 plus BF via Loaded Dice and Moshtix.

DARK SKY @ THE BIRD If anyone is to categorise the disparity of club music in 2012, it would probably be production/DJ unit Dark Sky, otherwise known as Tom Edwards, Matt Benyayer and Carlo Anderson. Having forged a sound as constantly diverse as the London scene they ripped themselves from, a past love of all things garage, dubstep and (of course) house leads future-tinged club interpretations. They’re back in Perth Friday 6 July.

C&C MUSIC FACTORY @ METRO CITY Metro City hosts an Old School Reunion Friday 13 July when C&C Music Factory feat Freedom Williams hits the big room, performing all the hits live. Supported by Perth’s All Star Old School DJ line-up in Cutnice, Money J, Armee and Slick, with a b-boy demo from Maze & Crew. First release tickets $30 plus BF via Oztix or OPP.

MAJOR BASS @ VILLA Perennial breakbeat mid-year minifest Major Break is taking an… erm, major break in 2012 after eight bangin’ years, and its place comes Major Bass at Villa, Saturday 21 July. The godfather of breakbeat Rennie Pilgrim takes headline honours, backed up by big room rave slayers Cutline and booming Aussie export Nick Thayer. With support from FTW and Mr Ed, things are looking bang on. Tickets $38 plus BF via Moshtix.


Live Nation & Modular present




THU 21 Adam James Belgian Beer Cafe Courtney Murphy Como Htl Freddie Grigson Band Ellington Christian Thompson FUSE Bar Matt Milford High Wycombe Hotel The Spitfires Hyde Park Htl Bernadine Karrinyup Shop Centre James Wilson Lucky Shag Mulder, Turin Robinson, The Bosons, Bastian’s Happy Flight Mojos Nth Fremantle Datura, Black Board Minds Mustang Bar The Witness, Elli Schoen, I of Ra, The Fantastic Mr Fox Norfolk Basement Felicity Groom Prince of Wales Bunbury Joel Barker Quindanning Tavern Legacy Of Supremacy, Reapers Riddle, Needles Douglas, The Branson Tramps Rosemount Htl Clayton Bolger Rosie O’Gradys Fremantle Fenton Wilde Rosie O’Gradys Northbridge Mike Goodwin Settlers Tavern Margaret River David Fyffe Sovereign Arms Daisy Clover, Keegan Ross, Julz Evans Swan Lounge Sleepyhead, Ashwall, Booooty Collins, Klunk The Bird Jen de Ness The Boat One Trick Phonies The Gate Bar and Bistro, Success Two Plus One Woodvale Tavern Jack Doepel, Alex Dew Xwray Café Three Hands One Hoof, Amanda Merdzan, Dave Ya Ya’s

FRI 22 Undercover Acoustic 7th Avenue Bar Paradise In Exile Amplifier Bar Christian Thompson Bally’s Bar


Dirty Scoundrels Balmoral Everlong Acoustic Belmont Tavern Dove Bentley Hotel Everlong Black Bettys Tod Woodward Brook Bar & Bistro Bluebottles Captain Stirling Inferno Castle Htl (York) Chasing Calee Chase Bar & Bistro Trevor Jalla Como Htl Special Brew, Rocket to Memphis Devilles Pad Chris Gibbs East 150 Bar Sugarfield Edz Sports Bar 1 Graham Wood Trio, Melody Whittle, Howie Morgan, Meg Mac, Astrid Ellington Halo Empire Greg Carter Greenwood Hotel Ali Towers Herdsman Lake Tavern The Damien Cripps Band High Road Htl Riverton Nathan Gaunt, Waiting For Bliss, Patient Little sister, Kate Gilbertson, Reid Maul Hyde Park Htl Tracksuit, Dallas Frasca, Rick Steward Indi Bar Ben Merito Indian Ocean Brewing Company Ziggi Kulcha Parker Avenue Merriwa Tavern Charge Group, Joe McKee, The Long Lost Brothers, Runner Mojos Nth Fremantle Peter Bibby Mojos Nth Fremantle (afternoon) Harry Deluxe, Cheeky Monkeys, James MacArthur Mustang Bar Party Rockers Newport Htl Simon Kelly Paddingtion Ale House Flyte Paramount Nightclub Damage Kings, Brutus, Animal, Gombo Rocket Room Mezzanine, The Love Junkies, Foam, Trigger Jackets, Dead Owls Rosemount Htl Neil Colliss Rosie O’Gradys Northbridge Dexter Jones Settlers Tavern Margaret River Helen Shanahan Stirling Arms Guildford The Mojos Swinging Pig

Greg Carter Swinging Pig (Arvo) Lanark, Mulder, Mostarsk, Rayzar The Bird The Organ Grinders The Boat Bernadine The Brass Monkey Matt Milford The Eastern Midland Smoking Section The Gate Bar and Bistro, Success James Wilson The Principle Micro Brewery Tod Woodward The Rose & Crown Kickstart The Shed Nightmoves Universal Bar Hello Colour Red, Neutral Native, Mourning The Collector, Nymph Honey, Mat Cammarano Velvet Lounge Ivan Ribic Victoria Park Htl Clayton Bolger Wanneroo Tavern Joel Barker, Burst & Bloom, The Morning Night Xwray Café Louis and the Honkytonk, Sidewalk Diamonds, Room At The Reservoir Ya Ya’s

SAT 23 Felicity Groom, Gum & His Band, Doctopus, The dianas Amplifier Bar Courtney Murphy & Murphy’s Lore Bailey Bar & Bistro Voltaire Twins, Bastian’s Happy Flight, Place Of Indigo, Leure, Rex Monsoon, Salut Babu Bakery Northbridge Sophie Jane Bally’s Bar The Recliners Balmoral Flyte Bar 120 Howie Morgan Belgian Beer Cafe J Babies Black Bettys Hells Bells, Reapers Riddle Brooklands John & Shaun Sandosham Burswood Lobby Lounge Switch Burswood Prize Draw Stage Macabre, Beyond Terror Beyond Grace, Chainsaw Hookers, Empires Laid Waste, Morghl, Blunt Force Trauma, Nexus, Born On The Bayou, Cold Fate Civic Htl Backroom The Aunts, One Tiger Down, Jade Stevens Clancys Fremantle Ryan Dillon Como Htl Victoria Newton, Libby Hammer Quintet, Ladywood Ellington Bustamento Fly By Night Tandem Greenwood Hotel Losing Julia High Road Htl Riverton Helen Shanahan Hotel Rottnest Graphic Fiction Heroes, Nymph Honey, Bashamm, Ezereve Hyde Park Htl The Mojos Indian Ocean Brewing Company The Pepperjacks Kulcha The Organ Grinders Lakers Tavern Steve Hepple Leopold Htl Bicton Rhythm 22 M On The Point

Sunshine Brothers, Earthlink Sound, Fisherman Style Mojos Nth Fremantle The Continentals, Milhouse, James MacArthur Mustang Bar Kizzy, Gravity Newport Htl The Autumn Isles, Archer & Light, Spoonful Of Sugar, Lucas Jones Norfolk Basement Nathan Gaunt Osborne Park Htl Leighton Keepa Port Kennedy Tavern Tracksuit, Dallas Frasca Prince of Wales Bunbury Electrophobia Quarie Bar & Bistro Empty Pocket, The Southwicks, Living Dying, Glenn Bowman Railway Htl Kickstart Rocket Room From The Dunes, Further Earth, Dave, Monuments Rosemount Htl Kickstart Sail & Anchor Toby & band Settlers Tavern Margaret River Greg Carter Swinging Pig Tim Gordon, The Big Old Bears, The Flower Drums, Patient Little sister The Bird Deuce The Boat Dirty Scoundrels The Gate Bar and Bistro, Success Huge The Shed Better Days The Vic Hotel Mod Squad The Whale & Ale Greg Carter Wanneroo Tavern Renegade Woodvale Tavern SOL-R Xwray Café Scalphunter, Burning Fiction, Ex-Nuns, Suburban & Coke Ya Ya’s

SUN 24 Buried In Verona, The Plot In You, Silent Screams, Mandalay Victory Amplifier Bar Greg Carter Bally’s Bar Cranky Balmoral Switchback Broken Hill Hotel Karin Page Captain Stirling The Shinkickers Carlisle Htl James Wilson Chase Bar & Bistro Sunday Driver, DJ Double Dee Claremont Hotel Ali Towers East 150 Bar The Gavin Kerr Quartet, Mel Crothers Ellington Ryan Dillon High Road Htl Riverton Retrofit Indian Ocean Brewing Company Electrophobia M On The Point Dallas Frasca, Tracksuit Mojos Nth Fremantle Peter Busher & the Lone Rangers, DJ Rockin Rhys Mustang Bar Dexter Jones, The Spitfires, The Insatiables Newport Htl One Trick Phonies Pig & Whistle Gotham City Quarie Bar & Bistro

Big Bamboo Queens Tavern, Highgate Shawne & Luc Sail & Anchor Howie Morgan Project Saint Toby Beard Settlers Tavern Margaret River Christian Thompson South st Ale House Sophie Jane Springs Tavern Needles Douglas, Roxatus, Wrath Of Federer, Juan Dark & The Ocean Swan Basement Adam James Swinging Pig Pat Nicholson Swinging Pig (Arvo) The Colour Of Indigo, Branches Of Berlin, Robo-Ant, Mirror Mirror The Bird Better Days, Chris Gibbs Trio The Gate Bar and Bistro, Success The Healys, Blue Hornet The Shed Retrofit Universal Bar Good Karma Woodvale Tavern The Charisma Brothers, Click Brown Fox Xwray Café Buried In Verona, Anchored, Silent Screams, Averia Skies, The Plot In You YMCA HQ

MON 25 Chamber Jam Ellington Marco & The Ally Cats Mustang Bar

TUE 26 Trevor Jalla Charles Htl Leighton Keepa Lucky Shag Mat McHugh, Ben Witt Mojos Nth Fremantle The Tom Tale Jazz Quartet Xwray Café Nymph Honey, Emma Chitty, Jane Azzopardi Ya Ya’s

WED 27 Nathan Gaunt Balmoral Nadia Ackerman Ellington The Aunts, The Lucky Numbers, Old Blood Fremantle Blues & Roots Club Bernadine Greenwood Hotel Tal Cohen, The Abbey, Foster, Falle Trio Hyde Park Htl Howie Morgan Lucky Shag Sean O’Neill, James Teague, Boston & Chevy Moon Cafe 5 Shots Paddy Hannan’s, Burswood Karnivool Prince of Wales Bunbury Daniel Firken Trio, Room At The Reservoir, The Midnight Mules, Lucas Jones Rosemount Htl Rex Monsoon, The Monarchy DJs, Twinz, Animal Ballet The Bird James Treacy, Quick Brown Fox Xwray Café Community Stereo Ya Ya’s


BAND OF SKULLS CAMILLE O’SULLIVAN: JUN 21 Astor Theatre AFRICA UMOJA: JUN 21-24 Burswood Theatre CELTIC DIVAS: JUN 21 Bunbury New Lyric Theatre; JUN 22 Mandurah Performing Arts Centre; JUN 23 Octagon Theatre CHARGE GROUP: JUN 22 Mojo’s; JUN 23 Dada’s Carpark DALLAS FRASCA: JUN 22 Indi Bar; JUN 23 Prince Of Wales; JUN 24 Mojo’s 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 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 + NATHAN KAYE: JUL 4 Mojos; JUL 5 Didgeridoo Breath TIM FINN: JUL 5 Artbar, Art Gallery Of WA VAN SHE: JUL 5 Capitol +BASEMENT: JUL 5 Amplifier; JUL 6 YMCA HQ 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

OWL EYES 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 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 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 + SNAKADAKTAL, SURES: AUG 4 Astor Theatre

TERROR: JUL 12 Amplifier

THE BRIDE,TRAINWRECK: AUG 4 C5, Metropolis Fremantle; AUG 5 YMCA HQ

HOUSE OF SHEM: JUL 12 Wanneroo Tavern; JUL

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 + HOUSE VS HURRICANE: AUG 10 Prince Of Wales; AUG 11 Amplifier; AUG 12 YMCA HQ KATE MILLER-HEIDKE, THE BEARDS: AUG 11 Astor Theatre NASUM: AUG 15 Amplifier + TRANSIT: AUG 15 YMCA HQ; AUG 16 Amplifier 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 + PASSENGER: AUG 22 Rosemount Hotel + BONNIWELLS: AUG 24 Velvet Lounge; AUG 25 Dada Records; AUG 26 Mojos KEITH BARRY: AUG 25 Octagon Theatre PENNYWISE, THE MENZINGERS, SHARKS: AUG 29 Metropolis Fremantle SLASH, MYLES KENNEDY & THE CONSPIRATORS: AUG 30 Metro City THE ENGLISH BEAT: SEP 1 Astor Theatre HOWARD JONES: SEP 5 Astor Theatre JOSE FELICIANO: SEP 5 Regal Theatre THE BEACH BOYS: SEP 6 Burswood Dome DAMIEN LEITH: SEP 7 Mandurah Performing Arts Centre; SEP 8 Astor Theatre + THE MEDICS: SEPT 8 Amplifier ROTTOFEST: SEP 8 & 9 Rottnest Island



10%   %! %$55.00






THE DRUM MEDIA â&#x20AC;¢ 33

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Drum Media Perth Issue 293  

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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