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WA’S HIGHEST QUALITY STREET PRESS • THURSDAY 5 JULY 2012 • 295 • FREE

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THE DRUM MEDIA • 3


FOREWORD LINE

NEWS FROM THE FRONT

IN BRIEF Mushroom Group Chairman Michael Gudinski has topped SPA and TheMusic. com.au’s AMID Power 50 poll. Head to themusic.com. au for the full list, which includes John Butler and Brad Mellen from WA. BEACH HOUSE

BEACH BOUND A couple of weeks ago Southbound announced that next year it will again take place at Sir Stewart Bovell Park in Busselton, on Friday 4 and Saturday 5 January 2013, and as promised they’ve just unleashed the first artist announcement. While it’s only a few acts, there’s plenty to be excited about, with dreamy popsters Beach House, beach-rockers Best Coast, indie-folk champs Boy & Bear, hip hop hero Coolio, weird-poppers The Flaming Lips, silky-smooth beatsman SBTRKT and Brit-rockers The Vaccines getting the ball rolling. Soundbound 2013 will see the two-day, two-night, 18-plus format return, for a no-doubt spectacular way to start the New Year, presented by Drum Media.

After a successful first round last year, the Natural New Zealand Music Festival will return to Red Hill Auditorium Saturday 1 December. The full line-up announcement is due August 20, with tickets available September 3. Likewise, Sets On The Beach has announced Sundays December 2, January 13 and March 24 as their three summer dates. Head to Mills Records or call 9335 5066 for an exclusive $135 plus BF season pass.

THE LIVING END

ROLLING ON The Retrospective Tour will see Australia’s legendary rock’n’roll sons The Living End play each of their six albums in full, back-to-back, start to finish, over six nights. The Rosemount Hotel plays host to the momentous set of dates on the Perth leg: Thursday 1 November they play State Of Emergency; Friday 2 Modern Artillery; Saturday 3 The Ending Is Just The Beginning Repeating; Sunday 4 Roll On; Monday 5 and Tuesday 7 The Living End; and Wednesday 7 White Noise. Tickets via Oztix, with the option for a Big Red Ticket offering access to every show.

The date for Hyperfest’s Youth Arts Exhibition HyperVision submissions has been extended ‘til Friday 13 July. hyperfest. com.au to enter.

ANTHONY JESELNIK

FEST FIRST Hilarious and controversial US stand up comedian Anthony Jeselnik (Comedy Central, HBO) will be making his Australian debut and will also be the first international guest in Rottofest’s history when he does his thing at the fourth annual Rottofest, Saturday 8 to Sunday 9 September. There’ll be a host of other comedic guests including Tim Ferguson, Mel Buttle and more – check Front Row for more details. However, the music line-up has Drum HQ pretty excited too. Brisbane indie surf-poppers Millions headline (perfect for island party vibes), along with a host of local champions including Stillwater Giants, Sonpsilo Circus, Sam Perry, Anton Franc, Patient Little Sister, Cow Parade Cow, The Flower Drums, Tomas Ford and more. Head to Rottofest.com.au for the full line-up, and early bird ticket options until July 20, proudly presented by Drum Media.

Muse’s new single Survival will be the official song of the 2012 London Olympics. Their new album The 2nd Law is due September. Cancer Bats have postponed their upcoming east coast tour - they’ll instead be back for Soundwave 2013, heading to all state capitals. Lamb Of God vocalist Randy Blythe was arrested in Prague last week on manslaughter charges and released on roughly $200,000 bail - check our The Abyss column in LIVE for the full story.

STEPHEN MALKMUS AND THE JICKS

TRAFFIC JAM Not since 2009 has Australia had the pleasure of the company of Stephen Malkmus & The Jicks. However, 2011 saw release of their excellent Mirror Traffic album, a split 7” with LA Guns and other recorded delights, which finally gives them a reason to pack their ultra long-distance suitcases, and head to Australia for their 2012 Mirror Traffic Tour. They play the Rosemount Hotel, Friday 28 September. Tickets via heatseeker.com.au. MARIA MINERVA

Adele’s 21 is still the highest selling album in Australia this year. In the mid-year ARIA report it beat out One Direction’s Up All Night and Hilltop Hoods’ Drinking From The Sun. Following their purchase of EMI Music Publishing last week, Sony/ATV now own publishing rights for over two million songs.

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MUMFORD AND SONS

FOLK-ROCKIN’ BEATS Returning to wow Australian audiences this October, Mumford & Sons will play an incredible ten concerts across major metro and regional venues around the country, kicking off in Perth at Belvoir Amphitheatre, Sunday 13 October. The band’s Australian Stopover tour sees support from Edward Sharpe & The Magnetic Zeros and Willy Mason. Anyone who has been lucky enough to see them before will tell you it is guaranteed to be one of the biggest and most exciting nights on this year’s live music calendar. Tickets via Ticketmaster. YUKSEK

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SWAN SOUNDS On the heels of her new LP and ahead of her Integration collaboration with LA Vampires, young Estonian songstress Maria Minerva appears in Perth for the very first time this August. Upon the banks of the Swan River, Minerva will perform in concert with special guests Mei Saraswati, Leure and DJs Rok Riley and Jo Lettenmaier, Sunday 26 August at the Maylands Yacht Club, from 5pm. Tickets via oztix.com.au. HOME BREW

The triple j Unearthed Splendour In The Grass winners for 2012 are Kingswood.

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Chief Executive of Parisbased entertainment group Vivendi, Jean-Bernard Lévy, has stepped down from his position due to a “divergence of views on the strategic development of the group”. Vivendi owns the Universal Music Group. Blur have revealed two new songs written for their Hyde Park show, Under The Westway and The Puritan, in a special online show beamed from a secret UK location earlier this week.

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Quiet Heart: The Best Of The Go-Betweens will be released Friday 31 August through EMI.

Brisbane street press title Rave Magazine announced that last week’s issue would be their last after 21 years in existence.

YUK IT UP After dropping the acclaimed album Away From the Sea, Yuksek had a lot to live up to. All it took was some serious time on the road and at home in the fertile music scene of Reims, France to plant the seed. Now the flower has bloomed in Living On The Edge Of Time. The new album is full of rousing electro-jams at their finest and you can catch Yuksek Friday 27 July at Villa at Speakeasy, with support from Melbourne’s Clubfeet, Audageous, Paper Planes and Metric DJs. Tickets $33 plus BF via Moshtix.

themusic.com.au

Hermitude have signed a worldwide deal with the legendary 1914-formed Regal Records, an imprint of Parlophone.

LEAVING HOME Off the back of launching their self-titled double album (the first hip hop album to debut at #1 in New Zealand since 2003) by throwing a 48-hour party in an old brothel, having their controversial pop-up store closed down early, then touring the carnage around NZ, Home Brew are bringing the party to Australia. They’re joined by Sky’High and DJ Substance at Amplifier Thursday 9 August to showcase that very album. Tickets via Oztix.


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THE DRUM MEDIA • 5


FOREWORD LINE

NEWS FROM THE FRONT

LOCAL LOVIN’

RTRFM Winter Music Festical with Felicity Groom, Usurper Of Modern Medicine and French Rockets.

There’s some mighty fine happenings going down right now in WA, and we don’t just mean figuring out how to spend your share of the $30mil Lotto draw you won last weekend... if you did. EMMY LOU HARRIS

COUNTRY QUEEN Already celebrated as a discoverer and interpreter of other artists’ songs, 12-time Grammy Award winner Emmy Lou Harris has, in the last decade, gained admiration as much for her eloquently straightforward songwriting as for her incomparably expressive singing. Emmy Lou Harris’ contribution as a singer and songwriter spans 40 years. She brings her impressive discography to Perth with Her Red Dirt Boys at Perth Concert Hall, Tuesday 6 November. Tickets via BOCs.

SMITTEN Poison City Records has revealed that burgeoning buzz band The Smith Street Band will release their second album Sunshine & Technology on Friday 24 August, the follow up to their debut success No One Gets Lost Anymore. To celebrate its release the band will tour extensively, and they play headlining shows in capital cities Australia-wide. The tour stops in Perth Friday 31 August at The Rosemount Hotel.

THERE GOES MY HERO Hailing from Sydney, For Our Hero’s highly anticipated first full-length record Strange Days has rocketed to number two on the iTunes rock charts and earned a number three spot on Australia’s Independent AIR Charts. Having already toured with well known national and international artists, they return to Perth and play the Rosemount Hotel, Thursday 26 July and YMCA HQ Friday 27 July. Tickets via Moshtix.

FRONT PAGE The incredibly gifted and ever-hilarious multiinstrumentalist and looping artist Adam Page will be performing his solo show around the country in his first major gigs since leaving Australia to live in New Zealand in 2011. Performing in international festivals including the Edinburgh Fringe Festival and the Uijongbu Arts Festival in Korea, he also played Australian festivals such as WOMADelaide and the Big Day Out. He brings his talents to Perth Tuesday 21 August, playing the Ellington Jazz Club.

HEATING UP Jungle Fever is back, Saturday August 11 at Villa Nightclub, with its biggest lineup yet, featuring Kenny Ken, DJ SS and MC Skibadee, some of the UK’s most legendary and iconic figures in drum’n’bass – true pioneers of the genre who have all been there right from the beginning and are still smashing dancefloors all over the world to this day. Support from Greg Packer & Assassin, Qbik & Seeka and Illusiv & Dvise. Tickets $45 plus BF via Moshtix.

THIRTY QUENCHER One of Australia’s most respected musical talents, Rai Thistlethwayte, best known as the frontman of Thirsty Merc, is heading out on a rare solo tour this July/August. A highly accomplished pianist, guitarist, vocalist and songwriter, Rai will be road-testing some new material and putting a unique spin on some much-loved Thirsty Merc songs when he plays Friends Restaurant Thursday 2 August; Charles Hotel Friday 3; The Boulevard Tavern Saturday 4; and the Indi Bar Sunday 5.

Local rockers Axe Girl, featuring Addison Axe, Nat Ripepi and Vanessa Thornton & Brett Mitchell (Jebediah), kick off their residency at Mojo’s Thursday 12 July, then play there the next two Thursdays.

Perth’s own The Love Junkies will support Band Of Skulls at The Bakery Monday 23 July, while Sugar Army take opening honours for The Smashing Pumpkins, Thursday 26 July at Challenge Stadium. Bringing their soulful reggae vibes to Mojo’s Saturday 28 July is NGATI, with support from The Weapon Is Sound and DJ Corby. Will Stoker & The Embers, Lucille, Blazing Entrails and Paul Mccarthy team up at The Fly Trap to bring you a night of smokin’ guitar riffs and good old fashioned rock n roll, Saturday 28 July.

The beginning of a new nightlife experience, Dank Magic, kicks off Thursday 5 July at the Velvet Lounge, with DJs Oddstar and Musako. Perth punk-rockers The Decline have announced a national tour that kicks off tomorrow at YMCA HQ, then Prince Of Wales, Bunbury Saturday 14 before they head over east, and return home to play The Rosemount Hotel Wednesday 1 August.

Band Of Frequencies have announced Dilip N The Davs will support them at Mojos, Sunday 5 August, and Simon Kelly & The Big Bamboo at The Indi Bar, Wednesday 8.

Magicians of melody Bastian’s Happy Flight headline Innerspace at Geisha, Sunday 15 July with support from MmHmMm, Leure and DJ Cameron George (Usurper Of Modern Medicine), $8 entry.

After launching new EP Vile Horizons, Mezzanine are set to embark on their first national tour, which kicks of at The Railway Hotel, Saturday 21 July, for the

This spring The Amity Affliction will embark on their biggest run of Australian dates yet, in support of the highly-anticipated release of their Roadrunner Records debut Chasing Ghosts. In addition they’re supported by California’s metallic hardcore kings The Ghost Inside, Brighton’s modern metal lords Architects and is capped off with local juggernauts Buried In Verona! The tour takes control of Metropolis Fremantle Sunday 7 October, and again Monday 8 for an all-ages show. Tickets via Heatseeker.

AXE GIRL

ALL GROWN UP To celebrate 20 years of dedicated Pharcyde delivery, and following their successful performances at Good Vibes in 2009, California’s Imani and Bootie Brown of The Pharcyde are bringing their original, idiosyncratic style of hip hop back to Australia this August with a special audio/visual show. Saturday 25 August sees them take control of the Capitol to work their magic for WA audiences. Tickets via Oztix.

M A R L E Y

FESTIVAL NEWS

FAMILY BURDEN

www.houseofmarley.com.au

LET THERE BE ROCK

THE MERRY WEST

Always reliable to roll out the rock when someone special comes to town, Rock It is back on WA’s festival agenda, with the 11th edition at Joondalup Arena, Sunday 28 October. Initially announced a few weeks ago with rockin’ twosome The Black Keys, you can now include John Butler Trio, Birds Of Tokyo, The Panics, Lanie Lane, Last Dinosaurs, San Cisco, Abbe May, Royal Headache, Graveyard Train, Brothers Grim, The Toot Toot Toots, The Kill Devil Hills and Emperors. Tickets are $99 plus BF via Heatseeker from tomorrow.

As if the North West Festival in its first year wasn’t big enough already, they are adding more names to the bill. Joining the already rock solid line-up of Hilltop Hoods, The Living End and The Cat Empire are Regurgitator, Dead Letter Circus and San Cisco. Even better, ticket prices will be remaining the same. These six artists will be blasting into the Pilbara region and taking over the Port Hedland Turf Club on Saturday 18 August. Tickets via Moshtix.

BIRDS OF TOKYO

WINTER WARMERS The recent dip in temperatures can only mean one thing – the RTRFM Fremantle Winter Music Festival. Saturday 21 July get warmed up by some toasty local tunes as 25 local acts take over five stages at the Railway Hotel, Swan Hotel and Mojo’s. The acts playing are Felicity Groom; Usurper Of Modern Medicine; French Rockets; Mezzanine; Rocket To Memphis; Cal Peck & The Tramps; Blazin’ Entrails; Ruby Boots; Ensemble Formidable; and heaps more. Head to rtrfm.com.au for tickets, the full line-up, and who’s playing where.

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

EDITORIAL

6 • THE DRUM MEDIA

THE LONG ROAD

In an era beset by an abscess of competition and the gasping breath of Regurgitator’s 19th year, they’re not looking back for the sake of looking back. Instead, they take a knife to the face of nostalgia and sculpt it a new nose with the highly unexpected – playing Tu Plang and Unit back to back at The Astor, Sunday 7 October with support from Indonesian twopiece phenomenon Senyawa. Tickets via BOCs. They’ve also joined the North West Festial line-up – check Festival News for deets.

DEAD LETTER CIRCUS

CREDITS Rockhampton duo Busby Marou are currently on the I Still Don’t Believe Tour, celebrating the new single of the same name. Joined by Leader Cheetah in duo mode and The Hello Morning, the troupe plays Prince Of Wales, Bunbury Friday 6 July; Rosemount Hotel Saturday 7; and Newport Hotel Sunday 8. Tickets are via Oztix, Moshtix and Heatseeker, or to nab one of TWO DOUBLE PASSES to either the Rosemount or Newport shows, email giveaways@ drumperth.com.au with “BUSBY BELIEVE” in the subject header, and which show you’d prefer.

Already confirmed to return to Australia this September for the Deni Ute Muster, Kelly Clarkson will also be playing a run of national arena shows on her return. Clarkson’s acclaimed career took off after winning the inaugural American Idol competition in 2002, and her first album was released in 2003. Five albums and countless top-ten hits later, she continues to stun crowds. She lands in Perth Friday 8 October and plays Challenge Stadium with special guests The Fray and Sarah De Bono.

BACK TO BACK

After two rockin’ parties so far, Syrup returns to the Irwin St Alleyway, Friday 20 July, for a third instalment featuring Kit-Pop, Clunk, Dat A$$, Dragon Rock, Robihusslin and Allstate.

BUSBY MAROU

GIVEAWAYS

NATIONAL ARENA

Managing Editor Andrew Mast Editor Aarom Wilson Editor’s Assistant Troy Mutton Front Row Editor Cassandra Fumi

ADVERTISING

EDITORIAL POLICY

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. ©

DESIGN & LAYOUT

Matt Davis, Nicholas Hopkins

DEADLINES

ADMINISTRATION Editorial Friday 5pm

Accounts Loretta Carlone

PHOTOGRAPHERS

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

CONTRIBUTORS

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

themusic.com.au

Announcing their first ever appearance in Perth, Octave One play The Bakery Saturday 22 September. Arriving onto the electronic scene with I Believe in 1990, the core unit of the band, made up of Lenny and Lawrence Burden, have had the privilege of bringing their high-energy live shows to many parts of the world. The tour is in support of retrospect compilation, Revisited: Here, There, And Beyond.

HEART’S ON FIRE Known for their brutally energetic live sets, Jackson Firebird are set to bring their brand of high-octane rock to WA for two special shows this July. The band has earned their touring stripes alongside You Am I, King Cannons, Snowdroppers, Little Birdy and The Fumes. It’s now WA’s turn to catch them in headline mode on their Paper Scissors Rock Tour, Friday 13 July at the Hyde Park Hotel and Saturday 14 The Railway Hotel.

GAMBLING ADDICTION London’s Philip Gamble, better known in the sonic realm as Girl Unit, gave the post-dubstep continuum its most spectacular boost in 2010 with the eerily addictive stutter and icy cheeps of Wut. Nodding to southern rap, Chicago juke, the dark kitsch-glitch of witch house, ravey R&B and beyond, Gamble’s tracks promise a constant redefinition of what’s considered pop, and he drops in for a set at The Bakery Saturday 4 August.

PO Box 507 Mount Lawley 6929 Phone (08) 9228 9655 General Editorial music@drumperth.com.au Arts/Film Editorial frontrow@drumperth.com.au Club/Dance Editorial mo@drumperth.com.au Gig Guide gigguide@drumperth.com.au Live Editorial live@drumperth.com.au Advertising Sales sales@drumperth.com.au Accounts/Administration accounts@drumperth.com.au Artroom artwork@drumperth.com.au Distribution distro@drumperth.com.au Office hours 9am to 6pm Mon to Fri.

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THE DRUM MEDIA • 7


BUSINESS TIME

Wellington to playing to 15,000 people at Hollywood Bowl – mostly doing the same stuff! That was so exciting. Usually we’re pretty blasé; it’s really great touring but it’s not like we get amped every show or anything like that, but that time we were actually running around pretending to be rock stars and talking in our stupid rock stars voices, which is like this [approximates grizzled old rocker], ‘Alright, Hollywood!’ That was before the show, before we’d even started! “We used to do that a little bit when we first started doing shows in Wellington, sometimes we’d do this joke and put on these rock star personas before we’d go on and once I did it so much that I lost my voice. It was like the time where Bret had to cover with the guitar, except this time he had to cover with all the singing – I could only talk in a very weak, very distant-sounding freaky voice. “So some things are the same [as the old days], just the amount of people is different. And we get paid now! We used to get paid for those little gigs, but it would just cover the guitar strings that we’d bought for the show, so we’d break even.” With all of this recent film work under their collective belts there’s been strong talk of a Flight Of The Conchords movie in the offing.

On the eve of Flight Of The Conchords’ inaugural Australian headlining tour, the taller of the Kiwi duo, Jermaine Clement, promises Steve Bell that the incessant Aussie bashing of their TV show is all in jest and that they really do love their neighbours.

Y

ou can call the guys from Flight Of The Conchords many things, but you certainly can’t question their courage. They may have moved up in the world since their years spent as New Zealand’s self-proclaimed ‘fourth most popular folk-parody duo’ – a swag of shared awards including a Grammy, as well as individual accolades including an Oscar for Bret McKenzie and an Emmy nomination for his partner-in-crime Jermaine Clement would surely attest that they’ve climbed a few rungs on that particular pecking order – but the pair haven’t been to Australia since their eponymous TV show became a massive worldwide smash, debuting on US comedy giant HBO in 2007 and wrapping up two years later, having made the pair virtually household names on a global scale. But it’s not just the tyranny of distance that makes their imminent live tour of Australia so daunting for the cocky Kiwis; they’re more concerned about how they’re going to live down the incessant Aussie bashing and anti-Australian rhetoric that liberally littered their TV show. Who can forget characters like conniving Aussie sheila Keitha, the cloyingly smug Australian diplomat Maxwell or the montage of the Conchords guys flipping the bird at the Australian Embassy in New York (where Flight Of The Conchords is based), a cross-Tasman rivalry best summed up by their description of Australians in the first series as a “bunch of cocky a-holes descended from criminals and retarded monkeys.” Them sounds like fighting words... “We do not hate the Aussies!” Clement roars laughingly when confronted about their treatment of our nation on the small screen. “Although when we were doing the show – because we have a quite a few Aussie jokes – we did get a bit worried. We were worried about how it would be received, but in general Australians have taken to it with great humour. We thought we’d be ostracised in both New Zealand – for how we made New Zealanders appear – and Australia, and we’d have

8 • THE DRUM MEDIA

to live on an island. We’re coming over to apologise for all of the terrible stereotypes we purported. We’re just going to apologise profusely and then leave. “But you know what I find the funniest thing – with all the Australian characters we had we did play around with them a bit, but we always made you guys the winners. We were always the losers. But when Australians make fun of New Zealanders it’s always the same way around too – you guys are the winners and New Zealanders are the losers. So we’re just kidding.” The Flight Of The Conchords’ quest for contrition finds them returning to their roots, performing live and relying primarily on their hilariously whimsical songs to offset the duo’s naively stunted ‘fish out of water’ worldview and twisted inter-personal relationship. It’s how they started performing in their native Wellington back in the late-‘90s, building up the premise to the point where they were offered a BBC2 radio show in the UK in 2004, which in turn was tweaked to form the basis of their riotous TV series. “Yeah, except our shows when we started were very much like our shows in the TV show – there were hardly any people,” Clement chuckles. “They were more dedicated than in the TV show – we had fans, but they would fit on two couches that would be at the front of the venue. I remember Bret’s dad seeing us early on and saying, ‘You guys are world class!’ and I laughed at him. I thought, ‘That’s a nice dad! That’s a nice thing for a dad to say about his son’s stupid band!’” The ‘Conchords relied on this marriage of music and comedy from the get-go, but in the beginning each brought a particular skill set to the table. “We were just learning guitar, so it was mainly about learning how to play a guitar,” Clement smirks of the pair’s early material. “Actually, at my first gig I was so nervous that I couldn’t move my hand! I’d done comedy stuff before but no music and Bret had done music before but no comedy. Fortunately Bret – having played music gigs before – was confident enough to move his hands, so some sound came out.

“We met doing comedy stuff – theatre stuff – in Wellington. Our first songs were just weird songs; they didn’t necessarily have jokes, they were usually about people dying and stuff. I think our very first song was actually the French one that we still do sometimes, Foux Du Fafa, which wasn’t about anything – we just wanted to sound like Serge Gainsbourg. Most of that song only has two chords and then Bret wrote some more chords to go on the end of the song. “Our first gig, we were doing auditions and stuff and Bret was playing in several bands. We were both really poor – we were flatting together – and then a friend of mine got a job booking comedy at a local club. It was the only comedy night in Wellington – it was once a week – and he said, ‘Do you want to be the band at this comedy gig?’ so we did that. Our songs had a few jokes in them [at the outset] and we just got more and more jokes, until eventually it was all jokes almost. But we were never serious, we were always doing stuff that amused ourselves at least and then eventually we started doing stuff to try and amuse others as well as ourselves.” And amuse others they did, with the duo’s two albums to date – 2008’s Flight Of The Conchords and 2009’s I Told You I Was Freaky – being released on seminal US indie Sub Pop to much acclaim. Now, after years spent making the TV series and some serious forays into the film world – most recently McKenzie worked as music supervisor for The Muppets movie, winning the Academy Award for Best Original Song for his tune, Man Or Muppet, while Clement stars as the lead villain in Men In Black 3 – the pair are looking forward to once more treading the boards. “When we’re well-rehearsed and everything, it’s the easiest and the funnest and the most interesting thing to do. It’s strange doing really big venues now though. Plus people know all the words now. Last time we toured was about two years ago, in Europe mostly. The biggest one we’ve done is Hollywood Bowl: it’s a massive leap going from ten people in downtown

themusic.com.au

“Yeah, if we come up with one,” Clement smiles of the prospect of a movie project. “It’s the same as with songs – we only do it if we come up with it. If we don’t come up an idea for it, we won’t do it. But it probably won’t be [a continuation of the TV series], although we’d probably use the same cast. Like Monty Python I guess, where the movies aren’t really related to their TV show. But that’s only because we’ve talked about three stupid ideas so far: ‘What if we’re in medieval times? What if we’re astronauts?’ We haven’t even thought of one really where it’s, ‘What if we continue on from the TV show?’” Irrespective of where their movie project takes them, Clement won’t be bringing too much of his experience filming Men In Black 3 to the table. “I haven’t seen it, but it was a really weird experience, because it was such a different scale – it’s just massively huge,” he recalls. “Both Bret and I would talk often when he was working on The Muppets and I was working on Men In Black about how it’s really hard going from being the boss to not being the boss. It’s really hard for me – I would just tell Will Smith alternative story lines the whole time and he was so sick of me! And the director too! I’d go up to him and go, ‘What about this? What about this, Barry? I’ve got an idea for this!’ When we do Conchords, if I say that everyone just has to make it happen, as long as I get Bret to agree, but it’s a bit different in Hollywood. I don’t think I learnt that until I was thinking about it in retrospect; ‘Oh, they were really sick of me for suggesting things.’ I don’t want to spoil anything, but generally bad guys in movies don’t get the call up for the next sequel anyway, so it’s not the end of the world.” And despite all of their massive success so far, Flight Of The Conchords aren’t really getting ahead of themselves – they’re not even all that surprised at how well things are going. “No, when we were starting out and playing small clubs we were thinking, ‘Why aren’t we really successful? We’re handsome, we can play guitar, sort of...’” Clement deadpans. “I think we had delusions of grandeur even then and they just happened to come true.” WHO: Flight Of The Conchords WHEN & WHERE: Wednesday 18, Thursday 19 and Friday 20 July, Challenge Stadium


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THE DRUM MEDIA • 9


GAME, SET, MATCH

STREET SAVY

“Our street performance is more of a dance version of what we do live. Live we’ve got a bass player and a keys player and a full drum kit, so it’s a bit more musically developed, I’d say. the busking stuff is almost like doing an acoustic show… after this tour, we’re not planning on doing it anymore, just because of travelling and recording and playing festivals. The main reason that we’ve gotten to where we’re at is because of how much work we’ve done busking,” says Josiah Willows on their future busking prospects, the art form that set them up to where they are now. Of course, Set Sail aren’t the only ones who can list busking as a factor to their success, and Drum lists a few others:

JOHN BUTLER

Now selling out national tours on a regular basis, John Butler is known for his busking origins. He claims that performing on the street helped him develop a unique dynamic and ways of holding an audience.

Since the release of their debut EP last year, indie-pop outfit Set Sail have been arrested in Europe and had a member deported from Sydney. Violinist Josiah Willows tells Daniel Cribb that it’ll take a lot more than that to stop them.

T

aking on a world tour with only one EP at your disposal may seem like a big leap of faith, but for Sydney’s Set Sail, it was simply an excuse to travel the globe as friends during a gap year. The band’s 2011 debut, The Riley Moore EP, set the stage for a series of memorable adventures and crazy stories, and when it picked up speed it took the band with it, breaking through any roadblocks in its way, eventually selling 14,000 copies. “In the beginning we were just burning them ourselves, then it got to the point where we were burning like 100 a day,” Willows laughs. “We’d spend all morning hand stamping CDs and numbering them. The first 2000 copies were all handmade,” he recalls. Their success can be somewhat attributed to intense hands-on promotion and street performing, the likes of which were cause for highlights and lowlights on their overseas World Stage Tour. “The classic is when we got arrested in Madrid. We set up and played a couple of songs in the main square in front of 300 people, and just across the square was a massive tent village for a protest and I think the cops thought that we were someway involved with that. So these two Spanish policemen show up, don’t say anything and just take us to the station… We were shitting ourselves in the meantime, because they’re all speaking Spanish and looking official and there’s so many of them and we’re sitting down in these chairs against the wall, interrogation style. In the end, someone who speaks English was like, ‘Hello. We like your music, but you can’t play without permission,” he laughs.

There’s more to this story

on the iPad

Even between cities they found opportunities to grab the attention of anyone willing. 37,000 feet above sea level, they busted out into Jason Mraz’s I’m Yours during a Virgin Atlantic flight, scoring free pretzels and Carlsberg for the rest of the flight. You’d be surprised how easily one can attain complimentary snacks, plane tickets, clothing and accommodation with a few acoustic instruments, a laptop, video camera and some underwear. Set Sail have mastered life on the road. “This clothing company in London was having a sale where the first hundred people to come in their underwear got free clothes. We were broke and we didn’t have any clothes, so we were going to come in 10 • THE DRUM MEDIA

our underwear and just get some free clothes, but we woke up late, like a half an hour before it started, so we figured we might as well go play and film it. We ended up playing in the freezing rain in our underwear and the company was like ‘Hey, we like you guys. Why don’t you come in and get some free clothes’. They ended up actually not coming through on it and just giving us t-shirts, so I wrote to their head office and was like ‘Oi, they promised us jeans’ and then they ended up seeing the video and flying us to Madrid and having us play there again for it and giving us a pair of jeans. That’s how we got to Madrid from London. “The whole time in Europe we maybe stayed seven days in a hostel, out of three months. All the rest

Brandon Hoogenboom, who is a US citizen, was deported from Australia after the band tried returning home from a New Zealand songwriting trip. “He had a three-year ban on him entering the country, so we did a public petition on Facebook and we ended up getting like 80,000 people involved on that and then a lot of the Sydney media was supportive – we were on the cover of one of the Sydney newspapers. That, as well as the Department Of Immigration being nice about it, ended up overturning the ban and granting him an entertainment visa.” The main issue with Hoogenboom being deported was the songwriting the band had worked so hard on suffered from the delay – their creativity was no

I THINK WE WENT A LITTLE BIT CRAZY.” was just going on Facebook and being like ‘Hey, we’re coming to Berlin. Anyone have a place we can crash?’ and one of our fans on Facebook would be like ‘Hey, yeah! Just crash here’. So we’d go and meet these random people and stay at their house and go get kebabs together. We did that all over Europe and America. It was a really cool experience.” Returning to Australia, the band had developed into something completely different from what it was when they departed. With their debut release garnering success around the globe and pulling in a worldwide fan base, Set Sail all of a sudden had expectations to live up to and the pressure was on. Hey! is their sixtrack follow-up and Willows says it wasn’t an easy 13 minutes of music to write, record and release. “It took us about six months of recording. I think a lot of the pressure that we felt came from ourselves because we wanted to really present something that was musically a lot more developed. We ended up cutting quite a few tracks actually, because we wanted to have a very solid musical statement and just have four killer songs on it. We recorded nine and ended up putting only four on there. That’s not counting stuff that we demod, so we had about 15 all up.” A long, drawn-out recording process also included some issues with the release date being pushed back numerous times. The first time the release of Hey! was rescheduled was when vocalist/guitarist

longer ‘fresh’. Upon his return to the country, Set Sail had to “reset” as a band and spend some time touching up songs before entering the studio, where more issues awaited. “When we actually went into record, it just evolved into a situation where, because we rented a studio space and bought the gear and made our own studio, we were spending like 14 hours a day in there, for like three or four weeks in a row. It got to the point where we’d listened to the tracks so many hundreds of times that we were putting things in, taking them out, and changing the sounds. I think we went a little bit crazy,” he laughs. So what’s next for Set Sail? No doubt the interesting and chaotic antics will continue, with an album not too far over the horizon. “Well, we have the songs. We’re going with a guy called Rick Will, he just mixed our EP and he’s done Thom Yorke, Johnny Cash and like everyone you can think of. He’s an absolute legend, so we’re taking him to Iceland and will hopefully get the album our early next year.” WHO: Set Sail WHAT: Hey! (Independent) WHEN & WHERE: Friday 13 July, Rosemount Hotel; Saturday 14, Melville Youth Centre (Under 18’s); Saturday 14, Mojo’s; Sunday 15, Clancy’s Dunsborough

themusic.com.au

HUMAN NATURE They now have multiplatinum albums, but pop act Human Nature was birthed as a street show, under the name 4Trax. From there they scored club gigs, won several awards and then signed to Sony before changing their name.

ERIC CLAPTON

Thousands of people walked past a young Eric Clapton playing guitar on the street during the early days of his career, and now he is regarded as one of the best guitar players of all time. It’s hard to snatch tickets to his shows before they sell out.

THE WIGGLES

You may not guess it, but The Wiggles used to busk around Sydney when they first kicked things into gear. After discovering they were able to draw an audience and entertain them, their rise to fame was a quick one.

SOME OTHERS YOU MAY HAVE HEARD OF:

Billy Bragg, Elliot Smith, Bon Jovi, Norah Jones, The Blue Man Group, Rolf Harris, Barenaked Ladies, Bob Dylan, Beck, The Violent Femmes, Janis Joplin, Neil Young and Rod Stewart…


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THE DRUM MEDIA â&#x20AC;˘ 11


THE POWER BROKERS MICHAEL CHUGG

MICHAEL GUDINSKI

TheMusic and SPA presents the AMID Power 50 has arrived. Michael Smith talks to four of those who sit at the top of the inaugural industry list.

J

ust who are the most powerful people working in the Australian music industry today? The people that have made things happen, who have shaped the industry as we know it today, and who are already shaping the way it will look tomorrow? These are pretty big questions and inevitably there are no truly definitive answers, and some of the selections the AMID team have made, in consultation with a number of industry professionals, are bound to be contentious. ‘What about so and so?’ and so on… But this is how things seem to stand, right here, right now, based on the criteria upon which the selections were made: an individual’s ability to ‘shape’ the scene - whether within a structure they’ve created themselves or something already established that facilitates that involvement in industry initiatives; their overall career accomplishments; the economic impact of their endeavours; and their public profile. There are no winners or losers either – the Power 50 is simply a celebration of outstanding achievement and dedication to the music industry. Those who made the 50 can justifiably be perceived as simply the best of the best. Michael Gudinski has to be one of the canniest men in the music industry. He began as a gofer at one of the leading agencies in Melbourne in the early 1970s and managed bands like Chain before he set up his own label, Mushroom. Today he oversees Frontier Touring, Premier Artists, Liberation Music and so on. Yet he’s the first to admit that, for a few years there, he actually took a step back. “At the moment I’ve been pretty spurred on with work and stuff,” he explains, “because, number one, I think there’s the best cluster of Australian artists I’ve seen for 25 years. Not just stuff we’re involved with like The Temper Trap and The Rubens but in general, acts like Husky, Jezabels, Gypsy & The Cat, the list goes on. I just hope a few of them can follow up on the success we’ve just had with The Temper Trap and Gotye, because it’s one of the dreams I’ve had for Australian music. There was a bit of a burst a long time ago I guess with Men At Work, Kylie, INXS, Midnight Oil, but there’s never really been the full onslaught and I really think there’s some amazing music. “The tyranny of distance is nowhere what it used to be but it’s still obviously very, very competitive. I think in a way iTunes has been an incredible innovation that the record companies really should have been on top of many years before. The great thing about iTunes, I think, is there’s no such thing as returns anymore; the sales are factual. The downside, I suppose, is that while singles are way more than they’ve ever been, the album has been decimated. The big thing though is don’t look back – what was 15 years ago, the business is different; you’ve got to look forward. The biggest-selling singles in the ‘80s or the Kylie days in the ‘90s, you’d sell 200,000 copies and that would be massive, but both the LFMAO and the Gotye/Kimbra song, they’ve done about 800,000 copies – there’ll be a song soon that’ll do a million copies in Australia – that’s just phenomenal!” Much of the reason for Gudinski’s rediscovery of his “mojo” as it were he puts down to the enthusiasm and determination of his son to create his own niche in the industry in co-founding the Illusive Group of companies eight years ago. “You can’t take for granted owning your own company. There aren’t many people in the world that own their own companies, and sure, I could have sold to Live Nation, from a Frontier point of view, but for myself to be committed and active because I’ve got a son and so many key staff that have been with me so long, I just thought, can you imagine me going to a worldwide meeting going, ‘I’m Mr Live Nation Australia, can I speak?’ I can understand why Michael Coppel’s done that but there’s always going to be, in all fields of the music business, there’s always going to be independents and that’s something I’m really enjoying because, when you’re doing it yourself, you sometimes forget. 12 • THE DRUM MEDIA

“When I sold Mushroom Records, it was the right thing to do but I mostly rebounded very quickly with Liberation. Even so I went through a few years where I really wasn’t loving music and it’s been amazing that, as you get older sometimes you think maybe you’re not up to certain current trends and you’ve got to have the right people around you, but I still love good music and I think that The Temper Trap were very significant for Liberation because that really gave the label a little modern tinge. And I really can’t underplay what my son’s done to my own interest I guess because he’s been such a leader with new technology and stuff like that, and I’ve been renowned to be [chuckles], much as I’ve absorbed it and invested heavily into it, it’s only the last couple of years I’ve been working on an iPad. I’ve certainly invested hundreds of thousands of dollars into the Frontier site and was very proud that it’s seen as the best touring site. “I was definitely a leader. I look at all these 360 deals the last ten years and I most probably came up with that whole format but the difference was we had the companies to handle each part of the rights. I think it’s pretty unfair for people to grab rights that they’re just going to farm off to other people. Seriously, it’s about having patience, nurturing and letting artists find their feet. It’s really all about the music. “One thing I’d really like to achieve in the next period of time is to have a massive reunion, because the artists and the staff have really been the strength of the company. I’ve been doing it a long time and it’s nice to get a bit of a little of recognition but really I think it’s very much a tribute to Melbourne and the people around me.”

“Well, we’ve certainly got a lot of fuckin’ promoters! That’s growin’ every day,” Chugg laughs, never one to mince words. “I think, you know, we built a really, really good organisation and a great team, we’ve some fantastic people on board running marketing, promo and production, and, you know, just making things work. I think all our work over the last 12 years on the internet – we utilise the internet now to be a marketing tool… You know, the one thing that I’ve learned is the whole internet thing is very, very strong but at the same time you still need all the traditional marketing tools as well, so it’s about broadening the marketing horizons and using everything. “There are some acts you can virtually sell-out just by using the internet and Twitters and phone technology and all that, but in the main it really needs everything going for it. But certainly the internet’s changed so many things. Bands have short-circuited the process of moving forward; no longer are big acts automatically signing with major record companies, and there are a lot of young indie labels sprouting up all over the world, and I think that’s very exciting. People in this office are checking things all the time and it’s very much becoming a live world now. The records are basically becoming a way of getting known and being able to work – bands that can cut it live are in a really, really good position.

There hasn’t a more recognisable music industry figure over the past 30 or 40 years, though the punters at his concerts may not always realise that the shouty guy in the black t-shirt bossing people around from the stage is Michael Chugg. Chuggi has grown from passionate lover of music to tour manager to international tour promoter heading up Chugg Entertainment.

“All the majors selling to each other or going broke and what I think could well happen in the next few years, a lot of these new indie labels will get together and they’ll become the next WEA, the next PolyGram conglomerate. But the thing that’s changed and will never be the same again is that the acts are more in control now. So the acts are getting the lion’s share of the money, and the digital sales of songs is booming and the same with ticket sales. Traditionally it was the box office, the agencies and the phone. Then internet ticketing, print out your own ticket at home came along and that was a huge part of it. Now people are buying through their phones – that’s just gone to about 80% of ticket sales.”

“From an international promoter’s point of view, things are pretty good,” Chugg says of the current state of play. “I mean, patterns of ticket sales have changed; certainly with the economic times, people are being very careful and they’re once again picking and choosing the sort of shows they wanna go and see. But overall, from a big band point of view right down to unknown acts, it’s doing extremely well. And it all bodes well for the future with new venues in Perth comin’ online, things like that.

Chugg Entertainment too is changing as quickly as the times and technology. “We’ve probably been the main promoter of young indie acts. With our partner Danny Rogers we created Laneway, which has become a great vehicle for Australian and international acts, and we’ve broken quite a few acts – Florence & The Machine, Feist, people like that all broke out of Laneway. Now it’s in New Zealand and Singapore and we’ll probably go into a couple of other territories in the next 12 months.

THE DOOM AND GLOOM OF THE MUSIC BUSINESS IS JUST SOMETHING I’M NOT BUYING INTO… THE MUSIC FUTURE IS ACTUALLY SOMETHING TO BE EXCITED BY AND TO BE EMBRACED” – PAUL PITICCO

“From an Australian music point of view I think it’s just getting stronger and stronger, both here and internationally. I’m very excited about the amount of young bands that are here. There’ve been some great initiatives in the last couple of years, like Sounds Australia, that works with the international community at conferences and conventions and showcase events all over the world, and that’s really, really working for Australia. And the amount of young Aussie acts I see all over the place, it’s just fantastic, and I think that’ll continue as well. So, from my point of view I think it’s a very good time and it’s a very exciting time.” What does Chugg feel he’s brought to the whole business of international tour promotion that younger emerging promoters can now utilise to enhance the future of the industry?

“So we’re certainly changing. We’re also looking at getting involved with young Australian artists on a world basis. The first one we’ve actually signed – we haven’t made a big noise about it yet – is Lime Cordiale, a Sydney band. Obviously we’ve got lots of contacts worldwide and if we believe in a young Aussie act we can certainly get ‘em placed in the right places. Of course, touring will always be the mainstay but we’d like to start getting involved in releasing records – we’ve released a few acts’ records over the years, but in the next 12 to 18 months we’ll certainly be concentrating a lot more on that. We also want to keep developing our Singapore office we’ve had open for about three years, and doing a lot more acts in that part of the world and Australia, and tour Australian acts, to expand Australian music really.”

themusic.com.au

Millie Millgate is one of the all-too-few women within the upper echelons of the local music industry. Millgate is Music Export Producer with Sounds Australia. She began in the music industry two decades ago booking acts into the now sadly defunct Hopetoun Hotel in Sydney’s Surry Hills, and has been a band manager, for The Camels among others, and a MusicNSW representative. “Definitely, in all parts of the world, I can’t recall a healthier time for Australian music,” she admits. “Just the sheer number of artists that are out there touring and securing partnerships of all kinds, getting various synchronisation opportunities into film and television, it’s really amazing, and I think more than that, it’s the people just talking about Australian music. I think the internet’s certainly been an element of access and discovery and Australians overall have been quick to adapt to the new technologies and really use them well, and certainly for young artists and self-managed artists as well. “But I think what Sounds Australia has done and what the Australia Council, through their investment in that program, has done has just allowed more and more people to learn about Australia, and the idea of being isolated is just getting knocked down every time there are 400 of us at South By Southwest (SXSW), and noticing more of us every year at The Great Escape and Canadian Music Week and into the Asian events. “I don’t think Australia as a market alone is sustainable any longer, just with the decline of sales generally. I think people need to look abroad a lot earlier than they might have, and I think the capacity to do so has opened up and we’ve got some amazing and enthusiastic, savvy and smart young managers that are really leading the charge, and artists that are damn good! I do feel that, with time, it’s that touring circuit and the really strong infrastructure we’ve got here that prepare our artists [for the international market]. One of the easiest jobs I’ve got is preparing and putting on showcases, and knowing that pretty much every time the Australian act’s going to get up and really deliver in the live arena. I don’t think we’ve even scratched the surface of what opportunities Sounds Australia can bring to Australian artists; there are so many other markets and the emerging markets of Asia and Latin America, and different, sort of more unique and boutique events as well. So I think just getting the model right with the big one [SXSW] has been great and just to see how embracing the industry’s been and how much they’re prepared to work together, help each other and share networks is just so encouraging.” As to the future, Sounds Australia is in the enviable position of having been given $1.7 million in the 2012 Federal Budget, handed down in May, as part of the federal government’s $3 million commitment over the next four years to “support contemporary music artists by increasing the number and frequency of venues booking live music and to encourage international acts to use local support acts”. “We need to really preserve our venues,” Millgate adds, “and encourage spaces to allow live music is vital. But for the most part, I think it’s really exciting and we’re really in a high time for Australian music. Thanks to that really tidy budget allocation, which really took us all by surprise, Sounds Australia is in a really exciting time internally just looking at how we can best we can use that money to enhance what we’re already doing – open up a number of other markets that we really feel there’s a need and a demand for us to provide support. “And I guess in a much more strategic and holistic investigation beyond just the showcase thing, world and the conference side, what else could Sounds Australia look at doing? And just in terms of professional development generally, working more with other sectors and their export plans; and other ways to, you know, through media, really start to promote Australian music.


PAUL PITICCO

MILLIE MILLGATE Up until now, our remit has absolutely been just about the showcase conferences, so we’re starting to look at how that might build out and, just generally, bring on more people, which would be wonderful,” she laughs, “because at the moment it’s just two of us doing Sounds Australia. Just having more resources, sharing that wealth of knowledge in terms of the international networks, and certainly the number of people now that are championing Australian music, the more access they have to those networks the better. It’s been a really incredible example of what can happen when everyone plays together.” Paul Piticco is the founder of musician management company Secret Service Artist Management, and established two indie record labels, Dew Process and Create/Control, in 2002 and 2012 respectively. Dew Process boasts Sarah Blasko, The Living End, The Hives, Mumford & Sons, The Grates, Last Dinosaurs and Bernard Fanning on its roster. Create/Control was established to present a different business model to traditional record labels. Piticco is also, with business partner Jessica Ducrou, co-promoter of Byron Bay music festival Splendour In The Grass and co-promoter of Secret Sounds Touring. Both are also partners in a sponsorship company, Secret Sound Sponsorship, “working,” as Piticco explains, “in a new and rapidly developing area of the music business and one that we feel is going to be vital for survival of bands in the future”. Ducrou also runs her own agency, Village Sounds. Piticco came to management – like most young, enthusuastic people entering the music industry before courses began to be available – from an intuitive angle, and learned along the way. He was fortunate enough to begin that journey looking after the interests

R E W PO 50 N IO T I ED

of Powderfinger, as well as Magic Dirt, Big Heavy Stuff and more. “Always one of the great principles of Powderfinger, and one that was enforced upon me, was think about things from the fan’s perspective – always, every consideration, from how you price the tickets, how you market something, what song you pick first. “It wasn’t really about what we thought would sell the most or get the best reviews; we started from the audience, who the Powderfinger fans were and worked back from there, trying not to take into consideration all the things that are between an artist and the fans, which back in those days – they’re far less numerous these days because with the internet you can connect direct, it’s so much easier – but then you had to negotiate with your A&R guy at the record company, and the A&R guy had to convince somebody at radio, then somebody at radio had to convince the programmer and eventually, if it was supported by all those people in that chain, a song might find its way to ears of a fan or potential fan. “And to be honest, all the things that we do, we try to base on that philosophy. Sometimes we make mistakes and have to correct them if we misinterpret what our audience wants, whether it be a festival ticketholder, somebody that’s buying a record from the label or what that might be. Ultimately, you need to make sure that you’re in tune with the person that is your customer.” Piticco soon found that as well as managing bands, his company found itself making a lot of the A&R decisions for the various labels to which the bands were signed – where to record, what to record, make the videos and so on. “After a while,” he explains, “we kind of had some success with those acts and we’re thinking, ‘Well, why are we in all essence doing this free for another

entity, creating great copyrights and great music that we’re not really getting rewarded or some degree of acknowledgement for.’ So the idea was to start a record label that followed all those principles that we had as a management company and try to be more creative in A&R, and try and find a way to get the artists’ wants and needs across, and even to this day, Dew Process artistic control clauses in contract still ultimately end up with the artists having the final say, and always will be that way.” The creation of a second label, Create/Control, “was a reaction to the fact that, you know, it’s evident, in looking at the charts and looking at our industry, that people are finding out about and consuming music differently, and the net result of that I guess is a decline in revenues from music sales, and with that decline in revenues comes a decline in investment. Dew Process still operates under the old model because some artists really need a record company’s investment and are prepared to accept the terms that go along with investment today. “The idea with Create/Control was to have an alternative to ourselves, because we didn’t want to be necessarily Dew Process saying ‘Sure, if you need and want what we do, that’s great, but if you don’t need and want what we do, and you have amazing music, we would love to still have a forum or a format to be involved with you.’ It’s very important to a lot of artists these days to control their copyright and own their masters, and they can get that if they go to a distribution company, but those companies, whilst they’re very good at distribution, they’re not particularly good at developing careers, marketing, promotional activities, all the full services if you will of a record company. So the idea, as simple as it may seem, and I’m surprised nobody’s really done

OUT NOW!

it here before, is to provide everything that you get as if you’d signed an extensive contract but yet have the flexibility and the copyright ownership remaining with artist that you would if you just did the distribution deal. “And the interest in Create/Control, I must say, has been immense – we’ve been inundated with people making enquiries, wanting to know how it works – and there’s no shortage of great music coming up through that label; we feel really excited about it. And interestingly, it’s a model that, if we get down right in the next year or two, can work outside of the music business. It could work for up-and-coming authors, maybe visual arts, who knows where we could go with it.” As to how Piticco sees the way the industry may be moving into the future, he feels that “the doom and gloom of the music business is just something I’m not buying into. It’s different to how it was, and the revenues might be different, but there’ll be music and there’ll always be an audience for music that’s good. I speak to a lot of young people, either in their 20s or in their teens, that are just entering the music business, and they don’t know how it was ten years ago – it’s just how it is for them. There is no comparison, and I try and think of it that way. I just try to always towards the future and innovate. The same with Jess and the same with all our businesses – what’s next? How do we make this relevant we can now? The music future is actually something to be excited by and to be embraced.” For the full list of the AMID Power 50 go to the 48th edition of the Australian Music Industry Directory and themusic.com.au

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VISIT WWW.THEMUSIC.COM.AU/STORE themusic.com.au

THE DRUM MEDIA • 13


PUSHING BUTTONS For the past 17 years, Tom “Squarepusher” Jenkinson has built an extraordinary creative legacy, continually overturning lazy preconceptions of what’s possible or not. Christopher H James discovers that the cutting edge can be lonely place.

“I

like trying to make the impossible work,” Thomas Jenkinson vaunts. It’s perhaps the best way to explain the perpetual twists and turns that his career as Squarepusher has taken for nearly two decades. Arriving in the mid-‘90s, his impossibly fast, fluctuating beats, aligned with strong jazz sensibilities, seemed to position his music somewhere to the far left of the thriving drum’n’bass scene. However, his organic, almost post-rock 1998 album Music Is Rotted One Note stunned many followers. Since then an unpredictable deluge of releases has ensued without any seeming long term masterplan. Jenkinson has been as likely to release a live solo album of jazz bass as he has bewildering machine breaks, lustily pursuing whatever parts of the musical map he feels are yet to be fully navigated.

“It’s just that when people speak so confidently about this or that in music, how this kind of music is just bad, how this instrument can’t do certain things, it just gets my imagination going,” he explains. “There is so little that is genuinely final and certain in music.” His latest, Ufabulum, is a personal rule-breaker once again, as it’s his first album to be entirely programmed - not a live instrument in sight. This is a record that was “envisioned” rather than jammed out. “Playing parts live makes the process more laborious and stressful,” he elaborates. “That’s not to say that I haven’t enjoyed doing that over the years, but as it adds a requirement of technical expertise in terms of playing instruments, it certainly complicates and intensifies the recording process. This album was quite quick to make due to leaving out those live elements. Sometimes it can take days to get the sound right playing instruments. When it comes to playing instruments live, you just have to get it right there and then.” Strong reviews for Ufabulum and praise for tracks such as Dark Steering and the remarkably brutal Drax 2 have rekindled interest in Squarepusher following the lacklustre reception for 2010’s Shobaleader. One might think Mr Jenkinson is looking forward to regaining places on those end-of-year lists. “I don’t care about ranking things,” he declares. “To me such things are just static, hot air. It’s ok for people who can’t develop their own opinions to have music stratified into best-ofs and charts and so on. But to me it’s like turning music into sport, as if satisfying certain statistical criteria makes a piece of music good, like you’ve sold that many records, so you’re good. What that completely misses is the individual qualities of each listener’s experience... it seems obvious to me that one person’s hit on YouTube is not equivalent to another, so adding up those numbers and forming a comparison between pieces of music on that basis is utterly meaningless.” Jenkinson’s singularity has undoubtedly made him hard to pin down. In particular, his advanced musicianship is exceptionally rare amongst bedroom boffins and studio wizards. “I would love to have a group of people I could call peers or contemporaries, [but] quite frankly I’ve never met anyone that I would genuinely describe like that. I have yet to meet anybody who has a comparable command of both electronic and live instrumentation and harmony. I don’t care if it sounds arrogant; it’s just how it is. But I don’t know about doing something totally unique; I wouldn’t make that claim. And I’ve made some duff tunes over the years, I’d never deny that.” The odd duff tune may be the reasonable by-product of a rampant, almost “one album a year” prolificacy, but certainly his sprawling output consistently defies pigeon-holing; no matter how tempting it may be. The last thing you want to do is ask what he thinks of the “drill‘n’bass” tag journalists and musos applied to him in his career’s formative days. “It’s just more static, window dressing, polishing, waffling, missing the point,” he dismisses. “Fundamentally, why the fuck would anyone concern themselves with that boring shit if they were able to thrive and enjoy making music themselves? But why??

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“I really can’t believe you think I’d have anything to say about this,” he continues, rather miffed. “Terms like this are attempts to nail down and pacify the messy activities of musicians. Partly it’s to do with non-musicians trying to operate in a musically territorial way, to divide up the land and signpost where you should and shouldn’t go. Again, it’s ok for shepherding people who just consume music in a somnambulant way, beyond that, maybe it’s journalists and critics organising and stratifying the work of musicians to assert power over music and musicians for the sake of it, or maybe it is itself like a kind of music-making, where individual pieces are the minutiae of a gigantic canonical work organised by commentators. To me it’s generally stupid to pronounce verdicts. Of course, we’re now surrounded by exactly that given that the Internet has made critics out of everybody, but the ensuing sea of nonsense only seems to show that in the end so little can be asserted unequivocally in music.” Ok, I think we’d better leave that there. Regadless of how anyone seeks to define his work, his achievements over the years certainly stand up by themselves. They are enduring statements of technical expertise and far reaching vision. Although with such a cerebral canon, one does wonder what Jenkinson’s guilty listening pleasures are when he wants to switch off his brain off and just feel happy? “Ha ha good question,” he concedes. “I have been known to listen to ... oh no, time’s running out. What’s the last question?” Grrr, denied. Well, how about confirming if the whispers we’ve heard that he’ll be heading down under for a festival appearance in the not too distant future are well-grounded? “Nothing is confirmed as yet, but it’s certainly looking likely,” he nods. And quite a show it promises to be, featuring an ambitious LED “videosynth” display. He’s still having a bit of tweak and a tinker, but “at the moment the imagery is shown on a large screen behind me and on a small LED screen mounted on a helmet, worn by me during the performance,“ he explains. “The basic motivation on the imagery side was to try to articulate some of the mental images that came to mind when I was making the record. The images were made using a home-made bit of software that uses mathematical functions to generate images. The images are influenced by the audio. The videosynth is operating in real-time, so that as I process and change the audio signals on stage, the images that are generated change accordingly. But probably best to wait and just see it for yourself - by the time I get to Australia it’ll probably be quite different!” Whatever forms his live show takes, no doubt it will embody the overriding characteristic that’s been consistent throughout Jenkinson’s zig-zagging career path – unpredictability. WHO: Squarepusher WHAT: Ufabulum (Warp Records/Inertia)

14 • THE DRUM MEDIA

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THE DRUM MEDIA • 15


SMOKING GUN Alex Smoke still loves hip hop, but is somewhat unimpressed with the direction of the genre these days. He’s got no beef with dubstep or the Australian health system, however, as Cyclone discovers.

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cottish DJ/producer Alex Smoke (aka Alexander Menzies) could be the techno braveheart. While DJing at Melbourne club institution Revolver in 2010, he suddenly felt crook. Menzies was rushed to the Alfred Hospital, where it was discovered that his lung had collapsed, necessitating keyhole surgery. “Basically, I shouldn’t have really done that tour of Australia,” Menzies now says wryly. “I was already ill.” The muso, forced to cancel his remaining dates, was well looked after, the Alfred “amazing”. “I’ve got just nothing but good memories of that tour. I loved it. Even the week in hospital was nice. I was quite happy.” Menzies, who first toured in 2007, returned last winter – and he’s back this July. Indeed, he’s actually contemplating a move to Oz (Menzies has family here). Until recently, Menzies was living in London, but he’s staying temporarily in his native Glasgow – and feeling restless. “I’m planning what to do next. Maybe I’ll go back to London, but maybe I’ll move somewhere else. I’m not sure. I was even thinking about Melbourne. So I’ll wait and see.” There will be no visa issues: Menzies, whose father is Kiwi, has a New Zealand passport. Menzies’ Mum, a music teacher (and professional violinist), encouraged his musicality from the outset. Little Alex won a scholarship to the Durham Cathedral Choir School in North East England (its former pupils include Rowan “Mr Bean” Atkinson and Tony Blair!). Apart from fulfilling his duties as chorister in the Norman cathedral, he learnt cello, piano and drums. Later, Menzies decided to become a marine biologist. But, before long, music again took precedence as the fan of classic techno, hip hop and clubbing put his student loan towards studio gear – and quit uni. Airing singles in the early 2000s, Menzies created a deep, dubby techno, veering from minimal to maximal, and alternating between the hedonistically groovy and melancholic. In 2005 the Chica Wappa producer delivered his full-length debut, Incommunicado, on Slam’s Soma Recordings, following the next year with Paradolia. Menzies, who has likewise released EPs on Berlin’s Vakant, then teamed with ex-Soma staffer Jim Hutchison to launch Hum+Haw – and it was through H+H that he disseminated his third LP, the murkier Lux, two years ago.

16 • THE DRUM MEDIA

Of late the versatile Menzies has been involved in orchestral projects, composing for Scottish Ensemble. Many younger classical musicians enjoy EDM – and they’re seeking to change “the whole rarefied atmosphere” of their industry by reaching out. “They’re excited to work with people like me because it’s a totally new world for them and they like to experiment.” Menzies has even remixed (the admittedly elitist) minimal pioneer Steve Reich’s Proverb. His endgame is to score movies. “I’ve always had a passion for film. Ever since I really first started Incommunicado, I always had that in my mind as being somewhere I’d like to end up. I’m still very much on that road. I’m just constantly working at it.” Last year Menzies presented a score integrating classical and electronic elements for German expressionist F W Murnau’s silent film Faust, which premiered at the Glasgow Film Festival, and performed his own ambient music at Glasgow’s Concert Halls alongside Craig Armstrong – a Massive Attack associate who often collaborates with Baz Luhrmann and scored Ray. Nevertheless, on another front, Menzies is rationalising. H+H is “kaputt”, he affirms. “It’s just too much work, too much money lost.” Menzies freely acknowledges that he had “no interest” in having a label, regarding it as Hutchison’s baby. “All I want to do is make music.” Menzies expects 2012 to be big. In September he’ll unveil the song-orientated side-project Wraetlic on Brit Damon Kirkham’s Convex Industries. Menzies hasn’t secured guest vocalists: the old choirboy, his adult voice heard on 2005’s Don’t See The Point, sings himself on the introspective yet experimental enterprise. “I’m not a big collaborator. I prefer just to do things myself, so it’s me singing – and singing live as well. It’s a bit scary, to be honest. I’m sort of at a stage where singing’s very personal, and I still get quite nervous doing it, but it’s the only way I could see to do it. It’s a personal project and so I want to sing on it. It’s okay – you need to just take things on, do them, and then overcome your fears...” Wraetlic isn’t Menzies’ only new work. He’s also shopping around another Alex Smoke LP. “It’s pretty much ready to go,” Menzies reveals. “I’ve just been through a very creative spell, so it’s good – I’ve been busy.”

Menzies had a previous vocal project. He devised the hip hop Fool, hooking up with Los Angeles MC Non (Shadow Huntaz). Alas, their album Mad Man’s Drum never appeared. “I loved the principle of it, the idea, but I just wasn’t happy with the finished result,” Menzies confesses. “I think it’s unlikely I’ll ever revisit it. I tend to just move on. When something’s past, it’s past.” Besides, the modest Menzies reckons that Flying Lotus and his compatriot Hudson Mohawke have forged an electronic hip hop “way ahead” of his. That said, he still loves hip hop – with some reservations. “I have to say I’m disappointed with so much of where the culture has gone – and even people who I really love like.” People like hot Miami rapper SpaceGhostPurrp. “I can’t get away from the bullshit misogynist blood patter, which is just really boring. I would like to hear some hip hop which is political and good but at the same time cutting-edge – and there’s a lack of that.” Menzies is more buoyant about (underground) dubstep – he buys more of that these days than house or techno. (The DJ snuck a Burial track onto 2006’s mix-CD Sci Fi Hi Fi, Volume 3.) “I think more and more of the stuff which is exciting me is not really fitting any genre,” Menzies states, citing Actress and Zomby. “These things aren’t fitting in any genre whatsoever, they’re just ‘electronic music’. That’s a big positive. All that stuff has been a massive influence… just all genreless music – music

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for music’s sake – [with] lots of different influences, but [that’s] not trying too hard to sound like anything else.” This visit Menzies will again stage a live laptop set. But, though he’s already performed Wraetlic material at his inaugural show at MUTEK in Montreal last month, Menzies is noncommittal about doing so Down Under. “I’m not sure,” he ponders. “It’s too early to get a tour in Australia doing the Wraetlic thing. Maybe I’ll do some, but not the full thing – because it’s like a full audio-visual tour. Maybe I’ll touch little bits of it, just to give people a taste, but it won’t be the proper thing... I’ll see how responsive people are. But it’s pretty miserable – it’s not as clubby as the Alex Smoke stuff!” Time will tell whether or not Menzies settles in Australia for even a year or two, as he says. “Deadly serious” about his scheme, he has considered the disadvantages (“You just wouldn’t be able to tour Europe every weekend”). However, if Menzies proceeds, this lover of “the great outdoors” may yet mastermind his most panoramic electronica in our midst. “Ideally, I would be like Boards Of Canada – have a lovely studio with an amazing view, live in the country, miles away from anyone... that’s heaven for me.”

WHO: Alex Smoke WHEN & WHERE: Saturday 7 July, Geisha


DEFENDERS OF THE HARDCORE FAITH Hardcore OGs Terror are returning to set pits off nationwide. Mark Hebblewhite caught up with guitarist Martin Stewart to discuss new records, hardcore ethics and the band’s recent spat with legendary Swedish outfit Refused.

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f there’s any band synonymous with hardcore it’s LA veterans Terror. And by hardcore, we don’t just mean a style of music or an accepted dress code; we mean an all-encompassing lifestyle and an unceasing advocacy of what that lifestyle entails. Terror don’t just say it: they live it. “I know it sounds clichéd, but hardcore is more than just a guitar sound, or a way of dressing, or something to do on a Friday night,” explains the band’s guitarist, Martin Stewart. “To me hardcore is about walking away from what society expects you to do or be. It’s about standing up for yourself and your choices whatever the consequences and whatever the shit you cop from other people for doing it. That’s what this band is all about – all of us at one time or another have been told we’re wasting our lives and we refuse to take those attitudes lying down. So when you hear all the stuff about hardcore being a way of life and that people in this scene should stick together, it’s more than just rhetoric. We’re standing up for ourselves and for the kids that come to our shows.” Recently rhetoric met the road when Terror vocalist Scott Vogel went beyond scene unity pleas and his patented ‘Vogelisms’ (Google it, there’s a website) to take aim at the recently reunited Swedish underground legends Refused. Subsequently his barbs went viral, and hardcore message boards went into meltdown. Stewart is happy to talk about the stoush and even happier to back up Vogel. “Yeah, that did stir a few things up,” he laughs. “Basically, it’s like this. I loved Refused back in the 1990s: I went out and bought The Shape Of Punk To Come when it came out all those years ago. And it wasn’t just the music, it was everything they stood for, the underground, being against the money side of things, doing it yourself and not giving a fuck about what anybody else thinks. I even like how they went out saying ‘Refused are fucking dead’: strong and uncompromising. But now after saying all that they’ve reformed to play all these huge festivals and it just

seems completely contrary to what that band were about and their whole ideology – especially with regards to not caring about fame and popularity. These things are important and I think people have a right to speak their minds about it and ask questions. “That said, I don’t expect every single person to blindly follow my opinion, or Scott’s opinion for that matter: because in the end, they’re our opinions and nobody else’s. But again I don’t support what Refused are doing and I’m not going to hide my opinion on it.” With this episode being a good example of the Scott Vogel = Terror view held by many in theSmusic press, do the rest of the members ever feel they’re bit players in the ‘Scott Vogel Show’? “No, not at all,” laughs Stewart. “I know there are people out there who think that, but that’s their problem, not ours. We all get along, really well and we’ve achieved what we’ve achieved because we work as a unit. No one person in this band thinks they’re more important than anyone else. It’s a great band to be in because it’s made up of great guys.” Internet drama aside, it’s been a busy couple of months for Terror. Along with playing their usual ridiculous amount of shows, the band have been hard at work crafting a follow-up to 2010’s superlative Keepers Of The Faith. Not surprisingly Stewart maintains that the new record, which will be Terror’s seventh full-length LP, contains some of the band’s finest material to date. “The new album is going to be called Live By The Code and we recorded 14 songs, although we’re probably only going to put 12 on the actual record,” he explains. “Right now it’s slated to come out in January of 2013 so we still have a bit of time before it drops.”

Keepers Of The Faith but at the same time there’s some different stuff on there as well. The material is definitely exciting, the band is playing better than it ever has so the creative juices have really been flowing well, and I think the songs reflect that.” Now free of the studio Terror are returning to our shores for a series of shows across the country. Not surprisingly Stewart is more than happy to be coming back.

As to the sound of the record, Stewart maintains that it’s classic Terror but with a couple of unique twists.

“I don’t want this to sound the wrong way but coming to Australia is like going on vacation for us,” he laughs. “The shows are always so good and we always make a point to get out and see as much of your country as we can because it’s such an awesome place.

“Everyone is going to know that this is a Terror record as soon as they put it on. I think as a whole it’s a continuation of what we were doing on

“The hardcore scene in Australia is so amazing and in many ways represents the best of what hardcore as a scene has to offer. I mean you’ve

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got guys like Mindsnare and Miles Away who have built great reputations across the world, and then there are all these newer bands coming out of the underground – we’ll be playing with a band called Iron Mind at some of the shows who are just incredible and everyone should go and check them out. “Hopefully everyone comes out to support all the bands who are playing – we’re really looking forward to the tour and we’ll be playing a wide range of stuff and might even do some of the new material, although that’s not been decided yet. We’ve never had a bad show in Australia and I guarantee that we don’t intend to start now.” WHO: Terror WHEN & WHERE: Thursday 12 July, Amplifier

THE DRUM MEDIA • 17


SHY GUYS Ahead of the launch of their debut release Dozen Clouds Wide, Troy Mutton chats with Shy Panther vocalist Dan Fragomeni to try and find out what it is about the group that has Perth all a-flutter.

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underwater, dreamy, galaxy, atmospheric sort of…” The video clip for single Erving definitely fits the vibe – and continues the recent spate of local acts crafting international-quality clips in our own backyard.

And around these parts, for now, that band is Shy Panther, a laid-back four-piece who’ve got trip hop down – a sound not really tackled around here thus far, although one we’re clearly eager to gobble up. A sold-out video clip launch a few weeks ago (for one of the year’s most beautiful video clips – anywhere), a few spins on that national radio station we all love to hate, and slots on the recent Groovin’ The Moo and the upcoming Parklife festivals… Yeah, things are going pretty swimmingly for vocalist Dan Fragomeni and co.

Cracking video clips, festival slots, EP launches… Since “the full shape of the animal, the panther” only came together in the last 12 months, are these cool cats (yep, I did it) feeling the bite of a rapidlygrowing fanbase? “We’re kinda ‘Easy, Breezy, over Girl’ kinda dudes,” Fragomeni states with a casual chuckle. “I’m a fairly laid-back sorta character like the rest of the guys are, so I don’t know if we feel much pressure or stress so to speak. But without trying to sound to cliché, we’re just enjoying it at the moment. Rolling with the punches and going with the flow... so there’s two clichés used.”

t’s no secret that our little corner of the country – nay, the world – is a hotbed of musical talent, and it’s for this reason when a new band crops up and people start taking notice almost immediately that it makes them all the more exciting.

“It’s come from nowhere, but we’ll take it, the positivity,” begins a casual Fragomeni, acknowledging their unique sound. “I think the appeal I suppose is that it’s fairly fresh. I’ve heard a few people say there’s not too much else like us in Perth at the moment. And I suppose that’s an advantage and we’ve kinda got that on our side. “It’s nice to get a couple of great opportunities to play some big shows after only really coming to full form in the last year or so. It’s nice and Perth is a really great place when you’re starting out playing music. Obviously, I can’t really compare it to anything else, but it’s quite a nice community, because it’s so small. We kinda just got a little bit lucky I suppose; a couple of people liked what they heard and passed it on to a couple of others and it’s all flowing from there.” A more appropriate word than ‘flowing’, you’d be hard to find. While the descriptors in the groups’ press release are lofty indeed, they do go someway towards explaining the group – some kinda midpoint between the -heads Radio and Portis, Prince and DJ Shadow, and it goes some way toward explaining the group’s driving, atmospheric jams. Fragomeni has a few of his own: “We were all doing a fair bit of travelling over the last year as well and I think that definitely plays a part in [our sound]. Like

Noted. In fact, throughout the interview, this is the only really indication that Shy Panther really are a young group, and dare it be said - a little shy. Fragomeni, while not purposely careful with his words, often checks himself, or makes selfdeprecating jokes about sounding too cliché, or “standard”, and it’s nice to chat to a young group that aren’t buying the hype, but just stoked to be doing what they’re doing. Although it’s not all easy, breezy sailing just yet. “At the moment, the biggest stress we’re facing is because the EP launch came around quicker than we expected so we had to quickly get the printing done on the hard copies of our EP. So now the pressure is if they’ll arrive before the gig,” he laughs again, somewhat nervously. In the days after this interview, the group do indeed get the physical release, and of its recording Fragomeni states writing for Shy Panther is a collaborative process through-and-through. “It’s a pretty family-based method I suppose. We all bring something to the table I think. Ben [Santostefano], our drummer, will generally come up with a groove on the drums, which is generally the foundation of each track. And Rhien [Tan] who’s our mastermind behind the electronics and computer stuff, keys and all that jazz, he’ll sort of formulate the groove

and I’ll chip in with some literature if you like. Some vocal melodies, harmonies and stuff,” he explains. And while they (were) somewhat stressed about getting the EP on the front door of their launch in time, for Fragomeni the physical release is really just a bonus for people who like the live show, which is where he –and the group’s – heart truly lies. So much so that they’ve expanded the line-up to feature two drummers in an attempt to recreate the record as live as possible. “We actually haven’t played with two drummers yet. It could very well fall flat on its face but we thought we may as well take the risk for our EP launch. We spent a lot of our time playing at smaller venues. But now we’ve got the opportunity to use a bigger space, and I think the sound on the EP is quite a big sound and it’s very atmospheric. While it is possible to do that with fewer people, I think if we can get the double-drum attack going, and going well, I think it’ll be a really nice thing to watch.” It’s pretty clear from early in the conversation that Shy Panther are a group of smart musicians, who most importantly know what they want to get out of a live music experience, and want to transfer this into their own. “We all really, really love to watch music in Perth live, and a couple of the shows

that we’ve seen and have really liked, [like] Sufjan Stevens and Bjorks’ live shows… the top three live shows that we always put in our top shows are all very big and there’s a lot going on and they’re memorable. And I think we, to a degree, are hoping to try and get to that level and make it a memorable night. Give people good bang for their buck. “It’s an EP launch, so it’s gonna have a lot of friends and family down there. It’s nice to put on a good show for them. And also there might be people there who are seeing us for the first time, and we wanna make a good first impression. We’re getting to a point where we really want to try and make each show a big performance, and the live element is pivotal for us I think. And trying to recreate the sound on the EP. If they like it at the end they can take a little somethin’ somethin’ home with them. It’s very important for us, and we wanna try and make it as special as possible.” WHO: Shy Panther WHAT: Dozen Clouds Wide (Independent) WHEN & WHERE: Saturday 7 July, The Bakery

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18 • THE DRUM MEDIA

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THE DRUM MEDIA • 19


GROWING PAIN

BRING BACK THE BUFF

Kelly Hogan has spent the last decade lending her beautiful voice to other people’s projects, but now it’s her turn to step into the spotlight. She tells Steve Bell about aiming for the stars and making it.

On the verge of Manhood, Muscles (Chris Copulos to his mum) tells Matt O’Neill, “I feel like I’m in my own little universe and I’ve got no path to follow from other people.”

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f you’ve had even a fleeting interest in the Americana genre over the last decade, there’s a good chance that you’ve heard the beautiful voice of US singer-songwriter Kelly Hogan. You might have heard her on a Neko Case record – or at a Neko Case show, the two are practically inseparable – or perhaps on an album by Drive-By Truckers, The Waco Brothers or Tortoise. She was a mainstay on the Chicago live scene for years and a go-to backing vocalist for Steve Albini, but was always working on other people’s projects. Finally Hogan decided to release another album of her own, and not one to do things by halves, she assembled an absolutely killer band – featuring the iconic Booker T Jones on keys, soul drumming legend James Gadson and Gabriel Roth (Sharon Jones) on bass – and then got some of the biggest names in the US indie circuit to supply the songs. Simple, really. “What a relief!” she laughs of finally having I Like To Keep Myself In Pain completed. “It was like I was hatching an ostrich egg. I’ve got turtle metabolism, but we finally got it out there. I haven’t been idle – I’ve been really busy – but what a crazy fantasy camp year. What a crazy project to be involved in.” It’s not Hogan’s first album – it’s her fourth, in fact – but it is her first in some 11 years. “My last record came out a few weeks after 9/11, and everybody was kinda sitting still, for good reason,” Hogan recalls. “It’s hard to tour when you’re a peanut-level musician anyway. It’s not about whether you’re going to lose money, it’s how much money are you going to lose. I felt bad because I’d do these tours and I couldn’t pay my band what I thought they deserved, so I thought, ‘I’ll stay close to home’. And Chicago is such an incredibly fertile place to play music. You can play every night of the week, and I did – I had all of these different projects and did all of

this different recording. Then playing with Neko, her stuff just took off, so after 2006 we were crazy busy. “I was really busy but I was exploring, and to be able to make this record I was really glad that I’d been able to do what I didn’t know was research – I was just living my life and just doing as many different types of music projects as I could. Then I had to walk in there on a Monday morning into this amazing legendary studio and play with Booker T Jones! And meet James Gadson and Gabriel Roth and then just count off a song and go for it. It was tough to do that without needing a diaper.” At the instigation of Andy Kaulkin from AntiRecords, she approached some of America’s best songwriters, and ended up with an album of songs penned by people such as Robyn Hitchcock, M Ward, Vic Chesnutt, The Handsome Family and Stephen Merritt. “He’d been thinking about all of the work I’d done in the last 11 years, and he said, ‘You know what – let’s talk to these people that you’ve worked with and see if they can give something back,’” Hogan marvels. “I didn’t think that they owed me anything, but he told me to call in favours. I begged people to send me a song. Every stage of the project was fraught with terror, but it was like this crazy wave of positive responses. I have way more songs of course than I could fit on the record, so I hope to somehow record everything in some way one day.” WHO: Kelly Hogan WHAT: I Like To Keep Myself In Pain (Anti-/Warner)

JOKER VISION A

“I think having your own sound is a very big thing,” Joker says. “In a way no one has a 100 per cent original sound because everyone is influenced from some other music. But instead of copying music you like, take ideas, be influenced by it and turn it into your own thing.” When it came to releasing his debut longplayer, The Vision, he delivered a record that lived up to the expectation in surprising ways. The change in direction for the dubstepper was as notable as the quality of the record. “It’s hard to say,” says Joker. “With my album, I was just being me and that was it. I think everyone thought I was going to make a full album full of purple cities and trons, but I didn’t really wanna do that.”

As a working DJ, he had club and festival commitments around the globe. That can get in the way of serious stretches in the studio. While many of his contemporaries can work on planes or in airports and hotel rooms, Joker’s modus operandi is different. “To be honest, it was quite hard being everywhere then trying to make tracks at the same time,” he says. “I know a lot of my friends can make tracks on their laptop while they are on the road. but I feel like I need my whole studio, a full-sized keyboard. So there was times when I would take off three to four weeks off just to stay in the studio.” There are few bigger places to launch your album than Glastonbury. That festival booked and an album to drop on the world, even if it was a few months away, Joker decided to make a few phone calls and get the vocalists on The Vision to the Worthy Farm and perform the whole thing live. That’s quite the way to reveal your work to the world, but Joker remains humble about that show.

The record featured a whole lot more vocalists than his previous releases. “I think the second I start making a track I know if it’s gonna need a vocal or not,” Joke explains. “I Can’t explain how, I just know.” Whether that was intentional remains unclear. It wasn’t part of any concept going into the studio.

The rest of 2012 sees Joker working on the next record and exploring the ways he can expand his show.

“Yeah, I did have a idea in my head when I started it,” he says, “and then a few tracks in I lost my whole direction of where I was going and I just ending going completely somewhere else.”

“Yeah, I’m starting my second album already. Sounds soon, I know, but these things take time so it could take a year or two. I’m trying to do a lot of work for other people’s albums and maybe work on a live show.”

The many positive reviews for The Vision also noted his growth and development as a producer. Joker doesn’t see it that way.

Surely, there’s no time to joke around.

20 • THE DRUM MEDIA

“There was this Aussie wave – bands like Pnau, Empire Of The Sun. Even now, you have groups like Miami Horror and Art Vs Science kind of keeping the momentum going,” Copulos reflects. “It was really, really cool from an Australian point of view – to see these artists getting support both in Australia and overseas. But then, everyone is sort of on their own path. My music doesn’t sound anything like their music.”

“Well, it didn’t take five years to write it,” he laughs. “It’s really just been the last two. After Guns Babes Lemonade was released, I was really on tour for a couple of years – until about the start of 2009 – and then I wanted to just take a break for a little bit. That’s why we released that EP, Younger & Immature, back in 2010. We wanted to give people something to tide them over until the album was done.”

Copulos has always operated within his own continuum. Since inception, his work as Muscles has been a weird overlap of contradictory outlooks and influences, from the simple collision of experimentation and pop hooks that was debut release, Four Months, in 2006 to the combination of raw electro and meticulously layered vocal hooks (see: Ice Cream) that has since become his trademark.

Manhood itself presents further evidence. Noisy, dark and eclectic, Muscles‘ second album isn’t generic Australian electro. It’s weird, sleek, sexual work. Aggressive and mercurial, Manhood does not arrive without Copulos‘ immediately recognisable vocal hooks and quirks – but it’s a product for the clubs, not the radio. Even in its softer moments, it feels too singularly unusual to stand alongside today’s electro-indie crowd.

“I kind of feel like Muscles is a special project,” the producer suggests. “You look around and there’s a lot of indie bands around who sound kind of similar to each other and a lot of hip hop, but I feel like Muscles is a special project. I feel like I’m in my own little universe and I’ve got no path to follow from other people. I’m kind of creating my own path with this music, if that makes sense.”

“I’m excited by it,” Copulos says of the album. “I feel like it’s a nice, sexy little dance record, you know. I hadn’t listened to it since I finished it, until just recently when I decided to take it for a spin in my car, and I was just listening to it thinking, ‘This is exactly the kind of follow-up record I wanted to make.’ It’s exactly the second album I knew I wanted to make from the moment Guns Babes Lemonade was released. I can’t wait for people to hear it.”

The proof is in Copulos‘ delivery of a follow-up album – or, rather, his refusal to immediately deliver a follow-up album. One of the biggest breakthroughs of the late-noughties’ electro explosion, Guns Babes Lemonade debuted at #14 on the Australian

WHO: Muscles WHAT: Manhood (Modular/Universal)

Local country/folk/indie kids The Flower Drums have gone far in a relatively short time, but Cam Findlay discovers from Leigh Craft and Aden Senycia that they still rely on Perth for inspiration – and specifically, one very special house.

“I think it may have come across as a bigger thing than it was,” he says. “But because my album just come out I thought I might as well get everyone to just do it live instead of me just playing the tracks. So I gave everyone a phone call, booked a flight for Silas, and everyone came down. As simple as that.”

“To be honest, I don’t think I have developed a lot until right now until after my album came out. It’s hard to explain why I feel like that, but that’s what I think.”

charts and topped the Australian dance charts. Yet it has taken Copulos nearly five years to get around to releasing follow-up album, Manhood.

OUR HOUSE

Since he was just a wee jester running around the clubs of Bristol, Joker has been dropping beats and turning heads. Jason Kenny checks the beat. series of 12” and single releases pumped straight into the clubs around the world. His first release was on the Terrorhythm Recordings label run by Plastician, who’s also heading to Australia for the upcoming Big Ape Birthday tour.It was those early releases, and DJ nights, that cemented Joker’s style in the dubstep and grime circles and began building his acclaim.

hris Copulos’ Muscles moniker was introduced to Australian audiences with a wave. Dropping in late 2007, Muscles’ debut album, Guns Babes Lemonade, saw the Melbourne producer’s name inextricably linked to then fellow rising stars like Cut Copy, Pnau, The Presets and Van She – early breakthrough hits such as Ice Cream and Sweaty coinciding with a national explosion of interest in locally produced dance music.

WHO: Joker WHEN & WHERE: Wednesday 18 July, Big Ape 1st Birthday, Villa

L

eigh Craft has been in the scene for a while now. Originally a member of Streetlight, he had been gradually developing his own work, spending time here and there – or, to be more clear, between Perth and Melbourne. It was there that Craft met Aden Senycia, a producer who helped him mix the tracks for his debut EP, Shadows Aren’t Real, which was recorded in Ferntree Gully. “It was kinda weird,” Craft laughs when remembering the process of that EP, while we sit outside a well-known Mount Lawley pub with a few pints on an uncharacteristically clear day. “I wrote a bunch of songs, and they were all kinda about the places I grew up and where I’ve lived. But we recorded it on the other side of the country so... it put this whole new spin on it, I guess.” Shadows Aren’t Real was the culmination of a great deal of personal reflection and musical exploration, a process which led him to rethink his musical career, and one which initially saw his move to Melbourne. “It’s funny, I never really thought about the music I was writing in any professional way, it was stuff I was just doing with friends, for friends,” Craft explains. “With Streetlight, it was this total kind of collaboration between all of the band members, but The Flower Drums I feel is my own creation, in a way. I didn’t really want to write music that way any more, I wanted to think about it a little less seriously. We have people coming in and out of the band, who were all mostly my friends from the hills. They weren’t necessarily my first choice for musicians, but they were all people I loved to hang out with. So yeah, the ‘Drums is definitely my own little thing.” After cutting that EP and returning to WA, Leigh enlisted the aid of said musicians to get the Flower Drums ship rolling. Senycia made the move not long after, re-establishing his roots in Perth after spending many years in Melbourne. “It was a bit weird at the start,” Senycia laughs. “I’d been coming back [to Perth] now and then, but when I moved back not more than

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a few months ago, Leigh had a lot of it sorted out, so it was just a process of getting everything going again. Like, with this new EP [Suburban Wilderness, set to launch in the next few weeks], we had to get all the instrumentation sorted, all of the tracking sorted. But I think we had the right place to do it in.” That place mentioned may just be one of the keys to The Flower Drums’ music. Their jam house, recording studio and what by all means appears to be their spiritual centre is a little place in Highgate, affectionately dubbed the “Walcott white house” by those who have spent time there. “It’s this really communal place,” Craft describes. “In truth, it’s probably one of the worst, or at least strangest, houses on the street,” he laughs, after pausing to think of the best way to describe it. “It’s really strangely built: all the rooms are huge, the walls are 20 inches thick, and the ceilings are ridiculous,” Senycia adds. “But that really works for the sound we’re trying to get. It has that really cool, I guess church-hall sound.” “It’s just a place where all these creative minds get together,” Craft adds. “We have musicians, graphic designers, artists and writers all living under the same roof. It’s not weird for someone to dissappear into their room for three days. They come out, and everyone else is like, ‘Where the fuck have you been?’” He tells, while Senycia chuckles knowingly. “But, by the end of it, they’d come out of their room after three days with something really great, something beautiful.” WHO: The Flower Drums WHAT: Suburban Wilderness (Fat Shan Music) WHEN & WHERE: Saturday 14 July, The Bird






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THE DRUM MEDIA â&#x20AC;˘ 21


SINGLES/EPS WITH CAM FINDLAY

ON THE RECORD

THE BROW HORN ORCHESTRA Two Fires MGM

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LITTLE SCOUT Go Quietly

Building from a floating female vocal harmony and those oh-so-popular tribal drumbeats, Go Quietly is a short, sharp and effective track from this Brisbane four-piece. A taster of their forthcoming sophomore LP, it evokes the aesthetic that the young band have cultivated, but at the same time doesn’t provide enough variation to get me too excited. It’s a nice, solid track, but needs a little more thrown into the mix to make it unique. Let’s hope the album changes it up a bit.

COLLARBONES Missing

Two Bright Lakes/Remote Control If you know Collarbones, you probably know what you’re getting with this single. Far from crossing out of dubby R’n’B territory, the duo have constantly refined their uniquely heart-wrenching and deep sound. Missing is probably their most lovelorn track of late, but still manages to build a catchy beat over ghostly synth lines and various futiristic clicks n’ beeps. Great stuff.

METRIC

Spank Betty/MGM

True Panther/Remote Control

Create-Control/MMI

With the amount of bad mojo surrounding the creation of Dallas Frasca’s new album, what with stolen laptops and tour money, you could excuse the Melbournian hard rocker for any delays. Yet with the release of Sound Painter there is an iron will displayed that drives like a Russian fuzz pedal’s distortion. Recorded in New York with ‘minimal’ overdubs by Andy Baldwin, the raw and immediate sound reeks of a life listening to classics, yet delivers a raw modern sound in rough strokes.

Hold the front page. Perennial purveyors of electronica ‘potential’ from ‘Frisco, Lemonade find their groove with this, their third album. Avoiding any laboured puns about the effervescence confidence brings, Lemonade sparkle with a beguiling melancholy across Diver’s 44 minutes and 50 seconds. Misery loves company, and when it sounds like this, it gets it.

Inspired by Philip K Dick’s Do Androids Dream Of Electric Sheep?, sci-fi nerd with impeccable cheek bonesLIVE and Metric main woman Emily Haines has forwarded the dream-concept of “synthetica” – an artificial skin for a vastly superior female replicant. As a metaphor for Metric’s production, it’s more or less on the money; imagine a glistening silicone surface that seductively masks an intelligent, metronomic engine, with hints of human input.

Diver

Songs such as the opener All My Love and Better Without You contain the hooks to get the crowd singing with searing vocal delivery backed up by a crack backing unit. Coming Home is a highlight, delivering subtle hints of ‘70s heavy rock layered within a dextrous duality of power and subtlety. This is a classic rock album with a modern twist, and one that tends to be immersed in the US style rather than its Australian counterpart. This is not to say its not good – it clearly is – but much of the album will be destined to appeal to an audience in both hemispheres. It has been said that US audiences in particular go for songs about liberty, and the slide ballad Freedom – replete with big audience drivenmoments – would certainly appeal. Completing the album, Dallas shows a mellower Dusty Springfieldsoaked folky side with Woman Scorned. This track provides a mellow antithesis to what is a tight, wellproduced album that lays it all out for the world to see. With versatility and musical integrity such as this on display, it seems that Frasca is destined to create her own luck.

The record is a Trojan horse that languidly unwraps itself from the air raid siren announcing Infinite Style to the diminuendo shimmer as Lemonade disappear in the rear view mirror on Softkiss. Press play and before you know it you’re in a warm cocoon, helpless. Make no mistake, there is a potent chemical quality on Diver that will surprise and disarm.

Synthetica

Metric clearly quest for perfectly-formed sonic architecture, which from the brooding Artificial Nocturne VD

Themes, then: unrequited yearning, and lots of it – for a lover, for another time, for something better. The muted Balearic house on Whitecaps is mainstream dance as heard from the cold pavement by the person who didn’t get into the club. While the lyrics always hold your ear, it’s probably the flattest point – but how do you follow something as poignant as Eye Drops without a little crunch in the gear change? “Called a friend/Haven’t heard from him in a while/He’s got a child /It makes me feel sad”. Diver is a sinuous, warm, complex record, and one that’s comfortable as the lone traveller in its sonic landscape. If you don’t think you’ll like it, you probably wont. If you’re curious, give it your time. You’ll cry, you’ll dance, you’ll hit repeat. Tom Birts

Chris Archibald

to Breathing Underwater they more or less nail. This is for the most part successfully aligned with Haines’ songwriting and sense of drama, brought to life with skills such as switching personas through subtle vocal inflections. It’s particularly effective on Youth Without Youth where her mischievous but restrained purr keeps the tension consistently bubbling under. Less engaging is her disaffected Barbie whine on Lost Kitten, yet it’s another good example of her deft storytelling, as ever populated with characters from some kind of teenage, sci-fi pop-opera.

D

Silverside/MGM

LEMONADE

Sound Painter

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DALLAS FRASCA

VD

LIVE

While their star continues to rise (despite a few line-up changes), it seems fitting for everyone’s favourite reggae/dub/ska/everything else band to release an EP as solid as this one. The intermittent hip hop rhymes are a bit naff, but that’s probably just a matter of development. Every other part of this five-part EP is taught, instantly recognizable and powerful, culminating in the explosive title track at the end. There is a good mix of dynamics throughout the whole disc, with the band playing around with various styles but not straying from the formula that makes The Brow so good at what they do.

In describing the sound of these songs, the word “epic” can not be used enough – it’s like U2 meets The Arcade Fire for a feature directed by Michael Bay. Unfortunately, the latter half of the album is noticeably less epic, and poorer for it. Nonetheless, there’s enough quality in the first half to earn Synthetica some serious chart time. As to whether Haines is an acerbic, witty songwriter from Toronto, or a lifelike cyborg beamed back in time to shape the future of stadium-sized indie anthems, that remains unknown. Christopher H James

DISCLOSURE The Face

Greco-Roman There is so much bloody hype about these guys right now. Guy and Howard Lawrence, aged 17 and 20 respectively, have stormed up the electronic charts with this, their debut fourtracker, which infuses deep, dubby basslines with house/two-step melodics and a range of different vocal and electronic samples. It’s all very minimal (i.e. the catch-all buzzword of the times), but it remains punchy and sets up a clear feature for the siblings.

HEY GERONIMO Hey Geronimo Independent Yeah, ok triple j, I get it – hey Geronimo are fun. With enough neat little press grabs to fill a book, the five-piece are doing thangs in that now-and-then “party rocker” stable, but this EP unfortunately falls a bit flat due to samey-ness. Don’t get me wrong, it’s fun stuff – it’s just a bit baffling that it’s been released at the total opposite part of the year than it should be… And around 20 years after the same music was filibustering the charts.

REPTILE YOUTH

Black Swan Born White HFN Oh God. This single/remix EP might just be the ultimate example of excess. First of all: Black Swan Born White is a pretty annoying “post-punk” tune with lazy synths and screechy vocals that would make Frank Black shake his head. There’s very little to get excited about, as the so-so beat repeats itself way too much. Speaking of repetition, there’s six versions of the track, including the radio edit. Yes, I know, DJ remix comps are a big thing these days, but there’s only so many times you can flog a dead horse before it becomes unrecognizable. 22 • THE DRUM MEDIA

HALF MOON RUN Dark Eyes Indica If your looking for a polished and well structured-album, Half Moon Run’s debut Dark Eyes won’t be it. From first listen, it becomes immediately obvious that the album is merely a discography of the group’s short playlist. However, if your looking for something truly different, warming, worthy of countless shuffling and a deeply instrumental experience with unguarded character, then this album is definitely worth the money. The first thing that graces one’s ears is the crooning, tortured and soulful voice of their lead vocalist Devon Portielje, whom repeatedly carries the often shallow lyrical arrangements. But beyond that, the album is actually deep and refreshingly hard to define – somewhere between dreamy, folk, electronically harmonious and quite spectacularly warming. For a debut, there isn’t much that a group as talented as these guys could have put forth without compromising on creativity. Reminiscent of early Young The Giant and Band Of Horses, these guys know how to make music, albeit of the quieter, more indulging and smoother variety. Do yourself a favour: if you’re not going to buy the album, at least listen to Full Circle and Drug You. If anything, you immediately get a sense of where these guys are trying to go, almost coaxing you into sitting somewhere quiet and trying to pick the wonderfully arranged background acoustics. It took me a good few listens of the album to fully appreciate these guys, but I am now definitely converted. 21 Gun Salute draws the album to a close and does so anguishingly well. One gets the feeling that these guys lives would be all the above plus some, and will be the leaders of the indie pack before too long. Paul Pfeiffer

THE SMASHING PUMPKINS

UNCLUBBED

Oceania

Xelon

Martha’s Music

If the Hyundai Excel is the car for people who have given up trying, then Sacha “Unclubbed” Collisson’s recordings of toned-down club classics provide the soundtrack. As one half of Aurora, the British keyboardist has made a career out of reinventing other people’s hits in a way that won’t wake the children on the long drive to the shops. His first set sold well enough in the servos, so here’s the second volume of covers from the likes of Robert Miles, Kosheen and Robyn.

So, this: the first result of Billy Corgan’s off-kilter experiment with alternative distribution methods. Yet, it is an album. Go figure. Corgan has decided that fulllength records are still the way to go after tinkering with his Teargarden By Kaleidyskope project, and it’s a relief. The Pumpkins have always been best in full-album form, both on format and in live shows, and thankfully, Oceania doesn’t break that mold. It’s hard to find a spot to slot Oceania in between its ancestors. It has the clean feel and power of Zeitgeist with the same personal reflection of Siamese Dream. The one thing that the media have been able to pick apart so far has been the focus on studio production, but it doesn’t hamper the emotion of the record. If anything, it sharpens the message that Corgan and co. are trying to produce. It embraces the stadium-sized heroism that have been most of the charm of the Pumpkins through their long history, with tracks like The Celestials, The Chimera and Quasar picking up from where Cherub Rock and Doomsday Clock left off, but with Pale Horse and Wildflower providing the romanticism/despondancy of Zero, Adore or Daydream. Blatant fanboyism aside, Oceania is easily a testament to the seemingly infinite ability of Corgan, and the excitement and passion of the band that makes up the rest of the “new” Smashing Pumpkins. It takes the best of their back catalogue and throws in some heady modernism, but doesn’t stray from the old formula, which is either a good or bad thing depending on how you see it. Pumpkins records have always been loved and hated simultaneously, so give it a listen and decide for yourself. Cam Findlay

themusic.com.au

Unclubbed2

The formula is predictable enough and, to be absolutely fair, starts somewhat inoffensively. Calvin Harris’ I’m Not Alone does okay, slightly downtempo’d with a vocal from Jenny Lynn Smith that could sit comfortably in Nouvelle Vague’s catalogue. Kosheen’s Hide U benefits from lush strings and a punchy rhythm section, standing out as the closest we get to an improvement on the original. The novelty quickly wears thin and by the halfway point, the rot of tedium has made itself very much at home. Collisson’s ‘Slow it down and stretch it out’ recipe to manipulate emotions is brutally ineffective on Empire Of the Sun’s We Are the People and Donna Summer’s I Feel Love, while session singer Gerard O’Connell wrings any traces of sincerity from With Every Heartbeat and Only Love Can Break Your Heart (St. Etienne’s model of the Neil Young song). Then there is the wretched version of Moby’s Go which seems recorded purely to earn an easy buck from an arty car commercial. Put this disc in your Excel’s stereo and you can safely say it’s over. Mac McNaughton


THE CAST OF CHEERS

LA SERA

POP ETC

SLUGABED

Universal

Hardly Art

Rough Trade

Ninja Tune

I for one, was pretty upset when Bloc Party left behind their indie roots to pursue more dance-orientated music, all of which ended up in Kele Okerekeâ&#x20AC;&#x2122;s solo work (uh). Well, fear not, fellow cannot-let-go-of-the-past-ers; The Cast Of Cheers have taken Bloc Partyâ&#x20AC;&#x2122;s crunchy, staccato indie-rock and have made it so, so much better.

From the very first line (â&#x20AC;&#x153;I love my life without youâ&#x20AC;?), the title of La Seraâ&#x20AC;&#x2122;s second album title becomes immediately clear. This is the opening line to the ultimate kiss-off album where our protagonist, Katy Goodman of noise poppers The Vivian Girls, is saying goodbye to a relationship with a knowing shrug instead of an ugly cry.

A few tracks of Family have made it to national radio already; the title track and Human Elevator. Both of them are beautiful representations of The Castâ&#x20AC;&#x2122;s creative ethic: short, striking tunes that run a gamut of little experimental niches and influences. Second track PosĂŠ Mit is probably the most Bloc Party-ish, with rapid-fire drums and chords covered by a shout-along chorus. Other than that though, there are many, many weird flourishes that owe as much to the math rock of Battles, Adebisi Shank and even Hella than to any indie aesthetic. The aforementioned Human Eelevator has a spacey, bouncy synth line nailed to it; Palace & Run, despite being mostly an acoustic tune, houses a neat chord structure and Boulet-ish shouted backing vocals; Marso Sava blends tribal drums with guitars and electronic jangles borrowed from Vampire Weekend. But what stands out the most is the almost perfect rythmic syncopation of the instruments. Guitars, drums and bass (oh, what bass) flutter in and out with what at first feels like casual abandon, before you realize just how ingenious these constructions are.

Sees The Light signals a departure from La Seraâ&#x20AC;&#x2122;s languid, reverb-laden dream pop and skips towards upbeat garage/pop-punk that embodies the tone of the album beautifully. The group covers themes like being better off post-relationship (How Far Weâ&#x20AC;&#x2122;ve Come) and reminding an ex-lover of what she is going to offer to someone else (Real Boy). Even its most insecure moments donâ&#x20AC;&#x2122;t wallow too deep (Iâ&#x20AC;&#x2122;m Alone, Donâ&#x20AC;&#x2122;t Stay) and the album seems to be much more forward-looking than introspective.

Itâ&#x20AC;&#x2122;s always a bit risky to change a band name when your deep into that groupâ&#x20AC;&#x2122;s life. Even harder when youâ&#x20AC;&#x2122;ve got releases under your belt ,and Brooklyn trio The Morning Benders released two albums of indie-coolness before realising the moniker was too distracting and plumping with the much more sedative Pop Etc. To hammer home the point, the cover artwork to this third album lists lots of musical styles... which you wonâ&#x20AC;&#x2122;t find contained within. Talk about false advertising.

Slugabed toys around with space-age sounds and non-worldly reverberations in his debut album to form something that is as tongue and cheek as it is varied. Orchestras of uniquely pitched vocals accompanied with unorthodox hip hop beats make for the majority as well as the most accessible sounds in this album. Slugabedâ&#x20AC;&#x2122;s real gloss though, lies where he explores his obviously ample creative side, but also manages to maintain some sense of cohesion between all of a songâ&#x20AC;&#x2122;s elements.

Bedroom-budget, basement-fidelity electronic pop music is the order of the day here, like an underfunded Phoenix whoâ&#x20AC;&#x2122;ve had their â&#x20AC;&#x2DC;80s record collection taken away. While the French group reach beyond the confines and thrive with humbly constructed, big sounding synth-pop, Pop Etc donâ&#x20AC;&#x2122;t quite get out of their jim-jams. Singer Chris Chu sounds so snuggled up, waiting for milk and cookies to be brought to him as he sings mostly pallid songs of friendships and feeling a bit toey. It seems a cop-out to name a song R.Y.B. (instead of â&#x20AC;&#x2DC;Rock Your Bodyâ&#x20AC;&#x2122;) so as not to confuse it with a Justin Timberlake hit. Lead single Keep It For Your Own sounds most like a fully-fired band, but it still sounds watered down, even by producer by Danger Mouseâ&#x20AC;&#x2122;s standards. He doesnâ&#x20AC;&#x2122;t stick around for the whole album, and the release is sorely lacking for it.

Time Team achieves this most in lead single Sex, delving into the sensual sounds of classic funk and soul jazz â&#x20AC;&#x201C; riddled with intertwining, seductive synths gives a modern and flavoursome spin on a pair of age old genres. Moonbeam Rider works off a similar kind of formula, incorporating lively, bouncy synths as well as a booming deep sub bass.

Family

The Dublin four-piece are already making it clear that theyâ&#x20AC;&#x2122;re the harbingers of something new, unique and genuinely interesting in indie-rock with this standout record. Cam Findlay

Sees The Light

Time Team

Pop Etc

In addition to the change in aesthetic, Sees The Light really benefits from Goodmanâ&#x20AC;&#x2122;s performance as a lyricist and as a vocalist capable of emoting really effectively. The lyrics are uncomplicated. She doesnâ&#x20AC;&#x2122;t possess a powerful voice or a delicate soprano. Despite this though, Goodman sounds effortless and pleasantly unflappable. It just makes her sound so convincing at relaying her câ&#x20AC;&#x2122;est la vie attitude towards a failed relationship. With Sees The Light, La Sera joins Best Coast and Frankie Rose in emphatically placing reverb-drenched post-pop on hiatus. Perhaps then it is no coincidence that by shedding something so overwrought, like a relationship or a crowded sound motif like reverb, La Sera have found the freedom and space to let their talent breathe unencumbered. Sees The Light indeed seizes the lightness of just being.

Closer Yoyo finally unleashes the promised popgasm, but itâ&#x20AC;&#x2122;s stashed away at the end. By which point, most people will have dozed off. Mac McNaughton

If youâ&#x20AC;&#x2122;re hearing Slugabed for the first time on this release, youâ&#x20AC;&#x2122;d find it very difficult to believe that he has actually toned down the intensity of his work, but what has been preserved is his sense of creativity and eccentricity. Unfortunately this quirkiness isnâ&#x20AC;&#x2122;t always pulled of successfully, and some songs feel lacklustre and out of place in this peculiar and roundabout sort of journey. Most notably Grandma Pants Nice is peppered with conflicting and largely disagreeable noises, in a track that tampers with the already slightly cluttered flow of the album. No doubt some of the tracks are delightfully produced, but Slugabed begs the question whether the album is one of exploration or simply lack of direction. James Hunt

Kosta Lucas

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THE DRUM MEDIA â&#x20AC;˘ 23


FRONTROW@DRUMPERTH.COM.AU

THIS WEEK IN

ARTS LIVID

YOUR SISTER’S SISTER

THURSDAY 5 Yirra Yaakin Theatre Company – a night of poetry, improvisation, comedy and storytelling from some of Yirra Yaakin Theatre, a Perthbased Indigenous theatre company whose impetus is to tell stories of Indigenous Australians. Closing night, Blue Room Theatre, 7pm. Your Sister’s Sister – Revelation Film festival will kick off with Lynn Shelton’s fourth feature film. A comedy/drama that focuses on the relationships between a trio of friends. (Mark Duplass, Emily Blunt and Rosemarie DeWitt). This film was described by Twitchfilm as “one of the great highlights of Tribeca 2012.” After the screening the opening night party will be in full swing. Nothing like film banter with a beverage. Astor Theatre, 7.30pm, festival running until 15 July.

FRIDAY 6 Animation Showcase – a showcase of animation from the strange adventure of a diver in Beneath to Innocent Andrew, which tells of a book cover lost in a bookshop, via robots, pirates and much, much more. Plus the multiaward winning The Missing Key. Part of the Revelation film festival, Astor Theatre, 6.30pm.

SATURDAY 7 Livid (Livide) – directing team Julien Maury and Alexandre Bustillo have crafted a haunting film that slowly unravels about a nursing aide for the sick and elderly. Get ready for blooooddd!. Screens with two shorts, Dorothy and Thirst. Part of the Revelation Film Festival, Astor Theatre, 10.45pm.

MONDAY 9 Crispin Glover – two of Glovers films will screen, It Is Fine! EVERYTHING IS FINE; a fantastical, psycho-sexual autobiography of actor-writer Steven Stewart, who

lived with cerebral palsy and died shortly after the film was completed. What Is It? has been described as “The adventures of a young man whose principal interests are snails, salt, a pipe, and how to get home.” In addition to these feature film screenings will be The Big Slide Show (part 2 & 1 respectively) in which Mr Glover performs a one-hour dramatic narration of eight different profusely illustrated books. Part of the Revelation Film Festival, Astor Theatre, 8.15pm until 10 July.

ONGOING It’s Dark Outside – a production by Tim Watts, Arielle Gray and Chris Isaacs, that uses puppetry, masks and animation to tell the story of an old man wandering off into the wild. Inspired by Tim Watts’ relationship with his grandfather who had dementia, it’s presented in the style of a grand, epic western, featuring music by Rachael Dease. Opening night, 8pm until 14 July, State Theatre Centre of WA. Projektet – an exhibition from researchers and artists Ola Johansson and Amanda Newall. Based in Sweden, they examine the uncanny way our immune system has influenced the way we interact with others. Featuring footage from performances where cells from the body are acted out, alongside costumes, props and research material. Fremantle Arts Centre until 15 July. Living Walls – a showcase of street and mural artists, illustrators and designers. This exhibition encourages audiences to think differently about the potential for street, graffiti and mural art to transform the texture and appeal of urban landscapes, and to reach into private and commercial spaces. FORM Gallery, until August 25.

ROTTOFEST SHIPS IN US COMEDIAN FOR HEADLINE SLOT Comedy Central and HBO’s Anthony Jeselnik (pictured) will headline the Perth comedy, film and music festival Rottofest this year. Controversial and edgy, Jeselnik will lead a line-up that also includes Tim Ferguson (Doug Anthony Allstars), Chris ‘The Bloke’ Franklin, Mel Buttle (triple j), Dayne Rathbone, Nick Cody (VIC), Matt Dyktynski, (VIC) and a host of local comedians from WA. The short film screenings will be hosted by Tim Ferguson, with the competition winner to be awarded $3,000. Entries for the short films (up to 15 minutes) or filmed sketches (up to three minutes) are being accepted from Australian citizens until 20 July 2012. The festival takes place at Rottnest Island from Saturday 8 to Sunday 9 September. Early bird weekend passes are available from $189 (until 20 July). For more info go to 2012.rottofest.com.au. 24 • THE DRUM MEDIA

THE BORN LEGACY Post-pregnancy perineums and leaking breasts: Few films have portrayed parenthood as honestly as Rémi Bezançon’s A Happy Event, writes Anthony Carew. In Rémi Bezançon’s crowd-pleasin’ familial saga The First Day Of The Rest Of Your Life, the French writer-director left off with one of his grown-up children pregnant. It felt, to him, like a dramatic ellipsis, leading towards a subject he’d always wanted to explore. So, when he came across Eliette Abecassis’ motherhood memoir A Happy Event, Bezançon found the source text that led to his next movie. “I’d always been interested in maternity, and, reading this book, it was such a profound portrait of maternity, of how it feels to be a pregnant woman, to give birth, to be a mother,” explains the 41-year-old filmmaker. “Reading it, I had this desire to make a film of this, to go inside the feelings of a woman. I wanted to try and put myself in the experiences of women, and put that into a movie. It was pretty difficult for me to talk about, because I’ve never had any children myself.” Adapting the autobiography into a fiction film, Bezançon worked with his own real-life love-interest, Vanessa Portal, turning the confessions of a new mother into a greater study of how the arrival of an infant radically redefines a

FILM

central relationship. A Happy Event begins as cute romantic comedy, with artfully unkempt beefcake (Pio Marmaï) sweetly wooing the fiery dame (the unendingly charismatic Louise Bourgoin). Yet, their carefree young-coupledom comes undone when our heroine becomes pregnant, fast-tracking their lives from idle, fun-loving and unencumbered to the high-stress hells of new parenthood. These plot developments turn what kicks off as a frothy rom-com into a frank, halfway-to-brutal relationship drama; A Happy Event’s title duly tinged with irony. “I wanted to show something that was more realistic than the presumed happiness that comes with having a child,” Bezançon explains. “I think there’s never been a movie that has portrayed maternity in this realistic way. That’s why, of

course, I wanted to tell this story; to show the world that this is not just a happy event, but that it is really hard. And I wanted to show women that they didn’t have to take all this on themselves, to suffer through this by themselves. A lot of women have thanked me for making this movie, because they see it and feel now more understood.” By depicting new motherhood minus the new-age mysticisms of life-giving, by showing how having an infant can be a delirious mixture of transcendent and horrendous, by portraying post-pregnancy perineums and leaking breasts not as comedy but as reality, Benzançon has lost none of the provocative honesty of Abecassis’ confession. Does Bezançon feel like he’s made a feminist film? “Absolutely!” he beams. “And I’m very happy that you asked that question!”

That provocative honesty – that feminism – has also meant that the film, on its opening in France, raised the hackles of more, um, conservative critics. Blithely skating over taboos – “In France, 20% of marriages don’t survive the first year after the birth of a child, but it’s something we never talk about” – A Happy Event is anything but inoffensive blandeur. “The reaction to the film has been really extreme,” Bezançon says. “Reviews [in France] were either exceptionally positive or just really angry, very negative. To me, the movie is like a mirror, and the reactions to it reflect the individual, not necessarily the film itself.” WHAT: A Happy Event WHEN & WHERE: Opening Today in Selected Cinemas

REVIEW

GET YOUR SHORTS ON Get Your Shorts On provides some insight into the astonishing calibre of Western Australian up-and-coming filmmakers as an important part of the Revelation Perth International Film Festival. Already lauded as a hub for musical genius, WA has steadily been carving out a niche for quality film production and a rich and diverse taste for original story ideas. The current edition of the short format screening ranges from ingenious animation to Indigenous doco with a touch of romance and a zombie apocalypse thrown in for good measure. Sir Barry Humphries narrates a delightful animated short based on a poem about a well-meaning but disorganised gentleman attempting to make amends for his poor form. What A Debarcle, Freddy Farkle features rich artwork to support Humphries’ wonderful reading and the animation work is simply superb. Formed in the late ‘90s, the Wadumbah Aboriginal Dance Group have been entertaining and educating audiences about Noongar culture around the world. Wadumbah follows the troupe on a particularly hectic day between suburban schools and discusses the purpose and value of the dance experience. Director James Webb runs a tight ship and proudly discusses the changes he has seen in the years since the formation, as well as discussing the members and how their troubled pasts have faded behind their bright efforts to

inspire the youth of the future. Filmed on location in rural WA, Crosshairs delivers a dramatic punch to the line-up with a tense standoff between a farmer and a couple of young poachers. The ante is upped when the farmer captures the younger boy and attempts to extort the surrender of his older brother. The resulting standoff results in some gripping moments with the arid dust and loneliness of the outback providing the ideal setting for war. Walk Tall, Stand Strong is a moving short film that gathers the stories of Noongar men and reflects upon the lessons learnt in their lives. The film juxtaposes criminality with pride as the Noongar culture struggles with its modern identity amongst the youth featured in the story, but gains value as the individual develops the ability to reflect and speak about the importance of knowing the value of their people. The stories feel raw and genuine and the voices of survivors serve as a lesson for future generations. Polarised features talented up-andcoming actress Olivia DeJonge as Beth, an impetuous teenager whose thoughts are deeply affected with the raging hormones that plague that age bracket. She plots to rid her crush of the weight of his current squeeze and replace the girl. Her mischievous little brother tags along, much to the detriment of Beth’s carefully laid plans, and undermines her position in front of the older boy. DeJonge is magnificent as she successfully captures the feeling associated

WADUMBAH

FREDDY FARKLE with treading the difficult line between taking life seriously and basking in the glory of childhood.

and remain safe – temporarily. As his situation deteriorates he is forced to hatch a plan for escape.

Aaron McCann and Stefan A. Radanovich form a formidable filmmaking team as their postapocalyptic zombie thriller Perished feasts upon the competition. Tense is an understatement as a solo man narrowly escapes the clutches of the shambolic horde to lock himself in a small shed

Supported by Screen West, Get Your Shorts On is now in its tenth year and screens as a part of the Revelation Film Festival. Simon Holland WHAT: Get Your Shorts On WHEN & WHERE: Thursday 12 July, 7pm, The Astor Theatre

GIVEAWAY TED – THE DIRTY TEDDY BEAR “EVENTUALLY EVERYONE GROWS UP” Thanks to Universal Pictures we have five double passes to give away to the hotly anticipated TED. “It’s been four years. You and me have been together for 27 years…where’s my ring?” Ted asks his owner John (Mark Wahlberg) who is about to get married to Lori (Milla Kunis). This is the first motion picture from the creator of Family Guy Seth MacFarlane, who also voices Ted: a teddy bear that tweets, does dirty fuzzys and has the strength to throw a TV set at John. Enter at www.facebook.com/drumperth


FRONTROW@DRUMPERTH.COM.AU

REVELATION PERTH INTERNATIONAL FILM FESTIVAL The Revelation Perth International Film Festival kicks off Thursday 5 July, bringing 32 features and a host of short films together in a curatorial collection that deals with low-budget cinema, though not necessarily uncommercial or experimental works. Here’s a few of the things I’ve already seen in the program... Eames: The Architect And The Painter portrays Eames plural: Charles and Ray, the husband/wife partnership who collaborated on furniture, architecture, installation, film, advertising, etc; becoming America’s high king/queen of modernist design. Jason Cohn and Bill Jersey’s chronicle of their shared career surveys their work with a general patter of tropes and platitudes: hyperbole-prone celebrity narration (James Franco!); endless talking-head pontification; and the Eames’ films cut up into what feels like a PR piece for their legacy. The Interrupters manages to live up to the prior documentaries of Steve James; studies of basketball (Hoop Dreams), mental illness (Stevie) and, um, basketball (No Crossover: The Trial Of Allen Iverson), that were all studies of America, that land of big dreams and failed dreams. James chronicles a crew of ‘violence interrupters’ working to effect change in crime-ridden Chicago, armies of ex-cons out to arrest unending cycles of retribution. James does so direct-cinema style: no voice-over, no editorialising, no judging. The approach of the mediators is to not take sides —no one is right or wrong in a beef where both bear

SURVIVING PROCESS

Livid seems to have pretensions of artistic credibility, its airy mood and Gothic style suggesting a horror film beyond the usual. But once a trio of young rascals —out to pilfer ill-gotten ‘treasure’— are locked in a mansion after dark, it’s a parade of perfunctory scares delivered at intervals you can set your watch by.

Surviving Progress is a superior example of the ‘world is fucked’ documentary; fitting in that sweet

CRINGE

WITH MARCIA CZERNIAK

grievances— and, so, too, does James; the root cause of violence not individuals —not gangs, drugs, degeneracy, etc— but society as whole; the problem is, essentially, America itself.

Rampart finds Oren Moverman failing —badly— to recapture the moving-macho form of his Army Casualty Notifier drama The Messenger. His tawdry tale of dirty cops plays like a parody of some ‘gritty’ awards-show-chaser, with an unending cast of dressed-down celebrity actors all flailing wildly whilst Moverman’s camera wobbles pointlessly, whipping around with a flounce that runs counter to the supposed socio-realism on show. And nothing is less real than the central, scenery-chewing turn from a hambone Woody Harrelson.

C U LT U R A L

EAMES

LIVID arthouse niche of pictures that take a subject —agribusiness, fishing, American foreign policy— and make it a potent symbol for society’s imminent downfall. Here, there’s no symbolism: instead, society itself is the study, and Mathieu Roy’s picture artfully posits that current human existence is unsustainable and the persistence of free-market capitalism as overruling philosophy untenable. Best of all, it brings chimpanzees into the picture, and the naked ape’s closest cousins are

the eternal potent symbol. The Trouble With Bliss feels like one of those tired writer’s fantasies where a 35-year-old loser —unemployed and living at home with his parents, natch — proves ‘comically’ irresistible to women and ‘lucklessly’ lucks into catalysing change. For all the RPIFF’s embrace of the underground, this feels like a tiny, minor film whose existence belongs wholly to the casting of Michael C. Hall and Lucy Liu. Anthony Carew

g of An Evenin S S WORLDCLA

www.

The 15th annual Revelation Perth International Film Festival starts this week and this year’s program is set to impress as it continues deliver quality films that are diverse, interesting and entertaining. This year the program boasts three world premieres, 19 Australian premieres, 53 short films, 11 special events, three live performances and films from Australia, UK, Iceland, Cambodia, USA, Canada, Germany, Portugal, France, Slovenia, Ireland, Denmark, Japan, Philippines, Netherlands and Switzerland. It all kicks off with Revelation’s opening night festivities, with a screening of Your Sister’s Sister, topped off by an afterparty featuring live music, DJs, drinks, food and special guests. The comedy/drama stars Emily Blunt, Mark Duplass and Rosemarie DeWitt and is directed by Lynn Shelton (Humpday, My Effortless Brilliance). Screenings with Crispin Hellion Glover are bound to sell out. This legend of contemporary cinema will be at Revelation in person to present his feature films It Is Fine! EVERYTHING IS FINE and What Is It? The Australian premiere of Paul Fraser’s My Brothers should also be pretty popular, billed as intensely moving, poignant and funny. Fans of the hit television show Dexter can see Michael C. Hall in The Trouble With Bliss, directed by Michael Knowles. Joining Hall is Lucy Liu and Brie Larson in this film about a man who is stuck in a rut, just waiting for life to happen.

If horror films tickle your fancy, then Livid is for you. Directed by Julien Maury and Alexandre Bustillo, Revelation deems this to be supernatural, gothic horror at its best. Maybe not one for the faint hearted. If you are getting tired of seeing Woody Harrelson in Cheers reruns on Eleven, then catch him in Rampart. Directed by Oren Moverman, the film features the allstar cast of Ice Cube, Steve Buscemi and Sigourney Weaver, as it tells the story of corrupt policeman David Brown (Harrelson). Get Your Shorts On is back and showcasing the talents of WA’s emerging filmmakers, including a line up of shorts ranging from animation, documentary, drama and other genre-driven films. Documentaries are also on offer within the Revelation program. Beauty is Embarrassing looks at the life of freethinking designer, artist, and puppeteer Wayne White. In exploring his life, this inspirational film is said to make us look at the very nature of creativity in a new way. Adding to all of this is a selection of shorts and opportunities for discussion and debate with directors and industry professionals. With the festival having firmly established itself on WA’s international film calendar, Revelation brings Perth audiences a selection of high-quality, awardwinning independent films from around the world. With so much on offer, there is definitely something for everyone!

Stand-up Comedy ESTD.2009

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Riverside Theatre SatURDAY JULY 14TH 2012

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Perth Convention and Exhibition Centre Mounts Bay Road Perth THE DRUM MEDIA • 25


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2012 SAT.21 20 JULY 7PM-LATE

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FOXES PIC BY ELENA MARCON

TOUR GUIDE GIG OF THE WEEK

TIM FINN

TIM FINN @ ARTBAR

Acclaimed singer/songwriter Tim Finn needs little introduction. As a founding member of iconic NZ band Split Enz and one time member of the chart topping Crowded House, Finn recently released a new studio album The View Is Worth The Climb and remains a headliner at music festivals nationally. He kicks off the Art Gallery Of Western Australia’s Artbar series tonight, Thursday 5 July, for a night of intimate nostalgia and new music at a venue where music, food, drink, people and art all come together to create a perfect atmosphere for the music legend’s sold out show. With songs such as Poor Boy, I Hope I Never, Weather With You, Fraction Too Much Friction and Persuasion to his name, it’s evident that Finn is a much loved and accomplished artist, who is showing no signs of slowing down. It accompanies the Art Gallery’s Picasso To Warhol exhibition, which is open for viewing from 6.30 til 8pm. Support act Lucy Peach kicks the show off at 7.15pm, before Finn takes the stage at 8, proudly presented by Drum Media.

DRUM MEDIA IS PROUD TO PRESENTS SHOWS INCLUDING:

OUR FESTIVAL

TIM FINN: JUL 5 Artbar, Art Gallery Of WA THE JOE KINGS: JUL 5 Fly By Night; JUL 6 The White Star; JUL 7 Settlers Tavern

THE BAKERY: 29/06/12

Always going to be an interesting proposition, Our Festival takes over The Bakery for a night of “guitar music”. More at home in a beer-drenched bar, the pub-rock sound of The MDC faces a lofty challenge in warming up a modest crowd at 8pm, but give it their darndest before 44th Sunset take over with a bluesier set. An interesting proposition, with male and female vocals, the act showed a whole lot of potential, despite the hindrance of youth and the over-the-top Iggy Pop emulations from the frontman. However, their mastering of dynamics and volume showed that with a bit of time to mature, these guys could be something. The Tumblers followed with another lesson in drama from their nipple-flashing frontman. A very good band with some big, big dirty grooves that draw from Vasco Era’s reckless abandon. Having developed a broader sound that doesn’t rely upon the garage rock loud/soft dynamics too much, the band were very impressive. Lanark took the reigns and again highlighted the eclecticism of the night that unfortunately worked against each act individually. Their Interpol-esque sound drew the largest crowd of the evening though, rewarding the band for a fine set with a broad sonic palette punctuated by control and restraint. The Brit-influenced rock of The Spitfires was also faced with the challenge of entertaining a very large, mostly empty room. Documenting the struggles of

FRONTLASH TOUR DE INSOMNIA

ADALITA The Tour De France is back, kiss a good night’s sleep goodbye.

HORROR TV

Who needs reality TV when we have politicians singing very bad/weird versions of Skyhooks songs and passing out on Q&A, maybe that 3% pay rise is deserved after all.

ELEMENTARY, DEAR BOSON

It looks like scientists may have finally found the ‘God particle’… And they’ve taken a photo of an atom’s shadow. Yes, ignorance is bliss, but we’re pretty stoked for them.

HIDDEN TREASURES: THE NEW SCHOOL SIRENS: THE TROPHY WIVES, JUSTIN WALSHE FOLK MACHINE, DIANAS, EDIE GREEN: JUL 20 FTI HIDDEN TREASURES: TEACHER’S FAVOURITES: RICHARD LANE & FRIENDS, THE MORNING NIGHT: JUL 26 FTI HIDDEN TREASURES: BACK TO COOL: KIM SALMON, TIM GORDON, GUNNS, GREYJOY: JUL 27 FTI

suburban life, like many of the nights act had they been in a setting that was complimentary to them, the three-piece would of gone down well. Benefiting from the only continuity of the night, Wash followed with a high-energy, if a little inconclusive set. Hard to categorize in any one sound, yet not really mastering their own, the band took advantage of a nice crowd, entertaining the audience with plenty of rockstar antics.

JONATHAN BOULET: JUL 7 Amplifier

OWL EYES: AUG 16 Artbar, Art Gallery Of WA

Odd band on the bill Foxes followed with a lesson in intensity, both in performance and musicianship. A band torn between two worlds, and evidently nailing both, the ambitious progressive sound of the band took precedence over the heaviness in a set that unfortunately suffered from a muddy sound – most likely a victim of the rushed change over times between bands. The bohemian bunch of The Morning Night closed the evening, to a small crew of dedicated late-night groovers. Surprised by the brisk set length, it was nonetheless a pleasurable set with plenty of comedic banter.

FLIGHT OF THE CONCHORDS: JUL 18-20 Challenge Stadium HIDDEN TREASURES: FREO HOUSE PARTY: ROOSTER POLICE, AMANI CONSORT, ENSEMBLE FORMIDABLE, FUNILIN GUS: JUL 19 FTI

THE MEDICS: SEPT 8 Amplifier

REVELATION PERTH INTERNATIONAL FILM FESTIVAL: JUL 5-15 Astor Theatre SKREAM, SGT. POKES, JOKER, PLASTICIAN: JUL 18 Villa

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 PASSENGER: AUG 22 Rosemount Hotel + ROTTOFEST: ANTHONY JESELNIK; TIM FERGUSON; CHRIS FRANKLIN; MEL BUTTLE; DAYNE RATHBONE;NICK CODY; MATT DYKTINSKI; MILLIONS; STILLWATER GIANTS; TOMAS FORD; SONPSILO CIRCUS; SAM PERRY; ANTON FRANC; PATIENT LITTLE SISTER; COW PARADE COW and more: SEP 8 & 9 Rottnest Island 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

It’s clear that the organisers of the event’s hearts were in the right place, and the quality of musicianship on display from all bands could not be questioned, but perhaps a couple fewer acts to ease logistical issues, and a more appropriate rock’n’roll setting would be preferred for future nights of ‘our music’.

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

Luke Butcher

BACKLASH SCIENCE OF DIVORCE

PAUL CAPSIS: OCT 11 Artbar, Art Gallery Of WA

We can’t believe TomKat’s split took this long, but we can believe it was Scientology Boot Camp related. Save Suri!

BASTARDFEST: ASTRIAAL, FUCK…I’M DEAD and more: OCT 27 Civic Hotel JOSH PYKE: NOV 8 Artbar, Art Gallery Of WA

JAWS & EFFECT

+ SOUTHBOUND: BEACH HOUSE, BEST COAST, BOY & BEAR, COOLIO, THE FLAMING LIPS, SBTRKT, THE VACCINES and more TBA: JAN 4 & 5 Sir Stewart Bovell Park, Busselton

Tracking off our coast has once again proved that sharks do indeed swim in the water… The couple who took their five-year-old swimming with them in the Bahamas already knew that though.

ONGOING:

INSANITY

With more asylum seeker boats in trouble off our waters, it’s probably time to forget the political partisanship LANIE LANE of the issue, and just remember how tragic it is.CC HUA PIC BY

GIGNITION: Upcoming band showcases 5-9pm fortnightly on Sundays at Swan Basement SBTRKT (SOUTHBOUND FESTIVAL)

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CULTURE CLASH & BASS CULTURE: Rotating Thursdays at The Newport Hotel THE DRUM MEDIA • 27


DAMO SUZUKI WITH POND, SONPSILO CIRCUS THE BAKERY: 28/06/12

Punters packed out The Bakery last Thursday night to catch ex-CAN vocalist Damo Suzuki performing an entirely improvised live set, backed by Pond along with members of Tame Impala and Usurper Of Modern Medicine. This inspired combination made for an exhilarating and exciting display of psychedelic grooves and prog-inspired experimentation.

CHAINSAW HOOKERS, BLUNT FORCE TRAUMA, LUCILLE, THE SHAKEYS

HOT LOCAL GIG SPOTLIGHT

ROCKET ROOM: 29/06/12

Despite the venue being close to full, the crowd seemed fairly apathetic as they gathered near the stage early. The Shakeys stepped up with a quick count in, starting with a tinny ‘70s sound, sing-song vocals over a nearsurfer vibe style of play. By the third song they had warmed up both themselves and the crowd, shifting gear into a shorter, punk-rock bark and song length, truly hitting their best whenever the bass took the lead. Lucille were next in the mix. Built around a fast, chugging rhythm section where the lead licks still held to the background over taking any solos, they reminded this writer instrumentally of Motörhead, while the singer kept to a delivery that was part way between a shout and a scream, well in the vein of Fucked Up. Tonally the vocals didn’t shift from this route for the entirety of their set, and I’ll be damned if I could understand a single lyric, but everyone was there for passion over poetry and the band obliged, injecting a buzz into the crowd and becoming a favourite of the night.

FELICITY GROOM @ GUILDFORD GRAMMAR CHAPEL

But before the jams could be properly kicked out, Sonpsilo Circus got the crowd warmed up. “We’re honoured to be here, we’ll try our best,” began lead singer and guitarist Peter Leveson-Gower. Their best was definitely good enough. With the stage banter kept to a minimum, they proceeded to blast out a great mixture of songs both old and new, augmented by new guitarist Steve Macchiaverna. Around an hour later Damo Suzuki with Pond et al (seven members, if you don’t mind) made their way to the stage while Kevin Parker laid down a solid rhythm on the drums alongside a repetitive, thumping bassline. This provided the foundation needed for Suzuki to wail his improvised, indecipherable lyrics while Jay Watson added stabbing guitar parts to fill out the main sound. Throughout the set band members swapped between guitar, drums, congas, Moog synthesizers and even a Theremin(!), evoking the power and spirit of classic CAN tunes like Halleluwah or Mother Sky. There was a heavy focus on driving energy and groove that kept everyone on their feet rather than just sitting down and spacing out. Powering through a set of everything from rock to funk, electronica and beyond, Suzuki and the band kept the energy high and instrumentation as tight as any laptop DJ could make with samples. It all came to a crashing conclusion around midnight after an hour and a half of non-stop rocking. The 62-year-old Suzuki displayed remarkable strength and stamina throughout the entire set, managing to hold his own alongside the youthful, twenty-something rockers. The show finished with everyone, including the audience, exhausted from the continuous bombardment of sounds yet still keen for more. Guess we’ll just have to wait until next time to see what Suzuki and the next band he chooses have in store for us. Scott Aitken

HOT SHOT

HUSH: AN EVENING OF QUIET MUSIC WITH DAVEY CRADDOCK Who’s playing your event and who should punters be most excited about seeing? Felicity Groom, Runner, Timothy Nelson, Rabbit Island, Benedict Moleta with Miranda Pollard, Davey Craddock & The Spectacles and Moustache will be playing in the Guildford Grammar School Chapel in complete pin-drop silence. The Hush concept is about allowing bands to play the kind of sets that’d be impossible in noisy pubs so we’ve chosen acts that we think will sound particularly epic and dramatic in the venue. Runner have mentioned an eight-piece choir and strings and Stacy Gougoulis from Moustache, who is co-organising the concert, is also training a choir for his set. It’ll also be hard to beat hearing every breath and whisper from some of the acts on their lonesome. What gave you the idea for this show? We’d heard about similar styles of ‘quiet’ shows being put on in other cities around the world and thought that we should try something similar here. Stacy and I both have quite quiet parts of our sets and as audience members we know we’re not alone in hating it when numbskulls talk during really quiet and intense moments. What does your gig offer that others don’t? Chutney, jams and cake. Apart from the pindrop quiet atmosphere, we’re trying to get a bit of a homely, Church fete vibe going out the front for interval. We’ll be selling some tea and coffee and homely wares baked by various grandparents. I’ll also making another batch of the legendary ‘Spectacle Brand’ tomato chutney. What made you pick this venue? We were looking for somewhere that would give a sense of occasion. We’re also both big fans of getting out of the city to Guildford and checking out the second hand stores, going fishing, drinking teas and eating Alfred’s burgers. Hopefully people will make it a day out. Plus there’s a train stop right outside which will make it easy for people to roll in from 5-10pm.

Alternative indi-rockers The Prevues take to the stage, delivering catchy pop and cave-dwelling harmonies straight to your ears, at Beat Night Club for the first time in support of The Autumn Isles with Sidewalk Diamonds on Friday 6 July. Complimentary drink on entry with pre-sale tickets from EventPay.

28 • THE DRUM MEDIA

SPIN KING

Putting a harmonic spin on the usual quintet experience, tenor saxophonist Matt Richards will be combining classic jazz sounds with the steady beats of a didgeridoo at The Ellington Jazz Club, Tuesday 10 July, supported by Jamie Oehlers (saxophone), Daniel Susnjar (drums), Tom O’Halloran (piano) and Sanshi (didgeridoo).

SISTER ACT

To coincide with the release of their single The Sum Of My Parts and its accompanying video, Blanche Dubois headed east to showcase it along with their third studio album Young Heart. The six-date sojourn winds up Thursday 5 July at The Ellington Jazz Club with support from Jessica Morhall.

FEVER FRIDAY

Give a brief rundown of the history of your act from day one to now: Scalphunter began in 2009 when Steve (Vocals/guitar) and I de cided that after a few years of travelling and not playing shows it was time to start up again. We called in some mates from other bands (Steve from Drunk In Japan and Tristan from Chainsaw Hookers) and started to jam and write songs. In 2010 we were up and gigging and recorded and released our first EP in early 2011. Matt joined us on bass in mid-2011 and we really started knuckling down to write and record this EP. Tristan moved on to other things this year after we recorded the EP and we were lucky to convince Ash, who plays with Matt in Them Orphans, to drum for us. Scalphunter are now stronger and tighter than ever and getting set to launch the EP around the country in 2012. Tell us about your release: The recording is actually eight tracks but since its only 13 minutes long we are calling it an EP. We decided to name it after the final track, Get On Board With Self Destruction. How did you go about recording it? We recorded at Bergerk! with Al Smith in January and did it all in under five days. It’s always great to record with Al, and because we have all been in before and we knew what to expect and how to approach the recording, so were able to capture more of the live shows energy on the EP which was a goal for us. Tell us about your launch party: We are launching it over two nights, the first is Friday 13 July at Amplifier Bar with Grim Fandango, The Blazin’ Entrails, FAIM and The Shakeys. Then we are heading to Bunbury the following day to play the Prince Of Wales with our Perth buddies The Decline and local boys Nighthawker and Fumar Mota. What’s next for your act? With our now solid line-up we plan to take the EP over east later in the year, as well as head back to Indonesia to play some shows early in the new year. WHO: Scalphunter WHAT: Get On Board With Self Destruction (Independent) WHEN & WHERE: Friday 13 July, Amplifier; Saturday 14, Prince Of Wales, Bunbury

Come celebrate the first ever edition of new Sunday night, Innerspace, at Geisha Bar, Sunday 8 July with headliners Mink Mussel Creek. You’ll want to head down early because DJ Douche Unit will be spinning wax between sets from Fucking Teeth and Gunns, before MMC take over, their first show in far too many months. $10 entry.

SET TO STUN

LIGHTS OUT

With an EP aching to be unleashed into the world, Advent Sorrow play Amplifier Bar, Friday 6 July. Before The Dimming Light is the title of their new EP, and to help launch it into the world they are joined by friends Sensory Amusia, Förstöra and Cold Fate. After much anticipation and an extensive gigging schedule, Advent Sorrow are going to give it their all when they launch their Debut EP.

Psycho rockabilly trio The Insinnerators play the next edition of Drum Media’s Gignition, Sunday 8 July at The Swan Basement. Featuring an upright bass, gretsch guitar gunslinging and stand up drums, these newcomers are proving to be an entertaining and energetic force. Currently writing their debut EP, they plan on heading into the studio in the not too distant future.

FUN NIGHT

LOCAL LESSONS

Returning to The Bakery, Tuesday 10 July, Club Zho 101 focuses on three innovative Perth acts, with yls and Air Mutande exploring multidimensional electronic inventions and Trilby & Guests presenting an electro-acoustic performance featuring voice, guitar and theremin. Tickets via Now Baking.

Mike Bowring

SCALPHUNTER WITH ALEX COTTON (GUITAR)

SPACE CADETS

WHEN & WHERE: Saturday 7 July, Guildford Grammar School Chapel

CAVE BEATS

The band that held the large print on the advertising came on next. Chainsaw Hookers received an anticipatory cheer and lived up to the support. Dirty distortion on the guitars glided over a classic rock feel – their hard riffs constantly sounded like they wanted to erode through into melody. With pronounced leads they entertained the crowd with a solid set list, Never Sleep Again the masthead as a sing-along crowd pleaser, satiating their dedicated fanbase. In a post-headliner gambit, Blunt Force Trauma came to the stage in front of a dilapidated crowd. Not to be deterred, they were loyal to their namesake, producing thick riffs that would dabble in a high-progression, a solid bass heartbeat, and a drum that kept a high pace low-end kick, delivering a wall of sound to concuss the body and sensibilities. As the death-scream faded, this scribe was satisfied to hear that bitter-sweet ringing that comes from a night of hard rock tunes.

For all those hungry for a serving of punk and hardcore, locals Cabin Fever are headlining an explosive night at The Den Friday 6 July with support from The DeNiros, Listening For Triggers, Blindspot and 10 Past 6. Cabin Fever has been pulling some solid supports as of late and a quick look at their live energy will show you why. $10.

What’s next? If this goes well we’re eyeing off another historic building for Hush round two.

DEXTER JONES @ THE BEAT BY GRAHAM CLARK

LAUNCH PAD

THE MORNING NIGHT

Before The Morning Night shoot over east on a kamikaze tour of Melbourne in support of their debut album Otis, they’ll be playing a fundraising show, to ensure they have enough money to give the tour all they’ve got. They play The Railway Hotel Saturday 7 July for a send off party that also includes Lanark, Chloe McGrath & Natalie Pavlovic, Shaun Corlson, Moana Lutton plus a few other special guests.

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JONATHAN BOULET

KEEPING THE BEAT

Sydney folk-pop-rocker Jonathan Boulet has a new album, and he’s hitting the road to celebrate what is a cracking collection of energetic pop music. Filled with rollicking percussion, choral chanting and general fun times, the live shows are likewise. Presented by SPA, Boulet and his band visit Amplifier Saturday 7 July, supported by Wolves At The Door, tickets via Moshtix.


WAM UPDATE

MUSICIAN’S MIX-TAPE

CONTEMPORARY MUSIC INDUSTRY NEWS WITH JUSTINE THORNLEY.

iWANT YOUR WAMi FEEDBACK… Want to win an brand new iPad WiFi 16Gg and 2013 WAMi Festival season pass? WAM is running a survey to review how we do business, including the WAMi Festival and other ways we can 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 midnight this Sunday 8 July! Have your say at wam.asn.au/feedback. WHEATBELT TOUR – LAST CHANCE WAM’s pilot initiative to develop a new regional contemporary music touring circuit in the Wheatbelt region celebrates its sixth and final tour this month with Sneaky Weasel Gang and Justin Walshe. This tour has offered some of WA’s brightest acts, sharing the stage with the Wheatbelt’s recent harvest of original musicians. The tour bus stops Friday 20 July at The Commercial Hotel in Merredin, Saturday 21 at Grass Valley Tavern, and Sunday 22 at Ye Olde Quindanning Inne for a Sunday afternoon session. Shows offer FREE entry as part of WAM’s audience development strategy, and promote RAC road safety messages - such as Drinking Kills Driving Skills. Head to wam.asn.au/regional for more.

RISE TO FAME

After supporting Cold Chisel and Ash Grunwald along with a South West tour with Kim Churchill, Morgan Bain is set to return to the Indi Bar to showcase his music to his fast growing fan base, Sunday 8 July, supported by Lucy Peach and Logan Crawford. After securing a spot on the bill at Parklife and just releasing a music video for his tune Unkind, Bain is flying high. $5 from 6pm.

Timothy Nelson & The Infidels 12. The owner got annoyed at me for trying to purchase naughty magazines all the time, so he gave me a job. Not related to the song at all but I remember this being on a mix I had in my discman all the time back then.

THE JOE KINGS

ROYAL RECORD

It’s been a long wait for The Joe Kings debut album, and to launch Strange Individuals, they’re hitting the road for a 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.

MOVIE MASTERS

Prior to the screenings of award-winning documentary Way Of The Morris at The Astor Theatre, Sunday 8 July at 12.15pm and Friday 13 at 5pm, The Perth Morris Men will perform their traditional dance. The Perth Morris Men perform traditional dances from the Cotswold Hills and other areas of England.

THE BEST

Celebrating the launch of his debut album Out West, Robert Zielinski plays The Fly By Night Friday 6 July, with a special appearance from Donegal’s Mick Doherty, accompaniment on bouzouki/double bass from Phil Waldron and guitar from Gavin Fernie. This promises to be a one of kind night of spine-chilling acoustic music straight from the shores of Ireland.

Name a song or band that reminds you of or that best sum up these times in your life. Primary school: The Real Slim Shady – Eminem. Knowing all the words to this one is nothing more than a party trick these days. We moved to Canberra in 2000 and (as I found out later) while the rest of the country was about to get stuck into The Strokes and The White Stripes, the kids I was mixing with were concerned only with rap and nu-metal. If it had swearing in it, it was cool. I had to be pretty sneaky getting Eminem CDs into the house. Funnily enough, while most things you’re into at the age of 11 get left behind, I still have a great love of this man’s music… At least the stuff he was putting out then. I probably learned as much about writing lyrics from him as any other artist. Teen years: Someone’s In The Wolf – Queens Of The Stone Age. A huge band for me in high school but this song more than others brings back very distinct memories of goon bags, cigarettes and parks in Willetton. First job: Calm Like A Bomb – Rage Against The Machine. Stocking shelves at IGA when I was

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First gig: Finding Time – The Cartridges. My first band; we played at the Northam Tavern with The Novocaines in 2006, back when Gumby (Jay Watson – Tame Impala, Pond) was still the drummer. I’ve since dropped The Strokes obsession and they’ve put The Kinks back on the shelf too but I have fond memories of those gigs. Most recent night out: Be Ready When I Say Go – Emperors. Spent three days in Sydney for the Song Summit, which was kind of like one big night out ‘cause everyday a different Perth band would roll into town either on tour or for the APRA Awards. I assume Perth was empty that weekend. Family Gatherings: You Send Me – Sam Cooke. Mum’s 60th was the other day, Dad had the keyboard and the PA set up and all the muso’s took turns doing songs toward the end of night. I got called up and we did this song together. Your next show: Caroline – Timothy Nelson & The Infidels. One of many new tunes we have in store for our show at The Bakery with James Teague, The Empty Cup and Thee Gold Blooms. WHO: Timothy Nelson & The Infidels WHEN & WHERE: Saturday 7 July, Hush, Guildford Grammar School Chapel (Solo); Friday 13 July, The Bakery

THE DRUM MEDIA • 29


HOT LOCAL GIG SPOTLIGHT

HAVE YOU HEARD

THE ABYSS

LAMB OF GOD

ALL THINGS DARK AND HEAVY FROM THE BUBBLING DEPTHS OF THE METAL MELTING POT WITH SIMON HOLLAND. DANIEL SUSNJAR’S AFROPERUVIAN JAZZ GROUP Who’s playing your event? Daniel Susnjar – drums/compositions; Mat Jodrell – trumpet; Tom O’Halloran – piano; and Pete Jeavons – bass. What gave you the idea for this show? Seeing the Gabriel Alegria Afro-Peruvian sextet play in NYC in May 2010 at Tutuma Social Club, an Afro-Peruvian jazz club founded by my dear friend Santina Bari Matwey. In October 2010 I visited NYC and called Gabriel, telling him that I was coming to check out the band. He told me that he needed a drummer that very night, as his regular drummer had called in sick. Fortunately, I had been learning his repertoire and felt prepared to play the music. Being a University of Miami Doctoral music student, it was at around this time that I began to think about my dissertation topic and decided on taking an in-depth look at applying folkloric Afro-Peruvian rhythms to the drumset in a contemporary jazz setting. I travelled to Peru in January 2011 to undertake fieldwork and learn more about the workings of the music. What does your gig offer that others don’t? This will be a rare chance for the people of WA to come out and hear Afro-Peruvian jazz, a form of music that is still in its infancy in the USA and Peru which combines the rhythms and melodies of Peru with the harmonies and musical interaction of American jazz. It will also be a rare chance for people to hear Mat Jodrell (a great trumpeter from Perth who’s been based in NYC for the past four years) and myself perform on home soil. What’s next? I’m finishing up my debut record which will be released later this year. This album features top-shelf musicians from NYC, Miami and Peru and is made up of my original compositions inspired by Afro-Peruvian Jazz music. WHEN & WHERE: Sunday 8 July, Ellington Jazz Club

A-OKAYE

Aussie activist and multi-instrumental troubadour, Nathan Kaye plays Thursday 5 July at Didgeridoo Breath. Thereafter he will be running performance workshops Friday 6 at The Cidery, Bridgetown; Saturday 7 at Cape Wine Bar, Bridgetown; Sunday 8 July at Redcliffe On The Murray, Pinjarra; and wrapping it all up with another gig, Wednesday July 11 at the Indi Bar.

HYMN HISTORY

Thursday 5 July at Mojo’s Matt Gresham plays his trusty guitar and sings with his incredibly voice. However, that’s not all, on this night a film crew will be in attendance to film a DVD, which will be sold down the track. Get down from 8pm and be part of this audiovisual history in the making, $20.

Band’s name comes from? Late nights watching the sun come up. Around since: 2008.

Swedish melodic death lords Soilwork have officially announced the arrival among their ranks of guitarist and long-time friend David Andersson. “We’re super stoked to have David with us,” said vocalist Björn “Speed” Strid. “He’s a blast to be around and a kick ass guitarist. Plus, we’ve known him for so many years, from all the touring together, we just know he’s a perfect fit for us.” Andersson has toured on and off with Soilwork since 2006, and most recently during the 2011 festival season in support of the band’s acclaimed eighth album The Panic Broadcast. Regarding the recently announced split with founding guitarist Peter Wichers, who first left the band in 2005 only to return four years later, Speed commented: “We just had to do this. It’s in the best interest of both him and us. Soilwork was born to be out there, tearing up the stage. Peter’s been unable to commit to the kind of touring we need to do and it’s time for us to move on. David’s played with us for so long, he’s really grown into the band…” Soilwork are currently in the process of writing new music for their ninth album, The Living Infinite. It’s a massive week for local metal with three bands launching EPs over two spectacular nights. Friday at Amps sees symphonic black metallers Advent Sorrow release a cracking album entitled Before The Dimming Light. The debut release features excellent musicianship in the vein of Carach Angren and of course the mighty Dimmu. Saturday night is the double-header at Civic with melodic death outfit Red Descending and viking/war metallers Wrath Of Fenrir sharing the stage for their respective launches, with veteran Perth death dealers Pyromesh set to drop in with some freshly recorded tracks for good measure. Free entry for those wearing armour.

Band’s greatest strength? Six members, each with their own bizarre talents/qualities. Always makes for interesting touring also… Band’s best gig ever and why? Our farewell show to Melbourne’s Public Bar. That place had been really supportive of us over the years. It was a nice send off. Best achievement? Producing our own album finally finishing it and being happy with what we’d created. Any gig in history which would it be and why? An early Beach Boys gig would be our dream come true. Fave hangover cure? Berrocca and scrambled eggs. Fave Perth bands? The Sleepy Jackson and The Panda Band. Fave bands from your state? Downhills Home and Magic Mountain Band. Our ultimate groupie would be…Natalie Portman. Fame for your band would mean…having enough money to keep making more albums. Any releases on their way? The Without You Tour EP is only available at the shows on the Busby Marou tour & on iTunes. WHEN & WHERE: Busby Marou Supports – Friday 6 July, Prince Of Wales; Saturday 7, Rosemount Hotel; Sunday 8, Newport Hotel

PANTS PARTY

In the lead up to entering the studio to record their next EP, Arkayan play the Hyde Park Hotel, Friday 6 July. The night will feature the presence of fellow heathens; Nevsky Prospekt, Mezzanine and Gombo. Say ‘cactus pants’ at the merch table to score some free Arkayan CDs. $10 entry.

BIG BAND

The melody infused Tall Poppy Syndrome is the new project for WAMi nominated singer/songwriter Sean Miller (State Of The Art, The Connoisseurs), bassist Brendan Tompsett (The Connoisseurs, Still Fire) and Mike Fitzpatrick (Pod), and they play Drum Media’s Gignition Sunday 8 July. Tall Poppy Syndrome is a perfect blend of its constituents, mixing pop sensibilities with a harder edge rock dynamic. HUSBAND

SPECTATOR SATURDAY

Headlining a night of chaos and madness, dubbed Witness The Sickness, The Witness are joined by Sexy Robot, Misty Mountain and The Southwicks, Friday 6 July, at the North Fremantle Bowls Club. Since forming in ’07, The Witness has transformed their live show into something captivating. Cheap drinks all night and you can ever play bowls between the rock if you so wish.

Returning to their favourite lair, that Elvis-sonic southern fried rock and roll combo The Burger Kings do Devilles Pad Saturday 7 July. The Presley purveyors will show off new tunes and some songs they will be putting down for a new EP in August. Andy Lawson of Debaser fame will produce the EP and hopefully tame the savage Burgers. 30 • THE DRUM MEDIA

THE HELLO MORNING FROM: Melbourne Your sound: Psychedelic, country rock’n’roll.

It’s been a monster month in metal news with some intense shit filtering through regarding Lamb Of God vocalist Randy Blythe and his arrest in the Czech Republic regarding the death of a fan at one of their shows. Blythe, 41, was picked up on Wednesday 27 June under accusations pertaining to causing a fatal injury to a fan that occurred at Lamb Of God’s May 24, 2010 show in Prague. The singer apparently either pushed or struck a 19-yearold fan named ‘Daniel N’ who had come on stage, and died 14 days later of bleeding in the brain as a result of head injuries related to the subsequent fall. The crime of which Blythe is being accused is punishable by up to ten years in prison. Lamb Of God’s publicist, Adrenaline PR, issued a statement stressing that “under no circumstances was there a fight of any kind involved [during Lamb of God’s 2010 concert]. This incident deals with a fan that three times during the concert jumped the barricade and rushed Randy during the performance. It is alleged that the third time, security was not able to reach him and that Randy pushed him back into the audience where supposedly he fell and hit his head.”

BURGER BEAST

HITTIN’ THE ROAD

LOCAL CHANTEUSE SHAMEEM IS TAKING HER LIVE SHOW TO THE EAST OF AUSTRALIA, AND ASHLEE HEALE TAKES FIVE AHEAD OF HER TOUR KICK-OFF SHOW. Congratulations on the video for Strawberry, how did you find the response to it? I’m really stoked about the response to the Strawberry video – it clocked up nearly 1000 views in the first week and people keep telling me how much they love the concept and message. We’re now already starting to dream up the next video. You’ve said that your birthmark inspired the making of the video, can you tell us a little more? My birthmark bothered me a lot as a kid – I would cover it up with makeup and even began the process of laser surgery. But over time I decided that it wasn’t so bad; that everyone is unique and that’s a good thing! So my strawberry birthmark is a symbol of being proud to be unique – because if we were all the same life would be so boring. And this show is to kick off your national tour, and what’s inspired the decision? It’ll be the band’s first time playing over east. We put out our first album a few months ago and it’s done really well on community radio all over Australia… So it seemed a natural move to do some shows to try to build an audience outside of WA. How much planning and preparation has gone into the tour? A LOT. Hours, days, weeks. And there’s still more! And have you set yourself any objectives/ goals with the tour? Have an awesome experience, connect with new audiences and get some new fans! We’re also hoping to get some music industry folks down to our shows, so fingers crossed there. What are you plans for the rest of the year and beyond? I hope that we can keep doing lots of shows, I’d love to do some touring in Asia too. Plus we need to keep writing songs so we can get another record off maybe next year. WHO: Shameem WHEN & WHERE: Saturday 7 July, Ellington Jazz Club

BACK IN TOWN

After relocating to Melbourne last year, Friday 6 July at the Rosemount Hotel will mark Mining Boom’s first show on home soil since their departure. They return home in honour of their new tape, the dubiously named Dining Room. Also on hand will be local personalities, Doctopus and The Support Band. $10.

BLAST FROM THE PAST

‘TIL DEATH

Original music night continues at The Mustang Bar, Thursday 5 July with Husband, the brainchild of Michael Paolino, headlining. Paolino spent years feeling like he didn’t have a story to tell. Then he got hitched young and everything changed. Opening the night, and warming up the cold winter night, will be 44th Sunset and Patient Little Sister, free entry.

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With a mission to bring back ‘90s rock, The Cold Acre’s play Gignition at The Swan Basement Sunday 8 July. Influenced by the likes of Pearl Jam, Guns N’ Roses and Led Zepellin, the four boys from Fremantle are bound to stir up the nostalgia in your loins when they release their first EP in the coming months.

HEAVY METAL POSSESSION

Black Sabbath tribute band Sabotage take to the Rocket Room stage, Friday 6 July, summoning the aura of the fallen metal and rock gods to put on a great show with support from Reapers Riddle and Born On The Bayou. All up, huge sets featuring thundering drums, belting bass and guitar licks that will make your head spin! $10 entry.


THE DRUM MEDIA • 31


5 JUNE

2012 FLOORED FLUME, WHAT SO NOT: VILLA: 29/06/12

DANCEFLOOR TO BURN BIRD ON A WIRE WITH THE BACKYARD PROJECT

DON FERMANO

Concept for the night? We’re placing underground local DJs and producers in the booth and on the wire; broadcasting the show live to the world via The Backyard Project’s online radio station and mobile app. Who’s heating up the dancefloor? Wayne Fitspatrick, 2&4, James Francis, Don Fermano and Red Ox. They are all equally great acts but Don Fermano will be extra hot. What does your night offer that others don’t? The difference will be that we are providing an online stream that is available to everyone around the world to listen to live from Geisha Bar.

FLUME PIC BY TROY MUTTON

An unexplained hold up in the line kept eager Metric boys and girls in the freezing cold to start the night, and unfortunately meant this reviewer missed opening act Lilt, although by all accounts they were up to the task at hand with their brand of indieelectronica. Big inflatable silver balls were whacked all around the venue, as the Metric DJs played a hip hop fest, creating ruckus amongst the dancefloor for a very excitable end of semester bunch. From Snoop Dogg to Kanye West, Pharoahe Monch to Azealia Banks, it gave a nice little rap platter to set up

What makes the venue so hot? Geisha is know for having top international DJs and is one of Perth’s premier nightclubs. What’s next for your promo company? Next for The Backyard Project will be Get Funk’d, a live stream form The Deen on the Saturday 7 July with Gav T, and also we’re at The Aviary every Sunday from 2-9pm for Backyard Disco. Cost? $10 door. WHEN & WHERE: Friday 6 July, Geisha Bar

DANCEFLOOR TO BURN

Reason for the night? We really love ‘90s hip-hop… Like really love it. Our favourite

party tunes of all time are ‘90s hip hop tracks. Biggie, Beastie Boys, Tupac, Ice Cube, Fresh Prince, Warren G, Salt-N-Pepa, Run-DMC… the list goes on and on. It’s actually going to be hard to choose what not to play.

Who’s heating up the dancefloor? All our regulars plus a few new DJs. Cooker, Joe Macc, Friend, Sparklehaus… They all know how to bring the party.

you to Noisey’s video featuring the Harlem rapper alongside Detroit’s Danny Brown, whereby they discuss the merits of fucking bitches off Twitter vs Facebook. (In the words of Pusha T: “ugh”.)

What does your night offer that others don’t? All ‘90s hip hop, all the time.

And while you wait for 11 September, coming in one month earlier is a new collaborative album by Strong Arm Steady and Statik Selektah. Stereotype is the party’s second LP out on Stones Throw, and will be released on 14 August. Since forming some ten-odd years ago, the SAS crew has been streamlined to Krondon, Phil and Mitchy, who dropped In Search Of Stoney Jackson produced entirely by Madlib back in 2010. Stereotype follows a similar singleproducer format, this time calling on the talents of Brooklyn’s Statik Selektah. Also on the 14-track LP are Dom Kennedy, David Banner, and Reks, rap’s most avid fan of Friends. The video for lead track Premium was released to the world last week; seek it out on YouTube for a hint of things to come.

What makes the venue so hot? It’s like your rich mate’s lounge room, but we have a bar and cuter girls. What’s next for your crew? More random parties just for the fun of it.

CUTLINE

Major Break provided eight years of all the broken beat madness you could handle with some of the 32 • THE DRUM MEDIA

biggest names in the biz. But as times change, so does the necessity to grow with them, and this year the breaks are having a year off. In its place is some Major Bass,

A$AP ROCKY

HIP HOP, SOUL, R&B AND URBAN WITH MARISA AVELING

Cost? An easy $10 entry. No dramas. WHEN & WHERE: Friday 6 July, East End Bar (Upstairs)

“We at war with terrorism, racism, and most of all we at war with ourselves.” – Kanye West, Jesus Walks

GIVEAWAYS

MAJOR BASS

James Hunt

SOUND DIMENSIONS

SPARKLEHAUS

KING TITO’S ‘90S HIP-HOP PARTY

Flume’s instrumental hip hop style nicely. After jumpingumping on stage around midnight, he began a set full of his token twerky, melodic instrumental hip hop that has that unique ability to accommodate for both lounge sessions and dancefloors alike. Upcoming single On Top gave the crowd something to get excited about with its warm sound pads, jerky percussion and elevating vocals, mustering up a new level of energy within the audience. The Sydney boy dished up an hour of home-grown numbers, and with his particularly Dillainspired vibes, never failed to

please. A certain highlight was his remix of Onra’s The Anthem, which had people moving and shaking as well as mischanting its foreign lyrics. “Thankyou, Perth. You’ve actually been fucking amazing,” were his warm words to finish the set, giving a genuine smile and a thumbs up to the crowd before leaving the stage. After the Metric DJs briefly took over, Flume returned to the stage with Melbourne’s Emoh Instead, forming DJ side project for both of them What So Not. The twosome proceeded to throw down a host of party mush-ups which went from dub, to pop, to bangin’ and back again, catering for the eager party goers that remained. Aussie hip hop has been pigeonholed over the past decade or so with our 360s and our Hilltop Hoods, but Flume manages to break away from this tightly knitted niche, with an impressively energizing take on the instrumental side of things. And locally, Speakeasy has confirmed its dominance with a first birthday to remember (or forget depending on how you pulled up the next day), thanks to another sold-out display of some of Australia’s best new music.

Saturday 21 July at Villa, playing host to no less than the legend of nu-skool breaks, Mr Rennie Pilgrem himself, on possibly his last-ever tour of Australia - check our interview next week for proof! He’s backed up by arguably the biggest duo in the scene right now, Cutline, making their Perth debut, and Australia’s own Nick Thayer, supported by local champs FTW and Mr Ed. Drum have TWO DOUBLE PASSES to givea way to the show, and all you need to do is email giveaways@drumperth. com.au with “MAJOR LEAGUE BASS” in the header to win.

Kanye West is a terrorist. That’s the latest claim from the Guinness Book World Of Record’s most litigious man, Jonathan Lee Riches, who recently filed a lawsuit with the Northern District Of West Virginia stating that he and his fellow US citizens are in danger of bodily harm from West and his girlfriend, Kim Kardashian. Along with Kardashian’s mum and stepdad, Kris and Bruce Jenner, as well as her sisters Khloe and Kourtney, KimYe were labeled as terrorists by Riches. “On 6/17/2012 I was in West Virginia, deep in the hills and I stumbled upon the defendants who were all at a Al-Qaeda secret training camp,” rambles Riches (who for the record was only recently released from prison). From there he goes on to state that all defendants pledged allegiance to Al-Qaeda, burned the US flag and stomped on a picture of Barack Obama. Apparently West then performed for everybody and

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shot AK-47s into the air. Sounds more like an MIA video clip than anything else. In other hip hop related news, the infamous Tupac hologram has won an award at Cannes. The company behind the shadowy figure, Digital Domain Media Group, was given the Cannes Lion Titanium Award at the Cannes Lions International Festival Of Creativity. The company was judged by a panel of ten international advertising execs as the best out of a field of 500. After a dead Tupac appeared like an apparition at Coachella, his album sales increased by 500%. As for new releases, A$AP Rocky has announced the release of his debut album on 11 September. The LP, titled LongLiveA$AP, features appearances by Santigold, Pharrell as well as his recent beef buddy, SpaceGhostPurrp. A$AP Rocky has recently been drumming up publicity through means of other artists’ channels – namely by doing a rough job impersonating JFK in Lana Del Rey’s video clip for National Anthem. The tie-in is that their collaborative track Ridin’ may or may not appear on LongLiveA$AP. For those of you who would like to see more of A$AP, may we point

Winter is traditionally a bit sluggish in terms of musical goings on, so take advantage of the forthcoming Wooshie show at The Bakery. The ex-Perth producer is now whipping Melbourne’s beatmakers into shape as head of This Thing Records, and before choofing off to play Low End Theory in LA, will be launching his Boyfriend Material in front of a home crowd. This is a triple launch though, so you’ll also be welcoming in releases by This Thing artist Andras Fox and Queensland’s Outerwaves. Also in the mix is Sydney’s Rainbow Chan and locals James Ireland, Kucka and Salamander. Everything goes down on Saturday 14 July, with tickets $10 on the door.


SUB BASS STANCE AHEAD OF THEIR SHOWCASE EVENT AT VILLA NEXT WEEK, STEELE CARTER FROM THE SUBSTANCE FILLS US IN ON THE BASS-BANGING TRIOâ&#x20AC;&#x2122;S NEW EP, AUDIO BUSHIDO.

TEN THINGS YOU DIDNâ&#x20AC;&#x2122;T KNOW ABOUT

THE SUBSTANCE

Whoâ&#x20AC;&#x2122;s in the group: Steele, Brock and 2ray. From: Perth. How did you get your group name? We saw â&#x20AC;&#x153;Got Substance?â&#x20AC;? spray painted on a wall during a riot, we loved the vibe of the disorder in the clip. We started saving projects and recordings under â&#x20AC;&#x153;substance/the substanceâ&#x20AC;?. It stuck in our heads and just became, we love it. Your style: Heavy electronica. What equipment do you use? Ableton Live mainframe, external instruments, synths, drum machines, samplers and fx that we play and manipulate live. What got you in to performing live? We just wanted to play someone elseâ&#x20AC;&#x2122;s massive soundsystem instead of blowing ours up all the time. Career highlight: Parklife 2011 â&#x20AC;&#x201C; we pulled a really good crowd and everybody was up for it. Was just a mad night.

First live set, and what was most memorable for you? Our SDSA (Sugar Disco Sex Attack) album launch sell out at Villa. No help, no promoters, just us and a rammed club.

Perth club/dance scene need more or less of? Needs less people sitting at home complaining about how boring Perth is. Get off your arse and get down to the good shows on offer. Is Perth boring or are you boring?

Funniest thing youâ&#x20AC;&#x2122;ve seen from the stage? Scotty T at Parklife (techno viking got nuttinâ&#x20AC;&#x2122; on him).

Weirdest thing youâ&#x20AC;&#x2122;ve seen in a nightclub? Sobriety.

In 2020 music will beâ&#x20AC;Śharder to categorize than 2012, but hopefully extremely loud and extremely abrasive. It will be on our behalf anyway.

BEAUFORT BOP @ DEFECTORS

Spend more on music than you earn? Yes, an addiction. In real life you: are general bottom feeders. Whatâ&#x20AC;&#x2122;s the next release/show peeps can look out for? Audio

FHF @ METRO FREO

Bushido, a brutal new EP we have just finished, come check it at Villa next weekend! Fuck it what else you gonna do on a Saturday? More info? facebook.com/ thesubstanceonline.

DIRTYPHONICS 1. Charly has designed a line of sex toys. 2. Charly is a great cook when a girl is involved. 3. PitchInâ&#x20AC;&#x2122;s stomach is called Roger. 4. PitchIn secretly wants to battle Andy C at DJing. 5. Thomas likes to paint naked. 6. Thomas had three thumbs when he was born.

WHO: The Substance

7. Julien does not have a brother.

WHAT: Audio Bushido EP (Independent)

8. Julien often falls asleep on the keyboard in the studio.

WHEN & WHERE: Saturday 14 July, Villa

10. Our debut album will be out early 2013.

PAYDAY @ THE CAUSEWAY

   

9. We all met at Rehab. Next show in Perth: Thursday 5 July, Rosemount Hotel

SATURDAY @ AMPLIFIER

SATURDAY @ METRO FREO

   

 

MARTY MCFLY, BEN MAC, MICAH

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FRI 13 JULY

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THE DRUM MEDIA â&#x20AC;˘ 33


5 JULY - 11 JULY

2012

THURSDAY 5/7

DANCEFLOOR OF THE WEEK

K21

JAPAN 4 @ AMBAR The sounds of Bezwun, Blend, Micah, Marty McFly, Nightcrawlaz at the home of the underground. $12 before midnight, $15 thereafter.

ALEX SMOKE @ GEISHA Alex Smoke rocks Geisha with support from Flex, Darren J, Luke Who?. 9pm til late, $15.

ZARM @ INDI BAR

K21 @ THE ROCKET ROOM heads west, celebrating his debut album, Single Minded Civilian, and he’s joined by Ruckus Napalm, The New Breed, Mr Grevis and Knowledge Bones. VAN SHE

VAN SHE @ CAPITOL Van She celebrate their sophomore Idea Of Happiness with a tour that kicks off in Perth, and they’re joined by Shazam and Voltaire Twins. Tickets via Moshtix.

DIRTYPHONICS @ ROSEMOUNT

Another live Zarm session at the Indi Bar with DJ Flex on the decks plus guests, $10 from 9pm.

DOMINATE @ GILKISONS

LADY GAGA @ BURSWOOD DOME

Five-time Grammy Award winner Lady Gaga touches down in Perth this weekend to play two shows at the The Burswood Dome, Saturday 7 and Sunday 8 July. She’ll take to the stage as part of the Born This Way Ball, performing her latest album plus hits from The Fame and The Fame Monster. Gaga’s last tour - The Monster Ball - captivated audiences around the globe, receiving rave reviews in every city. Known for her outlandish costumes, energetic stage presence and charisma, Gaga is a true performer. Support on the night comes from one of NYC’s best female hard rock DJs, Lady Starlight. Eager fans that rock up early have a chance to be chosen for the Monster Pit, an area on the floor closer to the action. Saturday night is sold out, but there may still be some tickets left for Sunday via ticketek.com.au.

EARTHLINK SOUND

AMPLIFIER/CAPITOL

CAUSEWAY DJ Lukas Wimmler playing party mash-ups and house.

BRING IT UP @ THE BIRD Vintage soul, funk and R&B featuring disc jocks Foxman (Soulsides) and Claude Mono, free from 8pm.

BASS CULTURE @ NEWPORT HOTEL For lovers of dubstep, drum’n’bass and wobble, free from 8pm with Death Disco’s Anton Maz.

FISHERMAN STYLE @ MOJO’S WA’s longest-running monthly party, Fishy Style #73 continues bringing the massive reggae riddims courtesy of EarthLink Sound, DJ Deruki, One Peso, DJ Corby, BushaD, Kritical and DJ Sorted. Free until 9pm, $10 after. DARK SKY

R’N’R KARAOKE @ DEVILLES A great night out with your vocal chords every Thursday from 6pm.

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.

FRIDAY 6/7 BOMBS AWAY

FUNK CLUB @ DEVILLES PAD Another groovy Funk Club party with Meg Mac & The Squeeze with DJs spinning tunes ‘til late. $10.

HIGHER FYAH @ BAR ORIENT DJs ED Kay S and Ras MWAS, as well as The Empressions, Mumma Trees and Sista Che. Dylan Hammond fires up with full on dancefloor destroyers ‘til late.

Morgan Bain, Alfred Gorman and Joshua King play, plus comedians, Tomas Ford and more for free! Sons Of Rico DJs takes over the decks while bands play inside.

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

SOVEREIGN ARMS

LEEDERVILLE LOUNGEROOM @ LEEDERVILLE HOTEL

ROSEMOUNT HOTEL

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

Dirtyphonics host a special DJ set with Terrance & Phillip, Ekko & Sidetrack and Dart & Sardi. $35 plus BF via Loaded Dice and Moshtix.

THE AVENUE DARK SKY @ THE BIRD Production/DJ unit Dark Sky have forged a sound involving a love of garage, dubstep and house, leading to future-tinged club interpretations.

LOGISTICS @ SHAPE Logistics is celebrating his new album Fear Not, and the UK producer/DJ rocks Shape like he knows best. $25 presales via shapebar.com.au, $30 door from 10pm, with Ekko & Sidetrack and Jezza & Symmetry supporting.

BIRD ON A WIRE @ GEISHA Underground local DJs and producers broadcasting live via The Backyard Project’s online radio station and mobile app. Wayne Fitzpatrick, Don Fermano, 2&4, James Francis and Red0x do it, $10.

THE BAMBOOS @ THE BAKERY The Bamboos hit the road for the first time since 2010 to support fifth album Medicine Man with special guests. Tickets via Now Baking.

Keep the Friday night party rocking ‘til the sun comes up with Fiveo.

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

EMPIRE BAR DJs Howie Morgan, Bojan and Ben Sebastian spin beats all night long.

CLAREMONT Pasha lays down the funk before Jon Ee fires up for the weekend.

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

SATURDAY 7/7

Bombs Away and Kid Kenobi celebrate Ministry Of Sound’s new Addicted To Bass compilation – full of speaker-crunching dubstep, bassline electro, drum‘n’bass and moombahton. Ace Basik and Wasteland support, tickets $25 plus BF via Moshtix.

34 • THE DRUM MEDIA

‘90S HIP HOP PARTY @ EAST END BAR DJs Joe Macc, Friend, Sparklehaus, Cooker, Sugar Dixon, Shit Graff, Count Dropula, MIck Tha Knife and more playing the finest of hip hops.

CAUSEWAY

GAGA AFTER PARTY @ EVE

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

TUESDAY 10/7 SICNOTE @ MOJO’S

ANTON MAZ

After Lady Gaga goes off at the Burswood Dome, head to Eve where DJs will be going ‘gaga’ on the decks. Doors 9pm, free until 10pm.

BIG APE @ SHAPE Two Rooms, DJs that can actually beat match, jungle juice, party everywhere. $15 entry.

CAUSEWAY Clint Turner rocks the ghetto-funk and hip hop ‘til midnight.

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

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

CLAREMONT Jon Ee and Fiveo unleashes crazy party games with awesome prizes.

THE GENEROUS SQUIRE Tastes Like James Nutley brings ‘On Tap’ house music all night long.

SOVEREIGN ARMS Rockwell drops retro hits from the ‘80s and ‘90s.

CORNERSTONE Dylan Hammond bangs out the pub and club anthems for the weekend.

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

THE WEMBLEY Once again Lokie Shaw fires up the Saturday night soundtrack. Tammy Stevens delivers the music for the masses in Cannington’s fave night spot. Party beats to keep you funkin’, with DJ Vicktor, DJ Riki and more.

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

Liquid d’n’b beats to replenish your soul from Ekko & Sidetrack, Deflo and Mowtown from 9pm ‘til late.

BACKYARD DISCO @ AVIARY

WED 11/7

MKT @ THE LIBRARY

FLUID 13.0 @ VELVET LOUNGE

CB3, Riki and Vicktor spins the chilled Sunday arvo beats.

Lady Gaga performs her latest album plus hits from The Fame and The Fame Monster.

The Community takes The Bird over with The Empty Cup, Mathas, Wisdom2th and FG, with the decks manned by DJ Silence. $5 entry.

Hosted by Japan Stripes and featuring Zeke, Get More, Philly Blunt v Meet Mark, Riot Class, Genga and Benny P for $12 from 10.

EMPIRE BAR

LADY GAGA @ BURSWOOD

Dub demons Shy Panther launch their debut EP Dozen Clouds Wide at The Bakery with Kucka, Sugarpuss, Ben Witt and Leure.

THE CRAFTSMAN

EKKO AND SIDETRACK

Head to Eve where DJs will be going ‘gaga’ on the deck with party anthems all night. Doors 9pm, free until 10pm.

An electronic producer night focusing on the cutting edge of the WA beat/ambient/vocal/ instrumental electronic music scene. The Boost Hero Man, Mostarsk, DVS, Mei Saraswati, Ravs take control, with drink specials, $5 from 8pm.

SHY PANTHER EP LAUNCH @ THE BAKERY

SHORT NOTICE @ THE BIRD

DISTRICT @ AMBAR

BOMBS AWAY, KID KENOBI @ VILLA

Mid-year party featuring Jason V, Solid Sine, Josh Cube, Hypodermic, Cyberstruct and Rufio Vs Darkstrom. $5 from 10pm, $10 after 11pm.

GAGA AFTER PARTY @ EVE NIGHTCLUB

SUNDAY 8/7

LADY GAGA @ BURSWOOD DOME Lady Gaga makes her return to the stage with the Born This Way Ball, tickets via livenation.com or ticketek.com.au.

Sun City DJs plays indie, house and electro til midnight, two free party buses to city at close.

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BEAUFORT BOP @ DEFECTORS The Flying Scotsman has put together a swingin’ new night at Defectors Bar every Wednesday. With live jazz and DJ Anton Maz spinning blues, soul, funk and more, free from 8pm.

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

DTF @ THE BIRD Breaking it down with an assortment of DJs each week. Partytime DJs on the go from 8pm each week, free entry and cheap drinks all night.

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

WUB WUB @ BOULEVARD TAVERN Northern suburbs party night with DJs and MCs mixing up the best dubstep, drum’n’bass, electro and general bass music from 7pm.

UPCOMINGS C&C MUSIC FACTORY @ METRO CITY

Metro City hosts an Old School Reunion Friday 13 July when C&C Music Factory feat. Freedom Williams steps in, 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.

TWERK! @ THE BAKERY A night of footwork, juke, trap and ghetto tech music, hits The Bakery, Friday 20 July with tunes selected by Nebula, SaussBauss, Modo, RobiHusslin, Oni Ca$h and BoyPrince.

FREO HOUSE PARTY @ FTI Featuring Rooster Police, Amani Consort, Ensemble Formidable and Funilingus. Tix $10 via heatseeker. com.au. Thursday 19 July. Join the Fremantle house party vibe, where DJs storm to smiling faces and the police confiscate all the sound equipment.

UPCOMINGS

DIRTYPHONICS: JUL 5 Rosemount Hotel VAN SHE: JUL 5 Capitol DARK SKY: JUL 6 The Bird LOGISTICS: JUL 6 Shape BOMBS AWAY, KID KENOBI: JUL 6 Villa ALEX SMOKE: JUL 7 Geisha LADY GAGA: JUL 7 & 8 Burswood Dome C&C MUSIC FACTORY FEAT. FREEDOM WILLIAMS: JUL 13 Metro City AJAX: JUL 13 Ambar WOOSHIE, ANDRAS FOX, OUTERWAVES, RAINBOW CHAN: JUL 14 The Bakery THE SUBSTANCE, DEACON ROSE: JUL 14 Villa NIC FANCIULLI: JUL 15 Court Hotel HOUSE OF SHEM: JUL 12 Wanneroo Tavern; JUL 13 Eliot St Bar; JUL 14 Rosemount Hotel; JUL 15 Leisure Inn SKREAM, SGT. POKES, JOKER, PLASTICIAN: JUL 18 Villa KNXWLEDGE: JUL 19 The Bird BROOKES BROTHER, BARE: JUL 20 Villa KID MAC: JUL 20 Mojo’s; JUL 21 Settlers Tavern MAJOR BASS: RENNIE PILGREM, CUTLINE, NICK THAYER: JUL 21 Villa MARLO: JUL 21 Shape Bar LADYHAWKE: JUL 24 The Bakery DMC WORLD DJ CHAMPIONSHIPS: KUYA, JUNIOR: JUL 27 The Bakery + SPEAKEASY: YUKSEK, CLUBFEET: JUL 27 Villa LEE COOMBS: JUL 27 Ambar DOORLY: JUL 29 The Bakery + GIRL UNIT: AUG 4 The Bakery BELL BIV DEVOE, GINUWINE: AUG 9 Astor Theatre + KENNY KEN, DJ SS, MC SKIBADEE: AUG 11 Villa Nightclub Z-TRIP: AUG 11 The Bakery HOLY BALM: AUG 11 PICA HILLTOP HOODS: AUG 17 Challenge Stadium; AUG 18 North West Festival PITBULL, TAIO CRUZ, TIMOMATIC, HAVANA BROWN: AUG 23 Burswood Dome + THE PHARCYDE: AUG 25 Capitol ILLY: AUG 31 Metropolis Fremantle; SEP 1 Capitol + OCTAVE ONE: SEPT 22 The Bakery EIFFEL 65, N-TRANCE, MR.95: SEP 28 Metropolis Fremantle 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 STEREOSONIC: TIESTO; GESAFFELSTEIN; DILLON FRANCIS; DESTRUCTO and more TBA: NOV 25 Venue TBA + NATURAL NZ MUSIC FESTIVAL: DEC 1 Red Hill Auditorium + SETS ON THE BEACH: DEC 2, JAN 13, MAR 24 Scarborough Beach Amphitheatre + SOUTHBOUND FESTIVAL: SBTRKT and more: JAN 4 & 5 Sir Stewart Bovell Park, Busselton


THE DRUM MEDIA • 35


THU 05 Abmusic, NAIDOC Showcase Bakery Northbridge Van She Capitol Courtney Murphy Como Htl Nathan Kaye Didgeridoo Breath, Fremantle The Joe Kings Fly By Night Fremantle Howie Morgan FUSE Bar Chris Murphy High Wycombe Hotel The Spitfires, The Order of the Black Werewolf Hyde Park Htl Easy Tigers Inglewood Hotel James Wilson Lucky Shag Matt Gresham Mojos Nth Fremantle Husband, 44th Sunset, Patient Little sister, DJ James MacArthur Mustang Bar The Aunts, Zara Huts, Tabasco Doors Norfolk Basement Dr Bogus Paddy Hannans Burswood Kevin Conway Rosie O’Gradys Fremantle Fenton Wilde Rosie O’Gradys Northbridge David Fyffe Sovereign Arms Jen de Ness The Boat Blanche DuBois The Ellington Jazz Club One Trick Phonies The Gate Bar and Bistro, Success Two Plus One Woodvale Tavern Jack Doepel, Alex Dew Xwray Café Sean O’Neill, Aarons Crusade, Mel Hall, Kate Gilbertson Ya Ya’s

FRI 06 Midnight Rambler 7th Avenue Bar Advent Sorrow, Sensory Amusia, Forstora, Cold Fate Amplifier Bar The Bamboos Bakery Northbridge Christian Thompson Bally’s Bar Dirty Scoundrels Balmoral TREAT, Paper Plane, Puppy Love Bar 120 The Autumn Isles, The Prevues, Sidewalk Diamonds Beat Nightclub

36 • THE DRUM MEDIA

Everlong Acoustic Belmont Tavern Dove Bentley Hotel Everlong Black Bettys Bluebottles Captain Stirling The Flying Piranhas Castle Htl (York) Chasing Calee Chase Bar & Bistro 10 Past 6, Blindspot, Listening For Triggers, The Deniros Civic Htl Reflections Of A Deadman, Xenobiotic, We Run With Wolves, Alizarin Haze Civic Htl Backroom Bob Patient, Sue Bluck Clancys City Beach The Whistling Dogs Clancys Fremantle Trevor Jalla Como Htl Meg Mac, The Squeeze Devilles Pad Adam James East 150 Bar Ron Gurr Flinders Park Hall Robert Zeilinski, Phil Waldron, Gavin Fernie, Mick Doherty Fly By Night Fremantle Chris Gibbs Duo Herdsman Lake Tavern The Damien Cripps Band High Road Htl Riverton Arkayan, Gombo, Mezzanine, Nevsky Prospekt Hyde Park Htl Ben Merito Indian Ocean Brewing Company Jason Ayers Last Drop Tavern David Hamersley Malaga Markets Patient Little sister, Husband, 44th Sunset Mustang Bar Party Rockers Newport Htl Datura, The Long Strides, The High Rotations Norfolk Basement The Witness, Sexy Robot, Misty Mountains, The Southwicks North Fremantle Bowls Club Hells Bells (AC/DC Tribute), The Sure-Fire Midnights, Waiting 4 Andy, Gombo, Vamp Pace Road Tavern, Medina Simon Kelly Paddo Bon But Not Forgotten, HailMary Player’s Bar Sabotage, Brutus, Born On The Bayou, Extreme Aggression:, DJ Cain Rocket Room

Neil Colliss Rosie O’Gradys Northbridge Howie Morgan Sail & Anchor Lillium Stargazer, Tuxedo Pig, FuzzBucket, WayneWright Swan Lounge Better Days, Greg Carter Swinging Pig Dark Sky The Bird The Organ Grinders The Boat Bernadine The Brass Monkey Nathan Kaye The Cidery Matt Milford The Eastern Midland Simon Jeans Trio, Ali Bodycoat Quintet, Empire The Ellington Jazz Club Ryan & Mikey The Principle Micro Brewery Paul Malone, Adam Kelly, Alex Koresis Tiger Lils The Charisma Brothers Tsunami, Mosman Park Nightmoves, Retriofit Universal Bar Nevada Pilot, The Lammas Tide, Tim Gordon, Anique and the Fireworks Velvet Lounge Ivan Ribic Victoria Park Htl Clayton Bolger, Nicki Gillis Wanneroo Tavern Kate Gilbertson, Amanda Merdzan, Helen Shanahan Xwray Café Black Milk, Thee Goldblooms, Foam Ya Ya’s

SAT 07 Jonathan Boulet Amplifier Bar The Damien Cripps Band, Tip Top Sound DJ Bailey Bar & Bistro Dove Bally’s Bar The Recliners Balmoral Christian Thompson Belgian Beer Cafe John & Shaun Sandosham Burswood Lobby Lounge Nathan Kaye Cape Wine Bar Dunsborough Red Descending, Wrath of Fenrir, Empires Laid Waste, The Ascent Civic Htl Backroom Justin Walshe Clancys Canning Bridge Mitch Becker Clancys City Beach Patient Little Sister, Whistling Dogs Clancy’s Fish Pub Mo Wilson & the Drivers, Polly Medlen Clancys Fremantle Howie Morgan Como Htl The Burger Kings, Razor Jack, Boogaloo Stu, Les Sataniques Devilles Pad GALSWA, A Change Of Key Fly By Night Fremantle Local Heroes Greenwood Hotel Stone Bleeder, Subject to Change Hyde Park Htl The Mojos Indian Ocean Brewing Company Midnight Rambler Lakers Tavern Steve Hepple Leopold Htl Bicton Usurper Of Modern Medicine, GUM, The New Pollution, Shiney Joe!, Peter Bibby, Jefferson Burrow Mojos Nth Fremantle

Johnny Law & the Pistol Packin’ Daddies, Milhouse, DJ James MacArthur Mustang Bar Shouting At Camels, Misty Mountains, We Move Walls, The Cabarets Norfolk Basement Cargo Beat Novotel Vines Resort Nathan Gaunt Osborne Park Htl Hells Bells (AC/DC Tribute), The SureFire Midnights, Vamp, Waiting 4 Andy, Gombo Pace Road Tavern, Medina Bernadine Port Kennedy Tavern The Morning Night, Jill & Alsy, Richard Lane Railway Htl Kickstart Rocket Room Blue Gene Rosie O’Gradys Northbridge Tracksuit Settlers Tavern Margaret River Keegan Ross Swan Lounge Greg Carter, Tandem Swinging Pig 11:11 The Boat Bronwynn Sprogowski, Shameem, Empire The Ellington Jazz Club Dirty Scoundrels The Gate Bar and Bistro, Success Everlong Acoustic The Whale & Ale DJ Bojan, Dj Ben Sebastian, Alex Koresis Tiger Lils Nicki Gillis Two Rocks Tavern Soul Corporation Universal Bar Greg Carter Wanneroo Tavern Mod Squad Woodvale Tavern Ziggi Mabeye Diagne Xwray Café Yokohomos, Hamjam, Doctopus, Loose Lips Ya Ya’s

SUN 08 Reckless Kelly 7th Avenue Bar Greg Carter Bally’s Bar Chris Murphy Broken Hill Hotel Christian Parkinson Captain Stirling The Shinkickers Carlise Htl The Sunshine Brothers Clancys Dunsborough The Zydecats Clancys Fremantle Matt Milford Como Htl Jamie Powers East 150 Bar Mink Mussel Creek, Gunns, Fucking Teeth, Shiney Joe! Geisha Bar Grant Hart Gosnells Railway Markets Matt Angel High Road Htl Riverton Helen Shanahan Kalamunda Htl Allen Smith, Hot Suga Malaga Markets Peter Bibby, Jefferson Burrow, Ringham, Shiney Joe’s Citar Show Mojos Nth Fremantle Nicki Gillis Moon Function Centre Peter Busher, The Lone Rangers Mustang Bar Tim Nelson, Busby Marou, Leader Cheetah, The Hello Morning Newport Htl

One Trick Phonies Pig & Whistle Neil Collis Pink Duck Lounge Tabas.Co Queens Tavern, Highgate Nathan Kaye Redcliffe On Murray Jonathan Dempsey Rosie O’Gradys Northbridge Howie Morgan Project Saint Short & Curly, Jane Germain Settlers Tavern Margaret River Anthony Nieves South st Ale House Ivan Ribic Sovereign Arms Ryan Dillon Springs Tavern Leighton Keepa Stirling Arms Guildford Cold Acre, The Insinnerators, Tall Poppy Syndrome, Mat Cammarano Swan Basement Pat Nicholson, Darren Gibbs Swinging Pig Christmas in July, Diana’s Mining Boom, Dowdy The Bird Daniel Susnjar Afro Peruvian Jazz ft. Mat Jodrell The Ellington Jazz Club Better Days, Chris Gibbs Trio The Gate Bar and Bistro, Success The Healys, Blue Hornet, Tony Dee The Shed Retrofit Universal Bar Damien Cripps Victoria Park Htl Good Karma Woodvale Tavern The Charisma Brothers, Click Brown Fox Xwray Café

MON 09 Marco & The Ally Cats Mustang Bar The Organ Grinders The Brass Monkey Plastic Max & the Token Gestures The Deen Paula P and Friends The Ellington Jazz Club

TUE 10 Matt Richards, Jamie Oehlers, Daniel Sunsjar, Tom O’Halloran, Sanshi Ellington Jazz Club Open Mic The Bird Matt Richards Quartet The Ellington Jazz Club The Tom Tale Jazz Quartet Xwray Café Astro Lix, Hey Hurricane, A Different Kind of Blue Ya Ya’s

WED 11 Say Anything Amplifier Bar Fenton Wilde Hale Rd Tavern Nathan Kaye, Simon Kelly Indi Bar Blue Lucy, David Craft, Tom O’Donovan, Brian Irish Mojos Nth Fremantle David Fyffe Rosie O’Gradys Northbridge Courtney Murphy The Brown Fox Odette Mercy, Mei Saraswati, Farren Wood The Moon Steve Andrews, Kylie Storm Xwray Café

themusic.com.au

TOUR GUIDE

REDCOATS NATHAN KAYE: 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 TERROR: JUL 12 Amplifier HOUSE OF SHEM: JUL 12 Wanneroo Tavern; JUL 13 Eliot St Bar; JUL 14 Rosemount Hotel; JUL 15 Leisure Inn SET SAIL: JUL 13 Rosemount Hotel; JUL 14 Melville Youth Centre (early), Mojo’s (later); JUL 15 Clancy’s Dunsborough + JACKSON FIREBIRD: JUL 13 Hyde Park Hotel; JUL 14 The Railway Hotel FLIGHT OF THE CONCHORDS: JUL 18-20 Challenge Stadium AUSTRALIAN CHAMBER ORCHESTRA PRES. THE REEF: JUL 18 Perth Concert Hall MELISSA ETHERIDGE: JUL 20 Riverside Theatre HORRORWOOD MANNEQUINS: JUL 20 Cue Bar + RTRFM FREMANTLE WINTER MUSIC FESTIVAL: JUL 21 Railway Hotel, Swan Hotel, Mojo’s 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 + FOR OUR HERO: JUL 26 Rosemount Hotel; JUL 27 YMCA HQ 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 KIM SALMON: JUL 27, Hidden Treasures Festival, FTI; JUL 28 The Bakery

THE TEA PARTY 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 & 4 Amplifier + RAI THISTLETHWAYTE: AUG 2 Friends Restaurant; AUG 3 Charles Hotel; AUG 4 The Blvd; AUG 5 The Indi Bar MONIQUE MONTEZ, DENI HINES: AUG 2 Bunbury Entertainment Centre; AUG 3 Astor Theatre; AUG 4 Mandurah Performing Arts Centre BAND OF FREQUENCIES: AUG 3 Prince Of Wales; AUG 4 Quindanning Tavern; AUG 5 Mojos; AUG 8 Indi Bar; AUG 9 Pinjarra Pub; AUG 10 Settlers Tavern, Margaret River; AUG 11 White Star Hotel, Albany; AUG 12 Clancy’s Fish Pub, Dunsborough. EMPRA: AUG 3 Rocket Room; AUG 4 Prince Of Wales SNAKADAKTAL, SURES: AUG 4 Astor Theatre THE BRIDE, TRAINWRECK: AUG 4 C5, Metropolis Fremantle; AUG 5 YMCA HQ ED SHEERAN: AUG 6 Riverside Theatre JINJA SAFARI, OPOSSOM, WHITE ARROWS: AUG 8 Astor Theatre TIM BARRY, JOSH SMALL: AUG 8 Civic Den + HOME BREW, SKY’HIGH: AUG 9 Amplifier 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. STONEFIELD: AUG 16 Newport Hotel OWL EYES: AUG 16 ArtBar OWL EYES, STONEFIELD: AUG 17 Settlers Tavern, Margaret River; AUG 18 Studio 146, Albany

HUNTING GROUNDS: AUG 16 Prince Of Wales; AUG 17 Amplifier + NORTH WEST FESTIVAL: HILLTOP HOODS, THE LIVING END, THE CAT EMPIRE, REGURGITATOR, DEAD LETTER CIRCUS, SAN CISCO and more: AUG 18 Port Hedland Turf Club JAMES MORRISON: AUG 18 Perth Concert Hall KENNY ROGERS, GLEN CAMPBELL: AUG 21 Riverside Theatre + ADAM PAGE: AUG 21 Ellington Jazz Club BURNING LOVE: AUG 22 Civic Den PASSENGER: AUG 22 Rosemount Hotel ALPINE: AUG 23 Newport Hotel; AUG 24 Prince Of Wales; AUG 25 The Bakery BONNIWELLS: AUG 24 Velvet Lounge; AUG 25 Dada Records; AUG 26 Mojos KEITH BARRY: AUG 25 Octagon Theatre + MARIA MINERVA: AUG 26 Maylands Yacht Club PENNYWISE, THE MENZINGERS, SHARKS: AUG 29 Metropolis Fremantle SLASH, MYLES KENNEDY & THE CONSPIRATORS: AUG 30 Metro City + THE SMITH STREET BAND: AUG 31 Rosemount Hotel 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: MILLIONS and more: SEP 8 & 9 Rottnest Island DREAM ON DREAMER: SEPT 9 YMCA HQ (2pm); SEPT 9 Amplifier AMERICA: SEP 12 Perth Concert Hall SUBHUMANS: SEP 12 Amplifier PATRICK WOLF: SEP 14 Fly By Night KATCHAFIRE: SEP 14 Astor Theatre; SEP 15 Settlers Tavern; SEP 16 The Prince Of Wales EARTH, MARGINS: SEP 15 Rosemount Hotel HISTORY II MICHAEL JACKSON TRIBUTE: KENNY WIZZ: SEP 15 Perth Concert Hall


THE DRUM MEDIA • 37


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POSTERS

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38 • THE DRUM MEDIA


Drum Media Perth Issue #295  

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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